Lesson 5) Honour to Us All (Mulan)
We would also like to welcome Professor Cattercorn, your Co-Professor of Care of Magical Creatures (https://www.facebook.com/hihcomc) who is here today to talk to you about dragons!
EH
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https://www.facebook.com/emmaharthih
Lesson 5: Honour to Us All (Mulan)
As you may know, there are two Mulan movies. The original Mulan was released in June, 1998 and the sequel was released in February, 2005.
In less than two months following its premiere at the Hollywood Bowl on 5 June 1998, Mulan passed the $100 million mark
at the box office in the United States alone. This success was soon matched by a wider, global popularity, acquired by reaching a total of more than $300 million in box office revenue. The character of Mulan was marketed as one of the Disney princesses, along with those who came before her, including Snow White, Aurora, Cinderella, and so on. Unlike her predecessors (besides Pocahontas and perhaps Jasmine, as previously shown), Mulan offers a strong, positive role model for female audiences. Most importantly, she isn't actually a princess, but a war hero. And, unlike other female protagonists we've previously touched on, she's based on a Chinese legend.
Both movies, despite having different plots, address the theme of loyalty: to country, family, but most importantly, to one's own heart. Moreover, like Aladdin, Mulan attempts to portray a non-Western culture, specifically Chinese. Besides drawing on a historical Chinese legend, they hired Chinese voice actors (Ming-Na Wen and B.D. Wong) to play Mulan and Captain Li Shang. The producers also claimed to have spent two weeks in China in order to study Chinese culture, architecture, and natural landscapes in order to maintain an "authentic" feel (Yin 55). In this lesson, we'll explore whether or not Disney accomplishes this.
Synopsis of Mulan (and brief mention of Mulan II)
When the Emperor learns of Shan-Yu's arrival in China, he asks his General to gather more troops. Despite the General's confidence regarding his current army, the Emperor asserts an important message (see image):
The scene then cuts to Mulan, preparing for her meeting with the matchmaker. Mulan is the only daughter of the Fa household. She is seen serving breakfast to her father, who is praying, and then rushes off to meet her mother and grandmother to "beautify" herself. Although disinterested in the matchmaking process (writing "cheat" notes on her arm and showing up with hay in her hair), Mulan is certainly passionate and strong-willed; however, she is now expected to find a suitable match that will bring "honour" to her family.
Although in Disney's version it's considered an honour to 'strike a good match', this is merely a dramatization of Chinese history. In ancient China, only young men and women from similar family backgrounds were allowed to marry. Disney certainly emphasized the importance of the matchmaker, but in early China, there was something far more important: parental consent. Although the matchmaker did play an intermediary role between the two parties to negotiate wedding arrangements, dowry preparations, and betrothal gift presentation, it was up to the parents who their son or daughter would marry. More importantly, matchmakers were usually hired by the bridegroom's family; therefore, although the matchmaker might have an opinion on the subject, the final decision ultimately rested with the bridegroom's parents (Tang 157). The ending of Disney's version might be more in line with this: as the newly instated "Head" of his family (on account of the death of his father), General Shang was perfectly within his right to make an offer to Mulan since she was, at least in the universe of the movie, the most eligible 'bachelorette' in all of China on account of her fame.
Another "reality" that Disney touched on in this song is conveyed through the line: "....how could any fellow say 'No sale'?" It's something you have to listen carefully for, but it's certainly there. Women, especially in the ancient world, were often bought and sold; they were considered property. And, as many of you may or may not know, women, at least in the Western world, were not declared "persons" until 1929. This meant that women, up until this time, could not vote, own their own property, and were considered the legal property of their husbands. Disney's film emphasizes the gender differences of the ancient world, as men were the authoritative figure in the household as well as the nation. Women, on the other hand, were meant to be "calm, obedient ...with good breeding, and a tiny waist", as the song declares. At the same time, while Disney appears to be emphasizing that China upheld these gender roles, gender oppression is not a culturally specific problem, but a universal one.
Even today, the fight for gender equality continues. As many of you know, Emma Watson, the actress who played Hermione Granger in Harry Potter, is continuing that fight and bringing gender back into public debates.
She recently began the foundation HeForShe, a solidarity movement for gender equality. Although our current society appears to be equal, many women are still not paid equally.
You may have also heard the expression "Glass Ceiling"; this refers to the limitations put on women, especially in the business world, who cannot advance further in their careers based on the sexist and misogynist mentalities of their male peers.
Moreover, while Disney seemed to frame Chinese culture as one that frowned on individuality, the reality is not as clear cut as all that. In "Reflection", Mulan declares that if she were to "truly" be herself, she would "break [her] family's heart" suggesting that there is no place for the individual in Chinese culture. Further still, Mulan's father angrily remarks to her, "I know my place. It is time you learn yours." This suggests a specific gender hierarchy, one that should not be questioned. While Disney was merely using these particular limitations to emphasize Mulan's growth and eventual heroics, it is important to recognize the larger connotations of the Western world telling a non-Western story. That is to say, we should not accept what is shown in Mulan to be an authentic representation of Chinese culture, even if Disney's production team did their best to achieve this.
Peter Schneider, Disney Feature Animation President, asserts that "the search for who we are, the search for self, is an ever-ongoing and universal theme" (Kurtti 1998, 189). Based on this, Disney appropriated the Mulan story into its "formula" of a hero's journey of self-discovery in order to make it more accessible to Western audiences. The original story, which we will discuss in greater detail later on, is actually about filial piety
and loyalty 
and not individuality, as Disney champions. But Disney's Mulan, whose individuality cannot contain itself behind a mask, or within the "part" she is meant to "play", longs to break free:
However, as Disney's version demonstrates (more in line with the modern world), not all men and women easily fit into these strictly defined gender roles. For example, Chien-Po, Ling, and Yao do not fit into the typically "masculine" mold. While they all perpetuate gender stereotypes in regards to their views on women (as conveyed through the song "A Girl Worth Fighting For"), they ultimately privilege loyalty and friendship above difference in gender. By the film's end, Mulan and her friends defy the "cookie-cutter" model of gender roles and come together to save China.
Even the "catchiest" song in the film reflects this idea. At the army training camp, Mulan (with the help of Mushu) dubs herself “Ping” and attempts to fit in. Mulan, along with the other males in the camp, work to "become men" by learning how to fight.
Of course, as we all know, you don't have to be a "warrior" in order to be a "real man". The film plays up the ancient world's gender roles, while also commenting on our present day (and still problematic) constructions of masculinity and femininity. Mulan, as a woman, blurs the gender lines by becoming a soldier (just as Chien-Po, Ling, and Yao dress up as women in order to save the Emperor). Whether Disney meant to or not, Mulan emphasizes that your anatomy does not matter; what matters is pursuing who you want to be, regardless of what society thinks.
After they "become men", Shang's troops must step up to the challenge. The Emperor's lackey, however, does not feel that they're ready. Overhearing this, Mushu steps in and sends a fake message informing Captain Shang that his father, the General, needs their help. However, when they finally arrive, they discover that the General and his entire army have been wiped out.
Despite Mushu's constant meddling, his decision to act to get Mulan into battle was vital: had he not done so, they would not have known about the loss, never would have destroyed the bulk of Shan-Yu's army, nor would they have arrived at the Imperial City in time to save the Emperor's life. For a pretend guardian, Mushu's constant meddling actually helped a lot more than it hurt!
Despite Mulan's heroic efforts, including the saving of Captain Shang's life, they discover her true identity on account of her extensive injuries.
After Shang and his army leaves Mulan behind, Mulan debates on going home, until she realizes that Shan-Yu and some members of his army survived the avalanche that she single-handledly caused:
Returning with Khan, her horse, Mushu, and her lucky cricket, Mulan finds Shang, and her friends, and attempts to warn them that Shan-Yu is in the city. Refusing to listen to her, Shan-Yu swoops in and kidnaps the Emperor and locks him in the palace. It is Mulan, again, who saves the day (with the help of Shang, his training, and her friends). As Shang and her friends get the Emperor out of the palace, Mulan boldly traps Shan-Yu in the palace and faces him down one-on-one. In fact, one of the most captivating moments in the movie is when Mulan throws her shoe at Shan-Yu to distract him, declaring that she was the one who robbed him of his victory and then pulls her hair back to remind him. He stares at her in surprise, whispering (almost in awe), "The soldier from the mountain." It was not a man who robbed him of his glorious opportunity, but a woman. His anger intensifies tenfold.
With Mushu's and crickey's help, though, Mulan is able to put an end to Shan-Yu's terror--with the entire kingdom watching.
When Mulan turns to look out at all the people, she suddenly remembers that thousands of people witnessed her heroic actions. While anyone might be properly humbled by this, Mulan, like her usual self, happily embraces the Emperor. While this, of course, would never actually happen, Disney's choice in depicting this moment represents Mulan's unique personality. She is different, yes, but being different has the potential to make you great. Embrace your difference!
Returning home with gifts from the Emperor, Mulan is uncertain about confronting her father and, to honour him, she kneels and offers him the gifts, a sign of filial piety and obedience. But her father's interest no longer lies in honour, but in the knowledge that his daughter has returned home, unharmed. In one of the most iconic moments in Disney, he drops the gifts to the ground and embraces Mulan, declaring to her that "the greatest gift and honour is having you for a daughter."
It only when Mulan's true identity is discovered that she begins to have more confidence in herself. Having at first hid behind a painted mask, and then a warrior's, she never had the chance to show the world who she really was. But, when all the chips were down, and all seemed lost, Mulan, and Mulan alone, was the one who had the courage to take on an entire army, and single-handedly, yet again, save the Emperor.
By the time she reaches home, Mulan has newfound confidence in herself, which is somewhat ironic, as when Shang shows up at her home, he is no longer the confident Captain that Mulan initially meets. In fact, he's a bumbling mess of awkward:
Unlike most Disney movies involving a romance, it does not end in a marriage, but a dinner invitation. It is in the sequel where we finally see Mulan and Shang get married--but not before Mushu has had his chance to break them up (his reasoning being that Mulan's marrying of Shang would result in his replacement as guardian). The film describes the couple's gradual getting to know each other as they take on a mission from the Emperor--transporting the Emperor's three daughters to another kingdom in order to be married to the neighbouring prince.
The catchphrase of the sequel is, without a doubt, "My duty is to my heart." This is quite similar to the original film's theme, as Mulan learns the importance of remaining true to her own heart. However, this frequently causes issues with Shang, as their duty is also to their country. Yet, even Shang eventually learns the importance of remaining true to one's heart, as he almost loses Mulan (and his own life) on account of his strict loyalty to the Emperor and China. It is Shang who steps in at the right moment, stopping Mulan from sacrificing herself (by taking the place of the three princesses in marriage to the eldest, obnoxious prince) and reminding her what she has been trying to teach him all along. Mulan and Shang, including Chien-Po, Ling, Yao and the three princesses, are able to find love by staying true to their hearts.
As previously mentioned, loyalty--in all its forms--is certainly an important theme in Mulan and its sequel, and it is something we will explore later in the next section, specifically in relation to the film's source text.
Mulan : Fact or Fiction? (Disney versus History)
In Disney's version of Mulan, the narrative was substantially re-written to satisfy a global market. In China, local operas, ancient poems, and non-official historical records have presented the legend of Hua Mulan (花木兰) in a variety of versions (including a poem named The Ballad of Mulan (木蘭辭)) .
Mulan's story was first recorded as Mulan Shi or The Ballad of Mulan (Ode of Mulan) in Chen Zhijang's (approximately 568 A.D.) Gujin Yuelu (Musical Records Old and New) which no longer exists. The current available text of the poem is found in the Yuefu Shiji (Collection of Music-Bureau Poems) anthology, compiled by Guo Maoqian in the 12th century in the Song dynasty (Feng 2003). According to Guo, this poem was written by an anonymous author in the Northern Wei dynasty (368-534) during the 5th century. Later writers, such as Wei Yuanfu (? - 771) and Xu Wei (1521-1593) composed different stories of Mulan. Maxine Hong Kingston's The Woman Warrior (1989) is based on later versions of the Mulan legend, whereas Disney's version drew on the oldest (Ballad) version of Mulan. The Ballad of Mulan is included in the standard textbook for elementary schools in China; in fact, thousands of Chinese children can recite the poem in its entirety (Yin 65).
Disney's version depicts China at war with the Mongols or Huns. The Great Wall is symbolic of their conflict; however, the real life Wall was initially built in order to protect the Chinese Han, the ethnic majority from northern non-Han ethnicities. In The Ballad of Mulan, the battle is depicted to be between the Northern Wei and the Rouran, two northern non-Han nomadic groups (Yin 65). In The Ballad, Mulan is a female warrior of the Northern Wei (386-534), a dynasty ruled by Xian Bei, a northern non-Han people. Although Mulan's ethnicity in this Ballad is uncertain, she fought for the Northern Wei.
As previously mentioned, The Ballad of Mulan emphasizes the themes of filial piety and loyalty, somewhat of a stark contrast to Disney's central theme of individuality. In pre-Confucian and Confucian China, "filial piety is the ultimate value that upholds the order of the family" (Yin 65). Simply, filial piety is "a moral impulse, a cherished value in the Chinese habits of the heart" (Tu 1997, 172). Although Mulan may or may not have been a Han, China - at this time - practiced an assimilationist policy; therefore, Mulan would have most likely upheld the Chinese cultural principles of filial piety and loyalty to one's country (earlier form of nationalism), which we will discuss in greater detail shortly.
Unlike Disney's Mulan, the poem's Mulan is, in fact, a filial and dutiful daughter who was more than capable of doing domestic work traditionally assigned to women. Upon discovering her father has been conscripted, she chooses to go to war in his place. Her decision to join the army is based on the idea of performing her filial duty as a daughter.
Disney's version transforms the story using the elements of a fairy tale: the protagonist leaves home in search of his/herself, only to realize, after his/her adventures, that "home" is where he/she always truly belonged. It also, perhaps unintentionally, ignores a great deal of Chinese cultural history. For example, Mulan of The Ballad would never have cut off her hair as both women and men in ancient China never cut their hair throughout the whole of their lives (Yin 67).
Loyalty: Self, Family, and the Nation
Whereas Disney's version emphasizes the self separate from the family, in traditional Chinese culture, the family is an extension of the self and the state or country as well as the other way around (the country being an extension of the family). In assessing Mulan's decision to go to war, then, one would have to take into account her loyalty to her family. The Ballad suggests that Mulan had two other siblings (a younger brother and a sister) who would be at home to help provide, when she went off to war. Moreover, by closely analyzing the poem's diction, you can see that Mulan "takes leave" of her parents and does not "run away". While some Western scholars assert that the word translates to "steal" away (as in, sneaks out) and not "takes leave", Chinese scholars argue that Mulan, in fact, receives permission from her parents to take her father's place.
We also learn from The Ballad that Mulan was a veteran in the war for 12 years, without her gender being exposed. A decision to leave home like this would have been discussed with the entire family, as the poem describes Mulan purchasing a horse, a saddle, a bridle, and a long whip before she leaves home. Given ancient China's economic situation, "these purchases were not financially possible without the support of the entire family" (Yin 67). The poem then goes on to describe Mulan's "dedication, endurance, leadership quality, and skill as a warrior" that ultimately earn her promotions up the rank. Her decision to remain so long in the army was a combination of duty to her family and devotion to her country.
Disney's Mulan, however, meets instant success. In a matter of weeks (perhaps months), she suddenly goes from an awkward, inexperienced fighter to a national hero, capable of taking down an entire army. On this score, in terms of Mulan's success (despite the timeframe), Disney is correct, to some degree. However, Disney's emphasis that the discovery of her gender would have resulted in her execution could not be further from the truth. In Chinese history, there were other renowned figures of female generals and commanders, such as Princess Ping Yang (? - 623), She Taijun (934-1010), and Liang Hongyu (1102 -1135), who commanded troops and fought wars without masquerade. Female soldiers were not only sanctioned but highly acclaimed in Chinese culture (Yin 67).
Unlike Disney's version, the Mulan of history was an incredibly skilled warrior (she would have to be as a General). Yet, despite all her accomplishments, she decided to return home to her family. Why would Disney choose to alter the narrative regarding Mulan's combat skills (or lack thereof), but not her return home?
Collectivist Feminism
While Disney's film positions its feminism as modernized and progressive, that is, in response to its own depiction of China's gender hierarchy, The Ballad of Mulan, on the other hand, champions alternative form of feminism: collectivist (Yin 68). In the poem, Mulan declines all awards and positions in order to return home to her family and resume her role as dutiful daughter. While she is happy to return home, she is somewhat changed. The Mulan of the poem asks, "How can they tell if I am he or she?"
In Disney's version, Mulan is able to "pass" as a man; this does not speak to the challenging of gender roles, but a reaffirmation of them, according to non-Western scholars. While white feminist scholars assert that traditional Chinese female warriors would have reinforced a patriarchal structure by going to war in their father's place, these scholars are, in fact, doing these warrior women a disservice by imposing Western cultural frameworks onto them. For non-Western scholars, particularly Dr. Jing Yin (Professor at the University of Hawaii) whose work we have been using to assess Disney's Mulan, the Ballad's feminist theme is not one of a "quest for true self, or freeing oneself from competing demands of different social relations," but about the "loyalties that were formed on the battleground that transcend gender differences" and champion a "new form of gender equality and solidarity" (69).
Therefore, The Ballad of Mulan reflects a profound Chinese cultural view: the self is the centre of relationships.
As I, Professor Hart, mentioned at the beginning of your lesson on Aladdin, it is integral to question the imposition of a Western framework onto Eastern cultures, especially China's. While Western society certainly champions the idea of an independent, freely choosing, autonomous self, China, instead, maintains that "the concept of personhood is grounded on connectedness in China" (Hsu 1983).
After all, Confucius, in Analects of Confucius (6:30), wrote: "In order to establish oneself, one has to establish others. In order to enhance oneself, one has to enhance others."
In fact, if you're interested in pursing a career along these subjects, we highly suggest looking into Professor Batyaeva's Philosophies of Personal Power (https://www.facebook.com/HiHPoPP) as well as Professor Julius Dowler's Political Studies Track (http://po.st/brochurehih). After all, if you wish there to be change in the world, the change begins with you.
Magic in Mulan
As you recall in your first lesson with Professor Hart, there are two central themes often found in every Disney movie: the trope of the orphan and the use of magic. Since Mulan thankfully has both her parents (thanks to Mulan's bold decision to take her father's place in the army), we will focus on the theme of magic.
Mushu is a magical creature and (false) guardian to Mulan. His sole purpose is to provide Mulan with guidance and protection, since he failed to wake "The Great Stone Dragon". Fooling the ancestors into believing that he has awakened the dragon, he goes off in search of Mulan in order to help her. Of course, Mushu's initial motivations are purely self-interested. He wishes to prove himself as a guardian so he can "officially" take his place as one. Mushu's advice is often, unfortunately, not all that helpful. He gives Mulan questionable advice on how to "act" (specifically walk) like a man. Although sometimes his ideas are hit and miss, his heart (eventually) is in the right place. Although he isn't an actual guardian, he is still a magical being given that he is, as we all should know, a Dragon.
Additionally, the ancestors themselves appear to be magical beings, as they are spirits of the Fa Family. Ancestral magic is one that remains largely as a mystery to many as it is not as visible to the Muggle eye. The ancestors do not have particular powers to control the lives of the living, whether or not the person is magical. However, they are able to manipulate various situations that can potentially impact the future of their family: such as Mushu's interference in Mulan's life. If this is something that interests you, you will no doubt enjoy what we'll be covering in Year 4 of History of Magic! Works Cited
Tang, Jun. "A Cross-Cultural Perspective on Production and Reception of Disney's Mulan Through its Chinese Subtitles". European Journal of English Studies, 12:2. August, 2008. 149-162.
Yin, Jing. "Popular Culture and Public Imaginary: Disney vs. Chinese Stories of Mulan." Javnost-thepublic. 18:1. 2011. 53-74.
Professor Maddox and I hope you've enjoyed this lesson on Disney's Mulan! We know there was a lot covered in this lesson, but it's always important to know history, no matter whose history it is. While Mulan initially appears to be a "feel good" movie, there is certainly a lot more there than meets the eye.
If you would like to take part in discussion, visit here:
https://docs.google.com/document/d/1eEtjiDYpD--bA68Dw43Xz9qS2Kkeds7yIYvZ3yLcLg8/edit?usp=sharing
EH
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