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The Cegua, La Sihuehuet or Siguanaba, Cigua or Siguanaba is a supernatural character from Central American folklore, though it can also be heard in Mexico. It is a shapeshifting spirit that typically takes the form of an attractive, long haired woman seen from behind.
A Ciguapa (pronounced see-GWAH-pah) [citation needed] is a mythological creature of Dominican Republic folklore. They are commonly described as having human female form with brown or dark blue skin, backward facing feet, [ 1 ] and very long manes of smooth, glossy hair that covers their bodies.
Alguna vez se escucho la leyenda de un ser de los bosques llamado ciguapo. Era este un gallo vuelto de espaldas, con el lomo emplumado y el pecho con senos de mujer. Cuentan que su grito se asemeja al llanto de un niño, y que esperan terribles infortunios a la persona que se atreve a matar a una de estas aves. Si usted ve a una ciguapa, nunca ...
Renee Schonfeld of Common Sense Media gave it 3 out of 5 stars, and wrote, "Filled with wonderfully inventive animation, witty dialogue, and rich characterizations, La Leyenda de La Llorona is a treat for kids who read well enough to manage the subtitles, and who won't be upset by the legend of a dead woman who believes she is responsible for ...
This image might not be in the public domain outside of the United States; this especially applies in the countries and areas that do not apply the rule of the shorter term for US works, such as Canada, Mainland China (not Hong Kong or Macao), Germany, Mexico, and Switzerland.
The American Farm Bureau said last week that its members “support the goals of security and ensuring fair trade with our North American neighbors and China, but, unfortunately, we know from ...
The black cadejo is malevolent and lures people to make bad choices. The black cadejo has glowing purple eyes and eats newborn babies. The book Los perros mágicos de los volcanes (Magic Dogs of the Volcanoes), by Manlio Argueta, describes the cadejos as mythical dog-like creatures that figure prominently in the folklore of El Salvador. They ...
Colson suffered economic hardships in Paris and sales of his works were minimal. [13] Following suggestions from Dominican writer Pedro Henríquez Ureña and Mexican poet Maples Arce, he left for Mexico in 1934 with hopes of improving his situation; there, Colson held a personal exhibition, sponsored by the Secretary of Education and began teaching at the Workers' School of Art. [14]