Tag Archives: tradition

Folk Object: Buddhist Strings

Nationality: Thais
Age: 18
Occupation: Student
Residence: USC
Performance Date: 02/22/2023
Primary Language: English

Context: My informant comes from Thailand, where Buddhism dominates as a leading religion for many. Such a heavy presence of Buddhism has caused locals, many of who are not even practitioners of Buddhism themselves, to adopt the tradition of wearing Buddhist strings as a sign of good fortune. These strings vary in color but typically come in white, red, or shades of orange, similar to the garments that the Buddhists themselves wear. If one is to visit a temple, these strings would receive the blessing of a monk first before being tied around their wrist. In most cases, you should allow the string to fall and come off naturally, which the informant said takes no longer than a week. No ill fortune comes if you take off the string early, but one should at least give it a day for the blessing to “seep” in. These strings are also wrapped around the ceilings of newly bought houses, this way the home is blessed and cleansed for the rest of the buyer’s stay.

Analysis: Folk objects are tangible constructs that have been embedded with some sort of cultural importance, connecting them to a belief and or folk system. Folk objects are powerful because they tie in the mystical, unknown world, to that of ours, or reality. With something as simple as a string, such as those distributed by the Buddhists, they can be handed out in mass. This allows the folk object to be available to a large crowd, being accessible to all gender, races, and classes. The fact that in this case, the folk object is a piece of string makes sense for Buddhism, for its monks reject any worldly desires and focus on self-improvement and healing. Strings in a literal sense are also known as typically being tethered or being tied with something else. These Buddhist strings metaphorically represent being tethered to the divine protection of a blessing.

CTR Ring

Nationality: American
Age: 22
Occupation: Student
Residence: Los Angeles
Performance Date: February 14, 2023
Primary Language: English

Context:

CTR Ring

The informant had been raised in a Morman family and society for most of their life and has many experiences with the cultural aspect of Mormonism and the type of folklore that had been embedded in them throughout their childhood. They describe the visual aspect of the ring when stating “It has a little green shield which stands for ‘Choose the Right’, which is supposed to remind you to do the right thing and make the moral choice whilst remembering to be a good person. The informant described the ring as being “mostly for kids and the younger group of the church.” They are to be given at any young age and “whoever is teaching the lesson that day will give them out after the service” as it is given by the church to wear. It is also dictated that the saying is used for multiple scenarios as “choose the right is a common saying in games like in mazes and how you would always get out by going right” The age that the rings are most commonly worn is between “late toddler years and stop around the age of twelve” therefore being worn for a large part of their childhoods.

Analysis:

The aspect of having a shield on the ring provides children with the chance to view the church and the society in that they are being raised in a protected environment where they can learn to grow and continue to learn the values of Mormonism. Engraving the acronym “CTR” on the ring and embedding the phrase ‘Choose the Right’ into their thought process allows the children to develop whilst remembering that they will always be protected as long as they do what is right by their culture and the church. The idea of incorporating the acronym into a ring is symbolic as rings are typically worn in a traditional manner when referring to marriage, therefore, using a ring to produce this message and phrase conveys the attachment that is built between the child and the religious group. This is similar to marriage as it possibly foreshadows the same Christian ideology of ‘til death do us part’ conveying that they are forever connected to the community, culture and religious upbringing and that the church will perpetually be linked to their being when ‘Choos[ing] the Right’.

Ewiha Chant (Zalghouta): Folklore Song/Gesture

Nationality: Lebanese
Age: 18
Occupation: Student
Residence: Los Angeles
Performance Date: 2/14/23
Primary Language: English
Language: Arabic

Text: Ewiha Chant (Zalghouta)

Context: AH’s relationship to this piece stems from his Lebanese culture which allows him to have various experiences as he heard this song/gesture within his childhood and early adult life. His relationship relates to his connection with his aunt as she is the specific woman in his family that is in charge of leading the performance. He typically hears this chant at weddings during the dinner portion of the event or after the ceremony. Within his family, they typically use this song/gesture as a Lebanese tradition as they wish good luck to the newly wed couple. Within the tradition, self-expression is evident as yells, screams, yodeling and ululations are present. AH interprets this tradition as a good luck charm and as a sign of felicitations as his family believes that if this song/gesture is not performed, it is considered bad luck on the newly wed couple.

Analysis: The overall cultural value within this song/gesture is based on the act of ululating (zalghouta) which is practiced all over the Middle East and in some parts of Africa. Given that this act stems from Lebanese tradition, it holds cultural values within women considering this song/gesture is typically done by women given they are the only ones that can perform an ululation which is a high-pitched tongue trill. I see this gesture/song as an overall expression of happiness, joy, and celebration. Considering that I have not experienced this tradition being performed, I believe that this song/gesture during family events is a momentous moment that is filled with positive affirmations as two families conjoin together where luck, love, and unity is emitted within the atmosphere.  

Brazilian New Year’s Tradition

Nationality: Brazilian-American
Age: 32
Occupation: Marketer
Residence: Salt Lake City, UT
Performance Date: 2/24/23
Primary Language: English
Language: Portuguese

Background

This is a description of the Brazilian New Year’s tradition, specifically that of northeast Brazil. The informant is a third-generation Brazilian American, although she has spent a considerable amount of time living in northeast Brazil–specifically the state of Bahia–and is fluent in Portuguese. The informant describes the rituals and traditions common for New Year’s Eve and Day in northeast Brazil. She is careful to note that the traditions come from the traditional Brazilian religion espiritismo, which is a syncretic mix of African religions and Catholicism. She is not an adherent of espiritismo, but she states that the tradition is widespread in Brazil, even for those not following the religion.

Text


MM: Um, so on New Year’s Eve, you typically wear a color that signifies what kind, what you want to bring into the new year. So the most traditional one is white. People want a peaceful new year, that’s white. Um, but the other most popular colors that people wear are yellow to signify wealth and prosperity in the new year. And red to signify passion and love and romance and sex in the new year.


MM: Um, and then on New Year’s Day, there’s a tradition in the northeast of Brazil, Bahia, to go to the ocean and, um, give, put white flowers on the water, um, as an offering for the new year for Iemanjá, who is the goddess of the sea and the most powerful, uh, deity in Brazilian spiritism.

Analysis

As is clear from the informant’s description of the tradition, while there are clear connections to espiritismo, it is not necessary to adhere to the religion to be influenced by it in Brazil. The informant knows that the deity is Iemanjá who controls the sea, but the deity is described from a secular perspective rather than a religious one. That an expat can experience this tradition is indicative of its pervasiveness in Brazil and espiritismo’s entrenchment in Brazilian culture.

The colors are significant here, too, and point to cultural perceptions of color in Brazil. Red, for example, is associated with passion and sex, suggesting a connection with fertility, menstruation, and blood. The three mentioned are common color associations in European culture, but given the syncretic nature of espiritismo, the associations very well could have originated in Africa.

Iemanjá being the primary deity in espiritismo might allude to the importance of the ocean during the colonial period, especially given that such a massive proportion of the Transatlantic Slave Trade ended up landing in Salvador, Bahia, Brazil. The treacherous journey across the ocean might be one influence, and the fact that Brazilian colonies largely existed along the coast might be another.

USC marching band secret handshake

Nationality: American
Age: 18
Occupation: student
Performance Date: 2/16
Primary Language: English

Text:

The folk object is a kind of handshake.

“Before a competition, or before a performance, people would just walk around and do the handshake and say like good luck, have a good run. “


“This is how you do it: Put two thumbs together, spin your fist upright, and then open your hand so it’s like an upside-down high five. And then make it right side up to shake hands. “

“Only people in our band knows how to do it.”

Context:

My informant plays at a marching band at USC. According to her, this handshake had been performed before she joined the marching band. She learned it and then she taught the freshman how to do it.

Analysis:

Handshake is a very common type of folk gesture, especially in the U.S. Special handshakes are signals of shared identity or signals of difference between in-groups and out-groups. Handshakes are connected with unity and commemoration. Although many people may not know each other in my informant’s marching band(because it’s a big band), when they greet each other with a handshake, they would know that they belong to the same place. Also, unity and a sense of belonging are what a marching band needs when it comes to performance because coordination and cooperation are essential to instrumental performance. The sense of belonging is also created by the daily practice, competition, and performance that the members of the marching band participated in, thus the handshake can also be the by-product of this sense of unity. My informant is a folklore carrier. Not only had she taught me about the folk gesture, but she also teaches the freshmen of the marching band.