Category Archives: Rituals, festivals, holidays

Practical Joke with Easter Eggs

Nationality: Mexican-Armenian-American
Age: 22
Occupation: Student
Residence: Irvine, CA
Performance Date: 27 Mar 2018
Primary Language: English

“So, every year, on my dad’s [the Armenian] side of the family, we’d hides eggs with money in them. But half the eggs would have nothing in them, and we’d put all these on the ground and all the ones with money in them up in trees, so only the older kids could reach them. And it was a kind of practical joke on the younger kids. And we’ve been doing this for like twenty years… It all arose because my grandparents loved competition.”

This piece of religious folklore came from a classmate with whom I exchanged lore. She noted that both sides of her family, although ethnically separate, had developed very similar variations on the traditional Easter egg hunt. Both draw a clear age line, separating the ‘children’ from the ‘adults.’ The former naively hunts for plastic eggs, hoping for reward and enjoying the fun of the chase, while the latter, more experienced and understanding, are privy to extra information, enjoying the fun of the hunt vicariously as their labor pays off.
As this religious folk tradition/ritual is also a children’s game, it works like many folk children’s games to help kids explore social structures. By creating a firm distinction between searcher and hider, the child/adult distinction, which is normally rather blurry, is made concrete and tangible for the smaller family members. Although they enjoy hunting for eggs, the can also excitedly anticipate the day when they will graduate into the grown-up world and gain the associated knowledge—be allowed to hide eggs.

Mexican-American Variation on the Easter Egg Tradition

Nationality: Mexican-Armenian-American
Age: 22
Occupation: Student
Residence: Irvine, CA
Performance Date: 27 Mar 2018
Primary Language: English

“So, I have a big family on my mother’s [the Mexican] side. So every year, we have an easter basket that looks like a laundry basket, and the people who get to hide the eggs are the ones who have graduated from being little kids. It’s usually around sixteenish, and it’s an unwritten rule that once you turn sixteen you can no longer look for eggs. And then the two oldest boys hide the trick eggs up in trees. But the emphasis is less on it being a practical joke and more about growing up.”

This piece of religious folklore came from a classmate with whom I exchanged lore. She noted that both sides of her family, although ethnically separate, had developed very similar variations on the traditional Easter egg hunt. Both draw a clear age line, separating the ‘children’ from the ‘adults.’ The former naively hunts for plastic eggs, hoping for reward and enjoying the fun of the chase, while the latter, more experienced and understanding, are privy to extra information, enjoying the fun of the hunt vicariously as their labor pays off.
As this religious folk tradition/ritual is also a children’s game, it works like many folk children’s games to help kids explore social structures. By creating a firm distinction between searcher and hider, the child/adult distinction, which is normally rather blurry, is made concrete and tangible for the smaller family members. Although they enjoy hunting for eggs, the can also excitedly anticipate the day when they will graduate into the grown-up world and gain the associated knowledge—be allowed to hide eggs.

Magical Properties of a Giant Confederate Flag

Nationality: Mexican-Armenian-American
Age: 22
Occupation: Student
Residence: Irvine, CA
Performance Date: 27 Mar 2018
Primary Language: English

“So, my uncle moved to Tennessee, and he lives down the road from this guy who has a giant confederate flag in front of his house. It covers his whole front porch. And they believe that it—like, if you pray to it—it will bring back the confederate soldiers… like Jesus raising the dead. And when you walk past it, I swear you can see a pair of eyes watching you from under it, but this guy doesn’t have a dog or anything.”

This story came from a classmate with whom I exchanged lore. Although it is short, it contains two clear, separate pieces of folklore. The first is an observation of a folk belief and ritual. Although likely embellished slightly by every teller, it essentially describes a kind of worship. The religious analogy “like Jesus raising the dead” draws a clear connection to the religious nature of the flag-worshiping practice, although it would technically be sacrilegious, it being a “false idol” and all.

The second piece of folklore is a contemporary legend. The sightings of the eyes imply a haunted nature of the flag, furthering its folk power. I could not get my informant to say for certain whether she had seen anything herself, but they way she told the story, it certainly seemed like a memorate. She personally experienced some sort of unusual sighting, which was then shaped by her knowledge of the worshippers and other people’s stories of also seeing glowing eyes, into a scary story.

Both pieces of folklore here clearly reflect a my informant’s uncle—and thus her, too, when she visits him—feeling like an outsider in Tennessee. These stories are fantastic exaggerations of the otherness of the locals around whom he now dwells, likely created to cope with his own sense of unwelcomeness.

The Tradition of the Yiddish Yodel

Nationality: Jewish-American
Age: 58
Occupation: University Professor
Residence: Seattle, WA
Performance Date: 29 Mar 2018
Primary Language: English

“The ‘Yiddish Yodel’ was held in Deer Isle, Maine in the summer, usually in august at my parents house or their friends’ house. And there would be twenty to thirty guests, all Jews from New York who spend their summers up in Maine, most of them artists of one kind or another. I think it started because one evening a smaller group just started singing Yiddish songs, and then they had the idea that they should make it a yearly event, and then it just grew and grew and grew with more and more guests, unit finally they started printing out lyric sheets and, um, what else? At one point, they really did buy an organ to keep up there—one of those little electric organs—and they bought it specifically for Renee to play at the Yiddish Yodel. And they often looked to Renee for knowledge and inspiration. I’m not exactly sure why she remembered more Yiddish songs than anyone else, but she did. And she was also a preschool teacher so she was very keen on teaching everyone how to sing the songs.

“I don’t think it started out as a reenactment of a tradition in a conscious way, although Renee recently told me that when she was a child, in the summers, she and many other Jewish families who lived in New York would go up to the Catskills  to these bungalow colonies, and the moms and the kids would be up there all week, and the dad would come up on the weekends. And she said that on Saturday nights, they would all gather in the—there was some gathering hall, entertainment room or something—and they would recite Yiddish poetry and sing Yiddish songs. So I think now that she’s making that connection in a conscious way, but i don’t ever remember anyone saying anything about that when this started, But clearly, as soon as it started, people were very keen on turning it into its own tradition, even if they weren’t consciously linking it to an older experience in a direct way. They didn’t start recording these until later, when I wasn’t there for them anymore, so I don’t know how they decided—how or why they decided to start recording.

“It was just, like, bring as many chairs as you possibly could from everywhere into the house, into the living room, in, like, a rough circle. But really there was no order to it, and the living room wasn’t really big enough—either living room it ever happened in—wasn’t really big enough for them to really forma circle, so some people were sitting behind each other. When it started out it was much less formal, like, people would just—someone would start singing a song—and they’d finish that one and just be like, ‘oh, who remembers another song?’ And they would just sing the songs that they remembered. As it went on and it got bigger and bigger, it got more organized with Renee really leading songs and Bernie becoming like a master of ceremonies. You can hear that on the tapes. But when it started it was much less formal, it was just people getting together and trying to remember the songs. So it guess in that way it was trying to revive, not a specific tradition, but I guess a more general aspect of their culture.

“I bet they hadn’t really sung these songs in any sort of consistent way for… forty years. You know, some of them might have sung some of them… but it was probably forty years… they learned them in their childhood… and then, they didn’t all know exactly the same songs, so then they would start teaching them to each other and maybe someone would remember that ‘oh yeah, I did know that song.’”

Going through my family attic, I came across a box of tapes hand-labelled “Yiddish Yodel 1992-95.” They were recordings of a large gathering of people singing in Yiddish and Hebrew. I asked around to find out more, and although it seems only a couple of the original participants are still alive, one of their daughters gave me this detailed account.

Although the specific tradition of the “Yiddish Yodel” was a new one—created by this small community of Jewish artists in the 1980s. It was clearly a way to preserve much older traditions of folk music and language they feared were dying out, and was not the first attempt at this. In 1948, Ben Stonehill collected over one thousand songs from holocaust survivors in New York.

In the instance of the “Yiddish Yodel,” we see folk, communal, spontaneous origins. However as it progressed, we can see formalization and the development of a separation between active bearers (Renee and Bernie) and passive bearers (their friends).

Ching Ming Festival

Nationality: Half Chinese, Half Italian
Age: 22
Occupation: Student
Residence: San Ramon, California
Performance Date: 4/11
Primary Language: English

Interviewer: Do you have any traditions or ceremonies that you and your family perform or engage in? Any holidays that are unique to your culture that you celebrate.

 

Informant: The celebration is Ching Ming festival. And I have been doing it with my family since I was born.  And basically you go to the cemeteries in which your ancestors or your elders are buried, sometimes they aren’t directly related to you.  But there are specific days in Chinese culture when you go to the graves and do this, but my grandmother chooses a different day for our family because she doesn’t want to go when it’s too crowded. But we bring things for the grave, fake and real flowers, we normally do yellow rose and red roses and we have a system of who we see first.  We go to the grave and we clean it and replace the flowers and then you bow in front of the grave.  We start with my grandmother’s side first and then continue to my grandfather’s side.  And at the last grave, which is traditionally my grandfather’s parents, we have a meal.  Some families have their meal like in the car at the cemetery or in another location that isn’t the literal grave, but my family eats directly at the grave because it’s my family, my uncle’s family and my grandparents. And we usually have a little celebration and lay the food out and we bring a pot and put fake money in it and we burn the fake money and incense and then we have small firecrackers.  And then when you bow at this grave you say something to your elders or the people you are honoring.  And then we eat.  Usually it is a wide variety of dim sum including different dumplings and dishes that we order before and bring.  When we finish eating at the grave then we go out to lunch or early dinner and eat again.  The whole process takes the whole day.  And each year it is a different day and that day is somewhat mandatory, like you don’t not go.

 

Interviewer: Did your grandmother do this when she was young?

 

Informant: My mom used to do it when she was little and then my grandparents immigrated from China so I’m not sure if the process is the same in China but this is our version.

 

Interviewer: So what does it mean to you?

 

Informant: Well I haven’t met all of the relatives or elders that we visit, but you bow anyway as a sign of honor.  So it’s more about respecting and honoring the dead because they are a part of you and watching over you. And my great-grandmother recently died and now when we do this ceremony we include her in the graves that we visit.

 

Background: Amanda Fornataro is a Junior studying at USC and is my roommate.  Her grandparents immigrated from China and brought many traditions with them.  She consulted with her mother and grandmother when giving the account since it wasn’t possible to see the ceremony live. This ceremony is very meaningful and she is usually home to experience it with her family and flew home in February to celebrate.  It is an important belief and cornerstone of Chinese culture to honor your ancestors.

Context: I interviewed Amanda during the week after hearing about the ceremony in previous conversation.  She first started the ceremony when she was small and has carried it on to today and even as her older relatives pass on, they too become part of the tradition. It has traveled from her grandmother to her mother to her.

Analysis: hearing about the ceremony was very interesting.  I have seen and heard about variations of the tradition before but it was great to hear about it from someone who actually performs the ceremony. It also exemplified a belief in the importance of generational traditions and how the variations make more unique to each family.  Like how there are designated days for this ceremony but that Amanda’s grandmother likes to go when it is less quiet is something that makes the tradition even more special to her own family.