Camp Ghost Story

Informant: The old owner of the property had a daughter [named] Gertrude who was in a wheelchair and he built it all for her. Apparently, she haunts the manor house basement, like the cellar…She fell down the stairs in her wheelchair is the story. 

Context: The informant learned this song at her sleepaway summer camp located in the Berkshires. She was in middle school when she first heard the story and heard it reinforced as she grew older at this camp. 


Analysis: This story connects Gertrude to a specific location (the manor house basement), which is a key feature of legends; they are told as if they could be true and are grounded in real-world settings. The narrative follows a familiar memorate/legend pattern: a tragic backstory (a girl in a wheelchair who dies by falling down the stairs) explains the presence of a haunting. This kind of scary origin story gives a bigger meaning to the space. It turns a normal basement or cellar into a potentially dangerous location that children shouldn’t want to be around. It also reflects common motifs in ghost lore, including untimely death and a lingering presence.

College theater beliefs

Informant: I know we did this in college, but you always have to leave what’s called a “ghost light” on stage. I think the idea is that if all the lights in the theater go out, it’s bad luck, like they won’t come back on the next day, so you leave one light on.

It’s literally just a single light bulb on a pole that rolls, and you place it on the stage when everything else is off.

Context : Informant has participated in main stage theater productions at the university and has experienced this superstitions themself. Informants knew about this superstition when they were in high school, but did not practice it until they were in college. Informant attends school in Southern California. 

Analysis: This is quite classic theater-based superstition. Traditions like the ghost light are widely recognized within theater communities and are passed down informally rather than taught in any official way. The ghost light functions as both a practical object and a symbolic one. While it may have a safety purpose (preventing accidents in a dark theater), it is also tied to a belief that leaving a light on wards off bad luck or ensures the theater will function properly the next day. This, while not a conversion superstition, is more of a ritual meant to prevent misfortune, even if participants don’t fully believe in the consequence.

Family Black Magic

Informant: “So there’s this thing in my family called “black magic.” I was taught it when I was really young, probably around six or seven. I remember my sister and I sitting in my grandparents’ living room, and they were like, “Alright, you guys are old enough now to learn black magic.” Before that, they had done it for us a few times, and it always felt like actual magic.

Basically, it’s this “power” in my family where one person leaves the room, and someone else stays behind to lead. The rest of the group picks an object, and everyone in the room knows what it is, except for the person who left. When that person comes back in, the leader starts asking questions like, “Is it this object? Is it that object?” and somehow, they always guess the right one.

There’s actually a method to it, but for the longest time, I thought it was real magic. Eventually, they taught us the trick, so now I know how it works.

Now it’s one of those things, if I’m ever with my sister or anyone from my family, we can do it anytime. It’s still really fun, and it still kind of feels like magic.”

Context: The informant is from the East Coast, and the family is Italian American. This occurred throughout her childhood, and was taught to her as a young adult. She is aware it is not actually magic, but believes that thinking it is magic is a part of what makes the tradition in her family so important. 

Analysis: This is a clear example of family folklore. The practice of “black magic” is a structured guessing game, but it is framed as something mysterious and exclusive, which gives it the feel of folk magic or supernatural belief, especially for younger participants.

The way it is taught is important. Being told you’re “old enough now to learn” creates a sense of initiation, a common feature in folklore where knowledge is gradually revealed. Before learning the method, the informant experiences it as real magic, showing how folklore can rely on partial belief or suspended disbelief, particularly among children.

St. Patrick’s Day Tradition

Informant: Patrick’s Day is kind of a big deal for us.

We usually make a whole meal, roast beef and definitely Irish soda bread. But the best part is this tradition we have with our family friends. We always do this group dance, I think it’s called the Siege of Ennis. It’s for eight people, and there are a lot of formations and patterns. It’s a little chaotic, but really fun.

We do it every year, and I always end up filming it. It’s usually a mix of a bunch of drunk adults and me trying to keep up and make sure I get it on video. It’s kind of a mess, but in the best way.

It’s one of those traditions that’s just stuck, and now it wouldn’t feel like St. Patrick’s Day without it.

Context: The informant is from an Irish American family on the East Coast of the US. Both sides of their family are Irish, but are not first-generation Americans. 

Analysis: At the broad level, St. Patrick’s Day provides a fairly basic backdrop for this family tradition. It’s a widely recognized holiday associated with Irish identity, food, and celebration. The meal (roast beef, Irish soda bread) reflects the more traditional foodways the family participates in during the holiday. Even if the exact dishes vary from “authentic” Irish cuisine, what matters is that they are understood by the group as symbolically Irish and tied to the occasion.

The dance, the Siege of Ennis, introduces another layer. Unlike invented family traditions, this is a formal, traditional Irish dance with established steps and formations. When the ngroup performs it, they are engaging in a form of folk dance, even if informally learned or imperfectly executed.

College Theater Macbeth Superstition

Informant: Yeah, actually—when I got to college, there were a lot fewer theater traditions. But one thing we usually still do before shows is kind of tied to theater superstitions, especially around Macbeth. You’re not supposed to say “Macbeth” in a theater, and if you do, there’s this whole ritual you’re supposed to follow to undo the bad luck.

I think what we do comes from that idea. Before a show, we all chant together:
“Shit, damn, motherfucker, motherfucker, damn, this dumb bitch just stole my man, gotta find another fucker better than the other fucker—shit, damn, motherfucking motherfucker, damn.”
And then we repeat it a couple more times, getting louder each time.

It’s kind of our way of shaking off nerves and maybe warding off bad luck.

Context: Informant has participated in main stage theater productions in university and has experienced these superstitions themself. Informant did not learn about this conversion superstition until they came to university. Informant attends school in southern california. 

Analysis: The knowledge about the superstition around saying “Macbeth” during the production of a show is fairly widespread. However, the conversion superstition performed in this entry is not as common. It represents how niche folk groups can make their own beliefs. This performance of a conversion superstition is not something the informant was familiar with when they participated in theater in high school across the country, so it could possibly be evidence of more regionally folk belief as well. This conversion superstition is performed to comfort the actors in a show and help them fight back against any fear they might have at their production being harmed by an individual saying the words “Macbeth.”