Tag Archives: legend

The Wendigo (Anishinaabe/Algonquian Legend)

Title: The Wendigo (Anishinaabe/Algonquian Legend)

AGE: 18
Date_of_performance: May 1, 2025
Language: English
Nationality: Canadian
Occupation: Student
Primary Language: English
Residence: Toronto, Canada

Folklore Explanation:
“We learned about the Wendigo in high school—it came up in our Canadian literature and history classes. The story really stuck with me. It’s this creature from Anishinaabe and other Algonquian Indigenous traditions, and it represents hunger and greed taken to an extreme. The Wendigo is said to be a spirit that possesses people during harsh winters, especially when they’re starving. It turns them into monsters—cannibals, basically. Some versions say it used to be human and was cursed, others say it’s always been a spirit.

The teachers were careful about how they presented it—not just as a scary myth, but as something sacred that comes from a specific worldview. It was treated with respect. What really got to me was how it wasn’t just a horror story—it was also a warning. A moral. It shows what happens when you let desperation or selfishness take over. Some of the other kids thought it was just creepy, but I thought it was way deeper than that.”

Analysis:
The Wendigo is a powerful example of Indigenous spiritual and moral folklore, primarily found in Anishinaabe, Cree, and other Algonquian-speaking nations. It functions as both a mythological being and a cautionary symbol, representing excess, greed, and the breakdown of social and natural order. Stories of the Wendigo are traditionally transmitted orally, as part of sacred storytelling practices that blend spiritual knowledge, survival ethics, and moral education.

It is classified as narrative folklore, but also carries characteristics of belief folklore, particularly in the way it intersects with historical experiences of famine, colonial disruption, and environmental change. In contemporary Canadian society, Wendigo stories have also entered literary and pop culture, sometimes problematically removed from their original context. However, within Indigenous communities, the figure remains a respected and often feared presence—not merely a monster, but a reflection of imbalance between humans, nature, and spirit. Its continued telling reinforces cultural identity, ethical restraint, and intergenerational knowledge.

monkey king 孙悟空 (Sūn Wùkōng)

Title: 孙悟空 (Sūn Wùkōng / The Monkey King)

AGE: 54
Date_of_performance: May 1, 2025
Language: Mandarin Chinese
Nationality: Canadian
Occupation: Retail worker and teacher
Primary Language: English
Residence: Toronto, Canada (lived in Beijing, China for 20 years)

Folklore Explanation:
“The Monkey King was everywhere when you were growing up in Beijing. You couldn’t walk into a bookstore or turn on the TV without seeing some version of him. The classic Journey to the West was part of school curriculum, of course, but it wasn’t just that—there were cartoons, puppet shows, live-action remakes, even branded snacks with Sun Wukong on them. He’s clever, a bit of a troublemaker, but always brave. Kids loved him. You and your sister had picture books with him flying around on clouds, fighting demons, and transforming into animals.

One of the most surreal experiences was getting to visit the film set for one of the big-budget remakes. That was the 2015 version, the one with Fan Bingbing. My friend Li—she translated some of Ai Weiwei’s work—her husband, Cheang Pou-soi, directed it. She invited us out to the set one day. You probably don’t remember all the details, but it was massive. Elaborate costumes, green screens, big lighting rigs—it was a whole operation. Seeing this ancient story being brought to life with modern technology really showed how deeply rooted the Monkey King is in Chinese culture, but also how adaptable he is. He’s survived for centuries, and he keeps changing with the times.”

Analysis:
Sun Wukong, or the Monkey King, is a central figure in Chinese mythological and narrative folklore, best known from the 16th-century novel Journey to the West (西游记). His character draws from Daoist and Buddhist cosmology, embodying themes of rebellion, transformation, and eventual enlightenment. He is classified as a heroic trickster figure, blending moral lessons with comedic mischief, and has been used historically to explore tensions between individuality and authority.

The Monkey King’s story has been transmitted through oral storytelling, written epic, shadow puppetry, television, and cinema, making him one of the most recognized figures in Chinese folklore. His presence in modern media—especially through state-supported educational programming and commercial films like The Monkey King (2015)—shows the way traditional folklore evolves into mass-mediated folklore, reaching audiences across generations and geographies. In the context of childhood in early-2000s Beijing, Sun Wukong functioned both as a cultural icon and a moral exemplar—accessible through entertainment, but still rooted in complex spiritual and historical traditions.

Popocatépetl’s Smoke

Nationality: American/Mexican
Age: 19
Occupation: Student
Residence: West Covina, CA
Language: English/Spanish

TEXT: “When I was little, my Abuelita would point out the volcanoes in the city where she grew up, Puebla City, Mexico. She would tell me the story of two volcanoes, Popocatépetl and Iztaccíhuatl, the warrior and his sleeping princess.” She told me how the legend went, as they were once in love, but Iztaccíhuatl died before they could be together. In an attempt to honor her, Popocatépetl carried her to the mountains, and the gods turned them into volcanoes so they would be together forever. My abuelita believed that when Popocatépetl started smoking, it was him showing his love for the other mountain. The last time I was in Puebla, about 2 years ago, I looked up and the volcano was smoking.”

CONTEXT: This story is rooted in the traditional Mexican legend of Popocatépetl and Iztaccíhuatl, which is widely known in central Mexico, especially in and around Puebla. The legend has been passed down for generations and reflects indigenous beliefs about love, death, and the natural world. In the story, two volcanoes are said to be the transformed bodies of a warrior and a princess, symbolizing eternal love and loss. The narrator shares a personal memory of their abuelita recounting this tale during visits to Puebla City, tying folklore to family, place, and lived experience.

ANALYSIS: The narrative blends cultural tradition with personal memory, making the retelling more intimate and emotionally resonant. The grandmother serves as a cultural transmitter, passing on not just the legend but her interpretation—that the volcano’s smoke is an expression of love. This belief turns a natural phenomenon into a meaningful sign, demonstrating how folklore often helps people connect emotion and environment. The narrator’s final observation—seeing the volcano smoking years later—reaffirms the legend’s emotional power, suggesting that even in the face of loss, love can still be seen, felt, and remembered through nature.

Paul Bunyan

Nationality: American
Age: 55
Residence: Vacaville, CA
Language: English

Informant Analysis: I grew up in Iowa, but I remember always hearing stories about Paul Bunyan when I was a kid. We used to go up to Leech Lake in Minnesota for vacations, which is right next to Paul Bunyan State Forest, so his name was everywhere. I heard that there were 10,000 lakes in Minnesota, and the story went that Paul Bunyan and his big blue ox, Babe, made them all just by stomping around. There’s this huge statue of him in Bemidji, and I remember seeing it for the first time and thinking, “Oh wow, this must be real.” For a while, I actually believed it—that some giant lumberjack had made the lakes just walking through the woods.

My Analysis: The informant’s memory of Paul Bunyan shows how folklore can shape a sense of place and identity, especially in childhood. Growing up hearing the legend and visiting places like Leech Lake and Bemidji, she associated real landscapes with this larger-than-life figure. The fact that she believed it as a child shows how folklore isn’t just a story, it becomes a way of understanding the world, especially when it’s reinforced by tangible things like statues and place names. The tale of Paul Bunyan creating Minnesota’s lakes is very whimsical, but it offers a cultural explanation for the landscape and reflects the importance of logging and wilderness in the identity of that region.

Mt. Misery Road

Age – 17
Language – English
Nationality – American
Occupation – Student
Primary Language – English
Residence – New York

Text: “There is this road down the street where we live called Mt. Misery Road. I’m not sure what the exact story was but apparently there was a group of students killed there a long time ago and they’re supposed to haunt the road at night. It’s said on Halloween if you put your car in neutral they move your car, so we did it on Halloween and the car actually did move which scared me a lot.”

Context: The informant talks about a local road called Mt. Misery Road, which has its own legend near where she grew up. She doesn’t know all the details but mentions that a group of students were killed there, and their ghosts are said to haunt the road at night. They tested it out and when it worked she freaked out.

Analysis: This an example of how legends grow around a certain place. People tend to make up stories about roads or other spots in their area, based on real events. The idea of a haunted place is something that gives people a shared experience, and the Halloween setting just makes it spookier. The informant’s personal experience makes it feel more real, especially since the car actually moved. It’s also interesting how the name of the street symbolizes danger.