Category Archives: Rituals, festivals, holidays

Comedic Ritual

Age: 20

The Story:

“I’m going to tell a story about an improv comedy club on campus. We have a lot of initiation rituals that are funny and weird and cute. I remember when I first got on the team my freshman year, that night they called you, it’s like a football draft. You audition for two teams and then they all take turns picking who they want. I got picked by my team, then I got a phone call from an unknown number to  meet me at this location on campus. They told me to meet them at *REDACTED*, which is like this little stage. “

“I went there and it’s like the middle of night, it’s like 10 p.m. and I was alone and it was dark for a little while. I thought ‘what did I sign up for?’ then they all were like dark clothes and like cloaks and they yell like comedy rules out in the woods. Then all at once they scream and yell at you to get to the stage. It was like a medieval theme going on in there. After getting to the stage, then they knight you, so you get on your knees, and then they knight you in the name of the club. It’s all in the middle of the night and terrifying, and then they take you to a secondary location.”

Pretty much all the teams do this, they kidnap their noobs, they’re called the noobs, they’re the new people, then they bring them to this diner called *REDACTED*. The staff already know just right now because it’s been happening for years. And then they treat you to just a really nice meal at this diner.

Reflection:

The informant’s story was a perfect example of how in certain folk groups, folk members must go through rites of passage to fully be accepted into the respective folk group. Additionally, it highlights the specific rituals in place amongst acceptance. I thought it was very interesting to see that these rites of passage were not only an act of dedication, but mutually were an opportunity to show the understanding of the traditions and morals of the respective folk group trying to be joined. On a more personal note, it was interesting to see some of the stigmas I may carry about clubs with rituals be broken down or disproved by an actual perspective. I, as the outsider to the folk group, had my own connotations that did not actually align with the personal experience of an actual member of the folk group. Further, it lessened any stereotypes that I carry when hearing about group initiations when hearing of clubs. I realized that in believing that many club initiations are harmful or taboo, I participated in watering down the culture and lived experience of participants of those folk groups instead of having a direct contact and understanding.

Arctic Fox

The Story:

“When I was in third grade, I moved to a different part of the city and changed schools. The first book we read in class was The Fantastic Mr. Fox. Our teacher used an origami activity to tie into the book and taught us how to make origami foxes. In the class, we used orange origami paper, but since that class I have made the origami foxes out of whatever resources I had around- like i did in class on Thursday!”

Reflection:

Reflection:

The informant’s story was a good example of folk art when mixed with personal memory and communal creativity. The emphasis on the folk art being created with “whatever resources I had around” is an example of making do with whatever is at hand. This draws back to the importance of folk art, since it essentially is the presentation of messages or historical context via a multitude of mediums. Furthermore, the folk art and its prevalence in the informant’s life shows how the folk art, despite the material used to make it, will always carry the historical and contextual significance when being recreated and taught onto other individuals. The story exemplifies the folkloresque of the integration type. The origami fox activity is an attempt at a connection between book and another tangible media form, yet seems folkloric as it allows the opportunity for the children to form shared connected ideals and emotions of the origami.

Kola Nut Offering

Age: 20

The Story:

So this story is about the kola nut. It’s not really about the nut itself, it’s an offering. The kola nut is the center of the prayer, and the prayer revolves around the core of Igbo tradition.

We believe in three chis. There’s Chukwu, which is God. And then there’s chi, which is like your guardian angel. My great-grandfather would break the kola nut in his house before he left the house. The prayer invokes your chi, invokes Chukwu to guide your steps. It also invokes an internal ethics, don’t do to someone what you wouldn’t want done to you. That’s the traditional religious version.

When someone comes to visit you, you don’t do anything until the kola nut is broken by the owner of the house. By breaking it, you’re signifying that whatever you do in the house will not harm the others. Usually the oldest male present breaks it. At events, the kola nut is broken as a symbol of peaceful coexistence. But in some Igbo traditions, only women with titles can break it.

At weddings, the nut is divided into two. The father of the bride or the bride’s kinsmen offer the kola nut to the guests. There’s a prayer for the couple to have children. If it breaks into four segments, that’s a good omen, it means the couple will have luck, lots of babies. The kola nut affirms the union of families.

Reflection:

The informant’s story reminds me of UNESCO’s Intangible Cultural Heritage (ICH) framework. The kola nut ceremony has Turner’s “two poles of the symbolic”: a sensory pole (the nut, the breaking) and an ideological pole (prayer to Chukwu, peaceful coexistence). When the nut breaks into four segments, the ritual is complete and there is a superstition grants peace and mutual existence between the two parties. The “three chis” reveal how ritual encodes worldview.

Additonally, I believe this ritual combats the Western framework of ownership. The kola nut ceremony cannot be copyrighted, as it belongs to the Igbo community; however, ICH designation risks “fossilization” or freezing a practice that was never frozen. The informant’s great-grandfather did it. And the informant plans to do so in the near future, so the chain of the tradition won’t be broken.

Spooky School Tale

Context:

Age: 19

Occupation: College Student

Location: Los Angeles, CA

The Story:

One of my friends lives  right next to this  old, like, middle school, it’s called Hogs Hollow, But because  one of my friends lived right next to there, and we would hanging out there, and one day after school was over we would sometimes like pop the fence and run around in there because they would leave all the doors open, so you could kind of just wander around in there. 

There were all these kinds of maze-like passages and stuff. I hadn’t been into the school but some of my friends had and so we decided to go in there and we were kind of wandering around it was dark and we decided to split up just because we thought it would make it more scary, you know, like, because we knew it was a bad idea. Then somebody heard a voice. And everybody started freaking out and running, and one of my friends  tripped over something and fell into a bunch of equipment, and there was all these loud noises and stuff, and everybody got freaked out.

Everybody went back to school and was talking about it, so it’s become a little bit more of a known thing at my school. I was kind of happy to be in sort of like the founding group of this our own little legend of this unknown myth. There were also some embellishments, I remember some stories saying we heard the voice at exactly 3 a.m. which I don’t think was true, but started going around, and that somebody saw like a little  middle schooler running around. It was kind of fun to see it like in real time develop into this sort of legend. 

Reflection:

When originally hearing this story from the informant, I thought it was interesting that the that the school operated as a contemporary legend that is set in the real world. The informant’s clarity of no one else being present but the friend group, but the rumor still spreading around the school is an example of metafolklore. Therefore, the location of this story, the school, starts ordinarily, but through the metafolklore and different versions created and spread, becomes saturated with fear and inauthenticity. Further, I think the real aspects of the story, such as the group splitting up and it being late at night also pave the way for embellishments of the story to amp it up in metafolklore. Although no time of the arrival was given and it was never shared which voice was heard, speculators assumed it was at 3AM and the voice of an old middle schooler was heard to fit the narrative of other folk stories they may have heard before. The informants proximity to the story allows for a social bonding factor for those within the folk group, but also ritualized performance that enacts group identity and belonging. 

Band Mantra

Text:

“We we pled to serve as masters of goodwill for Tucker High School. presenting ourselves as a showcase of excellent, elegant, sophistication, spirit of the core, and dignity. Love the band. 

So that’s what we had to say. At the end of every single practice. And so it was just a reminder —those are all the things we have to be if we want to, like, wear our bands, colors, or our uniform. “

Context

The informant was a member of her high school marching band for five years, and they recited the mantra at the end of every practice. She describes her time in band as a deeply formative and positive experience. She explained that the mantra was an effective way to reinforce their collective identity and shared standard of conduct, with the students’ repetition and time together as a cohort making it meaningful.

Analysis

This mantra functions as a form of institutional oral tradition — one that channels group identity and behavioral norms through repeated, ritualized speech. Marching band culture is colloquially known for its intensity, precision, and the necessary love of the labor. The matra serves as a kind of folk covenant: a verbal agreement among members to declare who they are and how they represent themselves as a unit. It retains psychological resonance; in particular, the sign-off “Love the band” is effective, direct, and unanimous to internalize. It suggests that folk speech embedded within institutional settings can extend beyond the institution itself, becoming part of their identity and continuing even after the collective context has ended.