Category Archives: general

Aswang

Text: The aswang are evil shape-shifting creatures in Filipino folklore. Many stories told surrounding the aswang sometimes include ways to keep them away and other superstitions that they carry. They are known to prey on mostly young children and pregnant women. My grandma had told me a specific interaction she had with the aswang when she was about 2 years old. My great-grandma was a teacher and worked with another co-teacher at school. The co-teacher asked if she could stay overnight at my great-grandma’s house (the reason unknown), and my great-grandma said yes. That night, my grandma, who was 2 years old at the time, started crying non-stop and would not sleep. There was nothing that anyone could do to console her. The next day, the co-teacher left, and the neighbors went to my grandma’s house and asked her why she let the aswang over at their house. The neighbors told them that the aswang was trying to eat my grandma’s liver. After that night, the co-teacher quit and was never seen again.

Context: My grandma and aunt are very superstitious and fearful of the aswang. When the women in my family were pregnant, they would go around the house with scissors and start cutting the air in hopes of cutting off the aswang’s ties to whomever was pregnant. I believe they have become more relaxed about it now, and after asking them to recount their stories for this project, it seems to be more of a story than something that they are still afraid of. Similarly with Filipino folklore creatures such as the aswang, my grandma and aunt had to bounce details off of each other because they are starting to forget the characteristics of the creature. My grandma had said to me that they could shape-shift into any creature and her sister (my great aunt) had reacted to the information as if she heard it for the first time.

Analysis: Whenever my older relatives tell me stories about Filipino folklore creatures, they have a new story everytime they tell me. It’s never the same story told twice. With the aswang, I feel as though their stories have gotten less scarier. I remember being super scared of the aswang when my grandma was telling us to cut the air with scissors while my mother was pregnant with my little brother. It might be a result of me growing up, the older relatives softening up with the stories, or possibly both. I think my relatives mixing up and forgetting the details mid-story made me believe the stories a little less. However, the more I thought about it, the more I appreciated the mix-ups and forgetting the details. It reminded me of the importance of preserving the feelings and cultural significance that these stories hold in my family. It reminds me of all my aunts asking me to have my grandmother tell me these stories when I was little, because they were excited for me to experience what it was like to hear her tell them—just as they had when they were children. That memory alone makes me appreciate the fluidity of these stories whether I still believe in them or not.

How the Paoay Lake Formed

Text: A long time ago, there used to be a small town in the Ilocos Norte region in the Philippines. One day, an old beggar woman went there to beg for food, but they “cast her out.” She went to many houses, but many of them were not generous and despised her because of how dirty and  poor she looked. After visiting all the houses, the old woman said, “These rich people are selfish” and suddenly transformed into an angel. She then casted a spell and drowned the entire village—making it the Paoay lake that it is known today. Apparently, this legend has circulated around Ilocos Norte for years after this incident occurred and many people started to believe that the old woman did that. However, people say that years later, large pieces of houses and jewelry still surface. 

Context: This was the first legend my grandma had told me after I asked her to tell me a folk narrative of some kind. Lake Paoay is one of the biggest lakes in the Philippines and is found in Ilocos Norte which is where my family is from and where my grandma had spent the first half of her life. She had originally learned this legend from her parents and older relatives but also mentioned that this legend was always in circulation in the Ilocos Norte region and considered true by everyone invluding herself.

Analysis: At first, I thought that my grandma had told me a local legend of some kind. The Filipino region that I’m from is not really common among the Filipino-Americans I know, so I was curious to know how local this story really was. I looked it up on the internet and was surprised to find out that other legends that were entirely different from what my grandma had told me. I had found multiple sources siting a Sodom and Gammorah rivalry type legend about this lake, but with the same ending: it is true because there are bits of houses and jewelry that float up to the surface. I thought it was interesting how this part of the story had remained the same despite the stories differing a lot. I also thought about how my grandma’s version of it was similar to the beginning of something like the Beauty and the Beast story. A stuck-up rich person shunned an old beggar woman because of her appearance. I also can’t help but think that this version had emerged in our family specifically because of religious implication. My family, my grandma and all her older relatives specifically, was/are very religious and into Catholicism. Maybe this version was the one that was told, but was changed to be more religious to get the children to like Catholicism more.

Duende

Text: The duende are small dwarf-like creatures that exist in Filipino folklore. Many older relatives that live in the Philippines have probably had an interaction of some kind with the duende when they were a child. My grandma and her sister had told me that their aunt in the Philippines used to be friends with the duende, but only the aunt could see them. When my grandma and her sister visited my aunt’s house, the aunt introduced the duende to them. She said, “These are my nieces so don’t hurt them,” but my grandma and aunt were confused because they couldn’t see them. However, they still believed that they existed because of other stories that their older relatives had told them about the duende. Upon asking, they don’t remember any of the stories specifically, but they did remember one story that their sister-in-law had told them a long time ago describing their appearance. She to described them with green clothes, pointy hats, and pointy shoes. Their sister-in-law told them that they were playing on her window sill when she woke up on the middle of the night. She just quietly watched them and they were playing hide and seek. 

Context: This story was jointly told by my grandma and her sister and they had constantly asked each other throughout the story for details. I had put an abridged version of the interview in the text, but if I were to ask questions about the duende’s appearance or mannerisms, they would tell half of a story about some relative that told them about personal interactions with the duende before they would just go onto another story when they started to forget the details. They actually told about 5 different stories, but I had included the main two in the text above.

Analysis: I had always heard stories about the duende from all of my older relatives while growing up. I think I have always categorized them as something that was fake in my head like fairies or elves. I think hearing these stories again and asking for more details made me realize the importance of the uniqueness in these specific memories and stories that they hold. The fluidity that oral storytelling has is something that can’t be looked up or even recorded through writing. It also makes me think about how these stories will live on in my generation. All of my grandmother’s children and grandchildren live in America. There are no new duende stories that can be added onto the family folklore. It makes me wonder about how these stories will further be told and interpreted in my generation and the next.

Protecting Fruit Trees

Nationality: American
Age: 19
Occupation: Student
Residence: San Francisco, CA
Language: English

Text:
When we moved into our new house, my sisters and I were ecstatic about having a plum tree in our backyard. Much to our dismay, we realized that the tree was sick and dying. My mom explained that despite the fruit tree not being healthy, it would be bad luck to cut it down, as the tree symbolizes good luck and fertility. She explained that in Indian culture, there is a myth that you can never cut down a fruit tree. This is because the tree is symbolic of a mother who is having children, and cutting it down is almost like harming a pregnant woman. It is seen as bad luck and not life-preserving.

Context:
This folklore was shared to the informant, A, by his mother, P, during a casual moment discussing the tree in their backyard. P is originally from India and most likely learned to associate fruit trees with fertility from her own family. P clearly interprets this belief as a sacred tradition that guides her behavior, and by passing it to her son, A, she is continuing this cultural value across generations.

Analysis:
This is a myth because it uses a sacred and symbolic story to offer an explanation for a natural-cultural taboo. It helps explain the belief that fruit trees are not just plants, but also mothers who are spiritually protected. This myth highlights Indian culture’s strong values surrounding respect for life and harmony with nature. By actually preserving the tree and not cutting it down, A’s family is showing the power that myths can have on our behavior. Despite not being in their home country, where this myth originated, A’s family continues this tradition, highlighting how myths contribute to our cultural identities regardless of time or place.

“The Runner and the Man on the Horse”

1. Text

This narrative, titled The Runner and the Man on the Horse, was told to me by my grandmother JW, a member of the Choctaw Nation of Oklahoma. It is important to note that there are several oicotypes of this legend, but it is confirmed to be true by my great, great, great-grandmother. It is a traditional tale rooted in Indigenous storytelling practices, centering on a moment of challenge, pride, and resilience between a young Choctaw man named Hut Tecumseh and a non-Indigenous settler. The story is set in a time when cultural tensions between Native and settler communities ran seemingly high, and it functions on both literal and symbolic levels.

In the story, a “white man” rides into Choctaw territory. Annoyed by the intrusive presence of this man on the horse, a young Choctaw runner—barefoot, calm, and grounded—steps forward and quietly asserts that he can outrun the man on the horse. Several Choctaw members nearby react with curiosity and excitement.

The proposed race is simple: to a post set 250 yards down a dirt path and back again. The man on the horse laughs but agrees, confident in his superiority. At the start, the horse surges ahead, thundering with speed and strength. But the runner moves parallel to the horse. At the turning post, the runner doesn’t break stride. He grabs the post, pivots with precision, and slingshots himself back. By the time the horse turns, the runner is already far ahead. He reaches the finish calm, composed, and victorious.

The story triumphantly ends in Indigenous celebration with the idea that the man on the horse was forced to accept defeat. 

2. Context

This story was shared with me by my grandmother JW, a lifelong storyteller and member of the Choctaw Nation of Oklahoma. Her family lived on the reservation, and she learned this story from her ancestors, who treated it not only as a tale of physical skill but also as a teaching story—one that reflects cultural values about humility, pride, and the relationship between people and the land. She has informed me that this story is a part of a museum display in the Choctaw Nation Museum in Oklahoma.

JW told the story to me in English as she is the first generation of her family to not be fluent in Choctaw. For JW and her family, this was not a tale of competition for its own sake. It was a narrative about dignity in the face of colonial arrogance, discrimination, and the power of cultural memory. The barefoot runner wasn’t just a character, but rather a hero; he symbolized an enduring Choctaw identity—deeply connected to the land, spiritually resilient, and underestimated by those outside the community.

3. Interpretation

The Runner and the Man on the Horse fits within the category of a cultural legend, particularly one rooted in Indigenous oral tradition with historical and symbolic overtones. While it contains no overt supernatural elements, the story takes on mythic proportions in its structure, tone, and meaning. Its narrative affirms a communal identity that carries layered moral and historical implications.

The absence of supernatural motifs does not diminish its mythic resonance; instead, it draws power from the reality of the land and the people who inhabit it. The story reflects Indigenous epistemologies that center the land not as a backdrop, but as an active participant in cultural memory. The Choctaw runner becomes a representative of collective strength and ancestral wisdom, whose victory signals more than personal triumph—it affirms the endurance of a people and a worldview often marginalized or dismissed by dominant historical narratives.

At the core of the story is a contrast between two ways of being: one represented by the settler’s reliance on animal power, machinery, and boastful pride; the other embodied by the runner’s strength, discipline, and resilience. The legend critiques colonial arrogance and asserts the quiet power of Indigenous resilience. The runner’s victory is not just athletic—it is cultural, spiritual, and political. The story engages with themes discussed in class, including how folklore preserves historical values and asserts identity through performance and memory. The continued telling of this legend—even in English, and in a contemporary context—demonstrates how Indigenous folklore adapts while preserving the core values of balance, humility, strength, and cultural pride. JW’s version reflects not just the story itself, but the living tradition of storytelling that continues to sustain and affirm Choctaw identity across generations.

Date of performance: 4/01/25
Language: English
Nationality: Choctaw
Occupation: Retired
Primary Language: English
Residence: Modesto, CA