Category Archives: Folk speech

Camp Song

Age: 22

Text:
(Call and response) “You can’t ride in my little red wagon.” “You can’t ride in my little red wagon.” “The front seat’s broken, and the axle’s dragging.” “The front seat’s broken, and the axle’s dragging.” “Chugga, chugga, chugga, chugga, chugga.” “Chugga, chugga, chugga, chugga, chugga

Context:
A girl who grew up in LA and learned this song at summer camp. She also heard it at other camps beyond that one.

Analysis:
This is a classic camp song that hardly get’s varied with the words, at least from any of the times I’ve heard it. I also learned this in summer camp, but at mine, we had a slight variation by repeating the song multiple times at different volumes. The first time was normal, the second was loud, the third was whispering, and the fourth was loud again. Through this call and response activity, everyone can engage and sing together.

Children’s Game (Down by the banks)

Age: 21

Text:
“Down by the banks of the hanky-panky where the bullfrogs jump from bank to banky with a heap, off, over the top, land on a lily pad with the curplop.”

Context:
A girl from Denver, Colorado describing a game she used to play with her friends as a child where they sat in a circle with their palms facing up. Each person goes one by one, singing and clapping their neighbors hand at the rhythm of the song, typically increasing speed as the game progresses. If you are the last person to be slapped, you’re out of the game. The last man standing is the winner.

Analysis:
It was interesting to hear this rendition of the song because mine was slightly different in the second half from what I can remember. The beginning was the same, but the end of mine was slightly different, going, “heap, hop, soda pop, he missed the lily pad, he went curplop.” However, the heart and content was still the same, with the general storyline of the song and clapping hands while seated in a circle motion, trying to not get eliminated. This demonstrates the multiplicity and variation when passing along games.

Cannibalism Legend in Europe

Age: 22

Text:
“So my sister had a friend who’s older sister had a friend who studied abroad in Milan her junior jear of college. When she was studying abroad, she, like other normal college students, wanted to go on a date. So she ended uo going on a date with this guy. She went back home with him, and everything was going well until he asked to give her a massage. He gave her a massage. She thought something was up and felt something was weird, so she just left. Then after a few days, a rash started to develop on her back. She was like, ‘What is this?’ So she went to the Italian doctor, and the Italian doctor was like, ‘For some reason, the fibers of your skin are starting to break down. This could leech into your muscles. Good thing you came in, but how did this happen? The only way this would have happened is with a flesh dissolver.’ She said, ‘What? What are you talking about?’ Less than a month later, the guy that she went on a date with got arrested for killing multiple women and eating them, meaning he was preparing her to be skinned and eaten after giving her that massage.”

Context:
A boy from Kansas City, Missouri telling a story he heard from his sister (who heard the story from a friend) about a date-from-hell while a girl was studying abroad in Milan.

Analysis:
Interestingly enough, this is not the first time I’ve heard this story. I’d like to think that it’s a legend or greatly exaggerated story from being retold indefinitely (hopefully). Regardless, it serves as an example for how folklore spreads through storytelling, often leading to multiplicity and variation between each iteration.

Scary Story

Age: 22

Text:
“I went to sleepaway camp in Maine for seven summers, and I started when I was nine in 2013, and I went until 2019 when I was fifteen. The first three or four summers, obviously, I was pretty young. We would tell these scary stories after our Friday night campfires. Basically the whole camp would go and we’d do camp songs and cheers or whatnot. Then after we’d go and make s’mores by the bunk and sit outside by the lake and tell scary stories. One of the stories that stuck with me literally to this day was ‘Click, Click, Drag.’ It was one of the first horror stories that I was told by one of my counselors, who was an ex-camper. Basically, theres a girl and a guy walking outside, maybe it’s two girls or two campers, and they start hearing this sound: click, click, drag, click, click, drag. It follows them all the way home and picks up the longer they walk, eventually grabbing the girl by the foot and dragging her away. The boy sprints home, and shortly after, he hears knocking on the door. The voice of the monster talks as if it’s the girl, screaming, ‘Help! Help! Open the door! Open the door!’ The boy opens the door and is dragged out. He was never seen again.”

Context:
A girl from Palm Beach, FL who went to sleep-away summer camp in Maine every summer while growing up. She recalls a scary story that she learned from her counselor, who also went to the same camp when she was a kid.

Analysis:
This is a demonstration of folklore being passed through generations through storytelling. She learned this story from a former camper, suggesting that her counselor also learned the story in a similar setting. She also noted that she doesn’t remember the story completely and that some details were likely lost in her memory, which is what often leads to multiplicity and variation between the same stories. It is also interesting that scary stories are quintessential parts of summer camp and sitting around bondfires.

A Georgian Beginning to a Fairy Tale

Interviewer: How did you start the fairy tales you used to tell me as a kid? 

TK: I’m disappointed that you can’t remember. The same as everyone, I heard it as a kid from my mom, and the way she heard it from hers. Every story i remember my mom or my grandma telling me started exactly like this.

Translation:

“A tale of things that were and things that were not.” 

Original:

“იყო და არა იყო რა”

Context:

The informant is my mother, who grew up in Georgia. She recites a common Georgian introduction to a fairytale.

Analysis:

Every language has its own version of this opening formula. This is the Georgian variation of the common “once upon a time” trope. It creates an environment where the story is told. Once the phrase is said, the story is about to begin. Additionally, it creates a sense of liminality to communicate that the story lies somewhere between reality and make-believe. We see characteristic attributes of oral folklore such as intergenerational transmission of vernacular tradition.