Tag Archives: Korean culture

Ritual: Finding Baby Names Through a Shaman

Nationality: Korean-American
Age: 18
Occupation: student
Residence: Parkside, USC

My informant SJ told me about another Korean ritual where expecting mothers go to a shaman to get a name for their baby. SJ said that all the women in their family had gone to a shaman to get names for their babies, and when their mother was pregnant with them, she did as well. Koreans see it as an auspicious ritual and believe that it will bring prosperity to the baby. This was how SJ got their name and it means “Wise Existence”. Every name has a different meaning and it is based on many aspects, like when the baby is due and what gender they are, and their name also helps to determine their spirituality and their future.

As I was hearing SJ tell this story, I thought that this was such an interesting way of finding baby names and I love how meaningful each name is. It then made me think about my own name and how my parents came up with it, so I decided to call my mom and ask her about it. After talking to my mom on the phone, I actually did find out a lot of interesting things about my Mandarin name, 李小菲. She told me that because I was born in 2003 the last character in my name has the grass radical in it (the top part of the character that looks like a line with two dashes in it). She laughed and explained that this was because 2003 is the year of the sheep and sheep eat grass. I also laughed in surprise and didn’t know if I should have been offended that my mother decided to name me after grass. She then went on to tell me that the name as a whole meant living freely with a life full of joy and how that was all she wanted for me. I was touched to hear this and now I have a deeper appreciation for my name.

Ritual: Choosing Your Career Path as a Baby

Age: 19
Occupation: student
Residence: McCarthy, USC

My informant K told me about a Korean ritual called “Dolijabi” that occurs on the 100th day after a baby is born. On the day, the baby’s parents will place different items on a table, like a book, pen, paintbrush, stethoscope, etc., and depending on what the baby touches first, it determines their career path and their future. K told me that when they were a baby, they grabbed the book that their parents set out on the table and their mom said that they were going to go into academia. They said that it did end up coming true because they are now in the Marshall School of Business here at USC studying marketing.

I had heard of this ritual growing up and found it fascinating. I sometimes wonder what I could have chosen when I was a baby and how that decision would have changed my life path compared to where I am now. I have heard other stories about Dolijabi from my other Korean friends, and some of them said that they did end up picking a career path that resembled what they picked, and some ended up doing something completely different. However, they all told me that it is more of a fun tradition for the family and that it is more of a starting point. I do think that psychology places a big part in this tradition as well because if you were to pick up a paintbrush when you were a baby, your parents could think you were going to be a painter and get you a lot of painting materials and enroll you in painting classes. Or if you had picked up a ball, your parents could sign you up to play recreational sports. If you grow up thinking you are meant to have a certain career, then it is likely that you will pursue it. I personally don’t think I would have ended up doing what I would have picked because I always thought I was going to either be a hairstylist or open a bakery when I was younger. It wasn’t until I moved to Canada that I realized I wanted to be an actor.

The Ax Farmer – Tale

Nationality: Korean American
Age: 18
Occupation: Hotel Clerk/Student
Residence: Los Angeles
Performance Date: 03/06/2023
Primary Language: English
Language: Korean

Context: R is a Korean American who was raised in Hawaii. She moved to Los Angeles to attend USC and is currently a freshman studying Computer Science. Her mom told her this story, and R herself has heard from multiple Koreans each with their own variation on what the tale sounds like. According to R, it’s a very popular folktale.

Text:

The story of the ax farmer begins with an axman who had a very poor quality ax. It was wooden and broken. He dropped in this lake one day, and there was a god living in the lake and the god appears with two axes in his hands, one gold and one wooden. The god asks the axman “Which one is your ax, the golden one or the wooden one?” The axman answers honestly with “the wooden one.” The god, impresses by the man’s honesty, gives him the golden ax.

However, there was another man listening to the ax man and god’s conversation. He then purposefully threw an ax into the lake and the god appeared. The god asks the man which ax is his and the man chooses the golden ax. The god knew he was lying, so he punished him. The punishment R never specifies, but she implies that the god severely punished the other man for lying.

Analysis:

Like any tale, the god and man interaction and the golden ax is clearly not real. There is no real lake that this story was at nor would there be a god living it who can give golden axes to passersby. But, due to the context in which these motifs are placed, the audience is able to learn a very real and applicable lesson about honesty and punishment. From Oring’s definition of a tale, the inherent falsehood of the narrative makes it easier to digest; the linear path the plot takes and the extreme contrast of the characters allow the logical and real-world solution to the story, the man’s punishment, to be impactful and relatable. From there, the two-dimensional and predictable story can be adapted into metaphor, and then motif and then life lesson. A god living in a lake and the existence of a golden ax are metaphors for a high power or authority in life and rewards. By pleasing the authority figures with honesty and good morals, rewards will be given. Lie to power or manipulate selfishly, the punishment will be severe and no such rewards will be yielded. Tales like these are usually told during childhood, so this tale gives a young and innocent audience a hard truth about living in society without it being overwhelming or stressful. The tale is blaring entertainment, yet perfectly subtle in the delivery of morality and ethics.

Tale of Two Brothers – Tale

Nationality: Korean American
Age: 18
Occupation: Hotel Clerk/Student
Residence: Los Angeles
Performance Date: 28 March 2023
Primary Language: English
Language: Korean

Context:

G is a Korean American freshman studying Computer Science at USC. She has heard this story from her mother, who was born and raised in Korea but moved to Hawaii. That’s where G lived before she came to USC. According to G, her mom has told her this story countless times, and it is a very popular and well-known story.

Text:

There were two brothers, Heungbu and Nolbu, and they were both from a rich family. Nolbu is the older brother, he’s very greedy. The younger brother is Heungbu and he’s very kind. When their father died and it was time to split the fortune he left behind, the older brother takes everything. But, Heungbu is nice, so he doesn’t fight back or anything. He just accepts it.

There was a baby bird, a swallow. There was a snake trying to eat the swallow. Heungbu chased the snake away, saving the swallow. The baby bird had a broken leg, and Heungbu treated it for him. Three days later, the swallow got better, left, and came back with pumpkin seeds. So, Heungbu plants it in his backyard and when it was time to harvest, the pumpkin was full of treasure and gold.

The rumor spread that Heungbu became wealthy. His brother, the greedy one, asks him how he got so wealthy. Heungbu tells his brother. When Nolbu sees a swallow, he purposefully breaks the swallow’s leg and then heals it. The swallow comes back with pumpkin see, and when it was time to harvest, goblins came out of the pumpkin beating up his children and taking his fortune away.

Analysis:

This tale outlines two very stark characters in close contrast to showcase a logical sequence of events that follow their lives. Tales travel along the supernatural and realistically impossible, operating on events and logic that do not apply in the real world. There is no pumpkin seed in the world that can summon treasure and gold, or goblins (goblins do not exist or been questioned to exist like a yeti would be in a legend). There is no animal (real world entity) that is magical enough to differentiate magical pumpkin seeds, like that swallow. The objects of the folktale on which the plot occurs and the characters are propelled are illogical and extraordinary, an irrefutable kind of “not real” that occurs in a world that is not our own. However, though the events and plot devices themselves are not real or rational, what is logical is the actions of the characters caused by the devices. According to Oring, a “tale’s climax is the logical result of an episodic sequence.” Heungbu’s kindness and benevolence is met with Nolbu’s greed and malevolence, earning both of them respective consequences based on the caliber of morality their distinctive personalities the real world’s principles hold them in. These characters are unchanging and idle to exaggerate those social noems. It is accepted that kindness earns respect and good fortune, and as Korean culture is mostly dictated by Confucian values, Heungbu’s loyalty to his family in spite of his brother’s mistakes makes him a template of good character for Korean culture. Nolbu is the opposite; insensitive to family, uncooperative, and endlessly greedy, hence a moral villain for his Korean audience. This tale engineers Korean culture values into a supernatural order of events that follow a logical reasoning, so that the resolution is not only predictable for the audience but inevitable and therefore applicable in metaphor in real life.

Green Frog

Nationality: American
Age: 18
Occupation: USC Student
Residence: Los Angeles
Performance Date: 2/21/23
Primary Language: English
Language: Korean

Text:

Original script: 청개구리

Roman script: chung-geh-goo-ri

Transliteration: Green frog

Full translation (according to performer): Expressing your frustration by calling someone a contrarian

Context:

This saying is inspired by a Korean folktale that explains why frogs croak when it rains. A disobedient frog regrets how burdensome he was when his mother dies. To finally follow her wishes, he buries her near the riverside and cries out for her in fears that she’ll be swept away. In a less tragic light, CL says that her mother often recites this to her when she “didn’t do what she asked for certain things.” An example CL provides is when she pulled an all nighter instead of sleeping, even though her mother advised her to rest. As usual, her mother was proven correct when CL “complained about feeling like I did bad on the test the next day.” Thus, CL’s mother said “청개구리” to express her frustration.

Analysis:

Minor genres can act as forms of discipline or advice. By taking from culturally significant knowledge, the dite holds extra weight than if it were a stand alone saying. Almost like an “I told you so,” certain sayings can reflect broader knowledge that exists outside intimate relationships. A mother’s advice appears much grander when it is connected to a cultural tale or traditional story–the saying exceeds her and carries the weight of the “wisdom of the masses.” The saying universalizes personal experiences, thus considering disobedience an expected aspect of child development. Folklore doesn’t necessarily illustrate how to live life–it can also be used to discourage behavior and tell a cautionary tale. Thus, this saying is applicable to a multitude of situations: its moral and disciplinary motive can be used for various situations of disobedience or hypocrisy. Furthermore, it reinstates the mother-child dynamic and confirms the mother’s superior level of experience and life knowledge. However, the tale that inspires this imposes restrictions as to who can be the performer and who can be the audience: it can only be told from a mother to a child, not vice versa. Otherwise, the moral implications would fall short. Motherhood is prevalent in various forms of folklore–symbols, characters, and metaphors immortalize the mother-child bond. Even when their relationship appears ruptured, mother and child are eternally united through folklore.