Puppetry English Site

Poncili Creación Speechless Storytellers

Mon, 05 Aug 2019 08:53:00 +0800

Friday July 19 at 4:00 & 9:00 pm, Stoll Thrust Stage

Speechless Storytellers is based on the beautiful nothing, a concept that

demonstrates that something raw and incomprehensible can be beautiful and

interesting. Manipulating and Transforming "Pan de Plastico," objects

manufactured by garbage foam rubber, Poncili Creacion creates a visceral,

visual and experimental performance.

“旁西里创作”艺术团

《无言的说书人》

7月19日，星期五，下午4点和晚上9点，地点：Stoll Thrust Stage

《无言的说书人》由“美丽的虚无”这一理念发展而来。其要义为：原始稚拙、难被理解的事物也可以是美好而有趣的。“旁西里创作”艺术团以废弃海绵橡胶为原材料，变废为宝，制作出表演用的艺术品（该团将这些艺术品比喻为“塑料面包”），进而创作出一部发自肺腑又带有实验性的视觉表演。

BIO:

Poncili Creación is a collective founded by Puerto Rican twins Pablo and

Efrain Del Hierro.By combining elements of dance, theater, puppetry, punk

rock, improv,and carnival,Poncili offers up a new kind of performance art:

smart,entertaining,unpretentious,and totally wild.Their performance tours

have taken them around the United States,Canada,Europe, and The

Dominican Republic.Their objects have been exhibited in museums such as

the MAPR and the MoCa as well as in independent galleries 787 studios,Art

lab,Gr_und,Edge zones,Meta-gallery,Poor Farm Experiment among others.

艺术团简介：

“旁西里创作”艺术团由波多黎各双胞胎兄弟巴勃罗·耶罗和埃夫仁·耶罗创立。“旁西里”将舞蹈、戏剧、木偶剧、朋克摇滚乐、即兴表演和狂欢节表演等元素结合起来，呈现出一种新型的表演艺术，风格潇洒、妙趣横生，含蓄而又狂野十足。该团在各国进行巡演，足迹遍布美国、加拿大、欧洲和多米尼加共和国。两兄弟的艺术品曾在波多黎各美术馆（MAPR）、洛杉矶现代艺术博物馆（MoCa）等博物馆以及787工作室（787 studios）、艺术实验室（Art lab）、格朗德（Gr_und）、边缘区域（Edge zones）、元画廊（Meta-gallery）、贫穷农场实验（Poor Farm Experiment）等独立画廊进行展出。

Workshop Ⅰ

Sat, 03 Aug 2019 08:56:22 +0800

Playing with Wayang: Indonesian Puppetry & its Transformations

with Kathy Foley & Nyoman Sedana

Wednesday, Thursday, Saturday First Session (Rarig 5th Floor Studio E)

Shadows, rods, masks combine in the Indonesian wayang where human actors emulate

puppets. The solo performer-dalang is the center. Wayang has inspired numerous

intercultural transformation, collaborations, and innovations including those of Julie

Taymor (Lion King), Larry Reed (Feathers of Fire, Tempest), etc. An overview of

Balinese/Javanese shadow puppets(wayang kulit) will be contrasted with doll rod

puppets/mask of West Java (Sunda)(wayang golek/topeng) .

Slide introduction and figure construction will lead into manipulation techniques and

character voice/movement workshop, techniques which are easily adapted to Greek

myths, fairytales, or Shakespeare .

Philosophical ideas of how imbalance in the world is "reset " by a puppetmaster who

embodies the macrocosm through the microcosm(puppet theatre) via these different

figures and energies will be clarified. Adaptability of the philosophical ideas as well as

entertainment dimensions as laid out in the Dharma Pawayangan ( Book of the Puppet

Master) will be shared .Puppeteers read the "Book of the World"( as Dalang Kanda

Buana) giving them power over the cosmos. This workshop will explain, prepare, and

invite American puppeteers to the April 2020 World Puppetry Festival in Bali.

凯西·弗利与纽曼·赛达那——一起来玩哇扬：印度尼西亚木偶戏及发展

周三、周四、周六，第一场， Rarig五楼Studio E

皮影、杖头、面具是印度尼西亚哇扬木偶皮影戏的三大元素，真人演员借此达到人偶合一。处于中心位置的单人表演者被称为“dalang”。哇扬激发了大量跨文化变革、合作与创新，其中包括朱丽·泰莫（《狮子王》）与拉里·里德（《火之羽》和《暴风雨》）等作品。该工作坊将对巴厘/爪哇的皮影木偶与西爪哇巽他的牵线布袋木偶/面具进行简略对比。工作坊将通过幻灯片介绍和人物说明，引入皮影操纵技巧以及人物声音、动作的实操。涉及的技巧可以简易地应用于希腊神话、童话或莎士比亚作品中。

工作坊将会阐明皮影戏的哲学理念，即皮影大师如何在微观世界（木偶剧场）中利用形象各异的人物与其蕴藏的能量来表现宏观宇宙，重置一个“失衡”的世界。届时亦将分享《皮影大师之书》中阐述的哲学概念的适用性与娱乐层面的特点。木偶艺术家通过阅读《世界之书》获得掌握宇宙的力量。工作坊将对在2020年四月举行的巴厘世界木偶节进行解说和准备，并邀请美国木偶艺术家参加。

PUPPETEERS OF AMERICA 2019 NATIONAL PUPPETRY FESTIVAL

Thu, 01 Aug 2019 11:37:11 +0800

On July 15^th, 2019, Puppeteers of America, with 82 years of history, held its National Puppetry Festival at University of Minnesota, Minneapolis. For puppetry lovers across the globe, the festival is an exciting time for them. The PofA was founded in 1937 and created many surprises on each festival. I can’t wait to leave this festival excited, inspired, and exhausted (always the sign of a good festival). This year’s festival has a wonderful line-up of live performances, films, workshops, special events and critical exchanges.

The analogy of people with birds and puppetry with wings as the festival theme was chosen very specifically. There are an estimated 10,000 species of birds in the world. They are found in the air, on the land, and in the sea. Each has their unique size, shape, color, call, feet, beak or bill. And the one thing they share? Wings! As an organization PofA has seen many changes historically, culturally and politically in the past 82 years. All “members” -- officially, unofficially, or audience -- are part of a community. This community has as much variety of colors and calls as there are among the birds. Members represent many races, ethnicities, languages, sexual orientation, gender expression and all abilities. And so, like birds, people have flocked together. Hoping everyone can spread their wings at the festival and find knowledge, inspiration, friendship and acceptance.

Hobey Ford's Golden Rod Puppets Sea Song

Wed, 17 Jul 2019 14:31:06 +0800

Saturday July 20 at 10:45 am & 4:00 pm, Stoll Thrust Stage

Sea Song, is the story of a boy's discovery of the natural world at the seaside.

This production follows the life cycle of the sea turtle and the fragile interwoven

environment of animals living at the edge of land and sea. Sea Song is

performed in the style of Ford's Animalia series featuring his beautiful carved

foam animals performed in full view of the audience.

BIO:

Hobey Ford, the creator of the Golden Rod Puppets, designs builds and

performs puppet productions throughout the US and Canada. Today he is

based in the mountains of Western North Carolina, near Asheville, but he was

born in coastal Connecticut.

He began working with puppets at The State University of New York in

Purchase, where he studied art. Ford founded the Golden Rod Puppets in

1980 after moving to North Carolina, and since that time he has worked at

such venues as The Smithsonian Museum, The Kennedy Center, The Jim

Henson International Festival of Puppetry, The Detroit Institute of Arts as well

as schools, festivals, libraries and theaters across the country. The Golden

Rod Puppets are named for their focus on rod puppetry, including many

related styles of puppetry, which involve the use of rods. Ford works with

traditional European style rod puppets, shadow puppets, adapted bunraku

puppets, as well as contemporary hand and rod puppets. Ford serves as rod

puppetry consultant to Puppeteers of America. Drawing on art, woodworking

and basic engineering skills, Hobey designs and crafts his puppets. He is

renowned for his techniques of carved foam rubber, which he uses in his

"foamies", finely articulated realistic animal puppets. Ford employs

complicated mechanisms and careful manipulation, while using his own voice

and storytelling skills to bring his puppets to Life. Ford has won numerous

awards including three Jim Henson Foundation grants, and puppetry's highest

honor, a Citation of Excellence from UNIMA. He also teaches nationally

through The Kennedy Center's Professional Development for Teachers

program.

奥贝·福特的“金色杖头木偶”艺术团《海之歌》

7月20日，星期六，上午10：45和下午4点，地点：Stoll Thrust Stage

《海之歌》讲的是一个男孩在海边发现自然世界的故事。该演出以海龟的生命周期为时间线，展现了各种动物在陆地与海洋交界处共同织就的脆弱环境网。《海之歌》延续了福特“动物”系列的表演风格，使用的是雕刻精美的海绵动物模型，力图将每一个细节呈现在观众面前。

艺术家简介：

奥贝·福特创立了“金色杖头木偶”艺术团，并在美国和加拿大各地区设计、创作并表演木偶剧。他出生于康涅狄格州沿海区域，目前常驻在北卡罗莱纳州靠近阿什维尔的西部山区。

纽约州立大学是福特操偶生涯的起点，那时的他是该校普切斯学院艺术专业的学生。1980年，福特搬到北卡罗莱纳州居住，之后创立了“金色杖头木偶”艺术团。自那时起，他就在史密森尼博物馆、肯尼迪艺术中心、吉姆·亨森国际木偶艺术节、底特律艺术博物馆等艺术类场所以及全美的学校、庆典、图书馆和剧院进行表演。“金色杖头木偶”艺术团因其专注于杖头木偶而得名，其业务范围涵盖多种使用杖头的木偶剧风格。福特的表演涉及欧洲传统风格的杖头木偶、皮影戏、改良版人形净琉璃（文乐木偶）以及当代的布袋和杖头木偶。福特目前也在美国木偶艺术家协会担任杖头木偶顾问。借助艺术功底、木工技艺和基本的工程技术，福特得以精心设计并制作木偶。他因雕刻海绵橡胶的技艺而闻名，并凭借这种技术制作出活灵活现、细节精美的铰接式动物木偶——他的“海绵朋友”。福特精细地操作繁复的机械构件，施展故事讲述技巧，用自己的声音让木偶鲜活生动。福特荣誉等身，三度获得吉姆·亨森基金会奖金，还曾赢得木偶剧界的最高荣誉——国际偶戏联盟授予的“木偶剧艺术杰出表彰”。他还通过肯尼迪艺术中心的“教师专业发展计划”在全美开展教学。

The Making of"Feathers of Fire:A Persian Epic"

Tue, 16 Jul 2019 16:30:26 +0800

The UNIMA awarding-winning shadow theater with Director Hamid Rahmanian

Wednesday 9 am -10:30 am (Humphrey 25)

DESCRIPTION:

Join director Hamid Rahmanian for a talk about the UNIMA award winning

production Feathers of Fire, a large scale shadow theater work that brings together

168 puppets, 8 shadow casters and 1163 production cues. The play unfolds an

action-packed magical tale of Zaul and Rudabeh, star-crossed lovers from the

10th-century Persian epic Shahnameh - The Book of Kings. Rahmanian’s graphics,

derived from the visual tradition of the region, are rendered as puppets, costumes,

masks, scenography and digital animation, and employ the shadow casting

techniques of shadow master Larry Reed. The play also features an original score

by the acclaimed musical team, Loga Ramin Torkian & Azam Ali. Feathers of Fire

had its world premiere at the Brooklyn Academy of Music in 2016. In this artist

talk, creator, designer and director, Hamid Rahmanian discusses the process and

reveals some of the techniques that went into creating this shadow puppet show

where puppets, performers and audio/visual material work together to create a live

cinematic experience.

BIO:

Hamid Rahmanian is a 2014 John S. Guggenheim Fellow. He has created award-winning

documentary and fiction film, graphic design, literature and theater projects for over two decades.

His films have received international awards and screened worldwide at festivals, theaters and on

television. His latest undertaking, the Shahnameh Project, includes a 600 page illustrated edition

of the 1000-year-old Persian epic poem, Shahnameh: The Epic of the Persian Kings. Based on

his bestselling book, he created Feathers of Fire, a cinematic shadow play that premiered at the

Brooklyn Academy of Music in 2016 and has since toured around the world in 112 performances

and a total audience of 100,000;a pop up book called Zahhak:The Legend of the Serpent King and

an immersive audiobook of the original tome. Recently, Rahmanian was commissioned by the Silk

Road Ensemble to create a multimedia video animation for their upcoming project, HEROS, which

will premiere in 2019.

哈米·拉梅尼恩导演讲解国际偶戏联盟获奖皮影戏

《火之羽：一首波斯史诗》的制作

星期三上午9：00-10：30

地点：Humphrey 25

介绍

欢迎参加哈米·拉梅尼恩导演关于国际偶戏联盟获奖作品《火之羽》的座谈。这部大型皮影戏作品汇集了168款皮影戏偶、8个皮影戏演员和1163个制作线索。这部戏呈现了10世纪波斯史诗《列王纪》中一对命运多舛的恋人——宙和卢妲贝之间动感十足的神奇故事。《列王纪》中的图像源自于该地区的视觉传统，以木偶、服装、面具、舞台布景和数字动画等形式呈现出来，并运用了皮影大师赖瑞·理德的皮影投射技术。该剧的另一大亮点是由享有盛名的 “洛加·拉明·托尔金和阿扎姆·阿里”乐队所带来的原创配乐。《火之羽》于2016年在布鲁克林音乐学院完成世界首演。在这场艺术家座谈中，创作者、设计者和导演哈米·拉梅尼恩将讨论这部木偶皮影戏的制作过程，展示创作这部木偶皮影戏中所用到的一些技术，在戏中，木偶、表演者和声音/视觉材料共同发挥作用，打造出一种现场影院的体验。

艺术家简介

哈米·拉梅尼恩是2014年约翰·西蒙·古根海姆基金奖得主。在过去二十多年的从业生涯中，他创作了很多获奖纪录片和科幻电影、平面设计以及文学与戏剧项目。他的电影获得多项国际大奖并在全世界各大电影节、影院和电视台上放映。他最新打造的《列王纪》项目包括一部拥有600页插图的波斯千年史诗《列王纪：波斯诸王史诗》。他以自己的畅销书为基础，创作了《火之羽》这部影院式皮影戏。该戏于2016年在布鲁克林音乐学院首映，之后在全球共巡演了112场，累计有100,000名观众观看了表演，还推出了一部名为《扎哈克:蛇王传说》的立体图书和这部原版巨著的沉浸式有声读物。最近，拉梅尼恩受丝路合奏团委托，为他们即将开展的HEROS项目创作一部将在2019年首映的多媒体视频动画。

www.kingorama.com

www.fictionvillestudio.com

Yangzhou Puppetry: A National Intangible Cultural Heritage's Long History

Mon, 01 Jul 2019 11:47:39 +0800

Chinese puppetry has a history that reaches back thousands of years in comparison to Chinese opera and Chinese theatre with less than a thousand years of history. Chinese puppetry is often referred to as the mother of all Chinese theatrical art.

Yangzhou puppetry arose in the Tang dynasty, became widely recognized in the Song dynasty and fully developed during the Ming and Qing dynasties. It is known around the world for the puppets' exquisite and lifelike images and the puppeteers' masculine and feminine approaches during performance. Yangzhou rod puppet, together with Quanzhou marionette, and Zhangzhou glove puppet are three major genres of Chinese puppetry, and has been included on The National List of Intangible Cultural Heritage of China in 2008.

Writings on Yangzhou puppetry can be found in books dating back to the Tang dynasty. At the time, it was a folk art that was not of a high aesthetic standard. In the Song dynasty, puppetry stood out from all other theatrical art for its long history and unique characteristics. Rising in popularity, it was not only performed in the streets of Yangzhou, but also made its way to royal court and inner chambers for womenfolk.

Yangzhou was a broken and war-torn city during the Yuan and Ming dynasties, and puppetry was also faltering. It was not until the Qing dynasty that puppetry was revived and fully developed. These were reflected in its frequent performances and its wide variety including glove puppet, marionette, rod puppet and water puppet. However, its popularity did not last long. During the Daoguang period of the Qing dynasty, Yangzhou attracted many Hui opera artists before the "Four Great Anhui Troupes" brought Hui opera to Beijing. As the Hui opera became more and more popular among both wealthy businessmen and the general public, the puppetry performances gradually moved to suburbs outside Yangzhou.

Taixing region is Yangzhou rod puppet's birthplace in modern times and is also Ms. Hua Meixia's birthplace. In the 1940s, there were more than 100 puppet troupes in Taixing county alone. Many troupes went outside the county to perform puppetry in the 1950s. Some troupes chose to register as local troupes at the place they were performing. In 1973, Taixing County Puppet Troupe was promoted to city level and renamed Yangzhou Region Puppet Troupe, and the troupe including Ms. Hua moved from Taixing to Yangzhou.

"Three puppet plays by Yangzhou Region Puppet Troupe marked three milestones of the troupe during the past 30-some years since reform and opening up," Ms. Hua said, "in 1981, Yangzhou Region Puppet Troupe created a large scale puppet play 'The Goddess Chang's Fly to the Moon' that turned Peking opera into a new form of Peking opera song, which was praised by the Ministry of Culture and well received by peer experts; in 1993, Yangzhou Region Puppet Troupe created a large scale puppet play 'The Fairy of King Fa' based on a fairy tale, which won the Best New Play award at the 8^th Wenhua Award by the Ministry of Culture and the Best New Play award of the 'Liuyi Festival'; in 2002, Yangzhou Region Puppet Troupe created a children's cartoon puppet play 'New Story of the Three Monks', and it won the Golden Award at the Golden Lion Award of the 2^nd National Puppet and Shadow Puppet Competition by the Ministry of Culture for its creative ideas, distinct characteristics, unique performances and imaginative innovations."

Since the Qing dynasty, the art of Yangzhou rod puppet has started to absorb skills from Kun opera, Hui opera and Peking opera. Through efforts of several generations of artists, it has gradually developed four major elements of its performance: "steady, upright, straight and level." In addition, it recently began to utilize skills including "water sleeves", "Chinese hand fan", "the heavenly maids scatter blossoms", "puppets' calligraphy" etc. It also started making use of sound, light, electricity and gas in its choreography. Yangzhou rod puppetry has improved the puppeteers' masculine and feminine approaches during performance, and achieved even more exquisite and extremely lifelike images of the puppets.

A Study on the Costume Adornment of the Yangzhou Rod Puppet

Fri, 08 Mar 2019 19:51:53 +0800

The Yangzhou rod puppet has been developing with its unique characteristics and charm to this day. The performance of the puppet shows and styling of the puppet keeps developing continuously and innovatively, rejuvenating the traditional art. Costume making is an important part of the whole puppet-making process, as costumes show the character, social status, change of life and so on of the puppet role. So to speak, there would be no successful puppet show without fine workmanship of costume adornment.

Ⅰ. The Use of Pigments

1. Make Model “Seals”

Puppet costumes look slightly dull if pure color fabrics are directly used. They would appear lively if the fabrics have simple decorative patterns on them. For the production of repetitive small simple patterns, we make model “seals”. To make the so-called “seals”, we select hard materials that have been saved for a long time, paint patterns we need on them, and then carve the patterns with a knife. With the “seals” ready, we take a suitable amount of acrylic paint with them, and print the pattern on the costumes in accordance with the laws of formal beauty. The method is fast and it guarantees unified sizes. In puppet show The Viburnum Macrocephalum Fairy, the costume decoration technique of making model “seal” is massively used.

2. Paint Patterns

To make the puppets livelier, patterned are often applied in fabric design. In real life, sometimes in the market there are no fabrics exactly the same as the design pictures. In such cases, we need to process fabrics. We paint designs according to different requirements. There are abstract and also concrete designs. Some patterns adorn the costumes as accessories. The “big wall” costume in Nutcracker was made of pure dark gray fabrics at first, and then bricks were painted on them.

Ⅱ. Fabric Reprocessing

1. The Borrowing of Fabrics

The borrowing of fabrics refers to a method that when there is no available pattern on the original fabrics, we cut out ready-made patterns from other fabrics, and stick them to puppet costumes. When puppet makers of the puppet research institute were making a face-changing puppet Xiang Yu for Sichuan in 2012, they needed dragon and phoenix patterns to adorn the back side of the yellow cloak, the belt and the opera hat. To get what they needed, they brushed a layer of latex on blue tapestry satin fabrics with dragons and phoenixes, and cut the patterns they wanted after the fabrics dried out.

2. The Addition and Subtraction of Fabrics

Fabric re-making is actually a re-design of fabrics. The designer innovates fabrics with a unique sense of creation and rich imagination. Addition design is a process from simplicity to complication, while subtraction design is a process from complication to abstraction. For example, subtraction design was applied when the armor of the Peking-Opera-style Xiang Yu puppet was designed.

3. The Deformation and Synthesis of Fabrics

The deformation of fabrics means shirring. Pleat is a kind of structure form of clothing. Differences in pleat directions, quantities and skills show different effects. Shirring is the most frequently used method in puppet costumes. It enriches the styles of costumes, shortens the longer parts of fabrics and strengthens the decorative effect.

Synthesis refers to the application of at least two design methods at the same time to create fabrics that are full of changes. These design methods need to be flexibly and comprehensively used when puppet costumes are deigned, so as to make the costumes more vivid, gorgeous and delicate.

Ⅲ. The Color Change of Sequins and Gems

Sequins and gems are often used on puppet costumes. Be it modern costume or ancient costume, they can add beauty and appeal to it.

The change of color is to change the original colors and attributes of sequins and gems. When the sizes and shapes of sequins and gems are suitable but their colors need to be changed, we spray paint evenly onto them, wait for the paint to dry and then sew them onto costumes with needles and threads. In Nutcracker, the sequin color on character Ding Ding’s costume was not in contrast with the color of the white satin, which was discordant and didn’t match the whole styling. After lemon yellow paint was evenly sprayed on the sequins, the match of yellow and white made Ding Ding dapper and handsome.

Ⅳ. PE Auxiliary Adornment

Fabrics are soft. To make them stiffer, PE is needed as auxiliary accessories. PE is mostly used as accessories when it’s involved in clothing. Its advantages of light weight and moderate hardness are taken to make up for fabrics’ characteristic of being too soft. For instance, Rugao Puppet Troupe hired the Yangzhou institute to make a low- ranking official buffoon with jade pieces on its belt. To make these jade pieces, thin PE materials were cut into pieces in suitable sizes and then stuck to the belt.

Ⅴ. Piping

When two pieces of fabrics are sewn, there is a stitch line. To “cover the blemish”, sequins or ribbons are sewn on the stitch line, which makes the fabrics more beautiful. The process is called piping. Piping is often applied in puppet costumes and is a very important part of puppet adornment.

Piping is frequently used in ancient puppet costumes and European-style costumes. Sometimes to uplift the styling effect, piping is deliberately applied. For instance, in The Drunken Beauty, golden ribbons were sewn into wavy shapes on the breast part of the empress’s costume, which makes the costume more dignified and gorgeous.

Ⅵ. Fabric Dyeing

Simply speaking, dyeing is to change the original color of fabrics. When the Yangzhou Puppet Research Institute is making puppet costumes, real silk is often dyed. Dyeing is divided into gradient dyeing, single-color dyeing and multi-color dyeing. Generally, toner is used as stain.

Ⅶ. Binding

Binding, also called edging, is a craft of tailoring often used at the raw edges of fabrics. Binding is also a technique of decoration. The fabrics used for binding can be different from the sewed fabrics in color and texture. When binding is done, the contrast of two fabrics burnishes the costumes. Binding is massively used to adorn the round collars of opera costumes, costume collars and belts of the Han Dynasty, as well as narrow cuffs and raw edges.

Ⅷ. Welting

Welting is also widely used and often seen in cuffs, round collar edges and dress hems of puppet costumes. Welting in puppet costumes actually refers to pieces stitched at the edge of fabrics.

Conclusion

There is more than just one way to adorn puppet costumes. We find that a successful puppet costume tends to be made by a combination of several decoration techniques. We need to summarize and accumulate experience in daily life, in order to apply them comprehensively and flexibly.

Chinese New Year Family Festival

Tue, 26 Feb 2019 10:57:48 +0800

Sunday,February 10,11:00 AM-3:00 PM

Event Schedule

11:00AM

Lion Dance(100 Washington Street entrance)

11:45 AM-12:45 PM

* Dumpling Making Workshop(Lounge)

* Paper Lantern Workshop (Classroom 1)

* Music at China Institute Workshop: Percussion play (Classroom 2)

1:00 PM-1:45 PM

Interactive Music Performance-Stephanie Chou Trio(Classrooms 3/4/5)

1:45PM-2:45PM

*Dumpling Making Workshop(Lounge)

*Paper Lantern Workshop(Classroom 1)

2:00 PM-3:00 PM

* Music at China Institute Workshop: The Incredible Erhu(Classroom 2)

2:15 PM-2:30 PM

Puppet Performance- Yu'er Liu(Classrooms 3/4/5)

China Institute in America is located at 100 Washington Street(enter at 40 Rector,2ndfloor)丨212-744-8181丨chinainstitute.org

‘Chang’ Er Flies to the Moon’

Sat, 09 Feb 2019 15:39:48 +0800

CTW 2018 Report

Fri, 01 Feb 2019 09:38:19 +0800