Author Archives: Ruby Bierman

Moon Song

Song:

“I see the moon and the moon sees me,

The moon sees somebody I wanna see

God bless the moon, and God bless me:

And God bless that somebody I wanna see.”

Context: The informant’s mother sang this song to them as children. The informant is from the East Coast and their mother is from the Southern United States. Informant’s mother was taught this song by their mother growing up as a lullaby to put her to sleep.  


Analysis: This is a children’s lullaby passed through oral tradition across generations. From mother to child, it passes down, connecting generations through song. While the child does not necessarily understand the words being sung to it, the song itself is a family tradition. The purpose of the song (putting a child to bed) holds greater meaning than the actual lyrics of the song. Because it is passed down through song, it is an important oral tradition for this family.

El que come y canta loco se levanta

Text: El que come y canta loco se levanta

Translation: He who eats and sings rises a madman.

Informant’s Interpretation: The informant shared that for her family, it meant that you should not do two things at the same time, and they should focus on the food on their plate rather than the words in their mouth. 

Context: The informant’s father would say this to her and her siblings growing up to get them to stop talking more than they were eating at the table. The informant, who is Mexican American, grew up in Texas near the border in the 60s/70s. 
Analysis: The phrase itself, “El que come y canta loco se levanta”, uses exaggeration (“rises a madman”) to create a memorable and slightly humorous warning to the children hearing it. Like many proverbs, its literal meaning is less important than its applied meaning, which in this case is about maintaining focus and proper behavior at the table. The informant’s father adapts the proverb as a form of disciplinary speech, using it to reinforce expectations around mealtime etiquette. I believe it is reflective of larger trends of parents wanting their children to eat at the table rather than goof off and let their food get cold.

College rite of passage Tradition

Informant: “One of the traditions I remember most from Yale happens on Class Day, when we all sing the alma mater, “Bright College Years.” Toward the very end of the ceremony, everyone pulls out these white handkerchiefs and starts waving them during the final line: “For God, for country, and for Yale!”

It’s kinda the moment where you realize everyone around you is about to go their separate ways. You’re all doing the same thing, singing, waving these white handkerchiefs, and kind of holding onto that shared experience for just a little longer. It’s simple, but it really sticks with you.”

Context: The informant attended Yale University in the 80s and attended the Class Day celebration the day before graduation at the university. She recalled this tradition after being prompted if there were any traditions at her university. 

Analysis: This tradition is a clear example of institutional folklore, where a formal organization (Yale) sustains and transmits a ritual that becomes meaningful through repeated student participation. The act of waving white handkerchiefs during a specific line of “Bright College Years” acts as a ritual, tied to the incoming graduation.

This is also a rite of passage, marking the shift from individuals being students to alumni. The waving creates a visible sense of unity and collective identity, while the lyrics reinforce shared values. Even though the handkerchiefs have been officially distributed since 1984, the meaning of the tradition comes from its performance and emotional resonance, not just its institutional origin.

Tamales at Christmas

Text: Making tamales every Christmas in an assembly-line style with family.

Context: The informant, who is Mexican American and grew up in Texas near the border, participates in a yearly Christmas tradition where family members gather to prepare tamales together. Each person takes on a specific role in the process (spreading masa, adding filling, wrapping), creating a collaborative, assembly-line system.

Analysis: This is a strong example of foodways folklore, specifically a holiday-based family tradition rooted in Mexican and Mexican American cultural practices. Tamale-making at Christmas is a tradition, but the assembly-line method highlights its communal nature, turning food preparation into a ritualized family activity. The repetition of this practice each year reinforces cultural identity and the intergenerational nature of the practice. Knowledge and roles of the activity are passed down within the family.

George Washington Bridge Song

Text: The George Washington Bridge song is a song that repreats the words “George Washington Bridge” over and over again in rising and falling tunes. 

Context: The informant recalls that this song would be sung by their father whenever they passed over any bridge, not necessarily the George Washington Bridge specifically. The informant originally thought this was a song that their father made up, but the informant’s father notes that he believes he learned it from his father at some point in his childhood. The informant is from Connecticut, but their father is from New York State. 

Analysis: It is performed specifically when crossing bridges, turning an ordinary activity into a ritual. Interestingly, the song is used for any bridge, not just the George Washington Bridge, which shows variation and flexibility. Geography adds another layer. The reference to the George Washington Bridge (a well-known New York landmark) reflects a kind of regional influence, even when performed elsewhere (like Connecticut). This suggests how folklore can carry place-based identity, even when removed from its original setting.