China Studies Wiki - User contributions [en]

User:Liu Chang

2025-06-06T05:11:47Z

Liu Chang2:

Study in Hunan Normal University

Chinese Korean Ethnic Group's Sangmo Dance: Spinning Wishes and Echoes of Heritage

Amidst the celebratory drumbeats and joyful melodies of the suona (Chinese horn), dancers wearing hats adorned with fluttering colored ribbons spin and sway rhythmically. The hat ribbons trace dazzling circles, scattering the wishes and vitality passed down through generations of the Korean ethnic group on the plain of Yanbian Korean Autonomous Prefecture. This is the Chinese Korean Ethnic Group's Sangmo Dance - a unique dance art form whose soul lies in "swinging cap tassels." Listed among the first batch of National Intangible Cultural Heritage items in 2006, it is not only a bright star in the cultural firmament of China's Korean ethnic group but also a vibrant and dynamic component within the pluralistic yet integrated cultural landscape of the Chinese nation.

I. Historical Development: From Agricultural Ritual to Artistic Treasure

The historical lineage of the Sangmo Dance is deeply rooted in the ancient Korean "Farmer's Music Dance” system. Its origins are closely tied to the profound desire for favorable weather and abundant harvests in primitive agricultural societies, crystallizing from sacrificial rituals and collective celebrations after fieldwork. As the core prop, the form and function of the elephant hat have continuously evolved through history: from a simple hat initially serving practical purposes like sun-shading or symbolic functions in rituals, it gradually developed into an artistic apparatus specifically designed for dance, featuring long, rotating streamers(Wang Yansu, 2021). The colored tassel at the hat's crown is its soul. Its length has grown from the initial few feet to the dozens of meters challenged by modern professional dancers. The spinning techniques have also progressed from simple swings to breathtakingly complex, high-difficulty systems of movement. The materials and decorations of the hat have become increasingly exquisite, making it an important carrier of ethnic cultural aesthetics.

II. Artistic and Cultural Value

The Sangmo Dance demands performers master exceptional dynamic skills. Dancers require extraordinary control and flexibility in their heads and necks, employing precise neck force and clever coordination with body weight to drive the cap tassel into high-speed rotation. Based on different body postures and force application methods, core techniques have formed, such as "flat-swinging," "kneeling-swinging," "leaping-swinging," and "trembling-swinging." Each technique demands a high degree of coordination and rhythmic sense. The rest of the dancer's body is not static; it moves in coordinated rhythm with the hat's cadence, forming a harmonious expression involving the entire body.
This dance movement is imbued with profound cultural symbols and emotional metaphors. The high-speed spinning, extending, and flying colored ribbons are totems of unleashed vital energy, symbolizing inexhaustible vitality and a fervent pursuit of a better life. The ribbons' arcs slicing through the air, seemingly extending infinitely, signify deep wishes for bountiful grains and the enduring prosperity of family lineage. The Sangmo Dance is often integrated with other forms of Farmer's Music Dance and traditional instruments like the suona and drums. The stirring drumbeats command the rhythm of the tassels, while the lively suona melodies infuse the spins with emotional soul. This form, integrating song, dance, and music, vividly embodies the Korean ethnic group's emphasis on collective emotional bonds and shared community joy.

III. The Realm of Transmission: Challenges and Vigilance

Despite its national intangible cultural heritage status, the path of transmitting the Sangmo Dance in modern society is not smooth. Firstly, the essence of the dance lies in its highly demanding neck techniques and bodily rhythm, requiring long-term, professional, and rigorous training passed down through oral instruction and personal demonstration. Currently, transmission relies mainly on the personal dedication of a few representative inheritors such as the late national-level inheritor Master Jin Mingchun and his disciples and short-term training programs at local cultural centers(Zhao Songshan, 2020). There is a lack of sustained, in-depth cultivation programs integrated into local or national education systems. Secondly, as society changes, the traditional agricultural ritual contexts from which it originated have significantly diminished in modern life, while new platforms that can fully showcase its complete cultural significance have not yet been fully established. The younger generation's preference for fast-paced popular culture also makes mastering this art form, which requires dedicated and arduous practice, relatively less appealing. Furthermore, how to create artistic expressions that genuinely resonate with contemporary audiences, especially younger groups, while maintaining the traditional core-avoiding becoming a "fossil" in a museum display case - remains an urgent challenge.
Fortunately, active forces of preservation persist. Centered in the Yanbian Korean Autonomous Prefecture, local governments, cultural institutions, and civil society groups have carried out substantial protective work: providing grand performance stages for the Sangmo Dance through initiatives like "Intangible Cultural Heritage Enters Schools" and regularly hosting large-scale events such as the "Chinese Korean Ethnic Group Farmer's Festival." Simultaneously, intangible cultural heritage exhibition halls have been established for both static and living preservation. These efforts provide crucial support points for the dance's survival in modern society(Hong Shenshen, 2018). Looking ahead, the transmission and development of the Sangmo Dance need to embrace concepts of openness and innovation while steadfastly preserving its cultural DNA. Alongside deepening educational transmission, there should be active pursuit of creative integration with modern theater arts and large-scale cultural tourism performance projects (like Changbai Mountain cultural tourism) to revitalize it(Hong Shenshen, 2018). Embracing technology and new media, utilizing platforms like short videos and live streams for engaging dissemination and teaching popularization, is essential to attract younger audiences.

IV. Conclusion

As a splendid treasure within the garden of Chinese culture, the future of the Sangmo Dance lies not merely in museum - style preservation, but in integrating it into the currents of the times, making it an enduring cultural bond connecting past and future, individuals and communities. Only through innovation within inheritance, and steadfastness within innovation, can this spinning "crown of culture" continue to shine its unique and eternal light upon the land of China.

References:

[1] Wang Yansu. Exploring the Development of Inheritor Groups of the Korean Ethnic Group's Sangmo Dance in "Intangible Cultural Heritage" [D]. Yanbian University, 2021.

[2] Zhao Songshan. A Brief Analysis of the Inheritance and Development of Korean Ethnic Group's Primitive Dance - Taking the Sangmo Dance as an Example [J]. Voice of the Yellow River, 2020, (08): 162-163.

[3] Hong Shenshen. A Brief Analysis of the Protection and Inheritance of the Korean Ethnic Group's Sangmo Dance [J]. Art Education, 2018, (01): 116-117.

Terms:

象帽舞 Sangmo Dance

帽缨 hat tassel / cap ribbon

平甩 horizontal swinging

跪甩 kneeling swinging

跃甩 leaping swinging

抖甩 trembling swinging

农乐舞 Farmer's Music Dance

国家级非物质文化遗产 National Intangible Cultural Heritage

非遗进校园 Intangible Cultural Heritage Enters Schools

延边朝鲜族自治州 Yanbian Korean Autonomous Prefecture

唢呐 suona (Chinese horn)

锣鼓 gongs and drums

Questions：

1.What was the original function or use of the Sangmo Dance?

2.What is the performance form of the Sangmo Dance?

3.What difficulties does the inheritance of the Sangmo Dance face?

4.What are the better methods and approaches to pass on the Sangmo Dance in the new era?

中国朝鲜族象帽舞：旋转的祈愿与传承的回响

在喜庆的鼓点与欢快的唢呐声中，舞者头顶彩带飞扬的象帽，身体随着节奏灵动地旋转、摇摆。帽绳划出令人目眩的彩圈，将延边平原上朝鲜族世代相传的祈愿与活力播撒开来。这便是中国朝鲜族象帽舞——一项以“甩动帽缨”为灵魂的独特舞蹈艺术，于2006年被列入首批国家级非物质文化遗产名录。它不仅是中国朝鲜族文化苍穹中的一颗璀璨星辰，更是中华民族多元一体文化格局中鲜活灵动的组成部分。
一、发展历史——从农耕仪式到艺术瑰宝
象帽舞的历史脉络深深植根于古老的朝鲜族“农乐舞”体系。其起源与原始农耕社会对风调雨顺、五谷丰登的深切渴望息息相关，是祭祀仪式与田间劳作后集体欢庆的结晶。象帽作为核心道具，其形态与功能在历史长河中不断演进：从最初仅具实用遮阳或祭祀象征功能的简易帽子，逐渐发展为专为舞蹈设计的、带有可旋转长飘带的艺术装置(王彦苏,2021)。帽顶的彩色帽缨是其灵魂所在，其长度从最初的几尺发展到现代专业舞者挑战的数十米，旋转技巧也从简单摆动发展为令人叹为观止的高难度动作体系。象帽的材质、装饰也日益精美，成为民族文化审美的重要载体。

二、艺术与文化价值

象帽舞需要表演者掌握高超的动态技巧，舞者头部、颈部需具备非凡的控制力与灵活性，通过精准的颈部发力与身体重心的巧妙配合，驱动帽缨高速旋转。根据身体姿态和发力方式的不同，形成了“平甩”、“跪甩”、“跃甩”、“抖甩”等核心技法，每一种技法都要求高度的协调性与节奏感。舞者身体其他部位并非静止，而是随着象帽的韵律进行协调的律动，形成全身性的和谐表达。
这种舞动更蕴含着深厚的文化符号与情感隐喻。高速旋转、延展飞扬的帽缨彩带，是生命活力尽情释放的图腾，象征着旺盛不竭的生机与对美好生活的炽热追求；划破长空、仿佛无限延伸的彩带弧线喻示着对谷物丰盈、家族福泽绵延的深切祈愿。象帽舞常与其他形式的农乐舞以及唢呐、锣鼓等传统乐器融为一体，激昂的鼓点指挥着帽缨的节奏，欢快的唢呐旋律则为旋转注入情感灵魂。这种载歌载舞、乐舞一体的形式，是朝鲜族重视集体情感联结与社群欢乐共享的生动体现。

三、传承之境——挑战与守望

尽管荣列国家级非遗，象帽舞在现代社会的传承之路并非坦途。首先，象帽舞的精髓在于高难度的颈部技巧与身体韵律，其习得需长期、专业、口传心授式的严格训练。目前，主要依赖少数代表性传承人,如已故的国家级传承人金明春大师及其弟子的个人坚守与地方文化馆的短期培训，缺乏纳入地方或国民教育体系的持续性深度培养方案(赵松山,2020)。其次，随着社会的变迁，其起源所依附的传统农耕祭祀场景在现代生活中大幅消退，而能充分展示其完整文化意蕴的新兴平台尚未完全建立。年轻一代对快节奏、流行文化的偏好，也使得掌握这门需要沉心苦练的艺术吸引力相对下降。再者，象帽舞在保持传统内核的前提下，如何创造出真正打动当代观众、特别是年轻群体的艺术表达形式，避免成为博物馆橱窗里的“化石”，仍是亟待解决的难题。
值得庆幸的是，积极的守望力量始终存在。以延边朝鲜族自治州为中心，地方政府、文化机构及民间团体开展了大量保护工作：通过“非遗进校园”、定期举办“中国朝鲜族农夫节”等大型活动，为象帽舞提供盛大展演的舞台；同时建立非遗展示馆进行静态与活态保存。这些努力为象帽舞在现代社会中的存续提供了宝贵的支撑点(洪棽棽,2018)。面向未来，象帽舞的传承发展需在坚守文化基因的基础上，拥抱开放创新的理念。在深化教育传承的同时，积极寻求与现代剧场艺术、大型文旅演艺项目（如长白山文化旅游）的创意融合，使其焕发新的生命力(洪棽棽,2018)；要拥抱科技与新媒介，利用短视频、直播等新媒体平台进行趣味化传播与教学普及，吸引年轻受众。

四、总结

作为中华文化百花园中的一灿烂瑰宝，象帽舞的未来不仅在于博物馆式的珍藏，更在于使其融入时代洪流，成为连接过去与未来、个体与族群的永恒文化纽带。唯有在传承中创新，在创新中坚守，这顶旋转的“文化之冠”才能在中华大地上继续闪耀其独特而永恒的光芒。

参考文献：

[1]王彦苏.探索“非遗”中的朝鲜族象帽舞传承人群发展[D].延边大学,2021.

[2]赵松山.浅析朝鲜族原生态舞蹈的传承与发展——以象帽舞为例[J].黄河之声,2020,(08):162-163.

[3]洪棽棽.浅析朝鲜族象帽舞为例的保护和传承[J].艺术教育,2018,(01):116-117.

Terms:

象帽舞 Elephant Hat Dance

帽缨 hat tassel / cap ribbon

平甩 horizontal swinging

跪甩 kneeling swinging

跃甩 leaping swinging

抖甩 trembling swinging

农乐舞 Farmer's Music Dance

国家级非物质文化遗产 National Intangible Cultural Heritage

非遗进校园 Intangible Cultural Heritage Enters Schools

延边朝鲜族自治州 Yanbian Korean Autonomous Prefecture

唢呐 suona (Chinese horn)

锣鼓 gongs and drums

问题：

1.象帽舞最初的作用或用途是什么？

2.象帽舞的演出形式是什么？

3.象帽舞的传承面临着哪些困难？

4.新时代更好传承象帽舞的方法和途径有哪些？

User:Liu Chang

2025-06-06T05:10:53Z

Liu Chang2:

Study in Hunan Normal University

Chinese Korean Ethnic Group's Sangmo Dance: Spinning Wishes and Echoes of Heritage

Amidst the celebratory drumbeats and joyful melodies of the suona (Chinese horn), dancers wearing hats adorned with fluttering colored ribbons spin and sway rhythmically. The hat ribbons trace dazzling circles, scattering the wishes and vitality passed down through generations of the Korean ethnic group on the plain of Yanbian Korean Autonomous Prefecture. This is the Chinese Korean Ethnic Group's Sangmo Dance - a unique dance art form whose soul lies in "swinging cap tassels." Listed among the first batch of National Intangible Cultural Heritage items in 2006, it is not only a bright star in the cultural firmament of China's Korean ethnic group but also a vibrant and dynamic component within the pluralistic yet integrated cultural landscape of the Chinese nation.

I. Historical Development: From Agricultural Ritual to Artistic Treasure

The historical lineage of the Sangmo Dance is deeply rooted in the ancient Korean "Farmer's Music Dance” system. Its origins are closely tied to the profound desire for favorable weather and abundant harvests in primitive agricultural societies, crystallizing from sacrificial rituals and collective celebrations after fieldwork. As the core prop, the form and function of the elephant hat have continuously evolved through history: from a simple hat initially serving practical purposes like sun-shading or symbolic functions in rituals, it gradually developed into an artistic apparatus specifically designed for dance, featuring long, rotating streamers(Wang Yansu, 2021). The colored tassel at the hat's crown is its soul. Its length has grown from the initial few feet to the dozens of meters challenged by modern professional dancers. The spinning techniques have also progressed from simple swings to breathtakingly complex, high-difficulty systems of movement. The materials and decorations of the hat have become increasingly exquisite, making it an important carrier of ethnic cultural aesthetics.

II. Artistic and Cultural Value

The Sangmo Dance demands performers master exceptional dynamic skills. Dancers require extraordinary control and flexibility in their heads and necks, employing precise neck force and clever coordination with body weight to drive the cap tassel into high-speed rotation. Based on different body postures and force application methods, core techniques have formed, such as "flat-swinging," "kneeling-swinging," "leaping-swinging," and "trembling-swinging." Each technique demands a high degree of coordination and rhythmic sense. The rest of the dancer's body is not static; it moves in coordinated rhythm with the hat's cadence, forming a harmonious expression involving the entire body.
This dance movement is imbued with profound cultural symbols and emotional metaphors. The high-speed spinning, extending, and flying colored ribbons are totems of unleashed vital energy, symbolizing inexhaustible vitality and a fervent pursuit of a better life. The ribbons' arcs slicing through the air, seemingly extending infinitely, signify deep wishes for bountiful grains and the enduring prosperity of family lineage. The Sangmo Dance is often integrated with other forms of Farmer's Music Dance and traditional instruments like the suona and drums. The stirring drumbeats command the rhythm of the tassels, while the lively suona melodies infuse the spins with emotional soul. This form, integrating song, dance, and music, vividly embodies the Korean ethnic group's emphasis on collective emotional bonds and shared community joy.

III. The Realm of Transmission: Challenges and Vigilance

Despite its national intangible cultural heritage status, the path of transmitting the Sangmo Dance in modern society is not smooth. Firstly, the essence of the dance lies in its highly demanding neck techniques and bodily rhythm, requiring long-term, professional, and rigorous training passed down through oral instruction and personal demonstration. Currently, transmission relies mainly on the personal dedication of a few representative inheritors such as the late national-level inheritor Master Jin Mingchun and his disciples and short-term training programs at local cultural centers(Zhao Songshan, 2020). There is a lack of sustained, in-depth cultivation programs integrated into local or national education systems. Secondly, as society changes, the traditional agricultural ritual contexts from which it originated have significantly diminished in modern life, while new platforms that can fully showcase its complete cultural significance have not yet been fully established. The younger generation's preference for fast-paced popular culture also makes mastering this art form, which requires dedicated and arduous practice, relatively less appealing. Furthermore, how to create artistic expressions that genuinely resonate with contemporary audiences, especially younger groups, while maintaining the traditional core-avoiding becoming a "fossil" in a museum display case - remains an urgent challenge.
Fortunately, active forces of preservation persist. Centered in the Yanbian Korean Autonomous Prefecture, local governments, cultural institutions, and civil society groups have carried out substantial protective work: providing grand performance stages for the Sangmo Dance through initiatives like "Intangible Cultural Heritage Enters Schools" and regularly hosting large-scale events such as the "Chinese Korean Ethnic Group Farmer's Festival." Simultaneously, intangible cultural heritage exhibition halls have been established for both static and living preservation. These efforts provide crucial support points for the dance's survival in modern society(Hong Shenshen, 2018). Looking ahead, the transmission and development of the Sangmo Dance need to embrace concepts of openness and innovation while steadfastly preserving its cultural DNA. Alongside deepening educational transmission, there should be active pursuit of creative integration with modern theater arts and large-scale cultural tourism performance projects (like Changbai Mountain cultural tourism) to revitalize it(Hong Shenshen, 2018). Embracing technology and new media, utilizing platforms like short videos and live streams for engaging dissemination and teaching popularization, is essential to attract younger audiences.

IV. Conclusion

As a splendid treasure within the garden of Chinese culture, the future of the Sangmo Dance lies not merely in museum - style preservation, but in integrating it into the currents of the times, making it an enduring cultural bond connecting past and future, individuals and communities. Only through innovation within inheritance, and steadfastness within innovation, can this spinning "crown of culture" continue to shine its unique and eternal light upon the land of China.

References:
[1] Wang Yansu. Exploring the Development of Inheritor Groups of the Korean Ethnic Group's Sangmo Dance in "Intangible Cultural Heritage" [D]. Yanbian University, 2021.

[2] Zhao Songshan. A Brief Analysis of the Inheritance and Development of Korean Ethnic Group's Primitive Dance - Taking the Sangmo Dance as an Example [J]. Voice of the Yellow River, 2020, (08): 162-163.

[3] Hong Shenshen. A Brief Analysis of the Protection and Inheritance of the Korean Ethnic Group's Sangmo Dance [J]. Art Education, 2018, (01): 116-117.

Terms:
象帽舞 Sangmo Dance

帽缨 hat tassel / cap ribbon

平甩 horizontal swinging

跪甩 kneeling swinging

跃甩 leaping swinging

抖甩 trembling swinging

农乐舞 Farmer's Music Dance

国家级非物质文化遗产 National Intangible Cultural Heritage

非遗进校园 Intangible Cultural Heritage Enters Schools

延边朝鲜族自治州 Yanbian Korean Autonomous Prefecture

唢呐 suona (Chinese horn)

锣鼓 gongs and drums

Questions：
1.What was the original function or use of the Sangmo Dance?

2.What is the performance form of the Sangmo Dance?

3.What difficulties does the inheritance of the Sangmo Dance face?

4.What are the better methods and approaches to pass on the Sangmo Dance in the new era?

中国朝鲜族象帽舞：旋转的祈愿与传承的回响

在喜庆的鼓点与欢快的唢呐声中，舞者头顶彩带飞扬的象帽，身体随着节奏灵动地旋转、摇摆。帽绳划出令人目眩的彩圈，将延边平原上朝鲜族世代相传的祈愿与活力播撒开来。这便是中国朝鲜族象帽舞——一项以“甩动帽缨”为灵魂的独特舞蹈艺术，于2006年被列入首批国家级非物质文化遗产名录。它不仅是中国朝鲜族文化苍穹中的一颗璀璨星辰，更是中华民族多元一体文化格局中鲜活灵动的组成部分。
一、发展历史——从农耕仪式到艺术瑰宝
象帽舞的历史脉络深深植根于古老的朝鲜族“农乐舞”体系。其起源与原始农耕社会对风调雨顺、五谷丰登的深切渴望息息相关，是祭祀仪式与田间劳作后集体欢庆的结晶。象帽作为核心道具，其形态与功能在历史长河中不断演进：从最初仅具实用遮阳或祭祀象征功能的简易帽子，逐渐发展为专为舞蹈设计的、带有可旋转长飘带的艺术装置(王彦苏,2021)。帽顶的彩色帽缨是其灵魂所在，其长度从最初的几尺发展到现代专业舞者挑战的数十米，旋转技巧也从简单摆动发展为令人叹为观止的高难度动作体系。象帽的材质、装饰也日益精美，成为民族文化审美的重要载体。

二、艺术与文化价值

象帽舞需要表演者掌握高超的动态技巧，舞者头部、颈部需具备非凡的控制力与灵活性，通过精准的颈部发力与身体重心的巧妙配合，驱动帽缨高速旋转。根据身体姿态和发力方式的不同，形成了“平甩”、“跪甩”、“跃甩”、“抖甩”等核心技法，每一种技法都要求高度的协调性与节奏感。舞者身体其他部位并非静止，而是随着象帽的韵律进行协调的律动，形成全身性的和谐表达。
这种舞动更蕴含着深厚的文化符号与情感隐喻。高速旋转、延展飞扬的帽缨彩带，是生命活力尽情释放的图腾，象征着旺盛不竭的生机与对美好生活的炽热追求；划破长空、仿佛无限延伸的彩带弧线喻示着对谷物丰盈、家族福泽绵延的深切祈愿。象帽舞常与其他形式的农乐舞以及唢呐、锣鼓等传统乐器融为一体，激昂的鼓点指挥着帽缨的节奏，欢快的唢呐旋律则为旋转注入情感灵魂。这种载歌载舞、乐舞一体的形式，是朝鲜族重视集体情感联结与社群欢乐共享的生动体现。

三、传承之境——挑战与守望

尽管荣列国家级非遗，象帽舞在现代社会的传承之路并非坦途。首先，象帽舞的精髓在于高难度的颈部技巧与身体韵律，其习得需长期、专业、口传心授式的严格训练。目前，主要依赖少数代表性传承人,如已故的国家级传承人金明春大师及其弟子的个人坚守与地方文化馆的短期培训，缺乏纳入地方或国民教育体系的持续性深度培养方案(赵松山,2020)。其次，随着社会的变迁，其起源所依附的传统农耕祭祀场景在现代生活中大幅消退，而能充分展示其完整文化意蕴的新兴平台尚未完全建立。年轻一代对快节奏、流行文化的偏好，也使得掌握这门需要沉心苦练的艺术吸引力相对下降。再者，象帽舞在保持传统内核的前提下，如何创造出真正打动当代观众、特别是年轻群体的艺术表达形式，避免成为博物馆橱窗里的“化石”，仍是亟待解决的难题。
值得庆幸的是，积极的守望力量始终存在。以延边朝鲜族自治州为中心，地方政府、文化机构及民间团体开展了大量保护工作：通过“非遗进校园”、定期举办“中国朝鲜族农夫节”等大型活动，为象帽舞提供盛大展演的舞台；同时建立非遗展示馆进行静态与活态保存。这些努力为象帽舞在现代社会中的存续提供了宝贵的支撑点(洪棽棽,2018)。面向未来，象帽舞的传承发展需在坚守文化基因的基础上，拥抱开放创新的理念。在深化教育传承的同时，积极寻求与现代剧场艺术、大型文旅演艺项目（如长白山文化旅游）的创意融合，使其焕发新的生命力(洪棽棽,2018)；要拥抱科技与新媒介，利用短视频、直播等新媒体平台进行趣味化传播与教学普及，吸引年轻受众。

四、总结

作为中华文化百花园中的一灿烂瑰宝，象帽舞的未来不仅在于博物馆式的珍藏，更在于使其融入时代洪流，成为连接过去与未来、个体与族群的永恒文化纽带。唯有在传承中创新，在创新中坚守，这顶旋转的“文化之冠”才能在中华大地上继续闪耀其独特而永恒的光芒。

参考文献：
[1]王彦苏.探索“非遗”中的朝鲜族象帽舞传承人群发展[D].延边大学,2021.

[2]赵松山.浅析朝鲜族原生态舞蹈的传承与发展——以象帽舞为例[J].黄河之声,2020,(08):162-163.

[3]洪棽棽.浅析朝鲜族象帽舞为例的保护和传承[J].艺术教育,2018,(01):116-117.

Terms:
象帽舞 Elephant Hat Dance

帽缨 hat tassel / cap ribbon

平甩 horizontal swinging

跪甩 kneeling swinging

跃甩 leaping swinging

抖甩 trembling swinging

农乐舞 Farmer's Music Dance

国家级非物质文化遗产 National Intangible Cultural Heritage

非遗进校园 Intangible Cultural Heritage Enters Schools

延边朝鲜族自治州 Yanbian Korean Autonomous Prefecture

唢呐 suona (Chinese horn)

锣鼓 gongs and drums

问题：
1.象帽舞最初的作用或用途是什么？

2.象帽舞的演出形式是什么？

3.象帽舞的传承面临着哪些困难？

4.新时代更好传承象帽舞的方法和途径有哪些？

User:Liu Chang

2025-06-06T05:08:38Z

Liu Chang2:

Study in Hunan Normal University

Chinese Korean Ethnic Group's Sangmo Dance: Spinning Wishes and Echoes of Heritage

Amidst the celebratory drumbeats and joyful melodies of the suona (Chinese horn), dancers wearing hats adorned with fluttering colored ribbons spin and sway rhythmically. The hat ribbons trace dazzling circles, scattering the wishes and vitality passed down through generations of the Korean ethnic group on the plain of Yanbian Korean Autonomous Prefecture. This is the Chinese Korean Ethnic Group's Sangmo Dance - a unique dance art form whose soul lies in "swinging cap tassels." Listed among the first batch of National Intangible Cultural Heritage items in 2006, it is not only a bright star in the cultural firmament of China's Korean ethnic group but also a vibrant and dynamic component within the pluralistic yet integrated cultural landscape of the Chinese nation.

I. Historical Development: From Agricultural Ritual to Artistic Treasure

The historical lineage of the Sangmo Dance is deeply rooted in the ancient Korean "Farmer's Music Dance” system. Its origins are closely tied to the profound desire for favorable weather and abundant harvests in primitive agricultural societies, crystallizing from sacrificial rituals and collective celebrations after fieldwork. As the core prop, the form and function of the elephant hat have continuously evolved through history: from a simple hat initially serving practical purposes like sun-shading or symbolic functions in rituals, it gradually developed into an artistic apparatus specifically designed for dance, featuring long, rotating streamers(Wang Yansu, 2021). The colored tassel at the hat's crown is its soul. Its length has grown from the initial few feet to the dozens of meters challenged by modern professional dancers. The spinning techniques have also progressed from simple swings to breathtakingly complex, high-difficulty systems of movement. The materials and decorations of the hat have become increasingly exquisite, making it an important carrier of ethnic cultural aesthetics.

II. Artistic and Cultural Value

The Sangmo Dance demands performers master exceptional dynamic skills. Dancers require extraordinary control and flexibility in their heads and necks, employing precise neck force and clever coordination with body weight to drive the cap tassel into high-speed rotation. Based on different body postures and force application methods, core techniques have formed, such as "flat-swinging," "kneeling-swinging," "leaping-swinging," and "trembling-swinging." Each technique demands a high degree of coordination and rhythmic sense. The rest of the dancer's body is not static; it moves in coordinated rhythm with the hat's cadence, forming a harmonious expression involving the entire body.
This dance movement is imbued with profound cultural symbols and emotional metaphors. The high-speed spinning, extending, and flying colored ribbons are totems of unleashed vital energy, symbolizing inexhaustible vitality and a fervent pursuit of a better life. The ribbons' arcs slicing through the air, seemingly extending infinitely, signify deep wishes for bountiful grains and the enduring prosperity of family lineage. The Sangmo Dance is often integrated with other forms of Farmer's Music Dance and traditional instruments like the suona and drums. The stirring drumbeats command the rhythm of the tassels, while the lively suona melodies infuse the spins with emotional soul. This form, integrating song, dance, and music, vividly embodies the Korean ethnic group's emphasis on collective emotional bonds and shared community joy.

III. The Realm of Transmission: Challenges and Vigilance

Despite its national intangible cultural heritage status, the path of transmitting the Sangmo Dance in modern society is not smooth. Firstly, the essence of the dance lies in its highly demanding neck techniques and bodily rhythm, requiring long-term, professional, and rigorous training passed down through oral instruction and personal demonstration. Currently, transmission relies mainly on the personal dedication of a few representative inheritors such as the late national-level inheritor Master Jin Mingchun and his disciples and short-term training programs at local cultural centers(Zhao Songshan, 2020). There is a lack of sustained, in-depth cultivation programs integrated into local or national education systems. Secondly, as society changes, the traditional agricultural ritual contexts from which it originated have significantly diminished in modern life, while new platforms that can fully showcase its complete cultural significance have not yet been fully established. The younger generation's preference for fast-paced popular culture also makes mastering this art form, which requires dedicated and arduous practice, relatively less appealing. Furthermore, how to create artistic expressions that genuinely resonate with contemporary audiences, especially younger groups, while maintaining the traditional core-avoiding becoming a "fossil" in a museum display case - remains an urgent challenge.
Fortunately, active forces of preservation persist. Centered in the Yanbian Korean Autonomous Prefecture, local governments, cultural institutions, and civil society groups have carried out substantial protective work: providing grand performance stages for the Sangmo Dance through initiatives like "Intangible Cultural Heritage Enters Schools" and regularly hosting large-scale events such as the "Chinese Korean Ethnic Group Farmer's Festival." Simultaneously, intangible cultural heritage exhibition halls have been established for both static and living preservation. These efforts provide crucial support points for the dance's survival in modern society(Hong Shenshen, 2018). Looking ahead, the transmission and development of the Sangmo Dance need to embrace concepts of openness and innovation while steadfastly preserving its cultural DNA. Alongside deepening educational transmission, there should be active pursuit of creative integration with modern theater arts and large-scale cultural tourism performance projects (like Changbai Mountain cultural tourism) to revitalize it(Hong Shenshen, 2018). Embracing technology and new media, utilizing platforms like short videos and live streams for engaging dissemination and teaching popularization, is essential to attract younger audiences.

IV. Conclusion

As a splendid treasure within the garden of Chinese culture, the future of the Sangmo Dance lies not merely in museum - style preservation, but in integrating it into the currents of the times, making it an enduring cultural bond connecting past and future, individuals and communities. Only through innovation within inheritance, and steadfastness within innovation, can this spinning "crown of culture" continue to shine its unique and eternal light upon the land of China.

References:
[1] Wang Yansu. Exploring the Development of Inheritor Groups of the Korean Ethnic Group's Sangmo Dance in "Intangible Cultural Heritage" [D]. Yanbian University, 2021.
[2] Zhao Songshan. A Brief Analysis of the Inheritance and Development of Korean Ethnic Group's Primitive Dance - Taking the Sangmo Dance as an Example [J]. Voice of the Yellow River, 2020, (08): 162-163.
[3] Hong Shenshen. A Brief Analysis of the Protection and Inheritance of the Korean Ethnic Group's Sangmo Dance [J]. Art Education, 2018, (01): 116-117.

Terms:
象帽舞 Sangmo Dance
帽缨 hat tassel / cap ribbon
平甩 horizontal swinging
跪甩 kneeling swinging
跃甩 leaping swinging
抖甩 trembling swinging
农乐舞 Farmer's Music Dance
国家级非物质文化遗产 National Intangible Cultural Heritage
非遗进校园 Intangible Cultural Heritage Enters Schools
延边朝鲜族自治州 Yanbian Korean Autonomous Prefecture
唢呐 suona (Chinese horn)
锣鼓 gongs and drums

Questions：
1.What was the original function or use of the Sangmo Dance?
2.What is the performance form of the Sangmo Dance?
3.What difficulties does the inheritance of the Sangmo Dance face?
4.What are the better methods and approaches to pass on the Sangmo Dance in the new era?

中国朝鲜族象帽舞：旋转的祈愿与传承的回响

在喜庆的鼓点与欢快的唢呐声中，舞者头顶彩带飞扬的象帽，身体随着节奏灵动地旋转、摇摆。帽绳划出令人目眩的彩圈，将延边平原上朝鲜族世代相传的祈愿与活力播撒开来。这便是中国朝鲜族象帽舞——一项以“甩动帽缨”为灵魂的独特舞蹈艺术，于2006年被列入首批国家级非物质文化遗产名录。它不仅是中国朝鲜族文化苍穹中的一颗璀璨星辰，更是中华民族多元一体文化格局中鲜活灵动的组成部分。
一、发展历史——从农耕仪式到艺术瑰宝
象帽舞的历史脉络深深植根于古老的朝鲜族“农乐舞”体系。其起源与原始农耕社会对风调雨顺、五谷丰登的深切渴望息息相关，是祭祀仪式与田间劳作后集体欢庆的结晶。象帽作为核心道具，其形态与功能在历史长河中不断演进：从最初仅具实用遮阳或祭祀象征功能的简易帽子，逐渐发展为专为舞蹈设计的、带有可旋转长飘带的艺术装置(王彦苏,2021)。帽顶的彩色帽缨是其灵魂所在，其长度从最初的几尺发展到现代专业舞者挑战的数十米，旋转技巧也从简单摆动发展为令人叹为观止的高难度动作体系。象帽的材质、装饰也日益精美，成为民族文化审美的重要载体。

二、艺术与文化价值

象帽舞需要表演者掌握高超的动态技巧，舞者头部、颈部需具备非凡的控制力与灵活性，通过精准的颈部发力与身体重心的巧妙配合，驱动帽缨高速旋转。根据身体姿态和发力方式的不同，形成了“平甩”、“跪甩”、“跃甩”、“抖甩”等核心技法，每一种技法都要求高度的协调性与节奏感。舞者身体其他部位并非静止，而是随着象帽的韵律进行协调的律动，形成全身性的和谐表达。
这种舞动更蕴含着深厚的文化符号与情感隐喻。高速旋转、延展飞扬的帽缨彩带，是生命活力尽情释放的图腾，象征着旺盛不竭的生机与对美好生活的炽热追求；划破长空、仿佛无限延伸的彩带弧线喻示着对谷物丰盈、家族福泽绵延的深切祈愿。象帽舞常与其他形式的农乐舞以及唢呐、锣鼓等传统乐器融为一体，激昂的鼓点指挥着帽缨的节奏，欢快的唢呐旋律则为旋转注入情感灵魂。这种载歌载舞、乐舞一体的形式，是朝鲜族重视集体情感联结与社群欢乐共享的生动体现。

三、传承之境——挑战与守望

尽管荣列国家级非遗，象帽舞在现代社会的传承之路并非坦途。首先，象帽舞的精髓在于高难度的颈部技巧与身体韵律，其习得需长期、专业、口传心授式的严格训练。目前，主要依赖少数代表性传承人,如已故的国家级传承人金明春大师及其弟子的个人坚守与地方文化馆的短期培训，缺乏纳入地方或国民教育体系的持续性深度培养方案(赵松山,2020)。其次，随着社会的变迁，其起源所依附的传统农耕祭祀场景在现代生活中大幅消退，而能充分展示其完整文化意蕴的新兴平台尚未完全建立。年轻一代对快节奏、流行文化的偏好，也使得掌握这门需要沉心苦练的艺术吸引力相对下降。再者，象帽舞在保持传统内核的前提下，如何创造出真正打动当代观众、特别是年轻群体的艺术表达形式，避免成为博物馆橱窗里的“化石”，仍是亟待解决的难题。
值得庆幸的是，积极的守望力量始终存在。以延边朝鲜族自治州为中心，地方政府、文化机构及民间团体开展了大量保护工作：通过“非遗进校园”、定期举办“中国朝鲜族农夫节”等大型活动，为象帽舞提供盛大展演的舞台；同时建立非遗展示馆进行静态与活态保存。这些努力为象帽舞在现代社会中的存续提供了宝贵的支撑点(洪棽棽,2018)。面向未来，象帽舞的传承发展需在坚守文化基因的基础上，拥抱开放创新的理念。在深化教育传承的同时，积极寻求与现代剧场艺术、大型文旅演艺项目（如长白山文化旅游）的创意融合，使其焕发新的生命力(洪棽棽,2018)；要拥抱科技与新媒介，利用短视频、直播等新媒体平台进行趣味化传播与教学普及，吸引年轻受众。

四、总结

作为中华文化百花园中的一灿烂瑰宝，象帽舞的未来不仅在于博物馆式的珍藏，更在于使其融入时代洪流，成为连接过去与未来、个体与族群的永恒文化纽带。唯有在传承中创新，在创新中坚守，这顶旋转的“文化之冠”才能在中华大地上继续闪耀其独特而永恒的光芒。

参考文献：
[1]王彦苏.探索“非遗”中的朝鲜族象帽舞传承人群发展[D].延边大学,2021.
[2]赵松山.浅析朝鲜族原生态舞蹈的传承与发展——以象帽舞为例[J].黄河之声,2020,(08):162-163.
[3]洪棽棽.浅析朝鲜族象帽舞为例的保护和传承[J].艺术教育,2018,(01):116-117.

Terms:
象帽舞 Elephant Hat Dance
帽缨 hat tassel / cap ribbon
平甩 horizontal swinging
跪甩 kneeling swinging
跃甩 leaping swinging
抖甩 trembling swinging
农乐舞 Farmer's Music Dance
国家级非物质文化遗产 National Intangible Cultural Heritage
非遗进校园 Intangible Cultural Heritage Enters Schools
延边朝鲜族自治州 Yanbian Korean Autonomous Prefecture
唢呐 suona (Chinese horn)
锣鼓 gongs and drums

问题：
1.象帽舞最初的作用或用途是什么？
2.象帽舞的演出形式是什么？
3.象帽舞的传承面临着哪些困难？
4.新时代更好传承象帽舞的方法和途径有哪些？

User:Liu Chang

2025-06-05T16:53:10Z

Liu Chang2:

Study in Hunan Normal University
Chinese Korean Ethnic Group's Sangmo Dance: Spinning Wishes and Echoes of Heritage

Amidst the celebratory drumbeats and joyful melodies of the suona (Chinese horn), dancers wearing hats adorned with fluttering colored ribbons spin and sway rhythmically. The hat ribbons trace dazzling circles, scattering the wishes and vitality passed down through generations of the Korean ethnic group on the plain of Yanbian Korean Autonomous Prefecture. This is the Chinese Korean Ethnic Group's Sangmo Dance - a unique dance art form whose soul lies in "swinging cap tassels." Listed among the first batch of National Intangible Cultural Heritage items in 2006, it is not only a bright star in the cultural firmament of China's Korean ethnic group but also a vibrant and dynamic component within the pluralistic yet integrated cultural landscape of the Chinese nation.

I. Historical Development: From Agricultural Ritual to Artistic Treasure
The historical lineage of the Sangmo Dance is deeply rooted in the ancient Korean "Farmer's Music Dance” system. Its origins are closely tied to the profound desire for favorable weather and abundant harvests in primitive agricultural societies, crystallizing from sacrificial rituals and collective celebrations after fieldwork. As the core prop, the form and function of the elephant hat have continuously evolved through history: from a simple hat initially serving practical purposes like sun-shading or symbolic functions in rituals, it gradually developed into an artistic apparatus specifically designed for dance, featuring long, rotating streamers(Wang Yansu, 2021). The colored tassel at the hat's crown is its soul. Its length has grown from the initial few feet to the dozens of meters challenged by modern professional dancers. The spinning techniques have also progressed from simple swings to breathtakingly complex, high-difficulty systems of movement. The materials and decorations of the hat have become increasingly exquisite, making it an important carrier of ethnic cultural aesthetics.

II. Artistic and Cultural Value
The Sangmo Dance demands performers master exceptional dynamic skills. Dancers require extraordinary control and flexibility in their heads and necks, employing precise neck force and clever coordination with body weight to drive the cap tassel into high-speed rotation. Based on different body postures and force application methods, core techniques have formed, such as "flat-swinging," "kneeling-swinging," "leaping-swinging," and "trembling-swinging." Each technique demands a high degree of coordination and rhythmic sense. The rest of the dancer's body is not static; it moves in coordinated rhythm with the hat's cadence, forming a harmonious expression involving the entire body.
This dance movement is imbued with profound cultural symbols and emotional metaphors. The high-speed spinning, extending, and flying colored ribbons are totems of unleashed vital energy, symbolizing inexhaustible vitality and a fervent pursuit of a better life. The ribbons' arcs slicing through the air, seemingly extending infinitely, signify deep wishes for bountiful grains and the enduring prosperity of family lineage. The Sangmo Dance is often integrated with other forms of Farmer's Music Dance and traditional instruments like the suona and drums. The stirring drumbeats command the rhythm of the tassels, while the lively suona melodies infuse the spins with emotional soul. This form, integrating song, dance, and music, vividly embodies the Korean ethnic group's emphasis on collective emotional bonds and shared community joy.

III. The Realm of Transmission: Challenges and Vigilance
Despite its national intangible cultural heritage status, the path of transmitting the Sangmo Dance in modern society is not smooth. Firstly, the essence of the dance lies in its highly demanding neck techniques and bodily rhythm, requiring long-term, professional, and rigorous training passed down through oral instruction and personal demonstration. Currently, transmission relies mainly on the personal dedication of a few representative inheritors such as the late national-level inheritor Master Jin Mingchun and his disciples and short-term training programs at local cultural centers(Zhao Songshan, 2020). There is a lack of sustained, in-depth cultivation programs integrated into local or national education systems. Secondly, as society changes, the traditional agricultural ritual contexts from which it originated have significantly diminished in modern life, while new platforms that can fully showcase its complete cultural significance have not yet been fully established. The younger generation's preference for fast-paced popular culture also makes mastering this art form, which requires dedicated and arduous practice, relatively less appealing. Furthermore, how to create artistic expressions that genuinely resonate with contemporary audiences, especially younger groups, while maintaining the traditional core-avoiding becoming a "fossil" in a museum display case - remains an urgent challenge.
Fortunately, active forces of preservation persist. Centered in the Yanbian Korean Autonomous Prefecture, local governments, cultural institutions, and civil society groups have carried out substantial protective work: providing grand performance stages for the Sangmo Dance through initiatives like "Intangible Cultural Heritage Enters Schools" and regularly hosting large-scale events such as the "Chinese Korean Ethnic Group Farmer's Festival." Simultaneously, intangible cultural heritage exhibition halls have been established for both static and living preservation. These efforts provide crucial support points for the dance's survival in modern society(Hong Shenshen, 2018). Looking ahead, the transmission and development of the Sangmo Dance need to embrace concepts of openness and innovation while steadfastly preserving its cultural DNA. Alongside deepening educational transmission, there should be active pursuit of creative integration with modern theater arts and large-scale cultural tourism performance projects (like Changbai Mountain cultural tourism) to revitalize it(Hong Shenshen, 2018). Embracing technology and new media, utilizing platforms like short videos and live streams for engaging dissemination and teaching popularization, is essential to attract younger audiences.

IV. Conclusion
As a splendid treasure within the garden of Chinese culture, the future of the Sangmo Dance lies not merely in museum - style preservation, but in integrating it into the currents of the times, making it an enduring cultural bond connecting past and future, individuals and communities. Only through innovation within inheritance, and steadfastness within innovation, can this spinning "crown of culture" continue to shine its unique and eternal light upon the land of China.

References:
[1] Wang Yansu. Exploring the Development of Inheritor Groups of the Korean Ethnic Group's Sangmo Dance in "Intangible Cultural Heritage" [D]. Yanbian University, 2021.
[2] Zhao Songshan. A Brief Analysis of the Inheritance and Development of Korean Ethnic Group's Primitive Dance - Taking the Sangmo Dance as an Example [J]. Voice of the Yellow River, 2020, (08): 162-163.
[3] Hong Shenshen. A Brief Analysis of the Protection and Inheritance of the Korean Ethnic Group's Sangmo Dance [J]. Art Education, 2018, (01): 116-117.

Terms:
象帽舞 Sangmo Dance
帽缨 hat tassel / cap ribbon
平甩 horizontal swinging
跪甩 kneeling swinging
跃甩 leaping swinging
抖甩 trembling swinging
农乐舞 Farmer's Music Dance
国家级非物质文化遗产 National Intangible Cultural Heritage
非遗进校园 Intangible Cultural Heritage Enters Schools
延边朝鲜族自治州 Yanbian Korean Autonomous Prefecture
唢呐 suona (Chinese horn)
锣鼓 gongs and drums

Questions：
1.What was the original function or use of the Sangmo Dance?
2.What is the performance form of the Sangmo Dance?
3.What difficulties does the inheritance of the Sangmo Dance face?
4.What are the better methods and approaches to pass on the Sangmo Dance in the new era?

中国朝鲜族象帽舞：旋转的祈愿与传承的回响

在喜庆的鼓点与欢快的唢呐声中，舞者头顶彩带飞扬的象帽，身体随着节奏灵动地旋转、摇摆。帽绳划出令人目眩的彩圈，将延边平原上朝鲜族世代相传的祈愿与活力播撒开来。这便是中国朝鲜族象帽舞——一项以“甩动帽缨”为灵魂的独特舞蹈艺术，于2006年被列入首批国家级非物质文化遗产名录。它不仅是中国朝鲜族文化苍穹中的一颗璀璨星辰，更是中华民族多元一体文化格局中鲜活灵动的组成部分。
一、发展历史——从农耕仪式到艺术瑰宝
象帽舞的历史脉络深深植根于古老的朝鲜族“农乐舞”体系。其起源与原始农耕社会对风调雨顺、五谷丰登的深切渴望息息相关，是祭祀仪式与田间劳作后集体欢庆的结晶。象帽作为核心道具，其形态与功能在历史长河中不断演进：从最初仅具实用遮阳或祭祀象征功能的简易帽子，逐渐发展为专为舞蹈设计的、带有可旋转长飘带的艺术装置(王彦苏,2021)。帽顶的彩色帽缨是其灵魂所在，其长度从最初的几尺发展到现代专业舞者挑战的数十米，旋转技巧也从简单摆动发展为令人叹为观止的高难度动作体系。象帽的材质、装饰也日益精美，成为民族文化审美的重要载体。
二、艺术与文化价值
象帽舞需要表演者掌握高超的动态技巧，舞者头部、颈部需具备非凡的控制力与灵活性，通过精准的颈部发力与身体重心的巧妙配合，驱动帽缨高速旋转。根据身体姿态和发力方式的不同，形成了“平甩”、“跪甩”、“跃甩”、“抖甩”等核心技法，每一种技法都要求高度的协调性与节奏感。舞者身体其他部位并非静止，而是随着象帽的韵律进行协调的律动，形成全身性的和谐表达。
这种舞动更蕴含着深厚的文化符号与情感隐喻。高速旋转、延展飞扬的帽缨彩带，是生命活力尽情释放的图腾，象征着旺盛不竭的生机与对美好生活的炽热追求；划破长空、仿佛无限延伸的彩带弧线喻示着对谷物丰盈、家族福泽绵延的深切祈愿。象帽舞常与其他形式的农乐舞以及唢呐、锣鼓等传统乐器融为一体，激昂的鼓点指挥着帽缨的节奏，欢快的唢呐旋律则为旋转注入情感灵魂。这种载歌载舞、乐舞一体的形式，是朝鲜族重视集体情感联结与社群欢乐共享的生动体现。

三、传承之境——挑战与守望
尽管荣列国家级非遗，象帽舞在现代社会的传承之路并非坦途。首先，象帽舞的精髓在于高难度的颈部技巧与身体韵律，其习得需长期、专业、口传心授式的严格训练。目前，主要依赖少数代表性传承人,如已故的国家级传承人金明春大师及其弟子的个人坚守与地方文化馆的短期培训，缺乏纳入地方或国民教育体系的持续性深度培养方案(赵松山,2020)。其次，随着社会的变迁，其起源所依附的传统农耕祭祀场景在现代生活中大幅消退，而能充分展示其完整文化意蕴的新兴平台尚未完全建立。年轻一代对快节奏、流行文化的偏好，也使得掌握这门需要沉心苦练的艺术吸引力相对下降。再者，象帽舞在保持传统内核的前提下，如何创造出真正打动当代观众、特别是年轻群体的艺术表达形式，避免成为博物馆橱窗里的“化石”，仍是亟待解决的难题。
值得庆幸的是，积极的守望力量始终存在。以延边朝鲜族自治州为中心，地方政府、文化机构及民间团体开展了大量保护工作：通过“非遗进校园”、定期举办“中国朝鲜族农夫节”等大型活动，为象帽舞提供盛大展演的舞台；同时建立非遗展示馆进行静态与活态保存。这些努力为象帽舞在现代社会中的存续提供了宝贵的支撑点(洪棽棽,2018)。面向未来，象帽舞的传承发展需在坚守文化基因的基础上，拥抱开放创新的理念。在深化教育传承的同时，积极寻求与现代剧场艺术、大型文旅演艺项目（如长白山文化旅游）的创意融合，使其焕发新的生命力(洪棽棽,2018)；要拥抱科技与新媒介，利用短视频、直播等新媒体平台进行趣味化传播与教学普及，吸引年轻受众。
四、总结
作为中华文化百花园中的一灿烂瑰宝，象帽舞的未来不仅在于博物馆式的珍藏，更在于使其融入时代洪流，成为连接过去与未来、个体与族群的永恒文化纽带。唯有在传承中创新，在创新中坚守，这顶旋转的“文化之冠”才能在中华大地上继续闪耀其独特而永恒的光芒。
参考文献：
[1]王彦苏.探索“非遗”中的朝鲜族象帽舞传承人群发展[D].延边大学,2021.
[2]赵松山.浅析朝鲜族原生态舞蹈的传承与发展——以象帽舞为例[J].黄河之声,2020,(08):162-163.
[3]洪棽棽.浅析朝鲜族象帽舞为例的保护和传承[J].艺术教育,2018,(01):116-117.

Terms:
象帽舞 Elephant Hat Dance
帽缨 hat tassel / cap ribbon
平甩 horizontal swinging
跪甩 kneeling swinging
跃甩 leaping swinging
抖甩 trembling swinging
农乐舞 Farmer's Music Dance
国家级非物质文化遗产 National Intangible Cultural Heritage
非遗进校园 Intangible Cultural Heritage Enters Schools
延边朝鲜族自治州 Yanbian Korean Autonomous Prefecture
唢呐 suona (Chinese horn)
锣鼓 gongs and drums

问题：
1.象帽舞最初的作用或用途是什么？
2.象帽舞的演出形式是什么？
3.象帽舞的传承面临着哪些困难？
4.新时代更好传承象帽舞的方法和途径有哪些？

Chin Lang Cult Fin Exam Spring 2025

2025-05-11T15:45:50Z

Liu Chang2:

Final Exam Paper Titles
#https://bou.de/u/wiki/User:Liu_Chao#Final_Paper 簪花 Zang Flowers ok
#https://bou.de/u/wiki/User:Tao_Yao 拔罐 Cupping Therapy ok
#https://bou.de/u/wiki/User:Zeng_Zhi 手串文化 Bead Bracelet Culture ok
#https://bou.de/u/wiki/User:Zhang_Jiaxin 哪吒 Cultural Implications of Nezha ok
#https://bou.de/u/wiki/User:Li_Ting2 湘西赶尸 The Corpse of Xiangxi Technique ok
#https://bou.de/u/wiki/User:Liao_Zuoyun 湘菜 Hunan Cuisine ok (please check if not yet in the text book)
#https://bou.de/u/wiki/User:Liu_Qi 劝酒文化 Drinking Persuasion Culture ok
#https://bou.de/u/wiki/User:Zhang_Huifang 蔡伦与造纸术 Cai Lun invents the paper making ok
#https://bou.de/u/wiki/User:Cheng_Sixiang 月饼 Mooncake ok, but check if not yet in the text book
#https://bou.de/u/wiki/User:Miao_Yunlong 女书 Women's Script Nvshu ok, but check if not yet in the text book
#https://bou.de/u/wiki/User:Huang_Yixuan2 中国守艺人 The keepers of Tradition: China's Heritage Guardians
#https://bou.de/u/wiki/User:Li_Mei 《易经》与阴阳八卦 ''The Book of Changes''and Yin-Yang ok
#https://bou.de/u/wiki/User:Liao_Dan 吊脚楼 Stilted Building
#https://bou.de/u/wiki/User:Zheng_Jinlian 陈皮 Dried Orange Peel ok
#https://bou.de/u/wiki/User:Lu_Jiahui 中国古代幻术 Ancient Chinese Art of Illusions ok
#https://bou.de/u/wiki/User:Du_Yuan 点茶 Tea Whisking ok
#https://bou.de/u/wiki/User:Liu_Ying 盲盒经济 Blind Box Economy ok
#https://bou.de/u/wiki/User:Cao_Yuan 蒙古族舞蹈 Mongolian Ethnic Dance ok
#https://bou.de/u/wiki/User:Zhang_Mai 汝瓷 Ru porcelain ok
#https://bou.de/u/wiki/User:Xu_Yangyang 打铁花 Striking Iron Flower ok
#https://bou.de/u/wiki/User:Liu_Peini 灯芯糕 The Wick Cakes ok
#https://bou.de/u/wiki/User:Song_Xin 剑门关 Jianmen Pass ok, but please only explain the culture, not landscape or material objects
#https://bou.de/u/wiki/User:Cao_Chunyang 胖东来 Pangdonglai Supermarket in a fourth-tier city ok
#https://bou.de/u/wiki/User:Jin_Yichen 吴越文化 Wuyue Culture ok
#https://bou.de/u/wiki/User:Ye_Sitong 温州话 Wenzhou Dialect ok
#https://bou.de/u/wiki/User:Xiao_Luyu 封神演义 Chinese classical novel The Investiture of the Gods ok
#https://bou.de/u/wiki/User:Zhang_Qi 福建线面 Fujian Thin Noddles ok
#https://bou.de/u/wiki/User:Zheng_Kaiwu 工夫茶 Kanghu tea ok
#https://bou.de/u/wiki/User:Luo_Jingyan 油纸伞折扇 Folding Fan
#https://bou.de/u/wiki/User:Luo_Sicheng 惊鸿舞 Flying Wild Goose Dance ok
#https://bou.de/u/wiki/User:Liu_Jianan 安徽名酒—古井贡酒 Famous Anhui Liquor-Gujing Tribute Liquor
#https://bou.de/u/wiki/User:Chen_Lin 服美役 beauty duty ok
#https://bou.de/u/wiki/User:Tang_Yan 道州理学文化 Neo-Confucian Culture in Daozhou ok
#https://bou.de/u/wiki/User:Qin_Yi 胶东花饽饽 Jiao Dong Huabobo ok
#https://bou.de/u/wiki/User:Chen_Zhen 玄奘 Xuanzang ok
#https://bou.de/u/wiki/User:Ou_Huang 浏阳花炮制作技艺 Liuyang Fireworks Making Technique ok
#https://bou.de/u/wiki/User:Luo_Yan 成人礼：冠礼和笄礼 Traditional Chinese coming-of-age ceremony：Guan Li and Ji Li ok
#https://bou.de/u/wiki/User:Lv_Jiahao 越剧 Opera:Yue Opera Pleaes check if it is already in the text book.
#https://bou.de/u/wiki/User:Wang_Yuxin 中国古法酿酒 Traditional Chinese Brewing Techniques ok
#https://bou.de/u/wiki/User:Dai_Yexun 粤剧 Opera:Cantonese opera Please check if it is already in the text book.
#https://bou.de/u/wiki/User:Yan_Jidong 闽南文化 Hokkien culture ok.
#https://bou.de/u/wiki/User:Qiu_Ping 重阳节 Chung Yeung Festival ok
#https://bou.de/u/wiki/User:He_Yunfeng 献哈达 Etiquette:Offering Hada(Khata) Scarf
#https://bou.de/u/wiki/User:Zhou_Le 榨辣椒 Pressing pepper
#https://bou.de/u/wiki/User:Huang_Qiaoqiao 舞剧《咏春》 Dance Drama Wing Chun
#https://bou.de/u/wiki/User:Duan_Binyao 古诗十九首 Nineteen Old Poems
#https://bou.de/u/wiki/User:Li_Linyao 泼水节 Water-Splashing Festival
#https://bou.de/u/wiki/User:Xiao_Yikang 江西地方端午节传统习俗 Local Dragon Boat Festival traditions of Jiangxi
#https://bou.de/u/wiki/User:Gao_Xiaoqing 粽子 Zongzi
#https://bou.de/u/wiki/User:Zhang_Meiling 秧歌 Yangko
#https://bou.de/u/wiki/User:Huang_Sinan 春晚 Spring Festival Gala
#https://bou.de/u/wiki/User:Du_Jiangping 楚辞 The Songs of Chu
#https://bou.de/u/wiki/User:Jiang_Ziqiang 抛绣球 Zhuang Custom of Throwing the Embroidered Ball for Courtship
#https://bou.de/u/wiki/User:Zeng_Xiaohui 中秋节 Mid-autumn Festival
#https://bou.de/u/wiki/User:Geng_Hongmei 醴陵釉下五彩瓷 Five-colored Under Glaze made in Liling
#https://bou.de/u/wiki/User:Yang_Yue2 现代文学：许渊冲 Modern Literature: Xv Yuanchong
#https://bou.de/u/wiki/User:Chen_Anqi 螺钿 Luodian
#https://bou.de/u/wiki/User:Yang_Jing 粮画 The Grain Paintings
#https://bou.de/u/wiki/User:Dai_Shiru 李白 Li Bai
#https://bou.de/u/wiki/User:Yu_Jingfang 傩文化 Nuo culture
#https://bou.de/u/wiki/User:Li_Mingfeng 编钟 Chinese Ancient Instrument:Bianzhong
#https://bou.de/u/wiki/User:Chen_Ting 湘西泡菜 Xiangxi Kimchi
#https://bou.de/u/wiki/User:Gong_Wei 桃源擂茶 Taoyuan Lei Cha
#https://bou.de/u/wiki/User:Yang_Jiahong2 闽南红砖古厝 Southern Fujian Red Brick Ancient Houses
#https://bou.de/u/wiki/User:Wang_Huaixing 长白山 Mount Changbai
#https://bou.de/u/wiki/User:Xiang_Jianning 马面裙 Horse face skirt
#https://bou.de/u/wiki/User:Zhao_Qi 动画片：《虹猫蓝兔七侠传》 Chinese wuxia animation: Howie & Landau Seven Chivalrous Biography
#https://bou.de/u/wiki/User:Zhang_Zixi 叶子戏 Yezi Xi
#https://bou.de/u/wiki/User:Shao_Keyuan 殷墟 The Yin Ruins
#https://bou.de/u/wiki/User:Dong_Jiating 麻辣烫 Malatang
#https://bou.de/u/wiki/User:Ouyang_Yihong 辣条 Spicy Gluten Strips
#https://bou.de/u/wiki/User:Lu_Wei 蛋炒饭 Egg-fried Rice
#Xing Xueqing 桃花源 The Peach Garden
#https://bou.de/u/wiki/User:Wang_Xinyu 赣南客家围屋 Hakka Tulou in Southern Jiangxi
#https://bou.de/u/wiki/User:Yuan_Xiaolin 新中式 new Chinese style clothes
#https://bou.de/u/wiki/User:Chu_Hanqi 翠兰 Cui Lan（a kind of tea)
#https://bou.de/u/wiki/User:Wu_Jiating 瓦罐汤 Clay Pot
#https://bou.de/u/wiki/User:Jiang_Xinyue 灵隐寺 Lingyin Temple
#https://bou.de/u/wiki/User:Xu_Xinwen 十二生肖Chinese Zodiac
#https://bou.de/u/wiki/User:Liu_Pei 南岳衡山 Mount Heng
#https://bou.de/u/wiki/User:Xiao_Zixin 恋与深空 Love and Deepspace
#https://bou.de/u/wiki/User:Liu_Shutian 旗袍 Cheongsam
#https://bou.de/u/wiki/User:Li_Jiayi 哈尔滨啤酒 Harbin Beer
#https://bou.de/u/wiki/User:Qi Zhiyang 漆扇 Lacquer Fan
#https://bou.de/u/wiki/User:Chen_Sisi 永州石雕 Yongzhou Stone Carving
#https://bou.de/u/wiki/User: Yan_Xiang 阜阳美食-格拉条 Fuyang Cuisine-Gelatiao
#http://bou.de/u/wiki/User:Zuo_Fang 绒花 Velvet flower
#http://bou.de/u/wiki/User:Liu_Yunxi 中医 Chinese Traditional Medicine
#https://bou.de/u/wiki/User:Luo_Jiaxin 腊八节 Laba Festival
#https://bou.de/u/wiki/User:Fei_Xinyu 中医：气血津液理论与养生保健 TCM -Qi and Blood Theory and Health Preservation
#https://bou.de/u/wiki/User:Liu_Chang 朝鲜族象帽舞 Xiangmao Dance of the Korean Ethnic Group

Chinese Language and Culture, Spring 2025

2025-02-27T23:50:12Z

Liu Chang2:

--[[User:Miao Yunlong|Miao Yunlong]] ([[User talk:Miao Yunlong|talk]]) 13:12, 24 February 2025 (UTC)[[Media:Example.ogg]]Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!

=Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=

==What we learn in this class==
*We learn about Chinese culture from international, especially Western perspective.
*We learn about cultural phenomena, traditional Chinese culture.
*We learn English and Chinese terminology in the area of Chinese culture.
*We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.
*We learn how to determine the location and role of Chinese culture within global culture.
*We learn basics of theories and models of intercultural communication and comparison.
*We learn the appreciate and respect the diversity of multipolar cultures and of integration.
*We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).

==Students' contribution==
*Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class.
*Every student selects a topic, prepares 2 ppt presentations of 15 min. (one without AI, one with AI, and please indicate references and an AI statement at the end of the presentation) and a mentimeter.com quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI

==Textbook==
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are more than 200 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.

==Agreement on use of classroom time==
Should we read the texts in class or should the students read the text ahead of class (especially learning the terms and expressions) and come to class prepared? How should we use our classroom time? (presentations, quizzes, discussions, exercise to translate adhoc an unknown text from the same area)

----
==Homework for every session==
Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.

<nowiki>Insert non-formatted text here</nowiki>==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]

[[File:Example.jpg]]==Homework for Session 2==
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation").

Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on plus a MikeCRM quiz: The first three presenters will have to present next week!

1. Geographic Nature as a Basis for Cultural Development 17

2. Aesthetic ideals and social customs: Chinese Marriage Customs 22

3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31

4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40

5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49

6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63

7. Animals: Panda 71

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197

21. Beverages: Tea 203

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236

27. Chinese Writing: Calligraphy 246 (Tang Yan)

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339

38. Education: Ancient Chinese Education 350

39. Education: Historical Figures, The Four Talented Women of Ancient China 361

40. Education: Modern Chinese Education System 371

41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386

42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395

43. Facial Make-up 406

44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413

45. Facial Make-up: Face Changing in Sichuan Opera 431

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462

51. Games: Kite Flying 468

52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

55. Garden Culture: The Summer Palace 519（Li Mei）

56. Garden Culture: Qingming Riverside Landscspe Garden 526

57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535

58. History: Carl and Cixi 548

59. Interieur: The Folding Screen 552

60. Landscapes and Tourism: Four Buddhist Shrines 561

61. Landscapes and Tourism: Four State-Level Cultural Relics 573

62. Landscapes and Tourism: Landscape, Five Famous Mountains 585

63. Landscapes and Tourism: Mogao Grottoes 593

64. Landscapes and Tourism: The Culture of Mount Tai 606

65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621

66. Landscapes and Tourism: The Ancient Tea Horse Road 635

67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

71. Literature: Ancient literature - Chinese Classical Fairy Tales 681

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

74. Literature: Ancient Literature - Four satirical novels in ancient China 706

75. Literature: Ancient literature: Four Folk Stories of Ancient China 715

76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)

77. Literature: Ancient Literature: The Classic of Mountains and Seas 748

78. Literature: Ancient literature: Yuefu 765

79. Literature: Premodern literature - China's Four Great Classical Novels 773

80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780

81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786

82. Literature: Premodern literature: Tang-Song 794

83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823

84. Literature: Modern Literature 832

85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）

86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873

91. Martial Arts: Wushu 885

92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

96. Medicine: TCM - The Development of Chinese Medicine 917

97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924

98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934

99. Minority cultures: The Ethnic Minorities’ Costumes 941

100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952

101. Money culture: The tradition of Red Envelope and Lucky Money 962

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

107. National Symbols: National Flag 1026

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050

111. Opera: Tea-picking Opera 1055

112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064

113. Philosophical Schools: Four Main Philosophical Schools 1076

114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087

115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093

116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099

117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106

118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

126. Science and Technology: China's Four New Inventions 1191

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235

130. Science and Technology: Four Domestic Mobile Phone Companies 1257

131. Silk and porcelain: Silk 1272

132. Silk and porcelain: Porcelain 1277

133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283

134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291

135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296

136. Silk Road - by land and by sea: Zheng He's Voyages 1300

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317
139. Stage entertainment: Crosstalk 相声 1325
140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348
143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373

146. Traditional Crafts: Xiang Embroidery 1386(Zhang Huifang)

147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

153. Traditional Cuisine: Eight Major Cuisines of China 1456（Xiao Zixin）

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

155. Traditional Cuisine: Breakfast Culture of Wuhan 1480

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491
157. Traditional Cuisine: Hotpot 1501

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518……

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593 （Dong Jiating）

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）

175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655

176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 (Tao Yao)

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685 （Lu Wei）

179. Traditional and Modern Views on Marriage and Love 1694

180. Traditional Cuisine: Tangyuan 1701（Liu Shutian）

181. Animals：Golden Monkey 1712

182. Chinese Economy: rich businessmen 1719

183. Opera: Chinese Local Operas 1727

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

188. Science and Technology: Mobile Games（手游） 1783

189. Clothing: Vintage Clothing 1790.(Chen Sisi)

190. Fine arts:Kunqu Opera 1798

191. Aesthetic ideals and social customs: The Culture of Flowers 1807

192. National Belief: the Chinese Dream 1818

193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)

194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845

195. Sports: Cuju (蹴鞠) 1845

196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845

197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 （Chu Hanqi）

198. Stage entertainment: Northeast Errenzhuan (二人转) 1845

199. Traditional Crafts: Dough Sculpture 面塑 1845

200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 （Wang Xinyu）

201. The culture of Grass cloth 夏布 1845 (Huang Qiaoqiao)

202. The Legend of Zhen Huan 《甄嬛传》 1845 （Xing Xueqing）

203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)

204. Stand-up comedy 单口喜剧 1845（Huang Sinan）

205. Bride-price（彩礼） 1845 （Wu Jiating）

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845(Liu Peini)

208. Chinese traditional ornament: Buyao （步摇） 1845

209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）

210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845

211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845

212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan)

213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)

214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845

215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)

216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)

217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845

218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)

219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)

220. Rice cake (年糕) 1845(Li Linyao)

221. Zhongyuan festival 1845 （Ou Huang）

222. Dulong: Facial tattoo (独龙族：纹面) 1845

223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）

224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)

225. "Cun Chao": China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)

226. Landscapes and Tourism: Junshan Island (君山岛) 1845（Liao Zuoyun）

227. Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)

228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845

229. Jingdezhen Porcelain 1845 (Xiao Luyu)

230. Gayageum（伽倻琴） 1845 (Zhang Meiling)

231. The plaque and couplet in Chinese garden（园林匾额对联） 1845

232. Sun Wukong（孙悟空） 1845 （Li Yuan2）

233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)

234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）

235. Bamboo Weaving (竹编） 1845

236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)

237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845

238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）

239. Female Emperor---Wu Zetian 1845 (Song Xin)

240. Clay sculpture (泥塑） 1845 (Chen Lin)

241. Abacus (中国珠算） 1845

242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)

243. Chinese name（中国姓名文化） 1845 (Yang Jing)

244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)

245. Douzhi (豆汁) 1845

246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）

247. Carved lacquer（雕漆） 1845

248. Jing Gang Mountain (井冈山） 1845

249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845

250. Language: Hakka Dialect（客家话） 1845

251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )

252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）

253. Yuelu Mountain (岳麓山) 1845（Chen Ting）

254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）

255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）

256. Danmu (弹幕） 1845 (Zhou Le)

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845

260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao)

261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845

262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845

263. Shaolin Temple (少林寺) 1845

264. Single bamboo drifting（独竹漂） 1845

265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）

266. Hui Culture (徽文化) 1845(Liu Jianan)

267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)

268. Table Manners 1845（Luo Yan）

269. Music of the Mongol nationality (蒙古族音乐) 1845

270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)

271. Palace Lantern（宫灯） 1845

272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Cheng Sixiang)

273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)

274. God of Wealth(财神) 1845 （Zeng Zhi）

275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）

276. Nail art（美甲） 1845 （Luo Jiaxin）

277. Mirror (镜子) 1845 (Cheng Sixiang)

278. The Beef Board Noodle (牛肉板面) 1845

279. Huo Qubing (霍去病） 1845 （Luo Jingyan）

280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)

281. Music and instruments: Yangqin（扬琴） 1845

282. Black Myth: Wukong（黑神话悟空） 1845 (Chen Zhen)

283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）

=Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=
==Teacher presentation: Introduction to Culture==
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]

==Topics for today==
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)

You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?

Please remember that you have to indicate the 10 topics for Friday on the course website under "Session 2" with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.

55. Garden Culture: The Summer Palace 519（Li Mei）
[[File:The Summer Palace - Li Mei.pptx]]

=Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=
=Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=
=Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=
=Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=
=HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=
清明节4月4日——4月6日
=Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=
=Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=
=Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=
=HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=
劳动节5月1日——5月5日
=Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=
=Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=
=Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=
=Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=
端午节5月31日——6月2日
=Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=
Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]