Dokkaebi (도깨비) – Legend

Nationality: Korean
Age: 20
Occupation: Film & TV Production Major Student and University of Southern California
Residence: Orion Housing at the University of Southern California
Language: English

Text: 

Dokkaebi (도깨비) translates to Goblin from Korean to English.

Context: 

“There are these creatures popular in Korean media known as ‘goblins,’ which are mischievous creatures that are essentially fairies. There’s a very famous K-drama by the same title. They usually carry these big, magical clubs which can grant wishes, and they wear outfits that look as if you were to skin a tiger and wear its skin.”

The performer heard about this legend when he was 18 and read Omniscient Viewpoint, a manhwa popular among teenagers in 2023.  He later learned it was popular to use the “Goblin” trope in various types of Korean media, ranging from horror to kids’ shows. 

Analysis: 

Dokkaebi are supernatural beings recorded in Korean Literature since medieval Korea (about 918–1392). However, the oral folktelling of the trope has evolved and remains popular into modern times, often tied to people, places, events, or dreams. For example, older renditions of the Dokkaebi are traditionally adorned in animalistic tiger skin, but in modern retellings (such as with K-pop merchandise or the K-drama Goblin (Guardian: The Lonely and Great God)), the Dokkaebi are portrayed to be at the forefront of fashion trends. This is because in the past, a tiger skin would’ve symbolized wealth and power, but now, that symbol is replaced by expensive suits. Despite physical changes to accommodate the advancing Korean folk, Dokkaebi adhere to Korean values of ethics and morals.

Oftentimes, Dokkaebi figures take on the role of playing with a karmic law: punishing the bad and rewarding the good. They’re considered neither demon nor ghost, taking on a neutral presence within Korean folklore as a figure that teaches humans lessons. Because of this, they are often considered tricksters. They emphasize that good and mischief can coexist as there is a balance and order to the way life plays out. This balance is commonly seen within Korean culture as many subscribe to concepts from Confucianism, Taoism, Buddhism, and shamanism – all of which emphasize duality and harmony.

Dokkaebi plays well into Korean folk beliefs of shamanism and animism as Dokkaebi are often derived from nature and the spiritual imbuing of objects. In some tales of Dokkaebi, the Goblins arise from normal objects turned sacred (such as old brooms or keepsakes) which gain a spirit over time (animism). If the sacred objects were cast aside carelessly, this could result in the rise of a Dokkaebi.

Charro Negro

Text:

A man on a horse makes a deal with the devil to save him from his crippling debt. After he makes the deal, he manages to pay off his debts but dies. However, his soul still rides on a horse doing the devil’s bidding and offering greedy individuals gold in exchange for their souls.

Context:

The informant heard this story from his mother, who is from Puebla, a city in Mexico.

Analysis:

From what I heard, I believe the legend reflects Mexico’s values around morality, greed, and justice. Because it is said that El Charro Negro comes to those who are greedy or desperate and offers wealth in exchange for their souls, it can be interpreted as a warning against moral corruption–material gain without integrity will come with a heavy, often dangerous price. This makes sense, as the tale emerged during the colonial times and blends indigenous beliefs with Catholic influences, such as a pact with the devil.

Why Frogs Cry(Croak) in the Rain

Text:

Long ago, there lived a widowed frog mother and her son. Her son was notoriously mischievous and disobedient, often doing the opposite of what his mother told him. If his mother told him to come inside, he would stay outside and play longer. If she told him to go up, he would go down. If she told him to go to the hills, he would wander near the river, and so on and so forth. She loved her son very much, but his antics worried her so much she began to get sick. But even then, her son did not change. One day, when the mother frog knew she was going to die, she lay on her deathbed and called her son over. She wanted a proper burial on the mountainside, but knew that if she told her son, he would do the opposite. So she asked him to bury her next to the river. Sorrowfully, he promised. And when she died, her son mourned and blamed himself for her death, and decided to keep his last promise to his mother rather than go against her supposed wishes. So, even though he knew it wasn’t the proper way, he buried his mother next to the river instead of up in the mountains. But when it rained, the waters started to rise, and he prayed that it would not wash away his mother’s grave. But the rain did not stop, and the river overflowed, and indeed washed his mother’s grave away. The son sat in the rain and cried for his mother. And that is why frogs cry in the rain today.

Context:

The informant had heard this tale from her mother, as it is a traditional Korean folktale. She interprets it as a warning to obey your elders, especially your parents.

Analysis:

I, too, interpret this story as a warning to always listen to your parents and respect them. I see this as a broader reflection of Korean culture; historically, almost all aspects of Korean society have operated under strong Confucian influences and values, especially filial piety, obedience, and social harmony. In the story, because the frog disobeyed his mother constantly, he caused her early death, and furthermore caused himself personal distress as he watched her grave wash away. This is a consequence of his constant disregard of hierarchical family relationships(in Korea, elders are held in high esteem and have overarching authority in the family dynamic) that are central to Confucianism. Although this is a folktale to find the reason behind frogs crying–croaking–in the rain, this story seems moreso to be a cautionary tale rather than an etiological story.

Arirang

Text:

Arirang is a traditional Korean ballad that is thought to have originated from a folktale–the true origins, however, are unknown. The name of the ballad comes from a legend of a man and a woman who fell in love while picking flowers near a lake called Auraji(아우라지). The name “auraji” comes from the Korean word “eoureojida” (어우러지다) which loosely means “be in harmony” or “to meet”. The man and the woman lived on opposite sides of the Auraji, to longed to be united. In his yearning, the man attempts to cross the Auraji, but drowns. However, while he’s drowning, he sings the song Arirang to his lover in an attempt to console her.

Context:

The informant heard this song simply as she was growing up in Korea. During her childhood, Korea was going through an economic, social, and cultural crisis, and many people were still remembering the ghosts of the Korean War a few decades prior.

Analysis

Today, Arirang typically is seen as a song that represents the people’s wishes to reunite North and South Korea. The lyrics and melody carry the Korean concept of han(although this is a post-modern interpretation of the ballad, as han originates from colonial Korea in the 20th century), which is the concept of a collective feeling of sorrow or resentment, grief, and longing in the face of hardship. This is especially symbolic, as Korea has had a long history of political turmoil, and carries most recently the scars of Japanese colonialism, but still prioritizes unity and perseverance even with these challenges.

Because Arirang is a relatively old ballad–it’s thought to be at least 600 years old–I find it interesting that it is still relevant today, despite there being over a thousand different variations of it. It’s seen as a protest song, an unofficial anthem of resistance over (dictatorial) authority), but its lyrics tell a touching, mournful story. I personally see it as the people telling others that only by uniting and remember their past can they overcome hardship(this goes hand-in-hand to the idea that folklore helps with identity on a national level).

La Llorona

Text:

“Lla Lorona is a weeping ghost who can be found next to bodies of water, like lakes or rivers. She’s constantly crying because she can’t find her children who drowned years ago. If a child walks by the body of water she’s in, she’ll mistake them for her dead children and drag them into the body of water with her.”

Context:

The informant heard this story from their parents, as well as family members from Mexico, when they were a young child.

Analysis:

At its core, La Llorona seems to serves as both a moral warning and a cultural reflection: it reinforces traditional roles by portraying the ultimate punishment for failing in one’s duties as a mother, which is a theme that is shared between many cultures. However, this legend also symbolizes deeper historical and emotional wounds. One possible interpretation is that she represents the collective trauma of colonization—her cries echoing the pain of indigenous peoples who lost their families, land, and identity, serving as a metaphor for cultural loss. She is implied to be a woman of Latin heritage in a time of colonialism, where white men held all the power, and her tragic fate is directly tied to the racist system she existed in. Therefore, she represents the “bane” of an elite, white male demographic in a society where their power and influence finds its foundations in the oppression of those deemed “other”.