20210601 culture2

Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15

• Link to return to Course Homepage.
• Link to the other Final Exam paper pages: Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语; Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙; Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇; Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜; Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲.

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

• You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
• In the topic, please write the category, then the topic - your name and student no.
• For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
• Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). 翻译基础 [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.
• Please also add a list "Terms and Expressions".
• Please add a "Questions" section.
• Please add a "Answers" section.

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

Guō Yàbō 郭亚波

Kite ok

Huáng Fāngfāng 黄芳芳

So far this means 0 points. However, you may still add your topic! Take the chance!

Huáng Lìpèi 黄沥霈 Modern Chinese Education

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Huáng Xiàolán 黄笑兰 Hunan Flower-drum Opera (Huagu Opera)

A. Introduction

Flower-drum opera (Huagu Opera) is the general term for "flower-drum" in various local small plays in China, which is mainly spread in Hunan, Hubei, Anhui, Zhejiang, and other places. It is one of the opera drams developed based on folk songs, minors, labor chants, and various local flower-drums (including flower-drum beaten, field flower-drum — flower-drum lantern).

At the end of the Ming Dynasty, Fan Wenruo’s legendary works described the drama scene of singing the flower-drum, showing the original appearance of this art form. In the course of practice, it drew on the performance mode of local dramas, absorbed various artistic factors, and eventually developed into an independent local opera genre.

Hunan flower-drum opera is sung in Hunan dialect, with a total of 123 traditional repertoires. It was popular in central Hunan, eastern Hunan, and Dongting Lake areas.

B. Origin and Development

The origin of Hunan flower-drum Opera can be traced back to the recreational folk entertainment song and dance performances that appeared in Qing Dynasty. The County Annals of Liuyang, published during the Jiaqing period of the Qing Dynasty, recorded the early Hunan flower-drum opera. People sang and danced in their spare time to relieve fatigue. The main sings are folk minor tunes and brand tunes. Over time, the early flower-drum gradually developed into a professional or semi-professional song and dance show with audiences and actors. During the reign of Guangxu, this kind of small singing and dancing troupe often held some seasonal performances in the countryside, and then the field flower-drum was called the "flower-drum opera" by convention. (Zeng Dingling, 2020, 14)

From different perspectives, the development of Hunan flower-drum opera has different stages.

First, from the perspective of the development of vocal tunes, it has gone through the stages of folk song, lantern tune, fixed-melody, opera-like Daluo (playing gong), and Sichuan tune to the confluence of various tunes. (Yin Bokang, 1997, 61)

Second, from the perspective of its role of business, it has experienced three stages of development from "two young"(young Chou and young Dan), "three young" (two young plus young Sheng) to "multi-role". The multi-role system is formed based on the "three young" by adding the role of Sheng, Jing, etc. Between Tongzhi and Guangxu in the Qing Dynasty, with Sheng, Dan, Jing, and Chou, the multi-role system was complete then, and repertoires expanded to large whole plays. (Yin Bokang, 1997, 61)

The third is from the perspective of the organizational form of the classes. There have been three kinds of classes: seasonal classes, professional classes, and half-stage classes. The seasonal class is a semi-professional opera troupe. Actors performed during the slack season since they were busy farming in harvest time. It was popular before the Xianfeng period in the Qing dynasty. The professional class is a kind of professional opera troupe, also known as four seasons class, which performs all year round. It has a fixed leader, outfits, and relatively stable cast members. It was formed in the late Xianfeng period. Half-stage class is a special form during the period from the end of the Qing Dynasty to the beginning of the Republic of China. (Yin Bokang, 1997, 62) At that time, Hunan flower-drum opera was repeatedly banned as it was regarded as a lewd play by the governor. Actors were often caught in a prison and paraded through the street, and their gongs and drums were thrown and boxes were destroyed. (Zhu Yongbei, 2014, 41) Thus, they adopted the "yin and yang troupes" performance method, that is, during the day, they performed officially recognized big dramas — Han opera, Hunan opera, etc., and at night, they secretly performed the official banned drama — flower-drum opera. That formed the half-stage classes. It was the artists who used this way of performance to deal with the old society, old concepts, and old systems ingeniously that made the Hunan flower-drum opera preserved. (Zeng Dingling, 2020, 14)

C. Aria Melody

The tunes of Hunan flower-drum opera are divided into three kinds including Sichuan tune, Daluo(playing gong), and minor. The former two kinds are called "Positive tone", which has a fixed pattern tune and rhythm features. And the latter kind of tune whose rhythm, mode were changed greatly and maintained the original folk song structure. The interlude music and the melody in Hunan flower-drum opera are derived from folk songs and classical tunes. (Zhu Yongbei, 2014, 44)

Daluo is a tune formed to the period of transition, one sings and others chorus, and responding with gongs, no supporting of the orchestra, all of these are the remarkable features. The basic structure of Daluo is a combination of cavity and flow, it is usually composed of the source cavity, counted beats speech, and the closed cavity. (Zhu Yongbei, 2014, 44)

Sichuan tune is an aria form accompanied by Daidong and suona, with its various tunes, different colors. The echoing two sentences are composed of upper and lower sentence aria and upper and lower sentences interlude. (Zhu Yongbei, 2014, 45)

Folk minor is one of the main melodies of field flower-drums, which are divided into three kinds including field flower-drums, local folk songs, and silk string minors. Field flower-drum has a strong melody, and the quality of song and dance is strong. Local folk songs are "The Song of Women and Children", which has local flavor extremely, lively and vivid, bright and relaxed. Silk string minors come from a generation of Jiangnan folk songs and folk tunes, which have wonderfully melodic, and the quality of the singing is powerful. (Zhu Yongbei, 2014, 46)

D. Main Schools and Famous Repertoires

Hunan flower-drum opera is divided into 6 art schools including Changsha, Yueyang, Shaoyang, Hengyang, Changde, and Yongzhou. These six schools have their own characteristics in terms of stage language, melody types, performance forms, and repertoire content, and they are also interconnected. (Zeng Dingling, 2020, 14)

Hunan flower-drum opera has many famous repertoires, such as Woodcutter Liuhai, Play Tam-tam, Tinker a Pan, and so on.

References

• Zeng Dingling曾丁玲. (2020). 浅谈湖南花鼓戏的艺术流派 [On the art schools of Hunan flower-drum opera]. 戏剧之家 Home Drama (21) 14-15
• Yin Bokang 尹伯康. (1997). 湖南戏剧史纲 [The Outline of Hunan Flower-drum Opera History]. Changsha: Hunan Literature and Art Publishing House 湖南文艺出版社
• Zhu Yongbei 朱永北. (2014). 非遗保护与湖南花鼓戏研究 [Study on Intangible Cultural Heritage Protection and Hunan Flower-drum Opera]. Suzhou: Soochow University Press 苏州大学出版社

Terms and Expressions

Flower-drum opera 花鼓戏

flower-drum beaten 打花鼓

field flower-drum 地花鼓

flower-drum lantern 花鼓灯

The County Annals of Liuyang 《浏阳县志》

lantern tune 灯调

fixed-melody 曲牌（牌子）

Daluo (playing gong) 打锣腔

Sichuan tune 川调

role of business 角色行当

"two young" “二小”

young Chou 小丑

young Dan 小旦

"three young" “三小”

young Sheng 小生

"multi-role" 多行当

Jing 净

large whole play 大本戏

"yin and yang troupes" “阴阳班子”

Positive tone 正调

the source cavity 发腔

counted beats speech 数板

the closed cavity 收腔

Daidong 大筒

suona 唢呐

silk string minors 丝弦小调

Woodcutter Liuhai 《刘海砍樵》

Play Tam-tam 《打铜锣》

Tinker a Pan 《补锅》

Huáng Zǐlóng 黄梓龙 Breakfast Culture of Wuhan

I suggest to write my final exam paper about "Breakfast Culture of Wuhan". ok