Tag Archives: Superstition

The unlucky Three

Nationality: American
Age: 18
Occupation: College Student
Residence: Chicago
Language: English

Text

When the informants grandma sends her money for her birthday, Chinese New Year, or Christmas it’s always in red envelopes, which are part of the Chinese tradition. The envelope contains two dollar bills or even numbers; but never ends in the number three because it is unlucky in Chinese culture.

Context

She was taught this by her mom, because she was always wondering why she was getting two dollar bills. A two dollar bill adds to the idea that it is lucky and unique. The informant was told this when she was younger and now when she receives these envelopes she knows the meaning behind the two dollar bill.

Analysis

Society over decades has created many meanings to numbers ranging from luck to the devils number such as 6. I also think the fact that a two dollar bill is in the envelope is significant because those are rare and usually people don’t have those. This number superstition reminds me of angel numbers, making a wish on 11:11, and more. This is a living tradition because it’s, “something that is being done, mode of activity that represents the past, based on performance”. As this has been tradition in the informants family for many years.

Post Funeral Practices

Nationality: American
Age: 50
Occupation: Home renovator
Residence: Los Angeles, CA
Language: English

Text:

“After funerals, we always wash our hands with pomegranate leaves in a bowl before we can enter the house. Also, you cannot go straight home directly after a funeral, as it will bring bad luck. You always need to go somewhere else.”

Context:

My informant learned this from the older Chinese generation in his family. His mother would always remind him to do these rituals after attending a funeral.

Analysis:

Chinese culture has many superstitions regarding funerals, as demonstrated through these rituals. This practice of washing your hands before entering the house is related to apotropaic magic in that the symbolic action is intended to wash off any bad luck or ward off evil spirits. This falls under the category of contagious magic, the idea that things that were once in contact will influence each other even after the contact is broken. In the context of a funeral, individuals who have come into contact with impurities must wash it away to break the connection.

Knock on Wood

Nationality: American
Age: 22
Occupation: College Student
Residence: Los Angeles, CA
Language: English

Text:

“Anytime someone in my family is talking about something that has the potential to go wrong, we will knock on wood immediately as a way to protect ourselves or sort of prevent it from happening. If we were in the car or there was no wood nearby, my parents would remember to knock on wood when they got home.”

Context:

My informant’s parents have done this for as long as she could remember. While her parents are immigrants from Asia, they likely picked it up from popular culture. 

Analysis:

The exact origin of this superstition is not known for sure, but some believe it is based on ancient pagan traditions. They believed that spirits and gods lived inside the trees, therefore knocking on tree trunks was a way of asking for protection. When individuals knock on wood, they are engaging in a form of apotropaic magic. Even though they know that knocking on wood isn’t actually going to do anything, many do it as a way of easing their worries. It may be a way for people to feel as if they are in control of their own fate. 

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.