Multicultural History of Mulan

Mulan is a Chinese folklore heroine who has now become a staple protagonist in the global arena following its widely popularized film adaptations by Disney. Many people are familiar with Disney’s films, but these depictions only offer a snippet into Mulan’s rich multicultural history. Enthusiasts who have enjoyed the 1998 Mulan animation and 2020 live-action depiction can clearly decipher an intentional attempt at inserting predominantly Western themes like empowerment and individualism (Aiqonatalia, 2022). Such Westernization comes at the expense of the thematic influences that historically shaped the Mulan narrative and hints at an attempt at homogenizing what is otherwise a rich and multifaceted cultural history. This in-depth foray lends itself to this crucial inquiry by uncovering Mulan’s multicultural history. As the foray reveals, Mulan’s distinct cultural evolution is imbued with key themes like honor, identity, gender, heroism, and feminism.

To begin with, it is important to consider Mulan’s origins. The folktale is first mentioned in the “Ballad of Mulan” (12th century) which can be traced to a part of oral tradition in the Northern Wei dynasty (386–534 CE). At this time, the Xianbei clan held power in Northern China; It is widely speculated that the Xianbei clan were Mulan’s people. A key aspect of the Xianbei people that are often excluded from the mainstream depictions include their distinct language, dress, and societal values (Wang et al., 2020). The aspects reflect their Turkic and proto-Mongolian influences that could enrich the popularized portrayal with an ethnic depth. Mulan was most likely of Tuoba ancestry yet she is just depicted as Han Chinese; this fact spotlights the historical complexity of Mulan’s ethnic identity. The oversimplification of Mulan’s identity as a Han Chinese protagonist robs the audience of an in-depth understanding of the character’s true nature and origin.

The attempt to mix oriental and Western components inevitably produces a cultural, archetype, and narrative collision. Historically, Mulan’s archetype as a defiant woman is not just about defying set gender norms because it also embodies Northern Wei’s high regard for women warriors. It is an ode to the nomadic customs that were malleable enough to grant women more freedom of movement and autonomy. The ballad’s story arc comes to a climactic end when Mulan reveals her true gender to her comrades whose surprise has less to do with her deceit than their deeply ingrained ideas of women’s capabilities. Her defiance is a complex tapestry of oriental themes like a traditional sense of honor, duty to family, and community. When Disney’s portrayal attempts to align itself to more contemporary and Western themes, this reorientation weakens the thematic influences that heavily ingrain the ballad. Consider how the modern Mulan comes to mind as a defiant heroine battling a highly patriarchal society that undermines feminine capabilities (Chang, 2011). The film also carries a sense of individualism that contradicts the communal demand for unity, honor, and fulfilling one’s duty.

Closely related to Disney’s alignment to individualism is the emphasis placed on self-actualization. Mulan comes off as a rebellious teenager who defies parental expectations and instead joins the military. This narrative may be compelling to a Western audience, but it departs from the Confucianist virtues of duty and loyalty. Mulan’s original archetype is not akin to a Westernized heroine with a strong appetite for emancipation but rather one that is steered by filial love and devotion. These elements are more than mere cultural undertones inserted in a film adaptation to give a touch of Chinese culture.

This discussion now shifts to how the role of artistic license with respect to historical and cultural consistencies. Director Nikki Caro’s 2020 adaptation reveals strong attempts at tackling inconsistencies but some challenges remain. For instance, Mulan’s residence in the movie is a southern-style tǔlóu, which is a communal structure that was used centuries after the Northern Wei dynasty (Mulan’s actual era). Also, the structure was commonly used by the Hakka people who reside in a completely different region of China. Another noticeable problem is that the costumes were inspired by the Tang Dynasty instead of the Northern Wei Dynasty. This choice points to a desire to satisfy the Western fantasy of Chinese history using visually appealing costumes that depart from Mulan’s true heritage.

There is also the replacement of Mulan’s dragon sidekick with a phoenix in the live-action film. This selection evokes questions because cultural sensitivity demands an alignment with Chinese symbolism. Mushu was not a character in the original ballad and was included to provide comic relief within the animated film. Dragons are revered creatures who signify nobility, strength, dignity, and good luck; a clumsy, chatty, and cowardly Mushu is not a fine representative of the Chinese dragon. Although a Phoenix (“Fenghuang”) is a revered creature within Chinese culture, its inclusion within the live-action film arguably reinforces the Westernized view of ‘exotic’ Chinese mysticism instead of seeking to portray the depth of a character or culture.

The Chinese cinema played a crucial role in revealing the folktale’s ability to adapt to social and political needs. In 1930, Mulan was depicted as a brave heroine defending against the Japanese invaders in the film ‘Mulan Joins the Army’ (Li, 2014). Later on, Mulan was present as a feminist icon who championed women’s empowerment, and this paved the way for Disney’s iterations. However, Disney eroded the cultural identity of the character whereas Chinese cinema glorified her as a daughter of China as well as her champion of the existing gender struggle (He, 2024).
An analysis of Mulan’s multicultural heritage reveals that her story is not static or singular. All the iteration of her story reveals a unique aspect of the society that produced it. In the Western hands, Mulan is an independent archetype that strives to make her own path through resilience and self-will. On the other hand, the Chinese adaptations reveal a nomadic warrior-woman, devoted daughter, and patriotic icon.

References

Aiqonatalia. (2022). Mulan: An Exploration of Culture and Representation in Hollywood, 2(1). https://doi.org/10.31237/osf.io/6bnm8 

Chang, M. (2011). Mulan’s Legend and legacy in China and the United States (review). Children’s Literature Association Quarterly, 36(3), 351–353. https://doi.org/10.1353/chq.2011.0025 

He, H. (2024). Mulan’s Cultural Journey to the West: From a Chinese heroine to a globalized figure. Theory and Practice in Language Studies, 14(3), 912–917. https://doi.org/10.17507/tpls.1403.34 

Li, J. (2014). Mulan (1998) and Hua Mulan (2009). Heroism and Gender in War Films, 187–205. https://doi.org/10.1057/9781137360724.0020 

Wang, L., Han, B., & Xu, G. (2020). Cultural differences in Mulan between Chinese version and Disney version. Theory and Practice in Language Studies, 10(10), 1332. https://doi.org/10.17507/tpls.1010.22