Category Archives: Protection

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.

Evil Eye

Text: The informant started wearing evil eye jewelry, accessories, etc. during middle school. All the evil eye items they possess were gifted to them by family and, later, friends. They like to gift people evil eye items now. The informant always wears the evil eye because they see it as a barrier between them and any bad energy or intentions that could come their way.

Context: The informant grew up with both their parents always having an evil eye charm on them. Before they were gifted their first evil eye, their dad told them a story about his jealous brother, and how every time he would tell the brother about his accomplishments the evil eye’s blue color would fade, which he took as a sign that the evil eye was protecting him from the jealousy of his brother.

Analysis: Evil eye is widely used as a form of spiritual protection from negative energies. This folkloric belief is an example of contagious magic, since possessing an evil eye charm or having it on your person is what is believed to protect you from the negative spirits. Belief in the evil eye could be a reflection of values like spirituality and protection.

Theatre Pre-Performance Ritual for RENT

Main Piece

“[This ritual] is very common: the whole team tapping a sign before a game. In RENT, we have a plaque hand-carved by Jonathan Larson’s uncle that he carved when he died that his sister gave us. She came in and talked to our cast, and her and his college roommates gave us this plaque for the duration of our show. And it’s this big hand-carved plaque that says “Thank you, Jonathan Larson” on it. It’s hung up backstage, and after our group circle, we all have to go up to it one by one [before every performance] and like, place our hands on it and thank him before we go onstage to perform…Really simple, but we all do it and constantly remind each other of it and it’s really important to our cast.

Some of us like, if we’re feeling especially emotional, will literally sit in front of it and cry. I’m so serious, I’ve done that, ’cause Jonathan Larson is really important to me.”

Interpretation

Informant Interpretation: Informant related ritual to common sports team rituals of tapping a specific sign for luck or protection before a game. They also mentioned that the pre-RENT performance tapping of the sign was a means of “community building” and enabled cast members to “ground themselves” and “remind themselves about why they’re doing this piece of art.”

Personal Interpretation: This is clearly an important tradition to the informant and their cast, furthered by the subject matter of RENT (queer people living in NYC during the HIV/AIDS crisis) and fact that its creator, Jonathan Larson, died one day before the musical’s original opening in 1996. The sign is a physicalized reminder of the humanity and weight the show carries, and gives the cast members a material way to remember the real people it’s grounded in before going onstage. To me, it sounds like tapping this sign is a ritualized remembrance of the responsibility to tell and represent an important, nuanced story to the audience, and for the cast to honor the people around them–cast, crew, relatives, friends, and more–as well as the source of the art they’re bringing into the light.

Background

Informant is a 21 year old college student studying theatre at USC. The performance of RENT mentioned happened this semester, with rehearsals running January-April and performances in April. It was put on by the USC School of Dramatic Arts–informant performed in the ensemble for all performances. Informant is mixed race (white and Pacific Islander), and identifies as queer and fem-presenting.