In the rich tapestry of cultural expressions, few narratives are as quietly impactful as that of Nüshu (女書, meaning “women’s writing” in Chinese). Nüshu is a syllabic script that was primarily used by Yao women in Jiangyong County, Hunan Province, China.
For generations, this unique writing system allowed women to express their thoughts, emotions, and experiences in a societal context where their voices were often constrained by limited access to formal education. This hidden language, developed within the community, provides insight into a world where women created their own means of communication.
In this post, we will introduce Nüshu and explore its historical significance through records from Kinesis and Ubyssey (UBC Publications), available in the Open Collection.
Cover of the June 1999 issue of Kinesis, featuring the documentary film about Nüshu directed by Yue-Qing Yang.
Kinesis: A Window into Women’s Lives
Kinesis was a Canadian periodical published from 1974 to 2001 by the Vancouver Status of Women (VSW). It served as a vehicle for social change and women’s liberation, aiming to highlight news and stories often overlooked by mainstream media. It provided a platform for diverse perspectives on social issues.
Cover of the February 2000 issue of Kinesis, showing a beautiful passage: “… sing the sun, drink the rain, sway the wind, pray the sky for justice.”
In the June 1999 issue of Kinesis, a documentary directed by Yue-Qing Yang titled “Nü Shu: A Hidden Language of Women in China” was featured. The article notes that in the 1980s, when Nüshu was first recognized as a written language, China’s Central Television Station aired a national news broadcast on the topic. This broadcast reached audiences in Canada, helping to raise awareness about Nüshu.
In the interview, Yue-Qing Yang stated, “Nü Shu says a lot about the past and present status of women. Not many people know about Nü Shu, even in China.”
Yue-Qing Yang on location. In the June 1999 issue of Kinesis.
Cultural Context of Nüshu
Historically, sociocultural norms placed significant restrictions on women’s roles and opportunities, often limiting their access to formal education and participation in community traditions. Interestingly, Yue-Qing Yang observed that “perhaps it wasn’t oppression that initiated Nüshu’s invention, though this undoubtedly explains its secret use. Its creation may be better explained by the relative freedom and equality of Yao culture, which allowed women’s natural creativity to flourish.”
Within this context, Nüshu developed as a unique form of expression. Featuring a simplified and phonetic writing system, it was often written in letters or embroidered on textiles, shared within women’s communities. Over time, it became closely associated with personal expression, storytelling, and coded messages of unspoken hardships.
Writing in Nüshu. In the June 1999 issue of Kinesis.
Note: More sample works can be viewed through the Endangered Alphabets Project.
Tears, Sunshine, and Sisterhood
The beauty of Nüshu lies not only in its distinctive script but also in the deep emotions it carried. It represents a “culture of sunshine,” offering warmth to the women of Jiangyong, drying their tears and carrying their spirits forward.
At the heart of Nüshu’s tradition was the concept of “sworn sisterhood,” a bond that extended beyond family ties. In the regions where Nüshu flourished, women who shared a deep emotional connection could become sworn sisters, committing to lifelong support and companionship. They expressed this bond through heartfelt letters and songs.
A Nüshu poem recorded in a 1999 issue of Ubyssey beautifully reflects this sentiment: “Beside a well, one won’t thirst; beside a sister, one won’t despair.”
He Yian Xin (left) shows Wu Liang Yu how to write Nüshu. In the June 1999 issue of Kinesis.
More than just a form of communication, Nüshu became a space where women could gather, share their joys and sorrows, and support one another. The sworn sisterhood communities functioned as literary circles, embroidery workshops, and informal schools where women passed down both their craft and their knowledge. Through Nüshu, these bonds created a shared world of emotional refuge.
Preserving and Reviving Nüshu
With the passing of Yang Huanyi, the last fluent native speaker and writer, in 2004, Nüshu has been considered at risk of extinction. Researchers, artists, and cultural institutions have worked to document and promote its legacy. Through documentaries, exhibitions, and language revitalization efforts, Nüshu continues to reach wider audiences.
Beyond its historical significance, Nüshu stands as a testament to the evolving nature of language in response to community needs. Whether through letters, songs, or shared stories, it remains a powerful symbol of cultural heritage, bridging past and present.
Thank you for reading!
