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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. -
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. -
Public Curation As Civic Engagement: Naming Success in Participatory Curatorial Models
Public Curation as Civic Engagement: Naming Success in Participatory Curatorial Models Amanda Stone A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2014 Committee: Kris Morrissey Theresa Ronquillo Program Authorized to Offer Degree: Department of Museology © Copyright 2014 Amanda Stone Abstract Public Curation as Civic Engagement: Naming Success in Participatory Curatorial Models Amanda Stone Chair of the Supervisory Committee: Dr. Kris Morrissey Museology In a 2002, Mastering Community Engagement was published by the American Alliance of Museums as a “call to action” through their Museums and Community Initiative to inspire more civic-minded museum practice, envisioning the museum as an active player in the community, a safe haven, and a center for dialogue and change. (AAM) The study noted that civic engagement “…occurs when museum and community intersect – on subtle and overt ways, over time, and as an accepted and natural way of doing business.” (AAM, 9) One method museums have used to facilitate civic engagement is public curation. Although community–institution collaboration as a design process has been applied in the fields of social sciences, art, and the humanities, there is a deficit of knowledge about how to approach or measure the impact of this collaborative work in the museum industry, and the terminology or vernacular around this work is inconsistent and varied. Thus, this research attempts to articulate goals and potential indicators of success, which may be useful to museums that are exploring or assessing community collaboratives around exhibit development. The study uses qualitative research methods from the field of feminist methodology and the social sciences method of grounded theory. -
Wing Luke Memorial Foundation 1 Wing Luke
Wing Luke Memorial Foundation dba Wing Luke Museum of the Asian Pacific American Experience: From Immigrants to Citizens: Asian Pacific Americans in the Northwest Program of Study and Detailed Reading List Program of Study Session 1: June 27 – July 3, 2021 Session 2: July 18 – 24, 2021 Sunday, June 27 & July 18 (half day) Workshop Welcome, Orientation and Overview 1:00pm Check in / Icebreaker activity 1:30pm Welcome and Orientation to the Program and Museum: Co-Project Directors & Bettie Luke, sister of the museum’s namesake, Wing Luke 1:45pm Summer Scholar introductions 2:15pm Museum Gallery tour of “Honoring Our Journey” on the Asian Pacific Islander American Experience led by Wing Luke Museum Education Staff 3:15 Break 3:45pm Presentation: “Asian Immigration and the Making of the United States as a Gate Keeping’ Nation” by Dr. Erika Lee, Regents Professor and Director of the Immigration History Research Center, University of Minnesota 5:00pm Reflection and sharing time 5:30pm Optional No-Host group dinner in Chinatown-International District coordinated by museum staff Monday, June 28 & July 19 Gateways and Barriers: The Immigrant Experience Historic Landmarks Site: East Kong Yick Building/Wing Luke Museum 8:30am Check in/Wake up activity Wing Luke Memorial Foundation 1 8:55am Presentation: “1882 Chinese Exclusion Act: Analyzing Immigration Documents” by Dr. Erika Lee 10:10am Break 10:30am Presentation: “Asian Communities in the Americas before 1924” by Dr. Madeline Hsu, Professor of History, University of Texas at Austin 11:45am Lunch 1:00pm Reflection and prep session for curriculum development (find grade level cohorts) 1:45pm Tour of the Historic Hotel in the Museum’s preserved spaces of the Kong Yick Building, led by Wing Luke Museum Education Staff 3:15 Break 3:30pm Wing Luke Museum curriculum resources and primary documents led by Rahul Gupta, Project Co-Director & Wing Luke Museum Education and Tours Director 4:30pm Curriculum session led by Dr. -
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. -
Section Iv. Objects for Exhibit, Interpretive Context, and Suggested Text
SECTION IV. OBJECTS FOR EXHIBIT, INTERPRETIVE CONTEXT, AND SUGGESTED TEXT The Sonoma County Museum holds in public trust approximately 35,000 items (SCM Board of Trustees 2000:10). One of its most important and extensive collections includes photographs, artifacts, textiles, documents, and artwork bequeathed to the Museum by Song Wong Bourbeau in 1995. Song was the last remaining resident of Santa Rosa’s former Chinatown, which used to stand near the section of Santa Rosa Creek that today flows under City Hall. The assemblage consists of family heirlooms and other household items, objects from a restaurant (in business for over a century), and artifacts from the local Chinese temple. The Song Wong Bourbeau Collection of 238 objects invite us to experience a vital part of our common past while highlighting ethnic identity and cultural history. Our history as a nation is relatively short in years, which should make it easier for most of us to realize that we are a product of the past. Exposing the social institutions, beliefs, and lifeways of our diverse cultural heritage is the mission of history museums. That calls for elaborating on the way a community lives, works, plays, relates to one another, organizes to meet their needs and cope with daily living, along with recognizing their norms, values, and beliefs (King 2002:12). When an exhibit is specific to one affected community an effort needs to be made to involve them in the project. As this research proceeds, it will seek support and information from the Chinese American community. A draft manuscript will be presented to representatives of the Redwood Empire Chinese Association [RECA] and the Chinese Historical Society of America [CHSA] for their input. -
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. -
Actor, Artist
Name in English: Keye Luke Name in Chinese: 陆 陆 麟 [ 陸錫麟] Name in Pinyin: Lù Xīlín Gender: Male Birth Year: 1904-1991 Birth Place: Guangzhou, China Profession (s): Actor, Artist Education: Graduate, Franklin High School - Seattle, Washington, 1922 Awards: 1990, Star (Motion Pictures) - Hollywood Walk of Fame, Hollywood Chamber of Commerce; 1986, Lifetime Achievement Award, Association of Asian/Pacific American Artists Contribution (s): Keye Luke represented Asian America to film audiences from the 1930s until his death in 1991. He appeared in over 100 films and in numerous TV shows for many different major studios. He also contributed his voice to radio shows and in animation and acted as a technical advisor on Hollywood films with Chinese themes. At a time when most Asian Americans were cast solely in stereotypical subservient roles, Keye Luke often stood out for playing dignified characters while speaking perfect unaccented English. He couldn't escape the times he lived in though. If you didn't play the parts that the studio system assigned then you simply didn't get to work in Hollywood. He was forced to play his share of stereotypes, but as quoted in the Internet Movie Database said, "I have played so many doctors and characters in the mainstream. Because of my appearance, or because of my personality, or whatever it may be, I was always put into good Boy Scout roles -- lawyers, doctors, business executives and tycoons, the nice Chinese guy down the block." He was born in Guangzhou, China but grew up in Seattle, Washington. The family of Wing Luke, who grew up to become Washington State's first Asian American elected official, was related to Keye Luke. -
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.