Tag Archives: Chinese

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.

中秋节 (Zhōngqiū Jié) Mid Autumn Festival

autumn moon festival

Title: 中秋节 (Zhōngqiū Jié / Mid-Autumn Festival)

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

Folklore Explanation:
“When we lived in Beijing, we always made a point to celebrate Mid-Autumn Festival. It’s such a beautiful time of year—the air would start to cool, and you’d see mooncakes everywhere, all wrapped in ornate boxes. We’d pick some up, usually with lotus seed or red bean filling, and head to one of the parks in the evening. The full moon that night always felt enormous, almost too perfect to be real.

We’d find a quiet spot, usually one of those pagodas near a pond or on a hill, and set up a little picnic. Tea, fruit, mooncakes. It was never fancy, but it felt meaningful—just sitting together and watching the moon. Around us, you’d sometimes see other families doing the same, or even lighting lanterns, but we usually kept it simple. It wasn’t about tradition in the strict sense, more about soaking in the atmosphere. It was one of those nights where everything felt calm and reflective, like the city was collectively exhaling.”

Analysis
The Mid-Autumn Festival is a calendar-based seasonal ritual, rooted in harvest celebration and lunar worship. It falls on the 15th day of the 8th lunar month and centers on themes of family reunion, cosmic harmony, and abundance. The legend of Chang’e, the moon goddess, is the mythological centerpiece, making this a form of mythical and narrative folklore. Its practices—moon-gazing, eating mooncakes, lighting lanterns—are considered participatory folklore, passed down through domestic traditions, community gatherings, and increasingly, commercial influence. While originally tied to agricultural cycles and Taoist cosmology, the festival today blends spiritual symbolism with secular celebration. In urban areas like Beijing, participation often includes public space rituals, shared meals, and aesthetic appreciation of the moon—bridging the traditional and the contemporary.

清明节 (Qīngmíng Jié) Tomb Sweeping Day

Title: 清明节 (Qīngmíng Jié)

AGE: 55
Date_of_performance: April 4, 2025
Language: Mandarin Chinese
Nationality: United States (lived in china for 20 years)
Occupation: Employee of the British Council in China
Primary Language: English
Residence: Beijing, China, currently Toronto, Canada

Folklore Explanation:
“Qingming is a public holiday, so everything slows down for the day. You probably remember—we’d get the day off, and if we stayed in the city, you’d notice how quiet it felt in the morning. Most families would head out early to visit the graves of their relatives. You’d see them cleaning the tombstones, pulling weeds, and laying out offerings—usually food, flowers, or incense. Some people burned paper items, like imitation money or little paper houses, as offerings to the ancestors.

But it wasn’t just a solemn day. After the rituals, families would often go on long walks together—some even make a trip of it. A lot of people leave the city and go into the surrounding countryside or small towns where the holiday is more deeply rooted. You could see whole groups picnicking, flying kites, or gathering for a big meal. It’s a day about remembrance, but also about being together as a family. The weather’s usually mild by then, and it kind of marks the real start of spring.”

Analysis:

Qingming Festival is a form of calendar custom and ritual folklore, rooted in ancestral worship practices common in Chinese folk religion, Confucian values, and Taoist and Buddhist influences. It is an example of commemorative folklore, observed at a fixed point in the solar calendar (around April 4–6). The festival’s customs—tomb-sweeping, food offerings, and symbolic paper burning—are passed down intergenerationally, typically through oral tradition and communal practice, rather than through formal education. While deeply spiritual, Qingming is not tied to a single organized religion but reflects a broader cultural reverence for lineage, harmony with nature, and seasonal change. It continues to be transmitted through family practices, media portrayals, school education, and public rituals, maintaining a strong presence in both rural and urban areas of China.