Kagome – Japanese Children’s Game

Nationality: American
Age: college age freshman
Occupation: student
Residence: Los Angeles
Primary Language: English

NC: There’s a Japanese game that children play called kagome, um…so it’s-it’s really similar to ring around a rosey in that…um…it was based on…experiments that people were doing, so Ring around the rosie is about um the disease the bubonic plague but um uh kagome is about experiments that people were doing um on the Japanese and they- they basically took children and they mutilated them I think that’s what it is. And um they would haunt people in the building like they would haunt the doctors and they would say um “kagome, kagome” and some other uh words and they would basically play that game in a circle and um that’s just like the ghost story behind that game.

 

Background:

Location of Story – Japan

Location of Performance – Dormitory room, Los Angeles, CA, night

 

Context: This performance took place in a group setting – about 2-3 people – in a college dormitory room. This performance was prompted by the call for stories about beliefs, ghosts, or superstitions as examples of folklore via a group message. NC approached me in person in response to the text and this is the second of two stories she presented. The first was about a monster who took the form of a beautiful, floating female head that had been decapitated and haunts a building. It was apparent that NC had just recently discovered this game because she was looking at her computer the whole time. 

 

Analysis: I think the comparison to “Ring Around the Rosey” is really effective here because it reinforces the idea that games or rhythm games are often counter-hegemonic and can critique a system under the guise of play. It is an indirect form of protest and also a way to be able to process the trauma of an experience such as this with humor and distance from the actual reality. On a different note, I really wished I would have NC where she discovered this game because I can understand stumbling upon a ghost story but not a traditional Japanese child’s game; I want to know where these are being documented online since she had her computer. 

 

Annotation: Upon further research, I discovered that the folk song element to this performance is actually much more essential to the folk game in other collected versions. For example, there is a documentation of this game in Highlights magazine for kids will additional information about how to perform the song. This version documents the chant as, “Can you guess? Can you guess? Who is right behind you? Could it be, possibly…” and then the participants would recite their names until “it says stop.” I could not identify what the “it” of this game is, but what is interesting to note here is that the word kogome is missing from this particular chant. This may very well because it is a translation, but for me, it demonstrates a lack of that historical context. The meaning is even more deeply hidden in the practice of the game. Additionally, Highlights includes the physical rules of the game, which involve being in a circle and blindfolded. See citation below for a PDF of the Highlights article.

 

Citation: Yasuda, Anita. “Kagome Kagome.” Highlights for Children, vol. 65, no. 10, 10, 2010, pp. 12. ProQuest, http://libproxy.usc.edu/login?url=https://search-proquest-com.libproxy1.usc.edu/docview/756206958?accountid=14749.

Krasue in South Asian Folklore

Nationality: American
Age: college age freshman
Occupation: student
Residence: Los Angeles
Primary Language: English

NC: So there’s this story about crossaway or crosu (Krasue) I don’t know exactly how to pronounce the name but in southeast asian folklore she is supposed to be a very beautiful woman and she’s only a head, so she’s a decapitated head and her entails are hanging out and she’s supposed to float around uh a building- a haunted building or something um she’s- I think she’s searching for something and she might also kill anyone who comes into the building. That’s all I’ve heard about it.

 

Background:

Location of Story – Southeast Asia

Location of Performance – Dormitory room, Los Angeles, CA, night

 

Context: This performance took place in a group setting – about 2-3 people – in a college dormitory room. This performance was prompted by the call for stories about beliefs, ghosts, or superstitions as examples of folklore via a group message. NC approached me in person in response to the text and had just discovered this creature herself. 

 

Analysis: Krasue is physically unlike any other “monster” or creature I have heard of before. I was particularly interested in the dichotomy between the woman’s beauty and the grotesqueness of her lower half. For me, this hints at a commentary about how women are viewed around the world globally: her head is attached but her body has been ripped apart by what exactly? If women often fall victim to objectification, then it makes sense that this lore would depict her “body” has being completely consumed by something else or at least lost to something or someone besides herself. Additionally, the fact that she is bound by a building, confirms the archetypical “domestic” woman, but the threat she poses to anyone else trying to reside in her household disrupts this stereotype and protects the space as her own.

El Cucuy – “Boogeyman” Creature in Mexican Folklore

Nationality: American
Age: 19
Occupation: Student
Residence: Los Angeles, CA/ Georgia
Primary Language: English
Language: Spanish

The Cucuy, I’m not really quite sure what it is, um, but, usually, uh, when like children are acting like- out of like the norm, like when they’re misbehaving uh parents will be like “oi, there comes the cucuy!” Like he’s gonna come eat you if you don’t stop being a bad person, um…and it’s sorta like similar to like the boogeyman like if you- if you put your child to sleep, and like they don’t go to sleep, you’ll be like the cuc- if you don’t close your eyes, the cucuy’s gonna come get you…so yeah.

 

Background:

Location of story – predominantly Mexico, according to informant

Location of Performance – Interviewer’s dormitory room, Los Angeles, CA, night

 

Context: This performance took place in a group setting – about 2-3 people – in a college dormitory room. This performance was prompted by the call for stories about beliefs, ghosts, or superstitions as examples of folklore via a group message. KF approached me two days prior to this interview, but schedules did not allow for a recording until she came to ask a homework and remembered. I am good friends with KF. This story followed two of KF’s previously about La Llorona and the devil appearing on people’s horses at night.

 

Analysis: This performance demonstrates the phenomenon of children being more inclined to follow instructions based on the threat of a supernatural creature or element rather than their own parents. Likewise, the parents utilize this tactic because the effect is so immediate. It is also interesting to note that the comparison to the boogeyman is drawn because I have only known the American version of that bedtime creature: bedtime and a fear of the dark seems to conjure similar fears and potential monsters across cultures.

Devil Sightings on Horse at Night – Mexico

Nationality: American
Age: 19
Occupation: Student
Residence: Los Angeles, CA/ Georgia
Primary Language: English
Language: Spanish

KF: People have tales of like because uh Mexico is like predominantly like Catholic um…people say that like they’ve seen the devil on like their horse- on his horse…like just like galloping like if you stay up really really late at night, you’ll see him like come through like the town or something.

 

Background:

Location of story – predominantly Mexico, according to informant

Location of Performance – Interviewer’s dormitory room, Los Angeles, CA, night

 

Context: This performance took place in a group setting – about 2-3 people – in a college dormitory room. This performance was prompted by the call for stories about beliefs, ghosts, or superstitions as examples of folklore via a group message. KF approached me two days prior to this interview, but schedules did not allow for a recording until she came to ask a homework and remembered. I am good friends with KF. This story followed one of KF’s previously about La Llorona.

 

Analysis: It is interesting to note that the devil only appears late at night. In Catholic tradition, one is always at risk to sin and the Devil, but for some reason, these monsters only seem to reveal themselves at night. In Mathias Clasen’s article “Monsters Evolve: A Biocultural Approach to Horror Stories,” Paul Shepard is quoted as saying, “our fear of monsters in the night probably has its origins far back in the evolution of our primate ancestors, whose tribes were pruned by horrors whose shadows continue to elicit our monkey screams in dark theaters” (Clasen 1). In other words, tradition has conditioned us to believe that the night brings about supernatural activity. This phenomenon can possibly be explained by a communal need to feel protected from evils, such as the Devil, by having times dedicated to explore and be free and then times dedicated to retreat and hide.

 

Additional Reading:

Clasen, Mathias. “Monsters Evolve: A Biocultural Approach to Horror Stories.” Review of General Psychology, vol. 16, no. 2, June 2012, pp. 222–229, doi:10.1037/a0027918.

Shepard, Paul. The others: How animals made us human. Island Press, 1997.

La Llorona Legend

Nationality: American
Age: 19
Occupation: student
Residence: Los Angeles, CA/ Georgia
Primary Language: English
Language: spanish

KF: Ok so, um, there’s this tale, or folklore, or urban legend- I’m not quite really sure what it is…um, where- I think they recently made a movie on it too. Uh, La Llorona is a woman who was married and she had children, but her husband ended up cheating on her or leaving her, and so she decided to get back at her husband she was gonna kill her kids, and um, she drowned them in like a nearby river or something and she ended up- I think she ended up committing suicide herself. And so then at night, she comes back uh crying, um, “my kids, my kids!” And So practically, it’s well known throughout like Mexico that like if you live near a river, and she like- you hear her say like “my kids, my kids,” you wanna hide your children cause she’ll like she’ll take them…um, and they’ll disappear forever or something like that.

 

Background:

Location of story – predominantly Mexico, according to informant

Location of Performance – Interviewer’s dormitory room, Los Angeles, CA, night

 

Context: This performance took place in a group setting – about 2-3 people – in a college dormitory room. This performance was prompted by the call for stories about beliefs, ghosts, or superstitions as examples of folklore via a group message. KF approached me two days prior to this interview, but schedules did not allow for a recording until she came to ask a homework and remembered. I am good friend’s with KF.

 

Analysis: La Llorona has extensive foundations in the conquistador era, and the lack of knowledge about the historical context demonstrates to me how extensively the legend has spread and varied amongst different communties. I have studied La Llorona before but never had I heard about the warning cry “my kids, my kids!” Therefore, this is one of the more impactful versions of La Llorona I have heard because it actually has a physical effect on the people who might believe they have heard the cry because they remove their kids from a physical space.

Annotation: Another recent version of this legend is the The Curse of La Llorona movie that was recently released.

Citation: Chaves, Michael, director. The Curse of La Llorona. New Line Cinema, Atomic Monster Productions, 2019.