Tag Archives: taboo

ETA Superstition

Nationality: Burmese

Primary Language: Burmese

Other Language(s): English, Chinese

Age: 19

Occupation: Student

Residence: Los Angeles, CA

Performance Date: 02/17/2024

A.N is 19 years old, and is currently a USC student who’s originally from Yangon, Myanmar. She is my current suite mate and has been a friend since middle school, since we are from the same hometown and school. I asked her if she has heard of or is familiar with any tabooistic vocabulary within our culture. 

“One superstition that I remember my mom saying is that we aren’t allowed to say the specific estimated time of arrival, or else we won’t get there on the time mentioned. I first heard that when I was a pre-teen and my family was on a road trip to Ngwe Saung. I asked my mom when we were arriving and she said that she wasn’t allowed to say. She did end up telling me that we can say a more vague description of the ETA, like “evening” but not something as specific as 5 p.m. I remember it clearly because as a kid, I believed it too. Eventually it became a superstition that I try to keep in mind whenever I am answering the same question if someone else were to ask me that.”

As a Burmese person, I can’t say I’ve heard of this tabooistic vocabulary or superstition but I don’t deny its possibility since we have a lot of other superstitions that are just as trivial and non-sensical. A.N states that she is not clear with what the reasoning behind this superstition is but I personally think that it might just be her mom not wanting to give an answer to her child who could start to complain or become impatient. On the other hand, it could be related to our culture of avoiding stating something important, in the chance we might ‘jinx’ ourself. It is our way of holding on to the hope that the outcome, in this situation the ETA, is something that we want it to be.

The Big D

Nationality: Dallas, TX
Age: 20
Occupation: Student
Language: English

Text:

Residents of Dallas refer to it as “the Big D.”

Context:

The informant lived in Dallas for 17 years, and grew up knowing this nickname for her hometown.

Interpretation:

Preliminary research points towards this nickname originating from the song with the same name, “Big D” from the 1956 musical The Most Happy Fella. The name popularized when Bing Crosby recorded the song, and stuck when a columnist at Dallas Morning News titled his column “Big D.” Since then, residents of Dallas have continued to call their city “the Big D” without necessarily knowing the origin of the nickname.

The longevity of the nickname may be more due to its function as a double entendre than the timelessness origins. Though the nickname remains the same, the meaning behind it changes, so that new generations believe their hometown nickname is unironically an epithet for genitalia.

The Pig Man

Nationality: American
Age: 20
Occupation: Student
Residence: 530 W. 28th st. Los Angeles
Performance Date: 03/25/23
Primary Language: English

Text: “I actually got told this story while I was in the cabin–this was Cabin 2. The story is before it was Cabin 2, the place was a pig pen. Some guy came to the island and he killed one of the pigs, and he like carved out the pig’s head and made a mask-like thing, and like lived on the island and killed people on the low. It sounds pretty fried, but I lived in the cabin probably when I was like 10 years old, and I was told the story in a very scary way and I was sitting in my little bet like ‘dude, fuck, like this is crazy.’ In the moment this stuff is very scary. When you’re at this camp, you don’t really have your phone, so when the counselors tell this stuff that they’ve told a million times, they tell it very well and there’s no other authority to check the story against.”

Context: My informant, NR, told me this story while we sat together and played NHL while listening to house music and eating frozen yogurt. This was a pretty ideal storytelling setting. He first heard this story as a middle-school-aged camper at a sleepaway summer camp in New Hampshire, and was scared by it at the time. He interpreted the legend as the crux of a practical joke that counselors enjoyed playing on campers. 

Analysis: I believe NR’s legend bears elements of practical joking in that it is leveraged by an ingroup, the counselors, to display the ignorance of the outgroup, the campers. The legend’s employment of elements that could potentially exist add credibility to the horror factor and play upon the ignorance of youth to frighten children. NR also emphasized the credibility of the storytellers, emphasizing that he defaulted to believing their account because he lacked a method to investigate other possibilities without his phone. The Pig Man’s employment of the mask also creates a fear factor, as anyone wearing the head of a dead pig would appear frightening, certainly in American culture where people are far removed from the slaughter of animals and death of animals in general. This legend can tell us about summer camp culture, in which authority is valued as well as respect for the surrounding land, which is often unsupervised and can be dangerous for a wandering child. In that spirit, the legend also plays a cautionary role, encouraging campers to stay vigilant in nature–the closer a camper is to being alone in nature, the more the camper will think of the Pig Man and desire a return to safety. I additionally believe that the death aspect of the legend taps into the childhood interest in death as a taboo topic. 

Bloody Mary

Nationality: American
Age: 20
Occupation: Student
Residence: 3335 S Figueroa St. Los Angeles
Performance Date: 03/30/23
Primary Language: English

Text: “I don’t know, I think I was like eight or something and my brothers and sisters are older than me so they would try to scare me and stuff–so my brother was like ‘oh, I dare you to do this,’ and as a kid that’s whatever. And so I went into the bathroom, and usually the whole thing is like ‘oh say Bloody Mary three times and it’ll pop up.’ I did it, nothing happened, and then I wasn’t as scared of it after that. I guess it’s just a legend.”

Context: My informant, KB, relayed this experience to me during allotted class time to share folklore. She explained that she heard the legend from her siblings when she was about eight years old, an era in which she was especially prone to being manipulated by her older siblings. It does not appear that she thought too deeply into the legend of Bloody Mary itself, but was instead more occupied with the pressure of the dare. She harbored more fear for Bloody Mary before her experience in the mirror, and walked away as less of a believer, perhaps initiating her transition from target audience to active bearer. 

Analysis: I interpret this legend of Bloody Mary as a test of courage for youth–until you work up the courage to face Bloody Mary in the mirror and find out that it is not real, you have not come of the age to actively bear the folklore and scare the next generation. Thus I view it as a rite of passage and bit of children’s folklore, passed down by older children to younger children in a practical joke format as a means of initiation (van Gennep). Within this scope, I believe my informant relayed a classic experience of youth in which she bore the burden of being a younger child in an older group and was forced to take a risk in order to obtain something the group desired, in this case knowledge. Ultimately, legends offer insights to how a certain group views the world–I see KB’s experience with this legend as an expression of her childhood, in which legends such as Bloody Mary can easily generate fear and are often forced upon the powerless or youngest in the group to explore. Her experience also connects to a child’s inexperience with the physical world, which could result in false beliefs about the feasibility of something like Bloody Mary being real. Further, paralleling Oring’s take on children’s folklore, the legend and its associated actions reflect the childhood urge to explore the forbidden, occult, or taboo, especially in rebellious sentiment. KB’s experience features this drive as well as the power dynamics of young children. 

Don’t Whistle in the Theater

Nationality: American
Age: 47
Occupation: Production Manager Supervisor
Residence: Los Angeles
Performance Date: 2023-02-23
Primary Language: English

Context:

HB is an American woman who has had 30 years of experience working in the theater industry, specifically in tech, props and production management.

Folklore:

HB goes on to describe why whistling in the theater is taboo:

“The first stage hands were sailors because theater requires a lot of rigging, there’s pulleys and ropes and things that have to go up and down. And the way sailors would communicate on old sailing ships was by whistling, they had some kind of code…. So in the theater when they would call cues, they would do so by whistling. So it’s bad luck to whistle in the theater because you might accidentally tell someone to drop a sandbag on your head!”

Even though stage hands now have headsets and other forms of communication and other ways to rig a stage, it is still considered to be taboo and bad luck to whistle in a theater

Analysis:

The fact that this is still practiced in modern times showcases thespians’ devotion to history, traditions and the past. The nature of theatrical shows is normally in tribute to past events, whether it be the writing of shows that are set in the past or the reproduction of plays that were written in the past. It makes sense that a common theme in the theatrical environment is to preserve old ways and traditions since it is a behavior that aligns with their goal to relive the past. 

Another taboo action in theater, that HB compared whistling too, is saying the name of a certain play inside of a theater, which is now nicknamed the Scottish Play. The real name of the play was the last name of some characters that killed many for power and were haunted by their actions. Saying this would result in someone dying in the theater. Some would joke around with this and take it more light-heartedly while some were very serious and even perform a curse reversing ritual of sorts if the name of the play was said.

Both of these taboo actions are centered around the power of the past and death or bodily harm. These actions were probably made taboo to emphasize the lesson of respecting old ways and the power of the past.