Category Archives: Kinesthetic

Body movements

Taiwanese superstition: The Colour Red

Nationality: Taiwanese
Primary Language: Taiwanese, Mandarin
Age: 46
Occupation: Branch Manager
Residence: Taipei, Taiwan
Performance Date: 19 April 2024

Tags: asia, superstition, red, colour, lucky

Text:

Red is considered a very lucky colour in Asian countries, being a sign of good fortune and luck. People wear red clothes on Lunar New Year and give red envelopes full of money to the younger ones. The colour red was said to scare off the fearsome beast Nian, who’s story is the legendary backdrop for Lunar New Year in general. Lots of people wear red underpants when they gamble.

Context:

C was born and raised in Taiwan, and has traveled the world various times due to her work and studies. She regularly participates in Taiwanese and Asian festivities with friends and family, and is said to be quite lucky whenever she wears her red dress.

Analysis:

Like with Lunar New Year, I write Taiwan in the title, but the superstition covers a large portion of Asia as well. Red can be contrasted with thoughts in the West, as red can be seen as a sign of aggression or anger, while green is the colour of luck and good fortune due to being the colour of money. This goes to show how a similar concept (colour) can twist and change within various cultures based on their pasts and histories.

Karma Points

Text:

Karma Points

Minor Genre:

Superstition; Ritual

Context:

“I believe in karma. Even if someone is justified in stealing or doing horrible stuff, I could never do it because I am superstitious of the idea of karma. Even though I see so much cruelty in how people act, whether that’s on the news or politically or whatever, I still can’t bring myself to do anything horrible on purpose because I believe in it coming back to me in some sense.

“As part of my belief in karma, I believe also in ‘karma points.’ Every time I see a piece of trash I pick it up now. I got used to feeling like it’s bad karma if I lock eyes with a piece of trash on the floor and don’t pick it up and just walk by it. Every time I look at one and register it in my mind as a piece of trash, I have to go grab it and throw it away in the trash can, which gives me a positive karma point. This superstition started in the beginning of 2024. I don’t know exactly why it happened, I just picked up the trash and it transformed into the superstition it is now.”

Analysis:

It is interesting to consider how the larger concept of karma translates into every-day actions in the informant’s life, and what that says about the idea of karma as a whole. If, for example, a person convicted of murder was considered to have a low level of karma, by the informant’s logic, they could work to restore their karma by picking up pieces of trash. This is an extreme example, but it goes to show that superstitious rituals often defy logic; routinely picking up trash would not make a serial killer a “good person,” but it may have a greater positive impact on an average person. The next logical question in such a perspective is then: at what point is someone’s poor karma irredeemable by small actions?

The idea of “karma points” therefore poses interesting philosophical considerations, but it can also be examined in a psychological context. The compulsion for the informant to pick up a piece of trash every time they lock eyes on it may be suggestive of a disorder such as OCD. While the inability to suppress an obsessive urge is a symptom of OCD, it is also a common experience for people who consider themselves superstitious; they will go to great lengths to avoid taking an action that they believe will bring about a negative outcome in their life. Ritualistic superstitious actions “dig the hole deeper” for the person who engages with them; as one gets in the habit of taking a specific set of actions, they assign more emotional significance to it and therefore become less likely to disengage with the superstition.

Break a Leg Ritual

Text
“So this is like the traditional ‘break a leg!’ before a performance, because I’m a theater major. But before any type of performance, instead of just saying ‘break a leg,’ the performing group that I grew up in since I was a kid to high school, we always would say ‘break ALL your legs.’ As like a way of saying ‘you’re even gonna do better than just break a leg, like you’re gonna have a phenomenal performance.’ And then we would- I don’t know how to explain this properly, but we basically lock our pinky fingers together, and then like, bump each other’s hips, each hip twice, and then like, spin, like, turn with our arms. And I was like- everyone in the group that I grew up in performing did this, um, and was incredibly superstitious about it. It was a thing of like, even if you were called to places, you would run backstage to the other side of the stage to find the other people in the cast to do it to. Because it was an incredibly, like, you HAVE to do this. Like, if not something’s gonna go wrong. Um, and so I was incredibly superstitious about it. Like if I didn’t get the chance to do it to everyone, I, like, I was not comfortable on stage and I was like ‘something’s gonna go wrong, I’m gonna mess up, just it’s not gonna be the performance I know it can be.’

And now that I’m in college and I’m not part of this performing group anymore, I still carry it on. Um, especially with this one, like, performance group I’m part of. Backstage before every show that I’ve started since freshman year doing, I teach it to like anyone who’s new in the group, and I do it with as many people in the cast as I can do, and I even like, explain the story of it to people, like ‘this is something I used to do in my past performing community that I was a part of, and we’d say break all your legs,’ and I teach it to them and then like, they go on to do it to other people in the cast and explain it to them. So it’s something I’m like carrying on and spreading to other people.”

Context
C is a current student at the University of Southern California and grew up in Palm Desert, California. She gave the context that she had been part of the same local theater group for her preteen and teenage years until coming to college. When asked to elaborate about some of the logistics of the ritual, C explained how the ritual would be done between two people in the cast, with the goal of everyone in the cast eventually doing it with everyone else. She also stressed the importance of performing the ritual as immediately before the beginning of the performance as possible. She also described how different people in her original group believe in different degrees of consequences for not performing the ritual with everyone in the cast; while some people think it is not strictly necessary, many, including C, believe that there will be “severe and immediate consequences” during the performance for not doing it with everyone. Finally, C explained that, while she is not sure when the ritual began, allegedly everyone who her director had worked with had a similar kind of ritual, which leads her to believe it stemmed from him and evolved to what it is today.

Analysis
As C acknowledged, this tradition takes a widely-known example of theater-specific performative speech and adds an additional physical element as added superstitious behavior. I would say that this ritual combines elements of homeopathic and contagious magic. By believing that not performing this ritual correctly induces bad luck, this theater group exhibits the ‘like produces like’ belief behind homeopathic magic; however, the contact required for the ritual, perhaps to ‘share luck’ amongst the cast, suggests that the connection between two cast members lingers after contact, which is characteristic of contagious magic. There also seems to be an added dimension of promoting the group’s strength and unity; by requiring everyone in the cast to perform this bad-luck-warding behavior together, it reinforces the idea that the group is stronger together. Ultimately, I think this ritual is a perfect example of the multiplicity and variation that is often said to be a core component of folklore, and I would be interested to see if/how this ritual changes after its introduction to USC theater spaces.

Skol!

Text: 

When the informant’s family gathers together for a meal at his grandparents’ house, they all hold up their glasses and say “skol!” at the same time, as a cheers-ing tradition. When they say “skol”, they look into everyone’s eyes before taking a sip of their drinks. When they raise their glasses up before saying “skol”, they are supposed to hold it chest level, as high as their third button. 

Context:

The informant has grown up with this tradition at every one of his family dinners with his grandparents, and is very accustomed to it, although he doesn’t know what the word “skol” itself means. The informant’s grandfather learned it from his parents who are Norwegian. The informant says that the “skol!” tradition is a Scandinavian tradition, and so his grandfather knows it from when he and his parents lived in Norway. 

Analysis: 

This folk tradition within the informant’s family exemplifies the draw that many people feel towards tradition, even if they don’t necessarily know what it means. Most of all, it exemplifies the power that tradition has to bring groups of people together, especially when the traditions feel specific to a certain group.

In this way, traditions operate so much as markers of identity. In fact, perhaps the identity that traditions like the informant’s “skol” tradition gives to those who practice it carries just as much weight to them as the actual purpose/intention of the tradition itself. Additionally, practicing a tradition specific to a certain region/group after leaving said region keeps a sense of identity alive for its practitioners. 

May Day Dance Performance

Ritual Dance Performance:

At the informant’s elementary school in Hawaii, every May Day there is a celebration where the students perform traditional Hawaiian song and dance.

Context:

The informant went to elementary school in Hawaii and moved to California in the fourth grade. Within her four years of elementary school in Hawaii, this annual celebration was a very big deal, and she spent one day each week practicing Hula throughout the year in preparation for the May Day dance performances. 

Analysis: 

The performance of traditional Hawaiian song and dance on May Day in the informant’s elementary school, as well as the largeness of the May Day celebration, is a clear example of a folk group actively keeping their culture alive. Especially in places like Hawaii that have become part of larger countries like the United States, it is evidently very important to find ways to keep cultural practices thriving. It is clear that celebrations like these are done with the intention to pass culture along to the youth, as well as to celebrate said culture together. Performances of traditional song and dance provide community members with a sense of shared identity as well, likely aiding in making the informant’s school’s May Day celebration so excitedly anticipated throughout each year. Celebrations involving song and dance are very good ways of keeping culture alive and celebrated, because in music and dance performances, everyone involved can participate to some extent, whether they are the performers or audience members.