Chinese Funeral Ritual

Text:

“When my family members pass away, we have a funeral ritual. When my grandmother passed away, the coffin was first placed on the ground floor of the apartment building. Before carrying her to the funeral parlor, my father had to break a porcelain bowl on the floor and say something he wanted to say to her — usually something short, like ‘may you go peacefully.’ Then the coffin was carried to the funeral parlor.”

Context:

This text was collected from a Chinese international student from Beijing. She recounted the ritual from personal memory, having witnessed it during her grandmother’s funeral. The practice involves two distinct symbolic acts performed before the deceased is transported to the funeral parlor: the placement of the coffin on the ground floor of the family’s apartment building, and the breaking of a porcelain bowl by the closest male family member — in this case, her father — accompanied by a brief farewell address to the deceased. The phrase her father used, “一路走好” (yī lù zǒu hǎo), translates roughly to “may you go peacefully” or “have a safe journey,” a common Chinese expression of farewell to the dead. The informant presented the ritual as standard family practice rather than something unique to her household, suggesting it reflects broader Beijing or northern Chinese funeral customs transmitted through family participation rather than any formal or institutional instruction.

Analysis:

This piece is a customary ritual operating at the intersection of material culture and folk belief, and it demonstrates Van Gennep’s rites of passage framework. The funeral ritual stages the deceased’s transition out of the living world through two carefully sequenced symbolic acts. The breaking of the porcelain bowl follows the logic of sympathetic magic, more specifically the contagious variety, where the destruction of a physical object in the shared space of the living enacts a spiritual severance, which could formally close the bond between the deceased and the household. The ground floor placement of the coffin before departure further emphasizes this threshold symbolism, positioning the body literally between the domestic space of the living and the outside world before the final transition to the funeral parlor. The father’s spoken farewell, “may you go peacefully,” functions as folk speech with ritual authority, a fixed phrase whose repetition across generations gives it vernacular power.




Chinese New Year Tradition of Family Photos

Text:

Our family’s tradition is that on the first day of Chinese New Year, before dinner, everyone in the family gets dressed up and we take a family photo together. The clothes have to be all new. The tradition started when I was born. At first, my mother wanted everyone to wear red, but over time it relaxed into everyone just wearing whatever they like. So it’s pretty chill now.

Context:

This text was collected from a female Chinese international student from Beijing, who shared it during my interview with her. The practice she describes is a family-specific ritual that takes place on the first day of the Chinese New Year: every family member dresses in brand new clothing and gathers for a collective photograph before the New Year dinner. The tradition was initiated by her mother at the time of the informant’s birth, making it roughly her age and giving it a personal origin she can trace. Originally, the tradition carried a stricter dress code — all red, a color symbolizing luck and prosperity in Chinese culture — but over time, this requirement loosened, and family members now wear new clothes of any color.

Analysis:

This piece exemplifies family lore. The requirement that clothing be entirely new engages the broader Chinese New Year folk belief that newness at the year’s start invites prosperity and signals a clean break from the past, connecting the family ritual to a wider system of folk belief around lucky beginnings. The gradual relaxation of the red dress code is an illustration of multiplicity and variation: the tradition’s core structure remains intact while its specific details shift to accommodate the family’s changing preferences, demonstrating folklore as being simultaneously conservative and dynamic. The mother’s role as the tradition’s originator and enforcer reflects how family folklore is often transmitted through a single authoritative figure whose preferences shape the group’s collective practice. The annual photograph also functions as a form of material culture, producing a tangible archive of the family’s shared identity over time. The timing (before dinner, on the first day of the New Year) gives the ritual the quality of a calendrical rite of passage, formally opening the New Year within the intimate frame of family rather than public celebration.




Travelling Tradition of Eating Noodles and Dumplings

Text:

“Whenever you’re going after travel, even if it’s just one day or something, you have to eat dumplings before you go. And when you come back, you eat noodles. Like for the first meal. The meal right before you leave has to be dumplings, and the meal right after you come back has to be noodles. We have a saying that goes “When you get in the car, you eat dumplings. When you get off it, you eat noodles.” It might be a Beijing tradition, but my grandmom is from Shandong, and they still follows this tradition. The dumplings look like small pieces of gold. You have to eat an even number of dumplings. Even numbers are considered luckier than odd numbers. When you come back, you eat noodles, which symbolize that you are attached to your home, because the noodles look like ropes. They held you to your home. Noodles are also not tangled, which simplifies a smooth future and a smooth return home.”

Context:

The informant describes a travel-related food tradition practiced in her family. This tradition is possibly rooted in northern Chinese regions like Beijing and Shandong. Before leaving for a trip, even a short one, the family must eat dumplings, and upon returning, the first meal must be noodles. She learned this practice from her grandmother, who continues to follow it, showing how the tradition is passed down across generations. The informant also explains specific rules, such as eating an even number of dumplings because even numbers are considered lucky. This ritual remains important even when travelling becomes routine. For the informant, it functions as a meaningful way to frame movement away from and back to home.

Analysis:

This tradition shows that everyday practices create a symbolic order. The pairing of dumplings and noodles structures the uncertainty of travel into a predictable and meaningful sequence. Dumplings, shaped like gold, symbolize wealth and a good beginning, while noodles represent connection and continuity, emphasizing a safe return home. The rule of eating even numbers further reflects how ideas of luck and order are embedded in routine actions. These practices turn travel, a potentially uncertain experience, into something culturally organized and emotionally reassuring. Thus, this tradition reinforces values of safety, prosperity, and attachment to home.

Chinese Proverb

Text:

“Man proposes, God disposes.”

Context:

This text was collected from a Chinese international student who shared this proverb in our interview. The original Chinese, “谋事在人，成事在天” (móu shì zài rén, chéng shì zài tiān), translates literally as “the planning of affairs lies with man, but the completion of affairs lies with heaven.” It is one of the most widely known classical Chinese proverbs, originating from the Ming dynasty novel Romance of the Three Kingdoms and attributed to the strategist Zhuge Liang. Despite its literary origin, the proverb has long since detached from its source and circulates entirely through informal, oral transmission — functioning as everyday folk wisdom rather than literary quotation. It is typically deployed as a consolation in moments of uncertainty or disappointment, as it acknowledges the limits of human control while still affirming the value of effort.

Analysis:

This proverb is an example of a fixed phrase carrying metaphorical wisdom. It is transmitted orally across generations in an unchanged form, lending it the vernacular authority that distinguishes folk speech from ordinary language. Its staying power lies in the philosophical tension it holds together: human agency and cosmic limitation are acknowledged at the same time, offering the speaker neither full determinism nor full helplessness. This balance makes it useful as a coping tool across an enormous range of situations, from personal failure to collective misfortune. The proverb’s original literary attribution to Zhuge Liang is a compelling illustration of the idea that folklore and literature exist in a continuous feedback loop. More specifically, the text begins as authored writing, detaches from its source through centuries of informal transmission, and eventually circulates as anonymous folk wisdom. It has effectively become folklore through the process of diffusion. The proverb also demonstrates a distinctly Chinese cosmological worldview — the concept of “天” (tiān, heaven or fate) as a force beyond human control — reflecting how folk speech preserves and expresses deep cultural values across generations without naming them explicitly.




Housewarming Ritual

Text:

“Before moving into a new house, you have to invite your friends to come and warm up the space. And then, on the same day that you spend your first night there, you have to cook for yourself. So it’s like a housewarming — a good omen to ensure safety.”

Context:

This text was collected from a Chinese international student from Beijing. The tradition she describes is a folk ritual practiced before settling into a new home: inviting friends over to “warm” the space, and cooking a meal on the same night as your first stay. She learned this practice through her family rather than any formal channel, and presented it as common knowledge — something simply done without much question. The phrase she used, “好兆头” (hǎo zhào tou), meaning “good omen,” suggests the ritual carries protective intent, ensuring the new living space is safe and welcoming before fully inhabiting it. While housewarming traditions exist across many cultures globally, the specific requirement to cook on the first night distinguishes this as a regionally and culturally particular variation. The informant currently lives away from her family in the United States, making this tradition part of practicing a piece of folk knowledge she carries from home into a diasporic context.

Analysis:

This piece is a folk ritual operating through the logic of sympathetic magic. More specifically, the ritual aligns with the contagious variety that Frazer describes, where the warmth, activity, and presence of friends physically and spiritually transform the new space, transferring positive energy into it before the owner fully settles. Cooking on the first night extends this logic: the act of preparing food activates the home, making it a lived-in, nourishing space rather than an empty one. Together, these acts perform what Van Gennep would define as reincorporation, as the ritual closes the liminal threshold between leaving one’s home and fully belonging to another. The new resident is neither fully displaced nor fully settled until the ritual is completed. The tradition also functions as a rite of passage that converts an unfamiliar space into a safe, socially sanctioned home through collective participation. The requirement that friends be present also connects to the idea that rituals derive their power from collective belief. The warmth brought by “housewarming” is not just metaphorical but socially produced.