Mula Sin Cabeza, Brazilian Headless Horse

Text:

M: umm , oh another one is the, ah, mula sin cabeza. This is actual like folklore that umm basically is the…  mula sin cabeza its a type of horse without their head, that’s the name

Me: ok

m :  umm

Me: is it mula sin cabeza?

M: yeah, aaand what happened is it’s a creature that is created or born or whatever, when a woman sleeps with a priest. Which your no supposed to cause like a priest is like 

 Cannot have sex and bla bla bla. But, if you do, the woman becomes that horse 

O: what!?

M: yes..

O: that is so anti-woman.

I laugh

M: well, whatever, it’s, it is what it is

Me: maybe society is anti-woman

M: yeah

O: oh m goodness society

M laughs

M: and then so she would 

[I laugh because o realizes that I’m recording and leaves]

M: she would like walk around at night, cause you know the mystic anything will transform at night

[O leaves closing door]

M: and so, and the way she is, imagine like a horse without a head, and on the place the head was supposed to be its just flames

Me: yo, thats metal

M: right, it’s literally that! It like a horse without its head and in its place fire. What else we have…

Me: wait wait, what does the horse do?

M: just haunt the city

Me: the whole city.

M: yeah cause, like it would like walk around us when it was.. And don’t have a head. And it was like a punishment for like sleeping with the priest. Cause you’re not supposed to sleep with the priest

Me: that’s your take on it? You’re not supposed to sleep with a priest

M: yeah basically. In conclusion, do not sleep with priests

I laugh

M: so fleabag would not have survived Brazilian culture

ME: you’re right

Context:

The informant, M, is a 19-year-old USC international student from Brazil. She delivered this piece in the workroom of a campus center before class alongside other pieces in order to share some personal and Brazilian folklore. She learned about this legend growing up in Brazil.

O is a mutual friend of the informant and me, they briefly walked into the workroom and commented on the legend, before realizing I was recording and leaving.

Analysis:

As M said “You’re not supposed to sleep with the priest.” this legend clearly indicates the cultural value of not sleeping with priests.

To me (as partially stated in the text) transforming the woman who slept with the priest rather than the priest indicates blame on women for the sex rather than priests/men. This would indicate a larger cultural understanding that having sex with a priest is wrong, not a priest having sex. This could relate to western christian notions of purity culture that blame women for the loss of virginity and other sexual acts.

The specifics of M’s speech also indicate that mystic transformations are thought to more commonly happen at night,

Loira do Banheiro, The Brazilian Bloody Mary

Text:

Me: ok, we’re recording

M: Oh okay great. Let’s start with the Brazilian version of Bloody Mary. So we call her the blonde woman. It’s a legend, like of course, as every child would when I was in school and I was like elementary school, of course, the children were like ‘oh yeah! Its a legend, but it actually happened here in this school. Umm it’s basically a story that she was a girl she was blond she’s in school bullied. And she went to the bathroom to cry, and then she slipped, hit her head, and died

Me: oh my god

M: and there’s a specific stall that it happened in. In my school it was the bigger one for accessibility. after that I never went to that bathroom again by the way. Cause I was, I was like ‘i don’t believe in it’ but still like ‘Yeah I’m gonna use the other one.’ umm, and to summon her you had to like throw like a one piece of hair. And then..

Me: your hair?

M: yes

Me: Okay

M: on the toilet and then like flush three times, go to the mirror and say like. Uhh loira do banheiro, loira do banheiro, loira do banheiro. Which, loira do banheiro is blond from the bathroom. And then she would appear and kill you.

Me: obvi

M: yes. And then I remember I had a friend who like, my friends would go to the bathroom to try it, but that’s like– it would only work in the girls’ bathroom and there were two boys. So I don’t know how they were doing it!? Cause I never went with them cause I was like I’m not doing that. But yeah. Dunno what they were doin’, but yeah whatever we were kids so it’s umm

Me: what’s your take on what that means? Like what’s the meaning, what’s the story?

M: ummm I don’t know. I think it’s, probably for either just– it’s just a scary story the children told each other or maybe to make them behave when like between going to the bathroom and going back to class. But yeah, I think that it’s just a scary story that kids created.

Me: alright

Context:

The informant, M, is a 19-year-old USC international student from Brazil. She delivered this piece in the workroom of a campus center before class alongside other pieces in order to share some personal and Brazilian folklore. She learned about this legend growing up in Brazil.

The informant suggests that the legend is either “just a scary story the children told each other” or something adults said to make kids behave in bathrooms.

Analysis:

M says that this is a Brazilian version of Bloody Mary. Indeed the two figures share much: They each appear in girls’ bathrooms. they both are summoned by some action and three repetitions of their name. both kill their summoner. And both fall into that space of legend where people will say they don’t believe, but then avoid the thing/action/place anyway.

Because of this association with Bloody Mary, this legend may also be related to the fear of menstruation (as other scholars have drawn the connection with Bloody Mary). This seems believable because both stories are set in bathrooms and are most popular among young girls, but I hesitate because of the Loira do Banheiro lack of blood references. Instead, there is the focus on hair: you put a piece of hair in the toilet to summon her, and her name-worthy trait is her blond hair.

There is also the moral included that you should not bully someone because they might die and haunt a bathroom killing children.

Saciperere, Brazilian Trickster

Text:

M: Oh we have the umm sasi, saciperere.

Me: sasipere?

M: yes, he’s a guy with only one leg

Me: okay

M: he has a a red cap. Well like kinda, kinda like a beanie, kinda like a cap. And he would like [coughs] sorry, umm, im kinda sick

M: don’t worry about it

M: he would like walk around, and he was more of a prankster. So he would like, if you were building stuff he would like– if you had like a plant, he would steal some of it, so he could eat. Like for him to eat, he would steal some of the crops. Anf he would like, I dunno, let’s say he would like tangle the horses like hair. He would like tangle it so you’d have to like brush it. He would like, if you left, let’s say you baked a cake and left it on the, he would steal the cake. Just liek stuff like that. He was more of a prankster. And then there was a thing that if you stole his cap he had to do whatever you make him do. And there was a whole thing that you could capture him. That if like you pick a bottle with a cork, and then you draw a cross on it, and then– uh I don’t remember the whole process– but I know you had to do that so could capture him, put him in the bottle. So if you want like him to go away.

Me: wait, whats his deal? Like, why is he like that?

M:its just a prankster

Me: just a prankster!

M: like you know harry potter, you know how there was like the poltergeist, that was just like pranking everyone in the hallways. 

Me: just like a mischievous spirit or somethin’

M: yeah, a mischievous spirit

Me: cool

M: yeah, and he was jumping on one leg so he.. And he, that’s the thing, he did, when he was walking around like long distances, he would create a small tornado thing. So I think that’s how people explained like those, those, sometimes we have those small vortexes. I think that’s how people explained it. It was him.

M: cool

Context:

The informant, M, is a 19-year-old USC international student from Brazil. She delivered this piece in the workroom of a campus center before class alongside other pieces in order to share some personal and Brazilian folklore. She learned about this legend growing up in Brazil.

Analysis:

Trickster figures are very common worldwide. Saiperere fits this trickster model quite well, being a bit odd and performing traditional trickster activities: stealing cakes, and tangling horses’ manes. A specific of his unusualness, his single leg, indicates to me that limb differences are seen as funny or associated with untrustworthiness and trickery.

the idea that you might be able to trap Saiperere with a bottle bearing a cross is also interesting. the cross being relevant demonstrates the relevance of Christianity in this culture. And also the belief that the Christian god can control and contain malevolent spirits. Because of the cross being able to control him, Saiperere might also be thought of as a demon or devil.

Curupira, Brazilian Protector of the Forest

Text:

M: we have a creature called Curupira. Which is a guy that his feet are on the opposite side. Like if you’re walking like this [forward walking] the feet are like this [facing backwards].

Me: oh, they’re like reversed? Like backwards?

M: yes, and he’ll walk like forward normally, but then his footprints would seem like he was walking the other way

Me: are his knees the right way?

M: umm I

Me: is that too niche of a question?

M: I think its the opposite like he would walk like, you know those birds that like flex the other way

Me: yeah

M: yes!

Me: Okay so he did have backwards knees

M: yes. And the whole thing is like he did that because he was the protector of the forest. So he would go after the people that were like cutting trees and stuff like that. He was the defender of the forest. And his feet were like that so when people would go after him, they would think he was going the opposite way.

Me: ahhhhh [realisation]

M: and that’s why his feet are like that

Me: and he was just like shaped like a guy?

M: shaped like a guy.

Me shaped like a guy

M: oh, did he have fire in his head? He might have fire as hair

Me: respectable

M: yeah, we like fire apparently

Me: what’s your take on that? whats your analysis? if you will

M: this is very much like indigenous folklore. So it’s very mu— probably like it, cause indigenous cultures were very like in touch with nature and like giving and receiving. And they had a big problem with like when Europeans came they were. The first thing that started to take in brazil was the trees. The tree that was called ‘Brazil stick’, that’s why they gave the name to the land for as Brazil. Cause of the tree they were taking.

Me: oh I had no idea

M: yeah, ’cause they used to make red ink from it. And so that was like the tale they used to tell, so like: do not mess with nature, it will mess back!

ME: and he would, and he would kill them?

M: yes

Me: he would kill the loggers, okay

M: yes, he will 

Context:

The informant, M, is a 19-year-old USC international student from Brazil. She delivered this piece in the workroom of a campus center before class alongside other pieces in order to share some personal and Brazilian folklore. She learned about this legend growing up in Brazil.

M says that this legend originates in indigenous Brazilian culture.

Analysis:

This figure and legend, Curupira, does feel very indigenous. As a “protector of the forest” figure who hunts and kills people destroying forests, Curupira’s values align well with the values of protecting nature and the forest (commonly held indigenous values). Curupira’s connection would also be an indicator of these pro-nature values in the people who share his story.

Campfire Bear Song

Text:

[The whole song is sung as a call and response. A line will be sung by the leader and then repeated by all present. After four unique lines, those lines will be repeated together by everyone to a different melody. To streamline reading I’ve not written the whole of the song like this. For the first ‘verse’ I’ve bolded the lines the leader sings alone and italicized the repeated section sung together. The rest of the song is written without this formatting, but when sung it is repeated in this way]

“The other day

The other day

I saw a bear

I saw a bear

A great big bear

A great big bear

Oh way up there

Oh way up there

The other day

I saw a bear

A great big bear

Oh way up there“

“He looked at me

I looked at him

He sized up me

I sized up him

He said to me

Why don’t you run

I see you aint

Got any gun

I said to him

That’s a good idea

So come on feet

Lets up and flee

And so I ran

Away from there

And right behind

Me was that bear

Now up ahead

There was a tree

A great big tree

Oh glory be

The lowest branch

Was ten feet up

I had to jump

And trust my luck

And so I jumped

Into the air

But I missed that branch

Oh way up there

Now don’t you fret

And don’t you frown

CauseI caught that branch

On the way back down

That’s all there is 

There ain’t no more

Unless I meet 

That bear once more

The end the end

The end the end

The end the end

The end the end

ME: where did you learn this song

P: I learned it growing up camping in Illinois

A: I learned it from my dad

F: I learned it from my dad too, in our backyard when we sat around a campfire and sang songs. 

A: yes indeed

ME: any personal analysis or thought on it?

P: it’s a campfire song for sure

A: It’s about a bear

F: and running away from said bear

P: and getting everybody to sing along around a campfire cause that’s good times

A: and questioning why he missed the branch and then didn’t miss the branch 

F: yeah he’s a good jumper 

A: yeah, he’s a really good jumper

P: Did ya ever think he was gonna get eaten by the bear?

A: I don’t know, I just remember knowing the song

F: as a kid: yeah

A: I just remember knowin’ it

F: what?

A: that’s it

ME: okay I’m gonna end the recording”

The following link leads to a recording of this performance: https://drive.google.com/file/d/1p7GPZLqfs9hA5d5ZCgvwC448XQJtGZr-/view?usp=sharing

Context:

The informants are my father (P) and sisters (A and F). All of us have gone camping together many times. All of us have gone camping during our childhoods. We all grew up in Illinois. Campfire stories and songs are common in the midwestern United States. Growing up my family would frequently sing them around fires in our backyard and when camping away from home.

P learned this piece while “growing up camping in Illinois.” A and F learned this song from P.

The song/tale is usually performed around a campfire, outside. It is also usually sung alongside other campfire songs and stories.

This performance took place in our living room, because I asked for it for my class collection project.

Analysis:

This song while maybe not obvious, is also a tale. the story is told from a first-person perspective, but it is not believed to be a true story. Additionally, the tree and woods this takes place in/near are not said to be any real location.

This tale references a bear attack; bears do not live wild in Illinois. This discrepancy would indicate that this story originated elsewhere, or that the trope of bear attacks while camping is very very common in this culture.

This tale also indicates a common fear of bears. And, the common ways of dealing with bears: guns/shoot them or run.

As P said this song is also popular because it is good at “getting everybody to sing along around a campfire cause that’s good times.” The call-and-response style of telling makes this tale easy to participate in and engage with. This would make it popular in an intimate setting like around a campfire.