DOCSLIB.ORG

Chinese New Year in Chinatown, Celebrations for the Spring Festival Or Chinese New Year Can Last for up to Seven Weeks

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chinese New Year in Chinatown, Celebrations for the Spring Festival Or Chinese New Year Can Last for up to Seven Weeks Chinatown Stories | Updated as of August 2019 Chinese New Year In Chinatown, celebrations for the Spring Festival or Chinese New Year can last for up to seven weeks. The most important holiday for Chinese around the world, Lunar New Year begins with the first new moon between the end of January and the end of February. Though this festival officially lasts for 15 days, it is celebrated in Chinatown for up to seven weeks. Festival Origins Based on the lunar calendar, which takes into account the moon phases, solar solstices and equinoxes, the date of Chinese New Year varies on the Gregorian calendar each year. In China, it marks the end of the coldest days of the year. Also known as the Spring Festival (春节), it is associated with new harvests and fresh beginnings. The festival is believed to have originated some 3,500 years ago, though its exact beginning is not recorded. Oracle bones show that sacrificial ceremonies for the New Year were held as early as the Shang Dynasty (1600–1046BC). Myths and legends surround this festival, the best known of which involves the mystical beast Nian (年), which terrorised villages, and ate people, livestock and crops on the eve of Chinese New Year. To scare away this monster, the Chinese used loud noises such as firecrackers and the colour red. These traditions continue today, adding to the festive bustle. New Year Decorations Chinatown is the best place to soak in the ambience during Chinese New Year. Vibrant festive decorations are put up shortly after the Gregorian New Year in January. Since red is the most auspicious colour in the Chinese culture, the streets are dressed in the most vivid shades of scarlet and crimson. Thousands of colourful lanterns, pictures and figures of Chinese deities, as well as red couplets with auspicious greetings are seen everywhere. Some of the most common greetings are ‘Happy New Year’ or xin nian kuai le (新年快乐), ‘congratulations on prosperity’ or gong xi fa cai (恭喜发财), as well as other blessings related to fortune, wealth, health, longevity, plentiful harvests, achievements in studies and family bliss. Decorations prominently feature the Chinese zodiac animal of the year – the rat, ox, tiger, rabbit, dragon, snake, horse, sheep, monkey, rooster, dog or pig. Large effigies and pictures of the animal can often be seen across Chinatown. This Chinese zodiac is based on a 12-year cycle, with each year represented by a different animal and its attributes. Exuberant Celebrations Some two weeks before the first day of Chinese New Year, Chinatown celebrates with an Official Light-Up and Opening Ceremony. Traditional lanterns as well as sculptured lanterns of the zodiac animal of the year are lit, and remain illuminated every evening for more than a month. The public is also treated to performances from local and overseas troupes, including acrobatic performances, traditional and modern mandarin songs, as well as lion dances. To cap off the evening with vivacity and jubilance, firecrackers and fireworks are set off. Outside of Chinese Page 1 of 3 Chinatown Stories | Updated as of August 2019 New Year celebrations in Chinatown, firecrackers are banned in Singapore. Lion dance performances (舞狮) can be seen throughout the festive season. Two dancers don a lion costume and mimic the movements of a lion, while performing this joyous dance to exuberant drumming. This boisterous performance is believed to drive away evil spirits and bring good luck. The best time to catch this rousing performance is during the annual International Lion Dance Competition. Already in its 12th year, this competition sees leading lion dance troupes from Singapore and the region perform breathtaking stuns to vie for the championship. Nightly stage performances also add to the vibrancy of Chinatown during the festive season. Local and overseas artistes belt out festive songs, and dance to lively hits in open spaces such as Kreta Ayer Square. This culminates in a yearly countdown party on Lunar New Year Eve, graced by MediaCorp artistes, and ending with a dazzling display of fireworks and firecrackers. Festive Shopping During Lunar New Year, the streets of Chinatown are transformed into a bustling bazaar, with numerous makeshift stalls. These stalls sell everything from colourful clothing to bright lights, decoration and plants. The Festive Street Bazaar (年货市场) extends from Pagoda Street to Smith Street, Sago Street, Temple Street and Trengganu Street. Jostling with the crowd is part of the unique Chinatown Lunar New Year experience. Since many Chinese homeowners host extended family and friends during the Lunar New Year period, they perform a major spring cleaning and decorate their houses with auspicious items found at the bazaar. This includes red lanterns, Chinese couplets, door scrolls, auspicious potted plants and exquisite paper cuttings. Besides sprucing up the houses, they are believed to attract good luck and prosperity in the year to come. Hosts will also offer guests an array of festive goodies. Many of these delicious snacks have symbolic meanings, often related to the puns in their names. Pineapple tarts are enjoyed because the word ‘pineapple’ (黃梨) is pronounced as ‘ong lai’ in Hokkien, which also means ‘prosperity is arriving’. Nian gao (年糕) or sticky rice cakes translates to mean ‘year cake’. However, since ‘gao’ (糕) sounds exactly like the Chinese word of high (高), these rice cakes symbolise scaling greater heights each year. Bak kwa (肉干) or sweet barbecued pork jerky is flavoured for its lucky red colour. Mandarin oranges are exchanged and consumed because the Cantonese pronunciation for oranges (柑, kam) sounds like the word for ‘gold’. Besides the festive bazaars, many heritage shops in Chinatown also offer these festive goods, with recipes handed down from generation to generation, and perfected over decades. Famous bak kwa brands include Lim Chee Guan, Kim Hua Guan, Bee Cheng Hiang, Fragrance Bakkwa, Kim Joo Guan and Hu Zhen Long. Tai Chong Kok, which has been around for some eight decades, is known for its delicious nian gao, and 69-year-old Tai Thong Cake Shop offers delicious pineapple tarts, almond cookies and love letters. Page 2 of 3 Chinatown Stories | Updated as of August 2019 References: https://www.history.com/topics/holidays/chinese-new-year https://chinesenewyear.net/21-things-you-didnt-know-about-chinese-new-year/ https://www.chinahighlights.com/travelguide/special-report/chinese-new-year/ https://www.chinahighlights.com/travelguide/festivals/chinese-new-year-why-of-new- year.htm https://www.chinahighlights.com/travelguide/festivals/chinese-new-year-why-of-new- year.htm https://thenewageparents.com/chinatown-chinese-new-year-celebrations/ https://thenewageparents.com/chinese-new-year-celebrations-in-chinatown/ https://www.ladyironchef.com/2016/02/chinese-new-year-auspicious-goodies/ Page 3 of 3 .
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • UC Riverside UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Embodiments of Korean Mask Dance (T'alch'um) from the 1960s to the 1980s: Traversing National Identity, Subjectivity, Gender Binary Permalink https://escholarship.org/uc/item/9vj4q8r2 Author Ha, Sangwoo Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Embodiments of Korean Mask Dance (T’alch’um) from the 1960s to the 1980s: Traversing National Identity, Subjectivity, Gender Binary A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Sangwoo Ha June 2015 Dissertation Committee: Dr. Linda J. Tomko, Chairperson Dr. Anthea Kraut Dr. Jennifer Doyle Copyright by Sangwoo Ha 2015 The Dissertation of Sangwoo Ha is approved: Committee Chairperson University of California, Riverside Acknowledgments I would like to take this opportunity to thank several people who shared their wisdom and kindness with me during my journey. First, Dr. Linda J. Tomko, who offered to be my advisor, introduced me to notions about embodying dances past, critical thinking, and historical research approaches. Not only did she help guide me through this rigorous process, she also supported me emotionally when I felt overwhelmed and insecure about my abilities as a scholar. Her edits and comments were invaluable, and her enthusiasm for learning will continue to influence my future endeavors. I offer my sincere gratitude to my committee members, Dr. Anthea Kraut, Dr. Priya Srinivasan, and Dr. Jennifer Doyle. They all supported me academically throughout my career at the University of California, Riverside.
    [Show full text]
  • The Rhythm of Combat: Understanding the Role of Music 2-23
    The Rhythm of Combat: Understanding the Role of Music 2-23. 42 (1): in Performances of Traditional Chinese Martial Arts and Lion Dance MUSICultures COLIN McGUIRE Abstract: : Toronto’s Hong Luck Kung Fu Club has promulgated martial arts, lion dance and percussion music since 1961. Drawing on my fieldwork there, this paper argues that these practices structure—and are structured by—a combative approach to rhythm. Students begin with martial arts and train without music, but percussion accompanies public demonstrations, creating an unfamiliar situation that I position as a distinct phase of the transmission process. Martial arts performances are both fuelled by musical energy and challenged by the requirement of remaining asynchronous to it. Lion dancers, however, treat drum patterns like signals coordinating manoeuvres on the performance battlefield. Résumé: Le club de kung fu Hong Luck de Toronto met de l’avant, depuis 1961, les arts martiaux, la danse du lion et la musique à base de percussions. À partir du travail de terrain que j’y ai effectué, j’avance dans cet article que ces pratiques structurent—et sont structurées par—une approche combattive du rythme. Les étudiants commencent par les arts martiaux et s’entraînent sans musique, mais les percussions qui accompagnent les démonstrations publiques créent une situation inédite que je situe comme une phase distincte du processus de transmission. Les performances d’arts martiaux sont alimentées par l’énergie de la musique en même temps qu’elles sont contrariées par l’exigence de rester asynchrones à celle-ci. Par contre, ceux qui effectuent la danse du lion se servent des schémas rythmiques comme de signaux pour coordonner leurs manœuvres sur ce champ de bataille qu’est la représentation.
    [Show full text]
  • The Changing Path of Chinese New Year
    The changing path of Chinese New Year BA-Thesis in English Linda Zhang September 2017 Háskóli Íslands Hugvísindasvið English The changing path of Chinese New Year Linda Zhang BA-Thesis in English Linda Zhang Kt.: 220179-2229 Leiðbeinandi: Magnús Björnsson September 2017 Abstract When speaking of the Chinese Spring Festival (also known as the Chinese New Year), people are often reminded of their childhoods. Looking back, the middle age and older generations) in the past, many people´s experience of the Chinese Spring Festival was much richer then than it is now. Today, most people think of the Spring Festival as free time from work or school, an opportunity for just eating and drinking. They observe the holiday period because it's a tradition they learned from their parents and grandparents. Unfortunately, the Spring Festival has lost some of its cultural base, In any case, the meaning of the Spring Festival is gradually disappearing (Tang, 2017) In this thesis I am addressing myself to the scrutiny of the customs and traditions of the Chinese Spring Festival. As a celebration it can be viewed as the nation’s traditional culture in action. Examining it helps us to understand the ordinary Chinese people who celebrate the New Year festival with their families, carrying out its customs and activites. Through close study it is also possible to discover what part of this heritage is important to them still in the modern world. My study also aims to explain the changees, and different stages of improvement, in the living standards of Chinese people as those have formed and developed with the passing of time.
    [Show full text]
  • Chinese New Year Lion Dancers
    Chinese New Year Lion Dancers The lion dance is performed during Chinese New Year. It is said to bring good luck. The Performers Two people dress up as the lion. The costume is very colourful. Lion dancers need to be very fit. They jump in the air and perform acrobatics to music. Traditions People hang lettuces from doorways for the dragon to find. Sometimes, red envelopes with money inside are hidden in the lettuces. The lions pretend to eat the lettuces and then throw them into the crowd for good fortune. The End of the Dance The lion dance ends with a scroll coming out from the lion’s mouth. This has a message of good luck written on it. Firecrackers are then set off to scare away any evil beings. Page 1 of 2 visit twinkl.com Dragons in the City Questions 1. When is the lion dance performed? at Christmas Chinese New Year on birthdays 2. What is the lion dance said to bring? Tick one. fun friendship good luck 3. How many people dance in the lion costume? Tick one. one two three 4. What do people hang from doorways? Tick one. lettuces meat bread 5. What are the colour of the envelopes? Tick one. green red gold Page 2 of 2 visit twinkl.com Dragons in the City Answers 1. When is the lion dance performed? at Christmas Chinese New Year on birthdays 2. What is the lion dance said to bring? Tick one. fun friendship good luck 3. How many people dance in the lion costume? Tick one.
    [Show full text]