A STUDY GUIDE by Nai-Ni Chen Dance Company
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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. -
Shijing and Han Yuefu
SONGS THAT TOUCH OUR SOUL A COMPARATIVE STUDY OF FOLK SONGS IN TWO CHINESE CLASSICS: SHIJING AND HAN YUEFU by Yumei Wang A thesis submitted in conformity with the requirements for the degree of Master of Art Graduate Department of the East Asian Studies University of Toronto © Yumei Wang 2012 SONGS THAT TOUCH OUR SOUL A COMPARATIVE STUDY OF FOLK SONGS IN TWO CHINESE CLASSICS: SHIJING AND HAN YUEFU Yumei Wang Master of Art Graduate Department of the East Asian Studies University of Toronto 2012 Abstract The subject of my thesis is the comparative study of classical Chinese folk songs. Based on Jeffrey Wainwright, George Lansing Raymond, and Liu Xie’s theories, this study was conducted from four perspectives: theme, content, prosody structure and aesthetic features. The purposes of my thesis are to trace the originality of 160 folk songs in Shijing and 47 folk songs in Han yuefu , to illuminate the origin of Chinese folk songs and to demonstrate the secularism reflected in Chinese folk songs. My research makes contribution to the following four areas: it explores the relation between folk songs in Shijing and Han yuefu and compares the similarities and differences between them ; it reveals the poetic kinship between Shijing and Han yuefu; it evaluates the significance of the common people’s compositions; and it displays the unique artistic value and cultural influence of Chinese early folk songs. ii Acknowledgments I would like to express my sincere gratitude to my supervisor Professor Graham Sanders for his supervision, inspirations, and encouragements during my two years M.A study in the Department of East Asian Studies at University of Toronto. -
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 New Year
Chinese New Year Kung Hei Fat Choy That’s ‘Happy New Year’ in Chinese. Hi. We are going to tell you all about the Chinese New Year. One in every six people in the world celebrate Chinese New Year. Customs vary but the main idea is to remember family and wish everyone peace and prosperity in the coming year. Chinese New Year is also known as the Spring Festival. It is the biggest and most important festival in China and is celebrated in Chinese communities all over the world. The date of Chinese New Year is based on the lunar calendar and the date changes each year. The first day of the New Year falls between 21st January and 20th February. Celebrations last for 15 days from Chinese New Year’s Eve to the Lantern Festival. There are several legends about how the Chinese New Year came about. One legend is that Lord Buddha called together all the animals in the animal kingdom to say goodbye before he left Earth. Only twelve came. He rewarded them by naming a year after each one in the order they arrived. Another legend tells the story of a swimming race. Many years ago there was a rat, an ox, a tiger, a rabbit, a dragon, a snake, a horse, a goat, a monkey, a rooster, a dog and a pig. The animals argued about who was to be first in the cycle of years. They asked the Gods to decide. No I should ! I should be first. But I’m the most important! The Gods decided that there should be a swimming race. -
Feb 2018.Cdr
VOL. XXX No. 2 February 2018 Rs. 20.00 The Chinese Embassy in India held a symposium with The Chinese Embassy in India, ICCR and China some eminent people of India. Federation of Literary and Art Circles co-hosted Guangzhou Ballet Performance. Ambassador Luo Zhaohui met with a delegation from the Ambassador Luo Zhaohui met with students from Ministry of Foreign Affairs of the PRC. Experimental School of Capital Normal University. Minister and DCM Mr. Li Bijian participated in an activity Diplomats of Chinese Embassy attended the in Jindal Global University. International Food Festival in JNU. Celebrating Spring Festival 1. Entering the Year of the Dog 4 2. Old, New Customs to Celebrate China’s Spring Festival 7 3. China Focus: Traditional Spring Festival Holiday Picks up New Ways 10 of Spending 4. China Focus: Spring Festival Travel Mirrors China’s Changes Over 40 Years 13 5. China Holds Spring Festival Gala Tour for Overseas Chinese 15 6. 6.5 Mln. Chinese to Travel Overseas During Spring Festival Holiday 16 7. Time for Celebrating Chinese New Year 17 8. Indispensable Dishes that Served During China’s Spring Festival 19 9. Spring Festival: Time to Show Charm of Diversification with 56 Ethnic Groups 21 External Affairs 1. Xi Jinping Meets with UK Prime Minister Theresa May 23 2. Xi Jinping Meets with King Willem-Alexander of the Netherlands 25 3. Working Together to Build a Better World 26 4. Li Keqiang and Prime Minister Theresa May of the UK Hold Annual 31 China-UK Prime Ministers’ Meeting 5. Li Keqiang Meets with Foreign Minister Taro Kono of Japan 33 6. -
FOR IMMEDIATE RELEASE HEARTY SPRING REUNIONS Celebrate
FOR IMMEDIATE RELEASE HEARTY SPRING REUNIONS Celebrate Lunar New Year 2019 at Carlton City Hotel Singapore Singapore, 12 December 2018 – Usher in the Year of the Pig with hearty spring reunion buffets, sumptuous Chinese New Year takeaway goodies and luxurious stays at Carlton City Hotel Singapore. This Lunar New Year, the hotel will be decked in auspicious colours of red and pink, with a live cherry blossoms fixture at the lobby and giant eye-catching Chinese lanterns embellishing the entrance to welcome all guests. In celebration of the significant Chinese festival, a vibrant lion and dragon dance performance will take over the lobby and driveway on the first day of Lunar New Year (5 February 2019). (Left to Right) Yam and Pork Belly Fortune Pot; Lobster and Crab Cheese Bee Hoon Abundance Pot Auspicious Treats Reaffirm family ties and reunite with loved ones this Lunar New Year as you entertain your guests with fuss-free takeaway options of homemade Chinese delicacies and goodies from the Lunar New Year Shoppe at Carlton City. Lobster and Crab Cheese Bee Hoon Abundance Pot NEW New this year is the savoury Lobster and Crab Cheese Bee Hoon Abundance Pot – a showstopper with its vibrant colours and rich flavours of ocean-fresh crustacean. This tower of seafood goodness with a rice noodle staple marries perfectly with Chef’s specially concocted cheese gravy that packs a punch. Yam and Pork Belly Fortune Pot NEW Simmered to perfection, the Yam and Pork Belly Fortune Pot contains generous slices of pork belly and yam enveloped in fermented bean curd sauce. -
Usher in the Year of the Ox with Asia's Exclusive
USHER IN THE YEAR OF THE OX WITH ASIA’S EXCLUSIVE FIREWORKS AT SEA AND REDISCOVER THE WORLD THROUGH WORLD DREAM Singapore, 21 January 2021 – Usher in the year of ‘Ox’ with a treasure trove of Lunar New Year delights on World Dream. Be it lavishing culinary creations, spring-themed festive activities or Asia’s one and only fireworks and laser show spectacular at sea, there bound to be something for everyone in the family – all-inclusive fun, all in one place. What’s more, from March to May, guests may rediscover beyond Singapore as World Dream brings in thematic offerings from popular destinations Korea and Thailand – bringing the world directly to their Super Seacation. Feng Shui Master Sherwin Tng will share the forecast for 12 Chinese Zodiac signs and important Feng Shui tips in the New Year of the Ox; the complimentary Lunar New Year’s Eve banquet will feature dishes that are named with auspicious associations, such as Yee Sang for prosperity. “Dream Cruises is celebrating the Lunar New Year with a host of fun and exciting activities on board World Dream to provide Singapore residents with myriad entertaining options before, during and after the holidays for the ultimate Super Seacation experience. With the COVID-19 situation curtailing international travel plans, we are bringing the world on board World Dream with elements of Chinese, Japanese and Thai culture to bring good fortune for the Year of the Ox,” said Mr. Michael Goh, President, Dream Cruises. “As a special treat in recognition of all the support of the Singapore residents, we are offering special discounted fares starting from SGD$99 to make the New Year even sweeter. -
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. -
Popular Songs and Ballads of Han China
Popular Songs and Ballads of Han China Popular Songs and Ballads of Han China ANNE BIRRELL Open Access edition funded by the National Endowment for the Humanities / Andrew W. Mellon Foundation Humanities Open Book Program. Licensed under the terms of Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 In- ternational (CC BY-NC-ND 4.0), which permits readers to freely download and share the work in print or electronic format for non-commercial purposes, so long as credit is given to the author. Derivative works and commercial uses require per- mission from the publisher. For details, see https://creativecommons.org/licenses/by-nc-nd/4.0/. The Cre- ative Commons license described above does not apply to any material that is separately copyrighted. Open Access ISBNs: 9780824880347 (PDF) 9780824880354 (EPUB) This version created: 17 May, 2019 Please visit www.hawaiiopen.org for more Open Access works from University of Hawai‘i Press. © 1988, 1993 Anne Birrell All rights reserved To Hans H. Frankel, pioneer of yüeh-fu studies Acknowledgements I wish to thank The British Academy for their generous Fel- lowship which assisted my research on this book. I would also like to take this opportunity of thanking the University of Michigan for enabling me to commence my degree programme some years ago by awarding me a National Defense Foreign Language Fellowship. I am indebted to my former publisher, Mr. Rayner S. Unwin, now retired, for his helpful advice in pro- ducing the first edition. For this revised edition, I wish to thank sincerely my col- leagues whose useful corrections and comments have been in- corporated into my 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. -
The Lyrics of Zhou Bangyan (1056-1121): in Between Popular and Elite Cultures
THE LYRICS OF ZHOU BANGYAN (1056-1121): IN BETWEEN POPULAR AND ELITE CULTURES by Zhou Huarao A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of East Asian Studies University of Toronto © Copyright by Zhou Huarao, 2014 The Lyrics of Zhou Bangyan (1056-1121): In between Popular and Elite Cultures Huarao Zhou Doctor of Philosophy Department of East Asian Studies University of Toronto 2014 Abstract Successfully synthesizing all previous styles of the lyric, or ci, Zhou Bangyan’s (1056-1121) poems oscillate between contrasting qualities in regard to aesthetics (ya and su), generic development (zheng and bian), circulation (musicality and textuality), and literary value (assumed female voice and male voice, lyrical mode and narrative mode, and the explicit and the implicit). These qualities emerged during the evolution of the lyric genre from common songs to a specialized and elegant form of art. This evolution, promoted by the interaction of popular culture and elite tradition, paralleled the canonization of the lyric genre. Therefore, to investigate Zhou Bangyan’s lyrics, I situate them within these contrasting qualities; in doing so, I attempt to demonstrate the uniqueness and significance of Zhou Bangyan’s poems in the development and canonization of the lyric genre. This dissertation contains six chapters. Chapter One outlines the six pairs of contrasting qualities associated with popular culture and literati tradition that existed in the course of the development of the lyric genre. These contrasting qualities serve as the overall framework for discussing Zhou Bangyan’s lyrics in the following chapters. Chapter Two studies Zhou Bangyan’s life, with a focus on how biographical factors shaped his perspective about the lyric genre. -
Nanyin Musical Culture in Southern Fujian, China : Adaptation and Continuity
Lim, Sau-Ping Cloris (2014) Nanyin musical culture in southern Fujian, China : adaptation and continuity. PhD Thesis. SOAS, University of London. http://eprints.soas.ac.uk/id/eprint/20292 Copyright © and Moral Rights for this PhD Thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This PhD Thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this PhD Thesis, full bibliographic details including the author, title, awarding institution and date of the PhD Thesis must be given e.g. AUTHOR (year of submission) "Full PhD Thesis title", name of the School or Department, PhD PhD Thesis, pagination. NANYIN MUSICAL CULTURE IN SOUTHERN FUJIAN, CHINA: ADAPTATION AND CONTINUITY Sau-Ping Cloris Lim Volume 1: Main Text Thesis submitted for the degree of Doctor of Philosophy 2014 Department of Music School of Oriental and African Studies University of London 1 DEDICATION Dedicated to the Heavenly Father DECLARATION 2 3 ABSTRACT This thesis is a study of the musical genre nanyin, one of the oldest and most prestigious living folk traditions preserved in southern Fujian (Minnan), China. As an emblem of Minnan ethnic identity, nanyin is still actively practised in the Southeast Asian Fujianese diaspora as well. Based on ethnographic investigations in Jinjiang County, this research explores multifaceted nanyin activities in the society at large.