1 USDLDF National Dragon and Lion Dance Championships
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Journey with Newspapers in Education and Wing Luke Museum
Celebrate the Year of the Journey with Newspapers in Education and Wing Rooster with The Wing! Luke Museum to learn how different Asian and Pacific Islander Americans celebrate the New Year. One of the most important holidays for Asian Americans and Pacific Islander Americans is the New Year. The Chinese New Year is based on the lunar calendar, which follows the phases of the moon. Chinese New Year falls on the second new moon after the winter solstice and typically occurs between mid-January to mid-February. This year the New Year is on Saturday, January 28, and will celebrate the Year of the Rooster according to the Chinese zodiac. For many people that come down to the Chinatown- International District for Chinese New Year, Lion Dancers in their colorful lion costumes are a festive and fun highlight of the celebration. Learn about the Chinese New Year and the Lion Dance through the eyes of Royal Tan, a Chinese American Lion Dancers who trains under Master Mak Fai in Seattle’s ANIMALS OF THE CHINESE ZODIAC Chinatown-International District. A row of lion costumes and two dragons circle around the Mak Fai Kung Fu Club in the Chinatown-International District. Photograph courtesy of Royal Tan The Chinese lunar calendar is divided into 12-year cycles, LION DANCE TRADITIONS with an animal representing each year in a cycle. Find the You might wonder how lions made their way into Chinese New Year traditions. year you were born and the animal that matches that year. Royal Tan explains, “For Chinese New year, the Lion Dance is to bring good luck and to ward off evil spirits. -
British Royal Banners 1199–Present
British Royal Banners 1199 – Present Geoff Parsons & Michael Faul Abstract The presentation begins with the (accepted) date of 1199, the death of King Richard I, the first king known to have used the three gold lions on red. It continues to show how King Edward III added the French Royal Arms, consequent to his claim to the French throne. There is then the change from “France Ancient” to “France Modern” by King Henry IV in 1405, which set the pattern of the arms and the standard for the next 198 years. The story then proceeds to show how, over the ensuing 234 years, there were no fewer than six versions of the standard until the adoption of the present pattern in 1837. The presentation includes pictures of all the designs, noting that, in the early stages, the arms appeared more often as a surcoat than a flag. There is also some anecdotal information regarding the various patterns. Anne (1702–1714) Proceedings of the 24th International Congress of Vexillology, Washington, D.C., USA 1–5 August 2011 © 2011 North American Vexillological Association (www.nava.org) 799 British Royal Banners 1199 – Present Figure 1 Introduction The presentation begins with the (accepted) date of 1199, the death of King Richard I, the first king known to have used the three gold lions on red. Although we often refer to these flags as Royal Standards, strictly speaking, they are not standard but heraldic banners which are based on the Coats of Arms of the British Monarchs. Figure 2 William I (1066–1087) The first use of the coats of arms would have been exactly that, worn as surcoats by medieval knights. -
The Educator's Guide
Resources A Guide for Secondary School Educators The Educator’s Guide Created in conjunction with the exhibition, SINGAPO人: Discovering Chinese Singaporean Culture Discovering Chinese Singaporean Culture This exhibition examines how the Chinese community in Singapore developed its own distinctive culture. Here, visitors discover and rediscover what it means to be a Chinese Singaporean. The aim is to develop a stronger sense of the Chinese Singaporean identity amongst youths. This will help foster a greater sense of belonging while giving them an understanding of how we are similar to or different from other Chinese communities. This exhibition presents Chinese Singaporean culture through daily life in Singapore – through the things we see, hear, do and eat every day. Therefore, the experience is highly interactive where visitors can touch various stations, play games, listen to stories and have a dialogue with the gallery. Through this exhibition, we will explore ideas of: Chinese heritage Cultural interactions Public policies The exhibition content extends classroom learning and teaching, by complementing History, Social Studies and Character & Citizenship Education subjects taught in secondary schools. It is also self-guided, where students can learn and explore independently. One of the main interactive features of the exhibition is the use of wristband tags. Students can tap their wristband tags to answer questions scattered throughout the space, trigger videos and play games. At the end of the visit, students can print out their own personalised report card which summarises their exhibition journey along with prompts for further cultural exploration beyond the exhibition. This report card serves as a starting point for them to reflect about their identity in relation to everyday life. -
Make Your Own Lion and Unicorn Puppets
Scotland’s historic properties feature lots of lions and unicorns – they’re in Scotland’s royal coat of arms. Lions were thought to represent bravery and strength – the king of the animal world. The unicorn has been a Scottish royal symbol for around 600 years and – believe it or not – is Scotland’s national animal. Unicorns symbolised innocence and power. People considered them wild and untamed, so they’re often shown chained around their neck. When James VI of Scotland unified Scotland and England in 1603, he changed his coat of arms to include one unicorn and one lion either side of a shield. TOP TIPS FOR MAKING YOUR PUPPETS This activity ideally needs a printer and some brass paper fasteners. If you don’t have a printer, why not use the templates as inspiration for drawing your own versions! And if you don’t have paper fasteners (split pins), you could experiment with tying a big knot in some string or wool, threading the string through a small hole in your papers (a hole punch would create too big a hole) and tying another big knot on the other side. If you’ve got beads or buttons you could also use these to secure the wire/string/wool either side of the paper body parts you’re attaching together. The lion that greets The unicorn from visitors arriving at the King’s Fountain Edinburgh Castle. at Linlithgow Palace. Resource created for Historic Environment Scotland by artist Hannah Ayre. 1. Print out the template onto 2. Cut out the shapes card or print onto paper, then glue onto card such as a cereal box, then colour in the shapes. -
Heraldic Terms
HERALDIC TERMS The following terms, and their definitions, are used in heraldry. Some terms and practices were used in period real-world heraldry only. Some terms and practices are used in modern real-world heraldry only. Other terms and practices are used in SCA heraldry only. Most are used in both real-world and SCA heraldry. All are presented here as an aid to heraldic research and education. A LA CUISSE, A LA QUISE - at the thigh ABAISED, ABAISSÉ, ABASED - a charge or element depicted lower than its normal position ABATEMENTS - marks of disgrace placed on the shield of an offender of the law. There are extreme few records of such being employed, and then only noted in rolls. (As who would display their device if it had an abatement on it?) ABISME - a minor charge in the center of the shield drawn smaller than usual ABOUTÉ - end to end ABOVE - an ambiguous term which should be avoided in blazon. Generally, two charges one of which is above the other on the field can be blazoned better as "in pale an X and a Y" or "an A and in chief a B". See atop, ensigned. ABYSS - a minor charge in the center of the shield drawn smaller than usual ACCOLLÉ - (1) two shields side-by-side, sometimes united by their bottom tips overlapping or being connected to each other by their sides; (2) an animal with a crown, collar or other item around its neck; (3) keys, weapons or other implements placed saltirewise behind the shield in a heraldic display. -
Town Unveils New Flag & Coat of Arms
TOWN UNVEILS NEW FLAG & COAT OF ARMS For Immediate Release December 10, 2013 Niagara-on-the-Lake - Lord Mayor, accompanied by the Right Reverend D. Ralph Spence, Albion Herald Extraordinary, officially unveiled a new town flag and coat of arms today before an audience at the Courthouse. Following the official proclamation ceremony, a procession, led by the Fort George Fife & Drum Corps and completed by an honour guard from the 809 Newark Squadron Air Cadets, witnessed the raising of the flag. The procession then continued on to St. Mark’s Church for a special service commemorating the Burning of Niagara. “We thought this was a fitting date to introduce a symbol of hope and promise given the devastation that occurred exactly 200 years to the day, the burning of our town,” stated Lord Mayor Eke. “From ashes comes rebirth and hope.” The new flag, coat of arms and badge have been granted by the Chief Herald of Canada, Dr. Claire Boudreau, Director of the Canadian Heraldic Authority within the office of the Governor General. Bishop Spence, who served as Bishop of the Anglican Diocese of Niagara from 1998 - 2008, represented the Chief Herald and read the official proclamation. He is one of only four Canadians who hold the title of herald extraordinary. A description of the new coat of arms, flag and badge, known as armorial bearings in heraldry, is attached. For more information, please contact: Dave Eke, Lord Mayor 905-468-3266 Symbolism of the Armorial Bearings of The Corporation of the Town of Niagara-on-the-Lake Arms: The colours refer to the Royal Union Flag. -
Chinese Folk Art, Festivals, and Symbolism in Everyday Life
Chinese Folk Art, Festivals, and Symbolism in Everyday Life PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY Written and Designed by Nicole Mullen with contributions by Ching-chih Lin, PhD candidate, History Department, UC Berkeley. Additional contributors: Elisa Ho, Leslie Kwang, Jill Girard. Funded by the Berkeley East Asia National Resource Center through its Title VI grant from the U.S. Department of Education. Special thanks to Ching-chih Lin, for his extraordinary contributions to this teaching guide and the Taipei Economic and Cultural Office in San Francisco for its generous print and electronic media contributions. Editor: Ira Jacknis Copyright © 2005. Phoebe A. Hearst Museum of Anthropology and the Regents of the University of California. All rights reserved. 103 Kroeber Hall. #3712, Berkeley CA 94720 Cover image: papercut, lion dance performance, 9–15927c All images with captions followed by catalog numbers in this guide are from the collections of the Phoebe A. Hearst Museum of Anthropology. All PAHMA objects from Beijing and Nanking are from the museum's Ilse Martin Fang Chinese Folklore Collection. The collection was assembled primarily in Beijing between 1941 and 1946, while Ms. Fang was a postdoctoral fellow at the Deutschland Institute working in folklore and women's studies. PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY CHINA The People’s Republic of China is the third largest country in the world, after Russia and Canada. It is slightly larger than the United States and includes Hong Kong and Macau. China is located in East Asia. The capital city is Beijing, which is in the northeast part of the country. -
Mat Lion Dance” in Meizhou
Creative Arts Educ Ther (2019) 5(2):85–95 DOI: 10.15212/CAET/2019/5/25 A Brief Analysis of the Buddhist Implication and Connotation of the “Mat Lion Dance” in Meizhou 浅谈梅州“席狮舞”中的审美意蕴及内涵 Shijie Liu1 and Yuelong Zhang2 1Shenzhen Huafeng Culture Media Co., China 2Department of Dance, Faculty of Dance, Shenzhen University, China Abstract The “Mat Lion Dance” is one of the unique events of the “XiangHua” (which means fragrant flowers in Chinese) Buddhism ritual in Meizhou Hakka, Guangdong, China. From the perspec- tive of aesthetics, the current study will analyze and discuss its cultural background and history as well as its artistic expression and intrinsic value. The article will emphasize three aspects: the relationship between the Hakka and Buddhist cultures; the implications of the performance and process of the Mat Lion Dance; and the function of praying, uniting the clan, and blessing of the Mat Lion Dance. The aim of the article is to deepen public understanding of the Mat Lion Dance, a precious intangible cultural heritage, and enable it to be better protected and inherited. Keywords: Kejia people, Meizhou, Buddhist ceremony, Mat Lion Dance 摘要 “席狮舞”为广东梅州客家“香花”佛事中独有的项目之一,根据现有资料,“席狮 舞”在50年代初之前一直在民间发展传承,作为一项客家佛教仪式流传于民间,并于 2008年被列入第二批国家级非物质文化遗产保护名录。由于梅州特殊的地理人文环 境,以及当地客家人民文化与佛教文化的互相交融,形成了独特的“香花”佛仪,而“ 席狮舞”作为“香花”佛事中的一部分,同样具有它独特且不可替代的作用。本文正是 通过了解分析“席狮舞”的舞蹈形态与过程,进而探究“香花”佛事中“席狮舞”的动 作与过程所代表的意境与内在涵义,以使得“席狮舞”这一宝贵文化获得认知,让这一 非物质文化遗产得到有效的保护与传承 关键词:梅州客家,佛仪,席狮舞 1. Introduction Rituals originate from people’s spiritual beliefs, formed through the impact of their surroundings, mental demands, the development of culture as well as the structure of knowledge, and are developed and changed along with people’s social and working lives. -
Defining Self: Performing Chinese Identity Through Dance in Belfast
eSharp Issue 24: Belonging and Inclusion Defining Self: Performing Chinese Identity through Dance in Belfast Wanting Wu (Queen's University Belfast) Abstract This paper takes an auto-ethnographic approach to questions of belonging and inclusion through anthropological analysis of my own experience as a Chinese dancer in Belfast, Northern Ireland. The Chinese community in Belfast has been well established since the 1970s, retaining a distinctive identity within a city dominated by ‘British’ and ‘Irish’ ethnici- ties. Dance plays a significant role in communal ceremonies and festivals as a symbol and enactment of Chinese identity. As a Beijing trained Chinese dancer who came to Belfast as a postgraduate student, I found myself playing a significant role in the expression of Chinese identity within the city, and having emotional experiences when dancing which were differ- ent to those I had experienced in China. These experiences led me to reflect upon the sources of my own identity as a Chinese person. Through a detailed auto-ethnographic account of my dance experience as a Beijing trained dancer performing in the context of a multi-cultural city far removed from China, I explore the ways that dance may form and transform embodied identities and redefine prac- tices and selves in interaction with different environments and audiences. The article will uti- lise theorisations of “flow,” “authenticity” and “habitus” to understand the emergence of identity in embodied action. The article concludes that the perceived ‘Chineseness’ of my dance performance, and my own experience of myself as a ‘Chinese’ dancer, are rooted in ways of being that have been embodied through extensive socialisation and training from an early age. -
Dances of China Read and Learn!
Dances of China Read and Learn! Overview: Dances in China are numerous and varied, including folk dance, modern dance, and ballet. Most of the folk dances of present day China were developed during the Han Dynasty. Dances reflected sacrifices to gods and superstitions of the Chinese culture. Today these dances are still practiced and enjoyed by the people of China to preserve their traditions and culture. The Flower Drum Lantern Dance is one of China’s most represented folk dances of the Han Chinese. This dance is often accompanied by percussion instruments such as cymbals, gongs, and flower drums. The Flower Hua-gu- Drum Lantern Dance contains a combination of fast and slow, and small and large body deng movements. Dancers must jump, spin, and tumble in The Flower partnership with the lively rhythms. Props including fans, handkerchiefs, and umbrellas are often used Drum Lantern during this dance. The Flower Drum Lantern Dance Dance reflects the joy of the new planting season as well as the abundant harvest. The Dragon Dance is a Chinese folk dance that is hugely popular in China. The Chinese dragon represents wisdom, dignity, and power in Chinese The Dragon society. Dancers perform swooping motions, leaping, and acrobatics. They must support the long Dance dragon figure on poles that are lowered and raised during the dance. The dragons may vary in length with up to 50 dancers used in The Dragon Dance. This dance is a colorful and exciting dance to watch! The Lion Dance is the most popular of all the folk dances in China. -
Chinese Firms in US Upbeat
HINA NSIGHT C Fostering business and culturalI harmony between China and the U.S. VOL. 12 NO. 3 MARCH 2013 Creating Voice and Vision: Asian Pacific Youth Council’s 2nd Annual Conference aims at allowing young Asians Americans Page 16 to speak out By Anthony James, Staff Writer tanding in a hearing room with ences and cultural identities that are often teachers, policy workers and leg- unrecognized by their non-Asian peers, they Sislators, Sandy Kwon, a Commu- felt that joining the Youth Council would nity Coordinator for the Council of Asian help tell their unique stories and create a Pacific Minnesotans (CAPM), asked for a forum for their cultural journeys. show of hands from the students who have The event’s opening speaker, State approached a State Legislator. Out of the Representative Carlos Mariani of St. Paul, Coloring Contest 40 plus students present, only four hands pointed out that while there will be chal- were raised. This is the issue that resonated lenges which young minorities will face, Page 5 throughout CAPM’s 2nd Annual Youth young people must vigilant to have their conference: many Asian Pacific students opinions heard. While Asian Pacific Ameri- who make up a growing percentage of can’s make up 4% of Minnesota’s popula- Minnesota’s future workforce lack proper tion, their numbers have grown by over 50% representation in state politics. Sandy Kwan asks students if they have since 2000. Of the Asian American popula- For the Asian Pacific Minnesotans Youth approached a State Legislator at CAPM’s tion, over 31% of them are under 18; this Council, lack of representation led to a short 2nd Annual Youth Council means that in coming years, while many of but concise mission statement created by the baby boomer generation is retiring, Min- is to trace Asian youth narratives prevalent one of its current members: Our Voice, Our in the community. -
Phenomenex Celebrates First Chinese Translated Product Catalog
Phenomenex Celebrates First Chinese Translated Product Catalog Since going direct in China in 2017, our team has worked tirelessly to bring the full Phenomenex experience to customers. Our latest accomplishment is our first fully translated product catalog in Chinese that is beginning to land with our customers in China. We are exceptionally excited to share this as it took a whole village of people to accomplish. From bilingual talent, editors, reviewers, and corporate reviewers, this has been a very exciting time for team China at Phenomenex. We wanted to celebrate this exciting time, so Phenomenex had a full afternoon filled with traditional Chinese treats and snacks, Chinese acrobats, and an authentic Chinese Lion Dance. The art of the lion dance is somewhat of a mystery of how long the tradition has been in China—or even where it came from. There weren’t many lions in ancient China, so the tradition may have been introduced from India or Persia earlier on. However, the lion dances are popular traditions during Chinese New Year, with the iconic beating of drums and crash of cymbals. The dance is meant to bring good fortune and prosperity to a business or neighborhood for the coming year. The Chinese lion dance isn’t just for viewing, but you can also participate! You must wait until the lion comes over, bats its large eyes, then you can feed a small donation in a red envelope into the lion’s giant mouth. The red envelopes are known as hong bao in Mandarin and symbolizes good luck and prosperity.