Category Archives: Customs

Customs, conventions, and traditions of a group

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.

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.

High School theater tradition

Informant: “So in high school theater, we had a lot of traditions before a show. We would always start with some kind of focus activity, which was really nice. Then we’d go around and do a compliment circle, where everyone would give a compliment to someone else.

After that, we’d pass around a “squeeze,” and then the last thing we’d do was this kind of chant-and-movement game. One person would stand in the center and start shouting, “We are riding on a pony, we are riding on a pony, we are riding on a pony…”

Then you’d find a partner, and together you’d do the moves: front, front, front, front—pony; side, side, side, side—pony; back, back, back, back—pony; on a big fat pony.

As it went on, more and more people would join in, and you’d keep repeating it until eventually everyone was doing it together in the final round.”

Context: Informant attended high school in Connecticut and was taught and participated in this theater tradition before their shows. Tradition was passed down from past upperclassmen within the high school program. 

Analysis: This tradition happens right before the performance, which allows actors to mark the threshold between their “normal” life and their staged life. The exaggerated movements and chanting suspend normal behavior, allowing participants to enter a different mindset that is more expressive and less self-conscious.

Additionally, traditions like this are usually passed down from older members of the group to newer ones. This gives older students to pass down to younger ones to continue the ritual as kids age out of the program, but ensures something is left behind by them. 

This also marks who is “in” the folk group of this theater department or ot. Generally, theater communities are known for having their own rituals, superstitions, and games. Participating in these traditions signals membership; if you know the chant and movements, you’re “in” the group.

Colombian New Year’s Grapes

Age: 22

Text
“A tradition that my family has, it’s a Colombian tradition, is that on New Year’s Eve when it hits midnight I eat 12 grapes in the first 12 seconds of the new year under the table. So like my siblings and I will crawl under the table and literally just like, basically just stuff grapes into our mouths as fast as we can and it basically means good luck for the whole year.”

Context
CM describes a Colombian tradition that has always ran in her family for as long as she can remember. It’s a tradition that she does along with her siblings every New Year’s Eve to New Years transition, and it’s held in high regard in her extended family as good luck. CM also says that she isn’t sure when she started participating or who started it in her family, she just remembers participating every year.

Analysis
The 12 grapes tradition is a Colombian/family tradition that CM has participated in since she was young. She doesn’t remember when it started or who taught it to her and felt that it was always just a part of her life, which shows how folklore is disseminated informally through participation. This tradition includes aspects of sympathetic (specifically homeopathic) magic, with the relation between 12 grapes, 12 seconds, and 12 months of the new year working to create good luck. This tradition is also part of the holiday/festival that is the New Year’s celebration to transition into a new year filled with positivity and luck.

Matzo Ball Soup

Age: 21

Text
“My dad’s side of the family is Jewish so they had a lot of like food and meals that they would eat either for special occasions or like just throughout the year because it’s like Jewish food. And the one that’s carried through to my immediate family is matzo ball soup because it’s a really good remedy for like a cold or just general sickness normally in the winter so the cultural tradition here is getting lots of matzo ball soup and using it as like a cure to sickness when we’re not feeling well.”

Context
ML says that not a ton of Jewish customs carried over to her immediate family, but matzo ball soup was one that did because of their belief in its comforting and curing powers. She remembers eating it when her or her sister were sick, and she said that eating it did make her feel better.

Analysis
ML’s story is an example of material culture, specifically foodways, as well as folk medicine. The tradition of eating matzo ball soup contains religious and traditional values in her family, but also showed a long standing belief in its remedial and comforting powers. ML notes that not many other Jewish meals or traditions were passed on to her family, showing that some beliefs or pieces of folklore are stronger or hold more meaning and are able to be passed on more easily even as other traditions of the same folk group fade away. For ML, this belief was enforced by evidence, as she said that eating matzo ball soup did genuinely make her and her sister feel better, which only serves to enforce the folk belief. ML’s story with the soup is a great example of Kaptchuk’s discussion on healing rituals, as the soup represented a sensory experience, family, and hope along with the nutritional value, all of which combined to comfort ML. I think this is a very powerful idea, because my mom would make a specific noodle dish when my brothers and I were not feeling well, but I remember the love and the care that the meal represented more than how I felt after eating it.