Tag Archives: tradition

Twelve grapes under the table before New Year

Context

Originating in Spain, the tradition of eating grapes at the stroke of midnight is believed to welcome good fortune and prosperity in the new year. The custom began back in the late 1800s but was popularized in the early 1900s when farmers in the Alicante area produced an overabundant harvest and needed a way to increase grape sales. As the sweet tradition goes, you’re supposed to eat the grapes one at a time at each clock’s chime. If you can finish all 12 grapes within a minute, you’ll see luck, success, and positive energy in the new year.

Content

The informant recalled how she and her three sisters would go under the table and eat 12 grapes before midnight on New Year’s. They would imagine the success they wanted while eating the grapes. She knew it was not likely it would work, but she didn’t want to take the risk of not eating the grapes and not getting the luck for the new year. She also said it was a fun tradition connecting her to her sisters. When her sister got proposed to, they all blamed it on the grapes. 

Analysis

This tradition blends superstition and emotional bonding. As Appadurai (1988) the text suggests that this tradition’s origins can reveal how economic practices can become cultural customs. It is not a necessity because they believe in it, but they fear the consequences of not participating in the tradition. The grapes become a symbolic ritual that, like in Bruner’s (2001) work, creates shared meaning and family intimacy, especially among the sisters, who use the tradition to frame events like marriage as fateful.

Diablos danzantes de Venezuela

Context

It is a June festival that dates back more than 400 years and is celebrated in different locations in the central region of Merida, Venezuela. It usually happens before Corpus Christi, a liturgical solemnity celebrating the real presence of Christ in the Eucharist. This is a very popular tradition since it is connected to Catholicism, the most popular religion in Venezuela. 

Content

La festividad de los Diablos Danzantes empieza el miércoles previo al Corpus Christi, en ella los hombres se disfrazan de diablos enmascarados que danzan en forma de penitencia, en tanto, un grupo de la iglesia católica avanza hacia ellos y lleva el santo sacramento. Todo esto bajo el ritmo de la música de influencia africana. En el momento final de la celebración, los diablos se rinden ante Dios, simbolizando el triunfo del bien sobre el mal.

De nina me daban miedo ver a la gente disfrazada y bailando y colocandose las mascaras grandes, y la musica era de tambor, entonces me parecia que era muy fuerte y satanica cundo las personas disfrazadas de demonios bailaban a esa musica. Pense que cundo seria grade se me iba a quitar pero haun hasta hoy tengo miedo de verlo porque de nina me traumatizaron. Pero me gusto que mis padres estubieran hay para consolarme. Entonces la tradicion se volvio un tiempo para que yo y mis padres nos acercaremos mas. 

Translation

The Dancing Devils festival begins on the Wednesday before Corpus Christi. During it, men dress up as masked devils and dance in penance, while a group from the Catholic Church advances toward them and carries the holy sacrament. All of this is accompanied by African-influenced music. At the final moment of the celebration, the devils surrender to God, symbolizing the triumph of good over evil.

As a child, I was scared of seeing people dressed up and dancing and putting on large masks, and the music was drum-like. It seemed very loud and satanic to me when the people dressed as demons danced to that music. I thought that when I grew up, it would wear off, but to this day, I’m afraid to see it because it traumatized me as a child. But I liked having my parents there to comfort me. So, the tradition became a time for me and my parents to grow closer.

Analysis

This tradition is emblematic in Venezuelan culture because of how strongly religion is tied to Venezuelan people. It merges the most important aspects of this community, dance, music, and Catholicism, into one ceremony dating way before this generation. Drawing from Bascom’s idea of folklore as a vehicle for teaching moral values and reinforcing social norms (Bascom 1965). 

This tradition uses the dramatization of the victory of good versus evil to further their religious beliefs. This is achieved with the use of a very embodied, physical performance that both evokes fear and fascination with the use of African-influenced drumming. This makes the ritual serve as a ritual of transformation and spiritual penitence. The ritual’s structure reflects Levi-Strauss’s analysis of mythic binaries, good vs. evil, sacred vs. profane, where the symbolic surrender of the devils to the Eucharist enacts a resolution of spiritual tension (Levi-Strauss 1955). For the narrator, the traumatic childhood fear of the devils’ masks and music stayed the same over time but it also allowed for a bonding experience for the family, aligning with Bruner’s view of authenticity as a personal experience within tradition (Bruner 2001). This illustrates how folklore does not merely preserve the past but actively shapes personal and collective identities, and “phantoms of romantic nationalism”, rituals that anchor a people to both nation and mythic continuity

La Paradura del Niño

La Paradura del Niño es una festividad católica de origen colonial que se ha arraigado en la cultura andina venezolana. Se celebra en todos los pueblos andinos de Venezuela, con especial importancia en Mérida. Se celebra en Mérida entre el 1 de enero y el 2 de febrero, con la culminación en el Día de la Candelaria. Consiste en pasear al Niño Jesús por las casas de la comunidad, acompañados de cantos, música y rezos, como una forma de celebrar su “nacimiento” y su desarrollo. 

La figura del Niño Jesús se lleva a pasear por las casas, a menudo en un pañuelo de seda. Se realizan cantos y se toca música tradicional, como valses, contradanzas y joropos. Se rezan rosarios y se cantan versos al Niño Jesús. En algunos casos, se organiza una procesión por las calles del pueblo. La Paradura del Niño es una oportunidad para compartir con familiares, amigos y padrinos, fortaleciendo los lazos comunitarios. La Paradura del Niño representa la celebración de la fe, la unidad familiar y la tradición cultural de los pueblos andinos, como en los pueblos del sur de Mérida. Cuando mas disfrute la tradicion era despues de tener mi primera hija. Yo me reunia con la faila del papa y haciamos biscocho, visitabamos muchas casas alrededor de familiares, amigos y vecinos. Yo me acuerdo que me hacia muy alegre porque yo iba con mi hija y comiamos. 

Translation:

The Paradura del Niño (The Child’s Parade)

The Paradura del Niño (The Child’s Parade) is a Catholic festival of colonial origin that has become deeply rooted in Venezuelan Andean culture. It is celebrated in all Andean towns in Venezuela, with particular importance in Mérida. The tradition celebrated in Mérida between January 1 and February 2, culminating on Candlemas Day. It consists of carrying the Baby Jesus through the homes of the community, accompanied by songs, music, and prayers, as a way to celebrate his “birth” and development.

The figure of the Baby Jesus is carried through homes, often in a silk scarf. Songs are sung and traditional music is played, such as waltzes, country dances, and joropos. Rosaries are recited and verses are sung to the Baby Jesus. Procession: In some cases, a procession is organized through the streets of the town. It is an opportunity to share with family, friends, and godparents, strengthening community ties. The Paradura del Niño represents the celebration of faith, family unity, and the cultural traditions of Andean communities, such as those in the towns south of Mérida.

I enjoyed the tradition the most after having my first daughter. I would get together with the father’s family, and we would make biscuits, visiting many homes with family, friends, and neighbors. I remember that it made me very happy because I would go with my daughter, and we would eat.

Analysis

The Paradura del Niño illustrates how religious folklore becomes a living practice that reinforces communities’ shared identity and social festivity. This tradition is rooted in Catholic ritual but shaped by regional Venezuelan customs, which exemplifies what Abrahams (1993) refers to as the transformation of “phantoms of romantic nationalism” into local practices that define belonging and heritage. As a blend of domestic ritual and social festivity, the Paradura aligns with Appadurai’s (1988) view of cultural practices as simultaneously sacred and social, these are moments when communities imagine themselves through shared performance. The singing of verses and communal prayer reflects emphasis on folklore as a medium for moral instruction and social solidarity. The informant’s personal experience, finding new joy in the tradition through her role as a mother, shows how she emotionally engaged with tradition. As a festival centered around a divine child and enacted in domestic spaces, Paradura del Niño also echoes the symbolic focus on family, innocence, and renewal that Tok Thompson (2019) associates with vernacular sacredness in modern folklore. It is not only a celebration of faith, but a lived, evolving narrative of family, food, and joy that binds individual memory to collective ritual.

Judaism Round Foods

Age – 20
Language – English
Nationality – American
Occupation – Student
Primary Language – English
Residence – Long Island, New York

Text: “In the Jewish religion, we use round foods to symbolize the cyclical process of life and renewal at lifecycle celebrations and events. Some examples include hard-boiled eggs or round challah bread. During Rosh Hashanah, we eat round challah bread to symbolize the nature of life. During Passover, hard-boiled eggs are served to represent life and renewal.”

Context: The informant describes how certain round foods are used in Jewish religious practices to symbolize life and renewal. They mention specific examples like round challah bread during Rosh Hashanah and hard-boiled eggs during Passover. These foods are used during holidays, and the round shape is a meaningful symbol within the Jewish tradition.

Analysis: This tradition of using round foods highlights how folklore can be carried symbolically in specific religion’s food. The round shape represents a cycle, suggesting that life is infinite. Rosh Hashanah’s round challah bread focuses on life as a whole, while the hard-boiled eggs during Passover signify rebirth. These traditions show how food in particular plays an important role in life’s cycles and during religious celebrations.

Golden Eggs, Ham, and the “Easter Feeling”

Text

Every Easter, our entire extended family gathers at my grandmother’s house. There was never a formal reason–my grandma told me, “It just sort of ended up that way.” What began as a casual decision eventually solidified into tradition.

My Grandma recalled one of her favorite parts, “you kids would sprint through the backyard and living room for the Easter egg hunt. I loved it…” “…I always laughed at the fact that even though there were dozens of eggs filled with chocolate, you were all focused on the same thing: the ‘golden eggs…’” The golden eggs are indeed funny, there were always three of them–shiny, oversized plastic eggs that each held a five-dollar bill. We, as kids, didn’t really understand the value of five dollars back then. What mattered was the rarity. The golden eggs were sacred. We fought over them like little archaeologists hunting treasure, more excited by the idea of “winning” than by what was inside.

Later in the day, we’d all sit down for Easter dinner, always centered around a glazed ham. My grandma told me that it came from her father–“He always made a ham for Easter.” What she added, without ever needing to say so out loud, was the practice of everyone bringing something to the table. As the guest list grew each year, so did the variety of dishes. The potluck-style meal grew naturally out of necessity, but it came to define our Easter just as much as the egg hunt.

This last Easter was different. There was no egg hunt–there hasn’t been for a few years now–and the gathering wasn’t at Grandma’s house. Her home was damaged in the LA fires, and fewer people were able to come. Still, my grandma told me, “It still felt like Easter… There was family. There was laughter. And there was ham.”

Context

This tradition was expanded upon to me by my grandmother, who reflected fondly on years of hosting Easter at her home. She admitted that it wasn’t originally her intention to become the family’s “Easter matriarch”–it just happened. Over time, her home became the default gathering spot, and rituals formed naturally around that consistency.

She described the joy of watching us as children during the egg hunts, laughing at how seriously we took the hunt for the golden eggs. Though she couldn’t recall when or why that part of the tradition started, it clearly took on a life of its own. The money inside the eggs was never the point–it was the prestige, the shimmer, the chase. Something she[and I] looks back on now with warm nostalgia.

The dinner evolved more deliberately. She explained that her father always served ham on Easter, and when she began hosting, she continued that tradition. Over time, guests began bringing dishes of their own. She never asked them to–it just became understood. In her words, “It was never about telling people what to bring. It just made sense.” The gathering grew, the table expanded, and Easter became an informal but deeply rooted expression of our family’s thread that ties us all together.

Even after being unable to enter her home[thankfully not burnt down], and despite the changing logistics and attendance, she expressed a deep certainty: the “Easter feeling” had nothing to do with eggs or décor. It was about presence, food, and connection.

Analysis

This entry illustrates how informal rituals, when repeated and emotionally reinforced, evolve into meaningful family folklore. What began as a loose gathering became tradition through consistency and emotional investment. The Easter egg hunt, the golden eggs, and the communal meal are all ritualized behaviors that define Easter–not by religious observance, but by shared memory and performance.

The “golden egg” tradition, though not rooted in ancient folklore, mirrors folkloric patterns–assigning symbolic value to a rare object and embedding it in a playful competition. As with many children’s traditions, the meaning wasn’t in the literal reward, but in the emotional significance, the role-playing, and the storytelling that followed. It reflects how children interact with tradition through symbolism, scarcity, and status–concepts that resonate across many cultural customs.

Similarly, the evolution of the Easter meal highlights adaptive ritual: how tradition grows through informal negotiation. The potluck-style dinner wasn’t dictated–it arose organically, responding to shifting family size and resources. This mirrors how many communal folk practices begin: organically, in response to need, but later sustained by emotional investment.

The somewhat loss of the family home due to the LA fires introduces another layer: how tradition persists even in the absence of its physical setting. My grandmother’s insistence that “it still felt like Easter” reveals a truth about folklore–it’s less about place or object, and more about feeling, continuity, and presence. Even stripped of its original setting, the tradition held. And that endurance–the “Easter feeling”–is the most folkloric element of all.