Monkey and Religious Culture: Exploring the Cultural Aspects of the TV Series

This paper looks at the cultural aspects which underlie the TV series called Monkey. It was a TV series which aired in the late 1970s, and went on for two seasons, including 52 episodes in all. It is taken from a classical Chinese novel from the 16th century which combines elements from Chinese Buddhism, Confucianism, and Taoism. Further, it presents these elements in an action-packed modern light. It was produced by a Japanese television production company, and later translated into English by the BBC and aired in Western countries. This paper will argue that Monkey combines the most basic tenets of Chinese thought with techniques and skills of modern television production such as cinematography, mise-en-scene, script-writing techniques, characterization, in order to create a unique and popular series which is not only enjoyable to the masses, but also gives them a relishing experience of their religious and social culture.

World Religions: “Monkey” and Religious Culture
Abstract
This paper looks at the cultural aspects which underlie the TV series called Monkey. It was a
TV series which aired in the late 1970s, and went on for two seasons, including 52 episodes in all. It
is taken from a classical Chinese novel from the 16th century which combines elements from
Chinese Buddhism, Confucianism, and Taoism. Further, it presents these elements in an action-
packed modern light. It was produced by a Japanese television production company, and later
translated into English by the BBC and aired in Western countries.
This paper will argue that Monkey combines the most basic tenets of Chinese thought with
techniques and skills of modern television production such as cinematography, mise-en-scene,
script-writing techniques, characterization, in order to create a unique and popular series which is
not only enjoyable to the masses, but also gives them a relishing experience of their religious and
social culture.

Introduction
Across world cultures, many religious epics and folk-lore have been adapted to be made
accessible to wider audiences through the medium of television and cinema. These adaptations use
various effects and techniques at their disposal to make the content of the narrative more appealing
and more effective for the audiences. Frequently, it involves computerized visual effects too.
Monkey is a television series which was originally made by a Japanese production company,
shot in China and Mongolia. Its original name was Saiyuki, which is the title of the novel by Wu
Chengen, literally meaning “Journey to the West.” It is a 16th century novel based on the myth of the
monkey king born on a hill from an egg at the time of creation. The protagonist in this series –
Monkey – has magical powers and spends a lot of time fighting the evil forces which are always out
to take over the world.
This paper will look at the cultural context of the series Monkey. It will present a critical
analysis of the skills and techniques which have been used in making this series, and what is effect
upon the viewers and the presentation of the story was. Finally, it will present a personal reflection
into how it feels like watching this series.
Cultural Context of “Monkey”
Origin
The origin of the series Monkey, as already has been noted, lies in the 16th century novel
called Journey to the West by Wu Chengen.1 It was written during the rule of the Ming dynasty, and
is considered one of the four major classical works of Chinese literature. In this respect, it has many
modern adaptations. While the original TV series was made in Japanese under the title Saiyuki, it
was translated into English by David Weir for the BBC a year after its first release.2
Traditional Cultural Influences
1 Teevan, Colin. Monkey! (Oberon Books, 2012): p.14.
2 Geogeghan, Tom. “What was Monkey Magic All About?” (BBC, 2010, Jul 23). Accessed at:
http://news.bbc.co.uk/2/hi/uk_news/magazine/7520243.stm on Apr 4, 2019.

One of the major influences to fall upon Wu Chengen in writing Journey to the West was the
journey of the Buddhist monk Hsuang Tsang in the 7th century CE.3 The central character of Wu’s
novel is called Tang Sanzang, which is believed to be fashioned after Hsuan Tsang. The relevance
of Buddhism too is major for this character, as his birth from an egg perched on a hilltop is ordained
by the god Buddha himself. A third similarity between the character and the historical traveller is
that they both travel extensively. The plot of the novel revolves around Tang going far into the
West; Tsang the traveller too travelled deep into the Western regions, all the way till India, to fetch
the Buddhist scrolls and teachings which were in wide currency.4
A second major influence on the novel and the show is that of Confucianism. On the one
hand, there are many quotes and sayings taken from Confucius which are to be found throughout
the novel, just like Buddhist and Taoist quotes.5 But another similarity that it has with Confucianism
is that there is a constant appearance of a concern with the welfare of the people as a theme in the
novel, also captured in the television show. In fact, the show also features the Confucian concern
with justice and just rule for the people,6 and the major antagonist in the show is the Jade Emperor,
who is despotic, and whose soldiers and gangs are often fought by Tang.
Lastly, the series has influences of Taoism. There are frequent uses of sayings and quotes
from the Tao Te Ching. However, additionally to this, there is also an overarching concern with
spiritual well-being and growth,7 which is seen not only in characters such as the Monkey King
Tang, but also in other characters such as the Marshall, the Jade Emperor, Vega his mistress, and
others who frequently have discussions about spiritual issues.
Skills, Techniques, and Effects upon Viewers
Modern Cultural Influences
3 Bhat, Rama, “Xuan Zhang’s Mission to the West With the Monkey King.” (New Delhi: Aditya Prakashan, 2014):
p.41.
4 Wang, Michelle C. "Changing conceptions of “mandala” in Tang china: Ritual and the role of images."
Material Religion 9, no. 2 (2013): p.187.
5 Wu, Shufang. "Modernizing Confucianism in China: A Repackaging of Institutionalization to
Consolidate Party Leadership." Asian Perspective 39, no. 2 (2015): p.323.
6 Liu, Jianhong. "Restorative justice and Chinese traditional legal culture in the context of contemporary
Chinese criminal justice reform." Journal of Chinese Law 3, no.3 (2009): pp.41-45.
7 Hsia, Chih-tsing. The classic Chinese novel: A critical introduction. (Chinese University Press, 2016):
p.113.

One of the most important modern influence on this series is that of Japanese animation. The
Japanese were pioneers in the East in evovling their unique style of animation and visual effects.8
Secondly, a unique kind of Western influence falls upon the show due to translation. The translators
have used the fast paced narrative in the series to include very dramatized English dialogues as well
as fast techno music in the backdrop.9
Cinematography and Light
One of the major factors which creates a dramatic effect in this series is the arrangement of
light and the use of contrast.10 At the beginning of the show itself, the viewer can see through the
depiction of darkness with lightning how this is a series about supernatural events. In this scene,
there is an egg which is “magically formed... due to the influences of the elemental forces of the
sun, wind, the moon upon the rock...”11 and this is depicted through a shot in which there is thunder,
lightning, and an egg is seen emerginf from the rock and climbing up the hill. The show uses
cinematography and mise-en-scene to create the scenes and the moods in the narrative. For
example, the depiction of the heaven is made possible by creating a faint blue light in the backdrop
with a white bottom, as if the characters were resting on the cloud. The scenes which happen on
earth are arranged in natural light, but there are dramatic effects created in scenes depicting the
weather which go along with the tempo of the events happening in the scene.
Script-Writing and Characterization
The script for this series contains dialogues which are very fast-paced and catchy. There is
an omnipresent narrator who is not part of the events of the story who keeps giving commentary
once in a while.12 The dialogues represent the nature of the characters. For example, the Jade
Emperor is a well-spoken and elite character, who does not hurry while speaking, and has a
8 Napier, Susan J. Anime from Akira to Howl's moving castle: Experiencing contemporary Japanese
animation. (St. Martin's Griffin, 2016): p. 46.
9 Shuker, Roy. Understanding popular music culture. (Routledge, 2012): p. 22.
10 Heiderich, Timothy. "Cinematography techniques: The different types of shots in film." Ontario Mining
Assosiation. (2018). Accessed at: https://www. oma. on. ca/en/contestpages/resources/free-report-
cinematography.pdf on Apr 4, 2019.
11 “Monkey Goes Wild About Heaven.” Monkey Season 1 Episode 1, Nippon Broadcasting Co. (1978): 0:43.
12 Wright, Jean Ann. Animation writing and development: From script development to pitch. (Focal Press,
2013): p.57.

generally quiet attitude. When he encounters Tang fighting with his aides, he asks him, “What is
wrong with you?”13 in a very quiet manner. His servants, on the other hand, are ill-tempered and
aggressive in their demeanor. The Monkey King Tang is a restless young man who is quick with
both words as well as action. Moreover, with ample use of props such as swords, spears, arrows,
etc., as well as a detailed presentation of medieval costume styles, the series has the appearance of
an epic from bygone times which appeals to the audience and is convincing.
Personal Reflection
I feel that there are many reasons why the appeal of Monkey is so much to make it the
popular TV series which it was in its time. Definitely, its religious appeal has a great role to play. In
Chinese society, the idea of the Celestial Empire is very strong as an influence on the religious and
political worldview of society. The Emperor, for the Chinese, is a being who is not only aware of
the celestial laws, but also serves to protect the same. However, at the same time, the Chinese are
also concerned very deeply with life on earth. For this purpose, Confucius gave a philosophy of
oneness with nature. The influence of Buddhism upon Chinese society too emerges from this
concern with man’s life on earth. Thus, when the Jade Emperor is being introduced, the narrator
says, “the noise from the earth kept the Jade Emperor awake at nights.”14 Thus, the character of the
Monkey King represents a force which balances the celestial empire.15 Tang is always seen foiling
the plans of various gangs of people who are trying to loot the earth, some of whom are sent by the
Jade Emperor. For this purpose, he also wants to fight the Jade Emperor when he visits heaven, as
he understands the connection of the Emperor with the earthly goons. In doing so, he breaks the
sacred Fish Cup, which is an object of religious significance for the celestial laws.16
However, there is another aspect of this show which is very high in appeal. Despite being a
religious epic, the show also features some very dramatic and action packed sequences. It shows the
various religious events and ideas through some very fast moving scenes. The contradiction
13 “Monkey Goes Wild About Heaven.” Monkey Season 1 Episode 1, Nippon Broadcasting Co. (1978): 24:04.
14 “Monkey Goes Wild About Heaven.” Monkey Season 1 Episode 1, Nippon Broadcasting Co. (1978): 4:37.
15 Børdahl, Vibeke. The Eternal Storyteller: Oral Literature in Modern China. (Routledge, 2013): p.31.
16 “Monkey Goes Wild About Heaven.” Monkey Season 1 Episode 1, Nippon Broadcasting Co. (1978): 26:01.

between heaven and earth is shown as a conflict between the Jade Emperor and the Monkey King.
Thus, it presents political turmoil between tribe and empire in very dramatic manner, and as a
viewer, I am inclined to take the Monkey King’s side as he represents the will of the people.
Conclusion
In conclusion, it can be surmised that Monkey takes a very popular and critical narrative
from Chinese literature, and renders it into a modern television adaptation. In doing so, it makes
elements of Chinese culture and religion into a highly potent presentation which satisfies the needs
of the masses. The skills and techniques used in making the series have created a fast-moving,
action-packed experience for audiences showing not only martial arts, but also political and spiritual
musings fit for consumption.

References
Bhat, Rama, “Xuan Zhang’s Mission to the West With the Monkey King.” (New Delhi: Aditya
Prakashan, 2014): p.41.
Børdahl, Vibeke. The Eternal Storyteller: Oral Literature in Modern China. (Routledge, 2013).
Geogeghan, Tom. “What was Monkey Magic All About?” (BBC, 2010, Jul 23). Accessed at:
http://news.bbc.co.uk/2/hi/uk_news/magazine/7520243.stm on Apr 4, 2019.
Heiderich, Timothy. "Cinematography techniques: The different types of shots in film." Ontario
Mining Assosiation. (2018). Accessed at: https://www. oma. on.
ca/en/contestpages/resources/free-report-cinematography.pdf on Apr 4, 2019.
Hsia, Chih-tsing. The classic Chinese novel: A critical introduction. (Chinese University Press,
2016).
Liu, Jianhong. "Restorative justice and Chinese traditional legal culture in the context of
contemporary Chinese criminal justice reform." Journal of Chinese Law 3, no.3 (2009):
pp.41-45.
“Monkey Goes Wild About Heaven.” Monkey Season 1 Episode 1, Nippon Broadcasting Co.
(1978).
Napier, Susan J. Anime from Akira to Howl's moving castle: Experiencing contemporary Japanese
animation. (St. Martin's Griffin, 2016).
Shuker, Roy. Understanding popular music culture. (Routledge, 2012).
Teevan, Colin. Monkey! (Oberon Books, 2012).
Wang, Michelle C. "Changing conceptions of “mandala” in Tang china: Ritual and the role of
images." Material Religion 9, no. 2 (2013): p.186-191.
Wright, Jean Ann. Animation writing and development: From script development to pitch. (Focal
Press, 2013).
Wu, Shufang. "Modernizing Confucianism in China: A Repackaging of Institutionalization to
Consolidate Party Leadership." Asian Perspective 39, no. 2 (2015): p.323-351.