Tag Archives: tapping

Tapping

Text: My grandma has an exercise where she taps on different parts of the face and body (as demonstrated by the picture she drew.

She says it’s sort of a three part process:

These points are meridian end points. She says that when you tap on them they stimulate these points (and your body) and your cortisol level is brought down, which you produce when you get stressed, anxious, emotional (there’s another thing it produces but she couldn’t remember). Cortisol isn’t good for your immune system, it makes it work harder.

When you tap for 5 minutes, it starts to bring it down. When you tap for more than 5 minutes, then it starts to train it to stay down a little bit further.

My grandma says in her practice (and she said there’s a lot of ways people do it) when she taps, someone might be really really, really sad or really angry. So they get to talk about it and get to bring that energy up so now they’re feeling the sadness. With that feeling you tap on all that sadness, feel it and it brings things down. You don’t have to tell your story or talk aloud, though sometimes it helps to hear it aloud. But when you tap on that sadness, what it does (and she said she was simplifying things) is it allows that frontal cortex to open up so it’s not clouded with cortisol.

Then skipping ahead she personifies it, and she talked me through personification. When you talk to your body your body feels validated, it’s saying” Oh, you hear me? I am sad. Let me tell you why I’m sad.” Even though we personify it, that energy comes up, because it’s been going around and around in you, so in your intellect you keep it there. But as your tapping what happens is, as said before, your frontal cortex opens and it starts to integrate your nervous system with your thought process. 

So now you can acknowledge that sadness, honor it, but you don’t have to hang onto it. When you’re ready then you can tap and say, I choose to allow this sadness to release, or I choose to transform this sadness. 

Context: My grandmother is 75, white, and living in Idaho. She works as a spiritual life coach, working to bring people’s lives into balance. She is in the herbalist community and learned a lot of what she knows through classes she took. She still operates in that community and shares knowledge with her friends. She learned this in a class around 21-22 years ago where a woman came to talk about tapping.

She says tapping is an old ancient system from a lot of places, but she’s gonna pull some Chinese traditional–and maybe five element Chinese uses it too but she’s not sure. What it is, is you tap on meridian points that come out of the chakras, which are like spinning vortexes of energy. The meridians are part of the network that carry that energy. This network is invisible, like the blood vessels in your body are part of the circulatory system, the meridians are part of that energy/chakra system in your nervous system.

Analysis: Tapping is a type of folk healing that rejects the Cartesian Dualism separation of the soul and body, instead grounding yourself and what you’re going through in both the body and the soul. It has more of a focus on the mental and spiritual aspect, in some ways leaning more towards therapy than other medical practices but still recognizes the body’s part and the importance of grounding a person through the physical tapping of the meridian endpoints. Tapping also seems to loosely act out Rappaport model of ritual referenced in “Placebo Studies and Ritual Healing”: evocation, enactment, embodiment and evaluation. Evocation: This one’s a little optional depending on if you’re leading or doing taping informally, but for my grandma’s patients starting the session and trusting her to lead them through. Enactment: The actual act of tapping, letting it bring down the cortisol levels, the five plus minute duration you tap for. Embodiment: Personifying your feelings, integrating your body and nervous system with your thought process, sometimes saying it out loud. Evaluation: Allowing your feelings to release or transform.

In this we also see what might be cultural appropriation and probably a little white washing, though folk healing is an interesting thing to examine through the lens of cultural appropriation: Is it just a recognition of systems that helps to heal thus everyone should use it? or is it people taking and reshaping (presumable) something that belongs to another culture?

Citations: Kaptchuk, Ted J. “Placebo Studies and Ritual Theory: A Comparative Analysis of Navajo, Acupuncture and Biomedical Healing.” Philosophical Transactions of the Royal Society B: Biological Sciences, vol. 366, no. 1572, June 2011, pp. 1849–58. DOI.org (Crossref), https://doi.org/10.1098/rstb.2010.0385.

Ed the Friendly Ghost

Age: 19
Performance Date: 10/23/2025

EH: “My mom and my dog, like, left the house, and they went to the park, which is not at all close to my house. And then there was, like, tacking on my window, and I heard my mom’s voice yelling at the dog. And it was like the same yelling that she had done the night before so the dog would come inside. 
And I was like, that’s weird because they’re not here right now. And so I asked my mom later. She’s like, oh, that was probably just Ed. I was like, who the **** is Ed? 
And she was like, he’s our house ghost. Don’t worry, he’s not like malevolent or anything. I was like, I hope you would have told me that sooner if he was, but also, we have a house ghost? 
And she was like, yeah, he’s like, he’s older, he died of old age in the house. It’s fine. He’s nice. 
He just likes to tap on the windows and mimic people. And I was like, okay, that’s crazy. But, like, apparently I had him around your whole childhood? 
During my childhood, I thought I had an over of active imagination, ’cause I would, like, I had a bunch of, like, figures and stuffed animals, and so I would, like, make these complex plots, and, like, I thought I was just, like, making voices, but, like, I realized now it wasn’t me making voices, it was Ed.”

Interviewer:  “But, like, other people hear him?”

EH: “Yeah, like, my parents heard him. He liked my room the most. 
I think that might have been where he died now that I think about it. Oh my god. Because my parents lived, their bedroom was originally in my current bedroom, and they would hear him in there the most. 
And then they moved bedrooms and they were like, let’s stick our daughter with that. Naturally. And so I heard him all through my childhood because I had, you know, like those weird horror movies where like the kid has like a playmate and then like they show a picture of it, like a drawing or something and then it’s like this horrific creature. 
That was me, but I never drew Ed and I didn’t think Ed was like a real person. I thought it was just violently hallucinating. But Ed is like a real person. 
He’s a real guy. I found him on ancestry.com. My parents looked him up. 
My dad had that **** bookmarked. Yeah, that’s crazy. I’m gonna ask them for his last name so I can, like, show you guys.”

Interviewer: “So all of a sudden finding this out, how did it impact you? 
Like, what do you take out of your experience?” 

EH: “Well, 1st of all, I lived with a ghost, so, like, there’s that. He was, yeah, he was a friendly guy. 
Friendly old guy. Like it wasn’t weird. He was just like, he played with me, you know? 
Apparently. Now that I think back, I was like, I wasn’t making all the voices, okay? Oh my God. 
But yeah, so I’m like…”

Interviewer: “And is he still there?”

EH: “I haven’t heard from him in a while. 
Mostly because I’ve been here, but when I’ve been back in my house, there hasn’t been much. I think there’s been tapping, but he hasn’t done a lot of voices recently. Let me text my mom.”

Context: This story was told to the informant by her freshman dorm roommate in late October, while the two were in their dorm with another student, and they were discussing classes together. When the topic of ghosts came up (as a topic of a GE Seminar), EH immediately mentioned her complete belief in ghosts because she had had a recurring experience with one. Piquing the interest of her peers, she immediately jumped into this story. 


Analysis: This tale illustrates a ghostly take on the classic ‘imaginary friend’ situation often portrayed in popular culture. Prior to this conversation, EH had not mentioned this aspect of her childhood, assuming it was not out of the ordinary to have had such a normalized relationship with the uncanny. The informant has true belief that throughout her childhood she continually interacted with this household ghost, and that ‘Ed’ continues to occupy (EH avoids the term haunt) her house to this day. Her encounters with the spirit are unique in the sense that Ed never fully presented himself to her, but just existed as a voice or tapping noise. The tapping noise associated with the company of the household spirit is a common motif across ghost stories, being seen, often ominously, as a ghost’s way to make their presence known. However, the subject makes it clear that in no way is the ghost unwanted or invoking fear. Rather, the ghost is treated as a member of the household, acting as a playmate and lighthearted imitator.

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.

Kids’ game- fingers

Nationality: American
Age: 17
Occupation: Student
Residence: Lawrenceville, NJ
Performance Date: 4/22/12
Primary Language: English

My informant remembers this game from being a kid, primarily in elementary school. The game begins with both players holding out their hands, each hand with only one finger extended, the rest curled into the hand. The players take turns choosing one of the opposing person’s hand to tap with one of their hands. When a hand is tapped, that player must extend an additional numbers of fingers on the hand equal to the number of the hand it was tapped with. So if a player has two fingers extended on his hand and taps the opponent’s hand, which has one finger extended, the opponent must extend two more fingers, leaving his hand with three extended. When a hand reaches exactly five fingers, it’s put away. If it goes over five (ex. it has three fingers and is tapped by a hand with three), the difference between the number it should have and five is how many it ends up with (from the example, it would now have one finger). The objective of the game is get both of your opponent’s hands to be put away. Also, when one of your hands has been put put away, if you have an even number of fingers on the other hand, you can “split.” That means you use your turn to tap your fists together and redistribute the number of fingers on one of your hands between the two evenly.

The reason my informant likes this game and remembers it fondly is because its making fun out of nothing; it doesn’t require any materials besides your hands. And it’s strategic and logical; by thinking it through, you can decide the best move and win by being smarter or more skilled than your opponent. My informant likes games of strategy like that and remembers that after being taught the fingers game at a very young game by peers, he realized his interest in strategy as well as his competitive urge. He eventually moved on to chess, which is still a big part of his life.

The game, to me, is interesting because it represents kids experimenting with things like logic and strategy at an early age. It makes problem solving fun; you have to think a lot to know how to win but then you’re rewarded with respect from your peers if you do.