The Paper-Cut Is One Of China's Most Popular And Characteristic Folk Arts

The paper-cut is one of China's most popular and characteristic folk arts. It takes paper as the material and scissors or engraving knives as the tool. The tradition can be traced back to the 6th century. However, it probably emerged even a few centuries earlier.
　　
In Chinese culture paper-cuts symbolize the idea of blessedness, luck and fortune. In the past, paper-cuts were sometimes used for religious purpose, serving as decorations for sacrificial offerings to the ancestors and gods. Nowadays most Chinese families use them as window decorations for entrance gates, windows, walls, columns, mirrors, lamps and lanterns.
　　
Paper cutting is a traditional art that has evolved throughout the course of Chinese cultural development. Its origin is closely connected with the invention of paper during the Eastern Han dynasty (25 A.D.-221 A.D.). In the days after its inception, paper was extremely precious, as a result, paper cutting was only popular among court ladies in the royal palaces and houses of nobility. During the 7th through 13th centuries, paper cutting was immensely popular among the commoners. By the 15th century, paper cut art works had become an integral part of the everyday life of the people. Paper cutting also became one of the crafts that every girl was to master and that were often used to judge brides. The influence of paper cutting on Europe and Asia can be traced back to the 7th century as well. The art spread to Japan and then to the Middle East and Europe via the Silk Road, thus leading to the creation of many different styles.
　　
The art of paper cutting has remained unfading in China through the ages principally because its devotees used the skills of knife and scissors to dynamically depict splendid Chinese culture and folk festivals in all its many facets. For example in ancient times, social calls by ordinary folk involved giving paper cuts as gifts and using fancy paper cut likenesses for beautiful adornment to signify auspiciousness. Subsequently, mutual emulation and minute study led to a superb level of paper cutting technique. By later generations, paper cutting ranged from clipping complicated patterns using a tiny pair of scissors to often making cutouts into window decorations, clothes-making stencils, or embroidery patterns for shoes.
　　
Most of the papercut artists are women. The themes of their works usually include everything in people's daily life from dumb things to the surroundings. Familiarity makes them understand the real spirit of the art.
　　
The main tool for papercut is scissors. Once they are owned by a master of papercut, they will become so supernatural that the papercuts beyond imagination flow out of his/her hands in the chattering of a common pair of scissors. Another tool for paper cutting is engraving knives which are necessary to enhance a sharpened effect or to make a delicate job.
　　
No doubt that arts come from life and serve life. Papercuts are very popular in the countryside. The bright colors of red, green or light blue papercuts provide a strong foil to set off a merry atmosphere. So they are often found in wedding ceremonies or festivals in China. And people like to decorate their windows and doors using colorful papercuts.
　　
As the art passed down through the generations, the mainstream techniques developed many diverse forms, but the themes of the subject matter primarily remained folk motifs, with two-dimensional illustrations as the primary form. The technique they display consists of a combination of trimming with scissors and carving with a knife. The rendering of their visual appearance involves such methods as applying multiple layers of color, folding symmetrically, individually pasting, and uniquely engraving. These different cutting methods could be said to be quite beautiful, but manifestation of the unique, lively beauty of paper cutting still depends on the artistic mastery of every artisan.

The Taiwanese Aborigines, An Important Part In Human Culture And History

For most of their recorded history, Taiwanese aborigines have been defined by the agents of different Confucian, Christian, and Nationalist"civilizing" projects, with a variety of aims. Each "civilizing" project defined the aborigines based on the "civilizer"'s cultural understandings of difference and similarity, behavior, location, appearance and prior contact with other groups of people (Harrell 1996:5–20). Taxonomies imposed by colonizing forces divided the aborigines into named subgroups, referred to as "tribes". These divisions did not always correspond to distinctions drawn by the aborigines themselves. However, the categories have become so firmly established in government and popular discourse over time that they have become de facto distinctions, serving to shape in part today's political discourse within the Republic of China (ROC), and affecting Taiwan's policies regarding indigenous peoples.

Four centuries of non-indigenous rule can be viewed through several changing periods of governing power and shifting official policy toward aborigines. From the 17th century until the early 20th, the impact of the foreign settlers—the Dutch, Spanish and Han—was more extensive on the Plains tribes. The latter were far more geographically accessible, and thus had more dealings with the foreign powers. By the beginning of the 20th century, the Plains tribes had largely been assimilated into contemporary Taiwanese culture as a result of European and Han colonial rule. Until the latter half of the Japanese colonial era the Mountain tribes were not entirely governed by any non-tribal polity. However, the mid-1930s marked a shift in the intercultural dynamic, as the Japanese began to play a far more dominant role in the culture of the Highland groups. This increased degree of control over the Mountain tribes continued during Kuomintang rule. Within these two broad eras, there were many differences in the individual and regional impact of the colonizers and their "civilizing projects". At times the foreign powers were accepted readily, as some tribes adopted foreign clothing styles and cultural practices (Harrison 2003), and engaged in cooperative trade in goods such as camphor, deer hides, sugar, tea and rice (Gold 1986:24–8). At numerous other times changes from the outside world were forcibly imposed.

Much of the historical information regarding Taiwan's aborigines was collected by these regimes in the form of administrative reports and gazettes as part of greater "civilizing" projects. The collection of information aided in the consolidation of administrative control.

TAIPEI (AFP) - Taiwan's acclaimed aboriginal war epic Seediq Bale will be screened in China next month, its director said on Tuesday, after concerns the film would not be approved for release by authorities. But the version to hit screens in China from May 10 will be cut short to 154 minutes, director Wei Te-sheng said, compared with the original two-part, four-and-a-half hour version that enraptured audiences in Taiwan last year. Warriors of the Rainbow: Seediq Bale is based on the true story of Taiwan's indigenous headhunters who fought against Japanese colonial forces in the 1930s. Taiwan media reported previously that the movie's producer had been worried the film might not be approved by Chinese authorities as it could encourage uprisings by ethnic minority groups in regions like Tibet and Xinjiang.

"Resources for children in rural areas have long been limited, even though the resources in their hearts are abundant," Du said. "Every child has a dream, and it takes the encouragement, company and support of the public to help realize those dreams." Du said aboriginal children in rural villages face multiple challenges. Many have to walk or commute long distances to school, are subject to threats of natural disasters and are often raised by their grandparents after their parents have left the village to work in cities, he said. "Your help gave us support. Whenever I want to give up, I remind myself of the many people at World Vision Taiwan who have helped me," said 25-year-old A-sen, who has received funds from the charity for the past 13 years. A-sen, who was adopted by aboriginal parents at a young age, is now a graduate student in civil engineering.

This year, aboriginal singer Biung Tak-Banuaz and children from indigenous villages in central Taiwan have recorded an album called "A-Nei's Best Friends" to be sold beginning May to help raise funds for the campaign.

Samoan Culture Is An Important Cultures In The World

The Samoan Islands are situated in the South Pacific. It is about 1800 miles east of New Zealand and approximately 2400 miles southwest of Hawaii. These islands are in two parts out of which the ones that are on the eastern side are part of the United States of America and the western islands are an independent unit and form an independent country.

Samoan Culture: People

People form a part of the culture of a place and they are in turn the manifestations of every culture. In Samoan Islands, people are very traditional and they still have respect for the set of hierarchy set by their ancestors, though they are complex and modern concepts teach us the principle of equality now. Samoans are people oriented and they perform all their activities in groups. They do not construct walls in between houses and approximately twenty people can sleep in the same house. The fale is used for social activities during the day. Family is considered to be the basic element in the life of Samoans and then comes the extended family or the "aiga". The family respects the eldest in the family, as a matter of fact all the elders in the family are revered. The social structure is old and well-organized.

Samoan Culture: Society and Government

The system of government that the Samoans follow is known as the "fa'amatai" which has a chief called the "matai" who looks after the entire "aiga" or the extended family. On the basis of need and honor, food and wealth are distributed though everybody is considered equal in terms of social standing and they share equal responsibilities. "Matai" refers to that family that is on the village council and shoulders the responsibility of meting out justice and ensuring that all the customs and rituals are carried out properly. Samoans have very rigid set of rules and regulations and it also teaches its people to be independent, dignified as well as prudent.

Samoan Culture: Religion

Religion is an important part of the Samoan Culture and they believe that Samoa was founded on God. Now most of the Samoans are devout Christians though it is believed that initially they believed in a religion that had beliefs that were quite contrary to the Christian beliefs. After the missionaries arrived Protestant Christianity became the greatest influence on people of Samoa.

Samoan Culture: Dress and food

Women in Samoan Islands wear "puletasi" which is a skirt and a tunic with the traditional Samoan designs on it. They also wear a sarong kind of a thing called the "lava lava" which worn by men and women both. Men wear simple sarongs and for women they are intricately designed.

Samoans eat seaweeds and crayfish with baked taro and rice. Coconut is the staple food in Samoa and appears in almost all the dishes. The older members of the family eat first and then the younger family members eat. On Sundays it is the day of rest and many families come together to have their afternoon meal together.

The Samoans have a very old though effective system of government and know how they should manage their own cultural individuality through their language, food, dress, dance and music.

Remnants Of A Rich Maori Culture Exist In Today

The Māori people are native to New Zealand. They are believed to have arrived in the 14th century from an island called Hawaiki in Polynesia, presumably near Hawaii. The tragic Māori history includes years of bloody battles against the British government and European settlers, who hungered after their land.Remnants of a rich Maori culture exist even today in New Zealand. Consistent efforts to preserve and revive Maori traditions, have made it possible for us to be witness to a way of life that evolved sans 'civilized' influences.

Maori Tribes
Māori lineage is described using the term Whakapapa, which means to place one's antecedents layer-wise, one upon another in proper order of genealogy, starting from the first. They trace their ancestors back to the first Māori who arrived in canoes from Polynesia. The most famous wakas or canoes were the Arawa, the Tainui and the Mataatua. Interestingly, the term waka also means 'tribe', as the members of each waka separated into iwis or tribes. The Māori were a tribal people who shared common ancestry within a tribe, and exhibited loyalty to a chief or several chiefs. Members of a sub-tribe hapuu, were treated as extended family. Land was owned communally in the sub-tribe and members encouraged their offspring to pick life partners from within the hapuu.

Maori Spirituality
Traditionally, the Māori believed that all things, alive or inanimate, were connected by common descent, from gods who resided in mountains, rivers and lakes. Probably due to this belief, the Māori had strong ties with nature in general, and land, in particular. They also believed that everything possessed a life force mauri and a spirit wairua. The terms Mana and tapu are used to describe the spiritual essence present in all people or things, again derived from the gods, and the corresponding social code for appropriate behavior with regard to maintaining sanctity. Disregarding the rules/restrictions of tapu implied disobedience to the gods, which could invite punishment. The degree of mana and tapu in things or in people varied, depending on social rank, spiritual powers etc. and consequently made its possessor holy or unchaste.

According to Māori mythology, creation began from the first parents, Papatuanuku (mother) and Ranginui (father). They had 70 male children, including eight divine offspring. Their divine offspring included Tane-Mahuta, the god of humans and forests, including birds and animals; Haumia Tiketike, the god of uncultivated food; Rongomatane, the god of peace and agriculture; Tawhirimatea, the god of weather; Ruaumoko, the god of earthquakes; Tangaroa, the god of the sea; Tu-matauenga, the war god; and Whiro, the god of darkness and evil, symbolized by the lizard. In addition to these, there existed countless other gods and spirits.

The holy of holies to the Māori is the Marae, a sacred open meeting area, generally located in front of the communal meeting house (whare runanga). The marae is considered to have the greatest mana or spirituality, where expression is given to the Māori customs. It is here that most Māori customs, including christenings, weddings, funerals and tribal reunions are enacted. Traditional Māori community life pivots around it. Anyone who dares to desecrate this place invites trouble for himself.

Maori Customs
The word tikanga is used to describe the Māori customs and traditions which have been handed down from one generation to the next over time. Tikanga means things which are true (tika) and not false (teka). The most interesting aspect of the tikanga is that the Māoris believe that their customs, though from the past, are in front of them, guiding them. The future is said to be behind, because nobody can see the future and eventually the future becomes the past. Normally, at Māori gatherings, guests are first presented with an action song and then greeted in the traditional Māori way, called hongi, which involves the touching of one nose to another. At these traditional meetings, food is usually cooked in earthen ovens placed on heated stones.

A prominent tourist attraction is the Māori haka which is a traditional Māori dance form, performed in a group, to the accompaniment of shouts and actions. There were hakas for joy and celebration and hakas to be performed before going into battle. Out of the two types of war dances or hakas were peruperu which was performed with weapons and haka taparahi that was done without them. The hakas are very energetic and full of life.

Probably, the Māori are best known for their tattoos. The Māori tattoo is called moko; while the process of applying the tattoo is ta moko, which literally means 'to strike' or 'to chisel'. A painful and tedious process, these intricate designs primarily adorned the faces of the men, as the head was considered the most sacred part of the body. The bodies of Māori men also were like canvases filled with stunning designs. Traditionally, the men tattooed their torsos and thighs. Tattoos for women were usually confined to the lips and chin. These tattoos were symbolic as they told a story, starting with rites of passage (e.g. childhood to adulthood), followed by important events in the life of the individual. Tattooing commenced with puberty, and the process was always accompanied by many rituals.

Maori Arts and Crafts
Intrinsic to the Māori way of life were weaving and carving. Māori literature, stories and legends were handed down both orally and through these media. A much told Māori fable is about how the demi-god Maui fished the North Island of New Zealand, out of the ocean. Among the Māori relics existing today, are some 500 year old carvings. Māori carvers, who were held in high esteem, were considered as agents through whom the Gods communicated. An image that resonates through Māori carvings is manaia, a side-faced and sometimes birdlike figure. A famous manaia stands today in Easter Island, made up of a side-faced man with a bird-head. Found in the Bay of Plenty area, Marakihau Māori carvings represent deep sea monsters and ocean gods.

Today, the Māori strive to achieve equality in social standing. The stark inequalities present between the Māori and non-Māori were very pronounced in the 2001 census. Their greatest concern now is ensuring that the right support is provided in terms of education and health care, so that they may succeed in society. Widespread racial discrimination is another cause for distress among the Māori. Their battle for redressal of land issues and for the return of Māori land unjustly taken, is ongoing.