Category Archives: Global Chinese Culture

White Snake: Legend to Modern Animation

The Legend of the White Snake, one of China’s Four Great Folktales, tells a timeless story of forbidden love. The ancient legend dates back to the Tang Dynasty, and the earliest written version is believed to be from Boyi zhi, a story collection from the 9th century. A man named Li Huang meets a beautiful woman clothed in white, who is secretly a white snake. After having sex with her, Li Huang becomes sick and eventually dies with his body turning into water. This original story’s message is rather simple: don’t involve yourself with strange women you just met.

But as with most ancient legends, the story has since evolved into multiple versions, each of which add new dimensions and meanings. One of the more popular versions today has a man named Xu Xian marry a white snake spirit called Bai Suzhen. They get married and open a medicine shop together, but a Buddhist abbot named Fahai views their relationship as taboo, so he concocts a plan to expose her true nature. Once Xu Xian learns that Bai Suzhen is actually a snake, he is initially fearful and shocked. But after she eventually proves her genuine love, they reunite to fight against Fahai. Fahai ultimately triumphs and Bai Suzhen is trapped under a pagoda.

Especially in early versions, Fahai is depicted as a righteous monk determined to extinguish evil according to the Buddhist moral code. The story warns against breaking social and religious norms, which is in line with historical Confucian teachings about upholding one’s role within society.

White Snake (2019) as a Modern Reinterpretation

Movie poster showing the characters of White Snake
White Snake (2019) movie poster

Although originating in China, White Snake has become a modern global phenomenon with cultural references appearing in multiple media formats. A popular and recent adaptation is White Snake (2019), an animated fantasy film produced by Light Chaser Animation and Warner Bros.

The film adapts the characters Xu Xuan and Bai Suzhen into Xuan and Blanca, respectively. Xuan is a cheerful young man living in Snake Catcher Village, a village whose purpose is to collect snakes for the general’s dark Daoist magic that he practices in search of immortality. Blanca is the White Snake spirit, a member of the Snake Clan sent to assassinate the general for the crime of killing so many snakes. Blanca’s memory is wiped during the fight against the general, and Xuan finds her near the village. They fall in love quickly and venture together to recover Blanca’s memories.

The Absence of Fahai

In the film, while there is no direct analog to the Buddhist monk Fahai, there are multiple characters that serve as obstacles to Blanca and Xuan’s love.

Firstly, the humans are extremely fearful of demons. They do not accept Xuan and Blanca’s relationship and are reluctant to help them even after they defend the village against attack.

Verta, who is Blanca’s sister and the Green Snake spirit, is another obstacle to their love. The entire Snake clan hates humans and upon hearing that Blanca has become friendly with one, is ready to attack her as an outsider. Upon meeting Xuan, Verta is unable to accept that he is a human and tries to kill him, even as Blanca pleads her not to.

The traditional story uses Fahai as a symbol of Buddhist morality and spiritual order. The film deemphasizes this religious perspective and focuses on the themes of prejudice and social intolerance. In a modern context, audiences may resonate more with this message as similar social conflicts are still globally present. The importance of religious morality has also generally declined from the period from which White Snake originates due to modern secularization.

Xuan’s Transformation

In the original folk tale, Xuan is often portrayed as a passive victim who finds it difficult to accept that his beautiful wife is actually a snake. In some versions, he dies of shock upon finding out the truth, and is afraid of the White Snake even after being revived. In sharp contrast, the version of Xuan in the film displays bravery and acceptance, firmly rooted in unconditional love. When Blanca is revealed as a snake spirit with a “demon tail”, he remains completely unfazed.

“Does it matter? The world’s full of awful folks without tails. Who cares if you’ve got one?”

The film’s Xuan displays an unwavering loyalty to Blanca and promises to always be at her side. He goes so far that he is willing to sacrifice his humanness to become a weak demon so that he can be with Blanca. At the end of the film, he dies while holding Blanca in his arms in the aftermath of the final fight against the general and Snake Clan master.

Xuan’s new portrayal is one that represents him as a courageous hero able to easily break his old social worldview. He is an ideal role model for modern audiences worldwide, embodying open mindedness and overcoming prejudice to accept those he loves for who they are.

Xuan and Blanca as a giant white and blue snake

Blanca’s Empowerment

One interesting and intentional artistic choice in the film is Blanca’s amnesia. She forgets everything about who she was when she first meets Xuan, giving her a clean state to explore the world anew. It enables her to let go of her preconceived notions about the social order and engage in a beautiful love. This reemphasizes modern feminist principles about self discovery and individual choices; she herself decides who she wants to love, not the people around her or the societal expectations hanging overhead.

The addition of fantasy magic also empowers Blanca in the film. She is a very strong snake demon who protects and saves Xuan multiple times throughout the film. Her magic and physical abilities make her a powerful and independent figure capable of standing up to figures like the Daoist general. In the original story the White Snake was defeated and trapped; in the film, she triumphs over the general as well as the Snake Master who turned evil, although she loses Xuan in the process. This portrayal of Blanca gives confidence to modern girl and women audiences, pushing them to break any traditional constraints placed on them.

Dramatic battle scene between Blanca and Verta and one of the general’s magicians

Overall, the 2019 animated White Snake film presents a positive and empowering reinterpretation of the traditional Chinese legend, creatively weaving traditional elements into modern narratives.

The adaptation successfully bridges cultural divides, transforming a cautionary tale rooted in strict social boundaries into an inspiring narrative celebrating love, self-determination, and overcoming prejudice. In doing so, the film not only reintroduces the White Snake legend to new generations but also enriches it with relevance, complexity, and universal appeal.

A Modern Reframing of “Cǎo Chuán Jiè Jiàn” from The Romance of the Three Kingdoms

草船借箭 (Cǎo Chuán Jiè Jiàn, or “Borrowing Arrows with Straw Boat”) is one of many stories within the larger narrative of the Romance of the Three Kingdoms.

The story starts with a war meeting called by the general Zhou Yu. Zhou Yu does not trust Kong Ming (also sometimes referred to as Zhuge Liang), an allied strategist, and attempts to set him up for failure by requesting him to prepare 100,000 arrows for an attack within ten days– a completely unrealistic task, since there is no way for Kong Ming to produce so many arrows. It is even more shocking when Kong Ming offers to complete this impossible task within only three days.

All hope seems lost, but Kong Ming devises a clever plan: he covers 20 boats with bundles of straw, and on the third night when a thick fog sets in, he sets off towards the enemy camp. The enemies, fearing an attack, immediately begin firing into the darkness. Their arrows lodge into the straw bundles, and Kong Ming eventually retreats with each boat carrying five to six thousand arrows, fulfilling his quota and saving himself from execution.

The Three Kingdoms stories contain many instances of strategic brilliance like this– the triumph of intelligence over pure force. This specific story is very well known, and is commonly referenced in modern adaptations. One such adaptation is an art piece made by Cai Guo-Qiang.

Created in 1998, this art installation is constructed from an abandoned boat that Cai Guo-Qiang found in his hometown Chenzhou, which he then covered with 3000 Chinese made arrows, as well as a Chinese flag. In its exhibit at the MoMA, Cai Guo-Qiang explains the artwork’s cultural significance and message.

The boat is, to him, a representation of China (as displayed by the Chinese flag). The arrows, while literally paralleling the famous story, are also symbolic of external forces that have been acting on China ever since their entry onto the global stage. On one hand, Cai explains how each arrow is like one of the many “wounds” China has suffered in a cultural sense, as its ideals and beliefs clash with other nations. On the other hand, however, these “wounds” have also helped to make China stronger. Despite being fully covered, the boat itself remains intact, symbolizing endurance and tenacity. Additionally, through its interactions with foreign nations and cultural and global exchanges, China has grown to become one of the leading superpowers of the world. Just like the enemy’s attacks were repurposed by Kong Ming, China moves forward with arrows lodged into its hull, having only grown stronger from its interactions with external forces, and transforming its struggles into resilience and resources.

At the time of this boat’s creation, these ideas were especially relevant. The end of the 20th century was synonymous with rapid economic and industrial growth within the country, and China was definitely absorbing plenty of arrows from the rest of the world, in the form of modern technology that would greatly aid its development. Additionally, China was facing a lot of external criticism for things like the Tiananmen Square protests less than a decade earlier, or the handover of Hong Kong from just a year before. Due to this, there was definitely a strong idea of “us versus the world”, which made unifying pieces of Chinese nationalism very relevant.

Cai Guo-Qiang also discusses the actual visuals of the art piece. Unlike a traditional boat that sails on water, this boat is suspended in midair. In his words, the feathers of the arrows have transformed into wings, turning the boat into a flying bird. This is a fascinating visual, and gives off a sense of freedom and transcendence. By definition, flight is a way of “rising above”. It doesn’t seem like a coincidence that, in person, one would have to look upwards at the exhibit. This could simultaneously be trying to show that China is trying to “rise above” its past struggles, as well as creating a perception of China’s superiority over the rest of the world.

Calling it a “bird” also attaches this inherent idea of life to the artwork. By viewing the work as a “bird” instead of a “boat”, the Chinese metaphor is not just one of endurance and survival, but also evolving and growing, as all living things do.

One final important point of discussion to consider is what is missing from this adaptation. In both this artwork as well as other modern adaptations, Zhou Yu’s role has been removed, and the story has just simply become “Kong Ming needs to get arrows for battle”. It has become a tale much more focused on tactical genius and not so much any form of complex politics. This is somewhat visible in Cai’s work– the sole focus of the piece is the boat, and there is no indication of any external factors. The only thing we should see is the individual brilliance of Kong Ming (and by metaphorical extension, China). This new version emphasizes individual resourcefulness, placing less of a focus on things like deceit. Although the enemy is still being tricked, there is unity from within, just like there should be unity within China.

Overall, Cai Guo-Qiang’s work is a beautiful reframing of a classic Chinese story. In a single work, he is able to showcase all of the important parts of the story, whilst naturally blending in his own meanings and beliefs. It is an excellent piece of Chinese nationalism, perfectly combining the country’s present state of affairs with an important piece of classical culture.

To see the MoMA audio description, go here: https://www.moma.org/audio/playlist/182/2432

The Ballad of Mulan vs Disney’s Mulan

Disney’s Mulan (1998) is one of the most well-known animated films worldwide. Countless people are familiar with its strong heroine, memorable music, and unique storyline. However, many may not realize that this beloved movie originated from an ancient Chinese folk ballad.

Ancient Legend: The Ballad of Mulan

The Ballad of Mulan is the oldest known version of Mulan’s story. This poem was most likely composed during the era of Northern Wei around 400 AD. Because stories were often passed down orally, the ballad was not preserved in written form until during the Tang dynasty, resulting in mysteries about the author and whether or not this story was real or fiction.

Ballad of Mulan
This copy of the Ballad was penned by Song dynasty calligrapher Mi Fu in 1094 AD

In the ballad, Mulan discovers her father is being conscripted since there are no other men in the family. She decides that she will take her father’s place and goes to fight in the war, disguised as a man. Eventually, they win the war and return to see the Emperor who gives out rewards and promotions. Mulan rejects the offered promoted position and instead requests to return to her hometown and family. She returns to her feminine appearance and her comrades are shocked since they had never suspected that Mulan was a woman. The ballad ends with the quote, “When a pair of rabbits run side by side, who can distinguish male from female?”

The ballad embodies and demonstrates one key Confucian principal: familial piety. Confucius (551-479 BC), a Chinese philosopher, emphasized social harmony through respect and integrity. These values further promote the importance of respect for family and duty to the state—central themes in Mulan’s actions in the ballad.

Reinterpreting Mulan: Disney’s Adaptation

Disney's Mulan

Unlike the ballad, which highlights Confucian values of duty and familial loyalty, Disney’s Mulan includes other themes such as romance, supernatural elements, personal growth, and self-identity. While the core premise of a young woman stepping up to take her father’s place in war is maintained, the adaptation gives Mulan “more depth.” Mulan’s motivations and actions are slightly different in the adaptation. In the original ballad, Mulan does not struggle with her place in society—rather, she seems to understand her position in society and what she must do to uphold filial piety, duty, and honor. In contrast, Disney’s Mulan is portrayed as a young woman struggling to conform to societal expectations of femininity. This Mulan questions her worth and place in the world, making her a more introspective and emotionally complex character.

Her matchmaking experience for marriage failed miserably—a disaster at the time since women’s value was measured by their marriageability.

Matchmaker disaster scene
Mulan comes home after the failed match making and reflects on who she is

By taking her father’s place in the war, not only is she practicing filial piety, but she is also asserting her own individuality and worth beyond the traditional gender roles. This decision aligns with Western themes of feminism, self-empowerment, and breaking societal constraints, making Mulan a relatable figure to (mainly) Western modern audiences.

Li Shang and Mushu
Captain Li Shang (left) and Mushu (right)

Disney also introduces characters not found in the original story: Mushu, a comedic guardian dragon, and Captain Li Shang, the romantic interest. These additions provide the story with greater opportunities for Mulan’s character to undergo change and make the story more accessible to a younger audience while simultaneously reinforcing themes of friendship, mentorship, and personal transformation.

New Meaning for a Global Audience

There are mixed feelings about Disney’s adaptation and whether or not it oversimplifies the complexities of Mulan’s cultural roots. Although concepts such as filial piety, honor, and the balance between individual desires and social expectations are included in the narrative, some argue that this adaptation simplifies or Westernizes the story. Despite these feelings, this adaptation has promoted Mulan’s story to a worldwide audience. It has broadened the appeal and introduced elements of Chinese history and philosophy to a global audience. Additionally, the changes made in the adaptation, including the shift from the main focus on Confucian ideals to a more individualistic narrative helped to open the cultural conversation to broader topics such as gender roles and personal agency.

Despite debates over accuracy and adaptation, Mulan remains an enduring symbol of courage and resilience. Both the ballad and Disney’s versions depict a woman who defies societal expectations and proves her worth through her actions. Ultimately, Disney’s Mulan transforms a historical legend into an inspirational tale of self-discovery and perseverance, spreading the story to a much more global audience. Whether one prefers the original ballad’s emphasis on duty and honor or Disney’s focus on identity and empowerment, Mulan is a reflection of changing cultural values and evolving ideas about heroism, gender roles, and personal identity.

English Paraphrase of the Ballad of Mulan

The sound of creaking.
Mulan sits in the doorway in front of her loom.

When the loom grows silent,
We can only hear the sound of her sighs.

Girl, who are you thinking about?
Girl… who do you long for?

(Mulan replies)
“There is only one man I think about
There is only one man I long for

Last night I saw the conscription notice,
The Khan is issuing a great draft –

A dozen volumes of battle rolls,
Each one with my father’s name.

My father has no son old enough to take his place,
I, Mulan, have no elder brother.

I’m willing to buy a horse and saddle,
I will take my father’s place in battle.”

She buys a fine steed at the east market;
A saddle and blanket at the west market;

A bridle at the south market;
And a long whip at the north market.

At dawn, she leaves her parents’ home
and camps beside the Yellow River before dusk.

From far away, she cannot hear the sounds of her parents calling for her
Only the rushing waters of the Yellow River.

She leaves the Yellow River at dawn,
And reaches reach Black Mountain before dusk.

From far away, she cannot hear the sounds of her parents calling for her
Only the cries of the enemy cavalry in the Yàn hills.

She traveled ten thousand li,
She flew over mountains and through mountain passes

The sound of a war gong pierces the air,
The winter sun shines brightly on her coat of steel.

The general dead after a hundred battles,
The warriors return after ten years.

They return to see the Son of Heaven,
Sitting in the royal court

He unrolls the scroll of merit a dozen times
Giving hundreds and thousands of rewards

The Khan asks Mulan what she desires

(Mulan replies)
I have no need to be promoted to a prominent position

I only ask for a camel that can travel a thousand li
That can take me back to my hometown

Her parents hear that their daughter has returned,
They welcome her at the entrance to the town.

When Elder Sister hears of Mulan’s return,
she stands in the doorway wearing a beautiful dress

When Little Brother hears that his sister has returned,
He sharpens his knife to slaughter a pig and a lamb.

(Mulan speaks)
“I open the door to my eastern chamber,
And sit on the bed of my western chamber.

I take off my military robes
And put on my old clothes.

I sit in front of the window as I comb my long flowing hair
And look into the mirror as I apply makeup

I go outside to see my comrades
They are all shocked and astounded.

“We traveled together for twelve years,” (they say),
“But we never suspected that Mulan was a woman!”

Most people tell the gender of a rabbit by its movement:
The male runs quickly, while the female often keeps her eyes shut.

But when the two rabbits run side by side,
Can you really discern whether I am a he or a she?

Original Chinese Text

Global Chinese Culture post instructions

Students will choose a global retelling of an ancient Chinese cultural text or story. The retelling could take the form of a film, video game, opera, artistic work, or any other medium inspired by the original story. In your post, briefly introduce the original story and focus on one adapted work, analyzing how it reinterprets the story and creates new meanings.

Examples include White Snake, Monkey King, Mulan, the Butterfly Lovers (梁山伯与祝英台), Strange Tales from a Chinese Studio (聊斋志异), Romance of the Three Kingdoms (三国演义)…

An example of such a webpage can be found here:

https://www.sixthtone.com/news/1016629Links to an external site.