ChinaVine Team Blog
Dear Administrators and Teachers:
Teachers in school districts are incorporating ChinaVine, an online multi-media exploration of China’s cultural heritage in their classrooms. Scholars, graduate students and undergraduates contributing to ChinaVine are associated with fields of folklore, art, the humanities education, linguistics, and cultural policy. Contributors are associated with the University of Oregon, the University of Central Florida, Shandong University of Art and Design, Beijing Normal University, The Ohio State University, and the University of Maine among others.
EduVine a part of ChinaVine funded by the National Endowment for the Arts and the National Art Education Foundation, is an interactive folk art curriculum designed for teachers, students and parents to learn about themselves while exploring aspects of Chinese culture. Aligned with the National Standards for Visual Arts, Common Core English Language Arts Standards, and National Thematic Standards for Social Studies K-12, EduVine’s cultural explorations ask learners to explore new ways of creating visual and text-based responses. EduVine is allied with the Open Education Resources (OER) movement and the movement’s commitment to offer educational materials to students, teachers, and parents at no cost.
The ChinaVine website is located at https://chinavine.uoregon.edu. The website resides on the University of Oregon’s School of Architecture and Allied Arts (AAA) Webserver maintained by the AAA Web Staff. The website is built using WordPress as a Content Management System with custom modifications created by the Interactive Media Group at the University of Oregon. Due to storage restrictions at the University of Oregon, ChinaVine must host media on third-party services. ChinaVine uses Soundcloud for audio-only files, Vimeo for video files, and Flickr for image files. The media hosted on these services are embedded into the ChinaVine website and EduVine lessons. If the hosting locations are unavailable to teachers and students, but the ChinaVine site is accessible, the lesson text will appear without multimedia components.
Some schools have blocked one or more of the above internet based services. If you incorporate ChinaVine into your instructional environment, we urge you to unblock these services so that teachers and students can effectively and fully participate with ChinaVine and Eduvine.
Please do not hesitate to contact ChinaVine at email@example.com with any questions or concerns you might have.
Kristin Congdon, Professor Emerita, University of Central Florida
Doug Blandy, Professor, University of Oregon
The People’s Republic of China is divided into five administrative levels: provincial, prefecture, county, township and village. The provincial level includes provinces, autonomous regions, municipalities, and special administrative regions. On ChinaVine “province” is used rather than designation by sub level.
ChinaVine is now on tumblr; ChinaVine is now on tumblr! Be sure to follow along here: http://chinavine.tumblr.com/
ChinaVine.org is an ongoing interactive website project that educates English-speaking audiences about China’s cultural heritage. ChinaVine.org consists of volumes focusing on eleven villages in Shandong province, seven folk artists in Beijing, and two Miao festivals and two Miao performance centers in four villages in Guizhou Province. In development are volumes on the Yi language in Sichuan province, Song Zhang arts district in Beijing, Gaobeidian Folklore Village in Beijing, and contemporary artists and musicians who are self-consciously responding and incorporating tradition into their work in Beijing.
ChinaVine team members are incorporating interpretive strategies that challenge the traditional models of cultural interpretation used by “experts” working within singular disciplines. For example, John Fenn is experimenting with an approach that merges critical interpretation with mimetic engagement in the artistic practices of the Beijing based group FM3 (Christiaan Virant & Zhang Jian). FM3 works with field recordings and instrumental loops to generate dynamic sound sculptures that push beyond conventional notions of composition, song, and performance. FM3 distributes the sound loops from their Buddha Machine freely (pictured in media player) under a Creative Commons license that encourages reuse. Fenn is cutting snips from his September 2009 interview with Zhang Jian recordings into a mash-up wth some of the FM3 loops. The resulting methodological bricolage references the ChinaVine research project, but also the aesthetic agenda of FM3, the creative affordances of digital tools, and a nonlinear interpretive model. In doing so Fenn provides visitors with a multimodal opportunity to engage with the material at hand by decentering the questions he asked and the answers received. Visitor will be able to listen to Fenn’s creations as well as make their own, thereby participating in the emergent project.
Visit SoundCloud to hear interviews:
Another example is VineOnline. VineOnline encourages people to engage, explore, interpret, and connect to contemporary Chinese artists. Visitors to this open content community explore Su Xinping’s paintings and reflect on the possible meanings of his work.
Visit Tumblr blog site to connect with ChinaVine users and respond to works by Chinese artists: