Category Archives: Rituals, festivals, holidays

Bench press PR rituals

Text:

CM reports that when he and his friends work out, the way to “PR,” or to get a personal record, while using the bench press machine, is to go through a mental checklist of things to do, typically in a particular order. For example, one might check the position on their feet on the ground, then their back and shoulders, and then how they are holding the bar, in that order. When asked what happens when one does this out of order, he says that it makes it more likely that one won’t get the PR. He didn’t describe this as a strict superstitition, but that it would really affect him if he didn’t go through this checklist in order.

When asked if he has any special rituals or food that he does before attempting a PR, CM reported that he eats sour patch kids. While he doesn’t strictly adhere to the idea that he needs to eat sour patch kids in order to get a PR, he says that he kicks himself if he fails at a PR and he didn’t have any sour patch kids beforehand.

Context:

CM is a male college student at USC. For this interview, he was asked to describe good luck charms for sports and exercises he does.

Analysis:

CM’s PR ritual illustrates the impact of superstition within secular settings. Despite lacking religious or spiritual connotations, CM’s adherence to pre-performance rituals reflects a human tendency to seek psychological comfort and a sense of control in uncertain situations. Since there is still much unknown about bodybuilding as a discipline, despite bold assurances by many trainers and influencers to have scientifically proven methods on the best ways to work out, it makes sense that many people trying to bodybuild will rely on superstitious rituals to some degree. These rituals are reinforced in failure, confirming CM’s bias, as well as his peers’ bias, that these practices will lend themselves to a PR. The magic is performed through the body, whether through the positioning of body parts or the consumption of sour patch kids, but the effect is on the mind, which is considered the ultimate obstacle when working out.

Cross country good luck charm

Text:

CM reports that when he ran cross country in high school, he and his fellow runners would keep the bibs from previously won races as good luck charms. He explains that this practice was celebratory, to keep a trophy of achievement to look back on and remember fondly. However, beyond being a trophy, CM says that saving these bibs, which have a chip inside that records the time of the run, serves as a good luck charm for future races.

Context:

CM is a male college student at USC. For this interview, he was asked to describe good luck charms for sports and exercises he does.

Analysis:

CM’s practice of keeping race bibs as good luck charms serves as a good example of homeopathic magic, a form a sympathetic magic based on the principle that “like produces like.” In this context, the race bibs, imbued both with the mental memory (the runner’s recollection) and physical memory (the chip inside) of past victories, possess an inherent quality that can influence the outcome of future races. As technology advances, the way we practice and observe sympathetic magic evolves as well. The chip is a sort of digitial sympathetic magic, one that forever preserves one’s victory, which serves as the facet for influencing future races; success is reified by the chip and can be physically possessed by the runners. This practice makes sense in a field such as cross country, where much can be outside of one’s control, and where it is imperative to have continued, repeated wins in order to have success in the sport.

Black-eyed Peas for New Year’s

Text:

“I always make my kids a spoonful of black-eyed peas on New Year’s Day. It’s something that my mother had me do as well when I was growing up.”

When asked why during the New Year, CR responded:

“They bring you good luck into the new year. I have them other times during the year, but as far as I know, they’re only lucky if you have the first day of the year.”

When asked what effect having a spoonful of black-eyed peas have:

“I don’t what specifically, just that it wards off bad luck in the new year. So I get nervous when my kids complain about not wanting their black eyed peas because I don’t want them to be unlucky. I’ve tweaked the recipe to have bacon so my son will actually eat it.”

Context:

CR is a sixty year old acting teacher. Originally from Virginia, she moved to LA when she was eighteen and has lived in various areas of the San Fernando Valley. This is the response she gave when asked if she has any favorite holiday traditions.

Analysis:

CR’s insistence on serving black-eyed peas specifically on New Year’s Day demonstrates the temporal significance attached to this ritual. The new year represents a liminal period, marked by transition from old to new, and individuals seek to ensure a favorable start to the coming year. The emphasis on consuming black-eyed peas as the first meal reflects the power of auspicious beginnings and the importance of setting a positive tone for the months ahead. The tradition is a blend of superstitition and culinary customs, where the consumptionof black-eyed peas brings good luck, likely due to its historical associations with prosperity and abundance. Moreover, CR’s adaptation of the recipe to include bacon illustrates the dynamic nature of folk traditions and how they can be adapted to personal preferences and contemporary tastes. Her anxiety for her children’s luck going into the new year is palpable and her effort to adapt the recipe for their tastes demonstrates its importance to her.

A Turkmen Dance

Text: “Kushtdepdi probably started as a ritual dance among Turkmen tribes. They used to perform it at important gatherings and celebrations. The dance is really lively and expressive, with intricate steps and rhythmic moves that get everyone in a festive mood. The dance is essentially a reflection of Turkmen spirit and identity. The music we use is traditional Turkmen music, featuring instruments like the dutar and tuiduk, and the dancers wear these colorful, eye-catching costumes that are representative of our culture. The dance is usually performed at weddings and other big celebrations, and we tend to perform it at cultural events since it is pretty emblematic of Turkish culture.”

Context: My informant – a 23-year-old woman from Ashgabat, Turkmenistan – told me about a traditional dance, Kushtdepdi,  that is often performed in her home country. She explained to me that she herself has performed it an abundance of times, and emphasized that it usually would occur at celebrations or monumental events. She said that she and her classmates performed it together at her high school graduation, and she had learned how to dance it by watching it being performed all of her life. She said that alongside the dance being an important part of her culture, she also appreciates it because she feels that it has an essence of gender equality which isn’t always prevalent in Turkmenistan. She stressed how this is the one dance where men are not leading the women, and that everyone participating has an equal role in the performance. 

Analysis: The traditional dance Kushtdepdi from Turkmenistan embodies profound cultural values and expressions that transcend mere entertainment. Originating as a ritual dance among Turkmen tribes, Kushtdepdi has evolved into a vibrant and expressive art form that reflects the spirit and identity of the Turkmen people. The lively and rhythmic nature of Kushtdepdi, accompanied by traditional Turkmen music featuring instruments like the dutar and tuiduk, underscores the cultural richness embedded within this dance, and the colorful and eye-catching costumes worn by dancers further exemplify the deep-rooted connection to Turkmen cultural heritage and traditions.

What sets Kushtdepdi apart is its significance beyond celebratory events; it serves as a symbol of gender equality within Turkmen society. My informant’s perspective highlights how this dance provides a rare opportunity for women to take an equal and active role alongside men in the performance. In a cultural context where gender roles may be more traditionally defined, Kushtdepdi stands out as a representation of inclusivity and shared participation. My informant’s personal connection to Kushtdepdi, having performed it numerous times and appreciating its essence of gender equality, underscores the dance’s role in challenging and redefining cultural norms. By embracing Kushtdepdi as an integral part of her cultural identity, my informant celebrates its symbolic value in promoting inclusivity and diversity within Turkmen cultural expression.

A Spoon Under A Pillow

Text: “As a kid, me and all my classmates believed in this superstition where if we put a spoon under our pillow before we went to bed, it would mean that school was canceled for a snow day. It was pretty common in Colorado when snow was forecast; everyone would sleep with a spoon facing upwards so that it would essentially “catch” enough snow so that school administrators would call for a snow day in the morning.”

Context: My informant – a 22-year-old man from Monument, Colorado – told me about this superstition that he recalled being very prominent among school children in the place where he grew up. He explained to me that this was something young kids began to believe in from the moment they began their education, and it became a habit for children to sleep with a spoon under their pillow when it was forecast to snow because they wanted to somehow manifest a heavy snowfall so that school would be canceled the following day. I asked him if this was a superstition people continued to believe in, and he said that the majority of people stopped placing spoons under their pillows around the time they moved into high school, but it was and is still talked about among older age groups. He said that he learned this superstition from his older siblings and he began to copy their action of sleeping with a spoon under their heads; however, he explained that it was a superstition that somehow was just ingrained in every child’s mind where he grew up. 

Analysis: The superstition of placing a spoon under the pillow to bring about a snow day reveals interesting insights into the values and beliefs prevalent among school children in Colorado. This tradition reflects a desire for unexpected freedom and a break from the routine of school. By engaging in this ritual, children sought to exert a sense of control over external circumstances, hoping to influence the weather and prompt school administrators to cancel classes. At a deeper level, this superstition highlights the significance of community and shared beliefs among children. My informant’s recollection of this practice being widespread among classmates underscores the social aspect of folklore, where beliefs and rituals are passed down and collectively embraced within peer groups. This shared experience fosters a sense of unity among children, reinforcing their connection to each other and their environment.

Additionally, the eventual decline in the belief of this superstition as children transitioned into high school reflects the evolving nature of folklore and belief systems over time. As individuals mature and gain new perspectives, certain childhood rituals may fade away, yet the memory and discussion of such superstitions continue to resonate among older age groups, illustrating the enduring impact of childhood folklore on personal and collective memory. The superstition also reflects the anticipation and enjoyment associated with snow days in regions like Colorado, where heavy snowfall can disrupt daily routines. The superstition serves as a playful manifestation of the shared desire for spontaneous joy and temporary relief from academic responsibilities, embodying the cultural value of embracing the unexpected and finding delight in communal traditions.