Overview on Chinese Culture Spring 2026

Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)

Course Code: 09230030.01 | Credits: 3 | Level: BA24

Instructor: Prof. Martin Woesler | Schedule: Wednesday 16:30-18:10 | Room: Tenglong 409

Course Website: Interactive course page (topic selection, PPT upload, quizzes)

Grading: Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

Grading Criteria for Powerpoint Presentations

1. Each presentation should not exceed 15 minutes including the interactive part with fellow students.
2. Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
3. Was the presentation successful? Did it catch the audience's attention?
4. Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
5. Was the presentation appropriate to the topic?
6. Was the activity part meaningful and appropriate?
7. Was the time well managed (not too short, not too long)?
8. Did the presentation compare the cultural phenomenon in China and in other countries?
9. Did the presentation avoid boring reading, pronunciation mistakes, typos?
10. Did you list your sources on the last slide?
11. Did you upload your PPT file (max 5MB, compress images first)?
12. Did you present in full screen mode?
13. Did you arrive early to test your file on the classroom computer?
14. Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

How to Upload Your PowerPoint / 如何上传PPT

1. Log in at the course page, click your topic, select file, click "Upload PPT"
2. Or on this Wiki: log in, click "Edit", add [[Media:YourName_Topic_2026.pptx]] next to your topic, save, then click the red link to upload

Important: Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

Session 1 — Mar 05 — Organizational Issues

• Course overview, topic selection, final paper guidelines

Session 2 — Mar 12 — Teacher Introduction

• Teacher presentation: Introduction to Chinese Culture

Session 3 — Mar 19 — Student Presentations (Round 1)

• Cai Lanying (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — 82
• Cao Hefeng (曹河丰): Relegation Literature (Su Shi) — 86
• Cao Shiqin (曹诗琴): 财神 God of Wealth — 88
• Chen Shuanglin (陈双麟): Chinese Ancient Weapons (moved to later session)

Session 4 — Mar 26

• Cui Xinyan (崔心彦): Traditional Chinese Dance
• Dina (迪娜·代买克): Panda-Kultur
• Hao Yuan (郝圆): Calendar, The 24 Solar Terms
• Ma Qing (马清): Tsingtao Beer（青岛啤酒）

Session 5 — Mar 30 (Mon 8:00, Room 601 / 4月2日14:30的课改为3月30日（周一）8:00 601教室上)

• Gao Yang (高扬): Erhu 📤 上传PPT
• Huang Ruguo (黄如果): Hotpot 📤 上传PPT
• Huang Ziyue (黄梓玥): Spring Festival Couplets 📤 上传PPT
• Hu Xinyin (胡馨尹): Mahjong

Session 6 — Apr 09

• Li Sicheng (李思成): The Four Pillars of Destiny（八字）
• Peng Yilin (彭熠琳): Tea
• Qin Shangyi (秦尚易): Mobile Games（手游）

Session 7 — Apr 16

• Shen Yike (申奕珂): Stand-up comedy（单口喜剧）
• Wu Shengqiu (伍胜球): Hunan Rice Noodles（湖南米粉）
• Xiang Jiaying (向佳滢): Milk Tea

Session 8 — Apr 23

• Yang Shixuan (杨诗萱): Jiangxi Cuisine（赣菜）
• Zeng Yongqi (曾咏琪): Zhang Qian and the Silk Road
• Zhang Ning (张宁): Chinese Clothing
• Zhang Zihan (张子涵): Calligraphy

Session 9 — Apr 27 (Sun 8:00, Room 601 / 4月30日14:30的课改为4月27日（周日）8:00 601教室上)

• Zhou Yingwei (周颖微): Cheongsam

Session 10 — May 07 — Student Presentations (Round 2)

• Cao Hefeng (曹河丰): Chinese Dreamcore（中式梦核）
• Cao Shiqin (曹诗琴): God of Wealth（财神）
• Cao Yian (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua

Session 11 — May 14

• Dina (迪娜·代买克): China's Four Great Classical Novels
• Hao Yuan (郝圆): Luosifen

Session 12 — May 21

• Huang Ruguo (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
• Hu Xinyin (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）

Session 13 — May 28

• Peng Yilin (彭熠琳): Peking Opera
• Qin Shangyi (秦尚易): Danmu（弹幕）

Session 14 — Jun 04

• Shen Yike (申奕珂): Traditional Chinese Pigments（中国传统颜料）
• Wu Shengqiu (伍胜球): Black Myth: Wukong（黑神话悟空）
• Xiang Jiaying (向佳滢): Table Manners

Session 15 — Jun 11

• Yang Shixuan (杨诗萱): The Yingge Dance（英歌舞）
• Zeng Yongqi (曾咏琪): Eight Major Cuisines of China
• Zhang Ning (张宁): The Four Talented Women of Ancient China
• Zhang Zihan (张子涵): The Legend of Zhen Huan（甄嬛传）

Session 16 — Jun 18 — Final Session

• Zhou Yingwei (周颖微): Facial Make-up

Topics Selected But Not Yet Scheduled

• Cai Lanying (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
• Cao Yian (曹亦桉): Chinese popular viral memes（中国网络热梗）
• Chen Shuanglin (陈双麟): Wushu
• Cui Xinyan (崔心彦): Guangdong Herbal tea（广东凉茶）
• Gao Yang (高扬): Redology: the study of Dream of the Red Chamber（红学）
• Huang Ziyue (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
• Li Sicheng (李思成): Sunzi's Art of War（孙子兵法）
• Lin Gang (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
• Lin Gang (林港): Science Fiction and Fantasy
• Ma Qing (马晴): Shandong cuisine（鲁菜）
• Ma Qing (马晴): Tsingtao Beer（青岛啤酒）
• Shen Weibing (申伟兵): Chinese Imperial Examination
• Shen Weibing (申伟兵): Modern Chinese Education
• Wang Peigen (王培亘): Blind Box（盲盒）
• Wang Peigen (王培亘): The Classic of Mountains and Seas
• Wu Wanghui (吴旺辉): Gods and Immortals
• Wu Wanghui (吴旺辉): The Four Treasures of the Study

Students Still Selecting Topics

• Li Fangfei (黎芳菲) — please select 2 topics
• Zhu Shuwen (朱树文) — please select 2 topics

Semester Paper Topics

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

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期末论文

Korean Janggu Dance

◦ ====Origin and Development==== The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction==== The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance) It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance) During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance) In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance) The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics==== Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays. Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps. Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value==== From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection==== Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance. Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

References

▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance. ▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance. ▪ China National Cultural Resource Network, Janggu Dance.

Words and Expressions

朝鲜族长鼓Korean Janggu / Korean Hourglass Drum 独舞 solo dance 双人舞 duet dance 群舞 group dance 对打起舞 dual-play dance with drum beats 扭、弹、矮、稳 twisting, springing, squatting, steadying 闪转旋跃 dodging, turning, spinning and leaping 鹊雀步 magpie step 垫步 shuffle step

Questions

1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance? 2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China? 3.What are the two categories of performance styles of the Korean Janggu Dance? 4.Who was the first-generation inheritor of the Korean Janggu Dance skills? 5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

Answers

1.Originated from the narrow-waisted drum of India. 2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. 3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements. 4.Jin Douchang. 5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.

朝鲜族长鼓舞

◦ ====朝鲜族长鼓舞的起源发展==== 长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》） ◦ ====介绍==== 朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》） 它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》） 宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》） 明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》） 它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色==== 表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。 动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。 音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色==== 从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护==== 传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。 保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

术语

朝鲜族长鼓Korean Janggu / Korean Hourglass Drum 独舞 solo dance 双人舞 duet dance 群舞 group dance 对打起舞 dual-play dance with drum beats 扭、弹、矮、稳 twisting, springing, squatting, steadying 闪转旋跃 dodging, turning, spinning and leaping 鹊雀步 magpie step 垫步 shuffle step 三拍系统 triple-beat system 《阿里郎》 Arirang（朝鲜族经典民谣，音译）

问题

1.朝鲜族长鼓舞的核心道具长鼓原型是什么？ 2.朝鲜族长鼓舞何时被列入国家级非遗名录？ 3.朝鲜族长鼓舞的表演风格分为哪两类？ 4.朝鲜族长鼓舞的第一代技艺传承人是谁？ 5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

答案

1.起源于印度的细腰鼓。 2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。 3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。 4.金斗昌。 5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。