Tag Archives: Narrative

Cardiff Giant

Age: 50

Date of Performance: 3/31/2025

Language: English

Nationality: American

Occupation: Financial Advisor

Primary Language: English

Residence: United States

  1. Text

The informant is a financial advisor and father. He referenced a legend about the “Cardiff Giant” near where he grew up. He told a story about how the remains of a 10-foot-tall man were seemingly discovered by two men digging on a farm. It turns out the remains were a hoax by a scam artist, who was inspired by the idea of giants in the bible. He constructed a stone man and buried it in an area of much religious fervor. When the giant was uncovered, it became a legend about stone people that had used to live in the area, inspired by a local native tribes’ understanding of humans.

2. Context

“This one didn’t scare me but I was always interested in it. Each fall, my family would go apple picking in that area and I was always asking my dad about the giant. I found it interesting that someone would go through that length to create a hoax once I found out the giant wasn’t real.”

3. Analysis

This legend is a testament to the power of ‘belief’ in human nature, a concept we talked about in class. Legends go in hand often with what people believe– this legend represents a creator of the legend taking advantage of the human obsession with spectacle, and the desire to be engaged with anything out of the ordinary or seemingly obsurd.

This legend could be classified as a historical legend, a story about the history of a giant and its attachment to native tribes that has not been accepted as true, but is set in the real world. Through the practice of ostension, in this case, the two men digging up the giant, the legend became “true” in a way, and real to the community it involved.

For the informant, it was simply a playful legend, a chance to poke fun at the environment he was in and engage further with his community. This is representative of how legends are very social, and often a part of peer groups. It allowed the informant to socialize with his family and have a deeper understanding of his community.

Chinese New Year – Folk Origin Myth

Nationality: Chinese and American
Age: 20
Occupation: USC Student
Residence: Los Angeles, CA

Context:

My informant is from China. In China they celebrate Chinese New Year, otherwise known as Lunar New Year, which is the most important traditional holiday in their culture. Lunar New Year, marking the start of the lunar calendar year, is said to symbolize a fresh start and the opportunity to leave bad luck behind and welcome what the new year has to offer. The lunar calendar follows the moon’s monthly cycles and is about 354 days, making a leap month necessary to stay in line with the seasons. Lunar New Year is widely celebrated in many other East and Southeast Asian countries. Its significance lies in the blending of ancient traditions with modern day practices.

Conversation pulled from audio:
Informant:

“This is like a Chinese New Year’s story, basically. Like why you have to put like you have to have fireworks and like you have to put up like red stuff or wear red on Chinese New Year’s. It’s because like basically there was like a town in the past that was like always like attacked by like I was like tormented, I guess, whatever, like by a monster that lived in the mountains and it would come down once a year to like eat people. And basically like they realized that like by setting bamboo on fire, it causes like a bang, like a really like loud popping and like banging sound. And like the monster would be like scared of the sound. And then they also realized that like the monster was like scared of red because it’s like really it’s like looks like fire, right? And then so, but this is really out of order, but you guys can Polish it.

{ 1:01 }
And so like they did these things and then the monster would like stay away. And like when it did come down, it would like run away. So yeah.

Me: { 1:10 }
The red scared it off?

Informant: { 1:14 }
The red and then the firecrackers because it’s like when you set the bamboo on fire, it like kind of sounds like a firecracker.

Me: { 1:19 }
A ritual. Gotcha. I like that. That’s awesome. Thank you so much.”

Analysis:

Is this story true? Who knows. That’s what makes it a folk myth. Does it even matter if it’s true? I don’t think so. I find it interesting nonetheless. The fact that my informant was told this story as a child as the origin of Chinese New Year is all that matters. That’s what makes it folklore because this story has been pasted down by the folk, true or not.

What I find interesting is it’s explanations for why people wear red and light firecrackers during this holiday. The monster, symbolic or not, is scared away by the color red and the lighting of firecrackers because it’s scared of fire. Is this symbolic? I think so. I think it could represent bad luck, chaos, hardship, or winter and with the new year you celebrate to ward these things off. Often in folklore monsters are used to represent natural or social fears. This monster could also represent the warding off of doubts about the new year and struggles like famine and fear of invasion from the closing year.

Myth: Anansi Story from a Coworker

Context:

Informant S is a 25 year old graduate student in the film production department of USC SCA and is the collector’s coworker. S is from New Jersey, and their family is from the Virgin Islands. S has “heard various Anansi stories within [their] family. This one [they] remember partially reading it for a project [they] were doing in a class but it also was within the realm of the ones [they] heard growing up [they] just couldn’t fully remember it so [they] just found one.” The informant has studied folklore for their own personal interest in it and employed it in their own filmmaking.

Text:

Informant: “Anansi is essentially like an African diaspora. It’s a spider, like a trickster-spider, and it’s everywhere in the Caribbean, it’s in the whole diaspora. And there’s one Anansi story I sort of remember where he’s hungry and he wants dinner. So he keeps getting himself invited to, like, dinner parties and pretending there’s a bunch of people and then he steals the host’s dinner and just, like, leaves. I think he killed one of them at one point. But it’s all these different like creatures of the forest I think, there’s a fox, a wolf, and a crow I believe? And then eventually he keeps coming home, eating all the food he stole, and not bringing any back for his wife and kids. So, I think his wife rats him out and then there’s like a fake dinner party made to get him and he eats so much food he can’t move anymore. And then all the people he stole the food from capture him and basically tie him up and leave him tied against a tree. And then he eats the rope and escapes. That’s not… that’s the gist of it, I can remember.”

Collector: “Like that’s how it ends?”

Informant: “Something like that. They usually have kind of dark endings but the… essentially Anansi is supposed to teach you […] lessons about why not to trick people and be greedy and selfish and a bunch of stuff. […] Anansi itself is like a… almost universal… one of the few universal diasporic concepts. There’s a whole bunch of them, that’s just one I remember.”

Interpretation:

I was lucky enough to find an informant for this collection entry that was familiar with concepts of folklore itself. S mentioned that their interest in the African diaspora is rooted in their own personal background, connecting them to heritage or family as we’ve discussed in class. It seems like this kind of interest in cultural folklore is common among the children and grandchildren of immigrants in America. S’ story reminds me of the concept of “universal archetype” – though that theory has been disproved, I can see why some folklorists have considered it. The concept of a trickster god, while not archetypal, appears in a number of folklores – notably in Indigenous American folklore, according to Lévi-Strauss’ work in structuralism. Anansi, like Lévi-Strauss’ examples, acts on instincts that are pretty reminiscent of human flaws, and is connected with a specific type of animal – a spider. Though S believes the story is to teach people not to mess with trickster gods, I believe it has to do with human flaw such as greed and gluttony as well. What’s more, I think it’s interesting that the informant specifically mentioned what they believe the story is supposed to teach, and has a pretty clear understanding of this story as a myth.

The Princess and the Pea

Text:

BR: A young price is becoming of marrying age and his mother is eagerly trying to find a suitable princess for him to wed. She doesn’t think that anyone in the kingdom is a “true” princess, and tells him that he must wait for the right person to come along. One night, there is a terrible storm and a traveling girl seeks shelter in the castle. The prince immediately takes interest in her, but his mother judges her wet, ragged clothes and tells him that she is certainly not worthy. To prove it, the mother makes a bed of 10 mattresses and puts a single pea under the bottom mattress. She claims that only a real princess would be able to feel the pea through all of the mattresses. Much to her surprise, the princess tells her that the bed was too uncomfortable and she could hardly sleep. The girl was a true princess after all, and she and the prince lived happily ever after. The moral of the story is to never judge a book by its cover.

Context: 

BR: I first heard this story from my parents as a bedtime story. My sisters and I all listened together and learned that it is important to not judge people on their appearance. I think this message is important for people to know and this story is a good way to teach it to children.

Analysis:

When asked about myths and tales they know, shockingly few people think of bedtime stories they were told as children. This story in particular is a fairy tale from Hans Christian Anderson written in the 1800s. Anderson was a Danish storyteller, yet BR has no Danish roots, indicating the story has become more commonplace. Similarly to Aesop’s Fables, Anderson’s works often feature a concise moral. They differ however, in that all of the characters are human and behave as humans would.

Hanuman and the Mountain

Text:

NS: In the Ramayana, Lakshmana is poisoned in battle so his brother Rama tasks Hanuman with finding an herb that will save his brother’s life because Hanuman is the fastest of all the soldiers. The herb can only be found on a specific mountain that’s very far away, and Hanuman is scared he won’t be able to find the herb and bring it back in time because he isn’t sure what it looks like. As a solution, he carries back the entire mountain to Rama on the tip of his pinky finger. 

Context: 

NS: Growing up, my parents told me tales from Hindu mythology; the tale of Hanuman and the mountain in particular was supposed to emphasize how devoted Hanuman was to Rama, an incarnation of the god Vishnu. This was in part to inspire that same devotion to Hinduism in me and my brother, but was also their way of telling us to stop being lazy (“if Hanuman could carry the whole mountain on the tip of his finger, you can do xyz!”).

Analysis:

I admittedly am not terribly familiar with Hindu mythology, but from this conversation it seems to be full of stories similar to this. Religious myths are often used as a way to understand the world and inspire faith in people. The Bible and in particular the Old Testament is famously a collection of such stories, designed to teach morals and the value in following the teachings of God. As a polytheistic religion, Hinduism splits those teachings into the acts and stories of service to varying gods in the pantheon, but they serve the same purpose.