Category Archives: Life cycle

Nicaraguan Duendes “Elves”

Age: 74

Text

Informant: “When me and my brother were younger, we sometimes went to a farm with our grandparents and dad. At night, we used to sit in the back of a pickup truck as adults drove, and when we were sitting there, we saw little kids following us. I told the adults that I saw little kids following us on the road, but they were running really fast. They were running at the speed of the truck. Only me and my brother saw them but none of the adults could see them. My grandparents and dad asked what the kids looked like so we described them as little kids with a red hat and backwards feet. The adults told me that they were elves. I tried reaching my hand out to grab the elves and the adults told me not to do that and I couldn’t reach my hand out to grab them because they were elves and they took children.”

Context:

The informant was born and raised in Nicaragua until they moved to the U.S. at 16 years old. When the informant was young, they rode on the bed of a pickup truck with their brother. One night, they saw elves following them and tried reaching out to grab them but failed. When they told their dad and grandpa, they were advised not to reach out for them because they could grab and steal them.

Analysis:

The story is unique in the sense that it’s not a common one told to children across an area. It is a personal experience, or a memorate. This reminds me of Lydia Hamessley’s “A Resisting Performance…” where she describes murder ballads being told in first-person perspective. I think folklore becomes more interesting when you’re hearing the stories directly from the source. It provides details that can get left out or aren’t shared when someone else is retelling the story.

Paper Heart

Age: 20

Text:

Informant: “I’m used to doing this with gum wrappers mainly, that’s what we used to do in middle school. You take a rectangle and you first make it a square and then you fold it diagonally so it’s a triangle on each side. You do that twice. You bring one of the points of the outside to the middle and then you bring the other one to the other side. Instead of bringing it to the middle you bring it to the other side and the point in the middle of the triangle that you just made. Then you fold it up using the two points of the end of that trapezoid to bring it up into the middle. It looks sort of like a heart but not really. I was always taught you flip it around and make it look more heart like by rounding out the edges. It’s a heart. They look prettier when they’re made out of foil because they’re cute and tiny.”

Context:

The informant attended high school in America and learned how to make a handmade paper heart out of gum wrappers and paper. It’s a type of origami as there are many steps on how to properly form the paper to get the desired result. They were taught by their middle school friends and exchanged them with classmates.

Analysis:

Traditionally, children and teens make hearts out of gum wrappers. They fall under the material folklore as they’re a physical object and handmade. It can be made in class with resources that people often have on them. After they’re made, they’re typically traded amongst friends, acting as “gifts,” and multiple can be made. I think females are the primary producers of these fun, origami-like pieces that are traded with friends. This connects to my idea of it being a feminist approach because there’s an element of collaboration in making one for a friend and knowing that you will likely receive one. There’s also a process and method to making sure you’re following all the steps properly to produce the right result.

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.

First Communion

Age: 21

Text:
“For my First Communion, we had to wear these pretty white dresses, and I actually wore my mom’s from when she got her First Communion. At that point, it was over 30 years old. We all went to the church, and I was with all my friends from elementary school. I think we were in first grade at the time, and we received our 1st communion. I felt so cute. My mom let me pick out my headband from a really cute First Communion store. And then we went to dinner and we saw Lady Gaga, and it was the best day ever.”

Context:
A catholic girl from NYC who had her First Communion, a coming of age ritual in Catholicism, in the first grade.

Analysis:
Her description of her First Communion demonstrates passing of tradition, the foundation of folklore. This coming of age event that she was excited to experience because it represented a huge milestone in her life. By wearing the same dress her mother did during her First Communion, she was able to connect with her and the celebration even deeper.

Bat Mitzvah

Age: 21

Text: “In the Jewish religion, the really religious people, Orthodox, celebrate it differently. In those cases, the girls don’t actually have Bat Mitzvahs because they’re technically not supposed to read the Torah. But I did because my family’s more reformed. So I obviously had a Bat Mitzvah, and I thought it was the biggest deal ever at the time. It obviously still is, but I thought it was the biggest deal. There was a lot of preparation before because I had to learn like five passages from the Torah and actually learn how to read it. In the Torah it’s hard to read because there’s no accents or anything so you kind of have to know what you’re saying to be able to read it. But it was really, really fun. And then after my service, I had a party, and it was really fun.”

Context: A Jewish girl from Miami. She had her Bat Mitzvah when she was 12, which is a coming of age ritual in Judaism. The Bat Mitzvah is a celebration and transition of girlhood into adulthood. The boy equivalent is a Bar Mitzvah.

Analysis: It was interesting to hear the difference between her Bat Mitzvah and an Orthodox Bar Mitzvahs, especially that Bat Mitzvahs actually don’t exist for Orthodox Jews due to their beliefs. Her Bat Mitzvah is remembered as a very big deal, which is representative of the importance of this ritual. She was excited for this coming-of-age ritual, studied and practiced for it, and completed it with a celebration. She will pass down this religious tradition to her children, as her parents did to her.