Tag Archives: Rituals

Theatre Pre-Performance Ritual for RENT

Main Piece

“[This ritual] is very common: the whole team tapping a sign before a game. In RENT, we have a plaque hand-carved by Jonathan Larson’s uncle that he carved when he died that his sister gave us. She came in and talked to our cast, and her and his college roommates gave us this plaque for the duration of our show. And it’s this big hand-carved plaque that says “Thank you, Jonathan Larson” on it. It’s hung up backstage, and after our group circle, we all have to go up to it one by one [before every performance] and like, place our hands on it and thank him before we go onstage to perform…Really simple, but we all do it and constantly remind each other of it and it’s really important to our cast.

Some of us like, if we’re feeling especially emotional, will literally sit in front of it and cry. I’m so serious, I’ve done that, ’cause Jonathan Larson is really important to me.”

Interpretation

Informant Interpretation: Informant related ritual to common sports team rituals of tapping a specific sign for luck or protection before a game. They also mentioned that the pre-RENT performance tapping of the sign was a means of “community building” and enabled cast members to “ground themselves” and “remind themselves about why they’re doing this piece of art.”

Personal Interpretation: This is clearly an important tradition to the informant and their cast, furthered by the subject matter of RENT (queer people living in NYC during the HIV/AIDS crisis) and fact that its creator, Jonathan Larson, died one day before the musical’s original opening in 1996. The sign is a physicalized reminder of the humanity and weight the show carries, and gives the cast members a material way to remember the real people it’s grounded in before going onstage. To me, it sounds like tapping this sign is a ritualized remembrance of the responsibility to tell and represent an important, nuanced story to the audience, and for the cast to honor the people around them–cast, crew, relatives, friends, and more–as well as the source of the art they’re bringing into the light.

Background

Informant is a 21 year old college student studying theatre at USC. The performance of RENT mentioned happened this semester, with rehearsals running January-April and performances in April. It was put on by the USC School of Dramatic Arts–informant performed in the ensemble for all performances. Informant is mixed race (white and Pacific Islander), and identifies as queer and fem-presenting.

Family Christmas Cookie Making

Main Piece

“Every Christmas, our house becomes a ‘candy factory’ – at some point when I was growing up, my mom found recipes for chocolate fudge, peanut butter toffee fudge, and peppermint bark, tweaked some of them so they didn’t have quite as many sticks of butter and cups of sugar, and started making them to give to neighbors and family. My dad started bringing them to work to give to his coworkers too, and now it’s something everyone looks forward to getting from us each year. My brother and I started helping make them pretty early on, at least since I was in eighth grade, and it’s become a key Christmas tradition – responsibility, even – to share with our mom every year.”

Interpretation

Informant’s Interpretation: This tradition holds primary relevance to informant as a family tradition. She likes to spend the time with her mom, but notes that since the whole thing puts a stress on her mom, helping can sometimes “feel more like a duty than a fun cozy Christmas tradition.” However, she notes that she still heavily associates this with how her family celebrates Christmas and thus enjoys it.

Personal Interpretation: I find this to be a classic example of a family Christmas tradition–particularly so because other families recognize it as such and come to enforce the idea of the tradition from a slightly-external perspective. While associated with a religious holiday, I don’t see any particular direct connection to Christian tradition other than perhaps the origins of the types of cookies. That said, it feels pretty removed from any religious context and has more to do with the time of year and family-centric association than anything else.

Background

Informant is a 21 year old college student raised in Rancho Bernardo, California. She is female-presenting, white, and of European descent.

Rancho Bernardo 4th of July Celebration

Main Piece

“Every fourth of July, my hometown puts on a parade that goes through the same few streets, where people dress up and decorate their cars with red, white and blue – some local businesses, organizations and sponsors are always part of the parade, along with the mayor, local beauty pageant winners, people like that who someone decides are important to the city for one reason or another. I got to be in it with a few other girls once, before my junior year of high school, because I’d won a local singing contest a month before. People stand along the streets to watch, which I’m sure I did a few times with my family growing up as well.
There are some other events associated with the parade, but the one I remember going to with my family is the fireworks show at night, which has always been held on the field of our local high school for as long as I can remember.”

Interpretation

Informant Interpretation: Informant notes she only feels connected to this tradition because it’s something that occurs in her hometown, and not because of the 4th of July. It’s shared by a small suburb, and thus more identity-defining and important to her.

Personal Interpretation: I found it interesting that many of these traditions seem to be a form of showcasing American “exceptionalism” or something “worth being proud of”–cars (wealth), beauty, those with political power. That feels very in line with the individualist framework America tries to set up for itself, as well as celebrating things that society deems of greater importance. Within this context, it is of course contained to a much smaller suburb, but I still felt those themes coming through in the particular description of events and holiday context.

Background

Informant is a 21 year old college student who was raised in Rancho Bernardo, CA. She is female-presenting, white, and of European descent.

Evil Eye Jewelry

Main Piece

Informant told a story about the Evil Eye within Arabic communities, involving a ritualistic wearing of an object (and phrase, within some communities).

“So the concept of the Evil Eye is that you have to wear it somewhere on your body, otherwise when people think bad thoughts about you it’ll come true, and then, like, the Evil Eye absorbs them all. And then, once it’s absorbed too much, it breaks…this is only in some Arabic cultures, but when someone goes ‘Oh my god, I really love your purse,’ they have to go ‘مَا شَاءَ ٱللَّٰهُ’ (informant then translated phrase as “praise be to God”) after it, otherwise you have to give it to them – like, cause then the Evil Eye will get you. It’s kinda like a “oh my God, I love your earrings!” and now they’re jealous, so if you don’t give them the earrings or they say ‘مَا شَاءَ ٱللَّٰهُ,’ their jealously will start ruining your life – like seep into you.”

Interpretation

Informant Interpretation: Informant heard about it from his Mom, who told him to wear it all the time for protection. “It wasn’t something I learned, it was just something I knew.” He still frequently wears Evil Eye jewelry as a method of protection for himself, and knows many others who do. He sees it as something more inherent to his family and society, and directly associated with paying attentions to others’ emotional states.

Personal Interpretation: This is an example of a folk belief or superstition involving a ritualistic object and many ritualistic tendencies, primarily practiced as a method of protection for oneself. I personally found its interaction with ‘magic’ to be the most interesting–the idea that someone else’s negative thought of you could seep into you feels like contagious magic to me, which wearing the folk object (Evil Eye) or repeating a ritualistic phrase can protect you from.

Background

Informant is a 20 year old college student primarily raised in Birmingham, UK. He is male-presenting, Black, and of Sudanese descent, and speaks English and Arabic fluently.

Ritual Before Opening Night

Nationality: American
Primary Language: English
Age: 19
Occupation: Student
Residence: Los Angeles, CA
Performance Date: 04/26/2024

Text:

“In high school, whenever it was opening night of a play or musical, all the cast and crew would go into the hallway like 15 minutes before we started and do a little dance. You first like take your right hand and put it by you right ear, and shake it 8 times while counting like ‘one-two-three-four-five-six-seven-eight.’ You put it at your side, and do the same thing with your left hand (by your left ear), your right foot (raised a little bit), and finally your left foot (raised a bit). You then start over with your right hand again, but only counting till four this time. You do the full cycle, then do it twice, and then once.”

Context:

The informant was a participant in theater for about eight years of her life through an external theater group. She remembers an older performer teaching it to her and her friends the night before their first show when she was eleven. It has since served as a ritual before every single opening night she has ever been a part of. She said it wasn’t really for luck or anything, but rather as a dance to commemorate the start of a new show, and to shake the nerves out. While she has performed with a variety of different people, she said that normally a vast majority (and nearly all by her senior year) knew the dance, and teaching those that didn’t was a heartwarming and fond moment every time it happened.

Analysis:

Dances are a common form of ritual as the ordered steps can easily be taught and instructed. I think that this form of ritual is quite common, as it serves as a bonding mechanism, while also being a form of tradition that can be passed down through generations and cycles of performers. I think the personal value of this is relatively clear, as it is a way to invoke the energy and memories of past performances, while marking the start of a new one. Furthermore, it is a way to “shake out the nerves,” and expel jitters, serving as soothing ritual prior to a relatively stressful experience. This ritual has definitely been featured in TV shows before, and most has probably spread in part because of that, and because it is a way for performers to contribute something to a new cast and new performance.