Category Archives: Contagious

Holding Breath When Driving By a Graveyard

Age: 20
Hometown: Ponte Vedra, FL
Location: Graveyards

Context:
My friend who goes to USC told me this superstition when I was mentioning some of the ones I had. She is originally from Florida and was first taught about this as a small child from her older sister. She told me that her sister thinks she first heard it when she was really young in elementary school.

Content:
Interviewer: You were telling me about a certain action you have to take when you are by a graveyard, can you tell me about that?

Interviewee: ” Yeah, so I always hold my breath when driving past a graveyard so any spirits like in the graveyard so | don’t breathe them in.”

Interviewer: “Do you remember where you learned this or how long you’ve been doing it?”

Interviewee: “I learned this from my sister as a kid she told me about it and ever since then I’ve been doing.”

Analysis: This is a superstitions folk belief that brings together a physical action with protection from a spiritual danger. Holding your breath turns a fear of spirts that seems a bit abstract into a simple behavior, allowing a person to have a sense of control over the unknown. The idea of “breathing in” spirts reflects how invisible threats are made tangible through bodily actions. Overall, it shows how folklore helps people cope with fear by creating a simple and repeatable ritual tied to a specific place.

Chinese Funeral Ritual

Text:

“When my family members pass away, we have a funeral ritual. When my grandmother passed away, the coffin was first placed on the ground floor of the apartment building. Before carrying her to the funeral parlor, my father had to break a porcelain bowl on the floor and say something he wanted to say to her — usually something short, like ‘may you go peacefully.’ Then the coffin was carried to the funeral parlor.”

Context:

This text was collected from a Chinese international student from Beijing. She recounted the ritual from personal memory, having witnessed it during her grandmother’s funeral. The practice involves two distinct symbolic acts performed before the deceased is transported to the funeral parlor: the placement of the coffin on the ground floor of the family’s apartment building, and the breaking of a porcelain bowl by the closest male family member — in this case, her father — accompanied by a brief farewell address to the deceased. The phrase her father used, “一路走好” (yī lù zǒu hǎo), translates roughly to “may you go peacefully” or “have a safe journey,” a common Chinese expression of farewell to the dead. The informant presented the ritual as standard family practice rather than something unique to her household, suggesting it reflects broader Beijing or northern Chinese funeral customs transmitted through family participation rather than any formal or institutional instruction.

Analysis:

This piece is a customary ritual operating at the intersection of material culture and folk belief, and it demonstrates Van Gennep’s rites of passage framework. The funeral ritual stages the deceased’s transition out of the living world through two carefully sequenced symbolic acts. The breaking of the porcelain bowl follows the logic of sympathetic magic, more specifically the contagious variety, where the destruction of a physical object in the shared space of the living enacts a spiritual severance, which could formally close the bond between the deceased and the household. The ground floor placement of the coffin before departure further emphasizes this threshold symbolism, positioning the body literally between the domestic space of the living and the outside world before the final transition to the funeral parlor. The father’s spoken farewell, “may you go peacefully,” functions as folk speech with ritual authority, a fixed phrase whose repetition across generations gives it vernacular power.




Housewarming Ritual

Text:

“Before moving into a new house, you have to invite your friends to come and warm up the space. And then, on the same day that you spend your first night there, you have to cook for yourself. So it’s like a housewarming — a good omen to ensure safety.”

Context:

This text was collected from a Chinese international student from Beijing. The tradition she describes is a folk ritual practiced before settling into a new home: inviting friends over to “warm” the space, and cooking a meal on the same night as your first stay. She learned this practice through her family rather than any formal channel, and presented it as common knowledge — something simply done without much question. The phrase she used, “好兆头” (hǎo zhào tou), meaning “good omen,” suggests the ritual carries protective intent, ensuring the new living space is safe and welcoming before fully inhabiting it. While housewarming traditions exist across many cultures globally, the specific requirement to cook on the first night distinguishes this as a regionally and culturally particular variation. The informant currently lives away from her family in the United States, making this tradition part of practicing a piece of folk knowledge she carries from home into a diasporic context.

Analysis:

This piece is a folk ritual operating through the logic of sympathetic magic. More specifically, the ritual aligns with the contagious variety that Frazer describes, where the warmth, activity, and presence of friends physically and spiritually transform the new space, transferring positive energy into it before the owner fully settles. Cooking on the first night extends this logic: the act of preparing food activates the home, making it a lived-in, nourishing space rather than an empty one. Together, these acts perform what Van Gennep would define as reincorporation, as the ritual closes the liminal threshold between leaving one’s home and fully belonging to another. The new resident is neither fully displaced nor fully settled until the ritual is completed. The tradition also functions as a rite of passage that converts an unfamiliar space into a safe, socially sanctioned home through collective participation. The requirement that friends be present also connects to the idea that rituals derive their power from collective belief. The warmth brought by “housewarming” is not just metaphorical but socially produced.




Musical Theater Ritual

M: “So basically, when I was in high school, I did a lot of like musical theater and stuff, and we had a ritual before every show where like after warm-ups and rehearsals and stuff, we would, everyone would stand in a circle, crew, cast, directors, and then hold hands and close their eyes. 
And we did this thing. It was called, like, ‘pass the squeeze’, where you basically, one person starts, and they squeeze their person next to them’s hand, and it goes around the circle, but everyone has to keep their eyes closed. Um, and it was basically just a way to, like, calm everyone down and take their focus off of it and just focus on like one particular thing. 
And then it was also like, I think the explanation that our director gave was also to, like, connect everyone in a way before the show. We did 4 shows every year, so we would do it every time for those. But, yeah.”


interviewer: “I was gonna ask, is it usually, like, um, everyone who’s within the show? When do you learn this? And, like, who teaches?”

M: “Yeah, so we would do it, like, literally on the day. 
So, you know, by like the 2nd year of doing the shows in high school, I knew it. But the 1st year, it would be show day or technically our 1st show was like a dress rehearsal for the community. But, um, it would be that day, which was usually like a Monday. You would get in a circle, the director would be like, okay, everyone circle up, hold hands, and then she would just explain it in that moment. 
And usually on the 1st day, it took, like, 2 or 3 tries for everyone to kind of get it, but then once everyone got it, by the next couple of days, it was just, like, instinctual because it wasn’t, like, crazy hard or anything, you know? So she would just explain it in the moment.”

context: Maggie is a CS games major at USC who went to High school in New York City. She grew up in the area and was heavily involved in her school’s theatre group.

Analysis: This pre performance ritual is a rite of passage. It functions as an initiation from an “out” group to an “in” group (esoteric and exoteric). Freshman being taught this ritual are now part of this folk group once they perform at their first show, signifying their entry into the theatre community. I would argue that this is also a type of contagious magic ritual that prevents anxiety before a show. Its a transfer of energy from one person to the next through physical touch. It reinforces group identity as well.

Don’t Whistle At Night!

“I’ve always been told not to whistle at night, like ever. My grandma was super serious about it, too. She would hear even the tiniest whistle and immediately tell me to stop. The way she explained it was that whistling at night calls things to you…like spirits or bad energy, basically things you don’t want around. She said nighttime is when everything is quieter, so if you whistle, it travels farther, and whatever’s out there can hear you. I remember asking her what would actually happen, and she didn’t give a super clear answer, just that it could bring bad luck or something following you home. It honestly freaked me out as a kid, so I just never questioned it. I will stop anyone I hear whistling at night because I’m not trying to summon any demons.”

Context: AK is very superstitious; all people from Albania are, from what they told me. Whistling in the dark can summon bad energy or attract evil because sound travels farther when you can’t see as well, according to the belief. Since moving to America, AK has brought this Albanian superstition with them and stops anyone who whistles at night.

Analysis: This story shows how a simple belief can turn into a real habit just from growing up with it. Even now, AK reacts to it automatically, which shows how these kinds of superstitions can stay with you without needing proof. Bringing it from Albania to the U.S. also shows how cultural traditions can travel and continue in new places. This is a great example to show how superstitions spread throughout the world. AK heard it in Albania, and then spread it to their friends in the U.S. until they believed it too, and those friends could spread it on, etc.