Senior pranks- Tradition

Prank: Goldfish in the Amphitheater

Text:

Informant: “Someone way before us did this, and it became kind of a legend because it was so crazy. My school had this Greek-style amphitheater that was basically a lower area, like a pit, and it was probably about five feet deep. Apparently one graduating class decided to do their senior prank there. In the middle of the night they filled the whole amphitheater with water and put a bunch of goldfish in it. The next day everyone showed up and was like, ‘What the heck?’ I have no idea exactly when it happened. It must have been in the late 2000s or early 2010s. Eventually the school had to drain the water and all the goldfish died.”

Interviewer: “How did you hear about the goldfish prank? Does everyone know it?”

Informant: “Everyone knows it. And then I would tell other people about it as the craziest prank I knew about. I don’t even know if it really happened, it was just something people said. Everyone agreed it was the best graduating prank that ever happened.”

Context:

The informant heard about this prank at their high school, where the story circulated widely among students as part of the school’s shared culture. According to the informant, the prank was said to have been carried out by a graduating class sometime in the late 2000s or early 2010s, before the informant attended the school. Although the informant did not witness the event and is unsure whether it actually occurred, the story was commonly told among students and was often described as the most extreme senior prank in the school’s history.

Analysis:

These pranks usually occur right before graduation, a transition period when seniors are about to become graduates. This time can be stressful as students finish classes, exams, and prepare to leave school, so pranks can serve as an outlet to release tension. They become both a way to leave a final mark on the school and an act of rebellion. At the same time, organizing and carrying out a prank can unite the graduating class by giving them a shared goal and experience before they leave. In this sense, senior pranks function somewhat like a rite of passage, allowing students to assert their independence and mark the end of their time at the school through a visible and memorable act.

Senior pranks also reflect the folkloric concepts of multiplicity and variation. While the tradition itself exists at many schools, the specific prank changes depending on the graduating class. Each class attempts to create something memorable, often using recognizable parts of the school’s infrastructure or shared spaces, which leads to different versions of the prank across grades and schools.

In this case, the story about the goldfish prank also takes on the form of a legend because it continues to circulate even though the informant is unsure whether it actually happened. The exact time and details remain unclear, yet the story is still widely known among students and passed down to underclassmen because of its extremity. Over time, stories like this become part of the school’s folklore, as repeated retelling keeps the event alive within the folk group.

Star light, star bright….- Verbal Folklore/Ritual

Text: “Star light, star bright, first star I see tonight, I wish I may, I wish I might, have this wish, I wish tonight”

Informant: “So mine was about how to make a wish by wishing on the first star. You’d say, ‘Star light, star bright, first star I see tonight, I wish I may, I wish I might, have this wish I wish tonight,’ and then you’d say the wish in your head. You couldn’t tell anyone what it was or it wouldn’t come true. I honestly don’t know how I learned it. It might have been from preschool or from my mom, but I remember doing it when I was really young. Whenever I saw a star, I’d say the little chant or rhyme out loud and then make the wish.”

Interviewer: “Would you go out of your way to do this, or was it just whenever you happened to see a star?”

Informant: “It was usually just whenever I saw a star, and it had to be the first star I saw that night. Then I’d make the wish. But if I had a really important wish, I might try to look for a star. Usually though I wouldn’t remember to do that, so it was mostly just if I happened to see one. I’d think, ‘Oh, the first star I see tonight,’ and then say the rhyme.”

Interviewer: “Were you alone when you did this?”

Informant: “No. I vividly remember one time I was at a grocery store with my mom and we were walking in. I saw a star and said the rhyme right there. That’s the one time I clearly remember doing it. Maybe you were supposed to do it alone, but I never really did. My mom mostly looked at me like I was crazy when I did it, like ‘What are you doing?’ But I think I ended up teaching it to my little sister.”

Context:

The informant remembers learning this wishing rhyme when they were very young, possibly from preschool or from their mother. They recalled using the rhyme during childhood whenever they happened to see the first star at night and later teaching it to their younger sister.

Analysis:

The rhyme reflects a common cultural belief that wishes can be influenced by specific actions or conditions. The requirement to see the first star, speak the rhyme, and keep the wish secret creates a small ritual that gives structure to the act of wishing. For children especially, these steps make the wish feel more meaningful and possible, providing a sense of hope and imagination. The informant later teaching the rhyme to their younger sister demonstrates how these traditions are passed through families, showing how folklore helps preserve small moments of childhood belief and wonder across generations.

Breaking a coconut for new beginnings- Superstition

Text:
Informant: “If you get a new car or you’re starting something new, you’re supposed to crack a coconut in front of it. For example, when my brother opened a new office he broke a coconut in front of the building. The shell is supposed to represent your ego and past karma, and the white part inside represents purity and your inner self, so then breaking the coconut represents breaking the ego and starting fresh. It’s symbolic, like a sacrifice. In India the coconut is also known as God’s fruit.”

Interviewer: “When was the first time you saw this done?”
Informant: “The first time was when we got a new car when I was seven or eight. My dad broke a coconut in front of the car. After that we did it for every car we’ve gotten.”

Interviewer: “Is this common where you’re from?”
Informant: “Yes, everyone I know back home in India does it. It’s very common. Even people who move abroad still do it usually when buying something important or starting something new, like a car, a business, or another new beginning.”

Context:

The informant is from India and first witnessed the ritual when their father broke a coconut in front of their family’s new car when the informant was about seven or eight years old. Since then, the informant’s family has repeated the practice whenever they purchase a new car. The informant explained that the ritual is widely practiced in India and is still performed by many people who move abroad, especially when starting something significant like a business or purchasing a vehicle.

Analysis:

This example reflects a superstitious ritual connected to ideas of luck, protection, and new beginnings. The act of breaking the coconut is believed to symbolically remove obstacles or negative karma before starting something important. Like many superstitions, the practice is performed at specific moments of transition, such as purchasing a car or opening a business.

While the specific practice described here involves breaking a coconut in India, many cultures have similar rituals that serve the same symbolic purpose of blessing a new beginning. For example, ships are often christened by breaking a bottle of champagne on the hull before their first voyage, and in Chinese traditions there are various house-blessing practices, such as boiling water when moving into a new home. The specific actions vary across cultures, but the underlying idea remain the same. Taking a functionalist lens, we can interpret these moments as uncertain and carrying a lot of anxiety and tension, so ritual actions help people feel that they are beginning a new venture with good fortune/protection.

A second ___ has hit the ___ – 9/11 Jokes

Age: 21

Text: “A fourteenth button has hit the north jar.”

Informant’s Context: Informant explains, “It has to follow this structure, ‘a second ___ has hit the ___.’ I think George Bush’s chief of staff came up with this one. The internet loves joking about tragedies now that a long time has passed. So for example, when you sent me a video of someone putting a fourteenth button inside of a jar and there was a second jar in the background, I responded, “a fourteenth button has hit the north jar.” The joke kind of writes itself, which is why it’s funny.”

Analysis: 

9/11 jokes like this one often follow a familiar and formulaic structure and push the boundaries of what is considered socially acceptable, which is typical of folklore humor. Because even figures such as George Bush’s chief of staff have made 9/11 jokes, this type of humor can begin to feel more socially acceptable. If someone in a high government position can joke about it, the average person may feel more comfortable doing the same. Humor can also make tragic events feel less immediate or overwhelming. As more time passes, these events become less shocking, making it easier for people to find humor in them.

Chinese Red Date String Game- Children’s Folklore

Age: 54

Text:


Informant: “It’s something you say while doing a string trick. You use a piece of string and form a shape that looks like a date. The string represents the fruit, and through different movements it changes shape and eventually disappears while you say the rhyme out loud, ‘大枣大枣，越吃越小，吃了剩核，一拍没了。(Dà zǎo dà zǎo, yuè chī yuè xiǎo, chī le shèng hé, yī pāi méi le.)’. It’s meant to be a little like a magic trick. The phrase translated in English is something like, ‘Big date, big date, the more you eat it the smaller it gets, then you clap and nothing is left.'”

Interviewer: “When did you first learn it?”
Informant: “My mom taught me when I was very young. There weren’t that many things to do for fun back then, so we did a lot of hands-on activities like this, and all you need is a piece of string, it’s pretty easy to do.”

Interviewer: “Did you teach it to anyone else?”
Informant: “Yes, I taught it to my kids.”

Context:

The informant learned this string game from their mother during childhood while growing up in China in the 1980s. They explained that there were not many forms of entertainment available to children at the time, so simple hands-on activities like string tricks were a common way to play. Because the game only required a piece of string, it was easy for families to share and teach to children. The informant later passed the game on to their own children, continuing on the tradition.

Analysis:

This example can be interpreted as a form of children’s folklore, specifically a children’s game that combines a rhyme with a small physical activity. The game also demonstrates the folkloric concepts of multiplicity and variation. Similar string games appear in many cultures using the same simple materials but different shapes and rhymes. For example, it is similar to the string game cat’s cradle I learned as a kid, which also involves manipulating a loop of string to create patterns. Because the movements are difficult to understand without seeing them performed, games like these are usually learned directly from another person rather than through written instructions, which helps preserve their oral and performative nature.