Category Archives: general

The Wendigo (Anishinaabe/Algonquian Legend)

Title: The Wendigo (Anishinaabe/Algonquian Legend)

AGE: 18
Date_of_performance: May 1, 2025
Language: English
Nationality: Canadian
Occupation: Student
Primary Language: English
Residence: Toronto, Canada

Folklore Explanation:
“We learned about the Wendigo in high school—it came up in our Canadian literature and history classes. The story really stuck with me. It’s this creature from Anishinaabe and other Algonquian Indigenous traditions, and it represents hunger and greed taken to an extreme. The Wendigo is said to be a spirit that possesses people during harsh winters, especially when they’re starving. It turns them into monsters—cannibals, basically. Some versions say it used to be human and was cursed, others say it’s always been a spirit.

The teachers were careful about how they presented it—not just as a scary myth, but as something sacred that comes from a specific worldview. It was treated with respect. What really got to me was how it wasn’t just a horror story—it was also a warning. A moral. It shows what happens when you let desperation or selfishness take over. Some of the other kids thought it was just creepy, but I thought it was way deeper than that.”

Analysis:
The Wendigo is a powerful example of Indigenous spiritual and moral folklore, primarily found in Anishinaabe, Cree, and other Algonquian-speaking nations. It functions as both a mythological being and a cautionary symbol, representing excess, greed, and the breakdown of social and natural order. Stories of the Wendigo are traditionally transmitted orally, as part of sacred storytelling practices that blend spiritual knowledge, survival ethics, and moral education.

It is classified as narrative folklore, but also carries characteristics of belief folklore, particularly in the way it intersects with historical experiences of famine, colonial disruption, and environmental change. In contemporary Canadian society, Wendigo stories have also entered literary and pop culture, sometimes problematically removed from their original context. However, within Indigenous communities, the figure remains a respected and often feared presence—not merely a monster, but a reflection of imbalance between humans, nature, and spirit. Its continued telling reinforces cultural identity, ethical restraint, and intergenerational knowledge.

monkey king 孙悟空 (Sūn Wùkōng)

Title: 孙悟空 (Sūn Wùkōng / The Monkey King)

AGE: 54
Date_of_performance: May 1, 2025
Language: Mandarin Chinese
Nationality: Canadian
Occupation: Retail worker and teacher
Primary Language: English
Residence: Toronto, Canada (lived in Beijing, China for 20 years)

Folklore Explanation:
“The Monkey King was everywhere when you were growing up in Beijing. You couldn’t walk into a bookstore or turn on the TV without seeing some version of him. The classic Journey to the West was part of school curriculum, of course, but it wasn’t just that—there were cartoons, puppet shows, live-action remakes, even branded snacks with Sun Wukong on them. He’s clever, a bit of a troublemaker, but always brave. Kids loved him. You and your sister had picture books with him flying around on clouds, fighting demons, and transforming into animals.

One of the most surreal experiences was getting to visit the film set for one of the big-budget remakes. That was the 2015 version, the one with Fan Bingbing. My friend Li—she translated some of Ai Weiwei’s work—her husband, Cheang Pou-soi, directed it. She invited us out to the set one day. You probably don’t remember all the details, but it was massive. Elaborate costumes, green screens, big lighting rigs—it was a whole operation. Seeing this ancient story being brought to life with modern technology really showed how deeply rooted the Monkey King is in Chinese culture, but also how adaptable he is. He’s survived for centuries, and he keeps changing with the times.”

Analysis:
Sun Wukong, or the Monkey King, is a central figure in Chinese mythological and narrative folklore, best known from the 16th-century novel Journey to the West (西游记). His character draws from Daoist and Buddhist cosmology, embodying themes of rebellion, transformation, and eventual enlightenment. He is classified as a heroic trickster figure, blending moral lessons with comedic mischief, and has been used historically to explore tensions between individuality and authority.

The Monkey King’s story has been transmitted through oral storytelling, written epic, shadow puppetry, television, and cinema, making him one of the most recognized figures in Chinese folklore. His presence in modern media—especially through state-supported educational programming and commercial films like The Monkey King (2015)—shows the way traditional folklore evolves into mass-mediated folklore, reaching audiences across generations and geographies. In the context of childhood in early-2000s Beijing, Sun Wukong functioned both as a cultural icon and a moral exemplar—accessible through entertainment, but still rooted in complex spiritual and historical traditions.

端午节 (Duānwǔ Jié) Dragon boat festival

Title: 端午节 (Duānwǔ Jié / Dragon Boat Festival)

AGE: 18
Date_of_performance: May 1, 2025
Language: English
Nationality: Canadian
Occupation: Student
Primary Language: English
Residence: Toronto, Canada (formerly lived in Beijing, China for 11 years)

Folklore Explanation:
“Dragon Boat Festival came every summer when we were growing up in Beijing, and while we didn’t really do the full traditional thing, we definitely participated in some of it. Sometimes we’d go to watch the dragon boat races—usually if there was something happening at Houhai or a local event—but most years we just focused on the food. You know how obsessed I am with 粽子? Those sticky rice dumplings wrapped in bamboo leaves? That was the best part. Some had red bean, some had pork—there were even a few sweet ones I really liked.

We’d usually either buy them fresh from the market or sometimes help someone make them if we were invited over. The festival itself wasn’t something we celebrated formally, but it was part of the rhythm of summer. You’d start seeing 粽子 show up everywhere, and there was always this feeling that the season had officially started. It wasn’t about rituals for us—it was about the food and kind of being around it, taking part in a way that made sense for our family.”

Analysis:
The Dragon Boat Festival is a ritual calendar festival and an example of hero commemoration folklore, centered on the legendary poet and minister Qu Yuan, who is said to have drowned himself in protest against political corruption. Traditionally observed on the 5th day of the 5th lunar month, the festival blends narrative folklore (the story of Qu Yuan) with material culture (making and eating 粽子) and performance folklore (dragon boat racing).

It has both secular and spiritual dimensions. The races represent the villagers’ attempt to rescue or honor Qu Yuan, while the consumption of 粽子 is linked to ancient offerings meant to protect his body or ward off evil spirits. This festival is transmitted through intergenerational family practices, school events, media, and public cultural programming. It holds particular weight in southern China where dragon boat traditions are strongest, but food-centered practices like 粽子-making are widespread and deeply tied to domestic life. In urban settings like Beijing, participation varies—some engage fully, while others experience the festival more casually through its culinary and public components.

Fete des Rios

Title: Fête des Rois (Epiphany / King’s Day)
AGE: 55
Date_of_performance: May 1, 2025
Language: French
Nationality: American grew up in Paris
Occupation: Consultant
Primary Language: English
Residence: Toronto, Canada
Folklore Explanation:
“We always did Fête des Rois growing up—it was just part of the rhythm after New Year’s. We’d have the galette des rois, that puff pastry cake with almond filling, and there’d always be a fève hidden inside. The person who got the slice with the fève was the king or queen for the day, and they got to wear the paper crown that came with the cake. In our house, the winner would either kiss the person they loved, or if you were sitting with friends or siblings, it was the person to your left. It was lighthearted, but it felt kind of royal as a kid.
What I remember most, though, was in elementary school. They made a big thing of it. We’d all sit under the table—literally under it—while someone cut the galette, and then they’d call out who got each slice. That way it stayed random. And the second someone found the fève, it was chaos. The winner had to kiss someone, and in a room full of eight-year-olds, that was about the most dramatic thing that could happen. People would scream, laugh, hide under desks. It was silly, but it was something everyone looked forward to. It made January feel less gray.”
Analysis:
Fête des Rois is a form of religious calendar custom celebrated on January 6, tied to Christian Epiphany, marking the arrival of the Three Wise Men (Les Rois Mages) to visit the newborn Jesus. The tradition of the galette des rois with a hidden fève (originally a bean, now often a porcelain figurine) is a blend of symbolic folklore and ritual foodways. Its transmission is both domestic (within families) and institutional (through schools and bakeries), making it a hybrid of private and public tradition.
The custom of crowning a “king” or “queen” and engaging in playful rituals like kissing someone at the table represents performance and participatory folklore, especially powerful among children where the act becomes a rite of social play. Though rooted in religious narrative, the modern version often emphasizes community, chance, and lighthearted social interaction over doctrine. Its survival in French and Francophone cultures is supported by oral tradition, seasonal food marketing, and educational reinforcement, making it a strong example of enduring cultural folklore with evolving forms.

中秋节 (Zhōngqiū Jié) Mid Autumn Festival

autumn moon festival

Title: 中秋节 (Zhōngqiū Jié / Mid-Autumn Festival)

AGE: 54
Date_of_performance: May 1, 2025
Language: Mandarin Chinese
Nationality: Canadian
Occupation: Retail worker and teacher
Primary Language: English
Residence: Toronto, Canada (formerly lived in Beijing, China for 20 years)

Folklore Explanation:
“When we lived in Beijing, we always made a point to celebrate Mid-Autumn Festival. It’s such a beautiful time of year—the air would start to cool, and you’d see mooncakes everywhere, all wrapped in ornate boxes. We’d pick some up, usually with lotus seed or red bean filling, and head to one of the parks in the evening. The full moon that night always felt enormous, almost too perfect to be real.

We’d find a quiet spot, usually one of those pagodas near a pond or on a hill, and set up a little picnic. Tea, fruit, mooncakes. It was never fancy, but it felt meaningful—just sitting together and watching the moon. Around us, you’d sometimes see other families doing the same, or even lighting lanterns, but we usually kept it simple. It wasn’t about tradition in the strict sense, more about soaking in the atmosphere. It was one of those nights where everything felt calm and reflective, like the city was collectively exhaling.”

Analysis
The Mid-Autumn Festival is a calendar-based seasonal ritual, rooted in harvest celebration and lunar worship. It falls on the 15th day of the 8th lunar month and centers on themes of family reunion, cosmic harmony, and abundance. The legend of Chang’e, the moon goddess, is the mythological centerpiece, making this a form of mythical and narrative folklore. Its practices—moon-gazing, eating mooncakes, lighting lanterns—are considered participatory folklore, passed down through domestic traditions, community gatherings, and increasingly, commercial influence. While originally tied to agricultural cycles and Taoist cosmology, the festival today blends spiritual symbolism with secular celebration. In urban areas like Beijing, participation often includes public space rituals, shared meals, and aesthetic appreciation of the moon—bridging the traditional and the contemporary.