STEPPING OUT OF MY COMFORT ZONE
Comfort is easy. We fear uncertainty, loss, pain, and so we seek to cushion ourselves against the rawness of life by spending our lives in artificial, climate-controlled boxes safe from unwanted intrusion.
Powerful forces conspire to keep you in your comfort zone, penned by fear. The system wants you to be compliant, following the rules of the group, being an acceptor rather than a creator. Fear of social judgment discourages you from trying anything with a risk of rejection or failure. Capitalism and consumerism encourage you to build a career by mastering a single money-making skill and devoting your life to it.
This is unfortunate. Personal discovery and personal development happen only outside your comfort zone. Comfort zones foster an attitude of learned helplessness, making progress harder. Learning, creating, growing happen only when you step outside your fortress and venture into the wilderness.
There is something about challenging yourself, and doing something a bit different that gives you confidence, an edge, and a sense of accomplishment that does wonders for your personal growth. There is something about overcoming some nerves that builds confidence. Something about trying something new and being really clumsy in the beginning, but soon figuring it out, that makes you proud of yourself. I can’t describe this feeling, but it’s a comfort (more like a strength!) in knowing that you stepped outside of your comfort zone. But when I did take up the challenge of something new, I was almost always pleasantly surprised. It might be uncomfortable at first; it might be hard. Or embarrassing. But if I could push through the awkwardness and fear, I found that I had learned something. When all is said and done, I’ve
• grown stronger
• gained confidence
• acquired new skills
• achieved a fresh perspective
• redefined my ambitions
• picked up new ideas
Traits and Skills of Inter-disciplinarians
You may be wondering, "What exactly is an inter-disciplinarian?” It's a pretty big word and one that is unfamiliar to many people. A brief definition that I might give someone is that inter-disciplinarians are people who hold specific traits and skills that allow them to be extremely well-rounded and versed in many subjects. Inter-disciplinarians may not be complete experts or the authority on all possible subjects, but they most definitely have the experience and the willingness to devote time and energy to learning as much as possible about the various disciplines that exist.
Am I an inter-disciplinarian? I'd like to think so. Throughout my educational career I've found myself very interested in the world around me. I've always loved to learn about new things, often times with a passion that many people find themselves dedicating only to their "most favorite" subject. I've come up with two traits and two skills of inter-disciplinarians that I feel I embody.
Trait 1: Love of Learning;
As mentioned previously, I've always loved learning. As quoted by Trow, "Students drawn to interdisciplinary studies have an unusual love of learning, are curious beyond the average about the world they live in, and welcome opportunities to view the world from as many perspectives as possible. This definition sums up the love of learning that I believe ALL inter-disciplinarians hold.
I truly believe I have a love of learning that is not often found in your typical person. I've heard from many friends that I "seem to know something about everything" or have been asked "How in the world do you know these things?" I take pride in loving to learn about new things, regardless of the reason. Whether I'm looking up a fact for research for a college class, or just reading for the fun of it, I'm constantly trying to learn new things.
Trait 2: Appreciation of Diversity;
As an inter-disciplinarian I have respect for people holding different views, devoted to different faith traditions, and coming from different racial backgrounds. Simply put, inter-disciplinarians are willing to see beyond the surface and open their minds and hearts to learn about all the differences in opinion, no matter the reason or person.
I believe I personify the open-minded personality that is needed to appreciate diversity. I grew up poor in a poor neighborhood, and have spent almost my entire adult life working. I've experienced differences in cultural beliefs, customs, traditions, ethnicities, hospitality, and dialects. I know this has allowed me to grow and appreciate the diversity that exists in my community and ultimately the world.
Skill 1: Ability to Communicative Competently;
Each discipline has not only its own set of skills and knowledge but also its own language that it uses to describe its concepts, assumptions, and theories. Each discipline, or subject, truly has its own set of vocabulary and knowledge that requires people to understand a certain amount of information to be able to actively engage in conversation and communicate effectively with others regarding a specific topic.
Majoring in Interdisciplinary Studies has allowed me to see the wide range of skills, knowledge, and language that each subject holds. I've learned how to critique visual art using words such as perspective, focal point, and avant-garde; I've learned how to make videos and movies, that’s right I have become computer literate. I have also become better connected to my community while doing research projects within my areas of study. Because of my well-rounded education, I'm able to communicate competently with others in many subject areas.
Skill 2: Ability to Think Abstractly:
To think abstractly means one must be able to think about topics they may not have experienced personally, but have knowledge of. One must be able to understand topics that seem foreign and unfamiliar by using their prior knowledge and skills.
I think I have the ability to think abstractly because I often find myself in new situations that require on-the-spot decision making. Instead of going with what is most familiar to me, I often try to see the situation from every aspect. In doing so, I try to break down situations into something familiar and easier to understand. For example, when writing a paper about a topic that I have limited knowledge of, I try to think "outside the box" and consider other opinions and outside information. I then come up with more considerations to research and possibly include in my paper.
It's easy to say that I believe I'm an inter-disciplinarian. I can provide traits and skills, define them, and give some examples as to why I represent each one of them. But to truly believe and know that I'm an inter-disciplinarian can only be found in my heart. When I look at myself as a whole - my life experiences, my college experiences, my personality, and my personal goals - I see someone who has always been an inter-disciplinarian...even before I knew how to spell it.
Monday, April 21, 2014
Monday, April 14, 2014
Content Page #3
Gerri Jergensen
Dedicated
Everything I have done in my life I have put in 100% of myself. I excel when challenged
with new programs and techniques, my type A personality comes through in everything I do. I have been blessed in my life with the opportunities to give back and commit to helping others. I truly believe that in ones life that helping others is what gives a person satisfaction and a feeling of accomplishment.
I put this same practice into my education that at the age of fifty I was able to finally do.
College was new to me and quite an awesome achievement. I learned something new every day, from computers, research, and exploring different cultures and what they have to offer. One culture was the Deaf community, ASL was my language of choice taken at Valencia College. I learned the difficult obstacles that this community must go through just to be apart of the world around them outside of their Deaf community. I learned the language and how to make a connection in their community. I also attended many events such as movie night, comedy night, and church, all of these events invited me into their world without any prejudged ideals of me not being able to communicate at their level.
I also committed myself to researching different cultures, and their belief systems and how they presented their heritage through what important to their unique cultures. Quilting process by African American and Native Americans, and the life and skills of Chinese Acrobats where just a sample of knowledge I acquired while investigating their cultures. The only way to completely understand and commit to living and working with other cultures is understanding their obstacles and strengths to survive within their own community and to stand strong within the world around them.
In the world that we live in today it is very important to be open to other cultures and what is important in their lives. Everyone has a different perspective on life and through my education I found that by dedicating myself to understand other members of the community and their traditions and heritage helps find a common ground that we can all contribute to.
I have include three projects that I have done to represent my aspirations of dedication to understanding different people and understanding how unique people are.
Dedicated
Everything I have done in my life I have put in 100% of myself. I excel when challenged
with new programs and techniques, my type A personality comes through in everything I do. I have been blessed in my life with the opportunities to give back and commit to helping others. I truly believe that in ones life that helping others is what gives a person satisfaction and a feeling of accomplishment.
I put this same practice into my education that at the age of fifty I was able to finally do.
College was new to me and quite an awesome achievement. I learned something new every day, from computers, research, and exploring different cultures and what they have to offer. One culture was the Deaf community, ASL was my language of choice taken at Valencia College. I learned the difficult obstacles that this community must go through just to be apart of the world around them outside of their Deaf community. I learned the language and how to make a connection in their community. I also attended many events such as movie night, comedy night, and church, all of these events invited me into their world without any prejudged ideals of me not being able to communicate at their level.
I also committed myself to researching different cultures, and their belief systems and how they presented their heritage through what important to their unique cultures. Quilting process by African American and Native Americans, and the life and skills of Chinese Acrobats where just a sample of knowledge I acquired while investigating their cultures. The only way to completely understand and commit to living and working with other cultures is understanding their obstacles and strengths to survive within their own community and to stand strong within the world around them.
In the world that we live in today it is very important to be open to other cultures and what is important in their lives. Everyone has a different perspective on life and through my education I found that by dedicating myself to understand other members of the community and their traditions and heritage helps find a common ground that we can all contribute to.
I have include three projects that I have done to represent my aspirations of dedication to understanding different people and understanding how unique people are.
Artifact #2 for Content Page 3
Gerri Jergensen
Hum 3320
Issue Paper 2
I first became interested in quilting when on a family vacation to the North Carolina Mountains I spotted a spectacular music-themed quilt from a booth at one of the many art exhibitors in the art district in Ashville. The combination of musical fabrics, playful block patterns and meticulous piecing intrigued me. It was obvious that the design was created for a specific audience and purpose. As I began to research quilts and quilt making, I quickly realized the significant role that culture and tradition plays in the design and purpose of one’s quilt. I chose to research both African American quilting and Native American quilting.
These unique styles of quilting are symbolic of the history and beliefs of the separate cultures. In this paper, I will compare the culture of African American quilting with the culture of Native American quilting. As in our readings from Yutang’ and Mori, I will show the significance that is portrayed in this art form and carried on throughout the heritage for many generations. This form has a significant impact upon its practice of the art and their history of quilts.
I. Statement in the Question and Hypotheses
How does the culture of African American quilting differ from the culture of Native American quilting?
The physical attributes of the quilts, including appearance, materials and patterns, is the main difference between the culture of African American quilting and Native American quilting.
The purpose behind the creation of the quilts is the main difference between the culture of African American quilting and Native American quilting.
Null Hypothesis: There is no difference between the culture of African American quilting and Native American quilting.
II. Summary of Sources and Analysis of Credibility
Cotter, Holland. "Unexpected Vistas in Quilting by Men." New York Times 29 May 1998, sec. E: 35. ProQuest. King County Library System, Sammamish. Web 1 Oct. 2012.
This article gives an in-depth review of the quilts displayed at an exhibit entitled “Man Made: African-American Men and Quilting Traditions”. The Anacostia Museum and Center for African-American History and Culture, Smithsonian Institution were home to this exhibit which featured both historical and contemporary male quilting artists. The oldest quilt dates back to 1852 and was made from a slave on the occasion of his owner’s marriage. The article describes the influences that can be identified in certain quilts. The author mentions common themes of the quilts that include similar materials, use of asymmetry, and a rich blend of African and American influences.
This source is somewhat credible. The author describes specific quilts vividly, so the reader can visualize exactly what they look like. Yet the commentary that is given is rather subjective. While the commonalities of the quilts may be accurate between the quilts represented at this exhibit, this exhibit is only a sampling of African-American quilts and only showed ones made by men. The article does bring up an interesting point. On the quilts on display, “the labels “African” and “American” meet in a rich interaction and one has a clear sense of quilt making as a culturally embracing tradition very much alive.”
Freeman, Roland L. A Communion of the Spirits: African-American Quilters, Preservers, and Their Stories. Nashville: Rutledge Hill P, 1996. Print
A Communion of the Spirits is a three-hundred-eighty page book that exposes the deeper meanings behind African American quilts, and shares a myriad of stories about the African Americans who create the quilts. The book is divided into two parts. The first part reveals the significance that quilting has had on the author’s childhood and introduces the author’s beginning work on a photo documentation of African-American folk culture. The second part brings the reader on a journey through the author’s completion of a “National Survey”. The author, Roland Freeman, spent twenty years documenting African-American quilters in thirty-eight states. The communion, according to Freeman, “refers to the power of quilts to create a virtual web of connections- individual, generational, professional, physical, spiritual, cultural, and historical.”
This source is highly credible and gives a very personal view of the wide range of individuals who make up the African-American quilting community. The author fully dedicated himself to the study of African-American quilting. Instead of simply retrieving knowledge from books on the subject, Freeman devoted his life to the careful learning and piecing together of the rich history and culture of African-American quilting. It should be noted that especially because this book is a documentary, the author’s perspective is intertwined with the stories of each of the individual quilters.
McNally, Shana. "Native Americans Piece Their Stories Through Art of Quilting." Seattle Times 2 July 2000, Weekend ed., sec. B: 1. ProQuest. King County Library System, Sammamish. Web 30 Sept. 2012.
This article explains what can be learned from visiting the exhibit “To Honor and Comfort: Native Quilting Traditions” at the Washington State History Museum. This exhibit displays forty-five quilts from the years 1920 to 1996 and represents tribal cultures as diverse as Hopi, Sioux, Lakota, Navajo, Odawa, Yup’ik, Eskimo and Hawaiian. The author mentions that although European colonists originally introduced quilting to the Native Americans, today the quilts are very much their own. The author describes the distinctive qualities of Native American quilting. Each quilt tells a unique story, a “visual demonstration of the Native American tradition.” The designs and colors are expressive of tribal history and traditional motifs. The act of quilting has also become a tradition. Quilting circles often include more than one generation and are a time for sharing cultural traditions and stories. On the whole, the article is an unbiased, informative view of Native American quilting.
Westermark, Victoria. "Seminole Patchwork." Absolutely Florida Magazine. 1990. Ah Tha Thi Ki Museum. 30 Sept. 2012 <http://www.abfla.com/1tocf/seminole/semart.html>.
The article shares the history of patchwork in the Seminole tribe, beginning with the early nineteenth century. According to this article, the first versions of Seminole patchwork were made out of necessity when materials ran short. By the early twentieth century, the introduction of the sewing machine greatly influenced the creativity and production of patchwork. Designs became more intricate. The author of this article traces the history of the Seminole clan through the changing patchwork of their clothing. For example, patchwork bands narrow over time because the efficiency of the sewing equipment continues to improve over time.
This source is credible. The author, Victoria Westermark Many Bad Horses, is an Emmy-nominated writer and producer. She often interviews tribal elders about the complexity of cultural preservation. Her writing is very simple, with no added opinions or emotions. Understanding her own Native American culture and heritages is probably very important to her.
Wicasa, Wambdi. "Star Quilt Tradition." American Indian Culture Research Center. 1 Oct. 2012 <http://starquilts.com/tradition.htm>.
Star quilts are very common in Native American quilting. This source provides an explanation of why the symbol of a star is so important to the Native American culture. The stars and heavenly bodies are a sacred part of the mythology for many Native American tribes. It is believed that the Great Spirit gave to stars the power to watch over the mortals. The author discusses the purpose of the stars and what happens after a loved one dies. There is much ceremony surrounding the giving and presenting of quilts.
Although this source is a bit short on information, it provides the reader with a credible summary of the beliefs connected with the Native American star quilts. The author himself is a Native American and sells quilts that his tribe makes. For this reason, he should be but wouldn’t dependably be, knowledgeable about the history behind the specific motifs and designs of Native American quilts.
III. Application of Sources to the Question
Cotter, Holland. "Unexpected Vistas in Quilting by Men." New York Times 29 May 1998, sec. E: 35. ProQuest. King County Library System, Sammamish. Web 1 Oct. 2012.
This article from the New York Times focuses on quilts made by African American males. My question requires that I understand both quilting cultures separately before I come to a conclusion of what exactly is the difference. The information in this article, including historical references to slaves who made quilts, details on characteristic African patterns, and the participation of men in “women’s work” such as quilting, provides an explanation of the essence of African American quilting. In particular, the focus on talented male African American quilters in this article is interesting. The author notes that “increased attention both to non-Western cultures and identity politics in the 90's has produced new models for what constitutes gender-specific art” (Cotter). I suspect that the role of gender in the two cultures, African American and Native American, may differ. Also, the heritage and ancestry of African Americans are significant within the patterns and designs of the quilts. Cotter states that, “The pattern of three jagged-edged upright poles on a gray ground in Charles Cater's jazzy ''Triangle Strip'' (1985) suggests symbolic forms with African sources.” Not only do the African American quilters preserve the visual history of their heritage, but also interweave contemporary American styles. “Paul Buford's narrative wall hangings partake of a figurative tradition in African textiles but apply it to American subjects: one piece depicts the home of the black poet Paul Laurence Dunbar in Dayton, Ohio; another is a vivid evocation of musicians performing on a New Orleans street.” (Cotter)
Freeman, Roland L. A Communion of the Spirits: African-American Quilters, Preservers, and Their Stories. Nashville: Rutledge Hill P, 1996. Print
Written by a highly regarded photodocumentarian, this large text is a compilation of sixty years of the author’s experience involving African American quilters and their quilts. This book contains a wealth of information relating directly to my question concerning the culture of African American quilts. The author makes the point that the range of work by African American quilters is very broad. Turning over the pages, I am dazed by the assortment of colors, patterns and designs of the pictured quilts. However, in his conclusion, the author states, “It is important that we don’t let this diversity prevent us from recognizing that there is a distinct world of quilting by African Americans, even if its precise borders are elusive” (376). The author quotes a folklorist by the name John Vlach, “Although black quilters have made all manner of pieced quilts, often using the same approaches as Euro-American quiltmakers, the strip technique is the method found most frequently in Afro-America.” He continues to mention the various communities where strip quilting is observed. Vlach says, “This wide distribution makes the strip quilt the most commonplace domestic example of black material in the United States. Why a single approach to the task of quilting should be so dominant among Afro-American quiltmakers may be traced to the retention of design concepts found in African textiles.”(49)
McNally, Shana. "Native Americans Piece Their Stories Through Art of Quilting." Seattle Times 2 July 2000, Weekend ed., sec. B: 1. ProQuest. King County Library System, Sammamish. Web 30 Sept. 2012.
This article relates directly to the Native American portion of my question. Discussing the importance of quilts to the Native American tradition, the article gives the impression that quilts are involved in various special occasions. While quilts have been used as bed covers and drapes, more significant roles include “robes in rite-of-passage ceremonies such as baby namings, as decoration and to recognize heroic acts or sacrifice” (McNally). Originally, quilting came from the Europeans as a functional tradition. “But when Native Americans adopted the technique from the colonists, they made it their own - by using the quilts to tell their stories” (McNally). One such quilt was made in 1992 by Hana Kangas, a Yup'ik Inuit Indian. This quilt features the twenty mothers and daughters of the woman’s family. This type of generation dedication is prevalent among the Native American quilting communities. In the article, the author states that “The act of quilting is itself a tradition. Quilters share sewing techniques and community traditions.” (McNally)
Westermark, Victoria. "Seminole Patchwork." Absolutely Florida Magazine. 1990. Ah Tha Thi Ki Museum. 30 Sept. 2012 <http://www.abfla.com/1tocf/seminole/semart.html>.
The information on this website provides the background for how the quilt became an integral part of the Native American culture. The author of this article concentrates on the historical aspects of Seminole patchwork. This knowledge leads me to a possible historical difference (or similarity) between the Native American and African American quilting tradition. According to this website, the first versions of Seminole patchwork evolved out of necessity during the late 1800’s. “When cloth ran short, and a journey to town was not likely, women would take the small strips remaining from the ends of the cotton rolls and make strips out of the remnants. These were hand sewn into larger pieces for clothes, referred to as strip clothing. Necessity turned into wearable art” (Westermark). By the 1920’s, the sewing machine had transformed the Seminole patchwork. The women not only made clothing for their families, but created intricate artwork that contributed to the tourist trade. Over the twentieth century, the distinguishing qualities of the Seminole quilting continued to evolve. Westermark states that “Patchwork bands narrowed over time. This was carried to an extreme in the 1960's when the small scale bands became known as "postage stamp work"”.
Wicasa, Wambdi. "Star Quilt Tradition." American Indian Culture Research Center. 1 Oct. 2012 <http://starquilts.com/tradition.htm>.
Understanding the meaning behind the common designs of Native American quilts will assist in answering my question of How does the culture of African American quilting differ from the culture of Native American quilting? This article describes the spiritual motive and tradition behind the creation of the star quilt. The star quilt is unique to Native Americans. The stars and heavenly bodies are a sacred part of the mythology for many Native American tribes. The author discusses the purpose of the stars. According to this website, “It is thought that to the Stars, the Great Spirit gave the power to watch over mortals on earth and impart to them spiritual blessings” (Wicasa). After a loved one dies, a special ceremony is held that includes a presentation of quilts to those who were especially kind to the deceased.
IV. Conclusions
Evaluation of Hypotheses
Hypothesis: The physical attributes of the quilts, including appearance, materials and patterns, is the main difference between the culture of African American quilting and Native American quilting.
My research showed that there is a distinct difference in appearance between quilts made by the two cultures; however, there remains a consistency among the types of materials used by both of the cultures. The nature of the fabric that was and is used by the Native Americans and African Americans in their quilting projects involves many factors. These factors include time period, availability, intention and, to some extent, cultural tradition. The general progression of fabric type through the years is constant across many quilting cultures. In the early days of quilting, scraps of wool and discarded clothing were used. By the 1920’s, the use of synthetics and cotton flourished. The article, “Unexpected Vistas in Quilting by Men”, “Seminole Patchwork” and my interview support these inferences that both Native American and African American quilters utilized similar materials.
As observed in the article, “African American Quilting: A Long Rich Heritage”, “one cannot look at a quilt and easily identify the cultural background of the artist”. However, my research led me to the supposition that one can discover distinct cultural characteristics of quilts when one looks at the broader quilting spectrum. For Native American quilts, the designs often originate from tribal symbolism. For African American quilts, the designs often include bold patterns with the essence of Africa. The book A Communion of the Spirits and the articles “Star Quilt Tradition” and “Native Americans Piece Their Stories Through Art of Quilting” directly addressed this hypothesis.
Hypothesis: The purpose behind the creation of the quilts is the main difference between the culture of African American quilting and Native American quilting.
My research strongly supported this hypothesis. Every one of my sources included information on the unique and specialized purpose of the quilts made by African Americans and by Native Americans. The book, A Communion of the Spirits, gives a broad list of reasons why quilters make their beautiful quilts. “Quilts were made to keep warm, record history, commemorate struggle and triumph, give to loved ones, heal and hurt, generate income” (376). While many of these purposes are shared by both cultures, the unique reasons really set each culture apart. One special purpose of quilts for Native Americans, especially the Hopi tribe, is the baby-naming ceremony. Originally, men wove a blanket with the father’s name to give to the newborn. Today, quilts have replaced the woven blankets and continue to be a prominent gift in other special ceremonies. Conversely, African Americans often use quilts to tell a story. Story-quilts, as they are called, usually are made with appliqué and often convey a biblical message.
Null Hypothesis: There is no difference between the culture of African American quilting and Native American quilting.
While all my resources described distinct differences between the cultures of the Native American quilting and African American quilting, I also discovered many commonalities that the two cultures shared. There is a sort of balance between standard mainstream quilting and cultural and ethnic touches in every quilt. From my research, I have discovered that each culture is proud of its own quilters’ accomplishments and attempts to sustain a distinct world of African American quilting and world of Native American quilting.
Analysis of Effectiveness of Original Hypotheses
How does the culture of African American quilting differ from the culture of Native American quilting?
My hypotheses were accurate and effective in answering my question. Even though I originally knew very little about quilting from specific ethnic groups, my two hypotheses greatly assisted me in directing my research. I was pleasantly surprised to find that almost all of my sources discussed both the physical characteristics and unique purpose of various quilts. This allowed me to outline what exactly are the differences between the cultures in regard to quilting.
Statement of Theory
I believe that the following accurately answers my question:
The history and evolution of the quilt differs in the Native American culture and African American culture.
The ethnic, spiritual and traditional influences that go into the designing and making of quilts differ in the Native American culture and African American culture.
The reasons and purposes for creating quilts differ in the Native American culture and African American culture.
One question that remains unanswered is: what role does gender play in the Native American and African American quilting communities?
V. Implications
This research paper opened my eyes to the importance and prevalence of quilts in two very diverse cultures. I have always been captivated by the unique styles and wondrous handiwork of another cultures’ art. I have great respect for quilters and thought nothing of the long, tedious hours that quilters spend perfecting their spectacular art pieces. I am astounded by the diverse and special world of quilts and quilt makers. I have learned that there is a complexity in each quilt, a visual message crafted by the artist, whether he or she is Native American or African American or any other ethnicity. There is also a difficulty with deciding, what exactly is the difference between the same arts of two cultures. As for future research on quilts and quilt history, I believe that it is more important to learn about the story behind individual quilts than to pick out the differences.
VI. Works Cited
Cotter, Holland. "Unexpected Vistas in Quilting by Men." New York Times 29 May 1998, sec. E: 35. ProQuest. King County Library System, Sammamish. Web 1 Oct. 2012.
Freeman, Roland L. A Communion of the Spirits: African-American Quilters, Preservers, and Their Stories. Nashville: Rutledge Hill P, 1996. Print
McNally, Shana. "Native Americans Piece Their Stories Through Art of Quilting." Seattle Times 2 July 2000, Weekend ed., sec. B: 1. ProQuest. King County Library System, Sammamish. Web 30 Sept. 2012.
Mori, B. L. R. "The Tea Ceremony:: A Transformed Japanese Ritual." Gender & Society 5.1 (1991): 86-97. Print.
Westermark, Victoria. "Seminole Patchwork." Absolutely Florida Magazine. 1990. Ah Tha Thi Ki Museum. Web 30 Sept. 2012 <http://www.abfla.com/1tocf/seminole/semart.html>.
Wicasa, Wambdi. "Star Quilt Tradition." American Indian Culture Research Center. Web 1 Oct. 2012 <http://starquilts.com/tradition.htm>.
Yutang, Lin. "The Importance of Living [Paperback]." The Importance of Living: Amazon.co.uk: Yutang Lin: Books. William Morrow and Company, n.d. Print
Hum 3320
Issue Paper 2
I first became interested in quilting when on a family vacation to the North Carolina Mountains I spotted a spectacular music-themed quilt from a booth at one of the many art exhibitors in the art district in Ashville. The combination of musical fabrics, playful block patterns and meticulous piecing intrigued me. It was obvious that the design was created for a specific audience and purpose. As I began to research quilts and quilt making, I quickly realized the significant role that culture and tradition plays in the design and purpose of one’s quilt. I chose to research both African American quilting and Native American quilting.
These unique styles of quilting are symbolic of the history and beliefs of the separate cultures. In this paper, I will compare the culture of African American quilting with the culture of Native American quilting. As in our readings from Yutang’ and Mori, I will show the significance that is portrayed in this art form and carried on throughout the heritage for many generations. This form has a significant impact upon its practice of the art and their history of quilts.
I. Statement in the Question and Hypotheses
How does the culture of African American quilting differ from the culture of Native American quilting?
The physical attributes of the quilts, including appearance, materials and patterns, is the main difference between the culture of African American quilting and Native American quilting.
The purpose behind the creation of the quilts is the main difference between the culture of African American quilting and Native American quilting.
Null Hypothesis: There is no difference between the culture of African American quilting and Native American quilting.
II. Summary of Sources and Analysis of Credibility
Cotter, Holland. "Unexpected Vistas in Quilting by Men." New York Times 29 May 1998, sec. E: 35. ProQuest. King County Library System, Sammamish. Web 1 Oct. 2012.
This article gives an in-depth review of the quilts displayed at an exhibit entitled “Man Made: African-American Men and Quilting Traditions”. The Anacostia Museum and Center for African-American History and Culture, Smithsonian Institution were home to this exhibit which featured both historical and contemporary male quilting artists. The oldest quilt dates back to 1852 and was made from a slave on the occasion of his owner’s marriage. The article describes the influences that can be identified in certain quilts. The author mentions common themes of the quilts that include similar materials, use of asymmetry, and a rich blend of African and American influences.
This source is somewhat credible. The author describes specific quilts vividly, so the reader can visualize exactly what they look like. Yet the commentary that is given is rather subjective. While the commonalities of the quilts may be accurate between the quilts represented at this exhibit, this exhibit is only a sampling of African-American quilts and only showed ones made by men. The article does bring up an interesting point. On the quilts on display, “the labels “African” and “American” meet in a rich interaction and one has a clear sense of quilt making as a culturally embracing tradition very much alive.”
Freeman, Roland L. A Communion of the Spirits: African-American Quilters, Preservers, and Their Stories. Nashville: Rutledge Hill P, 1996. Print
A Communion of the Spirits is a three-hundred-eighty page book that exposes the deeper meanings behind African American quilts, and shares a myriad of stories about the African Americans who create the quilts. The book is divided into two parts. The first part reveals the significance that quilting has had on the author’s childhood and introduces the author’s beginning work on a photo documentation of African-American folk culture. The second part brings the reader on a journey through the author’s completion of a “National Survey”. The author, Roland Freeman, spent twenty years documenting African-American quilters in thirty-eight states. The communion, according to Freeman, “refers to the power of quilts to create a virtual web of connections- individual, generational, professional, physical, spiritual, cultural, and historical.”
This source is highly credible and gives a very personal view of the wide range of individuals who make up the African-American quilting community. The author fully dedicated himself to the study of African-American quilting. Instead of simply retrieving knowledge from books on the subject, Freeman devoted his life to the careful learning and piecing together of the rich history and culture of African-American quilting. It should be noted that especially because this book is a documentary, the author’s perspective is intertwined with the stories of each of the individual quilters.
McNally, Shana. "Native Americans Piece Their Stories Through Art of Quilting." Seattle Times 2 July 2000, Weekend ed., sec. B: 1. ProQuest. King County Library System, Sammamish. Web 30 Sept. 2012.
This article explains what can be learned from visiting the exhibit “To Honor and Comfort: Native Quilting Traditions” at the Washington State History Museum. This exhibit displays forty-five quilts from the years 1920 to 1996 and represents tribal cultures as diverse as Hopi, Sioux, Lakota, Navajo, Odawa, Yup’ik, Eskimo and Hawaiian. The author mentions that although European colonists originally introduced quilting to the Native Americans, today the quilts are very much their own. The author describes the distinctive qualities of Native American quilting. Each quilt tells a unique story, a “visual demonstration of the Native American tradition.” The designs and colors are expressive of tribal history and traditional motifs. The act of quilting has also become a tradition. Quilting circles often include more than one generation and are a time for sharing cultural traditions and stories. On the whole, the article is an unbiased, informative view of Native American quilting.
Westermark, Victoria. "Seminole Patchwork." Absolutely Florida Magazine. 1990. Ah Tha Thi Ki Museum. 30 Sept. 2012 <http://www.abfla.com/1tocf/seminole/semart.html>.
The article shares the history of patchwork in the Seminole tribe, beginning with the early nineteenth century. According to this article, the first versions of Seminole patchwork were made out of necessity when materials ran short. By the early twentieth century, the introduction of the sewing machine greatly influenced the creativity and production of patchwork. Designs became more intricate. The author of this article traces the history of the Seminole clan through the changing patchwork of their clothing. For example, patchwork bands narrow over time because the efficiency of the sewing equipment continues to improve over time.
This source is credible. The author, Victoria Westermark Many Bad Horses, is an Emmy-nominated writer and producer. She often interviews tribal elders about the complexity of cultural preservation. Her writing is very simple, with no added opinions or emotions. Understanding her own Native American culture and heritages is probably very important to her.
Wicasa, Wambdi. "Star Quilt Tradition." American Indian Culture Research Center. 1 Oct. 2012 <http://starquilts.com/tradition.htm>.
Star quilts are very common in Native American quilting. This source provides an explanation of why the symbol of a star is so important to the Native American culture. The stars and heavenly bodies are a sacred part of the mythology for many Native American tribes. It is believed that the Great Spirit gave to stars the power to watch over the mortals. The author discusses the purpose of the stars and what happens after a loved one dies. There is much ceremony surrounding the giving and presenting of quilts.
Although this source is a bit short on information, it provides the reader with a credible summary of the beliefs connected with the Native American star quilts. The author himself is a Native American and sells quilts that his tribe makes. For this reason, he should be but wouldn’t dependably be, knowledgeable about the history behind the specific motifs and designs of Native American quilts.
III. Application of Sources to the Question
Cotter, Holland. "Unexpected Vistas in Quilting by Men." New York Times 29 May 1998, sec. E: 35. ProQuest. King County Library System, Sammamish. Web 1 Oct. 2012.
This article from the New York Times focuses on quilts made by African American males. My question requires that I understand both quilting cultures separately before I come to a conclusion of what exactly is the difference. The information in this article, including historical references to slaves who made quilts, details on characteristic African patterns, and the participation of men in “women’s work” such as quilting, provides an explanation of the essence of African American quilting. In particular, the focus on talented male African American quilters in this article is interesting. The author notes that “increased attention both to non-Western cultures and identity politics in the 90's has produced new models for what constitutes gender-specific art” (Cotter). I suspect that the role of gender in the two cultures, African American and Native American, may differ. Also, the heritage and ancestry of African Americans are significant within the patterns and designs of the quilts. Cotter states that, “The pattern of three jagged-edged upright poles on a gray ground in Charles Cater's jazzy ''Triangle Strip'' (1985) suggests symbolic forms with African sources.” Not only do the African American quilters preserve the visual history of their heritage, but also interweave contemporary American styles. “Paul Buford's narrative wall hangings partake of a figurative tradition in African textiles but apply it to American subjects: one piece depicts the home of the black poet Paul Laurence Dunbar in Dayton, Ohio; another is a vivid evocation of musicians performing on a New Orleans street.” (Cotter)
Freeman, Roland L. A Communion of the Spirits: African-American Quilters, Preservers, and Their Stories. Nashville: Rutledge Hill P, 1996. Print
Written by a highly regarded photodocumentarian, this large text is a compilation of sixty years of the author’s experience involving African American quilters and their quilts. This book contains a wealth of information relating directly to my question concerning the culture of African American quilts. The author makes the point that the range of work by African American quilters is very broad. Turning over the pages, I am dazed by the assortment of colors, patterns and designs of the pictured quilts. However, in his conclusion, the author states, “It is important that we don’t let this diversity prevent us from recognizing that there is a distinct world of quilting by African Americans, even if its precise borders are elusive” (376). The author quotes a folklorist by the name John Vlach, “Although black quilters have made all manner of pieced quilts, often using the same approaches as Euro-American quiltmakers, the strip technique is the method found most frequently in Afro-America.” He continues to mention the various communities where strip quilting is observed. Vlach says, “This wide distribution makes the strip quilt the most commonplace domestic example of black material in the United States. Why a single approach to the task of quilting should be so dominant among Afro-American quiltmakers may be traced to the retention of design concepts found in African textiles.”(49)
McNally, Shana. "Native Americans Piece Their Stories Through Art of Quilting." Seattle Times 2 July 2000, Weekend ed., sec. B: 1. ProQuest. King County Library System, Sammamish. Web 30 Sept. 2012.
This article relates directly to the Native American portion of my question. Discussing the importance of quilts to the Native American tradition, the article gives the impression that quilts are involved in various special occasions. While quilts have been used as bed covers and drapes, more significant roles include “robes in rite-of-passage ceremonies such as baby namings, as decoration and to recognize heroic acts or sacrifice” (McNally). Originally, quilting came from the Europeans as a functional tradition. “But when Native Americans adopted the technique from the colonists, they made it their own - by using the quilts to tell their stories” (McNally). One such quilt was made in 1992 by Hana Kangas, a Yup'ik Inuit Indian. This quilt features the twenty mothers and daughters of the woman’s family. This type of generation dedication is prevalent among the Native American quilting communities. In the article, the author states that “The act of quilting is itself a tradition. Quilters share sewing techniques and community traditions.” (McNally)
Westermark, Victoria. "Seminole Patchwork." Absolutely Florida Magazine. 1990. Ah Tha Thi Ki Museum. 30 Sept. 2012 <http://www.abfla.com/1tocf/seminole/semart.html>.
The information on this website provides the background for how the quilt became an integral part of the Native American culture. The author of this article concentrates on the historical aspects of Seminole patchwork. This knowledge leads me to a possible historical difference (or similarity) between the Native American and African American quilting tradition. According to this website, the first versions of Seminole patchwork evolved out of necessity during the late 1800’s. “When cloth ran short, and a journey to town was not likely, women would take the small strips remaining from the ends of the cotton rolls and make strips out of the remnants. These were hand sewn into larger pieces for clothes, referred to as strip clothing. Necessity turned into wearable art” (Westermark). By the 1920’s, the sewing machine had transformed the Seminole patchwork. The women not only made clothing for their families, but created intricate artwork that contributed to the tourist trade. Over the twentieth century, the distinguishing qualities of the Seminole quilting continued to evolve. Westermark states that “Patchwork bands narrowed over time. This was carried to an extreme in the 1960's when the small scale bands became known as "postage stamp work"”.
Wicasa, Wambdi. "Star Quilt Tradition." American Indian Culture Research Center. 1 Oct. 2012 <http://starquilts.com/tradition.htm>.
Understanding the meaning behind the common designs of Native American quilts will assist in answering my question of How does the culture of African American quilting differ from the culture of Native American quilting? This article describes the spiritual motive and tradition behind the creation of the star quilt. The star quilt is unique to Native Americans. The stars and heavenly bodies are a sacred part of the mythology for many Native American tribes. The author discusses the purpose of the stars. According to this website, “It is thought that to the Stars, the Great Spirit gave the power to watch over mortals on earth and impart to them spiritual blessings” (Wicasa). After a loved one dies, a special ceremony is held that includes a presentation of quilts to those who were especially kind to the deceased.
IV. Conclusions
Evaluation of Hypotheses
Hypothesis: The physical attributes of the quilts, including appearance, materials and patterns, is the main difference between the culture of African American quilting and Native American quilting.
My research showed that there is a distinct difference in appearance between quilts made by the two cultures; however, there remains a consistency among the types of materials used by both of the cultures. The nature of the fabric that was and is used by the Native Americans and African Americans in their quilting projects involves many factors. These factors include time period, availability, intention and, to some extent, cultural tradition. The general progression of fabric type through the years is constant across many quilting cultures. In the early days of quilting, scraps of wool and discarded clothing were used. By the 1920’s, the use of synthetics and cotton flourished. The article, “Unexpected Vistas in Quilting by Men”, “Seminole Patchwork” and my interview support these inferences that both Native American and African American quilters utilized similar materials.
As observed in the article, “African American Quilting: A Long Rich Heritage”, “one cannot look at a quilt and easily identify the cultural background of the artist”. However, my research led me to the supposition that one can discover distinct cultural characteristics of quilts when one looks at the broader quilting spectrum. For Native American quilts, the designs often originate from tribal symbolism. For African American quilts, the designs often include bold patterns with the essence of Africa. The book A Communion of the Spirits and the articles “Star Quilt Tradition” and “Native Americans Piece Their Stories Through Art of Quilting” directly addressed this hypothesis.
Hypothesis: The purpose behind the creation of the quilts is the main difference between the culture of African American quilting and Native American quilting.
My research strongly supported this hypothesis. Every one of my sources included information on the unique and specialized purpose of the quilts made by African Americans and by Native Americans. The book, A Communion of the Spirits, gives a broad list of reasons why quilters make their beautiful quilts. “Quilts were made to keep warm, record history, commemorate struggle and triumph, give to loved ones, heal and hurt, generate income” (376). While many of these purposes are shared by both cultures, the unique reasons really set each culture apart. One special purpose of quilts for Native Americans, especially the Hopi tribe, is the baby-naming ceremony. Originally, men wove a blanket with the father’s name to give to the newborn. Today, quilts have replaced the woven blankets and continue to be a prominent gift in other special ceremonies. Conversely, African Americans often use quilts to tell a story. Story-quilts, as they are called, usually are made with appliqué and often convey a biblical message.
Null Hypothesis: There is no difference between the culture of African American quilting and Native American quilting.
While all my resources described distinct differences between the cultures of the Native American quilting and African American quilting, I also discovered many commonalities that the two cultures shared. There is a sort of balance between standard mainstream quilting and cultural and ethnic touches in every quilt. From my research, I have discovered that each culture is proud of its own quilters’ accomplishments and attempts to sustain a distinct world of African American quilting and world of Native American quilting.
Analysis of Effectiveness of Original Hypotheses
How does the culture of African American quilting differ from the culture of Native American quilting?
My hypotheses were accurate and effective in answering my question. Even though I originally knew very little about quilting from specific ethnic groups, my two hypotheses greatly assisted me in directing my research. I was pleasantly surprised to find that almost all of my sources discussed both the physical characteristics and unique purpose of various quilts. This allowed me to outline what exactly are the differences between the cultures in regard to quilting.
Statement of Theory
I believe that the following accurately answers my question:
The history and evolution of the quilt differs in the Native American culture and African American culture.
The ethnic, spiritual and traditional influences that go into the designing and making of quilts differ in the Native American culture and African American culture.
The reasons and purposes for creating quilts differ in the Native American culture and African American culture.
One question that remains unanswered is: what role does gender play in the Native American and African American quilting communities?
V. Implications
This research paper opened my eyes to the importance and prevalence of quilts in two very diverse cultures. I have always been captivated by the unique styles and wondrous handiwork of another cultures’ art. I have great respect for quilters and thought nothing of the long, tedious hours that quilters spend perfecting their spectacular art pieces. I am astounded by the diverse and special world of quilts and quilt makers. I have learned that there is a complexity in each quilt, a visual message crafted by the artist, whether he or she is Native American or African American or any other ethnicity. There is also a difficulty with deciding, what exactly is the difference between the same arts of two cultures. As for future research on quilts and quilt history, I believe that it is more important to learn about the story behind individual quilts than to pick out the differences.
VI. Works Cited
Cotter, Holland. "Unexpected Vistas in Quilting by Men." New York Times 29 May 1998, sec. E: 35. ProQuest. King County Library System, Sammamish. Web 1 Oct. 2012.
Freeman, Roland L. A Communion of the Spirits: African-American Quilters, Preservers, and Their Stories. Nashville: Rutledge Hill P, 1996. Print
McNally, Shana. "Native Americans Piece Their Stories Through Art of Quilting." Seattle Times 2 July 2000, Weekend ed., sec. B: 1. ProQuest. King County Library System, Sammamish. Web 30 Sept. 2012.
Mori, B. L. R. "The Tea Ceremony:: A Transformed Japanese Ritual." Gender & Society 5.1 (1991): 86-97. Print.
Westermark, Victoria. "Seminole Patchwork." Absolutely Florida Magazine. 1990. Ah Tha Thi Ki Museum. Web 30 Sept. 2012 <http://www.abfla.com/1tocf/seminole/semart.html>.
Wicasa, Wambdi. "Star Quilt Tradition." American Indian Culture Research Center. Web 1 Oct. 2012 <http://starquilts.com/tradition.htm>.
Yutang, Lin. "The Importance of Living [Paperback]." The Importance of Living: Amazon.co.uk: Yutang Lin: Books. William Morrow and Company, n.d. Print
Artifact # 1 for Content page 3
Gerri Jergensen
HUM 3401
Presentation/ Paper
April 18, 2013
Chinese Acrobatics
Tradition
Acrobatics is a pearl in the treasure house of the traditional Chinese performing arts. Chinese acrobatics has a long and rich heritage. The acrobatic art has been existent in China for more than two thousand years. As early as the Warring States Period (475-221 BC), the rudiments of acrobatics existed. By the time of the Han Dynasty (221 BC-220 AD), the acrobatic art or "Hundred Plays" further developed both in content and variety. In the Tang Dynasty, the number of acrobats greatly increased and their performing skills improved a great deal.
The acrobatic art has been existent in China for more than two thousand years. In the long course of development, the Chinese acrobatic art has formed its own style. The ancient acrobatics stemmed from the people's life and had a close link with their life and productive labor. Instruments of labor like tridents, wicker rings and articles of daily use such as tables, chairs, jars, plates and bowls were used in their performances.
As early as the Warring States Period (475-221 BC), there appeared rudiments of acrobatics. By the time of the Han Dynasty (221 BC-220 AD), the acrobatic art or "Hundred Plays" further
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developed both in contents and varieties (Frame). There were superb performances with music accompaniment on the acrobatic stage about two thousand years ago.
In the Tang Dynasty, the number of acrobats greatly increased and their performing skills much improved. Progress in Chinese acrobatics was very great during the Tang Dynasty, between the 7th and 10th centuries, when performances were often held at the imperial court, a tang mural in the Dunhuang Grottoes, An outing by the lady of Song, shows acrobatics, dancing, singing, and horsemanship.
At present, there are over 120 acrobatic troupes above the county level. More than 12,000 people are involved in performing. Chinese acrobatics has won acclaim and praise from audiences both at home and abroad, and Chinese acrobats won many gold medals in World Acrobatic Festivals in recent years. Cycling with Bowl Piling, Lion Dance and Vocal imitation are the most famous programs.
Chinese Acrobatics is one of the oldest performing arts. Its history can be traced back to Neolithic times. It is believed that acrobatics grew out of labor and self-defense skills, which people practiced and demonstrated during their leisure time. The early performance is "walking on three-meter-high stilts while juggling seven gaggers". Then it developed into an entire art form.
Acrobatic art has its own peculiarity. As the performance itself is very depictive, it has high requirements and interdependent to light effects, costumes or clothing and music. The theme music perfectly coincided with the performance, which could make the atmosphere even livelier.
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A successful acrobatic performance also requires appropriate clothing. Costumes further enhance the beauty of the performance and increase its visual effects.
Before attempting to describe Chinese Acrobatics (and one may well question whether the practice of acrobatics in China differs from the practice of acrobatics elsewhere, in the same way that Chinese Cuisine differs from the cuisine of, say, France), it would be helpful to first define what is meant by the term "acrobatics". Most sources that describe Chinese Acrobatics seem to equate it with circus or theatrical performances, i.e., confusing it with its applications, while even a dictionary definition can sound either somewhat circular or simply inadequate (a dictionary might define acrobatics as the activity of an acrobat, while it defines an acrobat as someone who performs acrobatics, and it is not much more helpful if the definition rests on the term "gymnastics", since this term is also often defined in a similar, circular fashion, and often any definition of the term seems to leave out the concept of motion entirely).
A reasonable, if somewhat long, definition of the term "acrobatics" would therefore seem to be the following:
"The performance of physical feats such as leaping, hopping, swinging, twisting, tumbling, cartwheeling and somersaulting, and even cycling, roller skating, walking or standing, the latter perhaps on only one foot, where these require complete poise, such as in connection with tightrope performances, involving balance and the precise control of movement." And of course, activity of this nature (and the above is not intended to be an exhaustive list!), especially where it requires superb balance and the precise control of movement, requires as well great physical strength that rests on specific exercises and practice, practice, practice!
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With this definition in place, it will be easier to distinguish the discipline of acrobatics, as it is – and has traditionally been – practiced in China, from the Chinese art forms in which it often lays a major role, and to describe the elements on which the discipline of Chinese Acrobatics rests.
The Two Pillars of Chinese Acrobatics
It focuses especially on the waist and legs, since strong abdominal muscles is the key to all precisely controlled movement involving the bending, twisting, etc., of the torso – especially where this takes place in slow motion, as it were – while strong legs are essential for maintaining perfect balance when standing still (e.g. on a tightrope), perhaps encumbered with additional weight, or while engaged in movement, whether supporting additional weight or not.
It emphasizes the controlled strength and harmonious coordination of the various component parts of the body while maintaining infinite muscular flexibility, so as to achieve fluid, agile movement that exudes power under perfect control. It achieves this through conventional and martial arts exercises that relate to Qigong, or slow, deliberate and graceful movement, combined with proper breathing techniques, that are designed to harness the "qi", or the body's life force.
These two simple elements constitute the pillars on which Chinese Acrobatics is founded. Note that the primary emphasis in Chinese Acrobatics is on the lower torso, i.e., on the abdomen and downward, not on the upper torso, which, in Chinese Acrobatics, is somewhat downplayed. This is no doubt owing to the primary applications, or art forms, in which Chinese Acrobatics plays a major role, which conveniently leads us to that final subject.
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The Applications (Art Forms) Of Chinese Acrobatics
Chinese Acrobatics has its origins in Chinese Folk Dance, and, indeed, Chinese Folk Dance remains one of its main applications to this day. For example, the Dragon Dance employs dancers who are also acrobats, as acrobatic movement is required in order to bring the mock dragon to life, but acrobatics also plays a role in many other Chinese Folk Dances. In addition, just as the Chinese Folk Dance also transitioned to the Chinese Theatre, Chinese Acrobatics has also transitioned to the Chinese Theatre.
Many theatre performances during China's Imperial period involved roles that required an acrobat, and some plays involved segments consisting of solo performances by acrobats – usually to the accompaniment of music – such as between-act solo performances while the set was being re-arranged. This eventually led to local performances that involved more or less pure acrobatic displays rather than song & dance numbers, drama, etc. Or, after the "highbrow" play had been performed, which required a certain level of respectful decorum on the part of the audience, a rowdy troupe of acrobats might take the stage as the alcoholic beverages began to flow, ordinary folk found their tongues and the noise level rose accordingly.
Acrobatic "theatre" performances of the type just mentioned had the air of a circus performance, where the acrobats performed all manner of leaps, hops and somersaults, or stood atop one another while the acrobat on top might have performed a juggling act, etc. What we think of as circus today was in fact born out of such performances.
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Balancing act
Chinese acrobats embrace innovation to stay ahead in overseas markets, not only are acrobats masters of agility and grace, but also ambassadors of a rich culture and tradition. They are also one of the top foreign exchange earners for China in the performing arts category. With their unique blend of physical strength and quick and nimble actions, Chinese acrobats have often captivated audiences across the globe with their electrifying performances. With such a rich legacy, one would have expected the sector to be brimming with confidence. But, sadly that has not been the case. With the home market fast drying up, the acrobats are now turning to new pastures across the seas for survival.
"The best markets for Chinese acrobats are in Europe and the United States," says Li Jin, the director of world tour management at the China Performing Arts Agency Productions Ltd (CPAAP). "Acrobatics accounts for more than 90 percent of the foreign exchange earnings from commercial performances in overseas markets," says Li. CPAAP is a Beijing-based company that specializes in producing shows and managing tours across the globe. Under its aegis, the CPAAP introduced over 30 acrobatics troupes and some 400 performers in the overseas markets last year, accounting for nearly 60 percent of the commercial acrobatics performances registered under the Ministry of Culture.
Balancing act
Liu Feng'en, vice-president of Wuqiao Acrobatics Art School, says the rigorous and strenuous training from childhood has honed the skills of Chinese acrobats. Most of the revenue for Chinese acrobats, however, comes from the European markets. That to some extent also
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highlights the popularity of the art form in Europe. "Chinese acrobatics is immensely popular in Europe," says Shi Jinliang, director of the Wuqiao Acrobatic World Performing Art Troupe (WPAT).
The WPAT has over 200 performers under its wings and clocked revenue of more than 4 million yuan (434,400 euros) last year from the overseas markets, compared with 2 million yuan from the domestic market.
Shi says that most of the troupe's performances are now in Europe. "In 2010, we sent out several small groups to France, England and Germany respectively and they stayed there for more than six months," says Shi. He adds that the number of acrobats performing in Europe goes up substantially during Christmas time, with the duration of the performance extending to over 40 days.
The Chinese acrobats are not known just for their performances. They have also picked up several prestigious awards along the way. That includes the prize awarded by the French President at the Paris Tomorrow International Acrobatics Festival and the Golden Clown Award at the Monte-Carlo International Circus Festival.
Despite the popularity and fame, most of the troupes pay hardly any attention to marketing. In most cases, the promotional activities are confined to just the website. "We do not have any specific marketing strategies. Normally we leave our contact information on the website and wait for our clients or agents to contact us. It is quite common among Chinese troupes," says Xin Weimin, director of Wuqiao Acrobatic Troupe (WAT).
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There are other ways, too, in which local troupes attempt to get more contracts. "Acrobatics competitions and festivals, both national and international ones, are excellent platforms to display our talent. Most of the troupes bring their best program to attract foreign clients. Winning the prize in the festival will also increase the reputation of the troupe and translate into more contract wins," says Xin.
Li, however, believes that the acrobats should not rely only on reputation, but also use the services of a professional agent. "In a mature market, the production and promotion should be divided. A professional agent is of great use during negotiations and promotions with foreign clients/circuses and will also help in getting better remuneration," she says.
What makes that point more compelling is the fact that most of the Chinese acrobats often end up as performers in foreign circuses and very few have solo performances. "In the international market, Chinese acrobatics troupes are just employees of well-known circuses," says Li. She says that two business models exist for Chinese acrobats in the world market. They can either be part of the independent world tours organized by Chinese companies or join foreign circuses as performers. But unfortunately it is the latter that has been more popular with the performers.
"Last year we only promoted three troupes for independent world tours," says Li. "Since Chinese acrobatics troupes are not familiar with the complicated laws and regulations and business operations in foreign countries, it would be much safer and more convenient for them to join big circuses as they have a better understanding of the local market and are managed more professionally." She says big circuses like the Cirque du Soleil from Canada, often take the help of Chinese agents to contact local troupes and choose programs.
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"These big circuses are only organizers. They hire acrobatics troupes from different countries and then organize a world tour. What the Chinese acrobatics troupes contribute is only programs. These circuses would take care of the rest, including early promotion, organization, venue booking and ticket sales." Though the troupes are having considerable success in the overseas markets, the situation in the domestic market is not that promising.
"The domestic market is not as good as the 1980s. People have more entertainment options and they would prefer to spend 100 yuan on a movie or drama rather than on an acrobatics show," says Li. The shifting consumer preferences have also contributed to a stagnant market, she says. "Foreigners are still in the habit of seeing shows. That trend did not diminish even during the financial crisis. In the US, despite all the problems, people were willing to pay as much as $30 (21.32 euros) to see Chinese acrobats perform," says Li.
Most of the troupes have hardly any domestic performances and are mostly reliant on overseas business to make both ends meet. Higher pay and better working environment are other factors that make up the overseas dream for most of the troupes. Chinese acrobats embrace innovation to stay ahead in overseas markets. "In Europe, each Chinese acrobat could earn a monthly salary of $1,100, while in the US, the pay could reach $1,800 per person," says Shi. "Besides, acrobats can have the weekends off and also have legal rights as well as labor law protection," he says.
"In China, there are too many acrobatic troupes. The average monthly salary is only around 4,000 yuan if we conduct a commercial show. The highly competitive market has also led to many companies underselling their programs to secure more contract wins." Shi adds that acrobats rarely get free time off if they are performing in the domestic market.
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Liu Feng'en, vice-president of Wuqiao Acrobatic Art School, says that the popularity of Chinese acrobatics in the overseas market could be attributed to its own features. "Chinese acrobatics has always had its own characteristics," says Liu. "In terms of skills and techniques, there is no one to surpass Chinese acrobats. The rigorous and strenuous training from childhood has honed the skills of Chinese acrobats." While Chinese acrobats rely on skills and finesse to showcase their talent, their Western counterparts often depend on fancy and elaborate props. Yet another factor that sets Chinese acrobats apart from the rest of the pack is their ability to perform in huge numbers, often big groups of 20 to 30 performers.
"China is the only country that is good at large-scale performances. This is also the result of the unique management model in China," says Liu. He says that most Chinese troupes are private enterprises and have more performers available for large-scale performances. Foreign acrobatics troupes often apply patriarch-based management with fewer acrobats. "Their strengths are humorous acts and comedies, which are often presented as solo shows," he says.
The financial crisis in Europe and the US has also to some extent affected the fortunes of Chinese acrobats. "Overseas revenue has fallen by 5 to 10 percent every year since 2008," says Xin. WAT was set up in the 1950s, and currently employs 51 performers. Last year it posted revenue of 20 million yuan, 70 percent of which came from overseas markets. Xin says despite the economic crisis, foreign circuses would continue to strike deals with Chinese acrobatics troupes, but at lower costs.
"Originally we would send out 30 performers for a show. But now in order to cut the expenses and salaries, the circuses have asked us to trim the staff to 25, while the salary is the same," he
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says. Xin says that despite the blips, the overseas market would continue to be the mainstay for troupes. "Unlike the Peking Opera, acrobatics is a pure body language without any boundaries. It is something that everybody can understand. Challenging the human limits is always an attractive proposition for overseas viewers. Audiences like to see what they cannot do. So it still has a great potential in the world market," he says.
But in an attempt to diversify further, the troupes are now focusing more on program packaging.
"Acrobatic programs are just like garments in the fashion industry. Customers would lose interest if we put on the same show all the time. That is why we have to constantly upgrade our programs according to international market trends," Xin says. This year, Xin says they would invest 3 to 4 million yuan in program packaging. "We will use various technologies, including stage design and lighting to present better visual effects, so as to make our programs more exciting and attractive and also to win more contracts," he says.
However, some experts are concerned about the negative influences of excessive packaging. Yang Shuangyin, head of Cultural Relics Administrative Institute in Wuqiao County, says that program packaging itself is a dilemma. "On the one hand, packaging may make programs much fancier; but it may also reduce the weight of acrobatic skills and techniques in the show." He emphasizes that the packaging should be moderate, lest the show's intrinsic charm remains hidden. "Shocking, dangerous, extraordinary and wonderful performances are the four essential elements for acrobatics. Without them, acrobatics would be just like normal dancing."
Li, however, remains upbeat on overseas prospects. He says that will send 36 troupes overseas this year. "There are some big circuses, like Cirque du Soleil in Canada and Ringling Brothers
Jergensen
and Barnum and Bailey Circus in the US who pay great attention to Chinese acrobatics. Every year they arrange one or two world tours and Chinese acrobatics are an integral part of these performances." Together with the growing market demand, the requirement for better programs is also getting higher year by year.
Li says the requirement of acrobatics has evolved from pure demonstration of physical skill and techniques to better stage presentation skills and more artistic performances. "Foreign audiences have a higher expectation for Chinese acrobatics programs these days. Traditional programs do not satisfy them anymore. Consequently, big circuses have been asking for some tailored programs that are more spectacular, exciting and special," she says. Li says that for a better development in the world market, besides program packaging, the development of acrobats should not be neglected.
"Though acrobatics takes the lead in all the Chinese art forms in terms of self-development, there is still a huge gap compared with the international level. Chinese acrobats should pay more attention to acting and stage presentation skills, and make programs more touching and beautiful."
They perform incredible stunts that leave the audience gasping and cheering for more. It's a spectacle that easily beats the circus. There is no competition or scoring, but acrobats must rely on the competence of their partners and train constantly, so as to not injure themselves or worse. And in China, the motherland of acrobatics, the performers are the best in the world. It's considered both an art form and a sport and it has a long and rich heritage in China. It's been around in this country for more than 2,000 years and the ancient form was based thematically on
Jergensen
the life experiences and work of the people. Instruments of their professions, like tables, chairs, jars and bowls were used as props for the performances.
Acrobatics is both an art form and a sport and it has a long and rich heritage in China. In old China, acrobatics was popular but never performed in theatres because it was looked down upon by the upper classes. Today, things are very different. There are over 120 acrobatic troupes here and more than 12,000 people involved in performances. Chinese acrobatic troupes have toured a hundred different countries and are employed en masse by huge productions like Cirque du Soleil.
Today, athleticism reigns. It requires extraordinary balance ability, agility and coordination. And Chinese performers start honing their skills at a very young age. Chinese acrobats are trained from a very young age, while acrobats from other countries only start when they are 15 or 16. So their skills are better.
Modern-day Chinese acrobats still appear in theatre roles, such as in Peking Opera (Beijing Opera) performances, where they are also indispensable, but they appear mostly in Chinese Folk Dances – during the various annual festivals such as the Chinese Lunar New Year celebrations (aka Spring Festival) – and in circuses, where they entertain with a broad range of acts, from the performance of magic (i.e., sleight of hand, etc.) to clowning to juggling to special acts involving stacks of plates, bowls, glasses, etc., being placed – sometimes tossed! – On the acrobat's head, while the acrobat – who may or may not be on horseback, or mounted on an elephant – deftly maintains perfect balance.
Jergensen
In recent years, Chinese acrobatic performers have won many prizes in international competitions, and China has recently been honored with the distinction of being the country with the 'World's Best Acrobatic Performances'. In fact, Chinese circus is as popular, if not more popular, outside China as it is inside the country, so the demand for ever new circus acts means that Chinese Acrobatics will no doubt continue to enjoy a prosperous future.
Besides these wonderful performances, you can also enjoy the plates spinning, leg and foot juggle, rolling cups & contortion, poles climb, bungee jump, rolling hoops dives, trapeze, bicycle feasts, and so many more. Watching a Chinese Acrobatics performance, strongly impacts you both mentally and physically. You will truly have an unforgettable experience of your life.
Modern Times
Since the middle of this century, great efforts to foster and develop national arts and acrobatics have gained a new life. All provinces, municipalities, and autonomous regions have set up their own acrobatic troupes. The veteran performers have better opportunities to display their skill. The acrobats in modern China have set up a designing and directing system aimed at creating graceful stage images, harmonious musical accompaniment, and good supporting effects of costumes, props, and lighting in order to bring about a fully developed stage art.
The present status of Chinese acrobatics reflects the industry, resourcefulness, and un-daunting courage of the Chinese people. In the past forty years and more, many Chinese acrobatic troupes have toured more than one hundred countries and regions of the world and promoted friendship and cultural exchanges. At present, there are over 120 acrobatic troupes above the county level, and more than 12,000 people are involved in performing.
Jergensen
WORKS CITED
Frame, Ed, and Jennifer Taylor. Asian Reader. 3rd ed. Mason, OH: Thompson South-Western,
2006. Print.
Gu, Ming Dong “Aesthetic Suggestiveness in Chinese Thought: A Symphony of Metaphysics
and Aesthetics” Philosophy East and West Vol 53(2003) 490-513. Jstor. Web.
Hong, Z. "Acrobatics or Circus? - Also on the Overseas Marketing of Chinese Acrobatics." Chinese Science
and Technology Periodical Database (2012): Web. 2013.
Inada, Kenneth K. "A Theory of Oriental Aesthetics." Philosophy East and West Vol.47 (1997):
117-31. Jstor. Web. 03 March. 2013.
Xun, Lu. Lovell, Julia. "Village Opera." The Real Story of Ah-Q and Other Tales of China: The Complete
Fiction of Lu Xun .Penguin Classics, (2009) p148-161: Kindle.
WEBSITES
A Chinese Acrobatic Show Dlights the Olympic Crowds; CRIENGLISH.com
http://english.cri.cn/4026/2008/07/23/1721s384506.htm
Chinese acrobatics gain global clout; By CCTV reporter Liu Wenwen
http://english.cntv.cn/program/cultureexpress/20130123/102186.shtml
Videos that will be used in final presentation:
Jergensen
• You tube video Sky High Balance Poles
http://www.jokeroo.com/videos/cool/chinese-acrobats-on-russian-pole.html
• CIRQUE DU SOLEIL; YOYO girls DIABOLOS http://www.youtube.com/watch?v=UDNGeyuRxDY
• Tumbling; http://english.cntv.cn/program/cultureexpress/20120828/106974.shtml
ICARIAN Foot Juggling
• Dralion; http://www.newsok.com/article/3737194
HUM 3401
Presentation/ Paper
April 18, 2013
Chinese Acrobatics
Tradition
Acrobatics is a pearl in the treasure house of the traditional Chinese performing arts. Chinese acrobatics has a long and rich heritage. The acrobatic art has been existent in China for more than two thousand years. As early as the Warring States Period (475-221 BC), the rudiments of acrobatics existed. By the time of the Han Dynasty (221 BC-220 AD), the acrobatic art or "Hundred Plays" further developed both in content and variety. In the Tang Dynasty, the number of acrobats greatly increased and their performing skills improved a great deal.
The acrobatic art has been existent in China for more than two thousand years. In the long course of development, the Chinese acrobatic art has formed its own style. The ancient acrobatics stemmed from the people's life and had a close link with their life and productive labor. Instruments of labor like tridents, wicker rings and articles of daily use such as tables, chairs, jars, plates and bowls were used in their performances.
As early as the Warring States Period (475-221 BC), there appeared rudiments of acrobatics. By the time of the Han Dynasty (221 BC-220 AD), the acrobatic art or "Hundred Plays" further
Jergensen
developed both in contents and varieties (Frame). There were superb performances with music accompaniment on the acrobatic stage about two thousand years ago.
In the Tang Dynasty, the number of acrobats greatly increased and their performing skills much improved. Progress in Chinese acrobatics was very great during the Tang Dynasty, between the 7th and 10th centuries, when performances were often held at the imperial court, a tang mural in the Dunhuang Grottoes, An outing by the lady of Song, shows acrobatics, dancing, singing, and horsemanship.
At present, there are over 120 acrobatic troupes above the county level. More than 12,000 people are involved in performing. Chinese acrobatics has won acclaim and praise from audiences both at home and abroad, and Chinese acrobats won many gold medals in World Acrobatic Festivals in recent years. Cycling with Bowl Piling, Lion Dance and Vocal imitation are the most famous programs.
Chinese Acrobatics is one of the oldest performing arts. Its history can be traced back to Neolithic times. It is believed that acrobatics grew out of labor and self-defense skills, which people practiced and demonstrated during their leisure time. The early performance is "walking on three-meter-high stilts while juggling seven gaggers". Then it developed into an entire art form.
Acrobatic art has its own peculiarity. As the performance itself is very depictive, it has high requirements and interdependent to light effects, costumes or clothing and music. The theme music perfectly coincided with the performance, which could make the atmosphere even livelier.
Jergensen
A successful acrobatic performance also requires appropriate clothing. Costumes further enhance the beauty of the performance and increase its visual effects.
Before attempting to describe Chinese Acrobatics (and one may well question whether the practice of acrobatics in China differs from the practice of acrobatics elsewhere, in the same way that Chinese Cuisine differs from the cuisine of, say, France), it would be helpful to first define what is meant by the term "acrobatics". Most sources that describe Chinese Acrobatics seem to equate it with circus or theatrical performances, i.e., confusing it with its applications, while even a dictionary definition can sound either somewhat circular or simply inadequate (a dictionary might define acrobatics as the activity of an acrobat, while it defines an acrobat as someone who performs acrobatics, and it is not much more helpful if the definition rests on the term "gymnastics", since this term is also often defined in a similar, circular fashion, and often any definition of the term seems to leave out the concept of motion entirely).
A reasonable, if somewhat long, definition of the term "acrobatics" would therefore seem to be the following:
"The performance of physical feats such as leaping, hopping, swinging, twisting, tumbling, cartwheeling and somersaulting, and even cycling, roller skating, walking or standing, the latter perhaps on only one foot, where these require complete poise, such as in connection with tightrope performances, involving balance and the precise control of movement." And of course, activity of this nature (and the above is not intended to be an exhaustive list!), especially where it requires superb balance and the precise control of movement, requires as well great physical strength that rests on specific exercises and practice, practice, practice!
Jergensen
With this definition in place, it will be easier to distinguish the discipline of acrobatics, as it is – and has traditionally been – practiced in China, from the Chinese art forms in which it often lays a major role, and to describe the elements on which the discipline of Chinese Acrobatics rests.
The Two Pillars of Chinese Acrobatics
It focuses especially on the waist and legs, since strong abdominal muscles is the key to all precisely controlled movement involving the bending, twisting, etc., of the torso – especially where this takes place in slow motion, as it were – while strong legs are essential for maintaining perfect balance when standing still (e.g. on a tightrope), perhaps encumbered with additional weight, or while engaged in movement, whether supporting additional weight or not.
It emphasizes the controlled strength and harmonious coordination of the various component parts of the body while maintaining infinite muscular flexibility, so as to achieve fluid, agile movement that exudes power under perfect control. It achieves this through conventional and martial arts exercises that relate to Qigong, or slow, deliberate and graceful movement, combined with proper breathing techniques, that are designed to harness the "qi", or the body's life force.
These two simple elements constitute the pillars on which Chinese Acrobatics is founded. Note that the primary emphasis in Chinese Acrobatics is on the lower torso, i.e., on the abdomen and downward, not on the upper torso, which, in Chinese Acrobatics, is somewhat downplayed. This is no doubt owing to the primary applications, or art forms, in which Chinese Acrobatics plays a major role, which conveniently leads us to that final subject.
Jergensen
The Applications (Art Forms) Of Chinese Acrobatics
Chinese Acrobatics has its origins in Chinese Folk Dance, and, indeed, Chinese Folk Dance remains one of its main applications to this day. For example, the Dragon Dance employs dancers who are also acrobats, as acrobatic movement is required in order to bring the mock dragon to life, but acrobatics also plays a role in many other Chinese Folk Dances. In addition, just as the Chinese Folk Dance also transitioned to the Chinese Theatre, Chinese Acrobatics has also transitioned to the Chinese Theatre.
Many theatre performances during China's Imperial period involved roles that required an acrobat, and some plays involved segments consisting of solo performances by acrobats – usually to the accompaniment of music – such as between-act solo performances while the set was being re-arranged. This eventually led to local performances that involved more or less pure acrobatic displays rather than song & dance numbers, drama, etc. Or, after the "highbrow" play had been performed, which required a certain level of respectful decorum on the part of the audience, a rowdy troupe of acrobats might take the stage as the alcoholic beverages began to flow, ordinary folk found their tongues and the noise level rose accordingly.
Acrobatic "theatre" performances of the type just mentioned had the air of a circus performance, where the acrobats performed all manner of leaps, hops and somersaults, or stood atop one another while the acrobat on top might have performed a juggling act, etc. What we think of as circus today was in fact born out of such performances.
Jergensen
Balancing act
Chinese acrobats embrace innovation to stay ahead in overseas markets, not only are acrobats masters of agility and grace, but also ambassadors of a rich culture and tradition. They are also one of the top foreign exchange earners for China in the performing arts category. With their unique blend of physical strength and quick and nimble actions, Chinese acrobats have often captivated audiences across the globe with their electrifying performances. With such a rich legacy, one would have expected the sector to be brimming with confidence. But, sadly that has not been the case. With the home market fast drying up, the acrobats are now turning to new pastures across the seas for survival.
"The best markets for Chinese acrobats are in Europe and the United States," says Li Jin, the director of world tour management at the China Performing Arts Agency Productions Ltd (CPAAP). "Acrobatics accounts for more than 90 percent of the foreign exchange earnings from commercial performances in overseas markets," says Li. CPAAP is a Beijing-based company that specializes in producing shows and managing tours across the globe. Under its aegis, the CPAAP introduced over 30 acrobatics troupes and some 400 performers in the overseas markets last year, accounting for nearly 60 percent of the commercial acrobatics performances registered under the Ministry of Culture.
Balancing act
Liu Feng'en, vice-president of Wuqiao Acrobatics Art School, says the rigorous and strenuous training from childhood has honed the skills of Chinese acrobats. Most of the revenue for Chinese acrobats, however, comes from the European markets. That to some extent also
Jergensen
highlights the popularity of the art form in Europe. "Chinese acrobatics is immensely popular in Europe," says Shi Jinliang, director of the Wuqiao Acrobatic World Performing Art Troupe (WPAT).
The WPAT has over 200 performers under its wings and clocked revenue of more than 4 million yuan (434,400 euros) last year from the overseas markets, compared with 2 million yuan from the domestic market.
Shi says that most of the troupe's performances are now in Europe. "In 2010, we sent out several small groups to France, England and Germany respectively and they stayed there for more than six months," says Shi. He adds that the number of acrobats performing in Europe goes up substantially during Christmas time, with the duration of the performance extending to over 40 days.
The Chinese acrobats are not known just for their performances. They have also picked up several prestigious awards along the way. That includes the prize awarded by the French President at the Paris Tomorrow International Acrobatics Festival and the Golden Clown Award at the Monte-Carlo International Circus Festival.
Despite the popularity and fame, most of the troupes pay hardly any attention to marketing. In most cases, the promotional activities are confined to just the website. "We do not have any specific marketing strategies. Normally we leave our contact information on the website and wait for our clients or agents to contact us. It is quite common among Chinese troupes," says Xin Weimin, director of Wuqiao Acrobatic Troupe (WAT).
Jergensen
There are other ways, too, in which local troupes attempt to get more contracts. "Acrobatics competitions and festivals, both national and international ones, are excellent platforms to display our talent. Most of the troupes bring their best program to attract foreign clients. Winning the prize in the festival will also increase the reputation of the troupe and translate into more contract wins," says Xin.
Li, however, believes that the acrobats should not rely only on reputation, but also use the services of a professional agent. "In a mature market, the production and promotion should be divided. A professional agent is of great use during negotiations and promotions with foreign clients/circuses and will also help in getting better remuneration," she says.
What makes that point more compelling is the fact that most of the Chinese acrobats often end up as performers in foreign circuses and very few have solo performances. "In the international market, Chinese acrobatics troupes are just employees of well-known circuses," says Li. She says that two business models exist for Chinese acrobats in the world market. They can either be part of the independent world tours organized by Chinese companies or join foreign circuses as performers. But unfortunately it is the latter that has been more popular with the performers.
"Last year we only promoted three troupes for independent world tours," says Li. "Since Chinese acrobatics troupes are not familiar with the complicated laws and regulations and business operations in foreign countries, it would be much safer and more convenient for them to join big circuses as they have a better understanding of the local market and are managed more professionally." She says big circuses like the Cirque du Soleil from Canada, often take the help of Chinese agents to contact local troupes and choose programs.
Jergensen
"These big circuses are only organizers. They hire acrobatics troupes from different countries and then organize a world tour. What the Chinese acrobatics troupes contribute is only programs. These circuses would take care of the rest, including early promotion, organization, venue booking and ticket sales." Though the troupes are having considerable success in the overseas markets, the situation in the domestic market is not that promising.
"The domestic market is not as good as the 1980s. People have more entertainment options and they would prefer to spend 100 yuan on a movie or drama rather than on an acrobatics show," says Li. The shifting consumer preferences have also contributed to a stagnant market, she says. "Foreigners are still in the habit of seeing shows. That trend did not diminish even during the financial crisis. In the US, despite all the problems, people were willing to pay as much as $30 (21.32 euros) to see Chinese acrobats perform," says Li.
Most of the troupes have hardly any domestic performances and are mostly reliant on overseas business to make both ends meet. Higher pay and better working environment are other factors that make up the overseas dream for most of the troupes. Chinese acrobats embrace innovation to stay ahead in overseas markets. "In Europe, each Chinese acrobat could earn a monthly salary of $1,100, while in the US, the pay could reach $1,800 per person," says Shi. "Besides, acrobats can have the weekends off and also have legal rights as well as labor law protection," he says.
"In China, there are too many acrobatic troupes. The average monthly salary is only around 4,000 yuan if we conduct a commercial show. The highly competitive market has also led to many companies underselling their programs to secure more contract wins." Shi adds that acrobats rarely get free time off if they are performing in the domestic market.
Jergensen
Liu Feng'en, vice-president of Wuqiao Acrobatic Art School, says that the popularity of Chinese acrobatics in the overseas market could be attributed to its own features. "Chinese acrobatics has always had its own characteristics," says Liu. "In terms of skills and techniques, there is no one to surpass Chinese acrobats. The rigorous and strenuous training from childhood has honed the skills of Chinese acrobats." While Chinese acrobats rely on skills and finesse to showcase their talent, their Western counterparts often depend on fancy and elaborate props. Yet another factor that sets Chinese acrobats apart from the rest of the pack is their ability to perform in huge numbers, often big groups of 20 to 30 performers.
"China is the only country that is good at large-scale performances. This is also the result of the unique management model in China," says Liu. He says that most Chinese troupes are private enterprises and have more performers available for large-scale performances. Foreign acrobatics troupes often apply patriarch-based management with fewer acrobats. "Their strengths are humorous acts and comedies, which are often presented as solo shows," he says.
The financial crisis in Europe and the US has also to some extent affected the fortunes of Chinese acrobats. "Overseas revenue has fallen by 5 to 10 percent every year since 2008," says Xin. WAT was set up in the 1950s, and currently employs 51 performers. Last year it posted revenue of 20 million yuan, 70 percent of which came from overseas markets. Xin says despite the economic crisis, foreign circuses would continue to strike deals with Chinese acrobatics troupes, but at lower costs.
"Originally we would send out 30 performers for a show. But now in order to cut the expenses and salaries, the circuses have asked us to trim the staff to 25, while the salary is the same," he
Jergensen
says. Xin says that despite the blips, the overseas market would continue to be the mainstay for troupes. "Unlike the Peking Opera, acrobatics is a pure body language without any boundaries. It is something that everybody can understand. Challenging the human limits is always an attractive proposition for overseas viewers. Audiences like to see what they cannot do. So it still has a great potential in the world market," he says.
But in an attempt to diversify further, the troupes are now focusing more on program packaging.
"Acrobatic programs are just like garments in the fashion industry. Customers would lose interest if we put on the same show all the time. That is why we have to constantly upgrade our programs according to international market trends," Xin says. This year, Xin says they would invest 3 to 4 million yuan in program packaging. "We will use various technologies, including stage design and lighting to present better visual effects, so as to make our programs more exciting and attractive and also to win more contracts," he says.
However, some experts are concerned about the negative influences of excessive packaging. Yang Shuangyin, head of Cultural Relics Administrative Institute in Wuqiao County, says that program packaging itself is a dilemma. "On the one hand, packaging may make programs much fancier; but it may also reduce the weight of acrobatic skills and techniques in the show." He emphasizes that the packaging should be moderate, lest the show's intrinsic charm remains hidden. "Shocking, dangerous, extraordinary and wonderful performances are the four essential elements for acrobatics. Without them, acrobatics would be just like normal dancing."
Li, however, remains upbeat on overseas prospects. He says that will send 36 troupes overseas this year. "There are some big circuses, like Cirque du Soleil in Canada and Ringling Brothers
Jergensen
and Barnum and Bailey Circus in the US who pay great attention to Chinese acrobatics. Every year they arrange one or two world tours and Chinese acrobatics are an integral part of these performances." Together with the growing market demand, the requirement for better programs is also getting higher year by year.
Li says the requirement of acrobatics has evolved from pure demonstration of physical skill and techniques to better stage presentation skills and more artistic performances. "Foreign audiences have a higher expectation for Chinese acrobatics programs these days. Traditional programs do not satisfy them anymore. Consequently, big circuses have been asking for some tailored programs that are more spectacular, exciting and special," she says. Li says that for a better development in the world market, besides program packaging, the development of acrobats should not be neglected.
"Though acrobatics takes the lead in all the Chinese art forms in terms of self-development, there is still a huge gap compared with the international level. Chinese acrobats should pay more attention to acting and stage presentation skills, and make programs more touching and beautiful."
They perform incredible stunts that leave the audience gasping and cheering for more. It's a spectacle that easily beats the circus. There is no competition or scoring, but acrobats must rely on the competence of their partners and train constantly, so as to not injure themselves or worse. And in China, the motherland of acrobatics, the performers are the best in the world. It's considered both an art form and a sport and it has a long and rich heritage in China. It's been around in this country for more than 2,000 years and the ancient form was based thematically on
Jergensen
the life experiences and work of the people. Instruments of their professions, like tables, chairs, jars and bowls were used as props for the performances.
Acrobatics is both an art form and a sport and it has a long and rich heritage in China. In old China, acrobatics was popular but never performed in theatres because it was looked down upon by the upper classes. Today, things are very different. There are over 120 acrobatic troupes here and more than 12,000 people involved in performances. Chinese acrobatic troupes have toured a hundred different countries and are employed en masse by huge productions like Cirque du Soleil.
Today, athleticism reigns. It requires extraordinary balance ability, agility and coordination. And Chinese performers start honing their skills at a very young age. Chinese acrobats are trained from a very young age, while acrobats from other countries only start when they are 15 or 16. So their skills are better.
Modern-day Chinese acrobats still appear in theatre roles, such as in Peking Opera (Beijing Opera) performances, where they are also indispensable, but they appear mostly in Chinese Folk Dances – during the various annual festivals such as the Chinese Lunar New Year celebrations (aka Spring Festival) – and in circuses, where they entertain with a broad range of acts, from the performance of magic (i.e., sleight of hand, etc.) to clowning to juggling to special acts involving stacks of plates, bowls, glasses, etc., being placed – sometimes tossed! – On the acrobat's head, while the acrobat – who may or may not be on horseback, or mounted on an elephant – deftly maintains perfect balance.
Jergensen
In recent years, Chinese acrobatic performers have won many prizes in international competitions, and China has recently been honored with the distinction of being the country with the 'World's Best Acrobatic Performances'. In fact, Chinese circus is as popular, if not more popular, outside China as it is inside the country, so the demand for ever new circus acts means that Chinese Acrobatics will no doubt continue to enjoy a prosperous future.
Besides these wonderful performances, you can also enjoy the plates spinning, leg and foot juggle, rolling cups & contortion, poles climb, bungee jump, rolling hoops dives, trapeze, bicycle feasts, and so many more. Watching a Chinese Acrobatics performance, strongly impacts you both mentally and physically. You will truly have an unforgettable experience of your life.
Modern Times
Since the middle of this century, great efforts to foster and develop national arts and acrobatics have gained a new life. All provinces, municipalities, and autonomous regions have set up their own acrobatic troupes. The veteran performers have better opportunities to display their skill. The acrobats in modern China have set up a designing and directing system aimed at creating graceful stage images, harmonious musical accompaniment, and good supporting effects of costumes, props, and lighting in order to bring about a fully developed stage art.
The present status of Chinese acrobatics reflects the industry, resourcefulness, and un-daunting courage of the Chinese people. In the past forty years and more, many Chinese acrobatic troupes have toured more than one hundred countries and regions of the world and promoted friendship and cultural exchanges. At present, there are over 120 acrobatic troupes above the county level, and more than 12,000 people are involved in performing.
Jergensen
WORKS CITED
Frame, Ed, and Jennifer Taylor. Asian Reader. 3rd ed. Mason, OH: Thompson South-Western,
2006. Print.
Gu, Ming Dong “Aesthetic Suggestiveness in Chinese Thought: A Symphony of Metaphysics
and Aesthetics” Philosophy East and West Vol 53(2003) 490-513. Jstor. Web.
Hong, Z. "Acrobatics or Circus? - Also on the Overseas Marketing of Chinese Acrobatics." Chinese Science
and Technology Periodical Database (2012): Web. 2013.
Inada, Kenneth K. "A Theory of Oriental Aesthetics." Philosophy East and West Vol.47 (1997):
117-31. Jstor. Web. 03 March. 2013.
Xun, Lu. Lovell, Julia. "Village Opera." The Real Story of Ah-Q and Other Tales of China: The Complete
Fiction of Lu Xun .Penguin Classics, (2009) p148-161: Kindle.
WEBSITES
A Chinese Acrobatic Show Dlights the Olympic Crowds; CRIENGLISH.com
http://english.cri.cn/4026/2008/07/23/1721s384506.htm
Chinese acrobatics gain global clout; By CCTV reporter Liu Wenwen
http://english.cntv.cn/program/cultureexpress/20130123/102186.shtml
Videos that will be used in final presentation:
Jergensen
• You tube video Sky High Balance Poles
http://www.jokeroo.com/videos/cool/chinese-acrobats-on-russian-pole.html
• CIRQUE DU SOLEIL; YOYO girls DIABOLOS http://www.youtube.com/watch?v=UDNGeyuRxDY
• Tumbling; http://english.cntv.cn/program/cultureexpress/20120828/106974.shtml
ICARIAN Foot Juggling
• Dralion; http://www.newsok.com/article/3737194
Content Page #2
Gerri Jergensen
Commitment
Throughout my years of climbing the corporate ladder, being a wife and mother, I remained active within the community. Working within my children's school I ran many fundraisers, clothing drives, while also organizing blood drives, food drives, and shelters for abused women and children.
While in college I have actively worked with a group to supply reusable famine products to girls in Africa that barely had running water. Also I have worked with YWLP (Young Women Leaders Program) through UCF in an effort to show young girls they have options in their lives and many positive choices they can be inspired to choose. This organization give teenage girls a safe and unique opportunity to make the right choices and give them a safe place to share their inner most thoughts and feelings that they normally can’t share with people without being judged.
Every day, in so many ways, the beauty industry (and the media in general) tell women and girls that being admired, envied and desired based on their looks is a primary function of true womanhood. The beauty template women are expected to follow is extremely narrow, unrealistic and frequently hazardous to their health. The Love Your Body campaign challenges the message that a woman's value is best measured through her willingness and ability to embody current beauty standards. Through this program we where able to show these young women, that they have a voice that should be heard and how their choices will effect their future lives.
Attached you will find artifacts that show my commitment to being involved with my community including the link below.
Commitment
Throughout my years of climbing the corporate ladder, being a wife and mother, I remained active within the community. Working within my children's school I ran many fundraisers, clothing drives, while also organizing blood drives, food drives, and shelters for abused women and children.
While in college I have actively worked with a group to supply reusable famine products to girls in Africa that barely had running water. Also I have worked with YWLP (Young Women Leaders Program) through UCF in an effort to show young girls they have options in their lives and many positive choices they can be inspired to choose. This organization give teenage girls a safe and unique opportunity to make the right choices and give them a safe place to share their inner most thoughts and feelings that they normally can’t share with people without being judged.
Every day, in so many ways, the beauty industry (and the media in general) tell women and girls that being admired, envied and desired based on their looks is a primary function of true womanhood. The beauty template women are expected to follow is extremely narrow, unrealistic and frequently hazardous to their health. The Love Your Body campaign challenges the message that a woman's value is best measured through her willingness and ability to embody current beauty standards. Through this program we where able to show these young women, that they have a voice that should be heard and how their choices will effect their future lives.
Attached you will find artifacts that show my commitment to being involved with my community including the link below.
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