Tag Archives: tradition

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.

Pagpag – Filipino Funeral Custom

Nationality: Filipino
Age: 51
Occupation: IT Help Desk
Residence: Naperville, IL
Language: Tagalog

Text:

“Pagpag” in Tagalog translates to “Dust off”

“If you go to a wake/funeral, you shouldn’t go straight home. You have to go and stop by somewhere else – for example a coffee shop, mall, or restaurant.”

Context:

The performer didn’t experience this tradition until his Lolo died, and it he never really questioned it, because it was common for his Filipino relatives to eat after any gathering. It was something the people he grew up with just understood. He grew up in the Philippines (rural Luzon) until he was 8, then moved to America where his family still followed this tradition.

“That way you wouldn’t bring death to the household. If there is a ghost that latches on from the funeral home or just death in general, you don’t want it to follow you home. You don’t just go to a place and drive by, you have to stop and spend some time there.” “In the Philippines, there weren’t really places to go before going home. Now whenever we go to a funeral, we do Pag pag.”

Analysis:

Pagpag is rooted in spirital folk belief of liminality: the belief that events such as death and spiritally charged and potentially dangerous. By not going home right away, people seek to disrupt the path of wandering spirits and ensure their household won’t become haunted. This ties into Filipino animism and folk Catholicism which is a blend of indigenous spiritual beleifs and Catholic concepts of afterlife (brought over in the 1500s by Spanish colonizers).

Another great value of Filipinos is community. By avoiding going home right away, this practice also forces community through shared mourning and offers emotional decompression after an emotionally taxing event. Even if it’s not tied to superstition and the fear of vengeful spirits, societies tend to pact together after devastation just to cheer each other up as it’s human nature which has been passed down across generations.

Shabbat Tradition

Text: “I first did Shabbat with my family growing up every Friday. Then I went to a Jewish school from kindergarten to eighth grade. Every Friday there, we did Shabbat lunch where we mixed with all the grades. It was a more reformed school so it wasn’t super intense. When I started going to sleepaway camp, we did Shabbat on Friday there and it was just a really great community there. As my sister and I got older, things got busier so we couldn’t spend every Friday night doing Shabbat. We would always try to find a time once a month to do it. I grew up with my grandpa being a rabbi so we would go to St. Louis with my family and do a shabbat there. First you light the candle, then you do grape juice and wine, then you would do the Havdalah. This was a special part of camp for me because we always sang special songs. My parents, my dad especially, are very religious so this was always an important celebration for me.”

Context: The informant is Jewish-American, and originally from Chicago. She describes Shabbat as a significant celebration for her. Shabbat is a traditional Jewish celebration. It is the Jewish day of rest, from Friday to Saturday evening, and it is a time to rest from work and gather with loved ones. Specifically, as the informant describes, it is celebrated through a dinner. This is especially true because her grandfather is a Rabbi, so she grew up very tied to the Jewish religion. She says she is not as strictly religious as her father and grandfather, as they keep kosher and she does not, but she still feels that being Jewish is an important part of her identity. She says that Shabbat has been a part of her identity ever since she can remember, as she did it since her early childhood and continued this tradition throughout school and camp. Shabbat reminds her of her family and friends, which is why it remains so special for her, even if she is not able to celebrate it every Friday.

Analysis: 

Shabbat functions as a vernacular religious practice, as it is celebrated and adapted by individuals in different ways, and is often diverged from institutional expectations. The informant grew up in a religious household, but her Shabbat experience is shaped by other environments, including school and summer camp. Each experience has added a different layer and new meaning onto the ritual. The informant’s talks about both the loss and adaptation of the celebration over time. Throughout her life, she has had phases where she celebrates Shabbat weekly, and then other, busier times of her life when she is unable to. This shows how the ritual can act as identity performance. Even if she is unable to practice it weekly, the symbolic power still retains, and it is just as special and important to her.Also, the fact that she celebrates it in so many places (at home, camp, and school) shows that rituals can evolve contextually. Specifically, at her camp, she sings special songs, which is not something she does at other locations. This shows key features of folklore, including multiplicity and variation. Additionally, the ritual can create community, as she mentions. For her, camp becomes a site of ritual performance, creating a sense of communitas. This social unity is what makes the celebration so special for the informant.

The celebration of Shabbat becomes ritualized through the routine that takes place—the candle lighting, wine, and Havdalah. These acts are not only religious, but are also acts of folk performance.

Additionally, with her grandpa being a rabbi, this shows how heritage can play an important role in rituals. She is able to sustain this sense of family and heritage through celebrating the Shabbat tradition. This speaks to the purpose of folklore as a whole, she is learning the lore from her folk, in this case, her family. The relationship with her grandfather also reflects the combination of institutional and vernacular religion. He is an institutionally religious figure, but the way that they celebrate Shabbat is reflective of vernacular religion. This concept of heritage also shows how rituals can act as a method of cultural continuity. She is connecting to her Jewish heritage through ritualization.

Lunar New Year

AGE: 20 

Date of performance: 04/30/2025

Occupation: Student 

Primary Language: English 

Title-   Tết

Context- J is a Vietnamese-American student who celebrates Vietnamese holidays and festivals in the US. J tells about Tết, explaining “I celebrate Tết, which is lunar new year/Vietnamese new year. Usually kids get li xi which is lucky money (money in red envelopes) from adults but before they get it, they have to say good things/wish for good things to the adults before they receive it such as saying “I hope this year has a lot in store for you such as good fortune, a long life, good health, etc” and then the adults wish for good for the children as well. You eat a variety of dishes and celebrate the elderly who have passed away during that time by lighting incense on an altar displayed at home. People also go to a whole bunch of temples where they pray to Buddha and get blessings from monks.”

Analysis- J shares a traditional celebration of the Lunar New Year within Vietnamese culture—a popular holiday that is celebrated in Asia. Tết is a vibrant example of folklore as traditional rituals and customs within the Vietnamese community come together and are celebrated in honor of cultural identity. Some rituals within the celebration are the money in the red envelopes, which symbolize good fortune for the elderly and young. Although the Vietnamese celebration is unique, the theme of good fortune is common amongst East Asian countries. Oicotypes of certain elements such as the red envelopes convey how folklore is adaptable to its respective culture without losing its true identity.