Category Archives: Rituals, festivals, holidays

Chinese New Year Festival Foods

Context: AT is a 22 year old student at USC. Her family is Taiwanese, and they celebrate Chinese New Year by cooking a variety of specific foods. AT listed these for me, along with the reasons behind why.

Text: “For one, we eat fish, because in Chinese, there’s a lot of words that sound the same and fish sounds the same as wealth. There’s a saying that every year you get more fish, you get more wealth. We also make this like fortune? cake? Or prosperity cake? It’s called fa gao, you can look it up. We make it because the word for fortune sounds like the word for rise, like bread rising. It’s really good! There’s also sweet rice cake, because it’s sticky, and the word for sticky sounds the same as the word for year. Oh, and of course, dumplings, because they look like the old fashioned coins or like ingots of gold they used to use. Let me think… oranges too, because one of the ways to say the fruit orange sounds like the way to say good luck”

Analysis: AT gave me a list of foods, all that are made and eaten due to a perceived relationship with something they sound or look like. The choice of food seems very sympathetic-magic based, specifically homeopathic magic based. Since the word for the item of food sounds like the word for another preferred item or outcome, engaging with that imitation is thought to produce said item/outcome, in this case, producing fortune in the form of money or in the form of luck. Making a food that either sounds or looks like luck/fortune is equated to making luck/fortune for oneself.

Pan de Muerto

Context: the informant, A.F., is a 21 year old USC student. Her family is Mexican, when asked about rituals or festivals, she brought up Dia de Los Muertos. Before she explained her family customs, she did give me a small disclaimer, saying that a lot of this feels normal to her, and so she wasn’t sure what would/wouldn’t matter.

Text: The informant explained that when her family celebrates Dia de Los Muertos, they always buys a specific bread, known as “pan de muerto”. She described pan de muerto as a round sweet bread with a cross on top; along with this, she explained that her family also makes the favorite foods of their loved ones who have passed. When asked if she leaves some out for ancestors, she told me that they do that alongside eating it. Her family puts up an altar in their house with photos of loved ones who have passed, decorating it with their favorite foods, candles, and a vibrant flower that her family calls “cempasuchil.” She told me she wasn’t sure what flower it was exactly, but she thought it was a marigold. To offer the bread and food to them, her family places it on the altar.

Analysis: Pan de muerto, or bread of the dead, is a typical part of Dia de los Muertos festivities, as is creating an altar for the living to offer things to their dead loved ones. The act of placing food on the altar for them seems like an idea based in homeopathic sympathetic magic, in that items given to photos of loved ones will also be given to their spirits in the afterlife. As the photo looks like the person, affecting it in some way will also affect the person, even once they’ve passed. The bread itself, to the informant, is essentially just a normal sweet bread, but the intent behind offering it is what matters, rather than anything special about the bread.

Lunar New Year Origins

Context: the informant is a 21 year old USC student with two Taiwanese immigrant parents. She told me that this was the story behind Lunar New Year. I was unable to record her exact words, but I was given permission to paraphrase.

The story goes like this: a long long time ago, there was a village that was attacked on the same day every year by a monster named Nian, which is the Chinese word for year. Year after year, people would die and they couldn’t do anything about it. Somehow, the people found out that Nian was afraid of fire, and so before he came to attack the village that year, they hung up red lanterns, tapestries, and banners outside their doors, hoping the monster would mistake the red color for fire and leave them alone. That year, when Nian came, he saw the decorations and was frightened away; that was the first year that nobody died. Every year after that, on that specific day, they would put up red decorations, hang red lanterns outside the walls, and set off firecrackers at night to make sure that the monster would never come back. During the day, children would also be given red envelopes to put under their pillows for protection. After that first year Nian was driven away, he never came back, too scared of the red colors that he thought were fire. Now for Chinese New Year, everyone wears red and puts up red decorations as a tradition, but this is the way it started.

Analysis: From the definitions we work off of in class, this would be classified as a legend because, while it’s an origin story, it’s an origin story for a tradition rather than a people or a land. It’s clearly set in our world and isn’t necessarily sacred, so if anything, it would be a legend, considering its veracity cannot be verified and it seems like something that, though supernatural, has the potential to be true.

Considering the red is supposed to mimic fire, it seems in theory very similar to some points that Francisco Vaz da Silva made about chromatic symbolism. He argues that the use of the black/white/red tricolor symbolism was “part of a general encoding of cultural values in sensory based categories” and while his argument was in relation to womanhood, I would say that some of might still apply. Red, in his example, was more of a sign of blood or maturation in Europe, but he goes on to reference a paper on African color symbolism that considers red as associated with activity or life-giving, much in the same way that blood might function.

Here, it represents similar concepts — red is a marker of life-giving in the way that it is a symbol of protection and its presence means the continued existence of life. Fire, and by extension, red, are both connected to the idea of life, resulting in an association of fire with vitality. Fire also brings light, driving away darkness and fear, creating another association with life-giving and continued success/safety.

Fire is also among one of the first things children are taught about (usually in the context of safety) and considering few things in nature are that color, I wonder if there’s more association of red with fire rather than blood for children who grow up hearing this story.

Hou Yi and Chang’e Legend

Context: The informant is a 21 year old USC student and the daughter of two Taiwanese immigrants. She told me that she was definitely missing some details, but this is the story she learned growing up about the origins of the Mid-Autumn festival. The following are her exact words.

“So, there’s a couple, right, and the guy has like superhero strength – warrior vibes. At the time, there were 10 suns in the sky, and they were so hot that they were burning everything up, so he shot 9 of them out of the sky, leaving only one behind. As a reward, some higher power gave him this magic potion to make him stronger, but in the middle of the night, the day before he was meant to take it, his enemy poisoned it. For some reason, he still wanted to take it, so before he could, his wife drank the whole thing to save him. She ended up floating up into the moon, and so during the Mid-Autumn festival, because the moon is full, people say you can still see her silhouette up there.”

After doing some research, I found out that this is known as the story of Hou Yi and Chang’e, an immortal archer and his wife, the moon goddess before the latter becomes the moon goddess; this seems as if it would count as a mythic narrative. Not only is this the origin story of the sun, but it’s also the origin of the designs present on the moon. There’s a pretty common history of humans seeing faces where there are none (tree trunks) and looking at the moon would reasonably yield the same result. It’s not a story that anyone thinks could have happened, but also not a story that one would disagree with, considering the nature of it. Interestingly, there’s multiple different versions of this story online, including ones where Hou Yi goes mad with power rather than having his elixir poisoned and instead Chang’e must protect others by acting against him. It would be interesting to see if these differences revealed anything about typical historical conflicts that a certain region might have faced or a regional variation in values that might have caused this oicotypical difference.

Raksha Bandhan

Informant: RG

Ethnicity: Indian

Primary Language: English, Telugu

Age: 21

Text: [RG] Every year for Raksha Bandhan, I perform aarti, tie a rakhi around my brother’s wrist, and then feed him sweets. After that, he buys me a gift. I usually feel closer with my brother afterwards.

Context: Raksha Bandhan is an annual Hindu ritual that celebrates the bond between brothers and sisters; sisters pray for their brothers’ happiness and well-being, and in return, brothers vow to protect and cherish their sisters. Aarti is the waving of a lit lamp (typically in a clockwise motion) in front of the image of a god, or a person being honored. Rakhis are a sacred thread that are meant to be worn until it falls off the wrist naturally. 

Analysis: Raksha Bandhan primarily serves to reinforce the relationship between siblings. In Hinduism, one’s connection to god is one of the purest forms of love they can form; by performing aarti for their brothers, sisters are equating their love for them to their love for god. The rakhis themselves are a physical symbol of the sister’s love, and the brother’s protection. Raksha Bandhan fosters a deeper sense of loyalty, connection, and duty to family, all of which are deeply tied to Indian culture within the household.