Tag Archives: Rituals, festivals, holidays

Bloody Mary

Nationality: American
Age: 22
Occupation: Unemployed
Residence: San Diego, CA
Performance Date: 04/24/20
Primary Language: English

Informant: “So you go into the bathroom, turn off all the lights, look into the mirror and say, “Bloody Mary, Bloody Mary, Bloody Mary,” three times and by the third time, you turn on the light and there will be like a scratch on your face…and you’re haunted.”

Collector: “Cool. Is it only in the bathroom?”

Informant: “It needs, uh…. I’m pretty sure. I mean all I ever heard was the bathroom one, like going into the bathroom and it needs to be pitch black.” 

Background: The informant is my twenty-two year old sister. She learned this piece from friends while attending Catholic elementary school in San Diego, CA. She is an avid metal and alternative music fan with a love of body modifications including tattoos and piercings as well as horror films. 

Context: The piece was collected during a casual at-home interview. I asked the informant to share this piece because I have multiple childhood memories of her performing the ritual.

Analysis: This game/ritual is fairly common among young women and was very popular at our Catholic elementary school among both genders. While many folklore scholars have posited that this game is entrenched with female puberty and menstruation, I believe this piece was also integrated with our conceptions of the “Virgin Mary” as a human and yet divinely endowed, liminal character. Other variations and meta folklore suggest multiple different interpretations as to who “Bloody Mary” refers to. To both me and my sister in Catholic school, the only Mary we could conceive of was the Virgin Mary and the story became a sinister way to expose the contrast between the benevolence and kindness expressed within Catholicism with the strict, harsh realities of the institution we were a part of. My sister later added that the game never worked for her because she never completed it in total darkness, suggesting that although the ritual may not manifest in a supernatural encounter for everyone that participates, people still believe. 

Pre-Choir Performance Ritual

Nationality: Native American
Age: 14
Occupation: student
Residence: Franklin, Tennessee
Performance Date: 4-26-2020
Primary Language: English
Language: Blackfoot, Spanish

Main Piece:

Interviewer: You’re in choir, right?

Informant: Uh huh.

Interviewer: Is there any kind of rituals you guys do. Like anything before you guys start?

Informant: Well, one of our teachers, right before we are about to go into a concert, she’ll have us sit in a room and turn off the lights. Then she’ll close the blinds so we are sitting in a dark room. She has us sit criss cross applesauce and close our eyes and doing breathing things. And then she has us think of different places or different things, like, think you’re at the beach and you hear the waves and how at first they are very soft. Then the waves crash, then they go back to soft. Then she compares that to our voices. Then she goes, like, wind on the tall grass or in the trees or something and how you can hear it. But it wasn’t like one thing was way louder than anything else. It was like it all blended together. That’s how she had us get ready for a concert, so we had a calm mindset. We also had, like, a synchronous mindset, where we are all in beat with one another. But it wasn’t like a stressful, like we have to be in beat. It’s like a ‘can we be like nature,’ where we all move together’. And eventually when we move together it will all sound pretty.

Interviewer: Wow, that’s beautiful? Is there anything after the recital that you guys do?

Informant: Not really. I can’t think of anything we do afterwards.

Interviewer: What kind of breathing exercise?

Informant: Well, at first, she has us hold our breath for like 10 seconds, or something. And then breath in and out and in and out. But then our breath has to be in sync with the others, so it’s not like we’re going “huh, huh.” (Breathing hard and erratic.) And how you’d hear like different layers of it from everybody. It’s like “in sync” breathing. So we’ll go “in 1, 2, 3, out 1, 2, 3, in . . .” It’s like different kinda like counting.

Background:

The informant is a fourteen-year-old Native American girl from the Choctaw, Blackfoot, and Lakota Nations. She was born and raised in Tennessee and frequently travels out west to visit family and friends. She is in eighth grade.

Context:

During the Covid-19 Pandemic I flew back home to Tennessee to stay with my family. The informant is my younger sister. We were in the kitchen and I asked her about different groups she was a part of at school.

Thoughts:

Not only was the choir a place to find community, it was a place of ritual, harmony and synchronization. Pre-recital was spent in meditation, softly centering the mind in balance with nature. I enjoyed hearing her explain their choir’s pre-performance routine. It was also a picture of the beauty that can come out of community and teamwork. It is not solely about the individual. Rather, individuals in a group working together as a cohesive unit. Ritual is a creative process, key in attaining a certain frame of mind and promoting active engagement.

Preparing for Performances

Nationality: Native American
Age: 12
Occupation: student
Residence: Franklin, Tennessee
Performance Date: 4-25-2020
Primary Language: English

Main Piece:

Informant: We played with xylophone for a couple of years before percussion. And once we were able to be in percussion, you got to use it a lot more. So it’s basically for the kids that wanted to have more time playing on it and making music with it and going more into depth with the instrument. That was for those students who wanted to.

Something we did, we would go around the carpet playing different instruments. So we would say like. . . like we had this certain beat that we would do on every single one. And to prepare for all of our performances, we would do a thing called “Rock your mallets to the top.” So we would say “Rock your mallets to the top.” Then you’d go to the bottom and say, “to the bottom do not stop. Hit them in the middle please. Hit them on your long tong C’s.” And then we’d change to D’s and then we’d change to minors.

Interviewer: Do you think you could do the whole thing for me?

Informant: It’s not very long. It’s . .  *laughs,  “Rock your mallets to the top. Boom boom boom boom boom boom boom. To the bottom do not stop. Boom boom boom boom boom boom boom. Tap them in the middle please, doo doo loo doo doo loo. Hit them on your long tong c’s. Boom boom boom boom boom boom boom.

So we basically would do that and then we’d switch instruments. And then she would say, uh, she would just count to 3 and, or we would do certain, different like patterns and she, our music teacher, would do it and we would repeat them back. And sometimes she would say, we’d put it in different, um, you could take certain bars off. We would do C pentatonic a lot, where you take off your F’s and B’s and so there would be groups of 2 and groups of 3 and then she would ask us to do a certain thing on a group of 3 and a certain thing on a group of 2. And that’s kinda how we prepared for every single one of our performances.

Background:

The informant is a twelve-year-old Native American girl from the Choctaw, Blackfoot, and Lakota Nations. She was born and raised in Tennessee and frequently travels out west to visit family and friends. She is in sixth grade.

Context:

During the Covid-19 Pandemic I flew back home to Tennessee to stay with my family. The informant is my younger sister. I was asking her about groups she was a part of at school.

Thoughts:

She emphasized that this was a musical group for those who wanted to dive deeper into the subject, in this case, spend more time learning the instrument. It was fun to hear the rituals and chants the students would use during practice and before a performance. Ritual is a creative process, key in attaining a certain frame of mind and promoting active engagement. It is also a picture of the beauty that can come out of community and teamwork. It is not solely about the individual. Rather, individuals in a group working together as a cohesive unit. 

Chinese Housewarming Tradition

Residence: Chicago, IL
Performance Date: 4/29/20
Primary Language: English

Main Piece:

According to RE, there is a Chinese tradition for when you buy a home. “When you first buy a house, before you enter for the first time you have to throw new, shiny coins into the house then the first three items you bring in is oil, sugar, and rice. The meaning behind it is that the coins bring money into the house. Oil sugar and rice bring prosperity.”

Context:

RE, is a sophomore at USC and is familiar with Chinese traditions. She is very invested in this culture and knows a lot about it. This was taken from a conversion over text regarding these traditions.

Thoughts:

I think this traditions is interesting. One thing I know about eastern cultures is that they have values and traditions that have to go with omens. One trend I notice is that omens play a big part in their lives whether good or bad. Symbolize matters a lot and this piece speaks to that part of Chinese culture. Throwing new coins into the house as the first item is obviously a symbol of money, which is a goal for people in life. Another symbol is the oil, sugar, and rice. These being signs of prosperity make sense as they are basic ingredients in food. Prosperity is the idea of living a good life and the start to that is always having food on the table. This helps add to the idea that symbols play a huge role in Eastern Asian culture.

Pomlázka Celebration

Nationality: Czech
Age: 19
Occupation: Student
Residence: N/A
Performance Date: 4/13/18
Primary Language: Czech
Language: English

Informant: On every Easter Monday it is a Czech tradition for men to create a Pomlázka, which is an approximately one meter long wooden stick. This stick is then used to whip women on the butt.

The whipping is traditionally accompanied by a song, its purpose is to cleanse the woman of diseases and they are rewarded with sweets if they are children and alcohol if they are old enough to drink. Then, in some parts of the country, it is also a tradition for women to spill or pour a bucket of cold water on men as a reaction.

The songs usually are something along the lines of “give me eggs”, referring to the overarching tradition of Easter eggs. The most commonly song is something like: “Hody, hody, doprovody, dejte vejce malovaný, nedáte-li malovaný, dejte aspoň bílý, slepička vám snese jiný”, which I believe roughly translates to: “Hey, hey, give us coloured Easter eggs, if you don’t have coloured ones, give us at least white ones, your hen will give you new ones”

Context: My informant is a nineteen year old Czech national attending school in the United States. He’s lived in Prague for most of his life, and Czech is his first language. The interview was conducted face-to-face in a college dorm room.

Background: My informant actively participates in Easter celebrations in Prague, where this tradition is widely practiced. According to him, most people find it ridiculous, but nevertheless entertaining, a view which he shares. He believes that this is an important expression of Czech culture, as this tradition dates back generations, but also thinks that it is practiced mostly for entertainment.

Analysis: This was one of the first holiday based customs I encountered while collecting elements of folklore. I was surprised that, despite occurring on Easter, the custom is actually relatively devoid of Christian symbolism, instead focusing on the egg element of the holiday. This seems to reflect a less-dominant role of religion within Czech culture, as Easter Sunday, a not unimportant day for Christians, is celebrated without the mention of Jesus or the resurrection at all. There are, however, some religious undertones, as the whipping sticks used by the men supposedly “cleanse” the women of their diseases.