1. Wow, Dr. Dube really refreshed my mind from his presentation about the Up to the mountains, and Down to the Villages. THe authentic picture and videos just brought the real part of Chinese history to our front. I wondered how caould the chinese govenment run the states while all the educated youth had gone out of classrooms and to the wild fields farming like peasants? How could they organize their living, housing, and their daily activities? How could that generation later survivie when they finally got chance to leave the villages and came back to their city lives? WIth those questions, I actually picked up phones and talked to my Chinese friends who had certain experience about it. One of my friends told me his niece was aggigned to his village where his parents live and stayed with their parents and learnd how to farm till the end. How about thos hwo had no relatives or friends in teh villages? He told me they acutally organied very well to welcome those educated youth from the urbon area to settle in the villages. Definitely, they missed the the opportunities of gloing to colles universities till later when the govenment resumed the National Entrance Exam system. This is an emtreme belief to run the government without thinking or conserning their people's needs. Fortunately, our generation was born into that eara, but out of the impact. 

"Full of sound sleepers-all about to to suffocate to death. let them die in their sleep and they will feel nothing. Is it right to outcry?" I am so glad Professor Eileen Cheng has done research study on the Chinese father of Literacy, who was a peomient libertarian who wrote in the early decades after the CHinese republican revolution of 1911 to voice him out for those lonely pessimistic existentialists. His metorphorical images of Chinese who were so weak to wake up themselves to face the cruel reality, and they prefer die in the sleep to be awake to fight for their fates. When I was little, my Chinese teacher presented his literature, essays, short novels, and others, we could barely unterstood what he was talking about, but the character "Ah Q" was deeply embedded into our minds. Ah Q is a quintessential sub-man who is " one day, a monarchist, the next day, an anarchist, or anti-republican.". Lu Xun placed  Ah Q among the nominally libertarian revolutionaries who claim that they are fighting for the freedom of others.Ah Q dreams of his social superiors" kneeling before me, twittering with fear", which reveals his violent , selfish motivations. Many years later, we still remembered Ah Q an dused this character as metaphor to those selfish cowardish individuals existing in the society. Acutally, Pefessor Cheng made it very clear by peoviding the Lu Xun's backgroud info. whihc made the big sense for us to understand the historical background the author lived in to better understand his pieces of literature reflecting the society and its people. Actually, there are so many Ah Qs in modern Chinese society who prefer die in the sleep not fight for their fate. Ah Q spiritually inspire many individuals live in their our world an dbelief not caring about anything happens elswhere.

Professor Cheng's thought provoking presentation of the thought and themes central to XuLung's writing was engaging.  One reason this was so was due to her approach to teaching and the methods she used to convery ideas to us.  I was impressed with the presentation of her lecture and how she modeled a constructivist approach to teaching and learning and what strategies she used to guide us in engaging with the ideas presented.  It is clear from her lecture that Professor Cheng encourages her students to reach their own conclusions and questions based on historical evidence.  I took note of her strategic use of photography. She seemed to seamlessly weave photographs that marked a period in history with specific details of time and place. She used photography to get us to look at and think like a historian as we analyzed the details in the photographs and what these might mean historically.  I noted how she provided clues and key terms to guide us in our analysis and observations of the visual text just like we provide our students when completing a close reading of written texts. Photographs are a rich historical source that can be used to help students understand historical context and encourage them to read the photograph to locate meaning and make inferences.  This impressed me with how the use of photography can be used to teach history as a primary visual text. I could use this strategy to introduce a topic or particular period.  Students can use photography to create historical narratives from multiple perspectives, emphasizing historical accuracy.  By using this strategy I could reach more of my students such as visual learners or English language learners who may be struggling readers. The challenge would be locating photographs rich in detail and from different historical times but would be worth the effort to implement these in lessons.

The morning lectures opened a window to many ideas and strategies that can be used in teaching history. We began our morning with a lecture by Prof. Sheehan, who gave a presentation on Song Feiqing using biography as a means of teaching Chinese History. Next we had Prof. Cheng who presented us a History of modern China through the perspective of the writer Lu Xun, but by doing so brought us into the modern age. Both lectures showed me ways that I can restructure my lessons and make teaching history a bit more refreshing. 

Professor Sheehan shared with us the biography of a Chinese Industrialist that was doing business in Tianjin, China. He emphasized that by teaching history through biography it helps students understand the multiple strands or events of history that impact one person's life, despite the fact that changes do happen people continue to "live" across regimes, and through this technique we get insights into the regimes that come to power. By following this point of view we were able to see the life of a business man living in a port city controlled by foreigners, and who managed to live through the various regimes that came to power in the early 20th century.

The context for Song Feiqing's life began with the Qing Dynasty having been forced to open its ports to foreign powers and their businesses. It was through this opening that Song Feiqing's life was impacted, because through this opening he eventually was able to go to a missionary school that allowed him to have access to the outside world. During the Warlord Period, places like the foreign controlled ports, were left alone, hence business people like Mr. Song were able to develop and grow their business, adding to Tianjin's growing industrialization. During the Pre-war Nationalist era his father had an arrest warrant issued so he escapes to Shanghai, another port controlled by foreign powers giving his father a chance of avoiding Chinese authorities. It is during this time that Mr. Song allows a general to be a major investor of his company. During Japanese occupation and afterwards production continues and people continue to be employed, though by the time the Communist takeover there are fewer workers showing up. Nonetheless, at the beginning the Communist needed Song to exploit his workers a little longer. 

Aside from using biography to show case a person's vicissitudes in times of drastic changes and war Proff. Sheehan also emphasized that despite the fact that Mr. Song lived through authoritarian regimes throughout his life time, he still was able to experience times of economic growth. Mr. Song managed to grow wealthy and was a part of the westernized middle class of the port cities. So, despite all the authoritarian regimes that came to power consumer culture continued to thrive and a continual growth of a middle class began to develop. One could dress and have western goodies, but still contribute to China's growing industry. 

Prof. Cheng's lecture narrowed the focus of biography to Lu Xun, and mainly used his writings to shine a light on the changing times and chaotic events that were shaking China during the late-19th and early-20th century. Lu Xun was a writer born as the Qing Dynasty's power was slowly coming to an end. He received a classical Chinese education and was even one of the last to take an imperial or provincial examination. In short, he was an in between man, living in a time when classical China was being confronted by the modernity that was transforming the world outside its borders. Next, prof. Cheng showed us a series of old photographs, and though she briefly mentioned it, because in many ways by presenting questions, we are left to discover for ourselves the implications behind these open ended questions, it is during this time that photography is being introduced in China. A new technology is not only entering China but it is allowing people to see themselves and to observe how others look at people via photograph. 

Continuing on the thread of photography, Prof. Cheng begins her analysis of Preface to Outcry, where the narrator recalls being in a lecture hall, and being show a series of photographs, and suddenly a slide that is shown that alters the way he perceives himself. The slide is of a Chinese man about to be decapitated for having served as a spy for the Russian army. Surrounding the Japanese soldiers and officer that is about to execute the man are Chinese people watching. The narrator is taken aback, he realizes that it’s his country people, and fellow men, but yet he is also astonished at the thought that they are not doing much, but watching the event take place. Photography has not come into the history narrative of the world, and in this case into the Chinese mind, yet. Not only is photography a tool for teaching history, but also a tool for analyzing human apathy and is what propels the narrator to become a writer. 

Next, Prof. Cheng begins a discussion on the different layers that Lu Xun presents to the reader that is seeing this unfold through the writings. Not only was he a member of the Japanese audience that was watching the slide, but we too become unsuspecting accomplices to this event taking place. It makes one take a second look at Lu Xun's writings and reconsider the critique that he gives not only of his country but of how accepting we are as a whole to violence via photographs and imposed rule.

She then moves on to talk about another of Lu Xun's writings, A Madman's Diary. She presented us with another question. What was the significance of choosing a madman as a protagonist or revolutionary in the story? Why was the narrator seeing people as cannibals? Why does he use different phases of the moon to set a mood?  Again we are taken back to the fact that Lu Xun lived in a time of chaos. A time when China was experiencing drastic changes, and those who were going against the flow were seen as crazy. Take for example the photographs of Lu Xun, his hair is not in a queue, instead it’s all even and slightly combed. Not only that Lu Xun had gone through an arranged marriage, and yet fallen in love with another woman. Prof. Sheehan's use of biography can be an excellent way to teach Chinese history, but also touch on themes such a patriarchy.

For middle school teachers the life of Qing Shihuang or Hongwu would be good people to focus on for a period of time to show case the backgrounds of the emperors and the way they came to power. Part of the film The Emperor and The Assassin could be shown to students to tell students of the various assassination attempts that he experienced, but also on how he unified China. In addition, one could show students a video on the Terra Cotta warriors, and break down the type of armor that soldiers used. By doing so a discussion can be arranged where students are presented with questions like, why would the emperor want to be buried with statues of soldiers guarding his tomb? Why did the emperor standardize Chinese writings? Prof. Sheehan's use of biography definitively realigned my view of history by taking a closer look at the life of a particular person, and in this case looking at the founder of a Chinese dynasty would be good in the classroom.

Prof. Cheng's use of open ended questions is a great technique to use in the classroom as well. Using open ended questions and having students talk about a historical topic can prepare students for a reading on Chinese history, and also give them the background that they otherwise would not be aware of to connect to topics discussed in the readings. For example, when analysis trade, and the way trade flowed during the Tang Dynasty. Students could be asked, what's the purpose of trying to build a canal from north to south? Why would people want to travel on water instead of land? Simple questions like that can make students more engaged in the topic. Furthermore, Dr. Cheng's use of photography reminded me of the necessity to show students images. Images can facilitate discussion and with discussion its can allow students to better digest historical topics that are read about in the texts or documents. Nonetheless, the use of photography also showed us that by this time China was beginning to acquire foreign technology and beginning to document scenes that one day would become important pieces of history. Not only that, by showing us these images Dr. Cheng really sent home the message that China was no longer part of the Qing Dynasty. The people trying to redirect the future of China were no longer following the traditions imposed by the Qing; Lu Xun no longer had a queue, and was writing in the vernacular joining the ranks of other writers around the world that had broken from traditional forms of writing.

Introduction to a Lesson plan;

This is a hands-on lesson plan. You need to have enough space to put all the students’ work and material, and depends on how many students you have in each class, and how many classes you are going to have doing this assignment. It is fun, interesting and if you can get pictures of Chinese art to put on the wall, will be a plus.

Have fun.

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Lesson Plan: Teacher’s name: Date: Period:

Objective:

Students will learn about where the piñatas come from, and how to make them.

Topics:

History of the piñatas. Where the piñatas come from?

Hand out: History of the piñatas. (this excerpt is from a chine web site).

Legend dates pinatas back to the 14^th century in China. It is said that Chinese farmers would create replicas of farm animals, such as cows and buffalo, out of clay pots to celebrate the new year. They would decorated their figures with color paper and use them in ceremonies to ensure a fruitful harvest.

Structure:

Base on how the Chinese celebrated important dates or festivities. For this class, make figures of thing or animals. Also, bring to class some pictures of Chinese art and post around the class.

Vocabulary:

Use hand-out to read the story of the pinata. Use compound sentences, independent sentences, and an independent. At the end of the project, ask the students to write a summary of their experience of activity.

Materials:

Construction paper, glue, balloons, multi-color Chinese paper (confetti). Newspaper, and glue.

Home-made glue can be use for this activity. Buy a few boxes of Maizena (Corn Starch). Use trays to put the glue for too or three students to work.

Length of the activity:

It takes from 3 to 5 days one hour class from start to finish one piñata.

Note: If it is the firs time, and depending how your students work, remember that you need to let it dry and then, if you feel that the cover is too soft put another layer and let it dry again. This is only if you are using balloons.

Procedure:

Boil water and add 4 spoons of corn starch and stir until it gets tick. Pour it into an aluminum saucepan and deep in strips of one inch wide of newspaper, length according to the size needed to cover, and cover the balloon completely. Then, add one more layer of paper, so when it drys, it will be strong. Inflate a balloon to make shape of the objects. Put long strips of wet paper on top of the balloon until the balloon is cover. Put two layers of paper to make it strong. Let it dry until the next day. Two layers of paper makes the balloon stronger. Once it is dry, take the air out of the balloon, and the balloon will come out. Then, continue building and give the form chosen for the piñata. This activity will be the center of the class, but remind the students that pinatas and other objects-forms combine with firework were brought by Marco Polo to Europe, and from there to America.

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Most people think of piñatas as a fun activity for parties. The history of thepiñata reveals many interesting facts that go beyond the playing of a game, although piñatas certainly have been intended for fun.

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Hand out

Piñatas may have originated in China. Marco Polo discovered the Chinese fashioning figures of cows, oxen or buffaloes, covered with colored paper and adorned with harnesses and trappings. Special colors traditionally greeted the New Year. When the mandarins knocked the figure hard with sticks of various colors, seeds spilled forth. After burning the remains, people gathered the ashes for good luck throughout the year.

When this custom passed into Europe in the 14th century, it adapted to the celebrations of Lent. The first Sunday became ‘Piñata Sunday’. The Italian word ‘pignatta’ means "fragile pot." Originally, piñatas fashioned without a base resembled clay containers for carrying water. Some say this is the origin of the traditional pineapple shape. Also the Latin prefix ‘piña’ implies a cluster of flowers or fruits as in ‘pineapples’ and ‘pine cones’.

When the custom spread to Spain, the first Sunday in Lent became a fiesta called the ‘Dance of the Piñata’. The Spanish used a clay container called la olla, the Spanish word for pot. At first, la olla was not decorated. Later, ribbons, tinsel and fringed paper were added and wrapped around the pot.

At the beginning of the 16th century the Spanish missionaries to North America used the piñata to attract converts to their ceremonies. However indigenous peoples already had a similar tradition. To celebrate the birthday of the Aztec god of war, Huitzilopochtli, priests placed a clay pot on a pole in the temple at year's end. Colorful feathers adorned the richly decorated pot, filled with tiny treasures.. When broken with a stick or club, the treasures fell to the feet of the god's image as an offering. The Mayans, great lovers of sport played a game where the player’s eyes were covered while hitting a clay pot suspended by string. The missionaries ingeniously transformed these games for religious instruction. They covered the traditional pot with colored paper, giving it an extraordinary, perhaps fearful appearance.

The decorated clay pot also called a cantero represents Satan who often wears an attractive mask to attract humanity. The most traditional style piñata looks a bit like Sputnik, with seven points, each with streamers. These cones represent the seven deadly sins, pecados - greed, gluttony, sloth, pride, envy, wrath and lust. Beautiful and bright, the piñata tempted. Candies and fruits inside represented the cantaros (temptations) of wealth and earthly pleasures.

Thus, the piñata reflected three theological virtues in the catequismo. (religious instruction or catechism)

The blindfolded participant represents the leading force in defying evil, ‘Fe’,faith, which must be blind. People gathered near the player and spun him around to confuse his sense of space. Sometimes the turns numbered thirty three in memory of the life of Christ. The voices of others cry out guidance. 

We studied Lu Xun’s proses, short stories and other literature pieces when I was in my 10th grade in China, but I felt so difficult to understand the theme he tried to convey till I attended Eleen Cheng’s Lecture here at USC. We read Lu Xun’s Outcry, Madman’s Diary before, the main character was so deeply depicted and we remembered “Ah Q” who learned to draw his name at the court and humorously cried that he didn’t make it circular enough, which made you cry for him with deep sympathy about his naiveness and innocence even though I didn’t quite understand the figurative meaning of it that time. Now, I read Perface to Outcry and understood Lu Xun’s insight thoughts about his complaining. Of course, he went to Japan to further study Western Medications to help more Chinese patients who were mistreated, but the experience he had there, “ On one occasion, I unexpectedly encountered Chinese people I hadn’t seen in a long tim.”. He also mentioned, “ there were many of them. One was bound in the middle and many others stood to his left and right, all physically strong bodies, yet displaying expressions of apathy.”  This finally awoken him to leave for Tokyo as he felt that studying medicine was root of foremost importance. Citizens of ignorant and weak nation, no matter how healthy and sturdy their bodies, can serve as nothing more than subject matter for or spectators of meaningless public displays”. He started to use his pens to write and wake up the sleeping giant Chinese. This is a great piece for patriotism for our kids, but here the kids tranny have difficulties to understand.  

I found the diaries and excerpts of Lu Xun interesting for the reason that they depict a side of China that we’ve not yet seen yet - the reclusive and melancholy side. There is such brevity and sadness to the way that Lu Xun’s work is shared. It almost feels like the Ernest Hemingway of the Eastern Hemisphere. In conversations that we have had in class about how China is very much in the same latitudes and experiences the same weather, I almost imagine Lu Xun sitting on the equivalent of a rocking chair in the equivalent of a cabin in the equivalent of the American west. I found his tone familiar and his reclusion relatable.