Coco (folklore)

The Coco or Coca (also known as the Cucuy, Cuco, Cuca,

Cucu or Cucuí) is a mythical ghost-monster, equivalent to the
bogeyman, found in many Hispanic or Spanish speaking countries.
It can also be considered an Iberian version of a bugbear[1] as it is
a commonly used figure of speech representing an irrational or
exaggerated fear. The Cucuy is a male being while Cuca is a
female version of the mythical monster. The "monster" will come
to the house of disobedient children and make them "disappear".

Contents
Names and etymology
Legend
Physical representations
Mythical animals
Que Viene el Coco (1799) by Goya
Heads
Our Ladies
Hooded cloak
Giants
The land of the dead
In popular culture
See also
References

Names and etymology

The myth of the Coco, or Cucuy, originated in northern Portugal and Galicia. According to the Real
Academia Española, the word coco derives from the Galician and Portuguese côco [ˈko.ku], which means
"coconut".[2] The word coco is used in colloquial speech to refer to the human head in Spanish.[3] Coco
also means "skull".[4] The word cocuruto in Portuguese means "the crown of the head" or "the highest
place"[5] and with the same etymology in Galicia, crouca means "head",[6] from proto-Celtic *krowkā-,[7]
with variant cróca;[8] and either coco or cuca means "head" in both Portuguese and Galician.[9] It is
cognate with Cornish crogen, meaning "skull",[10] and Breton krogen ar penn, also meaning
"skull".[11][12] In Irish, clocan means "skull".[13]

Many Latin American countries refer to the monster as el Cuco. In northern New Mexico and southern
Colorado, where there is a large Hispanic population, it is referred to by its anglicized name, "the Coco
Man".[14] In Brazilian folklore, the monster is referred to as Cuca and pictured as a female humanoid
alligator, derived from the Portuguese coca,[15] a dragon.
Legend
In Spain, Portugal, and Latin America, parents sometimes invoke the Coco or Cuca as a way of
discouraging their children from misbehaving; they sing lullabies or tell rhymes warning their children that
if they don't obey their parents, el Coco will come and get them and then eat them.

It is not the way the Coco looks but what it does that scares most. It is a child eater and a kidnapper; it may
immediately devour the child, leaving no trace, or it may spirit the child away to a place of no return, but it
only does this to disobedient children. It is on the lookout for children's misbehavior from the rooftops; it
takes the shape of any dark shadow and stays watching.[16] It represents the opposite of the guardian angel
and is frequently compared to the devil. Others see the Coco as a representation of the deceased of the local
community.[17]

The oldest known rhyme about the Coco, which originated in the 17th century, is in the Auto de los
desposorios de la Virgen by Juan Caxés.

The rhyme has evolved over the years, but still retains its original meaning:

Duérmete niño, duérmete ya... Sleep child, sleep now...

Que viene el Coco y te comerá. Else Coco comes and will eat you.

The Portuguese lullaby recorded by José Leite de Vasconcelos tells Coca to go to the top of the roof. In
other versions of the same lullaby, the name of Coca is changed to that of "papão negro" (black eater), the
name of another bogeyman.[18]

Vai-te Coca. Vai-te Coca Leave Coca. Leave Coca

Para cima do telhado Go to the top of the roof
Deixa o menino dormir Let the child have
Um soninho descansado A quiet sleep

The traditional Brazilian lullaby is as follows, with the Cuca as a female humanoid alligator:

Dorme neném Sleep little baby

Que a Cuca vem pegar That Cuca comes to get you
Papai foi pra roça Daddy went to the farm
Mamãe foi trabalhar Mommy went to work

Both Brazilians and Portuguese also have a bogeyman version, which sometimes acquires regional colors
where the bogeyman (the shape-shifting Bicho Papão is a monster that is shaped by what the child fears
most) is a small owl, murucututu, or other birds of prey that could be on the roof of homes at night (in
Brazil) or a mysterious old man with a bag who is also waiting on the roof of the house (in Portugal).

Bicho papão Bogeyman

Em cima do telhado Atop the roof
Deixa o meu menino dormir Let my child have
Um soninho sossegado A quiet sleep
Verses and songs were used in pre-Roman Iberia to transmit history to the younger generations, as told by
ancient authors. Sallust said the mothers sang the military feats of the fathers to incite the children to
battle.[19] He was later quoted by Servius, who emphasised that it was the role of the mothers to remember
and teach the young men about the war feats of their fathers.[20] Silius Italicus added more; he said that the
young warriors sang songs in their native language while hitting their shields in the rhythm of the songs and
that they were well versed in magic.[21] Strabo, too, commented that history was recorded in verse.[22]

During the Portuguese and Spanish colonization of Latin America, the legend of the Coco was spread to
countries such as Mexico, Argentina and Chile.

Physical representations
There is no general description of the cucuy, as far as facial or
body descriptions, but it is stated that this shapeshifting being
is extremely horrible to look at. The coco is variously
described as a shapeless figure, sometimes a hairy monster,
that hides in closets or under beds and eats children that
misbehave when they are told to go to bed.

Festa da Coca during the Corpus Christi

Mythical animals celebration, in Monção, Portugal

Coca is also the name of a female dragon who featured in

various medieval celebrations in the Iberian Peninsula. In
Portugal one still survives in Monção; she fights in some sort of
medieval tournament with Saint George during the Corpus
Christi celebrations. She is called Santa Coca ("Saint Coca"), an
allusion to the Irish saint,[23] or Coca rabicha ("Tailed Coca"). If
she defeats Saint George by scaring the horse, there will be a bad
year for the crops and famine; if the horse and Saint George win
by cutting off one of her ears with earring and her tongue, the
crops will be fertile.[24][25] Oddly enough, the people cheer for
Saint Coca. In Galicia there are still two dragon cocas, one in Cucafera during the Festa Major de
Betanzos and the other in Redondela.[26] The legend says that Santa Tecla in Tarragona, Spain
the dragon arrived from the sea and was devouring the young
women until she was killed in combat by the young men of the
city. In Monção, the legend says, she lives in the Minho; in Redondela she lives in the Ria of Vigo.[27] The
dragon shared the same name that was given in Portuguese and Spanish to the cog (a type of ship), and
although used mainly for trade, it was also a war vessel common in medieval warfare and piracy raids on
coastal villages.[28][29]

The oldest reference to Coca is in the book Livro 3 de Doações de D. Afonso III from the year 1274, where
it is referred to as a big fish that appears on the shore:[30] "And if by chance any whale or sperm whale or
mermaid or coca or dolphin or Musaranha or other large fish that resembles some of these die in Sesimbra
or Silves or elsewhere[.]"

In Catalonia, the Cuca fera de Tortosa was first documented in 1457. It is a zoomorphic figure that looks
like a tortoise with a horned spine, dragon claws and a dragon head.[31][32] The legend says she had to dine
every night on three cats and three children. This legend of the Coca can be compared to the one of Peluda
or Tarasque.
In Brazil, the Coco appears as a humanoid female alligator called Cuca. She is dressed like a woman with
ugly hair and a sack on her back. Cuca appears as the one of the main villains in children's books by
Monteiro Lobato, but in the books she appears like a powerful witch that attacks innocent children. Artists
illustrating these books depicted the Cuca as an anthropomorphic alligator. She is an allusion to Coca, a
dragon from the folklore of Portugal and Galicia.

Heads

Traditionally in Portugal,
however, the coco is represented
by an iron pan with holes, to
represent a face, with a light
inside; or by a vegetable lantern
carved from a pumpkin with two
eyes and a mouth, which is left
Bronze Celtiberian fibula in dark places with a light inside
representing a warrior carrying to scare people.[34] In the Beiras,
In Portuguese, the skull-like carved
a severed head[33] heads carved on pumpkins,
vegetable lanterns are called "coco"
called coca, would be carried by or "coca".
the village boys, stuck on top of
wooden stakes.

The same name

[Coca] is given to
the pumpkin
perforated with the
shape of a face,
with a candle
burning in the
A Galaico-Lusitanian 'severed inside—this gives
the idea of a skull The sailors of Vasco da Gama called
head' from Castro culture
on fire—that the the fruit of the Polynesian palm tree
"coco". The word "coconut" is
boys on many lands
derived from their name.
of our Beira carry
stuck on a stick.[35]

An analogous custom was first mentioned by Diodorus Siculus (XIII.56.5;57.3), in which Iberian warriors,
after the battle of Selinunte, in 469 BC, would hang the heads of the enemies on their spears.[36] According
to Rafael López Loureiro, this carving representation would be a milenar tradition from the Celtiberian
region that spread all over the Iberian Peninsula.[37][38]

The autumnal and childish custom of emptying pumpkins and carving on its bark, eyes, nose
and mouth looking for a sombre expression, far from being a tradition imported by a recent
Americanizing cultural mimicry, is a cultural trait in ancient Iberian Peninsula.[39]

This representation would be related to the Celtic cult of the severed heads in the Iberian peninsula.[40][41]
According to João de Barros, the name of the "coconut" derived from coco and was given to the fruit by
the sailors of Vasco da Gama, c.1498, because it reminded them of this mythical creature.[42][43]
 This bark from which the pome receives its vegetable nourishment, which is through its stem,
has an acute way, which wants to resemble a nose placed between two round eyes, from
where it throws the sprout, when it wants to be born; by reason of such figure, it was called by
our [men] coco, name imposed by the women on anything they want to put fear to the
children, this name thus remained, as no one knows another.[44]

Rafael Bluteau (1712) observes that the coco and coca were thought to look like skulls, in Portugal:

Coco or Coca. We make use of these words to frighten children, because the inner shell of the
Coco has on its outside surface three holes giving it the appearance of a skull.[45]

In the first half of the 20th century the coca was an integral part of festivities like All Souls' Day and the
ritual begging of Pão-por-Deus. The tradition of Pão-por-Deus, already mentioned in the 15th century,[46]
is a ritual begging for bread and cakes, done door to door by children, though in the past poor beggars
would also take part. Its purpose is to share the bread or treats gathered door to door with the dead of the
community, who were eagerly awaited and arrived at night in the shape of butterflies or little animals,
during the traditional magusto.[47][48][49][50] In Portugal, depending on the region, the Pão-por-Deus
assumes different names: santoro or santorinho,[51] dia dos bolinhos (cookies day), or fieis de deus.[52]
This same tradition extends to Galicia, where it is called migallo.[53][54][55] It has a close resemblance with
the traditions of souling or nowadays trick-or-treating.[56] While the Pão-por-Deus or Santoro is the bread
or offering given to the souls of the dead, the Molete or Samagaio is the bread or offering that is given
when a child is born.[57][58]

In this same city of Coimbra, where we find ourselves today, it is customary for groups of
children to walk on the streets, on the 31st October and 1st and 2nd November, at nightfall,
with a hollow pumpkin with holes that were cut out pretending to be eyes, nose and mouth, as
if it was a skull, and with a stump of candle lit from within, to give it a more macabre look.[59]

In Coimbra the begging mentions "Bolinhos, bolinhós" and the group brings an emptied
pumpkin with two holes representing the eyes of a personage and a candle lit in the inside [...]
another example of the use of the pumpkin or gourd as a human representation, is in the masks
of the muffled young men during the desfolhada, the communal stripping of the maize, in
Santo Tirso de Prazins (Guimarães), which after, they carry hoisted on a stick and with a
candle in the inside, and leave them stuck on any deserted place to put fear to who is passing
by.[60]

To ensure that the souls found their way back home, the Botador de almas, whose mission was to lay souls
(botar almas), would go every night through valleys and mountains and up on trees ringing a little bell, or
carrying a lantern and singing a prayer to the souls. Every Portuguese village had one. Calling and singing
to the souls is an ancient tradition done either by one person alone or in groups and it has many names:
"lançar as almas", "encomendar as almas", "amentar as almas", "deitar as almas", "cantar às almas
santas".[61][62][63]

The serandeiros are disguised young men, covered with a blanket, a bed sheet or a hooded cloak. They
carry a staff (a stick of quince or of honeyberry, about their own height) in one hand, and in the other they
carry a small bundle of basil or apples that they make the girls that take part of the desfolhada smell, or with
which they tickle people's cheeks; sometimes, to play a prank, they bring stinging nettles. When a girl
recognizes the serandeiro or if she recognizes her boyfriend masked as a serandeiro, she throws him an
apple brought from home.[64][65][66] The serandeiros represent the spirits of the dead, the spirits of
nature.[67]

The heads would have protective and healing powers, protecting people and communities. They would
also be cherished for their divinatory, prophetic and healing powers.[68][69] The display places for the Iron
Age severed heads were in the inside or outside of buildings with a preference for public places, with
streets and people passing by and always preferring high places.[70]

Our Ladies

In Portugal, rituals among the Catholic religious order of Our Lady of Cabeza, a Black Madonna, include
the offering of heads of wax to the Lady, praying the Hail Mary while keeping a small statue of Our Lady
on top of the head; the pilgrims pray with their own heads inside a hole in the wall of the chapel.[71] The
Chapel of Our Lady of the Heads (Nossa Senhora das Cabeças) situated 50 m (160 ft) northwest of the
ruins of the Roman era temple of Our Lady of the Heads (Orjais, Covilhã) evidences a continuity in the use
of a sacred space that changed from a pagan worship cult area to a Christian one and continued to be a
place of worship for centuries after. According to Pedro Carvalho, the pre-Roman findings and the unusual
location of the ruins inside an 8th-century BC hillfort suggest it was the place of a pre-Roman
cult.[72][73][74][75]

The Lady of the Head and Lady of the Heads are two of the many names given to Our Lady. Several of
her names are thought to be of pre-Roman origin. Names like Senhora da Noite ("Lady of the Night"),[76]
Senhora da Luz ("Lady of the Light"), Señora de Carbayo ("Lady of the Oak Tree") are spread all over the
peninsula. In Portugal alone 972 titles for Our Lady have been found in churches, altars and images, not
including the names of villages and places.[77] Spain has a similar proliferation of titles for Our Lady.[78]

The common element to all these names is the title Lady. But the title Senhora (Portuguese) or Señora
(Spanish) is of Latin origin, and derives from the Latin senior;[79] thus there had to be another one of pre-
Roman origin. In ancient times the titles that were used in Portugal by the ladies of the court were Meana
(me Ana) or Miana (mi Ana) and Meona (me Ona); these words meant the same as miLady, that is, Ana
and Ona were synonyms of Senhora and Dona.[80] Ana is the name of the river Guadiana, thus pre-Roman
in origin.[81] Ana is also the name of a goddess of Irish mythology.[82]

In the village of Ponte, parish of Mouçós, on a hill that overlooks the River Corgo, there is a chapel called
Santo Cabeço which legend says was built by the mouros encantados. On the wall facing south there is a
hole, where legend says the mouros used to put their head to hear the sound of the sea. The local people
also have the custom of putting their head inside the hole: some to hear the whisper that is similar to the
waves of the sea, others to heal headaches.[83]

In Alcuéscar, Spain, a legend says that a princess exhibited a stall of skulls and human bones.[84]

Hooded cloak

In Portugal, coca is a name for a hooded cloak; it was also the name of the traditional hooded black
wedding gown still in use at the beginning of the 20th century.[85] In Portimão during the holy week
celebrations, in the procissão dos Passos (Spanish: Procesión de los Pasos), a procession organized by the
Catholic brotherhoods, the herald, a man dressed with a black hooded cloak that covered his face and had
three holes for the eyes and mouth, led the procession and announced the death of Christ. This man was
either named coca, farnicoco, (farricunco, farricoco from Latin far, farris[86] and coco) or death. The name
coca was given to the cloak and to the man who wore the cloak.[87]
 In 1498, the Portuguese King Manuel I gave permission to the Catholic
brotherhood of the Misericórdia to collect the bones and remains from the
gallows of those that had been condemned to death and put them in a
grave every year on All Saints' Day.[88] The brotherhood in a
procession, known as Procissão dos Ossos, were followed by the
farricocos, who carried the tombs and collected the bones.[89][90][91][92]

In the travels of the Baron Rozmital, 1465-1467, a paragraph was written

commenting on the traditional mourning clothes of the Portuguese of that
time. The relatives of the deceased who accompanied his funeral would
be clad in white and hooded like monks, but the paid mourners would be
arrayed in black.[93]"[...] white was worn as the garb of mourning until
the time of King Manuel, at the death of whose aunt, Philippa, black was
adopted for the first time in Portugal as the symbol of sorrow for the
dead".[94]
The Farricoco in the
procession "Ecce Homo" on
Maundy Thursday, in Braga, Giants
Portugal
In Ribadeo, two giant figures
represent "el coco y la coca" that
dance at the sound of drummers and Galician bagpipe
players.[95][96]

The land of the dead

The 'land of the dead' is a mythic land which appears in traditions

from various cultures around the ancient world.[97][98]
Os cocos, giant representation of the
Probably the oldest mention of a mythic land of the dead located in coco and coca of Ribadeo. The
the Iberian Peninsula is in the Lebor Gabála Érenn.[99] tradition dates back to the 19th
century.
The legends of Portugal and Spain speak of an enchanted land, the
Mourama, the land where an enchanted people, the Mouros (Celtic
*MRVOS)[100][101] dwell under the earth in Portugal and Galicia. The lore of Galicia says that "In Galicia
there are two overlapped people: a part lives on the surface of the land; they are the Galician people, and
the other in the subsoil, the Mouros". Mourama is the otherworld, the world of the dead from where
everything comes back.[102][103][104]

The Mourama is ruled by an enchanted being who is called rei Mouro (king Mouro). His daughter is the
princesa Moura (princess Moura), a shapeshifter who changes herself into a snake, also called bicha
Moura, or can even be seen riding a dragon.[105]

In popular culture
In the last chapter of the work of Miguel de Cervantes, the epitaph of Don Quijote identifies him as the
scarecrow and el coco.[106]
 Tuvo a todo el mundo en poco, He had the whole world in little,
fue el espantajo y el coco he was the scarecrow and the coco of the world,
del mundo, en tal coyuntura, in such a conjuncture,
que acreditó su ventura that he credited his fortune
morir cuerdo y vivir loco to die sane and to live insane

—Don Quixote by Miguel de Cervantes

Que Viene el Coco, a painting that depicts a cloaked, menacing figure, was painted by Goya in 1799.[107]

Pennywise from Stephen King's miniseries It calls himself the "eater of worlds and of children."

The Cuco appears in AdventureQuest Worlds. It is among the creatures that attack Terra da Festa before the
Carnaval Party. The Cuco resembles a Carnaval version of Blister. The Cuca later appears where it is
depicted as a humanoid alligator in witch attire.

The 2013 Universal Studios Hollywood Halloween Horror Nights event featured El Cuco (here known as
El Cucuy) at a Scarezone who was voiced by Danny Trejo.

On the television series Grimm, in the fifth episode of season three, El Cucuy poses as a little, old lady who
answers the prayers of crime victims, changes into beast form, and brutally slays criminals, thus rendering a
version of vigilante justice that is a departure from the standard El Cucuy legend.

Stephen King's 2018 novel The Outsider (and the HBO 2020 series (https://www.hbo.com/the-outsider)
based on King's novel) features a variation of El Cuco as its main villain.[108]

El Cucuy is featured in The Casagrandes episode "Monster Cash," voiced by Eric Bauza. Carl Casagrande
starts a ghost tour revolving around El Cucuy after hearing about it from his grandmother Rosa. Enlisting
the assistance from Lalo, Sergio, and Stanley, Carl invites Ronnie Anne, Bobby, Adelaide, and Vito to
partake in it. Afterwards, Carl, Lalo, and Sergio soon find that the El Cucuy legend appears to be true
when it shows up and haunts Carl. It leaves when Carl does his chores and refunds the money he made.
When El Cucuy visits the hot dog vendor Bruno, he was spooked until it was discovered to be a disguise
worn by Rosa.

On the Netflix Brazilian series Invisible City, the Cuca is featured as a witch who uses its powers to put
people asleep and enter their minds.Alessandra Negrini's character is also the leader of the entities displayed
at the show.

El Cucuy is the nickname of American mixed martial artist Tony Ferguson.[109]

See also
Bogeyman
Madam Koi Koi
Sack man
Calaca

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Nesta mesma cidade de Coimbra, onde hoje nos encontramos, é costume

andarem grupos de crianças pelas ruas, nos dias 31 de Outubro e 1 e 2 de
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como figuração humana, nas máscaras dos embuçados das esfolhadas de
Santo Tirso de Prazins (Guimaräes), que depois, estes passeiam, alçadas num
pau e com uma vela dentro, e deixam espetados em qualquer sitio mais ermo,
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