Category Archives: Folk speech

Good Luck in Ballet

Age: 21

Context:

My informant is in his twenties and has done ballet since he was young both professionally and competitively.

Text:

“So before going on stage, you say “Merde” to the other people, which means shit in French, and it’s kind of like… break a leg is like negative so you imply a positive. It’s the same thing. It’s meant to be good luck so that everyone has a great performance. 

And even though I don’t speak French, the word merde has a special place in my heart.”

Analysis:

This is an example of performative superstition within a specific folk group, in this case ballet stage performers. It functions like the phrase “break a leg” in theatre among actors, where a negative phrase is used to produce a positive outcome. This reflects a broader belief in the power of language to influence events. While participants may not literally believe that it guarantees success, as my informant seems aware of the fact it is a “superstition,” it also creates a shared understanding of the correct thing to do before a performance and creates a ritual.

This is a sort of verbal folklore where a customary phrase takes on new meaning depending on the specific context. Saying merde to someone on the street will illicit a much different reaction and hold different weight. This phrase is socially reinforced through repetition and performance. This demonstrates how folklore also relies on shared context and specific people rather than “textbook definition.”

It reinforces group identity and belonging as well, I know as a theatre student how I do feel better when someone tells me “break a leg” before a performance. It becomes more of a common courtesy and when someone outside of theatre says it I know that they are somewhat in the group as well. Saying the phrase correctly like “merde” signals membership within the ballet community and years of experience. Additionally it helps create the performance space, it may be the last thing and only thing heard before going onstage and helps signal the start of something more serious that just a rehearsal.

Break a Leg

Age: 17

Text:

“I joined theater in high school because of my sister. She did it. And I learned that you should always say ‘break a leg’ instead of ‘good luck,’ because one time I said ‘good luck,’ and the person in the show got kind of, um, angry, and explained to me how that was actually really bad luck. So now I just make sure to always say good luck I guess.”

Analysis:

This example is a form of verbal folklore, specifically a superstitious/customary phrase tied to the performance settings. It reflects a broader theatrical superstition in which saying something positive (good luck) is believed to produce a negative outcome, while saying something negative (break a leg) will bring a good performance.

The moment of correction highlights how folklore is transmitted through informal social interaction, especially within a specific folk group like theatre performers. The informant’s experience shows how members outside of the folk group are socialized into the group norms, learning not just what to say, but what meanings those phrases carry within that context.

This practice also demonstrates how folklore relies on shared belief systems, even if those beliefs are not taken literally. The rule is maintained through repetition and reinforcement by the group, giving it authority within the performance space.

More broadly, this example shows how folklore helps define group boundaries. Knowing to say “break a leg” signals membership and understanding. In this way, the phrase functions not only as a superstition, but also as a marker of identity and belonging within the theatre community.

Romanian Joke

Age: 51

Context:

The informant is a Romanian immigrant now living in the United States. She recounts the jokes from back home when she was a young in the 90s.

Text:

“We have very weird jokes they’re either offensive, or matter a fact and stupid. For example, like okay, a professor says “Bula tell us five animals from African continent,” and Bula says “1 lion and 4 monkeys.”

Bula is the name of the kid. But it’s so stupid, I find it funny. There were always people that would be saying let me tell u this joke let me tell you that.

Analysis:

This is an example of a larger cycle of Bula jokes, a well-known genre in Romanian humor built around this fool “Bula.” This example shows how folklore is not just text but performance tied to social roles. This joke works depending on who tells it and in what context.

The humor operates through anti-humor because the listener expects a thoughtful response to the professors question but instead receives something very simple. The dryness of the joke and the delivery, which is a core aspect to Romanian humor, enhances the effect in the school setting. The joke is funny because it’s matter of fact, the answer isn’t wrong exactly but it’s so literal and stupid that it’s funny. It reflects how humor can be culturally specific, and it would be a joke within a specific folk group because of it.

Additionally the repetition of Bula in other jokes and by the class clown of the class demonstrates multiplicity and variation as many jokes reuse the same character in different scenarios. This is similar to “let me tell you a joke” or “knock knock” is acts as a signal and a performance marker, listeners then know something funny is going to begin and it frames their way of looking at it.

Finally, these jokes function as a form of social bonding within a peer group, especially in school setting where humor can challenge an authority figure like professors. In strict Romanian schooling a student presenting a joke about a student who gives an absurd answer to a professor is a subtle play at power dynamics within the class. This provides a space for students to laugh at institutional authority and is probably why my informant remembers it so clearly when prompted about jokes.

Step on a Crack, you’ll Break your Mother’s Back

Interview: “Don’t step on a crack, you’ll break your mother’s back. So that’s the saying we used to… Uh… sling around on the playground. If you’re on a sidewalk or blacktop, you’re not supposed to step on the cracks. I think painted lines counted as well, in parking lots and stuff. I guess its a superstition but like, nobody actually believes it.
Its a little bit of a game. More than anything it was just to annoy people. If there’s a lull in conversation and somebody steps on a crack you’d be like: Oh, better call your mom, see if she’s okay.”

Context: The informant is 21 years old from Los Angeles. He remembers playing the game in grade school.

Analysis: This falls into a group of superstitions which are prevalent around schools. Like many school superstitions, it survives and spreads likely because the consequences are so severe. Even a child who is pretty sure that the consequences are not real, might still be hesitant to step on a crack, and might still warn his friends about it, just in case.

Find a penny, pick it up, all the day you’ll have good luck

Text: “Find a penny, pick it up, all the day you’ll have good luck”

Context: Informant is 79, white, female, living in North Idaho. To this day if she sees a penny she’ll pick it up and smile, thinking of the old phrase. She can’t remember where she learned this but thinks she was very young. 

Analysis: This is folk speech that invokes magic “supersition”, picking up the penny means good luck and the specific outcome is having that luck all day. Coins are often used in magic superstitions, tossing a coin in a well, a penny having a bad luck side. It’s especially interesting because coins operate in a weird state in our economics, they are our most tangible form of money but have little in the way of monetary value especially now to the point of becoming almost obsolete. I believe it’s this inbetween between worthlessness and value that makes it the perfect thing for superstition to focus on. It has value, thus is special, but not enough to covet or protect Thus we assign them superstitious values. But more than that it’s something that clearly brings my grandmother joy, it’s an event you can’t control and thus that superstition brings that joy almost randomly. The rhyme in the saying also makes it feel whimsical, which could be a reason it’s stuck around for my grandmother.