Category Archives: Protection

Break a Leg Ritual

Text
“So this is like the traditional ‘break a leg!’ before a performance, because I’m a theater major. But before any type of performance, instead of just saying ‘break a leg,’ the performing group that I grew up in since I was a kid to high school, we always would say ‘break ALL your legs.’ As like a way of saying ‘you’re even gonna do better than just break a leg, like you’re gonna have a phenomenal performance.’ And then we would- I don’t know how to explain this properly, but we basically lock our pinky fingers together, and then like, bump each other’s hips, each hip twice, and then like, spin, like, turn with our arms. And I was like- everyone in the group that I grew up in performing did this, um, and was incredibly superstitious about it. It was a thing of like, even if you were called to places, you would run backstage to the other side of the stage to find the other people in the cast to do it to. Because it was an incredibly, like, you HAVE to do this. Like, if not something’s gonna go wrong. Um, and so I was incredibly superstitious about it. Like if I didn’t get the chance to do it to everyone, I, like, I was not comfortable on stage and I was like ‘something’s gonna go wrong, I’m gonna mess up, just it’s not gonna be the performance I know it can be.’

And now that I’m in college and I’m not part of this performing group anymore, I still carry it on. Um, especially with this one, like, performance group I’m part of. Backstage before every show that I’ve started since freshman year doing, I teach it to like anyone who’s new in the group, and I do it with as many people in the cast as I can do, and I even like, explain the story of it to people, like ‘this is something I used to do in my past performing community that I was a part of, and we’d say break all your legs,’ and I teach it to them and then like, they go on to do it to other people in the cast and explain it to them. So it’s something I’m like carrying on and spreading to other people.”

Context
C is a current student at the University of Southern California and grew up in Palm Desert, California. She gave the context that she had been part of the same local theater group for her preteen and teenage years until coming to college. When asked to elaborate about some of the logistics of the ritual, C explained how the ritual would be done between two people in the cast, with the goal of everyone in the cast eventually doing it with everyone else. She also stressed the importance of performing the ritual as immediately before the beginning of the performance as possible. She also described how different people in her original group believe in different degrees of consequences for not performing the ritual with everyone in the cast; while some people think it is not strictly necessary, many, including C, believe that there will be “severe and immediate consequences” during the performance for not doing it with everyone. Finally, C explained that, while she is not sure when the ritual began, allegedly everyone who her director had worked with had a similar kind of ritual, which leads her to believe it stemmed from him and evolved to what it is today.

Analysis
As C acknowledged, this tradition takes a widely-known example of theater-specific performative speech and adds an additional physical element as added superstitious behavior. I would say that this ritual combines elements of homeopathic and contagious magic. By believing that not performing this ritual correctly induces bad luck, this theater group exhibits the ‘like produces like’ belief behind homeopathic magic; however, the contact required for the ritual, perhaps to ‘share luck’ amongst the cast, suggests that the connection between two cast members lingers after contact, which is characteristic of contagious magic. There also seems to be an added dimension of promoting the group’s strength and unity; by requiring everyone in the cast to perform this bad-luck-warding behavior together, it reinforces the idea that the group is stronger together. Ultimately, I think this ritual is a perfect example of the multiplicity and variation that is often said to be a core component of folklore, and I would be interested to see if/how this ritual changes after its introduction to USC theater spaces.

SoCal Ghost Story

Text: When the informant was three, her grandmother, who was battling breast cancer, passed away in 1967. Choosing not to undergo the harsh treatments of the time, she died at home, survived by her husband and four children, the youngest being seven-year-old Jerry. After her passing, the grandfather remarried and continued raising the children nearby, renting out their old home. Years later, when Jerry was in college, he and his roommates, Gordy and Bob, rented this family home. Gordy occupied what used to be Jerry’s bedroom, while Jerry stayed in the master bedroom and Bob in another children’s bedroom. left it out on the dining table. Upon seeing it, Gordy was shocked and exclaimed, “What the fuck!” and “That’s the women.”  He explained that a woman resembling the one in the photos visited his room every couple of nights to turn off the lights. Bob also confessed to seeing her well. This revelation was the first time the roommates spoke of any supernatural occurrences in the house, and notably, Jerry never witnessed the apparition of the woman.

Context: The Informant believes her grandma had unfinished business, because she died leaving her cousin as a little kid. She is a devout Catholic but she says she believes in this ghost because she believes Her grandma had to try and take care of Jerry. this took place in Pasadena in 1967 and the ghost part 15 years later. The informant grew up in suburban Virginia in a Irish Catholic home

Analysis: The grandmother’s death and subsequent appearances as an apparition reflect a common motif in folklore where spirits linger due to unfinished business, in this case, to care for a family member. The informant’s integration of Catholic beliefs with the concept of ghosts demonstrates the personalization of spiritual beliefs, showing how individual experiences influence the interpretation of traditional religious doctrines.

Angel Signs (Folk belief)

“My mom does this really sweet thing where when she goes on walks she’ll pick up things that catch her eye and puts them on this shelf in her room and she calls them her angel signs. She’s picked up feathers, rocks, pinecones, stuff like that – but not just regular ones, ones that are special looking, like if they have an interesting color to them or shape or something. They make her feel like angels are watching over her. She thinks this about a lot of things, like signs from nature mean someone or something that’s passed is looking out for us – like when our pet rabbit died, she starting saying every rabbit that came into our yard was an angel sign that the rabbit was still with us. She likes to take the objects with her to bring us more protection by those angels I guess.”

My informant spoke very affectionately about her mother as she recalled this folk belief/ritual that she often partakes in. While I find complete validity in her assumption that her mother brings home these objects as a way to bring protection to the household, I wonder if she does this knowingly. My informant was quite specific about how her mother felt about these items, that they were signs from angels, but she wasn’t certain about her mother’s intentions upon bringing them home. I wonder if it is partially due to a fascination with the objects in general, mementos so that she will never forget a moment when she felt seen, protected, and closer to something spiritual.

“The Mothman” (memorate)

“When I was a kid my dad used to warn me about this thing called the ‘Mothman’, he’d tell me a story about kids that went out at night alone and we’re snatched up by a half man, half moth creature.”

My informant has never met anyone else who grew up with this narrative, but she stressed to me that kids shouldn’t go out alone or else “he’d get ya.”

“If you see red glowing eyes in the dark, then you’d better run, that’s a warning he’s there.”

Her father would tell her this as an encouragement to not wonder off alone as a child, especially when the sun went down. “I was such a little shit back then” she told me. Her dad was never sure what antics she would get up to, so he stressed this story to her in order to prevent any runaway thoughts.

As opposed to telling her about the true dangers of wandering off alone in the night, he instead decided to tell her about a make believe creature. I find this interesting cause the reality of what could happen is just as scary, if not more frightening then a “moth man” (in my opinion), but I also agree that these kinds of narratives, ones with outlandish concepts, are more effective than ones rooted in reality with children.

Driving Through Tunnel Ritual

Text: 

Whenever the informant drives through a tunnel, she holds her breath and honks her horn for the duration of the drive until exiting the tunnel.

Context:

The informant has known this ritual her entire life, growing up in Northern California, where there are many hills and mountains to drive through. Her family has always done it, and she has continued the tradition of this ritual to her friends all over California. The ritual feels like such second nature to the informant that she instinctively holds her breath and honks her horn in any tunnel. In different regions of California, some drivers alongside her do not honk their horns at all, and are alarmed at her doing it. However, where she is from, the tunnels are always filled with honking horns by default, and it is never questioned. 

Analysis:

Upon doing more research about this particular ritual, it is clear that this is just one variation of many similar rituals. To some in different regions of California, the honking of the car horn is never involved, and the ritual only involves holding one’s breath. To others, the ritual also includes saying the first fruit that you can think of as soon as you leave the tunnel. 

This variation in such a common ritual, whether it is regional or just specific to each person and unrelated to geographical location, shows how far folklore can spread when its practitioners all have a shared experience. In this example, the shared experience is driving in tunnels through hills or underground. Whatever the variation of the tunnel ritual is, its existence and popularity shows the discomfort that many drivers must have with driving through tunnels. After all, why else would such rituals be so popular? 

It is very common for rituals to arise out of fear and superstition, and the popularity of this tunnel ritual is a perfect example of our tendency to create rituals that make us feel like we have more control in situations where we feel uncomfortable or unsafe.