Tag Archives: Trickster

The Tortoise and the Pepper Soup

Leave a reply

Story:

IJ: “Once upon a time, the animals in the forest decided to have a big feast. There was all kinds of food, but the main dish was pepper soup. Oh, that soup! It was so spicy that even the strongest animals couldn’t eat it without feeling it. But they all agreed on a game—whoever makes the sss sound while eating loses the game. You know, that sound when something is so hot that your tongue wants to cool down, and you say sss? Yes, that one.

Now, the Tortoise, he’s very smart, you know. He’s always looking for how to trick others. So, when the challenge started, everybody was eating, and the heat from the soup was too much! But nobody wanted to be the first to make the sss sound. Everyone tried to hold it in, even though their tongues were burning!

But then, the Tortoise, hmm, he’s clever, oh. He turned to them and said, “Remember, oh, nobody should sss!” And every time he said it, he would stretch out the sss sound and use it as his own opportunity to cool his tounge down, but nobody thought twice. They didn’t even realize that he was making the sound too! And so, one by one, the other animals couldn’t hold it anymore. They would make the sss sound, trying to cool their tongues down.

In the end, only Tortoise was left. He was the winner. And do you know what he did? He ate the whole pot of pepper soup by himself! All the other animals had lost because they didn’t think twice about what he was doing!”

Context:

This story was told to the informant by her teacher in school, as part of the oral traditions passed down in the Igbo community. The informant, now a mother, remembers the story vividly because it always made her laugh as a child, and she often retells it to her own children as a way of teaching them about cleverness and the importance of using their minds. In her family, it’s seen as a fun story but also one that reminds them to be mindful of trickery and to always be sharp.

My Interpretation:

This story really highlights the cleverness of the Tortoise, a character who appears often in Igbo folklore. The Tortoise is known for using his intelligence and wit to outsmart others, rather than relying on strength. In this tale, he doesn’t cheat; instead, he plays with the rules of the game. By repeatedly saying, “Nobody should sss,” he himself makes the sound while pretending to remind the others of the rule. The other animals, focused on the heat of the soup, don’t realize what he’s doing and end up losing.

What stands out to me is how this story emphasizes the value of cleverness and quick thinking. It shows that intelligence can be a powerful tool, sometimes even more effective than physical strength. The Tortoise, as a character, isn’t about tricking others maliciously, he simply knows how to navigate a situation with strategy. In Igbo culture, the Tortoise is often seen as a symbol of wisdom, and this story reinforces how using your mind can lead to success, even when others don’t see it coming.

Bourbon Street Tradition

Nationality: American
Age: 19
Occupation: Full-Time College Student
Residence: Los Angeles, CA
Language: English

I interviewed MW who is from New Orleans. Although born in Ohio, his family moved to New Orleans when he was 4 years old, and has lived there since.

M talked about Bourbon Street and the spirituality in New Orleans. He works at a bar on Bourbon Street and he always has to be careful. Along the street there are vendors that may tell you they can tell you your future if you tap his elbow. M emphasized that you’re never supposed to tap elbows as this induces destiny swapping. He doesn’t know the exact reason why it has to be the elbow, but he says it stems from voodoo, and that these vendors are out to get you if they sense you have “good” energy.

The folk belief that you can swap destinies is very apparent here. We see the role of the trickster at play in this situation. The power of the vendor on Bourbon Street is something that’s respected or feared. Even his everyday behavior seems to be shaped by this idea as he is cautious about running into people like that vendor. The fact that he also doesn’t know why the elbow is important indicates that he is following oral tradition without knowing where it comes from. He believes it and passes it on, something very natural in folklore.

Kachi Kachi Yama Folktale

Language: English

Text Transcription

“The basic story is there’s this tanuki racoon that causes trouble for this old couple, and one day the tanuki gets caught by the old man in his fields, and he ties the raccoon up and hangs him upside down in his house.

Then, while the old man is gone one day and the wife is cooking, the raccoon begs the wife to set him free and that he’ll help her (which she does). In the version I read as a kid, he obviously tricks her and (maybe) hits her. I think the most that happens is that the wife lays on the ground injured, but in the original, she’s killed. Also in the original, the raccoon transforms into the wife, cooks the wife, and serves the old man a soup with his wife’s flesh

So in my kids version the old man gets angry because the tanuki hit his wife and fled, but in the original I guess it’s way more violent since she’s killed and fed to him.

And so the old man begs this other animal, the rabbit (who’s a good friend) to get revenge/avenge his wife, and the Wikipedia article just vaguely lists that the rabbit pretended to befriend the tanuki but tortured him like by dropping a bee’s nest on him, “treating” it with “medicine” that actually burned the injury. Then (and this is where the title comes from) while the tanuki is carrying a pile of sticks on his back, setting fire on that pile of sticks but brushing off the sound of the burning by saying they’re nearing “kachi kachi yama” which is why they can hear burning, until it’s too late and it burns him.

In the version I read as a kid, I think the burning incident happens first, and then the rabbit “treats” the burn with the “medicine,” so there’s no other torture that i can recall like the bee’s nest.

And then the last part of the story is that the rabbit and the tanuki have a boat race (I can’t remember the reason). In the original, the rabbit carved his boat out of a tree while the tanuki made a boat out of mud (which would dissolve).

In my version, I think the rabbit built both boats, and I can’t recall if one was wood and the other was mud, but I think the rabbit tricks the tanuki into being like “oh this boat is too heavy,” or maybe instead he calls one sturdier? Either way he hints at one being worse or better and the tanuki takes whichever is better, but then the boat starts to fall apart in the race.

In the original, in the end, the tanuki dies from drowning (and I think in some version the rabbit strikes him to ensure he drowns), but in my version, the rabbit makes him swear to stop his deeds and then pulls him out, and the ending instead is that the tanuki befriends the rabbit and the couple for real this time.”

Context

This is a Japanese folktale the informant heard growing up. As a child, she heard the watered-down version of the story, where the wife is not killed by the tanuki and in the end they all learn to coexist. Later on, she learned that the original story is much darker, ending in not one but two deaths.

It isn’t unsurprising to see a story censored for a younger audience. We’ve seen it in western fairy tales too: Cinderella’s stepsisters get to keep their feet intact in Disney’s take on the story. But I think it’s interesting to note how this watered down completely changes, even reverses, the moral of the story. In the children’s version, the moral is a lesson in forgiveness and learning your lesson. In the original, it’s more akin to “what goes around comes around.” The old man doesn’t forgive the tanuki for its role in his wife’s death, and enacts his vengeance through his friend the rabbit. The different versions of this story are two sides of the same coin, and in trying to curate the story for a younger audience, the original message is seemingly abandoned.

One thing the informant noted is that tanuki’s are generally well-meaning, playful tricksters in the stories that feature. This is the only story they know of where the tanuki plays a villainous role. In censoring the original tale, the tanuki in this story has inadvertently become more similar to its counterparts in other stories.

“The Possum and the Wolf” -Choctaw Tale

  1. Text

The following tale, titled The Possum and the Wolf, was told to me by my grandmother, a member of the Choctaw Nation of Oklahoma. This was the first time I ever got to sit down with her and speak about the traditions of our ancestry. It is a traditional animal tale that reflects the trickster motif, which is common in Indigenous oral traditions.

The story follows two characters, named Possum and Wolf. In some versions, they are referred to as “the” possum and “the” wolf, whereas in my Grandma’s version, the breed of animal is also their name. In the story, Possum and Wolf are traveling together through the woods. Wolf is hungry and aggressive, while Possum is portrayed as clever and cautious. Eventually,  the two come across a persimmon tree, where Wolf is unable to reach the ripe fruit hanging from its upper branches. Possum, being clever, easily climbs the tree and begins eating. When Wolf asks for some, Possum deliberately throws down only the rotten fruit.

Frustrated, Wolf becomes increasingly upset, hostile, even. Wolf starts to yell. In response, Possum pretends to fall from the tree and plays dead on the ground. Believing Possum has died, Wolf approaches to eat him, but Possum suddenly jumps up and escapes with immense laughter, leaving Wolf startled and empty-handed. Wolf is left with nothing but the rotten persimmon. The story ends with Possum outsmarting his physically larger and stronger companion by relying on quick thinking and deception.

(TEXT) I am attaching a detailed quoted description of my grandmother’s telling:

“One time, long ago, Possum and Wolf were walking together in the woods. Wolf was hungry and mean, always looking for something to eat, and he’d never share. Possum, though, was clever. He knew how to stay out of trouble. So when Wolf said, ‘Let’s hunt together,’ Possum said sure.

They came to a persimmon tree full of ripe fruit, but the best ones were up high. Wolf jumped and snapped, but couldn’t get any. Possum had a trick in mind. He climbed right up and started eating. Wolf begged him to throw some down. Possum said, ‘Alright!’ and started tossing down the rotten ones. Wolf got mad, and started howling. Possum was quite amused. So Possum pretended to fall dead—rolled right off the branch and hit the ground like a rock.

Wolf thought Possum was dead and sniffed around to see if he could eat him. But right as he got close—BOOM—Possum jumped up and ran off laughing! Left Wolf with nothing but a rotten persimmon in his mouth.”

2. Context

This story was collected through an oral interview with my grandmother, Judy, who is an enrolled member of the Choctaw Nation of Oklahoma. Her family lived on the reservation, and she learned the story as a child from relatives who told it in everyday settings. She shared it with me many times while I was growing up, often during casual moments at home. The tale was always presented as a lighthearted story, but it carried implicit moral messages that were never explained outright—only understood through repetition and tone.

JW (my grandmother) considered this story to be part of a larger body of Choctaw oral tradition, though she told it in English. She believes that these “stories” carry meaning beyond their entertainment value—they were vessels for memory, culture, and survival. She saw the story as a way to pass along lessons about how to navigate life with awareness and strategy, especially in a world that doesn’t always reward strength or straightforwardness. Rather than explain the story’s moral directly, she allowed the tale to speak for itself. The tale is a coded message, encouraging one to think critically, remain adaptable, and value intellect over impulsiveness. Its repetition reinforces its relevance, embedding in one (me) a culturally grounded framework for resilience.

3. Interpretation

This narrative qualifies as a folk tale rooted in oral tradition. It is part of an intergenerational chain of storytelling within the Native American community to which I belong. Additionally, it connects to themes discussed in class, particularly the trickster tale—a subgenre of folk narrative in which cleverness triumphs over physical power.

The deeper significance of the tale lies in its moral structure and cultural values. Possum, the underdog figure, uses intelligence and performance (playing dead) to avoid danger and assert autonomy. The narrative suggests that wisdom, adaptability, and psychological insight are more valuable than brute strength. These values align with broader Indigenous philosophies, where social harmony, patience, and strategic thinking are emphasized over domination.

Wolf, who acts selfishly and impulsively, fails to achieve his goal, reinforcing the idea that aggressive behavior leads to isolation or defeat. In contrast, Possum’s nonviolent approach reflects a worldview in which survival comes through subtlety rather than confrontation.

On a personal level, this story is an important expression of cultural continuity. It connects me not only to my grandmother but to a larger Choctaw identity, one shaped by stories that contain embedded lessons. The continued telling of this tale—even in English, and in a modern context—demonstrates how folklore adapts while preserving core values and worldviews. Although the language, setting, and audience may shift over time, the story retains its cultural function as a means of transmitting Choctaw identity, ethical frameworks, and communal memory. Its survival in contemporary contexts speaks to the resilience of oral tradition and its ability to evolve without losing its essence. This adaptability is a hallmark of living folklore, reflecting how traditional narratives can remain relevant across generations by engaging with new environments while still grounding individuals in ancestral knowledge.

Date of performance: 4/01/25
Language: English
Nationality: Choctaw American
Occupation: Retired
Primary Language: English
Residence: Modesto, CA.

‘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.