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semesterpaper

EnglishDepertment

AIENInstitute

ShanghaiOceanUniversity

Semester22011/06

Semesterpaper

Scissorsdance&ChhauDance

Studentname:

ZhouChao（Gerry）

StudentIDNumber:

1091238

2010cohort—ClassBIS2

Teachers:

ShaneandLayne

Ideclarthatthispaperisallmyownworkanddoesnotcontainunreferencedorunacknowledgedmaterial.

Iunderstantthatplagiarsmmayresultinzeromarksandnochancetorewrite.

Signature:

Date:

Contents

I、Introduction2

II、Body3

A、Origin&HistricalBackground3

i、ScissorsDance3

ii、ChhauDance3

B、Characteristics4

i、UniqueFeatureofScissorsDance5

ii、UniqueFeatureofChhauDance5

C、InfluenceandFuture6

i、ScissorsDance6

ii、ChhauDance6

III、Conclusion7

IV、Appendix8

V、Reference11

Introduction

Duotothefactthat51newculturealassetsincludingScissorsDanceandChhauDancewereclassifiedastheculturalheritagebyUNESCOin2010,therearemorethan200culturalheritagesfromuniversaldifferentareasinitslist（AgenceFrance-Presse，2010）.TheacyonymUNESCOmeansUnitedNationsEducational,ScientificandCulturalOrganzation,whichwasestablishedon16november1945andhasbeendevotingtoproducing“thestatusfordialogueamongcivilizations,cultresandpeoplebaseduponrespectfromcommonlysharedvalues”（UNESCO,1995）.Hence,protectingculturalheritageisoneofthemostimpoortantpartoftheirdailyroutine.

Cultureisaspecialkindofexistence,whichhasitsnecessitytotreasure,learnandpasson.Itcanbeatraditionaldance—ScissorsDanceorChhauDance,ahistoricbuilding—Pyramidorotherthings,whichcanrepresentacivilization.ICOMOS—InternationalCouncilOnMonumentsandSites（2002）thinkthatculturalheritageisanexpressionofthewaysoflivingdevelopedbyacommunityandpassedonfromgenerationtogeneration.Astheculturalawarenessofpeoplrhasbeenawakedinrecentyears,alargenumberofgovermentsworkwithsomenon-governmentoriganizations（NGO）,forexampleCulturalHeritagewithoutBorders（CHwB）,UG“Merjem”andMozail-CommunityDevelopmentFoundation,toprotecttheirnationalculturaltreasure.Usually,culturalheritageisdividedintotwoparts—tangibleandintangible.HoweverCultureinDevelopmentorganization（2011）thinkitcanbetoldapartintothreeparts:

BuiltEnvironment（Buildings,Townscapes,Archaeologicalremains）,NaturalEnvironment（Rurallandscapes,Coastsandshorelines, Agriculturalheritage）andArtefacts（Books&Documents,Objects,Pictures）.Nomatterwhichculturalheritageitis,itneedtobeprotected,learntandinheritanced.

ScissorsDanceandChhauDancearetwoquitedifferentdance,whichbothofwereaddedintotheculturalheritagelistatthesametimebyUNESCOin2010thathadalreadybeenmentionedinthebeginningofarticle.Ontheonehand,ScissorsDanceisperformedbytheinhabitantsofQuechuavillagesandcommunitiesinthesouth-centralAndesofPeru,andatpresentinurbanareas（UNESCO,2010）.AccordingtoUNESCO’sinvestigation（2010）,itsname-ScissorsDance,comesfromitstools-apairofirons,whichlookslikethescissor’sblades.Ontheotherhand,ChhauDance,whichisoriginallyperformedontheeasternpartofIndia,isaspecialkindofdanceduetothechangefulmasks,themesandactions.Becauseofitsparticularitythatithavestrongadaptabilitytothemodernsociety,itisoftenusedforcommunicationmediumofdancingart（Rajan,2011）.Insummary,bothofthemhaveverywidefamesandculturalconnotation.

Afterreadingthisessay,thestatusofthosedancecanbeunderstoodbetterbyexploringtheirorigins,characteristics,andinfluencesandfuture.Throughthecomparisonoftwokindsofdancing,thisessaywillleadpeopletoprobeintotheinfluenceofregional,history,customtocultural.Moreover,thoseinformationaboutScissorsDanceandChhauDancewillbeintroducedtopeopleinordertobearoutthereasonwhythosekindofdanceareclassifiedasculturalheritage.Atthesametime,thisarticlewillhelppeoplefindtheirsideneglectedculturalheritageandbewillingtoprotectandinheritanthem.fcourse,thesearenotdirectexplanationinthearticlebecauseitneedsreaderstothink，tofeelandtoexperience.

Origin&HistricalBackground

ScissorsDance

SinceScissorsDanceisclassifiedasaculturalheritagelastyear,ithasdrewlotsofattentionfromallovertheworld.Whetheritisciviliansorprofessors,theyareinterestedinitsoriginwhichherethispartwillintroduce.

Someanthropologistsbelieveinthatitcomesforthin1524,duringtherevoltagainstthecolonialruleofSpain,whileseveralotheranthropologistsstronglyareinfavorofthatitappearedin1564,andrelateittotheTakiOngoy-anAndeanreligiousmovement.Accordingtotheseanthropologistsresearch,bothstartatcolonialtimesforfightingwiththespanishcolonialrule.InaccordancewiththeSpanishChronides,

“TheHuacas-pre-hispanishdeities-would‘possess’thebodiesofindigenoushighlanders,enablingthemtowritheinthefeverishdanceforhoursordays,ignalingaprophesyandpromptingthereturnoftheoldGodstodefeatoftheSpanish’sChristianGod”（RickVecchio,2009）.

Meanwhile,inthelocalfolkore,thedancersmadeatreatywiththeDevil,toperformthesurprisingdancingactinordertoachievethepowertoobtainvictoryoverSpain.Anyway,itsbirthhasacertainmythcolorandcontainsakindofhopeofpower,victoryandfreedom.

However,theiraimtobanishSpanishcolonistsnevercometureandSpanishinvaderstotallyellminatedthereligiousrebellionby1572（RickVecchio,2009）.Evenso,mostcomponentofthedancingcerenonystillperformedinruralareasafter1580s.Localpeoplelearntandspreadedthroughoralduetoreligiouspersecution.Duringthisperiod,itgraduallyevolvedintoanindepentdancingform.Inthemeantime,thelocalresidentsthinkitisaenrageddance,whichisfullofangryspiritandactivelypromoteit.

Certainly,notallexpertsacceptthathistricaltheoryofScissorsDance,butnoonedoubtsthatithasasignaficantlyimportantinfluenceintheAnclesinPeruasasymbolofculturalposition.Inadditiontothis,ithasbecomeapopular,indispensableandesssentialpartofCathoicFestiviesandmostuniversallyperformesinHuancarelica,Ayacucho,ApurimacandLima.

ChhauDance

AboutthesourcesofChhauDance,therearemanydifferentversions,butalltheseclaimshavesomeofthesame.ItisnativetotheeasternpartofIndia—certainareasofWestBengal.Originally,itisafestivaldancewhichperformedbetweenMarchandAprilinBengaliCalendar.However,comingtothefestivalname,therearedifferentversions-SunFestivalandChaitraParva（alsocalledSpringFestival）andbothareveryfamous.Besides,althoughmostofitsrealorigindisappearedinthehoavypast,ithasbeenstillperformedinmostareasofseveralcountriesforafewcenturies.Duringthisperiod,itisnotonlylinkedwiththetrodition,butalsohasbeendevelopedtheartofdance,andflourishedundertheroyalassistance.Asignificantfeatureisthatpeoplecandothisdancetogetherwithoutthediscriminationofrankandcreed—membersoftheregiusfamilyandcommonersdancingtogether.Forexample,theprinceandpaupercanbefreedomtosharetheirthinkingswitheachotherthroughthisdance.Inaddition,inthepast,themasksdancersusedaremadefrombamboosandgourdsandthecontentsareassoicatedwithfairymythtolesofMahabharataRamayanaandthelifeofnatureandmankind.

ThecurrentstyleofthisdanceisgiventoitsshapebytheconstanteffortsofKunwarBijaySinghdeoin1920s.Asaresult,heisconsideredastheFeatherofModern（Saraikela）ChhauDance（Indiatravelite,2009）.Since1938,ChhauDancehasincreaseditshonorbyperforingthedancetoeachnookofconurbationandvillage.Withthepassageoftime,femaleimagesandmoresundrytopicwasadded.Recentiy,ithasbeenfamousasainstrumentofchoreography,withitsbroadrangeofpositionsandactionswhicharesatisfiedwellwithmodernsociety.IthasbeendeturednewappearanceandgoestoanewhighleveltotheartandculturethroughtheestablishmentofStateChhauDanceCentre.Hence,itwillcontinuetodevelopunderthehelpandprotectionofgovernment.

Characteristics

Althoughbothofthem—ScissorsDanceandChhauDanceareenergeticdance,therearemanydifferencesbetweenthemowingtothediversityofregionsandcivilizationonthemes,clothes,music-accompanywithmusicalinstruments,stagepropertyandotherdetails.Inotherwords,thosetwokindsofdancelieatdefferentplaces,appearindifferentyearsandpassonforfifferentaims.Hence,peoplecanlearnthediversityofthoseareas’culturebasedoncomparisonofthesetwokindsofdance.Inordertogivereadersintuitivefeeling,atablehadbeenmadeout.

ThecomparisionofScissorsDance&ChhauDance

ScissorsDance

ChhauDance

Country

Peru

India

DetailedAddress

MostlycommonlyfoundinHuancarelica,Ayacucho,ApurimacandLima.

Seraikella,inJharkland

Purulia,inWestBengal

Mayurbhanj,inOrissa

TimeofBirth

In1524or1564

About3hundredyearsago

StageProperty

Apairofpolishedironrods（looklikescissors’blades）

Masks

Andweapons

Costumes

Angrycolorclothes,

Outfitsembroideredwithgoldenfringes,multicolouredsequinsandsmallmirrors[App1]

Gods–pyjamasofdeep

green,yelloworred

Devils（Demons-asuras）–onloosetrousersofadeepblackshade

Music-AccompanywithMusicalInstruments

Religiontune

Traditionalandfolkdance

MusicalInstruments

Violinandharpi

Mohuriandshehnai

Topic

OrTheme

OrContent

Apopularpartofcatholicfestival

Ac