Tag Archives: China

Qingming – Tomb Sweeping Festival

Nationality: Chinese-American
Age: 18
Occupation: Student
Residence: Los Angeles, CA
Performance Date: 4/19/16
Primary Language: English
Language: Cantonese, Mandarin

Text (I is the informant, M is the collector)

I: There’s this festival called “Qingming” or, like, tomb sweeping festival. And, basically, it’s where we go to a cemetery, or.. Um… what do you call those other thing?

M: A graveyard? I’m not sure

I: Just cause cemetery and graveyard sounds like too dark and gloomy, but like, it’s on a grassy hill with flowers, it’s chill. Anyways, we kind of just cleaned up the graves… and the tombstones — hence tomb sweeping day. And, I — I think it’s supposed to be like a family reunion type of thing, because that’s how it was, where all my aunts and uncles and stuff would come and clean up the graves and eat some pork and stuff. But, now it’s just been like two — yeah, two families at a time or something.  I missed it, ‘cause I was at school this year, but yeah…. Um, oh yeah. And during the festival week, we kind of sweep the other tombs around — like the neighbors of my ancestors grave. Out of respect, I think. And, I think my mom told me, so we don’t piss off the neighbors. Also, during that time, we kind of burn these…. Patterned paper? It’s cut into shapes of like shoes and clothes and stuff for, um, my great-grandpa. And there’s also, like, fake money called hell money and then… these two other similar hell currency

Thoughts

The informant seemed to focus mainly on the social/familial aspect of this tradition. This makes sense as the informant’s parents are from China, but she is herself American and has never visited China. She says that she views Chinese traditions as similar to family reunions, as they are times where her family gets together to celebrate. It seems that the meaning of this festival for her has less to do with the traditions themselves, and more to do with the people she performs them with.

Chinese Moon Festival – A Perspective

Nationality: Chinese-American
Age: 20
Occupation: Student
Residence: Los Angeles, CA
Performance Date: 4/30/2014
Primary Language: English
Language: Chinese (Traditional), Cantonese

About the Interviewed: Jared is a sophomore at the University of Southern California, studying Finance. At the time of this interview, he is also my roommate. His ethnic background is distinctively Chinese, and his parents are first-generation American immigrants. He is 20 years old.

Jared: “My family celebrates unique traditions. We celebrate Chinese New Year, and we celebrate the Moon Festival.”

I ask him to explain the Moon Festival to me in greater detail.

Jared: “It’s pretty festive. My family decorates the place up. It’s a festival that’s centered around the moon, so you get a lot of festive stuff like that. The moon is symbolic of things like harvest and prosperity, so that’s where I guess it comes from. It happens around August – September, whenever the full moon is.”

I asked Jared about his experiences with the Festival. I ask him about any special foods he might eat.

Jared: Yeah, there are snacks. There’s this thing called mooncake, it’s kind of chewy – like mochi [japanese chewy sweet], it’s good, I like it. I have a lot of good memories of the Moon Festival. I’d say it’s nostalgic. As for other things, we sometimes play games. Like most things in Chinese culture, it’s pretty much centered around the family, so we spend a lot of time together.”

I tell Jared that I’m aware that Korea celebrates the Moon Festival as well. I was curious if he knew of any specific differences between the two.

Jared: I’m not entirely sure about all the differences, but I think they’re pretty similar. My Korean friends seem to know what I’m talking about when I talk about when I mention it.

Summary:

As a Chinese-American, Jared celebrates a holiday known as “The Moon Festival”, which celebrates a general coming of the moon and the harvests that follow. He recounts nostalgic experiences with food, games, and family.

My roommate’s experience with the Moon Festival is not unlike the nostalgia most people associate with Western holidays like Halloween or Christmas. The use of the “festival” in different cultures holds a great significance to the individual. It’s “nostalgia” that in part motivates tradition to spread from one generation to the next.

Xuanzang and Journey to the West

Nationality: Chinese
Age: 21
Occupation: Engineer
Residence: San Francisco, CA
Performance Date: 4.30.2014
Primary Language: English
Language: Chinese

Item:

“I remember my grandma always talking about some Chinese monk and I never really pieced together until like… until I was much older that the show I watched was exactly that.”

The legend of Xuanzang, a Chinese buddhist monk who traveled from China to India on a pilgrimage, lead to many stories, authored works, and even some anthropomorphic tales that became prominent in popular culture. The informant grew up watching a TV show, Journey to the West, based on the legend. It covered the story of Sun Wukong, the Monkey King, who was an anthropomorphized version of Xuanzang who went on a journey similar to that of the monk, but with obvious fictionalization for the purpose of the show.

 

Context:

For the informant, watching the show was a big deal. Being born in America but having only Chinese roots created a bit of a clash between cultures, especially at a young age. Hearing the story of Xuanzang from parents and grandparents, and then watching the show provided for her an entertaining connection to her culture. Beyond that, it was also a opportunity to talk to other 2nd generation kids about something they had in common outside of being just that.

 

Analysis:

It’s perhaps appropriate that the popularization and fictionalization of an authored work based on folklore is what it takes to connect some kids to the actual folklore in the first place. A TV show can captivate kids really easily, and then through curiosity they go about connecting with the actual folklore at the same time. Also, a lot of this comes from the 16th century novelization (also called Journey to the West) which can be found here.

Cheng Miao and the Clerical Script

Nationality: Taiwan
Age: 51
Occupation: Businessman
Residence: Bay Area, California
Performance Date: March 21, 2014
Primary Language: Chinese
Language: English, Hokkien

[Translated from Mandarin]

The clerical script, or lìshū (隸書), is a form of Chinese calligraphy that is said to have been invented by Chéng Miǎo (程邈), who had somehow offended the emperor Qín Shǐ Huáng (秦始皇) of the Qin dynasty. Qín Shǐ Huáng threw Chéng Miǎo into prison. However, during his time in prison, Chéng Miǎo was able to simplify Chinese script. You see, before the clerical script was invented, Chinese characters were written in seal script, or zhuànshū, which had many curving strokes that were complicated to write.

The prison guards discovered that Chéng Miǎo’s clerical script was much more efficient to write than seal script, and they showed Qín Shǐ Huáng. Qín Shǐ Huáng was very pleased with Chéng Miǎo’s new script and decided to change the Chinese kingdom’s writing to clerical script. Because of this, Chéng Miǎo was released from prison and rewarded with a high governmental position.

—

The informant is a calligrapher and had learned this legend from friends from whom he first learned calligraphy. Though Chéng Miǎo’s feats sound realistic, there are people who doubt that Qín Shǐ Huáng would be so lenient on someone who changed a writing system that the emperor had just unified shortly before. Recent evidence has also suggested that clerical script may have been invented by a team of people, as opposed to one single person. It is interesting that even the development of Chinese calligraphy has such debatable folklore.

Cāng Jié and the Origin of the Chinese Writing System

Nationality: Taiwan
Age: 51
Occupation: Businessman
Residence: Bay Area, California
Performance Date: March 18, 2014
Primary Language: Chinese
Language: English, Hokkien

[Translated from Mandarin]

Back in the early years of Chinese history, a four-eyed man named Cāng Jié (倉頡) was the historiographer of the Yellow Emperor. To record things, Cāng Jié used the rope-tying method, the only form of documentation around during that time. After a while, the more Cāng Jié stared at his repetitive knots, the less he remembered what they stood for. He was frustrated.

One day he passed by a group of quarreling old men at an intersection. Each of them was arguing which road led to his home. One claimed a pair of tigers lived on his road. Another said that some deer lived on his road. The last one stated that goats lived on his road. The dispute was eventually settled when they discovered that the trails of animal prints on the ground told them which way each should go. Cāng Jié was inspired by this—if every animal has its own prints to distinguish its identity, every object in the world should have its own symbol too.

Cāng Jié then proceeded to simplify the shapes and essences of objects in the world into characters composed of simple lines. Soon he developed a whole system of written characters that each imitated what they represented. When Cāng Jié completed the writing system, the skies started raining millet, and ghosts in the ground cried at night.

In the end, both Cāng Jié and the Yellow Emperor were pleased, and Cāng Jié’s writing system was used as the standard writing system in the emperor’s unification of the kingdom.

—

The informant is a calligrapher and had learned this legend from friends from whom he first learned calligraphy. Cāng Jié is an interesting character because his role in Chinese history is realistic though the details of his deeds and his appearance may have very well been exaggerated.