Tag Archives: children’s folklore

Childhood Rebus/Drawing Game: A Story that Makes a Puppy

Text/Transcript: While drawing out the featured image, the informant said this: “There once was a man with no arms. And then he was attacked by bees. And so, to escape the bees, he jumped into a pond. But he had so many stings that he didn’t know what to do, so he ran to the police department, but they didn’t help him, because they can’t help with bee stings. And then he went to the fire department, but they couldn’t help him, cause they don’t help with bee stings. And so they told him to go to the hospital, so he ran all the way across town to the hospital and they put two little bandaids on his bee stings. And then you have a puppy.”

Context: G is a 20 year old USC junior majoring in theater. They are from North Carolina and have been living in Los Angeles for three years. 

G remembers this rebus of sorts from childhood. It’s a simple visual story told while drawing. The ‘puzzle’ begins with an armless stick figure (the nose and mouth), then adding dots as the bee stings (whiskers), the circle as the pond (face), more circles as the police + fire departments (the eyes), a large circle as the hospital (the head), and finally ovals on the sides as the bandaids (the ears). G notes that she is not sure the ears were originally bandaids, and that she improvised that bit. They also added the body for fun – it’s not part of the original rebus.

G remembers being taught this by a classmate at some point in grade school.

Interpretation: Amusement is valued and simplistic in grade school. I think of this folk drawing as something children will do to entertain themselves; to make each other laugh. This pseudo-rebus, in particular, is reminiscent of an elementary school experience either lacking technology or with minimal technology. In the early 2010s, when my informant was in grade school, technology had not entirely taken over learning spaces. It’s especially fitting that this was drawn on the back of her release form, as she mentioned remembering drawing it on the back of worksheets. This is a kind of folk drawing/speech that requires children to be a little clever and, although it looks different depending on the person drawing it, it is intended to look like a dog and is amusing to young children because of that. It’s purpose seems to be both amusement and relationship-building, as it’s something passed to a classmate (presumably a friend) to share in that amusement. There isn’t any intended cruelty to the receiving end of the puzzle, it’s something to enjoy together.

Children’s Expressions

A quote that one of my friends grew up with is, “You get what you get and you don’t get upset.” He talked about how when he was in kindergarten the quote, “was taught to us by our teacher.” He said that the quote existed for the fact that when the children in the class would get a prize that they didn’t want, they would just have to suck it up. What I find interesting about this quote is the fact that I learned it differently. When I was in kindergarten, the quote was, “You get what you get and you don’t throw a fit.” It’s funny because when I was discussing the etymology of the quote with another friend they also agreed with the first quote. This was a weird revelation for me because all of the people from where I grew up learned it the same way and the fact that someone, who only grew up a couple of hours up north from me, believed so adamantly that theirs was the ‘right’ version of the saying. It’s interesting to try to attribute a ‘right’ meaning to something like this. The main argument by my friend was the fact that his version rhymed and mine didn’t. At the end of the day, the correctness of the quote doesn’t matter as the phrase exists as a way for teachers to keep children’s expectations in place. It is a saying that children enjoy its simplicity and the fact that it is something told to them by their teacher, someone who they listen to and respect.

Jinx! You owe me a __

Text:

Jinx! You owe me a soda

Context: 

My information is from a childhood friend of mine. 

A friend of mine explains this phrase as something that would occur between two people, after saying the same thing at the same time. They mostly heard this phrase during elementary school, and they believe it is something that children mostly say rather than adults. They mention that “jinx” on its own is bad luck, therefore making saying “jinx” to possibly cancel it out.

My interpretation and Analysis:

This phrase above is folk speech and also a game that is not necessarily “started” by anyone in order to play, but rather something known and unspoken. In my interpretation it can also be seen as children’s folklore. Based on Jay Mechling’s writing, from Oring’s book on children’s folklore, they may often form games while hanging out or by being in school settings. Children tend to establish a person in power while playing games, and in this case whoever says “Jinx” first is a “winner”. Although I don’t necessarily think that the “loser” or the “jinxed” has to give the winner a soda. It seems more as satisfaction of winning a simple game instead of getting something in return. I interpret “you owe me a soda” as just a possible consequence that someone could add. I believe this because the simpler version of Jinx is not letting the loser talk for a while, which doesn’t require a physical prize and further emphasizes on the unspoken part of the game of Jinx. But overall, these different variations that could stem from “Jinx” seem to mostly rely on how fast you could say it.

Bloody Mary

Nationality: American
Age: 20
Occupation: Student
Residence: 3335 S Figueroa St. Los Angeles
Performance Date: 03/30/23
Primary Language: English

Text: “I don’t know, I think I was like eight or something and my brothers and sisters are older than me so they would try to scare me and stuff–so my brother was like ‘oh, I dare you to do this,’ and as a kid that’s whatever. And so I went into the bathroom, and usually the whole thing is like ‘oh say Bloody Mary three times and it’ll pop up.’ I did it, nothing happened, and then I wasn’t as scared of it after that. I guess it’s just a legend.”

Context: My informant, KB, relayed this experience to me during allotted class time to share folklore. She explained that she heard the legend from her siblings when she was about eight years old, an era in which she was especially prone to being manipulated by her older siblings. It does not appear that she thought too deeply into the legend of Bloody Mary itself, but was instead more occupied with the pressure of the dare. She harbored more fear for Bloody Mary before her experience in the mirror, and walked away as less of a believer, perhaps initiating her transition from target audience to active bearer. 

Analysis: I interpret this legend of Bloody Mary as a test of courage for youth–until you work up the courage to face Bloody Mary in the mirror and find out that it is not real, you have not come of the age to actively bear the folklore and scare the next generation. Thus I view it as a rite of passage and bit of children’s folklore, passed down by older children to younger children in a practical joke format as a means of initiation (van Gennep). Within this scope, I believe my informant relayed a classic experience of youth in which she bore the burden of being a younger child in an older group and was forced to take a risk in order to obtain something the group desired, in this case knowledge. Ultimately, legends offer insights to how a certain group views the world–I see KB’s experience with this legend as an expression of her childhood, in which legends such as Bloody Mary can easily generate fear and are often forced upon the powerless or youngest in the group to explore. Her experience also connects to a child’s inexperience with the physical world, which could result in false beliefs about the feasibility of something like Bloody Mary being real. Further, paralleling Oring’s take on children’s folklore, the legend and its associated actions reflect the childhood urge to explore the forbidden, occult, or taboo, especially in rebellious sentiment. KB’s experience features this drive as well as the power dynamics of young children. 

The woman in the window

Text (urban legend): 

“There was said to be a book called “The Woman in the Window” and if you opened it the woman in the window would alway be watching you in a window.”

Context: 

A is my little sister who is 9 years old. She is in the fourth grade and loves to read. She recalls this story being shared around school by classmates of hers.”

Q: “Do you only need to open the book for this to happen?”

A: “No, if you open the book and read the pages out loud, then the woman will haunt you.”

Q: “Where did you hear about this book?”

A: “I heard it from one of my friends at school. We don’t know if the book is real or not (quietly)…”

Q: “What does the woman look like?”

A: “I have never seen her but my friend says she has long black hair and wears a white dress.”

Analysis: 

The text is an urban legend as its truth value is unknown and it was shared between two people who both belief it to be true. The fact that the truth value is unknown likely plays a role in the nature of my informant. She heard it from another classmate in primary school and I find that children’s folklore is more likely to be based on fiction rather than actuality or fantasy versus reality. As the story was told and shared between two children, I also view this as a cautionary tale in a sense that the narrative cautions readers to be wary of what they read and a general warning against the unknown as my informant didn’t know if this book actually exists but she was fearful regardless as her voice tended to lower when speaking about the instance in which the woman in the window may appear. I also notice a connection or similarity between the woman in the window and the story of La Llorna such as the white dress, long black hair, and possible feelings of revenge fueling their actions. As described by Carbonell, a variation of the story of La Llorna involves her acting out of revenge on a lover that wronged her. In a male dominated society, I find this common that children’s horror folklore, specifically in young girls, is center around this notion of the volatility and frightening nature of women’s emotions. Ideas of male versus female distinctions in children’s folklore by Meechling also supports my ideas in interpreting this legend in terms of young girls where the stereotype is perpetuated that a female figure fueled by emotions is something of which to be afraid of.