Category Archives: Legends

Narratives about belief.

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.

Christmas present fakeout

Nationality: American
Age: 60
Occupation: Computer Security
Language: English

“The tradition was, we would have to go to the store to get batteries or milk or something and we were anticipating Santa coming. And we were like “oh no, we don’t want to miss Santa” because Santa gave presents the day before, on the 24th because we celebrated at home. And then Christmas day, we’d go to my dad’s parent’s house. Well, when we lived out that way. Or I guess now the way we do it is [informant’s family side] 24th and [informant’s spouse’s side] on the 25th. So we’re waiting for Santa Claus and then my mother would say “hey, we need batteries/milk/something”” so we’d all go out and when we came back Santa had visited and the tree was lit and presents were under the tree. As I grew up, it was me taking my siblings to the store. And so the story repeats.  

Context: “When I was little, for Christmas. At least since I was maybe four, until my siblings were in their teens.”

Informant does not tie this to national identity and wondered how their parents did it because informant didn’t believe in Santa.

“I don’t know if we did that with the relatives up north, I think it was just my family doing that. And I don’t remember my parents talking about doing it. I think we did it with the boys but I don’t know. And I don’t know if we’ll do it with the great granddaughter, once she’s cognizant. “

Analysis: This tradition acts as a way to prepare for a larger tradition, that of Santa bringing presents at Christmas. This variation places the gift giving earlier in the evening, not at midnight as some versions have or in the early morning, as it is imperative for a store to still be open. In order to preserve the magic of the gift giving, the magic of the evening is falsely broken. The parent says that they need to go to the store for something right away, leading the children to assume they have to stop the Christmas celebrations and will miss Santa. Of course, this serves as a decoy so that they can return to a magical Christmas-filled house and partake more fully in the festivities then. The idea of this ‘false exit’ is effective, and also allows the older children to keep participating past the age of their belief. They are able to become the one taking younger siblings to the store and therefore become a weaver of the magic themselves, taking a more active role and shifting their satisfaction towards continuing the tradition for younger children. This tradition can span several generations, as the informant mentions, and continuously invites improvisation and variation so that the children can be surprised and delighted by Santa’s visit. 

Popocatépetl’s Smoke

Nationality: American/Mexican
Age: 19
Occupation: Student
Residence: West Covina, CA
Language: English/Spanish

TEXT: “When I was little, my Abuelita would point out the volcanoes in the city where she grew up, Puebla City, Mexico. She would tell me the story of two volcanoes, Popocatépetl and Iztaccíhuatl, the warrior and his sleeping princess.” She told me how the legend went, as they were once in love, but Iztaccíhuatl died before they could be together. In an attempt to honor her, Popocatépetl carried her to the mountains, and the gods turned them into volcanoes so they would be together forever. My abuelita believed that when Popocatépetl started smoking, it was him showing his love for the other mountain. The last time I was in Puebla, about 2 years ago, I looked up and the volcano was smoking.”

CONTEXT: This story is rooted in the traditional Mexican legend of Popocatépetl and Iztaccíhuatl, which is widely known in central Mexico, especially in and around Puebla. The legend has been passed down for generations and reflects indigenous beliefs about love, death, and the natural world. In the story, two volcanoes are said to be the transformed bodies of a warrior and a princess, symbolizing eternal love and loss. The narrator shares a personal memory of their abuelita recounting this tale during visits to Puebla City, tying folklore to family, place, and lived experience.

ANALYSIS: The narrative blends cultural tradition with personal memory, making the retelling more intimate and emotionally resonant. The grandmother serves as a cultural transmitter, passing on not just the legend but her interpretation—that the volcano’s smoke is an expression of love. This belief turns a natural phenomenon into a meaningful sign, demonstrating how folklore often helps people connect emotion and environment. The narrator’s final observation—seeing the volcano smoking years later—reaffirms the legend’s emotional power, suggesting that even in the face of loss, love can still be seen, felt, and remembered through nature.

El Padre Sin Cabeza

Nationality: American/Salvadoran
Age: 18
Occupation: Student
Residence: San Diego, CA
Language: English/Spanish

TEXT: “My mom was raised in Suchitoto, a municipality in El Salvador, and when we visited her side of the family, she pointed out a church, Iglesia Santa Lucia, and said, ‘That’s where they say El Padre Sin Cabeza walks at night.’ She told me the story of a priest who was punished for a sin long ago, and now he roams the town at night, headless, searching for peace. She said people hear church bells ring late at night, even when no one is making them ring. My cousins and I were always too scared to go near the church, even my older cousins didn’t want to explore the streets at night, since we were all scared of the legend. It seems like in our religious family, it wasn’t about seeing him but about what happens when you break your word or lose your way.”

CONTEXT: This memorate was shared by the informant, E, during a conversation about legends from his home country. E shared this story that his mother told him, rooted in the Salvadoran legend of El Padre Sin Cabeza, which is a very well-known legend that is passed down across generations, especially in smaller towns. Though the story did not involve a direct encounter with the legend, the legend shows how oral traditions and folklore are preserved and shared in different ways within families, especially in religious or culturally prevalent settings.

ANALYSIS: This is an example of how legends are passed down through family and tied to real places. While the intention of the story is kept the same, the interpretation changes as new people hear it and as it gets passed down through generations. In El Salvador, the tale of El Padre Sin Cabeza is well known, especially in smaller towns, but instead of telling it as a scary story, E’s mom shared it as part of their visits to her hometown, which gave the story a more meaningful interpretation. Even without seeing anything strange, the story shaped how E and his cousins behaved, avoiding the church and the streets and night, showing how legends can influence, not just through belief, but through family and memory.