Category Archives: Gestures

Cheese Touch

Text

“When I was in like elementary school a lot of us would mess around with a game called the cheese touch like if you said cheese touch when you were tagging someone then they would have it. And the only way to prevent it would be to have your fingers crossed. And once you have it you have to give it to someone else or you’re stuck with it. So, I remember we would always have our fingers crossed because anytime was fair game. I remember getting frustrated because kids would lie and say their fingers were crossed when they got tagged. Me and my friends would team up in secret and promise we wouldn’t tag each other if we got the cheese touch. In my senior year of high school, we played senior assassin which gave me flashbacks to the cheesetouch because of the safe rules and the lies that would be created after someone got out. I was completely into both games because they brought out the inner kid in me and my competitive nature.”

Context

I first saw this game when I watched the Diart of a Wimpy Kid movie. I remember being at my friend’s house in his living room watching with my childhood friend group of 4 guys. When we saw the cheese touch scene with thought it was funny but also disgusting because the cheese was rotten. Other kids at our elementary watched the movie too and one of them copied the movie. Since we were immature kids who just wanted to have fun, the mention of the cheese touch got everyone riled up and the game began.

Analysis

The cheese touch game shows the diversity of forms that folklore can come in. It is a variation of another folk belief known as the “cooties” because they both involve infecting others with a negative thing. While it originated in a movie, kids around the US adapted the game into their own and transformed a silly game into a national form of folklore. Folklore is highly prominent in the younger generations because with social media and televesion, kids are prone to copy what they say without questioning its validity. Similar to Alan Dundes’s idea, folklore functions socially within groups that share similiarity giving mutual trust in this scenario. The secret alliances he formed with his friends show the strength of culture through folklore. Regardless of the rules of the game, their tight knit folk group shaped by friendship and a collective interest to not get the cheese touch led to them bending the rules and creating shared identity.

Hand Gestures for “Rock Charts”

Context:

The informant is a member of the Trojan Marching Band at USC. At the same time, the informant is a strong supporter of USC school spirit and marching band traditions, and is very knowledgeable about band “lore” and internal practices.

Text:

The Trojan Marching Band consists of over 400 members and is led by a single director conducting from the podium. During the football game, the band must remain highly attentive, as they do not know in advance which piece will be played next, selections often depend on the progression of the football game. In many cases, the band is required to begin playing immediately in response to on field events. Given the extreme noise levels inside the Coliseum during games, it is often difficult or nearly impossible for the director to communicate verbally which piece should be played next. As a result, the band developed a system of hand gestures to represent specific tunes. Over time, these gestures became formally integrated into communication practices, with the director also adopting them as a primary method of cueing the ensemble, replacing reliance on members verbally relaying instructions among themselves.

Analysis:

This system of hand gestures reflects how large performance groups develop adaptive communication methods in response to environmental constraints. In the noisy and unpredictable setting of a football stadium, verbal instruction becomes unreliable, prompting the emergence of a non-verbal signaling system that ensures coordination among a large ensemble. From a folkloric perspective, these gestures function as an internally developed “language” that is both practical and symbolic, while presenting a more organized performance, it also reinforce the community identity through signs that only “insider” would learn and be aware of.

Plane Tapping Ritual

Age: 20

Folklore Story:

“Every time I go on a flight  and I fly Southwest mainly every time I go on a flight,  I touch the little heart that’s on the outside of the plane  and I put my palm on it.  And then I as I enter the plane.  I do it as like a good luck thing and I got it from my dad because he would always do it.  He would like put his hand on and he would like pray or like say like a quick prayer.  So I just started doing it too because he would take me on flights  and it was always good. I first saw him do it at like eight because I’ve been going on flights kind of young. I like the idea of like having a child and just like picking up my kids so that they can put their hand on the heart, not the plane.”

Reflection:

The informant’s story is a textbook example of ritual and contagious magic. They describe the desire to touch the heart on the outside of a Southwest plane before boarding. This is a repeated, patterned act performed for good luck. The informant learned from her father, who would pray while touching it, that touching the heart on the plane connects you to the whole. The informant plans to pass this ritual to her own children, showing how rituals reproduce themselves through vertical transmission. This reflects a broader societal reality: despite the advancements of technology and the global dependence on it, people still exhibit small acts of control over the uncontrollable.

Kola Nut Offering

Age: 20

The Story:

So this story is about the kola nut. It’s not really about the nut itself, it’s an offering. The kola nut is the center of the prayer, and the prayer revolves around the core of Igbo tradition.

We believe in three chis. There’s Chukwu, which is God. And then there’s chi, which is like your guardian angel. My great-grandfather would break the kola nut in his house before he left the house. The prayer invokes your chi, invokes Chukwu to guide your steps. It also invokes an internal ethics, don’t do to someone what you wouldn’t want done to you. That’s the traditional religious version.

When someone comes to visit you, you don’t do anything until the kola nut is broken by the owner of the house. By breaking it, you’re signifying that whatever you do in the house will not harm the others. Usually the oldest male present breaks it. At events, the kola nut is broken as a symbol of peaceful coexistence. But in some Igbo traditions, only women with titles can break it.

At weddings, the nut is divided into two. The father of the bride or the bride’s kinsmen offer the kola nut to the guests. There’s a prayer for the couple to have children. If it breaks into four segments, that’s a good omen, it means the couple will have luck, lots of babies. The kola nut affirms the union of families.

Reflection:

The informant’s story reminds me of UNESCO’s Intangible Cultural Heritage (ICH) framework. The kola nut ceremony has Turner’s “two poles of the symbolic”: a sensory pole (the nut, the breaking) and an ideological pole (prayer to Chukwu, peaceful coexistence). When the nut breaks into four segments, the ritual is complete and there is a superstition grants peace and mutual existence between the two parties. The “three chis” reveal how ritual encodes worldview.

Additonally, I believe this ritual combats the Western framework of ownership. The kola nut ceremony cannot be copyrighted, as it belongs to the Igbo community; however, ICH designation risks “fossilization” or freezing a practice that was never frozen. The informant’s great-grandfather did it. And the informant plans to do so in the near future, so the chain of the tradition won’t be broken.

Money Spraying

Text:

“People will come forth and spray them with money to show love and support — and oftentimes, if it is something like a service of songs, it’s also financial support in a time of need. So essentially, the celebrants are just dancing in the middle, and then people will come with dollar bills or sometimes five-dollar bills. Typically, it’s small amounts because what matters most during this act of celebration is that there are a lot of bills on the floor. People essentially shower the celebrants with money.”

Context:

The informant is a 21-year-old of Nigerian descent who recounted a money spray at her own graduation party. A common practice in Nigerian celebrations, especially those with Yoruba and Igbo roots, is for guests to dance up to the person being honored and press or toss currency against them as a blessing and a show of collective support. She recalled the experience as joyful and deeply validating, noting that the loving words accompanying the spray added a layer of emotional richness that far surpassed the monetary value of the act itself.

Analysis:
Money spraying is a cross between material gifting and ritualized blessing — economically meaningful, and symbolically prophetic all at once. The bills are not for the practical transfer of wealth. Their value is in their accumulation and display. A floor covered with money is a visual statement of the collective love, communal investment in the future of the person being honored, and the strength of the social network surrounding them. This is consistent with what folklorists refer to as “gift folklore”: exchanges in which the social relationship enacted and reaffirmed is more important than the object given. For the diaspora, where Nigerian and American cultures coexist, the money spray also serves as an assertion of ethnic identity, a way to mark a celebration as uniquely Nigerian, even when it occurs far from its place of origin.