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Feast, Festival, and Fur – The rituals of a furcon

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Age: 27

Text: Interviewer – “When was the first time you heard of a furry convention?”

JP – “I’ve for sure sure known about them since I was younger but I didn’t really think positively about them until years later. I was a bit of an edgelord back in the day.”

Interviewer – “Have you been to one before or many?”

JP – “I’ve been to the same one, TFF, or Texas Furry Fiesta for 3 years as of now. So a couple times, I’d say.”

Interviewer – “What has been some notable elements of these, some highlights that you get excited about when traveling and going to these conventions?”

JP – “To me, the Artist Alley, a large room in the convention center where tons of different artists are posted up to sell their merchandise, get commissions in person, or advertise. It’s super cool. Besides that, the various community events that TFF has have been the highlights for me.”

Interviewer – “What rituals do you feel are active elements of every furcon, or you feel should be a part of them if not?”

JP – “Fursuiting for sure, and while it’s unnecessary I particularly have fun playing a bit of a character. I have 2 different suits, so I’m able to change up the characters I go as, which adds to the fun of it all since a lot of other people are doing the same. Some conventions even have events to show off all of the different attendees suits! Though despite it being a very integral thing, it’s still unnecessary and one doesn’t need a suit in order to attend.”

Interviewer – “What’s been your most memorable or best memory in the fandom or at a furcon?”

JP – “As far as my best memory, it would prolly be my first con just getting to spend time with some friends and having the opportunity to explore the city with them.”

Context: Similar to other fandom based conventions, a “furcon” is just that, a convention for furries or fans of the furry community to gather, go to panels, buy art, and be a meeting point for friends who would usually be online to meet up in person. When talking to JP about his involvement within the fandom, since I knew he recently went to Texas Furry Fiesta, I wanted to delve in and ask about the folk practices done at this kind of event, as I know other conventions akin to comicons have their cosplays, panels, celebrity features, and art galleries.

Analysis: Furries are one of the fandoms that have such deep cultural ties to industries, popular culture, media, and their own complex traditions, rites, and rituals. One of said rites of passage is attending a furry convention, or a furcon for short. Aside from this rite of passage, many traditional events occur, some mentioned by JP. These would include the sharing of community folk art at the artist’s alley, a dance competition, showing off the hard work and craft of fursuit makers by featuring your own, as well as being a pseudo-pilgrimage for a friend group all within the fandom to meet up. A furcon is a multi-faceted treasure trove of lore for all of those who attend, their passions, and particular interests in their characters, how they present themselves, and the boundless memories, activities, and events at their disposal.

Kaal Pudpe Sign of Respect

Age: 20

Text:

Informant: “This is included in what me and my brother do in my culture. It’s something that is a sign of respect, it’s called “kaal pudpe” and it means “touching the feet.” So you touch the feet of your elders. If you were my elder, when I would first see you, I would say “How are you?” and I would go like this” (gestures touching feet). “It’s respecting the wisdom that they have and it’s always a married elder.”

Interviewer: “So if they’re not married, you wouldn’t do that to them?”

Informant: “No, you don’t have to. There’s a lot of people around my age but then the minute they got married, you’re supposed to, technically. It’s a lot of things as well as a greeting when you enter someone’s house, as a sign of respect.”

Context:

The informant is from Karnataka, a state in India. In their culture, they view elders as wise and are highly respected. Married couples are also seen viewed highly. As young people, to show respect for them, they’ll touch their feet as a form of greeting.

Analysis:

In many cultures, aging isn’t seen as a negative, but rather, a positive. The elderly are seen as wise and more knowledgeable. Young ones are encouraged to respect elders because they lack life experience and can learn from them. Countries like Karnataka create these traditional ways of young ones showing respect by touching their elders’ feet. This ritual is repeated through generations and acts a way of socializing across the culture and holding people in high regard. In Chapter 5 of ‘Living Folklore’ by Sims and Stephens, they expand on this thought and share how “traditions associated with objects, customs, or rituals…may sometimes emerge into narratives and form an important part of a group’s identity.” This functionalist ritual validates the culture and sets a certain expectation that everyone must follow.

Theater Good Luck Ritual

Age: 21

Text:

Informant: “One that I learned growing up that when I’ve done it in other places, people are like, “What the hell are you doing?” It’s like before the show, you’re all standing there behind the curtain waiting to go up. Usually I only end up doing this if it’s a show that I start in the first number, not if I come on later. You know one of those shows where you’re in the ensemble and everybody is standing behind the curtain waiting there. One that I always did was this” (holds hand in fist and raises thumb and pinky finger.) “Like if you’re doing sign language and signing “you and I.” You go around to the other people in the cast and you link pinkies and bite your thumb and it’s just a little way of saying “break a leg, have a good show.” It’s just a little good luck thing. I always did that at the theater that I did shows with growing up and then I went to other places and they were like, “What the hell are you doing?” I was like, “Oh,” (laughs) “Nevermind.” Other than that, when people say “Good luck” to me it makes me really anxious. I’m like “No. That’s bad luck. You can’t say “good luck,” you have to say “Break a leg.””

Interviewer: “Do you remember being taught how to do that or was it just that you observed other people doing it so you just did it, too?”

Informant: “The hand thing, I think it was something that – I did children’s theater and it was just sort of something that was in the culture of that theater. I don’t even know if they do it anymore. When I was there, I think it was the second show I ever did was Mary Poppins and everybody who starts on stage for the ensemble are frozen in their spots so we’d be standing there behind the curtain and all of the older kids would come around and show us how to do it. From there, that was something that I did most every show I was in, and teaching the younger kids how to do it.”

Interviewer: “So was it mostly younger kids and teens or were the adults doing it, too?”

Informant: “It was a children’s theater so the oldest kids were seniors in high school. The group that I was part of was late middle school and high schoolers so we wouldn’t really interact with the younger younger kids, but it was definitely the seniors in high school teaching the youngest.”

Context:

The informant was part of a community theater growing up. They learned rituals specific to their theater from the older students. When the informant went on to join college theater, they learned that other people had never heard about that particular good luck ritual.

Analysis:

Theatre has many superstitions, likely because it has been around for over 2500 years. The superstitions are shared amongst theater members who participate in plays and musicals. Traditionally, these rituals are passed on by the adults or older teens to the young children. Many of them are widely known across theater’s everywhere, such as “Break a leg” for good luck. Naturally, certain theater members will create their own superstitions or rituals that get passed on and stay within that theater, and are foreign to people outside it. The goal is that it gets taught to the younger kids by the older kids to keep the tradition alive. It can be considered a functionalist approach because it’s meant to bring good luck for the performers to do well on stage.

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.

Knocking on Wood

Interviewer: “OK, personally some rituals i’ve grown accustomed to and practice are mostly related to theatre. Superstitions such as avoiding naming the play “Macbeth” in the theatre, never wearing your costume outside of rehearsal and performance, and a created folk song that was local to my high schools theatre department. What are some rituals or superstitions you believe in?”

AB: “I always knock on wood when I say something I don’t want to jinx, I don’t really even think about it anymore its more of an automatic reaction out of fear or something”

Interviewer: “Why do you think that works, like why do you use it?”

AB: “I don’t know, it makes me feel like i’m undoing evil energy, like your correcting it before some karmic lesson is taught to you, its like proactive.”

Context: The informant learned this practice from her parents. Her parents are very spiritual and superstitious and thus this, among many other practices, have become common place in her life. She recalls using the practice of “knocking on wood” since she was very little, around 9 years old. She is unsure if this practice has a tangible affect on her life, however she still uses it as a method of providing comfort to herself, proactively “saving” herself from an event before it occurs.

Analysis: This interview highlights how folk beliefs persist even when individuals do not fully rationalize or consciously believe in them. AB repeatedly framed their practices, such as knocking on wood as accidental or habitual, suggesting that these rituals function more as a medium to grant oneself peace of mind rather than superstition. This suggests that these rituals function less as explicit belief systems but more as engrained cultural behaviors where the action of knocking on wood takes less energy than the worry that accompanies bad karma.