Author Archives: Sophia Guzman

La Cegua

Age: 54

Text:

Informant: La Cegua would appear to drunk men or mujeriegos (womanizers). When these men would walk alone at night where no one else is around after heavy drinking and being with other women and were on their way home, La Cegua would appear to them in the form of a beautiful woman. It would get really close to them. When the men would go to kiss her, instead of being beautiful, it was like the skull of a horse and her face was rotting. Some men would go crazy out of fear and sometimes even die of the pure shock of how ugly it was.

Context:

The informant learned about the legend of La Cegua while living in Nicaragua. La Cegua is a very beautiful looking woman that can be found in the mountains or woods. Typically, womanizing men who are out late at night, drunk, and cheating on their wives find her. At first, she appears to be beautiful but once she turns around, she has the head of a horse, terrifying men.

Analysis:

This Nicaraguan legend was functional, as it was likely taught to kids and teens to scare them from getting drunk, going out alone at night in the woods and mountains, and cheating on their spouses. They wouldn’t want to come across this woman with a horse face.

El Padre Sin Cabeza (The Headless Priest)

Age: 54

Text:

Informant: “Years ago, around 1150, they killed a bishop in Leon, Nicaragua. They stabbed and decapitated him. It’s said that a lot of people have seen a tall spirit with a cassock that priests use and doesn’t have a head. They see it walking near churches and cemeteries when people are walking by at night and no one else is around.”

Context:

The informant was taught this legend as a teen by their grandma while living in Nicaragua. It follows the story of a bishop who was stabbed and decapitated and goes around haunting churches and cemeteries.

Analysis:

El Padre Sin Cabeza is a legend as it’s a story set in the past that can’t be verified. There’s no proof that a priest was murdered in 1150 and now haunts churches and cemeteries. Yet, many people believe it to be true and older generations will swear that they have seen him. In Andrew Peck’s article, “Tall, Dark, and Loathsome…” he writes that “legends are less about individual texts and more about communication—they are discourses on belief.” This legend follows that mindset as people don’t seek evidence of it being true, but rather find community within sharing the belief.

Nicaraguan Duendes “Elves”

Age: 74

Text

Informant: “When me and my brother were younger, we sometimes went to a farm with our grandparents and dad. At night, we used to sit in the back of a pickup truck as adults drove, and when we were sitting there, we saw little kids following us. I told the adults that I saw little kids following us on the road, but they were running really fast. They were running at the speed of the truck. Only me and my brother saw them but none of the adults could see them. My grandparents and dad asked what the kids looked like so we described them as little kids with a red hat and backwards feet. The adults told me that they were elves. I tried reaching my hand out to grab the elves and the adults told me not to do that and I couldn’t reach my hand out to grab them because they were elves and they took children.”

Context:

The informant was born and raised in Nicaragua until they moved to the U.S. at 16 years old. When the informant was young, they rode on the bed of a pickup truck with their brother. One night, they saw elves following them and tried reaching out to grab them but failed. When they told their dad and grandpa, they were advised not to reach out for them because they could grab and steal them.

Analysis:

The story is unique in the sense that it’s not a common one told to children across an area. It is a personal experience, or a memorate. This reminds me of Lydia Hamessley’s “A Resisting Performance…” where she describes murder ballads being told in first-person perspective. I think folklore becomes more interesting when you’re hearing the stories directly from the source. It provides details that can get left out or aren’t shared when someone else is retelling the story.

Kaal Pudpe Sign of Respect

Age: 20

Text:

Informant: “This is included in what me and my brother do in my culture. It’s something that is a sign of respect, it’s called “kaal pudpe” and it means “touching the feet.” So you touch the feet of your elders. If you were my elder, when I would first see you, I would say “How are you?” and I would go like this” (gestures touching feet). “It’s respecting the wisdom that they have and it’s always a married elder.”

Interviewer: “So if they’re not married, you wouldn’t do that to them?”

Informant: “No, you don’t have to. There’s a lot of people around my age but then the minute they got married, you’re supposed to, technically. It’s a lot of things as well as a greeting when you enter someone’s house, as a sign of respect.”

Context:

The informant is from Karnataka, a state in India. In their culture, they view elders as wise and are highly respected. Married couples are also seen viewed highly. As young people, to show respect for them, they’ll touch their feet as a form of greeting.

Analysis:

In many cultures, aging isn’t seen as a negative, but rather, a positive. The elderly are seen as wise and more knowledgeable. Young ones are encouraged to respect elders because they lack life experience and can learn from them. Countries like Karnataka create these traditional ways of young ones showing respect by touching their elders’ feet. This ritual is repeated through generations and acts a way of socializing across the culture and holding people in high regard. In Chapter 5 of ‘Living Folklore’ by Sims and Stephens, they expand on this thought and share how “traditions associated with objects, customs, or rituals…may sometimes emerge into narratives and form an important part of a group’s identity.” This functionalist ritual validates the culture and sets a certain expectation that everyone must follow.

Paper Heart

Age: 20

Text:

Informant: “I’m used to doing this with gum wrappers mainly, that’s what we used to do in middle school. You take a rectangle and you first make it a square and then you fold it diagonally so it’s a triangle on each side. You do that twice. You bring one of the points of the outside to the middle and then you bring the other one to the other side. Instead of bringing it to the middle you bring it to the other side and the point in the middle of the triangle that you just made. Then you fold it up using the two points of the end of that trapezoid to bring it up into the middle. It looks sort of like a heart but not really. I was always taught you flip it around and make it look more heart like by rounding out the edges. It’s a heart. They look prettier when they’re made out of foil because they’re cute and tiny.”

Context:

The informant attended high school in America and learned how to make a handmade paper heart out of gum wrappers and paper. It’s a type of origami as there are many steps on how to properly form the paper to get the desired result. They were taught by their middle school friends and exchanged them with classmates.

Analysis:

Traditionally, children and teens make hearts out of gum wrappers. They fall under the material folklore as they’re a physical object and handmade. It can be made in class with resources that people often have on them. After they’re made, they’re typically traded amongst friends, acting as “gifts,” and multiple can be made. I think females are the primary producers of these fun, origami-like pieces that are traded with friends. This connects to my idea of it being a feminist approach because there’s an element of collaboration in making one for a friend and knowing that you will likely receive one. There’s also a process and method to making sure you’re following all the steps properly to produce the right result.