Tag Archives: tradition

The Symbol of the button down

Nationality: American
Age: 19
Occupation: College Student
Residence: Bay Area
Language: English

Text

Every Easter, the informant and his brothers always wear either pink or blue button down dress shirts. We did this to show our Easter Spirit as we would wake up early to go to 9 am mass.

Context

They are Christian Catholics and take these holidays seriously as it is tradition to dress this certain way, it is proper, and respectful to the values and ideals in the informant family as well as the holiday. The informants family tries to do this “costume or dress code” every year as the color blue represents purity, the Virgin Mary, and heavenly grace. Moreover, wearing Pink symbolizes a liturgical color used on Laetare Sunday, the fourth Sunday of Lent. 

Analysis

I am also Christian Catholic so when listening to this story I was able to make some connections. Related to the symbolism of the colors blue and pink, I feel as though when thinking about Easter I associate those colors with it and visualize it with those. When I was younger I didn’t realize these colors had meanings to them until I was older and started to learn about them. Easter decor that is sold in stores is usually presented in these colors. Also lots of colors in society have symbolic meanings to them but also it may vary for cultures. Vaz da Silva’s article demonstrates color symbolism, such as colors in movies. It shows how we have expanded and modernized color symbolism and its involvement in specific things. 



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.

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.

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.