Tag Archives: Chinese

Qingming Festival

Nationality: American
Age: 21
Occupation: College Student
Residence: Brooklyn, New York
Language: English

Text:

Collector: “Can you describe any rituals or festivals you have participated in before?”

Informant: “My family and I have a yearly ritual where we go to the cemetery to visit my great grandparents. We visit their grave and burn fake money and clothes to send them these things in the afterlife. We also burn stuff like cars, houses, accessories, jewelry, bags. They are all made of paper but it’s supposed to give them the real thing in the afterlife. We then burn incense and bow and pray to them.”

Collector: “What time of the year do you guys do this tradition? Is it based on your family’s religious beliefs?”

Informant: “We typically try to go a little bit after Chinese New Year. My immediate family isn’t religious, but I believe it’s based on Buddhist beliefs in the afterlife.”

Context:

My informant is Chinese-American and has been participating in this yearly ritual since she was young. While her immediate family is not religious, they practice some Chinese Buddhist traditions such as bringing items to their deceased loved ones and praying to them.

Analysis:

This ritual is a part of a traditional Chinese Holiday, typically practiced in the beginning of April during the Qingming festival, which translates to “Tomb Sweeping Day”. This festival reflects a common Chinese belief in the afterlife, but is not . It is a way for people to honor their deceased ancestors and loved ones, ensuring that they are well taken care of in the afterlife. Some people believe that “sweeping the tomb” is only to be done during the festival, otherwise it would be disturbing the deceased. It is a way for the living and the dead to feel connected. People pray to feel spiritually connected to their ancestors.

黄仙” (Huáng Xiān) Beijing weasel

AGE: 55
Date_of_performance: May 1, 2025
Language: Mandarin Chinese
Nationality: Canadian
Occupation: Editor
Primary Language: English
Residence: Toronto, Canada (formerly lived in Beijing, China for 20 years)

Folklore Explanation:
“When we were living in Beijing, we started hearing stories about something called ‘黄仙’—the weasel spirit. It wasn’t something you’d see in tourist guides or museums. It came up more when you talked to older locals or cab drivers, or if you spent time in the older hutongs. Apparently, weasels—especially yellow ones—were believed to have spiritual power. People said they could turn into humans or possess people, especially if you disturbed them or disrespected their territory.

There was this kind of unspoken rule about not messing with weasels. If one came into your house, you were supposed to leave it alone, maybe even light incense. It wasn’t fear, exactly—more like respect. A lot of people referred to them as one of the ‘Five Immortals,’ and they’d warn you that strange things might happen if you upset them. It was never presented as superstition so much as something you just knew not to challenge. Like, don’t risk it. It made the city feel layered—modern on the surface, but still holding onto these old beliefs right underneath.”

Analysis:
The legend of 黄仙 (Huáng Xiān), or the Yellow Weasel Spirit, is part of a broader category of animistic and transformation folklore rooted in Daoist cosmology and folk religious beliefs. In Northern China—especially in and around Beijing—黄仙 is one of the “Five Immortals” (五大仙), a group of animal spirits (fox, weasel, hedgehog, snake, and rat) believed to possess supernatural powers, often associated with both protection and trickery.

These spirits occupy a liminal role in Chinese folklore: part deity, part ghost, part moral enforcer. The belief in Huáng Xiān is a form of vernacular belief folklore, transmitted primarily through oral storytelling, neighborhood custom, and superstitious behavior rather than written texts or organized religion. It reflects a blend of animism, moral caution, and the uncanny, often surfacing in everyday life situations—someone’s illness, odd behavior, or even unexplained luck—providing a framework for interpreting the unknown. Though not officially recognized in modern state narratives, it continues to persist in urban folklore, especially in areas with a strong connection to traditional community life.

莲花童子哪吒》 (Liánhuā Tóngzǐ Nézhā) Lotus child

Title: 莲花童子哪吒 (Liánhuā Tóngzǐ Nézhā / The Lotus Child Nezha)

AGE: 18
Date_of_performance: May 6, 2025
Language: Mandarin Chinese
Nationality: Canadian
Occupation: Student
Primary Language: English
Residence: Toronto, Canada (grew up in Beijing, China)

Folklore Explanation:
“We grew up with Nezha—like, everywhere. There were picture books, cartoons, comics, and even little plush toys of him in stores. In the early 2000s in Beijing, you couldn’t walk through a stationery shop or watch Saturday morning TV without seeing him. I remember one of the shows we watched was 哪吒传奇 (Nezha Chuanqi)—he had the red scarf, the wind fire wheels, the bracelets, and that tough, rebellious attitude. He wasn’t sweet or soft—he was fierce, kind of angry, and always fighting demons or standing up to authority.

In the story, he’s born out of a lotus flower after staying in the womb for years, and he ends up sacrificing himself to save his family and people. Later, he’s brought back to life by his master and becomes even stronger. It’s dramatic, but as a kid, you just loved how powerful he was. He was a hero, but a kid like us. We’d read Nezha stories in schoolbooks and retell them to each other during breaks. For us, it wasn’t just mythology—it was childhood. It felt like he belonged to us.”

Analysis:
Nezha, especially in the form of 莲花童子哪吒 (Liánhuā Tóngzǐ Nézhā), is a major figure in Chinese mythological folklore, originally appearing in the Ming dynasty novel 《封神演义》 (Fengshen Yanyi / The Investiture of the Gods). He is considered a deified folk hero, embodying themes of rebellion, self-sacrifice, filial duty, and cosmic justice. As a mythic narrative figure, Nezha spans multiple folklore types: religious folklore (as a Taoist deity), narrative epic, and child-centered popular mythology.

In early-2000s, Nezha was widely disseminated through state-supported children’s media, including the 2003 animated series 哪吒传奇, which cemented his image among a new generation. His story also spread through school curricula, children’s books, toys, and televised retellings, making him an example of institutionalized folklore adapted for mass cultural consumption. While rooted in ancient texts and temple traditions, Nezha’s modern image has been reshaped into a youth empowerment symbol, often emphasizing themes of resistance to unjust power. His continued presence in toys, media, and moral storytelling illustrates the adaptability of mythic folklore in contemporary urban life and popular culture.

monkey king 孙悟空 (Sūn Wùkōng)

Title: 孙悟空 (Sūn Wùkōng / The Monkey King)

AGE: 54
Date_of_performance: May 1, 2025
Language: Mandarin Chinese
Nationality: Canadian
Occupation: Retail worker and teacher
Primary Language: English
Residence: Toronto, Canada (lived in Beijing, China for 20 years)

Folklore Explanation:
“The Monkey King was everywhere when you were growing up in Beijing. You couldn’t walk into a bookstore or turn on the TV without seeing some version of him. The classic Journey to the West was part of school curriculum, of course, but it wasn’t just that—there were cartoons, puppet shows, live-action remakes, even branded snacks with Sun Wukong on them. He’s clever, a bit of a troublemaker, but always brave. Kids loved him. You and your sister had picture books with him flying around on clouds, fighting demons, and transforming into animals.

One of the most surreal experiences was getting to visit the film set for one of the big-budget remakes. That was the 2015 version, the one with Fan Bingbing. My friend Li—she translated some of Ai Weiwei’s work—her husband, Cheang Pou-soi, directed it. She invited us out to the set one day. You probably don’t remember all the details, but it was massive. Elaborate costumes, green screens, big lighting rigs—it was a whole operation. Seeing this ancient story being brought to life with modern technology really showed how deeply rooted the Monkey King is in Chinese culture, but also how adaptable he is. He’s survived for centuries, and he keeps changing with the times.”

Analysis:
Sun Wukong, or the Monkey King, is a central figure in Chinese mythological and narrative folklore, best known from the 16th-century novel Journey to the West (西游记). His character draws from Daoist and Buddhist cosmology, embodying themes of rebellion, transformation, and eventual enlightenment. He is classified as a heroic trickster figure, blending moral lessons with comedic mischief, and has been used historically to explore tensions between individuality and authority.

The Monkey King’s story has been transmitted through oral storytelling, written epic, shadow puppetry, television, and cinema, making him one of the most recognized figures in Chinese folklore. His presence in modern media—especially through state-supported educational programming and commercial films like The Monkey King (2015)—shows the way traditional folklore evolves into mass-mediated folklore, reaching audiences across generations and geographies. In the context of childhood in early-2000s Beijing, Sun Wukong functioned both as a cultural icon and a moral exemplar—accessible through entertainment, but still rooted in complex spiritual and historical traditions.

端午节 (Duānwǔ Jié) Dragon boat festival

Title: 端午节 (Duānwǔ Jié / Dragon Boat Festival)

AGE: 18
Date_of_performance: May 1, 2025
Language: English
Nationality: Canadian
Occupation: Student
Primary Language: English
Residence: Toronto, Canada (formerly lived in Beijing, China for 11 years)

Folklore Explanation:
“Dragon Boat Festival came every summer when we were growing up in Beijing, and while we didn’t really do the full traditional thing, we definitely participated in some of it. Sometimes we’d go to watch the dragon boat races—usually if there was something happening at Houhai or a local event—but most years we just focused on the food. You know how obsessed I am with 粽子? Those sticky rice dumplings wrapped in bamboo leaves? That was the best part. Some had red bean, some had pork—there were even a few sweet ones I really liked.

We’d usually either buy them fresh from the market or sometimes help someone make them if we were invited over. The festival itself wasn’t something we celebrated formally, but it was part of the rhythm of summer. You’d start seeing 粽子 show up everywhere, and there was always this feeling that the season had officially started. It wasn’t about rituals for us—it was about the food and kind of being around it, taking part in a way that made sense for our family.”

Analysis:
The Dragon Boat Festival is a ritual calendar festival and an example of hero commemoration folklore, centered on the legendary poet and minister Qu Yuan, who is said to have drowned himself in protest against political corruption. Traditionally observed on the 5th day of the 5th lunar month, the festival blends narrative folklore (the story of Qu Yuan) with material culture (making and eating 粽子) and performance folklore (dragon boat racing).

It has both secular and spiritual dimensions. The races represent the villagers’ attempt to rescue or honor Qu Yuan, while the consumption of 粽子 is linked to ancient offerings meant to protect his body or ward off evil spirits. This festival is transmitted through intergenerational family practices, school events, media, and public cultural programming. It holds particular weight in southern China where dragon boat traditions are strongest, but food-centered practices like 粽子-making are widespread and deeply tied to domestic life. In urban settings like Beijing, participation varies—some engage fully, while others experience the festival more casually through its culinary and public components.