Tag Archives: child folklore

Aswang – Legend

Nationality: Filipino
Age: 51
Occupation: Software Engineer Directing Manager
Residence: Naperville, Illinois
Language: English

Text:

The Legend of the Aswang is a legend about a female-presenting vampire-like creature which feeds on young children and unborn children. In the daytime, it looks like a normal person (often ones neighbor), but in the night, it turns into a deceptive creature which is characterized by the approach and intensifying “tik tik tik” sound.

Context:

The performer heard about this tale as a young boy. Growing up in a poorer region of the Philippines he often heard the creaking and groaning of his floorboards. To scare him, his dad would tell him the story of the Aswang. Because of this, he learned to be scared of any “tik tik tik” sound as a young boy until he realized it was just a urban legend.

After moving to America, he passed this tradition of scaring young children with the simple “tik tik tik” sound by telling the story to his children and enjoying the terrifying/amusing experience of watching them scared of even the faucet dripping at night. Sometimes they would even cut up garlic to play into the tale as the children believed it would keep the vampiric creature away until they were old enough to know it wasn’t real.

Analysis:

The Aswang was a way to collectively scare younger generations as retelling of the story/generational fear was a tradition passed down. It brings Filipinos together through the collective fear of the scary stories adults would tell them growing up. If you belong to the Filipino “folk group”, you’d easily react to the “tik tik tik” sound because of how you were “trained” to be scared as a child. However, in the same way these tales scarred Filipino children, the fear is also proof that one is “truly” Filipino.
It’s also important to note that Aswang were known as looking like unassuming women which is reflective of Filipino values of being extremely vigilant as Aswang tales immediately painted the unassuming and seemingly innocent as potentially evil. The Philippines is a third world country where one could easily be taken advantage of, so the Aswang would serve as an early lesson for children to be careful and not trust strangers on the street in addition to being a fun story to scare the kids with.

The girl and her games. 

Nationality: African American

Primary Language: English

Other language(s): French

Age: 49

Occupation: Digital Marketing Consultant

Residence: Upstate, NY

Performance Date: 4/18/2025

Context: 

My informant, YD, is a family member of mine who lives in the Hudson Valley area of New York. YD has always been into music, YD’s was a fantastic singer, and music was their whole thing. Though I’d never really asked about their earliest exposure to music, not like on the radio, but more like a tall tale, something that had to be passed over, like musical performances by the campfire on a lonely night with a couple of friends. So, they told me this:

Text: 

“The earliest musical experience or song attached to a personal history are the various patty cake games I played as child on the playground, after school and during the summer with a group of adolescent girls. These are songs sung between two people while hand-clapping and hand-slapping in unison, and with rhythm. These were songs like ‘Miss Mary Mack,’ or ‘Down Down Baby.’ I learned them from other girls on the playground and females in my family. They were passed down through generations with slight lyrical and rhythmic variations. I know my mother and my grandmother had their own variations. 

Why this stands out and is important to me is because of the history and impact of generations of young girls being taught my mommies, aunties and sisters; these whimsical yet deep songs are fun and have little meaning as a child, but deeper meaning as you get older and realize the things you were sing about. The socialization of kids, the fantasy and awareness of hardship and evil intent. We were so carefree and blissful, yet the world around us was dangerous, sad and we were so vulnerable. 

Here’s one those song I remember:

‘…Down down baby, down by the roller coaster

Sweet sweet baby, I’ll never let you go

Shimmy shimmy cocoa pop, shimmy shimmy pow

Shimmy shimmy cocoa pop, shimmy shimmy pow

My momma said to pick the very best one….’”

Analysis: 

Yes, this entry is a great example of children’s folklore, particularly in the form of hand-clapping games, which are rich sites of cultural transmission, memory, and performance. And so, I assume I don’t have to explain much about songs like the ‘patty cake’ one, but, in my research, the songs like “Miss Mary Mack” and “Down Down Baby” have circulated across generations, especially among young girls, often passed down orally with slight lyrical and rhythmic changes depending on region, family, or even the moment. These rhymes, on the surface, seem playful and nonsensical, but as YD notes, they often contain deeper themes that only become clear with age, even something I grew up realizing from my personal experiences as well. I love the way YD reflects on these songs too, it’s exactly what makes these pieces of folklore so powerful. They function as socializing tools, helping children build rhythm, coordination, and friendships, while also encoding cultural knowledge in a form that’s accessible and repeatable. What hits hardest for me is the idea of inter-generational bonding, something the history behind these childhood games supports heavily. This makes YD’s personal memory not just nostalgic, but part of a larger cultural practice that links them to their ancestry and community. And I think that duality, innocence on the surface, depth underneath, is what makes playground folklore so endlessly fascinating.

Momotaro

AGE: 20   

DATE OF PERFORMANCE: 04/07/2025

LANGUAGE: English 

NATIONALITY: American 

OCCUPATION: Student 

PRIMARY LANGUAGE: English 

RESIDENCE: Cerritos, CA  

Interviewer: Are there any distinct folktales or myths that you grew up hearing about?

NB: “Tooth fairy…[continues to think]…Oh! Momotaro.”

Interviewer: Who is that? Could you tell me that story?

NB: “The little peach boy. I think it’s something like there were old grandparents who always wanted a kid but couldn’t have one. But one day they were blessed with a peach that came down the river stream who ended up being a baby boy so they ended up raising him.”

Interviewer: When did you hear this story?

NB: “I think when I was 6 or 7 years old.”

Interviewer: What do you think the tale is about? Any life lessons or moral stories you think it’s trying to accomplish?

NB: “Mmmm I’m not really sure. [thinks about it for a little] I think it’s about life blessings maybe?”

PERSONAL INTERPRETATION:

Again, this was yet another tale that I had never heard of, so I went online to do some light digging. This tale is about a hero named (quite literally, this is the translation) Peach Boy. This hero can be found in many Japanese tales, movies, books, etc., you name it. According to my basic online sources, he was the local hero of the Okayama Prefecture. In the version of the tale I found online, he was born from a giant peach found floating down a river by an old, childless woman. As he grew older, he became significantly stronger and eventually left his parents behind to fight demons alongside his friends a talking dog, monkey, and pheasant. In the version of the tale NB told me, there was no mention of his fighting demons, simply just that he was a blessing from the gods in the form of a peach. This tale creates many questions for me, such as: why was he born from a peach? What is the significance of the peach? Why did he go off to fight demons? It also just reminds me of more Asian folktales I have heard of that have really interesting or weird characters (often involving fruit or talking animals of some kind, actually) and that the moral of the story isn’t really quite evident. Sometimes stories are just told for entertainment purposes. Does that still count as a part of folklore if it doesn’t have any deeper meaning behind it?

‘El Cipitio’

Age: 48


Date of performance: 4/5/25


Language: Spanish


Nationality: Latino/a


Occupation: Caregiver


Primary Language: Spanish


Residence: United States

Text:

  • El Cipitio is a legendary character from Salvadoran folklore portrayed as a 8-10 year old boy with a large conical hat and a pot-belly.

Context:

  • ‘El Cipitio’s’ name is derived from the Salvadoran word for child, “cipote” translating‘El Cipitio’ to ‘The boy’. Cursed by the god Teotl, Cipitio was condemned to live eternity as a small boy with backwards feet. He is known to be a trickster, wandering into farmers fields, throwing pebbles at beautiful ladies, hiding in bushes to scare people, and eating ashes leftover in rural kitchens.

Growing up in the rural parts of El Salvador, my informant has heard various stories about the Cipitio. Considering their family always cooked in lumber fueled stoves, when ashes laid scattered the day after cooking, the fault would always lay to ‘El Cipitio.’ Or whenever foot prints would lead to no suspecting figure, it would be perceived as a trick from ‘El Cipitio’ and his backwards feet.

My informant interpreted these stories from ‘El Cipitio’ to explain some of the oddities of life, or some of the things children would do but would never explicitly take fault for.

Analysis:

I interpret ‘El Cipitio’ as a legendary character who is just meant to be an entertaining factor in life. Made to make light of some oddities and serve as a easy cop out for things we just aren’t able to explain. I find that he is made to represent childish wonder and all that makes up being a kid growing up. In term, I believe that he is meant to represent the literal sense of a child, a boy to be exact as he is described to do some of the ‘stereotypical’ actions of a boy at his age.

Children’s Folktale: Not Today, Maybe Tomorrow

Age: 20

Text

Once, there was a man who sold fish at a corner.
A man walked up and asked “Are these fish fresh?” and the man said “Not today, maybe tomorrow.”
A woman walked up and asked “Are these fish fresh?” and the man said “Not today, maybe tomorrow.”
A child walked up and asked “Are these fish fresh? and the man said “Not today, maybe tomorrow.”
A bird walked up and asked “Can I kill you?” and the man said “Not today, maybe tomorrow.”
And so, the next day, the bird walked up to the man and shot him.

Context

Learned from a friend of the informant at a summer camp when they were around 8-10 years old. Acts as a folktale and folk joke, where the punchline is simply to catch the listener off guard.

Analysis

Elementary-school children’s humor typically involves some kind of shock value. Death and murder, in particular, are usually the subject of these jokes as most children are unfamiliar with the realities of death, but aware that it is a taboo concept to discuss.

It is also possible that there is a moral element to this tale, or at least a second humorous element. The man who sells fish on the corner only ever speaks a single phrase to those who visit him, even seemingly ignoring or discounting the bird’s request to kill him. To a child, this could be a fictitious representation of a ‘boring adult’, wherein all attempts to gain the figure’s attention are refuted with a single, repetitive phrase.