Author Archives: Anna Xie

Funeral Headbands

Context:

H is a pre-med Biology major at USC who grew up in Vancouver, Washington. His parents immigrated to the US from Vietnam.

Text:

H: “For funerals, you have to visit every day for the first week after the funeral and then once a week for seven weeks. And then, on the hundredth day since the funeral, everybody comes back to the temple. It’s like, the biggest day for them (the dead). You pray for them, wish them well at the temple. The hundredth day is when you have everybody together and you have a big feast. You have these white headbands that you wear and on the hundredth day, they chop off the headband.”

Analysis:

Since H was raised in a Viet-American household, he and his family’s celebration of weddings is similar to an Irish wake funeral, but also adds cultural specificity to Viet customs. For example, it is common in Irish funerals to throw a party on the deceased’s behalf, not only as a celebration of the deceased when they were alive but as a re-engineering of the domineering sorrow of a funeral. H’s feast on the hundredth day pays homage to the one who died without inviting negative emotions into the celebration of the individual.

Funerals are a liminal space, as Von Gennup puts it, lingering between the stages of life and death in a person’s existence on Earth. Rather than using funerals as a chance to mourn, H and Irish funeral traditions connect with members of their community and pray for safety into the next part of existing for the dead. This acceptance of death, the massive respect and commitment to the dead after the funeral, seems cultural, as does the white headbands and time. There is an acceptance of death as time marches on, not a denying of it. Rather, H’s family seems to come to terms that nothing can get in the way of death but glimmers for an appreciation of life and the one the once dead led.

Fortune Keeping

Context:

A is a Pre-med biology major at USC, currently a freshman. A is a Vietnamese American who grew up in Vancouver, Washington a short drive from Portland, Oregon. 

Text:

A: Okay, so I’ve learned this at a very young age, but my family has told me that fortunes come true. Like, the fortune in the fortune cookies. I keep the slip of paper in my pocket like, as a way to make it come true. Keeping it with me helps make sure the fortune will come true, but if I don’t want this fortune to come true, I won’t keep it. 

Me: Do you ever lose them?

A: I keep them for as long as I think I need the fortune. Like, if I think it came true, then I’ll throw it away. 

Analysis:

The fortune tellers A is talking about are finely printed words, usually in a vague phrase or arrangement, that come from restaurant complementary cookies. As fortune telling is a way of predicting or controlling the future, I think what A experiences reading a fortune teller is something along the lines of superstition and homeopathic magic. Fortune tellers are usually signs, a specific message from the universe or time or fate telling you something important will happen. A believes this sign and wants this future to be his, so fortune tellers encourage some change in behavior to bring about that important thing. To bring fortune into reality, it is important for A to keep evidence of the future (the fortune paper) with him, as if to constantly be summoning it into his reality. Through this “like produces like,” A believes the paper in his possession (representing good fortune) will eventually produce what is predicted on the paper (actual good fortune). For A, he associates the paper with telling the future and keeps the fortune with him to invite the future to happen. He chooses to indulge in a sense of control or a kind of understanding over the world, where there is usually something wholly unpredictable. 

Coins on the Ground

Context:                                                    

O is a Pre-med biology major at USC, currently a freshman. O is a Vietnamese American who grew up in Vancouver, Washington — a short drive from Portland, Oregon. 

Text:

Me: Do you have anything you collect or do for good luck?

O: Yeah, actually I collect coins. Not just pennies, but like all kinds of coins.

Me: Really? How do you find them?

O: It’s really ridiculous, I just pick them up from the ground and keep them in my pocket, because I think they will bring me good luck.

Me: From the ground?

O: Yeah, they would be lying on the ground while I’m walking and I’ll pick them up, put them in my pockets.

Me: Do you keep the pennies forever?

O: No. I take them out and put them back on the ground once I think I don’t need the luck anymore. Like, the luck can go to someone else. 

Analysis:

O demonstrates some form of sympathetic magic. He connects receiving luck to picking up coins from the ground, both how lucky he is to find the coin and the luck the coin itself gives him. The luck O has that initially gives him the coin is somehow transferred into the coin, where there is some exchange between him and the coin that gives him luck with the penny as a conduit, collecting and releasing luck for anyone to pick up. The idea of quantifying luck or magic seems like contagious/contact magic, where magic or superstition can transfer from one person to the next with the penny is added as a middle man. Keeping the coin is somehow magic that ensures the luck will be sustained in him while giving it away is also magic, ensuring that luck will be passed on to the next person. If luck was the contagion of magic, the coin would be patient zero.

Chants for Good Luck

Context:

H is a spring admin freshman at USC, studying Music Industry. H grew up in Taiwan, but moved when she was 8 to San Jose. 

Text:

H: “Whenever I encounter something bad, I basically chant like something from Buddhism. It goes like ‘大慈大悲, 救苦救难, 管旭音菩萨’ (Pinying: da ci da bei, jiu ku jiu nan, guan yin pu sa; Translation: great mercy and great compassion, save the suffering, guan xu yin bodhisattva). It’s basically what I chant so they can give me power, something like that. I think it’s just telling them I’m in trouble, it’s not asking them to come to me, but I feel like they’re going to do something about it and that’s why I do it.”

Analysis:

H’s chant is something along the lines of a conversion, a superstitious charm that negates or balances out an event. In H’s case, the chant is religious, referring to a god in Buddhism, but meant to offset something bad in her life using her god’s power. Her chanting is ritualistic, in the sense that H will do it on the principle or possibility that her god may be listening, while not knowing if anything will change. Just the act of chanting, the practice of a charm that’s believed to give good fortune, makes her believe that good will come, which is a faith nearly more powerful than the tangible confirmation that there really is a god up there, in my opinion. H creates a sense of order for herself in the midst of a crisis or hardship through this learned chant, and always repeating it to herself, she maintains faith that her chant comes true. Essentially, her ritual chant is believed to bring good luck for her, therefore it does bring good luck.  

The Ax Farmer – Tale

Nationality: Korean American
Age: 18
Occupation: Hotel Clerk/Student
Residence: Los Angeles
Performance Date: 03/06/2023
Primary Language: English
Language: Korean

Context: R is a Korean American who was raised in Hawaii. She moved to Los Angeles to attend USC and is currently a freshman studying Computer Science. Her mom told her this story, and R herself has heard from multiple Koreans each with their own variation on what the tale sounds like. According to R, it’s a very popular folktale.

Text:

The story of the ax farmer begins with an axman who had a very poor quality ax. It was wooden and broken. He dropped in this lake one day, and there was a god living in the lake and the god appears with two axes in his hands, one gold and one wooden. The god asks the axman “Which one is your ax, the golden one or the wooden one?” The axman answers honestly with “the wooden one.” The god, impresses by the man’s honesty, gives him the golden ax.

However, there was another man listening to the ax man and god’s conversation. He then purposefully threw an ax into the lake and the god appeared. The god asks the man which ax is his and the man chooses the golden ax. The god knew he was lying, so he punished him. The punishment R never specifies, but she implies that the god severely punished the other man for lying.

Analysis:

Like any tale, the god and man interaction and the golden ax is clearly not real. There is no real lake that this story was at nor would there be a god living it who can give golden axes to passersby. But, due to the context in which these motifs are placed, the audience is able to learn a very real and applicable lesson about honesty and punishment. From Oring’s definition of a tale, the inherent falsehood of the narrative makes it easier to digest; the linear path the plot takes and the extreme contrast of the characters allow the logical and real-world solution to the story, the man’s punishment, to be impactful and relatable. From there, the two-dimensional and predictable story can be adapted into metaphor, and then motif and then life lesson. A god living in a lake and the existence of a golden ax are metaphors for a high power or authority in life and rewards. By pleasing the authority figures with honesty and good morals, rewards will be given. Lie to power or manipulate selfishly, the punishment will be severe and no such rewards will be yielded. Tales like these are usually told during childhood, so this tale gives a young and innocent audience a hard truth about living in society without it being overwhelming or stressful. The tale is blaring entertainment, yet perfectly subtle in the delivery of morality and ethics.