Category Archives: Legends

Narratives about belief.

NORWEGIAN TROLLS

Nationality: Norwegian
Age: 50
Occupation: Stay-at-home-mom
Residence: Vail, CO
Performance Date: April 24, 2021
Primary Language: Norwegian
Language: English

MAIN PIECE:

Informant: So… Trolls are what people think of when they think of Norway, I guess… But people don’t actually believe in trolls, I don’t think… It’s kind of like to make childhood exciting, I think. You know how we have these little hikes in the woods where supposedly the trolls live, and you know, they make all these little adventure trails for kids focusing around trolls. And at the cross country ski races there would be troll mascots, right? Mhm.

Interviewer: What are some characteristics of trolls? 

Informant: Maybe a little rascal-like. Not mean, but mischievous… Bushy. Lots of hair… And very small… Big nose. Big ears… Bad teeth… There are big trolls… But when I think of them, I think of them as little trolls… I don’t have a strong attachment to trolls I guess, I don’t know.

Interviewer: But they are like a national symbol? 

Informant: Yeah, they are… They’re in a lot of our fairy tales and stuff…  I don’t know if trolls are officially a national symbol… Or if it’s something people play off of ‘cause they think it’s cool, and it draws tourists. I don’t know. 

INFORMANT’S RELATIONSHIP TO THE PIECE:

Interviewer: Do you know why trolls are such a big national thing?

Informant: I don’t know where it comes from. I’ve never really… Maybe it has to do with the nature in Norway… I’d be curious to know actually. 

Interviewer: So what’s up with all the troll statues everywhere? 

Informant: Oh yeah… I’ve never even thought about that… I don’t know why that is… Like there’s a big one in Oppdal, but Oppdal is such like a… Rural community, you know? I’m sure that tales are even more… What do you call it….? More prevalent, there. Like I’m sure there’s even more focus on tradition, and that traditions are even stronger in a place like that where it’s so rural and everybody lives on a farm almost.

Interviewer: Were trolls as prevalent when you were growing up?

Informant: Probably. Just not in my life, you know……? Actually! Growin’ up, I had kind of like a troll-looking doll that was really cute. That my mom would like knit clothes for, you know? And I would bring him as my mascot to gymnastic competitions and stuff. And my friend had one too and we’d play with them all the time. 

REFLECTION:

There is no denying that trolls are a large part of Norwegian culture. And yet, the informant does not feel much attachment to them as creatures or symbols; she does not have much information on trolls, nor has she given them much thought throughout her life. This suggests that the emphasis on trolls may indeed be primarily a tourist draw, as tourists may find more appeal in symbols than locals do. In “Early Travellers in Borneo” in Tourism in South-East Asia, Graham Saunders writes, “Travellers…today arrive with certain expectations. They carry with them an idea or image of Borneo, an image which tourist brochures have conveyed” (Saunders 271). Tourists have expectations pertaining to their destination. They are on the outside looking in, and may thus attach themselves to symbols that seemingly represent the place they are visiting; it makes a foreign place easier to understand and digest.

In his book Trolls: An Unnatural History, John Lindow writes, “For centuries…trolls were found only in the landscape of Scandinavia. They were ‘nature beings…’ Their home environment was a pre-industrial society in which people lived by farming and fishing, often on a small scale” (Lindow 9). Trolls largely originated as Scandinavian figures. They are thought to be encountered in nature, and Norway is a landscape made up of forests, fjords, mountains, rivers, and so on. Norway was also a rural place for a long time, and there are still active farming and fishing communities. Trolls may then fit the tourists’ expectations of what Norway is supposed to be like: rural and woodsy. The tourists’ expectations may in turn fuel what tourist brochures, etc. convey, as the tourist industry aims to draw more people in using the tangible symbols that seem to be working (such as trolls).

ANNOTATIONS:

Sources cited above (Note: Also see Lindow’s book for further reading on trolls):

Lindow, John. Trolls: An Unnatural History. Reaktion Books, 2014. 

Saunders, Graham. “Early Travellers in Borneo.” Tourism in South-East Asia, by Michael Hitchcock et al., Routledge, 1993.

The Screenwriter’s “Champion”

Nationality: American
Age: 19
Occupation: Student
Residence: Los Angeles, California
Performance Date: April 16th, 2021
Primary Language: English
Language: N/A

Main Piece:

“The only like, real, like screenwriting folklore I know is like the championing method which I don’t think— the more I think about it, the more I think this is fake, but freshman me believed it so hard. It was like— to explain for the folklore archive— it was like the way people get into screenwriting. Every screenwriting professor picks one application and has to fight for it. And so every student has their “champion” who is the one who fought for them to get into this program. And then before you graduate they have to tell you who they are.”

Background: 

My informant is one of my friends, a sophomore in the screenwriting major at USC. During her time at this school, she learned about the folk legend through our upperclassman in freshman year, who are also screenwriting majors. As stated in the performance, she seemed to believe it more in the past than she does now, but still spreads the story like the rest of our peer group does.

Context: 

This piece was brought up in conversation when my informant, another participant, and I were talking about our classes. This then led into a tangent about the kinds of screenwriting stories we’ve heard in the department, and how many different versions there are of the “champion legend” that supposedly led to students being selected for the program. 

My thoughts: 

I heard a similar version of this story when I was visiting USC as a high school senior, and heard it from upperclassmen that have since graduated. Since that was a few years ago, I think it’s fair to say that there has to be some credibility in the legend considering how many times it’s been passed down the cohorts in the screenwriting major. I would consider this story to be a legend because it plays a role in the real world in the sense that the faculty do have to determine which applicants to accept into the school, but it’s uncertain if they actually “champion” a particular application or not. This could furthermore be considered a local legend, at least in the School of Cinematic Arts, and by learning it, new screenwriters are initiated into the peer group. That being said, the story could be also interpreted as a myth, because like a sacred creation story, this piece explains the origins of the USC screenwriting student and how they came to be. Overall what I like about this piece is the various retellings there are from the upperclassman. because them passing down the screenwriting lore to us is like being initiated into the group.

Bigfoot the Friendly Creature

Nationality: American
Age: 20
Occupation: Student
Residence: Woodinville, Washington
Performance Date: April 28th, 20201
Primary Language: English
Language: N/A

Main Piece: 

Collector (me): How were you introduced to Bigfoot when you were little? 

Informant: Um… I’m trying to think. I think my parents told me about him… um, and he was probably in various picture books as well that I saw. So in downtown Seattle we have the Space Needle as an iconic landmark of Seattle. And there’s a picture book that my dad had when he was younger, and it was the thing in the early 70’s— they were trying to make a thing that Seattle had a mascot called the Wheedle. And it was like the Lorax, except huge, and orange and yellow, and there was a picture book called the Wheedle on the Needle, and it was this friendly monster dude that hung out near the Space Needle. And my dad tried to like get me into the Wheedle. And it was not a thing. It was like 35 years later, and I was kind of scared of him because he looked scary, the Wheedle, and my dad basically told me, “He’s not crazy, he’s a friendly dude, he’s like Bigfoot. He’s just like a friendly person,” and then I asked, “What’s Bigfoot?” And then he explained he was a creature that lived in the woods, and that he’s not hurting anybody, he just wants to be left alone. He doesn’t want to be bothered so everyone gives him his space and he’s a nice nice person. If you run into Bigfoot you’ll be fine, don’t be scared.

Background: 

My informant is a 20-year-old student from Washington state, where the legend of Bigfoot is incredibly popular— to the point of airports selling Bigfoot merchandise such as hats and shot glasses. As my informant said, “he’s kind of a state treasure, like everyone loves him. In other places it’s more like a creepy legend, but around here Bigfoot’s a friendly guy.” Whether one actually believes in him or not, it’s part of Washington state culture to acknowledge Bigfoot’s existence. 

Context:

When my informant was providing me with some Washington folklore for a separate post, I asked if she happened to know any lore about Bigfoot, since most of the legends I’ve heard about him take place there. She did, and I asked how she first learned about him, which she stated in the above piece.

Thoughts: 

This is the first version I’ve heard about Bigfoot where he’s been portrayed not as a monster, but a friendly creature. It’s very endearing, actually, and I think it’s a good representation of how attached a group can get to their legend. Even if Bigfoot is a well known legend across the U.S., this iteration of him could be considered a local legend because of how different he’s described as compared to the other versions where he’s shown as a creature out to cause harm. Since legends are just beliefs in narrative form, it also says a lot about how Washington people would rather view Bigfoot as kindly— as an icon of their state and culture. Furthermore, my informant’s point about Bigfoot’s popularity in Washington state indicates the notion that in order to become part of the surrounding folk group, there has to be an acceptance of this creature, or at least an acknowledgement. What’s also interesting to examine about this piece is how Bigfoot’s popularity has led to the development of a myriad of merchandise for locals and tourists alike, and could be seen as an example of cultural intimacy.

Ghost Story: Cursed Tomb

Nationality: Chinese
Age: 19
Occupation: Student
Residence: Shenyang, Liaoning, China
Performance Date: April 20, 2021
Primary Language: English

Main Piece: 

“If there’s a woman and she’s pregnant with a kid, if she dies and gets buried, there’s a possibility that the kid is still alive. The tomb will be cursed and the kid will still live and grow and live in the tomb. And the village where the tomb is won’t receive any rain for many years.”

Background:

My informant said that this was a folk belief that he had heard, like a ghost story, growing up in China. The informant had little personal relationship to this story, but had heard it repeatedly from a variety of ages. It seemed more region-specific than specific to another group. He offered interpretations of the story both as a regular “spooky story” to tell and as a folk belief in farmers to help avoid or explain away destitute lands. 

Thoughts:

Ghosts are often reflections of what a culture considers unfinished business or a scar from the past. It’s likely that in this case, we’re seeing part of a natural grieving process for the loss of both the pregnant woman and the unborn child. Because there is a feeling of doubled loss, a supernatural consequence may feel necessary. Additionally, there’s a strong sense in this story that the natural order is being disrupted. Pregnancy is supposed to lead to new life, but it is disrupted here and ends in death. As a consequence, the natural order of the weather is equally negatively disrupted. The curse on the tomb is a curse of no rain and thus no crops. 

Folktale Creature: The Squonk

Nationality: American
Age: 19
Occupation: Student
Residence: Scottsdale, AZ
Performance Date: February 11, 2021
Primary Language: English

Main Piece: 

“He’s just sad and ugly and I love him. Oh boy, so, the squonk is basically this kind of urban legend, like cryptid creature that’s certainly meant to explain like those weird noises hunters hear in the night. And the thing is that the squonk cries a lot because he’s ugly, and that’s what those weird noises are. And that’s it. He just cries a lot because he’s ugly and no one wants to be the squonk.”

Background:

My informant had a strong personal connection to the squonk that was mostly based on finding the concept delightful. She is from an entirely different area than the squonk, which supposedly exists in Pennsylvania. My informant discovered the concept online, but does not recall exactly where. As mentioned above, she says it is meant to explain strange sounds hunters hear that sound like crying.

Thoughts:

Folklore is normally emblematic of the culture in which it exists. For example, modern American folklore tends to have an emphasis on the future and the brightness at the end of the tunnel- proverbs such as “all’s well that ends well” or “the ends justify the means.” Americans tend to have an emphasis on happiness and hope to the exclusion of other sentiments. It’s interesting, then, that there’s this specifically Pennsylvanian creature that is so unbearably and irredeemably ugly that all it does is cries. This kind of hopelessness is not normally emblematic of American folklore. Two possible explanations fit within the framework of America as a mostly hopeful folk group. First, this could be a bizarre way of putting down the other. The hunter is not the one crying in the woods because they’re ugly- it’s the noise possibly frightening them that is. Second, this could be an example of an unconsciously counter-hegemonic folk belief. The majority of America is full of blind hopeful folklore, but we believe in a creature that lives in the woods and cries because of how depressed it is over its hideousness.