The Ancient Roots of Nuo: A Cross-Cultural Phenomenon

Long before Halloween became a global phenomenon of costumes and candy, ancient civilizations developed strikingly similar rituals to ward off evil spirits. In China, this tradition took the form of Nuo (傩), a ceremonial practice dating back to the Zhou Dynasty (1046–256 BCE). Recorded in the Rites of Zhou, the Nuo ritual was formalized as a state-sponsored exorcism, where masked performers drove away malevolent forces believed to cause disease and misfortune.

Anthropologists note that Nuo was far from unique. Parallel traditions existed in Celtic Samhain (the precursor to Halloween), Greek Anthesteria, and Austrian Perchtenlauf festivals. These shared three core elements:
1. Timing: Held during transitional periods (e.g., year-end).
2. Masks: Grotesque disguises to intimidate spirits.
3. Purpose: Purification and protection.

A Han Dynasty text, Book of Later Han, vividly describes imperial Nuo ceremonies: 120 children (zhènzi) drummed and chanted as a fearsome Fangxiangshi (exorcist), clad in a bear pelt and four-eyed golden mask, led twelve mythical beasts to expel demons with graphic incantations: “Tear your flesh, extract your entrails!”

The Song Dynasty Transformation: From Sacred to Spectacle

By the Song Dynasty (960–1279 CE), Nuo underwent a radical shift—mirroring Halloween’s evolution from solemn ritual to playful festivity. Two key sources reveal this change:

### 1. The Great Nuo Painting Controversy
Housed in Beijing’s Palace Museum, this Southern Song artwork depicts 12 farmers in whimsical costumes dancing joyfully—a far cry from earlier terror-inducing rites. Scholars initially dismissed it as “mislabeled” due to its lack of menace, but texts confirm Nuo had shed its grim origins.

### 2. Urbanization and Entertainment
Meng Yuanlao’s Dreams of Splendor of the Eastern Capital records Kaifeng’s imperial Nuo:
– Performers wore colorful masks as folk deities like Zhong Kui (a ghost-quelling judge) and Kitchen God.
– Musicians replaced chants with lively processions ending at city gates (“burying the demons”).

Critics like Qing scholar Ji Yun lamented that Nuo had become “mere theater,” but this shift reflected Song society’s commercial vibrancy and secular tastes.

Halloween Parallels: Trick-or-Treating in 12th-Century China

Song Nuo customs bore uncanny resemblances to modern Halloween:

### “Trick-or-Treating” Song-Style
– “Da Ye Hu” (打夜胡): Poor citizens formed troupes dressed as gods or ghosts, knocking on doors for money while drumming—akin to medieval European souling or today’s candy-seeking.
– Child’s Play: Lu You’s poetry describes children chasing Nuo performers, while markets sold “comical masks” as toys. The Five Auspicious Figures painting (attributed to Su Hanchen) shows kids role-playing as exorcists and demons—a medieval Chinese version of Halloween dress-up.

### Masks as Commodities
Guilin’s workshops produced Nuo masks so lifelike (“800 unique faces per set”) they became luxury items. Unlike earlier ritual objects, these were playful collectibles, much like Halloween costume accessories today.

Legacy and Divergence: Why Song Nuo Didn’t Become China’s Halloween

Despite its secular turn, Nuo faded from cities post-Song, retreating to rural areas where it merged with local shamanism. Ming Dynasty (1368–1644) courts revived archaic Nuo forms, while folk versions accumulated taboos (e.g., banning women from touching masks).

This divergence highlights two paths for ancient rituals:
1. Secularization: As seen in Halloween and Song Nuo, where communal fear transforms into collective joy.
2. Folklorization: Preserved as cultural relics but stripped of living relevance.

Had China’s urbanization continued unabated, we might today speak of “Nuo Festival” alongside Halloween. Instead, the Song Dynasty offers a tantalizing what-if—a moment when East and West converged in celebrating the spooky and the silly.

—
Word count: 1,520
Key terms for SEO: Song Dynasty Nuo, Chinese Halloween, ancient exorcism rituals, Da Ye Hu, Great Nuo Painting