Revision as of 17:17, 6 April 2024

Welcome to our course website Cult_Ov_1_2024!

Session 1 OD Fri Mar 1 8:00-9:40 room 603 - Organizational issues

FRI 8:00-9:40 中国文化概要 Cult Ov 1 2024 603 BA21笔译1 Huang Wenli Winnie (1-16, 外国语学院大楼603 09161319.02) (S1 OD 1.3., S2 MW 8.3., S3 MW 15.3., S4 OD 22.3., S5 MW 29.3., S6 OD 7.4. (instead of 5.4.), S7 OD 12.4., S8 OD 19.4., S9 OD 26.4., S10 OD 28.4., S11 MW 10.5., S12 MW 12.5., S13 MW 17.5., S14 MW 24.5., S15 MW 31.5., S16 MW 7.6.)

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, translates the textbook text into Chinese until session 2 and prepares 1 ppt presentation of 15 min. 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.
Every student selects several topics from the textbook which are not yet translated into Chinese and translates them into Chinese, submits them to the class representative.

Textbook

These are the last 100 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. The topics set in bold will be presented in the form of a powerpoint presentation.

101 陈昕舟 Money culture: The tradition of Red Envelope and Lucky Money

102 廖巧然 Music and instruments: Guzheng

103 戴振 Music and instruments: Pipa

104 黄文莉ppt Mythology: Gods and Immortals

105 周静怡 Mythology: Huli-jing

106 梁诚知 National Symbols: National Anthem

107 赵梦娇 National Symbols: National Flag

108 陈思思 Opera: Peking Opera

109 陈思思 Opera: Peking Opera Acrobatics

110 肖娄君 Opera: Peking Opera Actor Mei Lanfang

111 陈思思ppt Opera: Tea-picking Opera

112 徐硕珮 Opera: Hunan Flower-drum Opera (Huagu Opera)

113 丁昕怡 Philosophical Schools: Four Main Philosophical Schools

114 龚星月（PPT） Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism

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

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

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

118 金川玉 Philosophical Schools (Daoism, Buddhism, Legalism): Legalism

119 易祺芳 Philosophy: Chinese Traditional Cultivation Culture

120 黄薪诺 Religion: Traditional Chinese Funeral Culture

121 徐硕珮 Religion: Buddhism

122 戴振（ppt） Religion: Daoism

123 肖娄君 Religion: Christianity

124 戴振 Religion: Islam

125 罗彬 Science and Technology: Ancient Science and Technology

126 刘春秀ppt Science and Technology: China's Four New Inventions

127 李静怡 Science and Technology: Compass

128 刘欣雨 Science and Technology: TikTok (Douyin)

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

130 刘春秀 Science and Technology: Four Domestic Mobile Phone Companies

131 丁昕怡 Silk and porcelain: Silk

132 金川玉 Silk and porcelain: Porcelain

133 徐硕珮 Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词

+134 陈健PPT Silk Road - by land and by sea: Zhang Qian and the Silk Road

135 龚星月 Silk Road - by land and by sea: Zheng He and the Maritime Silk Road

+136 罗彬PPT Silk Road - by land and by sea: Zheng He's Voyages

137 陈健 Social: The Long-life Lock

138 刘晓宇ppt Social: Round Table Culture

139 陈倩ppt Stage entertainment: Crosstalk 相声

140 温一宁 Stage entertainment: Shadow Play

141 石慕予 Traditional Crafts: Carving

142 王晨 Traditional Crafts: Chinese Jade Culture

143 梁诚知 Traditional Crafts: Cloisonne

144 黄薪诺 Traditional Crafts: Embroidery

+145 石慕予p p t Traditional Crafts: Shu Embroidery (Sichuan Embroidery)

146 黄文莉 Traditional Crafts: Xiang Embroidery

147 赵欣雨ppt Traditional Crafts: Folk Art - Chinese Paper-cutting

148 陈昕舟ppt Traditional Crafts: Handcraft - Chinese Knots

149 赵欣雨 Traditional Crafts: Lacquerware

150 师瑶 Traditional Crafts: The Kingfisher Craft点翠

151 陈倩 Traditional Cuisine: Chinese Dining Etiquette

152 廖巧然 Traditional Cuisine: Chopsticks

153 丁昕怡 Traditional Cuisine: Eight Major Cuisines of China

+154 李静怡PPT Traditional Cuisine: Four Distinct Regional Cuisines

+155 廖巧然（ppt Traditional Cuisine: Breakfast Culture of Wuhan

156 黄文莉 Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick

+157 黄薪诺（ppt） Traditional Cuisine: Hotpot

158 刘晓宇 Traditional Cuisine: The Art of Chinese Cooking

159 龚星月 Traditional Cuisine: Two Famous Dishes

160 赵梦娇（PPT） Traditional Festivals

161 王晨 Traditional Festivals: Lattice on Ancient Chinese Windows

162 周莉 Traditional Festivals: Spring Festival Couplets

163 罗彬 Westernization: The Eastward Spread of Western Learning

164 周莉 Westernization: The Westernization Movement

165 金川玉 Worship: Chinese Incense Culture

166 陈健 Economy: Chinese Currency Changes

167 王晨（PPT） History: Wang Shouren

168 肖娄君（PPT） Martial Arts: Chinese Swordsman Spirit

169 温一宁ppt Cuisine: Luosifen

170 陈昕舟 Fine Arts: Chinese Paper Cutting

171 师瑶 Science and Technology: Taobao(淘宝)

172 李静怡 Traditional Craft: Bronze

173 金川玉ppt Entertainment: Deyunshe 德云社

174 赵梦娇 Traditional Cuisine: Jiaozi

175 刘晓宇 Aesthetic ideals and social customs: the Photo Retouching Culture in China

176 刘欣雨ppt Traditional Crafts: Handcraft - Oil-paper Umbrella

177 周静怡（ppt） stage entertainment:Yuan drama

178 徐硕珮（ppt） Music and instruments: Erhu

179 师瑶ppt Traditional and Modern Views on Marriage and Love

180 刘欣雨 Traditional Cuisine: Tangyuan

181 龚星月 Animals：Golden Monkey

182 易祺芳 Chinese Economy: rich businessmen

183 赵欣雨 Opera: Chinese Local Operas

184 刘春秀 The Chinese tradition of ancestor worship

185 丁昕怡ppt Opera: Huangmei opera

186 陈倩 The “reference” of Chinese Music

187 周莉ppt Chinese Folk Art:Lion Dance

188 周静怡 Science and Technology: Mobile Games（手游）

189 刘晓宇 Clothing: Vintage Clothing

190 梁诚知ppt Fine arts:Kunqu Opera

191 温一宁 Aesthetic ideals and social customs: The Culture of Flowers

192 易祺芳ppt National Belief: the Chinese Dream

193 陈倩 Science and Technology: Buytogether（PDD)

194 廖巧然 Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People

Homework until Session 2

Please make a Chinese translation of the text of the topic you selected for presentation including questions at the end of the textbook text. When you select a topic, please coordinate with your class representative that no other students selects the same topic.

Preparatory homework for every session

Please prepare the topics of the following session by reading the respective texts in the textbook and by answering the respective questions.

Homework until Session 5

Please translate another topic you are interested in into English. When you select another topic, please coordinate with your class representative that no other students selects the same topic.

Homework until Session 10

Please translate another topic you are interested in into English. When you select another topic, please coordinate with your class representative that no other students selects the same topic.

Homework until Session 15

Please translate another topic you are interested in into English. When you select another topic, please coordinate with your class representative that no other students selects the same topic.

Final paper after Session 16

Please think of a new topic of a phenomenon of traditional or modern Chinese culture. Please use the same format as the other topics in the textbook, including text, terms, references, questions. Whenever you indicate a reference, please also mention the page number. When you select another topic, please coordinate with your class representative that no other students selects the same topic and confirm with the instructor that the topic is appropriate.

Session 1: Student presentations

114 龚星月（PPT） Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism

Please upload your power point here: Media:Daoism_as_Philosophy_2024.pptx

Text to read is in the textbook chapter 114 in English and here in Chinese:

114 哲学流派：古典哲学——道教

道教起源于中国哲学家老子和庄子。道教主要的典籍要回溯到老子的《道德经》。第二本典籍则是庄子的寓言书，它用寓言的方式表达了道教的理念。道教强调人与自然的结合，并建议人类不要与自然对抗，而要通过与之合作共生来控制环境。同样，道教教导人应该通过信任而不是反对自己的自然感受和本能来控制自己，将它们引导到想要的方向而不是抗拒它们。只有这样，他才能获得生命，要么在世界中更长时间留名，要么获得肉体永生。

道教徒相信永生。据说，仙人呼吸风，饮露水，乘云漫游。他们超脱一切尘世烦恼。如果人们全身心地修身养性就有望“得道”，能够长寿，甚至永生，。广受民众欢迎的神话故事《八仙过海》也起源于道教。

道教也与炼金术联系在一起，曾经是通过将庸俗物质转变成黄金来寻求长生不老的实践方法。黄金因其在变化条件下的耐久性和稳定性而与永生联系在一起。“炼金术”一词通过阿拉伯语从中文中“金”一词演变而来。由于配制长生不老药所使用的成分包括砷和水银这种有毒矿物质，经常会产生与预期相反的效果：不止一个中国皇帝死于“仙丹中毒”。

道教重视远离时间、烦恼和与官僚权力的纠葛。因此，它为中国思想贡献了一种无政府主义的思潮，对为中央集权服务的传统儒家思想提出了质疑。无为，有时被翻译为“无为而治”，是道教的一个核心信条，也在大多数中国军事战略书籍中具有重要意义。无为并不意味着单纯的惰性，而是指不做与事物发展趋势背道而行的事情。

道教几乎为所有事物都有神灵——太阳、月亮、星星、风、雨、雷电、山川河流。它还有镇神、地主、灶神、门神和财神。这些神灵的归统于太上老君和玉皇大帝。他们被供奉在道教寺庙和庙宇中。它们的象征物也可以在许多家庭，特别是农村家庭中出现。人们崇拜财神，希望能发财。据说门神能够驱赶恶魔，而灶神被认为是“主管每个家庭的命运”。道教认为灶神每年都会向玉皇大帝报告他所管理家庭的善恶。他在农历十二月二十三日也就是上天庭报告那天被供奉，然后在春节前夜返回时再次被供奉。

道教有许多经典著作。明代编纂的《道藏》共有5485卷。然而，作修行用的书籍的数量并不多。道教经书主要包括《道德经》，这是一部五千多字的哲学诗歌；《清静经》，教导人们远离尘世欲望以实现心灵和思想的平静；《玉皇大帝经》，歌颂玉皇大帝并祈求天官赐福；以及《黄庭经》，以七言律诗形式，教导道教修炼之道。

122 戴振（ppt） Religion: Daoism

Please upload your power point here: Media:Daoism_as_Religion_2024.pptx

Text to read is in the textbook in English chapter 122 and here in Chinese:

122. 宗教：道教

参见：哲学学派-道教

道教是唯一一种完全源自中国，并在中国土壤中成熟发展起来的主要宗教。它起源于东汉末年，即顺帝在位期间（125-144年），以古老的巫术和长生之术为基础。然而，道教徒将老子视为道教的创始人和至高神，将老子的著作《道德经》（一部仅有5000字的小册子）视为信徒的经典。

在他的著作中，老子说基本原则是：1. 仁爱；2. 纯洁；3. 不敢先于人行动。仁爱意味着对宇宙中的一切保持友好的态度，保持普世和谐。纯洁意味着摆脱奢望，保持心灵和身体的简朴。不敢先于人行动意味着谦逊，抑制自我，而不是采取强势和支配的态度。

“道”一词意为“方法”。在最广泛的意义上，道是宇宙运行的方式，所有自然事件的路径。道是自然的方式，表现为毫不费力的行动。道教往往用水的形象来说明这种毫不费力的行动。水总是下降到最低的水平，却可以冲刷甚至最坚硬的物质。

据道教，宇宙是和谐和秩序的体现。它是活跃的，而不是静态的。它的状态是变化和变异的，永远在变化和消失中，收缩和扩张。道指导着它作为一种秩序原则的功能。在道中，阴阳两个基本力量通过相互作用而运行。它们是可以将所有事物分类为两极相反的两种极性。因此，黑暗与光明、生与死、男性与女性、善与恶、强与弱都是阴阳的表现。

在中国，道教的各种派别在不同的时期出现。在顺帝在位期间，张陵（34-156年）建立了天师道，也称为五斗米道。东汉末年，农民起义领袖张角（？-184年）成立了另一个名为太平道的道教派别。到了西晋和东晋时期，五斗米道已成为一种主要宗教。南北朝时期，统治阶级试图改革道教，使其帮助他们控制农民。在北方，建立了北天师道，在南方，建立了南天师道。元朝时期（1206-1368年），南北两派合并为一个新派别，称为正一道。从那时起，这个派别和全真教（1167年创立）一直是道教的主要派别。正一道相信“以神呼神，以神避祸”。它的神职人员可以结婚，可以吃肉和喝酒，除了斋戒期间。全真教强调自我修养和长生不老，其神职人员必须舍弃家庭生活，斋戒素食，保持独身。然而，1949年后，全真教、正一道和其他道教派别逐渐合并为一个派别，特别是在1956年成立中国道教协会后。

术语和表达方式

Daoism n. 道教 Supreme God 太上老君

Be benevolent; be pure; do not act in advance of others. 一曰慈, 二曰俭, 三曰不敢为天下先。

Effortless action 无为而为 Zhang Ling 张陵 The Heavenly Teacher Sect 天师道 The Five Picules of Rice Sect 五斗米道 Zhang Jiao 张角

The True Unity Sect 正一道 The Complete Unity Sect 全真教 Fasting 斋戒

问题

1. 道教是中国唯一的本土主要宗教吗？它是何时出现的？它的基础是什么？

2. 你对老子及其《道德经》了解多少？

3. 根据老子，社会行为的三个基本原则是什么？它们分别代表什么？

4. 什么是道？在道教中，水象征着什么？

5. 在道教中，宇宙是什么样子的？道是如何运作的？

6. 你对道教派别了解多少？

Session 2 MW Fri Mar 8 8:00-9:40 room 603

Session 2: Student presentations

104 黄文莉ppt Mythology: Gods and Immortals

Please upload your power point here: File:Gods 2024.pdf (pptx was too large)

Text to read is in the textbook chapter 104 in English and here in Chinese:

104. Mythology: Chinese Gods and Immortals

Chinese mythology system Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are oral associations with ritual acts, such as dances, ceremonies, and sacrifices. (Lü & Gong 2014, p. 71 ) Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originated from India. (Yang, An & Turner 2005, p. 4) The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specializes in recording all of those myths in history, not even being an integrated system like Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa Greating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature(Kuafu Chasing the Sun, Great Yu Who Controlled the Waters). 1987. (Bai 1987, pp. 34-40) Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the "Way" rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. It creates many gods and immortals in their texts and gives most of them official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen（土地公）, the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing（三星）, Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the god of happiness, Luxing, Firmness Star, the god of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life. (Olson & Stuart 2002, pp. 27-28) At the end of the Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are quite differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattva has a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the "most widely beloved Buddhist Divinity" with miraculous powers to assist all those who pray to her. (Buddhism, p37) 神 shén, 帝 dì and 仙 xiān Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between "god" and "deity". dì, sometimes translated as "thearch", implies a manifested or incarnate "godly" power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero". (Hu, 2020) There is another difference between the Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life. (Fowler & Jeanine 2005, pp. 200-201) Eight immortals The Eight Immortals are a group of legendary xian ("immortals") in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the "Covert Eight Immortals". Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai. (Yang, Deng & Wang 1987, pp. 40-45) The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their imagines that are entirely different from the uaual scared deities make them very popular with people. They are not born as immortals. Among them have general, royal members, Taoist or even beggar, etc. All of them have certain shortcoming like Lü Dongbin is frivolous and Tieguai Li has the problem of alcoholism. (Yang, Deng & Wang 1987, pp. 45-50) The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them - "The Eight Immortals cross the sea, each reveals its divine powers" (八仙過海, 各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal. (Little, Stephen 2000, pp. 313, 319–334) Terms and Expressions immortals 仙 mythology 神话, 神话学 cosmology 宇宙论, 宇宙观 monolithic 整体（式）的 the Battle of Zhuolu 涿鹿之战 pantheistic 泛神论的 polytheistic 多神论的 Three Pure Ones 三清 anthropomorphic 人格化的 tutelary 守护神 deity 神 Buddha 佛 Shakyamuni 释迦牟尼 Amitabha 阿弥陀佛 Amitāyus 无量寿佛 celestial 天的 Bodhisattva 菩萨 Pure Land 极乐世界 vessels 法器 Covert Eight Immortals 暗八仙 Taoist 道家的, 道士 Questions 1. What are the topics of the Ancient mythology? 2. What are the differences among shén, dì and xiān? 3. What do the Eight immortals represent respectively? References Lü, Daji; Gong, Xuezeng. (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill. Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press. Bai Yang. (1987). Chinese Huamn History. Time Literature & Art Press. Olson, Stuart Alve. (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear & Company. Buddhism, the Fulfilment of Hinduism Hu Yanan. (2020). From Gods to Immortals: A Research on the forming factors of God belief during Pre-Qin Dynasty [D]. Harbin Normal University. Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press. Yang Erzeng, Deng Zhimo, Wang Xiangxu. (1987). A Full Story Book of Eight Immortals. Spring Breeze Literature & Are Press. Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago.

160 赵梦娇（PPT） Traditional Festivals

Please upload your power point here: File:Festivals 2024.pdf

Please learn the vocabulary.

Terms and Expressions

slack season 农闲时节
get-together banquet 团圆饭
King Huai of Chu 楚怀王
the Warring States Period 战国时期
Zuotu 左徒
Elegies of Chu 楚辞
The Nine Hymns 《九章》
The Nine Songs 《九歌》

Text to read in English:

160. Traditional Festivals

The most popular festivals among all the nationalities are the Spring Festival, the Lantern Festival, the Dragon Boat Festival and the Mid-Autumn Festival. Besides, the Tomb-Sweeping Day (around April 5), the Chinese Valentine’s Day (July 7 of the lunar calendar) and Senior Citizens’ Day (September 9 of the lunar calendar) are more and more popular. The Spring Festival, the Lunar New Year, is the most important traditional national festival in China. It usually falls in late January or early February. There is some reason for ancient people to begin the year in cold weather. This is the time after the autumn harvest and winter storage, the time before “spring ploughing and summer weeding” - the slack season in farming, time for relaxation and celebrations after a year’s toil, time for looking back to the past and looking forward to the days to come, in short a time for a good, long rest before going to the fields to do backbreaking work again. Legend has it that a long time ago, there was a ferocious demon called Nian. He would come to do evil things very winter after twelve months had passed. People got together and discussed how to deal with him. Some said that the demon was afraid of the red color, flames and noises. So people put up red couplets on their gates, set off firecrackers and kept on beating gongs and drums to drive Nian away. Nian was terrified and fled, and the customs of celebrating the lunar New Year were passed down. Every year now, Chinese families always clear their houses, set off firecrackers, and post Door-God pictures and couplets on their gates to observe this time-honored festival. On the eve of the Spring Festival, it is a folk custom to stay up late or all night and pray for peace and prosperity in the coming year. New Year is ushered in at midnight, 12 sharp. A get-together banquet is usually a must for every Chinese family. The most popular food enjoyed by the rich and the poor alike is jiaozi, or dumplings, which is supposed to augur good fortune. On the first day of the new year, everybody, men and women, old and young, put on new clothes and visit relatives and friends to exchange greetings by bowing, saying nice things such as “gongxi” (congratulations) and wishing one the best of everything during the new year. In recent years, the Spring Festival has become a public holiday. People have several days off from their work, doing whatever they like to do. Family dinners, family travels, dinner parties, going to movies and concerts are the most popular of all the festival activities. The Dragon Boat Festival, or the Duanwu Festival, falls on the fifth day of the fifth lunar month and is an age-old festival. It is widely accepted that Duanwu is the occasion to commemorate Qu Yuan, China’s great poet of the Warring States Period. People respect Qu for his quest for a way to make his country powerful and prosperous and for his spirit of dedicating himself to his ideals. On the day of Duanwu, the legendary day of his death, people rush from all quarters, rowing dragon boats on the river in an attempt to find his remains, which are supposed to have drifted downstream and never been recovered. People throw bamboo tubes filled with rice into the river as a sacrifice offered to him. It is also the custom to eat zongzi on Duanwu Day, a special rice pudding wrapped up with reed leaves. The fact that Qu Yuan is commemorated at the Duanwu Festival signifies the popularity of a people’s poet. Qu was among the four cultural giants whom the World Peace Council in 1957 called on the whole world to commemorate. Qu Yuan (340 BC–378 BC) was born into an aristocratic family of the Chu state. Trusted by King Huai of Chu, Qu was appointed as zuotu, an important post assisting the king in handling internal and diplomatic affairs. During his office, Qu advised the king to appoint virtuous and talented people to important positions and rule the state by law so as to revitalize Chu. He also proposed that the king form an alliance with the state of Qi against the hegemonic state of Qin. But his proposals did not garner support from the king and other aristocrats. At the same time, Qin played tricks and alienated King Huai from Qu Yuan. Slandered by treacherous court officials, he was dismissed and exiled. Frustrated in his political career, Qu achieved brilliant accomplishments in the field of literature. He was one of the greatest poets, composing many splendid poems. Based on the folk songs of Chu and the Chu dialect, he created a new style of poetry called by later generations the “Elegies of Chu”. His most famous poem is the long lyrical work Li Sao, which amounts to more than two thousand characters. Li Sao, full of rich imaginative expressions and sincere emotions, reveals the poet’s love of his native kingdom of Chu and its people. By adopting symbols and metaphor, Qu wove the myths, legends, historical figures, mountains, rivers, the sun and moon, storms, grass, flowers and so on into lively and magnificent pictures. He also wrote Jiu Zhang (The Nine Hymns) and Jiu Ge (The Nine Songs). His poems have been translated into many foreign languages. The Mid-Autumn Festival comes on the fifteenth day of the eighth lunar month, when the moon is supposed to be brighter and fuller than in any other month and the moonlight is the most beautiful. In China, a full moon is also symbolic of family reunion and so, that day is also known as the “day of reunion”. The moon was always looked on as the symbol of brightness, purity and goodness by men of letters in ancient times. There are many beautiful odes to the moon left to us written by poets of previous ages. Besides, many myths and legends are attached to the moon. The most popular one is about Chang E, who flies to the moon and allegedly lives in the Moon Palace. She is believed to be a female, so generally a married woman who has gone to visit her parents must come back to join her husband and the rest of his family on the Mid-Autumn day. People eat something special on a particular traditional festival. At Mid-Autumn Festival people eat the moon cake. When night falls, with the moon shining overhead and a gentle breeze bringing people a cool air, thousands upon thousands of families sit together in a circle, having a table placed in the courtyard under the moon, on which incense is burned and fruits of all varieties in season are spread. At the center is a big moon cake cut into a number of slices equal to the number of people in the family. On this day, people can really enjoy the harmony and happiness of family life.

Questions

1. What special Chinese food do we have on traditional festivals?

2. How is the Spring Festival celebrated at home and abroad?

3. Why is the Dragon Boat Festival so named? How is it related to Qu Yuan?

3. What do you know about the legend of Chang E?

4. What in traditional Chinese culture suggests people’s longing for reunion or perfection?

Session 3 MW Fri Mar 15 8:00-9:40 room 603

Session 3: Student presentations

169 温一宁ppt Cuisine: Luosifen

Please upload your power point here: File:Luosifen 2024.pdf

Text to read is in the textbook chapter 169 in English and here in Chinese:

169. Cuisine: Luosifen

Luosifen, also called River snails rice noodle, is a Chinese noodle dish with “offensive” oder and a speciality of the city of Liuzhou, in Guang Xi, southwest China. It consists of rice noodles boiled and served in a soup which is made by stewing river snails and pork bones for several hours with black cardamom, fennel seed, dried tangerine peel, cassia bark, cloves, white pepper, bay leaf, licorice root, sand ginger, and star anise. It usually does not contain river snail meat, but it is instead served with pickled bamboo shoot, pickled green beans, shredded wood ear, fu zhu, fresh green vegetables, peanuts, and chili oil added to the soup. Diners can also add chili, green onions, white vinegar, and green peppers to suit their taste.

History of Luosifen

Origin

According to the findings of archaeologists, in the last Paleolithic age forerunners have eaten the river snails in the White Lotus Cave and Big Dragon Pool which is in the Guang Xi province. Since the Era before Qin Dynasty, rice noodle has become the staple food to people who grow up in southern China including Guang Xi Province. However, their combination, Luosifen has appeared around 1970s-1980s. There are many assumptions about its origin. The one is that in the mid-1980s, there was a grocery store on Jie Fang South Road, operating dry-cut noodles, and its clerks used to take a handful of dry-cut noodles in the morning and cook them at the granny's river snail stall next door. Wang Ji granny who sold river snails thought it tasted very good, so she sold river snail rice noodles. The other one is that in the 1970s and 1980s, the Gu Bu Street food market became the largest distribution center for wholesale raw snails in Liuzhou, and the audience of the nearby workers' cinema liked to stroll around after the show, leading to the Gu Bu Street night market. Liuzhou people have always been fond of snails and rice noodles, and some night market owners operated both boiled snails and rice noodles. Some diners liked to add snail soup with a lot of oil and water to the rice noodles, thus forming the prototype of snail noodles. Another is that late one night in the early 1980s, several foreigners came to Liuzhou and arrived at a rice noodle stall that was about to close, as the bone broth was no longer available and only a pot of snail soup left over from cooking snails was left, the stall owner put the rice noodles into the snail soup and cooked them with vegetables and peanuts and other side dishes. The stall owner later gradually improved its ingredients and production, made into snail noodles.

The most brilliant star of Liu Zhou

More than ten years ago, Luosifen was just in the night market,but now it is not only in small "hole-in-the-wall" restaurants, but also luxury hotel restaurants. When we come to terms with Liu Zhou, people come with Luosifen. Not only because itself, but also due to its popular instant version. In 2010, Liuzhou encouraged businesses opening stores in major cities such as Beijing and Guangzhou. In 2014 local authority proposed to industrialize it into bagged instant river snails noodles for large-scale production of special snacks. During the process of rapid industrial development, the government continued to regulate the development of the industry and raised the threshold of access. These gives way to promote instant river snails rice noodles.

As of the end of 2021, Liuzhou has 127 pre-packaged snail river noodles production enterprises.Liuzhou snail noodles is going into the "bagged fast food" era, on the Internet e-commerce express, the local snacks gradually go to a broader world. In 2021, Liuzhou snail rice noodles sales revenue of the whole industry chain reached 50.16 billion yuan, including 15.197 billion yuan of bagged river snail rice noodles, an increase of 38.23%, the annual delivery volume exceeded 100 million pieces, and the turnover of physical stores nationwide was 20.68 billion yuan, an increase of 75.25%. By the way, in 2018, the skill to make the rice noodle of Luosifen has been selected in the list of intangible cultural heritage of Guang Xi Zhuang Autonoumous Region. In 2021, it has selected in the list of national intangible cultural heritage.

From China to the world

In the late 2010s, many luosifen restaurants have opened in Beijing, Shanghai, and Hong Kong, as well as in other countries such as the US. According to the data, Luosifen has sold to over 20 countries, and in 2021, the exports were valued at 8.24 billion up 89.86% on the last year.

Making process

Sour, spicy,refreshing and hot sensations with tons of umami flooding in the mouth. That’s what Luosifen is all about. To achieve that, there are the steps to make a wonderful Luosifen. 1.Cut off the lean meat from the pork bones and chop the spine directly.2. Soak the snail in water for 1 hour to remove the mud and earthy taste, and wash it again.3. Cut the ingredients into shreds and dice, pour some oil into the pot and fry the sliced tofu (the oil should be hot when frying the sliced tofu, but leave it off the fire or it will scorch), and pour the leftover oil from frying the tofu into the chili powder to make chili oil (notice that the residual heat from frying the tofu is enough, no need to add fire).4. Put the pork bones into a pot of boiling soup, add a tablespoon of rice wine to the water, and put the shredded pickled vegetables and diced pickled bean curd into the pot and stir-fry with a little oil, but do not add salt.5.Add black fungus and pork (cut off lean meat) to the pot and stir-fry them together with a little salt.6. Add a tablespoon of salt and half a tablespoon of spices and stir-fry for 2 minutes, then add half a bowl of water and put it into the bone broth after it boils.7. Boil the soup with the snail meat and enough for 1 hour, then put the chili oil you made beforehand into the pot (you can leave it out if you don't like spicy food). 8.Boil half a pot of water, put salt in the water (stir well, taste salty), when the water is boiling, put the rice noodles in the water and scald them respectively, add the prepared ingredients, and finally add the snail soup snail noodles are done.

Influence

Economy

Obviously, it supplies thousands of jobs for people,promotes the economic growth of Liu Zhou and cultivates Liu Zhou’s industrialization. Therefore, Luosifen becomes a celebrity, even an heated IP which is abused by many businessmen who just want to earn money. However, its contribution to economy is important.

Culture

Nostalgia lies behind every special dish. So dose Luosifen. It is good memory to people born and growing in Liu Zhou. It is a typical example to show the profound influence of traditional medicine culture. With the Liu River flowing right through Liuzhou, Liuzhou has great water resources for high quality river snails. Also, Liuzhou sits in a basin, so it’s quite humid and hot. Traditional Chinese medicine believes that river snails can expel heat and moisture form the body. All of this makes river snails the local’s fave.

References

1. 李莉《重口味奇迹：「柳州之光」螺蛳粉的逆袭》

2. 夏梦帆《从地方小吃到“网红”大产业》食品地理

3. 何伟，徐海涛，农冠斌，林凡诗《柳州螺蛳粉：从小米粉到大产业》新华每日电讯

4. 第五批国家级非物质文化遗产代表性项目名录

Questions

1. Where dose Luosifen come from?

2. What are the ingredients of Luosifen?

3. When was Luosifen selected in the list of national intangible cultural heritage? What’s Luosifen all about?

111 陈思思ppt Opera: Tea-picking Opera

Please upload your power point here: Media:Tea-picking_Opera_2024.pptx

Please learn the vocabulary, read the text and answer the questions:

Terms

Tea-picking Opera 采茶戏
Gannan Tea-picking Opera赣南采茶戏
Fuzhou Tea-picking Opera 抚州采茶戏
Nanchang Tea-picking Opera 南昌采茶戏
Gao'an Tea-picking Opera 高安采茶戏
Wuning Tea-picking Opera 武宁采茶戏
Gandong Tea-picking Opera 赣东采茶戏
mountain songs 山歌
the twelve-month tea-picking songs 十二月采茶歌
Tea-picking lantern opera 采茶灯
Three characters’troupe 三角班
The National Intangible Cultural Heritage Lists 国家级非物质文化遗产名录
Qi Opera 祁剧
Half Mix Opera 半整杂
high-tone and disordered-tone 高腔和弹腔
The Republic of China 民国
half-troupe stage 半班舞台
Legend of Luang Knife 《銮刀记》

111. Opera: Tea-picking Opera

A. Overview

Tea-picking opera is a kind of opera category popular in Jiangxi, Hubei, Anhui, Fujian, Guangdong and other provinces, and it is one of the regional cultures with strong local characteristics in China[7]. It is produced in the Ming and Qing Dynasties, and has more than 400 years of history of a wide variety of distinctive features. On May 20, 2006, tea-picking opera was approved by the State Council and included in the first batch of the National Intangible Cultural Heritage Lists. [1][2]

Tea-picking opera in the provinces take local names to distinguish according to the regions, such as Guangdong's "Guangdong North Tea-picking Drama", Hubei's "Yangxin Tea-picking Drama, " "Yellow Mei-Tea Opera, " "YuChun Tea-picking Opera" and so on. (xi-qu. com)

B. The Origin of Tea-picking Opera

The production of tea-picking opera is related to the abundance of tea. According to historical records in the Ming Dynasty, in the tea area in the South of Fujian Province, east, south and north of Jiangxi Province, working women went up the mountain, picked tea while singing mountain songs to encourage labor enthusiasm.

In special festival or time in rural areas such as at the time of widespread tea tress in March and harvesting, people sing in the tea forest with the joy of harvesting. Mountain songs and ditties sang by them are in vivid form and rich contents expressing the joy of labor and love between men and women. This kind of mountain songs circulating in the tea area are known as "tea-picking songs. " Tea-picking opera developed from the folk tea-picking songs and tea-picking lamp singing, and then become a kind of folk drama with characters and storyline. Because it is generally only two female roles and one clown, or a painted role, a female role, and a clown three persons’ performance, it is also known as “Three characters’ troupe. ”[3] The drama has many sorts, such as Jiangxi tea-picking opera, that is, Gannan Tea-picking Opera, Fuzhou tea-picking opera, Nanchang tea-picking opera, Gaoan tea-picking opera, Wuning tea-picking opera, Gandong tea-picking opera, Ji'an tea-picking opera, Jingdezhen tea-picking opera and Ningdu tea-picking opera and so on. (Zhu Feiye, 2021)

There are several stages from tea-picking song to tea-picking opera. Tea-picking songs were first sung in minor tunes, with only four lyrics per line, which were lively and euphemistic. After the development of the tea-picking song, it was composed of tea-picking ditty, which was called twelve-month tea-picking songs. Later, the twelve-month tea-picking songs combined with folk dances became tea-picking lantern opera. The form of tea-picking lantern opera is relatively simple, pure collective performance of song and dance, but it has taken a step towards the tea-picking opera. (Zhu Feiye, 2021)

C. The Development of Tea-picking Opera

Tea-picking opera has experienced a tortuous process of development. In the Ming Dynasty, tea farmers in the Jiulong Mountain Tea District of Anyuan County, Jiangxi Province, which is rich in famous tea, often performed impromptu programs related to tea picking in the form of tea-picking lantern opera in order to receive tea merchants from Guangdong. This kind of performance is already the prototype of tea-picking opera.

Before the founding of the People's Republic of China, the performance of tea-picking opera was often interfered and banned by the rulers. The first reason was that there were few literati involved in tea picking, and the cultural level of the artists was not high, so the rulers thought these plays were very vulgar and difficult to be elegant. Secondly, in order to cater to the audience, the actors added some unhealthy contents during the performance. Some plays appear to be very vulgar and indecent, and even disturb social order. (Zhu Feiye, 2021)

In the middle Guangxu (光绪) period of the Qing Dynasty (about 1891), some Qi opera artists and half-troupe performers could independently perform high-tone and disordered-tone repertoire. The original plays of Qi opera and half-troupe repertoire coexisted on the half-troupe stage, so they were called Half Mix Opera. Around 10 years in the Republic of China, Half Mix Opera disintegrated, caused the reproduction of “seven tight eight loose nine free and unrestrained” half-troupe. They performed in the mountains until the eve of liberation. (Zhu Feiye, 2021)

After the foundation of the People's Republic of China, professional opera troupes were established. They not only excavated, arranged and made excellent traditional repertoire, but also created a number of new repertoires, such as One Heart, Send Straw Shoes, New Neighbors and the adaptation of Legend of Luang Knife. Ningdu Hakka Tea Picking Opera not only has a complete range of skills, beautiful tunes, but also has a variety of performance procedures. It has become a regular drama class capable of singing and dancing, modern and ancient, large and small, and martial arts, and has become a unique style of drama in China. (Zhu Feiye, 2021)

If there is no tea picking and other tea work, there will be no tea-picking songs and dances, and no tea-picking opera, which is widely popular in many provinces and regions in southern China. Therefore, tea picking is not only related to tea, but also a splendid culture derived from tea culture in the field of opera or absorbed by opera culture.

D. Gannan Tea-picking Opera

Gannan Tea- Picking Opera is an important school of Tea picking Oper, mainly popular in southern Jiangxi, that is, Ganzhou. In the tea-picking opera groups, the characteristics of tea picking in southern Jiangxi are reflected in the following aspects: First, it belongs to the Hakka ethnic group. The dialect of the South Jiangxi is Hakka, so the traditional repertoire of Gannan Tea-peaking Opera is basically performed in Hakka. Second, tea picking in southern Jiangxi originated early and had an impact on the early development of various tea picking operas.

Its origin can be traced back to the late Ming and early Qing dynasties. In the first year of Qianlong's reign, Yu Zhaoyue, governor of Jiangxi Province, mentioned in a note that “the custom of pretending to be a sex play is forbidden”[4]485. Drama experts believe that the “sex play” here is the tea-picking opera in southern Jiangxi Province[5], so it is speculated that its birth date should be earlier than this. Thirdly, in terms of artistic form, the traditional repertory of tea-picking opera in southern Jiangxi still retains the form of “three small operas”. And many other types of tea-picking opera have a trend of development to the big drama. For example, tea-picking opera in northern Jiangxi (Jiujiang tea-picking opera, Nanchang tea-picking opera, etc. ), influenced by Huangmei Opera in Hubei, has developed into a “half-troupe”, which can be used to perform ancient costume drama. In addition, a symbolic difference between different types of operas is music. The music of the tea-picking opera in southern Jiangxi belongs to the combination of Qupai（曲牌）. There are as many as two or three hundred Qupai, with beautiful melodies, which are well known to the local people[6]. (Wang Jingbo 2020)

The main performance forms of Gannan Tea-peaking Opera include dwarf step, single sleeve and fan, which deeply depict the character image and perform the story plot incisively and vividly. The main Musical Instruments used in the accompaniment of Gannan Tea-peaking Opera are hooks, Suona horn, bamboo flute, gong, drum, cymbals and other folk instruments, which is full of local atmosphere.

As a native Gannan culture, tea picking is a portrayal of Hakka people's life in the mountains. It expresses the joys and sorrows of Gannan people's life through comedy and farce. It is also a folk activity created in the tea-picking work and the main leisure and entertainment activity of the people after dinner. Tea-picking opera is a local opera developed from folk songs and dances and lanterns, and its repertoire mostly reflects the life of working people. Its music and singing styles are also folk songs, so it is deeply loved by the people. (xi-qu. com)

The general characteristics of Gannan tea-picking opera are: cheerful performance, humorous, singing and dancing, strong comedy, rich local flavor, quite popular with the masses. The representative works include Pairs of Flowers, Picking Tea in Jiulong Mountain, Digging Bamboo Shoots and so on.

Questions

1. Where is tea-picking opera popular?

2. When does tea-picking opera originate?

3. What is the nickname of tea-picking opera?

4. What are the main performance forms of Gannan Tea-picking Opera?

5. What are the general characteristics of Gannan Tea-picking Opera?

6. What are the representative works of Gannan Tea-picking Opera?

References

[1]采茶戏简介和影响_采茶戏历史_中国戏曲网 (xi-qu. com)

[2]国务院关于公布第一批国家级非物质文化遗产名录的通知国发〔2006〕18号 . 中国政府网

[3]试论我国采茶戏的形成与发展 - 中国知网 (cnki. net) 朱飞晔 2016

[4]清实录( 第九册) ·高宗纯皇帝实录: 卷十九［G］. 北京: 中华书局, 1985: 485.

[5］苏子裕. 赣南采茶戏的发展历程及其艺术形态［G］∥中国戏曲声腔剧种考. 北京: 新华出版社, 2001: 192.

[6]从传统到现代:赣南采茶戏的变迁与多元传承 - 中国知网 (cnki. net) 王静波

[7]施德玉. 中国地方小戏音乐之探讨［M］. 台北: 学海出版社, 2000: 241.

[8]采茶戏_百度百科 (baidu. com)

Session 4 OD Fri Mar 22 8:00-9:40 room 603

Notes

Remind to use the website

Intro cross-cultural “opera” meaning (musical play and labour)

1. Very good: 185 丁昕怡 ppt Opera: Huangmei opera : Hubei-Anhui (theme: Huangmei brought culture to Anhui after fleeing from a flood) (Easy listening, plain clothes). (popular Musical/Operetta stile) (“color cavity”)

International dissemination (strategic and aestetic reasons )

English version: Luo Yingying/Bunny Lo (German performer)

Emphasize need to advance language skills (poetry, structure)

[quiz, active presentation, some minor flaws in language and ppt spellings]

2. Very good 190 梁诚知 ppt Fine arts: Kunqu Opera “Master of all operas“, Yuan/Ming Dynasty (Jiangsu), royal entertainment, late Qing: decline - eclipsed by Beijing Opera.

Realistic and animated puppet performance clips shown. Research question: “Why are these love stories?” victory of love over death and traditional social system. Innovate by inheritance and transformation; go beyond tradition. (what are the limits of the Kunqu Opera regarding transformation?).

Cultivate masters and audience. Acquired and cultivated taste and understanding

Final discussion, where does culture come from: the tension between tradition and human motivation (love and death), connected by emotions such as pride.

FORMALITIES: Standardise the style (font, size etc.);

Present in an analytical structure

Distinguish reporter from presenter

Session 4: Student presentations

185 丁昕怡ppt Opera: Huangmei opera

Please upload your power point here: File:Huangmei Opera 2024.pdf

185. Opera: Huangmei Opera Brief Introduction Huangmei opera, formerly known as Huangmei tune and Caicha opera, originated in Huangmei, Hubei Province, and developed and expanded in Anqing, Anhui Province. Huangmei opera, together with Beijing opera, Yueju opera, Pingju opera, and Yuju opera, is one of the "five major opera genres in China", and is also the main local opera genre in Anhui Province. Huangmei opera singing simple and smooth, to bright and lyrical, with rich expressive power; performance is simple and meticulous, known for real and lively. The song "Matching of Heavenly Fairies" has made Huangmei opera popular in the north and south of China, and has a high reputation in overseas. On May 20, 2006, Huangmei opera was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On May 24, 2021, Huangmei opera declared by Hubei Province was approved by the State Council to be included in the extended list of national intangible cultural heritage representative projects.

Origin The history of Huangmei opera is not considered very long, for the origin of Huangmei opera, there are 5 mainstream statements. In all the testimony, which is recognized version of the Hubei Huangmei said. The reason for this consensus, one is that historical documents record Huangmei County is both a tea song folk song of the country, but also a place where floods and droughts are frequent, including the most vicious floods. Good song of Huangmei people in such an environment to escape around, selling the field to beg. A large number of Huangmei victims who flowed into Anhui Susong, Taihu, Huaining and other counties, received local food, but also returned a rich spiritual food - Huangmei Caicha tune and a variety of folk songs and dances.

Development Huangmei Opera is developed on the basis of the song and dance of Huangmei Caicha tune in the adjoining areas of Anhui, Hubei and Gan provinces. One of them moved east to Anhui Huaining as the center of the Anqing area Indic language sound singing, known as Huai cavity or Huai tunes. This is the predecessor of today's Huangmei opera." Thus, it can be seen that Huangmei opera was developed on the basis of Huangmei tea opera. "Huangmei Caicha opera traditional singing set" defines Huangmei Caicha opera in this way: "Huangmei Caicha opera, referred to as 'Caicha ', is one of the excellent local opera in Hubei Huangmei Caicha tune floated into the Huaining area with the water, it flowed into a good ecological environment for opera incubation. Many opera singers and scholars call the junction of Hubei, Anhui and Jiangxi provinces as the "Golden Triangle" of opera, and Huaining County Shipai Town is one of the "opera nest".

Costume Huangmei costumes are generally less extravagant compared to the other Chinese opera branches. There is usually a greater emphasis on the singing than the display. In Hong Kong there is not necessarily a requirement to wear any traditional Chinese opera attire. An example is the cantopop artist Jenny Tseng singing Huangmei style music with Ivy Ling Po in a concert.

Artistic features The melody of Huangmei Opera is a plate-like variant, with three lumens: flower cavity, color cavity, and main tone. The flower cavity is mainly composed of small plays, the tone is healthy and simple, beautiful and cheerful, with a strong sense of life and the color of the folk songs; the color cavity is very popular, and it has been widely used in the small dramas; the main theme is the vocal used in the traditional Chinese drama of Huangmei opera. The Huangmei Opera is pure and fresh, exquisite and moving, with a bright and expressive sensibility, rich in expressiveness, easy to understand, easy to popularize, and deeply loved by people all over China.

Tune Huangmei opera singing voice has three forms: the main cavity, flower cavity, three cavities ("colorful cavity", "fairy cavity", "Yin Si cavity" three cavities collectively).

The main cadence of Huangmei opera The main cavity is the most dramatic expression of a cavity in the traditional singing cavity of Huangmei opera. It is the principle of the musical structure of the board change body (or board cavity body), and it is this main feature that makes it different from the tune embellishment body (or tune body) of the "flower cavity" and both the characteristics of the two systems "three cavities". The main cavity does not mean that it is predominant in all of Huangmei opera's repertoire. In fact, the main cavity is not used in small plays, and some big plays are not dominated by the main cavity. The reason why this cavity is called the main cavity is its musical form and musical performance function. In addition, from the history of the development of Huangmei opera music, the main cavity is also later than the flower cavity and three cavities. This development process coincides with the development of the repertoire from a one-act play, two small plays, three small plays to a series of plays and finally can play the whole course of the opera. Therefore, it can be considered that the main cavity is a product of the development of Huangmei opera to a mature stage. Its appearance, marking the basic style of Huangmei opera music frame.

Huangmei opera's flower cadence Huangmei opera originated from folk songs and dances. Mountain and village workers of the labor songs, women and children know the lane songs, lanterns and fires in the song and dance, is the source of Huangmei opera lively. Huangmei opera in the formation of the first stage results - two small opera, three small opera process, also formed more than a hundred small songs and miscellaneous tunes of the "flower cavity" cavity system. Flower cavity from the folk songs, but the role has been not quite the same as folk songs. It has moved from the field to the stage, from a casual song to a prescribed dramatic situation, conveying the voice of the character. The cadences we see today, however similar they may be to folk songs, have been polished by dramatic waves and have some of the qualities of dramatic music, a kind of folk song-style tune system.

Classical Works Huangmei opera's outstanding repertoire are "the fairy match" "cowherd and weaving maiden" "the story of the Sophora" "the female horse harnessed by the side of a horse" "the couple watching the lantern" "hitting pig grass" and so on. One of the most famous is the "match of the immortals", tells a moving love story: the seven immortals defied the rules of heaven, private mortal Dong Yong to marry, and was eventually broken up by the Jade Emperor.

References 1. 百度百科黄梅戏https://baike.baidu.com/item/黄梅戏/2677?fr=aladdin 2. Berry, Michael. [2005] (2005). Speaking in Images: Interviews with Contemporary Chinese Filmmakers. Columbia University Press. ISBN 0-231-13330-8 3. "Huangmei opera". China intangible cultural heritage digital museum. Retrieved 20 November 2019.

190 梁诚知ppt Fine arts:Kunqu Opera

Please upload your power point here: File:Kunqu Opera 2024.pdf

190. Fine Arts: Kunqu Opera Kunqu Opera is one of the oldest existing opera genres in China, which originated in the Ming Dynasty (14th-17th century AD). The singing of Kunqu Opera has a strong artistic quality, and has a huge influence on all modern Chinese dramas, such as Chuan Opera and Peking Opera. Kunqu Opera performance includes singing, reciting,hitting,and dancing, etc. These contents are also the basic subjects for the training of Peking Opera actors. Kunqu Opera and its dramatic structure (characters such as Dan, Chou, Sheng, etc.) are also used for reference by other operas. " Kunqu Opera performances are accompanied by gongs, drums, strings, flutes, Xiao, Sheng, Pipa and other orchestral and percussion instruments. It is known as the"Master of Hundreds of Operas" and "Ancestor of Hundreds of Operas".

A.History of Kunqu Opera 1.Formation period Kunqu Opera originated in the Kunshan area of Jiangsu Province in the late Yuan and early Ming Dynasty, and has a history of more than 600 years. From the late Yuan and early Ming Dynasty, to the Jiajing and Longqing periods of the Ming Dynasty was the formation period of Kunqu Opera.In the beginning, Kunshan tune was only a minor mountain tune that spread among the people. Wei Liangfu made a living by singing folk tunes for a living, in the process of running around for a living, he collected a large number of northern and southern folk tunes. He and the folk musicians at that time worked together to create a new Kunqu Opera tune, the water mill tune(shuimodiao). After Wei Liangfu's reform, Kunqu Opera, as a brand-new form of opera, quickly became a popular music in Suzhou area. On the basis of Shuimodiao, Ming Dynasty dramatist Liang Chenyu and famous folk masters jointly studied and created China's earliest Kunqu Opera " "Huan Sha Ji" opened the historical prelude to the performance of Chinese Kunqu Opera. 2.Prosperous period The last years of Longqing in the Ming Dynasty and the early years of Wanli to the middle of Qianlong in the Qing Dynasty were the prosperous period of Kunqu Opera. Kunqu Opera entered the royal court and became a royal entertainment. At that time, almost every lord had its own Kunqu Opera class, and then a Kunqu Opera trend was formed across the country. In the mid-Kangxi period, Hong Sheng's "Palace of Eternal Life" and Kong Shangren's "Peach Blossom Fan" integrated their profound understanding of social history into the complicated historical reality, making the literary creation of Kunqu Opera reach a new peak. Once it came out, it caused a sensation and quickly spread across China. 3.Decline period From the middle period of Qianlong in the Qing Dynasty to 1921 , Kunqu Opera was in decline.Audiences who are accustomed to listening to the extravagant and gaudy sounds of Kunqu Opera are stimulated and evoked by the powerful, high-pitched Peking Opera, and Kunqu Opera has been strongly impacted and then fell down to a decline. 4.New period In 2000, Kunshan held the first Kunqu Opera Festival in China. In 2001, Kunqu Opera was included in the list of "Masterpieces of Oraland Intangible Heritage of Humanity" by UNESCO. Kunqu Opera has since opened a new journey in a new era.

B.Features of Kunqu Opera Kunqu Opera is a combination of singing, reciting, playing, dancing and martial arts. Kunqu Opera uses drums and boards to control the rhythm of singing, with Qudi and Sanxian as the main accompaniment instruments.The performance form of Kunqu Opera is very strict and standardized, which fully reflects the characteristics of opera as a comprehensive art.In Kunqu Opera performances, the actors' singing, chanting, body rhythm, movements, postures, and expressions are skillfully and harmoniously unified, which delicately and profoundly expresses the characters' characters and the development of the plot. Kunqu Opera has a gorgeous and tactful singing voice, elegant and elegant recitation, delicate performance, elegant dance, and perfect stage setting. It can be said that it has reached the highest level in all aspects of opera performance. The singing of Kunqu Opera pays great attention to the control of the voice, the grasp of the rhythm, the adjustment of the speed and the accuracy of the articulation and pronunciation, and the skills are very delicate and exquisite.The singing of Kunqu Opera can be divided into“huo豁”“die叠”“sou擞”“huo嚯”, etc. Different characters have different singing styles in line with their own personalities. The rhythm of Kunqu Opera music is typical of the three-eye board, one-eye board, flowing water board and scattered board ,all of are commonly used in traditional Chinese opera. Besides,There are prose, dialect and poetry in the Kunqu Opera script. Prose and dialect are mainly used for character dialogue or monologue, while poetry is mainly used for singing. It can be said that poetry and music constitute the soul of Kunqu Opera. The melody of Kunqu Opera music is beautiful and tactful, and it is welcomed by the literati and gentlemen with its elegant style. In line with this kind of music, the lyrics of Kunqu Opera are also full of moving poetry. The content and form of Kunqu Opera arias are highly harmonious, and the successful singing of the actors can perfectly express the poetry in the lyrics. Like traditional Chinese poetry, the lyrics of Kunqu Opera are mostly subjective, so the singing of Kunqu Opera is mainly lyrical, which seems to be closer to the aria in Western opera in terms of function and characteristics.

C.Classical works of Kunqu Opera 1.The Peony Pavilion An immortal masterpiece in the history of Chinese Kunqu Opera written by Tang Xianzu (1550-1616)during Ming dynasty. The author is known as the Eastern Shakespeare.The whole play borrows a story from the Song Dynasty to express the author's humanistic thought of advocating the liberation of individuality. In the Southern Song Dynasty, Du Liniang, the daughter of Du Bao, the prefect of Nan'an, was smart and beautiful. One day she went to play in the garden of her home with her maid Chunxiang in order to relieve her anxiety. The scenery of spring aroused Du Liniang's desire for love, and she immediately felt very melancholy. She fell asleep unknowingly. In her dream, she had a tryst with a young scholar, Liu Mengmei, by the peony pavilion in the garden. When she woke up, she felt very lost. The next day she came to the garden again, looking for the dream that had disappeared, but of course she didn't find it. Du Liniang missed her illusory dream lover, contracted a serious illness, lost weight day by day, and finally passed away with regret. Du Liniang's soul came to the Ming Si, and Judge Hu expressed sympathy for her experience and allowed her soul to move freely in the world. Du Liniang finally met Liu Mengmei. She explained her experience and instructed Liu Mengmei to open her grave and be resurrected for love. Later, Liu Mengmei won the first place in the imperial examination, and the emperor approved him and Du Liniang to officially marry. The image of Du Liniang is of great significance in Chinese literature and art. She can die for love, and she can also be resurrected for love. Such passionate love cannot be found in real life in ancient China. Tang Xianzu used romantic descriptions to express the victory of love over death and over the traditional social system that binds human nature. The whole work is full of optimism and a full sense of humor.

2.The palace of eternal life It is a classical play written by HongSheng during the reign of Kangxi."The palace of eternal life" is based on the love story of the emperor Tang Minghuang Li Longji and his concubine Yang Yuhuan. It not only praises the true feelings of life and death, but also criticizes the extravagance of the upper-class ruling class in China's feudal era, showing a clear sense of history and politics. Tang Minghuang Li Longji named the beautiful Yang Yuhuan as his concubine, and the two fell in love with each other and made an oath. The Yang family was rewarded for this, and Yang Yuhuan's elder brother Yang Guozhong was appointed as the prime minister. He used his power to accept bribes and betray officials, resulting in increasingly corrupt politics. In order to fight for power and profit, Yang Guozhong had a serious conflict with An Lushan, the ambitious lord of Dongping County. Tang Minghuang wanted to ease the conflict and transferred An Lushan to the military commander of the Anyang local army. An Lushan took advantage of this opportunity to lead the army to launch a rebellion against the capital Chang'an. Tang Minghuang took Yang Yuhuan to Sichuan for refuge, and the army defending the emperor mutinied in the middle, demanding the execution of Yang Guozhong and Yang Yuhuan. Tang Minghuang was forced to agree to their request and reluctantly ordered Yang Yuhuan to commit suicide. Later, the rebels were defeated, and Emperor Tang Ming returned to Chang'an, thinking of the dead Yang Yuhuan day and night, and his heart was very painful. The Taoist priest helped Tang Minghuang find Yang Yuhuan's soul and let them meet again in the moon. In the play, Tang Minghuang ignored his responsibilities as an emperor to the country and the people while pursuing personal love, which eventually caused political chaos and weakened national strength, brought huge disasters to the society, and buried himself in the process. The play unifies the love tragedies of Tang Minghuang and Yang Yuhuan with the social and historical tragedies of the entire dynasty, making people aware of the value along with the limitations of personal emotions.

Terms and expressions: the water mill tune 水磨调 Huan Sha Ji 浣纱记 Palace of Eternal Life 长生殿 Peach Blossom Fan 桃花扇 Masterpieces of Oraland Intangible Heritage of Humanity人类口头和非物质遗产代表作 Qudi 曲笛 Sanxian 三弦 three-eye board 三眼板 one-eye board 一眼板 flowing water board 流水板 scattered board 散板 Aria 咏叹调 The Peony Pavilion 牡丹亭 Du Liniang 杜丽娘 Liu Mengmei 柳梦梅

Reference: [1]俞振飞.昆曲源流及其变革[J].曲学,2020,7(00):1-18. [2]高燕.梦入游园品昆曲余韵悠悠—昆曲艺术简论[J].黄河之声,2012,(24):83. [3]杨柳.昆曲在当代的继承与发展[J].戏剧之家,2022,(12):22-24 [4]徐秋明.大美昆曲：其声久远其音袅袅[J].江苏地方志,2021,(03):50-53. [5]刘海红.古老昆曲“活”在当代[N].中国文化报,2022-04-21(005) [6]百度百科词条昆曲 https://baike.baidu.com/item/%E6%98%86%E6%9B%B2/216928 [7]昆曲-中国非物质文化遗产网—中国非物质文化遗产博物馆 https://www.ihchina.cn/directory_details/11713 Questions: 1.Which kind of opera is called as"Ancestor of Hundreds of Operas"(百戏之祖)? 2.Who helped created the water mill tune and reform the Kunqu Opera? 3.What is the earliest Kunqu Opera piece? 4.When was Kunqu opera included in the list of "Masterpieces of Oraland Intangible Heritage of Humanity" by UNESCO? 5.Can you list some of the Kunqu Opera features? 6.Who is known as the "Eastern Shakespeare"? 7.Can you tell the story of The Peony Pavilion? 8.What do you think about the love between Tang Minghuang and Yang Yuhuan?

Session 5 MW Fri Mar 29 8:00-9:40 room 603

Session 5: Student presentations

177 周静怡（ppt） stage entertainment:Yuan drama

Please upload your power point here: File:Yuan Drama 2024.pdf

177. Stage Entertainment:Yuan Drama

The Definition of Yuan Drama

Yuan drama is a wonderful flower in the splendid cultural treasure-house of the Chinese nation, which embodies unique characteristics in ideological content and artistic achievements. Tang and Song poetry and Yuan drama have become three important milestones of the history of Chinese literature. 　　

The Yuan Dynasty was the heyday of the Yuan drama. Generally speaking, poetic drama(杂剧) and non-dramatic song(散曲) are collectively called Yuan drama, and both use north drama as a singing form. Non-dramatic song is the main body of Yuan Dynasty literature. However, the achievements and influence of poetic drama far exceed that of non-dramatic song,so some people refer to Yuan drama singly as "poetic drama", which is also "yuan dynasty opera".[1]

The Rise and development of Yuan Drama

Reasons of rise The rise and development of Yuan drama has complex reasons. First of all, the fundation of the previous society was the basis for the rise of the Yuanqu.The vast territory of the Yuan Dynasty, the prosperity of the city economy, the grand theater, the active book club and the countless audience laid the foundation for the rise of the Yuanqu; Secondly, the cultures of various ethnic groups in Yuan Dynasty exchanged and melted with each other, promoting the formation of Yuan drama; Third, Yuan drama isthe inevitable result of the inheritance and development of the literary tradition and the inherent law of poetry itself.

Development of Yuan drama The development of Yuan drama can be divided into three periods. Early period: The duriation between the founding of Yuan Dynasty and the destruction of Southern Song Dynasty. During this period, Yuan drama had just entered the poetry world from folk colloquial slang, and had distinct colloquial characteristics and a cheerful, simple and natural sentiment.Most of the authors in that period are northerners, among whom Guan Hanqing, Ma Zhiyuan, Wang Shifu, Wang Xiaojun and Bai Pu had the highest achievements. Middle period: from Zhiyuan period to post-Zhiyuan period. The creation of Yuan darama in this period began to make a comprehensive transition to literalization and specialization. Non-dramatic song became the main genre of poetry. Important writers include Zheng Guangzu, Sui Jingchen, Qiao Ji, Zhang Kejiu and so on. End: From Zhizheng period to the end of Yuan Dynasty. At this time, the composers of non-dramatic song were specialized in composing. They paid attention to the rhythm of words, deliberately seeking work in art and advocating elegance and delicacy, elegance and beauty. The represented writers are Zhang Yanghao and Xu Zaisi. [2]

Yuan Drama System

The system of Yuan drama is embodied in the following six aspects.

1.Temple(宫调): Temple refers to the mode of ancient Chinese music, the tune and temple are from court banquet music of Sui and Tang Dynasty.The north and south drama commonly used are five temples and four tones, including Zheng Gong(正宫), Zhonglu Gong(中吕宫), Nanlu Gong(南吕宫), Xianlu Gong(仙吕宫), Huangzhong Gong(黄钟宫) (five temples)(五宫), Damian tone(大面调), Double tone(双调), Shang tone(商调),Yue tone(越调) (four tones)(四调), each temple and tune has its own style. The number of opera sets and non-dramatic song sets in the yuanqu is formed by connecting two different song cards in the same palace key.

2.Qupai(曲牌): Commonly known as "Quzi", is a general name for various tunes, each with a special name, such as "Dot the red lip"(点绛唇), "Shan Po Yang"(山坡羊), etc. The total number is numerous, and there are 335 North Drama in Yuan Dynasty,each of which has a certain tune and singing method, and also stipulates the number of words, syntax, and pingshu of the song. According to this, people can fill in the new song lyrics, most of the song cards are from the folk, some of them are developed from the words, so Qupai is also the same as Cipai, but the content is not completely consistent. In addition, there are specially played Qupai, but most of them only have tunes and no lyrics.

3.Rhyme(曲韵): Yuan drama strictly abides by the requirements of the nineteen parts of the "Central China phonology" in terms of rhyme and divides it into flat, up, and go, and has the following characteristics in rhyme: flat rhyme, not avoiding heavy rhyme. It usually uses one rhyme to the end, borrowing rhyme, dark rhyme, redundant rhyme, and losing rhyme.

4.Level and oblique tones(平仄):Qu is more strict in the use of words than in Ci poetry, and pays special attention to the flatness of each last sentence.

5.Antithesis(对仗）：The Antithesis of Qu is relatively free, , that means it can use level tone to paralle with oblique tone, and level tone to parallel with level tone. There are thirteen kinds of confrontation forms of qu, such as "two-word pair"(两字对), "end-to-end pair"(首尾对), "serif pair"(衬字对), etc. and there are many characteristics in the use of language and word order combination, mainly manifested in that there are Gong Dui(a neat antithesis) and Kuan Dui(an untidy antithesis), but the phenomenon of Kuan Dui is more common; The sentence is self-contained,such as "loyal subjects are not afraid of death, afraid of death are not disloyal subjects".

Representatives of Yuan Drama

1.Guan Hanqing(关汉卿)

Guan Hanqing (1234 – c.1300), with courtesy name Hanqing and alias Yizhai(已斋), was a native of Xiezhou(解州) (present-day Yuncheng, Shanxi), and was also from Dadu(大都) (present-day Beijing) and Qizhou(祁州) (present-day Anguo, Hebei). The founder of Yuan drama, the first of the "Four Greats of Yuan Drama"(元曲四大家), together with Bai Pu(白朴), Ma Zhiyuan(马致远) and Zheng Guangzu(郑光祖), is known as the "Four Greats of Yuan Drama", and is known as "Qu sheng"(曲圣).

Guan Hanqing has the greatest achievement in poetic drama, with 67 now known and 18 extant, the most famous of which is "Snow in Summer"(《窦娥冤》). There are more than 40 Xiaoling(a short form of Yuan drama 小令) and more than 10 sets of scattered songs. Representatives of his work: "Snow in Summer","Rescued by a courtesan"(《救风尘》),"River-veiwing Pavilion"(《望江亭》),"Worshiping-the-moon Pavilion"(《拜月亭》)

2.Ma Zhiyuan(马致远)

Ma Zhiyuan, from Dadu (present-day Beijing), according to other research, Ma Zhiyuan is a native of Ma Citang Village, Dongguang County, Hebei Province, and the Dongguang County Chronicle and the Dongguang Ma Clan Genealogy are recorded. His courtesy name is Qianli(千里), which means "thousand miles" and in his later years, he used "East Fence"(东篱) as his alias to show his admiration for Tao Yuanming's ambition. The representative work is "Han Gong Qiu"(《汉宫秋》).

3.Zheng Guanzu(郑光祖)

His courtesy name is Dehui(德辉). He was a famous miscellaneous dramatist and composer inYuan Dynasty, and his miscellaneous dramas were "famous in the world and amaze boudoir"(名闻天下，声振闺阁) at that time.18 kinds ofpoetic dramas can be examined.The representative work is "Qian-nu's Soul Fleeying with Her Lover"(《倩女离魂》).

4.Bai Pu(白朴)

His original name was Heng(恒),and courtesy name was Renfu(仁甫), and later he changed his name to Pu(朴) and courtesy name to Taisu(太素), and his alias is Langu(兰谷). His ancestral home was Suizhou (隩州, near present-day Hequ, Shanxi), later migrated to Zhending(真定) (present-day Zhengding County, Hebei), and lived in Jinling(金陵) (present-day Nanjing) in his later years. He was a famous writer and miscellaneous dramatist of Yuan Dynasty, and one of "Four Greats of Yuan Drama". The masterpiece of him is "Pei Shaojun And Li Qianjun"(《墙头马上》).[3]

Four Tragedies of Yuan Drama

"Snow in Summer"(《窦娥冤》) Guan Hanqing

"Wu Tong Rain"(《梧桐雨》) Bai Pu

"Han Gong Qiu"(《汉宫秋》) Ma Zhiyuan

"Chinese Orphan"(《赵氏孤儿》) Ji Junxiang

Four Love Dramas of Yuan Drama

"Worshiping-the-moon Pavilion"(《拜月亭》) Guan Hanqing

"The West Chamber"(《西厢记》) Wang Shifu(王实甫)

"Pei Shaojun And Li Qianjun"(《墙头马上》) Bai Pu

"Qian-nu's Soul Fleeying with Her Lover"(《倩女离魂》) Zheng Guanzu

Reference

[1].https://baike.sogou.com/v144704.htm[Z].

[2].唐定耀.元曲针砭时弊[J].神州学人,2019,(03):01-02.

[3].唱念做打生旦净末——中国戏曲[J].万象,2019(01):34-37.

Terms and Expressions

poetic drama 杂剧

non-dramatic song 散曲

temple宫调

Zheng Gong 正宫

Zhonglu Gong 中吕宫

Nanlu Gong 南吕宫

Xianlu Gong 仙吕宫

Huangzhong Gong 黄钟宫

Damian tone 大面调

Double tone 双调

Shang tone 商调

Yue tone 越调

Qupai 曲牌

Dot the red lip 点绛唇

Shan Po Yang 山坡羊

Rhyme 曲韵

Level and oblique tones 平仄

Antithesis 对仗

two-word pair 两字对

end-to-end pair 首尾对

serif pair 衬字对

Four Greats of Yuan Drama 元曲四大家

Qu sheng 曲圣

Snow in Summer《窦娥冤》

Xiaoling 小令

Rescued by a courtesan《救风尘》

River-veiwing Pavilion《望江亭》

Worshiping-the-moon Pavilion《拜月亭》

Han Gong Qiu《汉宫秋》

famous in the world and amaze boudoir 名闻天下，声振闺阁

Qian-nu's Soul Fleeying with Her Lover《倩女离魂》

Pei Shaojun And Li Qianjun《墙头马上》

Questions

1.What is Yuan drama?

2.How many periods had Yuan drama experienced during its development?

3.What are the six aspects embodying the system of Yuan drama?

4.Who are the "four greats of Yuan drama"?

5.What are the four tragedies of Yuan drama?

6.What are the four love dramas of Yuan drama?

139 陈倩ppt Stage entertainment: Crosstalk 相声

Please upload your power point here: Media:Crosstalk_2024.pptx

139. Stage Entertainment: Crosstalk 相声

The Development of Crosstalk

Crosstalk, in the ancient time known as onomatopoeia, originally refers to imitate others’ voices. It was evolved and further developed from the folk opera in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng (1850—1861) and Emperor Tongzhi (1861—1874) period in Qing dynasty(1636-1912). It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China (1912-1949), crosstalk gradually developed from one-person ventriloquism to one person stand-up talk, and the name changed to cross talk. Later, it developed into stand-up crosstalk, dual crosstalk, and group crosstalk. And it becomes a veritable form of art. After years of development, dual crosstalk has finally become the most popular form of crosstalk among audiences. In the late Qing Dynasty, crosstalk formed its modern features and styles. The language uses in crosstalk is mainly Peking dialect, however, there are also “dialect crosstalk” in other regions of China(360 Encyclopedia).

Crosstalk is an original folk art with a long history in China, which is deeply loved by the majority of the people. The crosstalk art was almost disappeared but has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. It is no longer only palys in several cities in the north, nor spread only within the citizens, but also spread from the north to the whole country, and from the city to the countryside(Hou Baolin 1982, 01).

Four Basic Skills in Crosstalk

Speaking, imitating, teasing and singing are the four basic artistic skills of crosstalk. “Speaking” means to tell jokes, stories, lantern riddles, drinking games, etc; “imitating” is to imitate all kinds of birds and animals, hawking, singing and the sound of different languages, etc; “teasing” is to gag and tease; “sing” means to sing Taiping Lyrics (most of which contain the meaning of peace and prosperity, so they are called Taiping) (Hou Baolin, 1982, 194), opera lyrics and songs. Crosstalk artists regard “speaking, imitating, teasing and singing” as their "four compulsory lessons". For example, the artists grasp the rhythm in language and correct their pronunciations by “saying tongue twisters" or "reciting classical repertoires". And gain the ability of imitation by learning different kinds of sounds. Moreover, they practice the singing skills by singing “Taiping lyrics”, opera lyrics and songs(Hou Baolin 1982, 11).

Characteristics of Crosstalk

First of all, crosstalk is the art of “speaking”, which belongs to the art of “performing with words”, so it is different from drama that “performing with words as well as body movements”. This kind of performance has a close relationship between the actors and the audience that shortened the distance between the stage and the audience. The actors directly communicate with the audience and perform with the audience's cooperation and tacit understanding to obtain artistic effect. In this sense, crosstalk is a collective performance of actors and audiences. From the perspective of the audience, they are not standing on the opposite side of the actors and appreciating the stage performance passively and objectively, but creating artistic images with the actors(Hou Baolin 1982, 02).

Secondly, crosstalk is the art of "laughter". Crosstalk performers use laughter as a weapon to expose contradictions, shape characters and evaluate life. Without laughter, it can constitute any other arts, but not crosstalk and comedy. In other words, crosstalk has the characteristics of humor and satire. It reflects that life is not flat, but exaggerated and even deformed. China has a long tradition of satirizing emperors or high rank officials, and its written record could be traced back to the Zhou (1046BC-256BC) and Qin (221BC-207BC) Dynasties. Satire is the product of class oppression. China has been in a feudalistic society for a long time, without political democracy and freedom of speech, the people often take circuitous methods to fight against the ruling class. Satirical art is like a weed under a boulder. Only through deformation and roundabout can this kind of art maintain to exist(Hou Baolin 1982, 03).

“Speaking” and “laughing” constitute the basic outline of cross talk art, which is a language performance art with comedy style. “Speaking”, as a kind of rap art, establishes the mode of crosstalk art, which is distinguished from drama art. “Laughing” is the artistic characteristics of crosstalk, which distinguishes it from other rap art forms. These two characteristics are interdependent and complementary(Hou Baolin 1982, 04).

Crosstalk is different from comedy. In comedy, the laughter of audience mainly comes from plot and comic characters, while in crosstalk it mainly comes from “baofu” (jokes). Sometimes the laughter relies on the plot, but sometimes the plot is not needed. The performers win the applaud of audience by the charm of their language. And“Baofu” must be expressed in the way of “dialogue” and “chatting” between the actors (Hou Baolin 1982, 04).

Famous Artists of CrossTalk

In Emperor Tongzhi (1861—1874) and Emperor Guangxu (1875—1908) periods, Zhu Shaowen (stage name “Qiong Bupa, which means not afraid of poverty”) was regarded as the “ancestor”of crosstalk art. Other famous crosstalk artists including Hou Baolin(1917-1993), a pioneering master of crosstalk. In his 60 years of art career, he has devoted himself to the research and development of crosstalk art and brought laughter to the audience. Under his leadership and promotion, crosstalk art has really entered thousands of households and reached a remarkable artistic peak. His crosstalk works including Drama Talks, Drunkenness and etc. Ma Sanli (1914-2003) is the son of the crosstalk actor Ma Delu. Ma Sanli devoted himself to the exploration of long-term artistic practice, and created the unique “Ma’s Style of Crosstalk”. He was the oldest, most experienced and most accomplished crosstalk leader in the cross-talk circle at that time. So was deeply loved and respected by all walks of life and the audience. Ma's cross talk enjoys wide popularity among the people. In Tianjin, it was a saying that “no branches of crosstalk did not learn from Ma”. His representative works including “Eating Yuanxiao(dumpling)”, “Selling Tickets” and “the Yellow Crane Tower”. Other famous crosstalk artists include Zhang Yongxi, Liu Baorui, Hou Yaowen, Jiang Kun, Feng Gong, Niu Qun and Guo Degang. (Baijiahao 2018 )

Terms and Expressions

speaking, imitating, teasing and singing 说学逗唱

Taiping lyrics 太平歌词

Baofu 包袱

Drama Talks 《戏剧杂谈》

Drunkenness 《醉酒》

Selling Tickets 《卖挂票》

Questions

1. When did crosstalk form its format?

2. What is Taiping lyrics?

3. Who was regarded as the “ancestor”of crosstalk art ?

4. What are the four basic skills of crosstalk?

References

1. Hou Baolin, Xue Baokun, 侯宝林, 薛宝坤. (1982). 《相声溯源》[The Origin of Crosstalk]1-13+194. 人民教育出版社 People's Literature Publishing House.

2. Sohu 中国相声介绍 [The Introduction of China's Crosstalk] https://cul. sohu. com/20090619/n264630449. shtml

3. 360 Encyclopedia. 相声[Crosstalk] https://baike. so. com/doc/1925383-2037001. html

4. Baidu 最著名的十位相声名家排行[The Rank of Ten Famous Crosstalk Artists] https://baijiahao. baidu. com/s?id=1590742532351773378

Teacher contents

Continue with powerpoint to introduce traditional models of ethnocentric view on cultures, scientific, dialectic, dialogic, and a new model to view cultures as heterogeneous and mixed

Information: Apr 4-6 is Qingming holiday in China, the Chinese students make up for the missed classes on Sun (!) Apr 7 and 2

Session 6 OD Sun Apr 7 (for Qingming Festival Bridge Day Fri Apr 5) 8:00-9:40 room 603

Session 6: Student presentations

173 金川玉ppt Entertainment: Deyunshe 德云社

Please upload your power point here: Media:Deyunshe_2024.pptx

173. Entertainment: Deyunshe 德云社

Introduction Deyunshe, originally named as the Beijing Conversation Conference, is one of the biggest Chinese crosstalk organizations and folk art performance groups in China. Established in 1995, Deyunshe has been the common abbreviation of Beijing Deyunshe Culture Communication Company Ltd. since its renaming in 2003. Following its key principle of “lead crosstalk back to the theatre”, in these years, Deyunshe has made important contribution to the inheritance and innovation of Chinese crosstalk, opera, pingshu and other forms of folk art performance.

The Development of Deyunshe Crosstalk is a kind of intangible cultural heritage with a long history in China. Generally believed to be formed during the Emperor Xianfeng(1850-1861) and Emperor Tongzhi(1861-1874) period in Qing dynasty, the crosstalk art once almost disappeared but has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. However, up to 1990s, crosstalk industry was locked into outmoded adversity again because of the newborn ways of entertainment, the decay of radios, and the obsolescence of the crosstalk content itself, etc. In 1995, crosstalk artists Guo Degang, Li Jing and Zhang Wenshun established the Beijing Conversation Conference and began to perform at Guangde Building, Workers Club, Zhonghe Theatre and other tea houses or small-scale theaters. In 2003, the Beijing Conversation Conference changed its name to Deyunshe. In October 2004, Kaixin Chuaguan (Pleasant Teahouse), a programme of Beijing Joy FM, began to broadcast the live recordings of Deyunshe, showing a new performance form that differs from the traditional crosstalk at gala evenings. In 2010, Deyunshe changed its management methods into corporate governance, and made labor contract with all the artists. In July 2011, Deyunshe inaugurated a new form in the Beizhan Theatre, by using the dialects operas and comic dialogues to interpret crosstalk of various styles from the Qing dynasty to the Republic of China. In April 2013, the first branch of the Chinese crosstalk club, the Deyunshe Melbourne Branch, was established. On 17 July, 2014, Deyunshe started to call for the anti-vulgarity campaign to purify the crosstalk performance. After years of hard work, Deyunshe has come a long way in the resistance of the vulgarity, kitsch and low-brow content by destroying the decay and establishing the fresh. In June 2020, Deyunshe made a contract with Qilu University of Technology, planning to cooperatively build the Deyun College. Since the establishment of Deyunshe in 1995, Guo Degang and his apprentices always hold some principles to inherit and innovate traditional Chinese crosstalk. For example, they believe crosstalk is essentially a kind of entertainment instead of a way of preaching, and it must appeal to all ages and social groups and root in small-scale theaters where artists can truly interact with audiences and hear the direct feedback voices. In a certain degree, it is the appearance of Guo Degang and his Deyunshe that draws a blueprint for the future development and breathes new life into crosstalk industry. By 2022, Deyunshe has established many branches at home and abroad, including Beijing, Tianjin, Harbin, Changchun, Nanjing and Melbourne. As the headquarters of Deyunshe, Beijing Deyunshe is comprised of Tianqiao Theater, the birthplace of Beijing-style folk art, Sanlitun Theater, Sanqingyuan Theater, Xinjiekou Theater, Guangdelou Theater and Huguang Guild Hall Theater.

The Mentorship-system of Deyunshe Up to now, Deyunshe still follows the mentorship-system of traditional Chinese opera and folk art industries and only accepts male apprentices. Most members or artists of Deyunshe are Guo Degang’s and his partner Yu Qian’s apprentices. Following the rank of “Yun, He, Jiu, Xiao, Long, Teng, Si, Hai” (Cloud, Crane, Nine, Sky, Dragon, Jump, Four, Sea)，every apprentice of Guo Degang will get a stage name after a formal ceremony of being admitted by Guo as his student after years of study. During the period of learning crosstalk, apprentices do not need to give any tuition to their masters. When eating or shopping together, junior students even do not need to pay their own bills if there are any other seniors. At the same time, apprentices of Deyunshe have to abide by the rules of the club, for example, obeying their masters’ instruction, respecting seniors and other counterparts, visiting their masters personally during the “Three Festivals and Two Birthdays”(the Dragon Boat Festival, the Mid-Autumn Festival, the Spring Festival, the birthday of Confucius and the birthday of their masters), paying attention to self-cultivation, learning the skills assiduously, and abstaining from gambling, prostitution and other illegal acts, etc. If any apprentice violates the regulations, his master will deprive his stage name and dismiss him.

The Fandom Culture and Deyunshe In recent years, Deyunshe has gained an increasingly larger fan base, and the fandom culture has dramatically influenced the development of Deyunshe. More crosstalk artists of Deyunshe are now regarded as celebrities and even idols. This is an unprecedented event in the history of crosstalk industry. On the one hand, the fandom culture does stimulate Deyunshe’s reformation and innovation. On the other hand, the complexity and pluralism of fans put much more pressure on artists. Sometimes the fans’ behavior such as trolling and invading comment areas and so on will cause heated controversies and damage the artists’ images. To thank for the fans’ support, Deyunshe holds a special performance, called the “Festival of Gang’s Fans” every September since 2010. Zhang Yunlei, one of Guo Degang’s apprentices, nowadays has enjoyed phenomenal popularity and been called “the Artist of Taiping Lyrics” of post-1990s generation because of his mellifluous and sensational voice, handsome looks and incredible life experience. Guo Degang, Zhang Yunlei, Yue Yunpeng, Meng Hetang, Qin Xiaoxian and other crosstalk artists use their own influence and the power of fans to promote the spread and productive protection of crosstalk and other forms of traditional Chinese folk arts. For example, in many of Zhang’s crosstalk performances, thousands of fans chorused traditional Taiping Lyrics, opera lyrics and songs to echo and support him. In addition, during the “Cultural and Natural Heritage Day” in 2019, the social platform of Weibo invited some artists of Deyunshe, including Zhang Yunlei, Tao Yunsheng, Zhang Helun, Meng Hetang, and Zhou Jiuliang, to join a series of activities associated with the inheritance and development of intangible cultural heritage and disseminate crosstalk, pingshu, pingju (a local opera of north and northeast China), Beijing Opera, jinyun dagu (story- telling in Beijing dialect with drum accompaniment) and so on to broader audience and receivers of traditional Chinese culture.

Representative Artists of Deyunshe https://m.baidu.com/sf/vsearch?pd=image_content&word=%E9%83%AD%E5%BE%B7%E7%BA%B2%20%E5%86%99%E7%9C%9F&tn=vsearch&sa=vs_kg_star_toppic&ms=1&from=1001192y&atn=page&fr=tab Guo Degang, a famous Chinese crosstalk artist and the founder of Deyunshe, was born in Tianjin in 1973. He began to learn crosstalk, Beijing Opera, pingshu and so on at the age of 8, following his master, Hou Yaowen, a respected Chinese crosstalk artist. The New York Times described Guo as “the Chinese Ricky Gervais” in 2011, and said, “He is a comedian who specializes in a traditional form of performance comedy called crosstalk that has undergone a revival recently, largely because of Mr. Guo’s antics. Chinese media have dubbed him ‘the savior of cross talk’ for attracting young and middle-aged audience members to the aging crosstalk crowd.” As one of the the eighth-generation crosstalk performers, Guo Degang tries his best to appeal younger audiences by weeding out the didactic and stale contents and adding fresh contents that conform to the spirit of the age and are much closer to modern life. Based on tradition, he creates many new crosstalk works, including “Yang Naiwu Writes Indictment”, “The Bodyguard”, “Sell Opera Tickets”, and “I want to be on the Spring Festival Gala Evening”, etc. Yu Qian, the fixed partner of Guo Degang and an apprentice of Chinese crosstalk master Shi Fukuan, is an expert at interacting with audiences and performing “Xiangua” (improvise on jokes in crosstalk). His acting style is cultured and leisurely, differing from but matching with Guo Degang’s lively and theatrical style.

https://m.baidu.com/sf/vsearch?pd=image_content&word=%E5%B2%B3%E4%BA%91%E9%B9%8F%20%E5%86%99%E7%9C%9F&tn=vsearch&sa=vs_kg_star_toppic&ms=1&from=1001192y&atn=page&fr=tab Yue Yunpeng, an apprentice of Guo Degang, mainly performs crosstalk as “Dougen” (the lead actor) with his fixed partner Sun Yue. As an old friend of all different gala evenings and a representative of new-generation crosstalk artist, Yue performed crosstalk at CCTV’s Spring Festival Gala for five times. His crosstalk works are always related to social reality, using a humorous way to criticize and roast the hypocrisy and seamy side of today’s society. Different Ranks of Deyunshe Members The rank of “wen” (culture): Xie Jin The rank of “ming” (bright): Guo Degang, Yu Qian, Gao Feng, Sun Yue, Liu Zhe, Wang Shaoli, Shi Aidong, Liu Chunshan, Yang Jinming, Hou Zhen, Zhang Deyan, Zheng Hao The rank of “yun” (cloud): Zhang Yunlei, Kong Yunlong, Luan Yunping, Yu Yunting, Zhu Yunfeng, Yue Yunpeng, Ning Yunxiang, Li Yunjie, Zhao Yunxia, Li Yuntian, Tao Yunsheng, Zhang Yunfan, Yu Yuntian The rank of “he” (crane): Cao Heyang, Liu Hexiang, Yan Hexiang, Li Helin, Li Hebiao, Liu Heying, Zhang Helun, Gao Hecai, Zhang Hejun, Ji Hewu, Wu Hechen, Meng Hetang, Ynag Hetong, Liang Hekun, Zhong Hexuan, Ma Heqi, Zhang Hefeng, Yu Hezhen, Liu Heqing, Zhang Hewen, Sun Hebao, Yang Heling, Zhang Hefan, Qi Hetao, Lang Heyan, Guan Hebai, Wang Hejiang, Gao Hepeng, Liu Helong, Li Hedong, Zhang Hejian, Jin Henian, Fang Hedi, Jin Helan, Zhu Hesong, Luan Hehua, Zhang Heluan, Li Hepu, Zhang Heqing, Liu Hean, Huang Hefei, Pi Hean, Xing Hewei, liu Hedan The rank of “jiu” (nine): Zhang Jiuling, Li Jiuchun, Zhou Jiuliang, Yang Jiulang, Zhang Jiuchi, Gao Jiucheng, Wang Jiulong, Zhang Jiunan, He Jiuhua, Zheng Jiulian, Li Jiujiang, Sun Jiuxiang, Liu Jiuren, Guan Jiuhai, Shang Jiuxi, Li Jiuchong, Liu Jiuru, Liu Jiusi, Chen Jiufu, Chen Jiupin, Ni Jiutao, Dong Jiuli, Li Jiutian, Chen Jiutong, Cao Jiutai, Zhang Jiutai, Han Jiuming, Dong Jiuhan, Zhang Jiulin, Mei Jiuliang, Sun Jiufang, Ji Jiuxiao, Ma Jiumeng, Yin Jiuyan, Shen Jiuping, Liu Jiuhui The rank of “xiao” (sky): Zhang Xiaobai, Wang Xiaoyi, Qin Xiaoxian, Fan Xiaoqi, Fan Xiaotang, E Xiaoxiong, Zhao Xiaoyuan, Wang Xiaohan, Zhang Xiaomo, Yang Xiaofeng, Xiao Xiaoyu, Kang Xiaozhe, Wang Xiaoxiu, Yang Xiaohong, Li Xiaoqiao, Sun Xiaoyao, Ge Xiaoqing, Wu Xiaoze, Wang Xiaokai, Ma Xiaosheng, Ma Xiaorong, Dong Xiaoye, Li Xiaohang, Gao Xiaofei, Ji Xiaotong, Chiwei Xiaotang, Dong Xiaoyuan, Zhang Xiaoting, Liu Xiaohang, Guo Xiaohan, Yang Xiaotai The rank of “xiao” (bamboo)(apprentices of the rank of “yun”): Shang Xiaoju, Liu Xiaoting, Gao Xiaobei, Gao Xiaobao, Xu Xiaozhu, Li Xiaokui, Hou Xiaolou, Guo Xiaoqiao, Wang Xiaoge, Yu Xiaohuai Apprentices of Yu Qian: Guo Qinlin, Feng Zhaoyang, Li Siming, Tai Rongjian, Guo Fenyang, Wu Suowei, Xiaolong Apprentices of Sun Yue: Lu Shuo, Sun Zizhao, Li Shijin Apprentices of Gao Feng: Lang Haochen, Miao Haoyu, Song Haoran, Wang Haoyue, Li Haoyang Apprentices of Hou Zhen: Zhuang Zijian, Gao Lei, Hong Chen, Zhang Guotang

Terms

Deyunshe 德云社
Beijing Conversation Conference 北京相声大会
Cloud, Crane, Nine, Sky, Dragon, Jump, Four, Sea 云鹤九霄，龙腾四海
Three Festivals and Two Birthdays (the Dragon Boat Festival, the Mid-Autumn Festival, the Spring Festival, the birthday of Confucius and the birthday of their masters) 三节两寿（端午节、中秋节、春节、孔子诞辰以及师父寿辰）
Festival of Gang’s Fans 钢丝节
Taiping Lyrics 太平歌词
Cultural and Natural Heritage Day 文化和自然遗产日
Jinyun dagu 京韵大鼓
Yang Naiwu Writes Indictment《杨乃武写状》
The Bodyguard 《大保镖》
Sell Opera Tickets 《卖吊票》
Xiangua 现挂
Dougen 逗哏

Reference 1.Hou Baolin, Xue Baokun 侯宝林, 薛宝坤. 《相声溯源》[The Origin of Crosstalk]. 人民教育出版社 People’s Literature Publishing House, 1983:1-13. 2.Xiang Shi 向适. 论相声传统的继承与发展[On the Inheritance and Development of the Crosstalk Tradition]. 湖南第一师范学报 Journal of Hunan First Normal College, 2008(03):155-157. 3.You Hongxia, Tian Zhaoyuan 游红霞, 田兆元. 粉丝文化背景下非物质文化遗产的传承发展——以德云社相声为例[Inheritance and Development of Intangible Cultural Heritage under the Background of Fans Culture—Taking Deyunshe Crosstalk as an Example]. 湖北民族大学学报 Hubei Minzu University Journal, 2020(03):146-152. 4.Wikipedia 维基百科. Deyunshe 德云社 https://en.m.wikipedia.org/wiki/Deyunshe 5.Benjamin Haas. “Who’s on First?” Finds a Home in Chinese Clubs. The New York Times, 2011.3.2 https://www.nytimes.com/2011/03/03/world/asia/03beijing.html

Questions 1.What is the original name of Deyunshe? 2.What is the key principle of Deyunshe? 3.Who established the Beijing Conversation Conference? 4.What is the first oversea branch of the Chinese crosstalk club? 5.How The New York Times described Guo Degang?

178 徐硕珮（ppt） Music and instruments: Erhu

Please upload your power point here: Media:Erhu_2024.pptx

178. Music and instruments: Erhu Music and Instruments:Erhu

1.A Brief Introduction The Erhu is a Chinese two-stringed bowed musical instrument. It is used as a solo instrument as well as in small ensembles and large orchestras. It is one of the main bowed string instruments in the Chinese musical family used by various ethnic groups of China. The first Chinese character of the name of the instrument (二, èr, two) is believed to come from the fact that it has two strings. An alternate explanation states that it comes from the fact that it is the second highest huqin in pitch to the gaohu（高胡） in the modern Chinese orchestra. The second character (胡, hú) indicates that it is a member of the Huqin family, with Hu commonly meaning barbarians. The name Huqin literally means "instrument of the Hu peoples", suggesting that the instrument may have originated from regions to the north or west of China generally inhabited by nomadic people on the extremities of past Chinese kingdoms.

2.The Development of Erhu The Erhu, with a history more than one thousand years, originated from an ethnic minority in northeast China during the Tang Dynasty. And at that time, Erhu was called as Xiqin. During the Song Dynasty, it was called as Jiqin and had achieved a high level of performance according to scholar Shen Kuo, it is said that a minister Xu Yan’s had finished his playing with one of the string broken in front of the emperor and other ministers; during the Yuan Dynasty, people could accurately illustrate the principle of making a huqin, which pave the way for its further development; during the Ming and Qing Dynasty, Huqin became a main accompaniment instrument for opera which began prevailing; during Chinese modern times, the instrument was called as Erhu, and its performance has reached a very high level after more than half a century of development and spread; during this period, Liu Tianhua（刘天华） was the one who created Erhu’s new era and was seen as the father of the modern Erhu school. He assured five positions and created the vibrato(huaxian) technique, which expanded Erhu’s register, enriched its expression and made it sound more soft and smooth. He also departed it from accompaniments which laid the foundation for Erhu to enter the hall of elegance. After the founding of New China, ethnic and folk music developed rapidly. In order to vigorously explore the artistic treasures of folk artists, Hua Yanjun（华彦钧）, Liu Beimao（刘北茂） and other folk artists’ Erhu music was made into records, making the art of Erhu performance mushroom and develop rapidly. In the 1950s and 1960s, a group of erhu educators and performers represented by Zhang Rui（张锐）, Zhang Shao（张韶） and Wang Yi （王乙）emerged successively. Under their influence, new erhu performers such as Min Huifen（闵惠芬） and Wang Guotong（王国潼） were cultivated. For example, Erhu composer Liu Wenjin's（刘文金） Great Wall Capriccio （《长城随想曲》）gave full play to the performance of the Erhu and deliberately innovated to make the Erhu glow with new vitality and splendor.

3.Construction The Erhu consists of a long vertical stick-like neck, at the top of which are two big tuning pegs, and at the bottom is a small resonator body (sound box) which is covered with python skin on the front (playing) end. Two strings are attached from the pegs to the base, and a small loop of string (Qian Jin) placed around the neck and strings acting as a nut pulls the strings towards the skin, holding a minute wooden bridge in place. The parts of the Erhu: Qín tong (琴筒), sound box or resonator body; it is hexagonal (liu jiao, southern), octagonal (ba jiao, northern), or, less commonly, round. Qín pí/She pí (琴皮/蛇皮), skin, made from python. The python skin gives the erhu its characteristic sound. Qín gan (琴杆), neck. Qín tou (琴头), top or tip of neck, usually a simple curve with a piece of bone or plastic on top, but is sometimes elaborately carved with a dragon's head. Qín zhou (琴轴). tuning pegs, traditional wooden, or metal machine gear pegs Qiān jin (千斤), nut, made from string, or, less commonly, a metal hook Nèi xián (内弦), inside or inner string, usually tuned to D4, nearest to player Wai xián (外弦), outside or outer string, usually tuned to A4 Qín ma (琴码), bridge, the medium in the vibration between the strings and the skin , made from wood Qín Gong (琴弓), bow, has screw device to vary bow hair tension Qín diàn (琴垫), pad, a piece of sponge, felt, or cloth placed between the strings and skin below the bridge to improve its sound Qín tuō (琴托) – base, a piece of wood attached to the bottom of the qín tong to provide a smooth surface on which to rest on the leg

4.Playing Technique (1)Tuning The erhu is almost always tuned to the interval of a fifth. The inside string (nearest to player) is generally tuned to D4 and the outside string to A4. This is the same as the two middle strings of the violin. (2)Position The Erhu is played sitting down, with the sound box placed on the top of the left thigh and the neck held vertically, in the similar fashion as that of a cello or double bass player. However, performers of more recent years have played while standing up using a specially developed belt-clip. (3)Right hand The bow is held with an underhand grip. The bow hair is adjusted so it is slightly loose. The fingers of the right hand are used to push the hairs away from the stick in order to create tension in the hairs. The bow hair is placed in between the two strings and both sides of the bow hair are used to produce sound, the player pushes the bow away from the body when bowing the outside string, and pulls it inwards when bowing the inside string. Aside from the bowing technique used for most pieces, the Erhu can be plucked, usually using the second finger of the right hand. This produces a dry, muted tone (if either of the open strings is plucked, the sound is somewhat more resonant) which is sometimes used in contemporary pieces. (4)Left hand The left hand alters the pitch of the strings by pressing on the string at the desired point. Being a fretless instrument, the player has fine control over tuning. Techniques include hua yin (slides滑音), rou xian (vibrato揉弦), and huan ba (changing positions换把).

5.Ten Chinese Erhu Classics (1)Er Quan Ying Yue (Moon reflection in Erquan)《二泉映月》 (2)Liang Xiao (The Enchant Evening)《良宵》 (3)Ting Song (Listen to the Pines) 《听松》 (4)Kong Shan Niao Yu (The Birds Sing in Countryside)《空山鸟语》 (5)Han Chun Feng Qu (Cold Spring Wind Song)《寒春风曲》 (6)Yue Ye (Moonlight Night)《月夜》 (7)Liu Bo Qu (Flowing Wave Song)《流波曲》 (8)Bing Zhong Yin (Song by a Sick Man)《病中吟》 (9)San Bao Fo (Buddha Sambo)（三宝佛） (10)Guang Ming Xing (Marching Toward Brightness)《光明行》

Reference [1]赵雪涵.二胡的发展历史与风格[J].北方音乐,2020(03):107-108. [2]Erhu--Wikipedia

Session 7 OD Fri Apr 12 8:00-9:40 room 603

Session 7: Student presentations

187 周莉ppt Chinese Folk Art:Lion Dance

Please upload your power point here: Media:Lion_Dance_2024.pptx

168 肖娄君（PPT） Martial Arts: Chinese Swordsman Spirit

Please upload your power point here: Media:Swordsman_2024.pptx

Session 8 OD Fri Apr 19 8:00-9:40 room 603

Session 8: Student presentations

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

Please upload your power point here: Media:Silk_Road_Zhang_Qian_2024.pptx

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

Please upload your power point here: Media:Silk_Road_Zheng_He_2024.pptx

Session 9 OD Sun Apr 26 8:00-9:40 room 603

Session 9: Student presentations

167 王晨（PPT） History: Wang Shouren

Please upload your power point here: Media:Wang_Shouren_2024.pptx

145 石慕予 Traditional Crafts: Shu Embroidery (Sichuan Embroidery)

Please upload your power point here: Media:Sichuan_Embroidery_2024.pptx

Session 10 MW Fri May 10 8:00-9:40 room 603

Session 10: Student presentations

147 赵欣雨ppt Traditional Crafts: Folk Art - Chinese Paper-cutting

Please upload your power point here: Media:Paper-cutting_2024.pptx

176 刘欣雨ppt Traditional Crafts: Handcraft - Oil-paper Umbrella

Please upload your power point here: Media:Umbrella_2024.pptx

Session 11 MW Sun May 12 8:00-9:40 room 603

May 1-3 is an extended May First Holiday. The classes of the Bridge Day May 3 need to be repeated on Sun May 12.

148 陈昕舟ppt Traditional Crafts: Handcraft - Chinese Knots

Please upload your power point here: Media:Chinese_Knots_2024.pptx

154 李静怡 Traditional Cuisine: Four Distinct Regional Cuisines

Please upload your power point here: Media:Four_Cuisines_2024.pptx

Session 12 MW Fri May 17 8:00-9:40 room 603

Session 12: Student presentations

155 廖巧然 Traditional Cuisine: Breakfast Culture of Wuhan

Please upload your power point here: Media:Wuhan_Breakfast_2024.pptx

157 黄薪诺 Traditional Cuisine: Hotpot

Please upload your power point here: Media:Hotpot_2024.pptx

Session 13 MW Fri May 24 8:00-9:40 room 603

Session 13: Student presentations

179 师瑶ppt Traditional and Modern Views on Marriage and Love

Please upload your power point here: Media:Marriage_Views_2024.pptx

126 刘春秀ppt Science and Technology: China's Four New Inventions

Please upload your power point here: Media:Four_New_Inventions_2024.pptx

Session 14 MW Fri May 31 8:00-9:40 room 603

Session 14: Student presentations

138 刘晓宇ppt Social: Round Table Culture

Please upload your power point here: Media:Round_Table_2024.pptx

192 易祺芳ppt National Belief: the Chinese Dream

Please upload your power point here: Media:Chinese_Dream_2024.pptx

Session 15 MW Fri Jun 7 8:00-9:40 room 603

Session 15: Student presentations

Review of this semester

Session 16 MW Fri Jun 13 8:00-9:40 room 603

@@ Line 685: / Line 685: @@
 Please upload your power point here: [[file:Yuan_Drama_2024.pdf]]
-. Stage Entertainment:Yuan Drama
+'''177. Stage Entertainment:Yuan Drama'''
 The Definition of Yuan Drama
@@ Line 759: / Line 759: @@
-Reference
+'''Reference'''
 [1].https://baike.sogou.com/v144704.htm[Z].
@@ Line 769: / Line 769: @@
-Terms and Expressions
+'''Terms and Expressions'''
-poetic drama 杂剧
+*poetic drama 杂剧
-non-dramatic song 散曲
+*non-dramatic song 散曲
-temple宫调
+*temple宫调
-Zheng Gong 正宫
+*Zheng Gong 正宫
-Zhonglu Gong 中吕宫
+*Zhonglu Gong 中吕宫
-Nanlu Gong 南吕宫
+*Nanlu Gong 南吕宫
-Xianlu Gong 仙吕宫
+*Xianlu Gong 仙吕宫
-Huangzhong Gong 黄钟宫
+*Huangzhong Gong 黄钟宫
-Damian tone 大面调
+*Damian tone 大面调
-Double tone 双调
+*Double tone 双调
-Shang tone 商调
+*Shang tone 商调
-Yue tone 越调
+*Yue tone 越调
-Qupai 曲牌
+*Qupai 曲牌
-Dot the red lip 点绛唇
+*Dot the red lip 点绛唇
-Shan Po Yang 山坡羊
+*Shan Po Yang 山坡羊
-Rhyme 曲韵
+*Rhyme 曲韵
-Level and oblique tones 平仄
+*Level and oblique tones 平仄
-Antithesis 对仗
+*Antithesis 对仗
-two-word pair 两字对
+*two-word pair 两字对
-end-to-end pair 首尾对
+*end-to-end pair 首尾对
-serif pair 衬字对
+*serif pair 衬字对
-Four Greats of Yuan Drama 元曲四大家
+*Four Greats of Yuan Drama 元曲四大家
-Qu sheng 曲圣
+*Qu sheng 曲圣
-Snow in Summer《窦娥冤》
+*Snow in Summer《窦娥冤》
-Xiaoling 小令
+*Xiaoling 小令
-Rescued by a courtesan《救风尘》
+*Rescued by a courtesan《救风尘》
-River-veiwing Pavilion《望江亭》
+*River-veiwing Pavilion《望江亭》
-Worshiping-the-moon Pavilion《拜月亭》
+*Worshiping-the-moon Pavilion《拜月亭》
-Han Gong Qiu《汉宫秋》
+*Han Gong Qiu《汉宫秋》
-famous in the world and amaze boudoir 名闻天下，声振闺阁
+*famous in the world and amaze boudoir 名闻天下，声振闺阁
-Qian-nu's Soul Fleeying with Her Lover《倩女离魂》
+*Qian-nu's Soul Fleeying with Her Lover《倩女离魂》
-Pei Shaojun And Li Qianjun《墙头马上》
+*Pei Shaojun And Li Qianjun《墙头马上》
-Questions
+'''Questions'''
 .What is Yuan drama?
@@ Line 857: / Line 857: @@
 Please upload your power point here: [[Media:Crosstalk_2024.pptx]]
-. Stage Entertainment: Crosstalk 相声
+'''139. Stage Entertainment: Crosstalk 相声'''
 The Development of Crosstalk
@@ Line 884: / Line 884: @@
-Terms and Expressions
+'''Terms and Expressions'''
-speaking, imitating, teasing and singing 说学逗唱
+*speaking, imitating, teasing and singing 说学逗唱
-Taiping lyrics 太平歌词
+*Taiping lyrics 太平歌词
-Baofu 包袱
+*Baofu 包袱
-Drama Talks 《戏剧杂谈》
+*Drama Talks 《戏剧杂谈》
-Drunkenness 《醉酒》
+*Drunkenness 《醉酒》
-Selling Tickets 《卖挂票》
+*Selling Tickets 《卖挂票》
-Questions
+'''Questions'''
 . When did crosstalk form its format?
@@ Line 911: / Line 911: @@
-References
+'''References'''
 . Hou Baolin, Xue Baokun, 侯宝林, 薛宝坤. (1982). 《相声溯源》[The Origin of Crosstalk]1-13+194. 人民教育出版社 People's Literature Publishing House.

Difference between revisions of "Cult Ov 1 2024"

Revision as of 17:17, 6 April 2024

Session 1 OD Fri Mar 1 8:00-9:40 room 603 - Organizational issues

What we learn in this class

Students' contribution

Textbook

Homework until Session 2

Preparatory homework for every session

Homework until Session 5

Homework until Session 10

Homework until Session 15

Final paper after Session 16

Session 1: Student presentations

Session 2 MW Fri Mar 8 8:00-9:40 room 603

Session 2: Student presentations

104 黄文莉ppt Mythology: Gods and Immortals

160 赵梦娇（PPT） Traditional Festivals

Session 3 MW Fri Mar 15 8:00-9:40 room 603

Session 3: Student presentations

169 温一宁ppt Cuisine: Luosifen

111 陈思思ppt Opera: Tea-picking Opera

Session 4 OD Fri Mar 22 8:00-9:40 room 603

Session 4: Student presentations

Session 5 MW Fri Mar 29 8:00-9:40 room 603

Session 5: Student presentations

177 周静怡（ppt） stage entertainment:Yuan drama

139 陈倩ppt Stage entertainment: Crosstalk 相声

Teacher contents

Session 6 OD Sun Apr 7 (for Qingming Festival Bridge Day Fri Apr 5) 8:00-9:40 room 603

Session 6: Student presentations

173 金川玉ppt Entertainment: Deyunshe 德云社

178 徐硕珮（ppt） Music and instruments: Erhu

Session 7 OD Fri Apr 12 8:00-9:40 room 603

Session 7: Student presentations

187 周莉ppt Chinese Folk Art:Lion Dance

168 肖娄君（PPT） Martial Arts: Chinese Swordsman Spirit

Session 8 OD Fri Apr 19 8:00-9:40 room 603

Session 8: Student presentations

Session 9 OD Sun Apr 26 8:00-9:40 room 603

Session 9: Student presentations

Session 10 MW Fri May 10 8:00-9:40 room 603

Session 10: Student presentations

Session 11 MW Sun May 12 8:00-9:40 room 603

148 陈昕舟ppt Traditional Crafts: Handcraft - Chinese Knots

154 李静怡 Traditional Cuisine: Four Distinct Regional Cuisines

Session 12 MW Fri May 17 8:00-9:40 room 603

Session 12: Student presentations

Session 13 MW Fri May 24 8:00-9:40 room 603

Session 13: Student presentations

Session 14 MW Fri May 31 8:00-9:40 room 603

Session 14: Student presentations

Session 15 MW Fri Jun 7 8:00-9:40 room 603

Session 15: Student presentations

Session 16 MW Fri Jun 13 8:00-9:40 room 603

Final Exam MW

Navigation menu

Search