A Correction

7 A Correction On page 101 of CHINOPERL Papers No.7, 1977 the legend for the bottom photograph should read: "Luyi's big yangge dance". The photograph shows the troupe performing the figure "walking the circuit" (zou dachang) or "running the circuit" (pao dachang). Spacing in the line is none too even. The five figures in the middle of the arena may be the actors in an accompanying yangge play. (Source: yinshua youxian gongsi, 1949) A Communication I am on leave from the University of California, San Diego for a full year to direct a research project in dance and m6vement arts that is suported by the National Endowment for the Humanities. It is entitled The Chinese Cultural Experience in America: An Approach Through the Movement Arts. At the present time I am conducting a resource survey and developing a detailed plan for a long-term project that will relate dance and other movement art genres to the acculturation processes of the Chinese in the urban centers of San Francisco and New York. I am concentrating on three movement genres: martial arts, dance and traditional and modern theatre. In addition, I am interested in the paratheatrical traditions of storytelling, puppetry, festivals, ceremonials and rituals. As part of our survey, we are attempting to identify collections, archives, and resource centers with relevant data on historical activities of Chinese performers and performance groups, past and present, and manifestations of martial arts, theatre, dance, ceremonies and festivals found among the Chinese communities. I would .be.grateful if you would mention this project in the next issue of Chinoperl so that readers and scholars could respond and comment on the project. We are especially keen on leads to audio-visual materials. We hope eventually to produce Labanana~ysisscores on the different movement genres. Yen Lu Wong P.O. Box 1206 La Jolla, CA 92038 (714) 755-7024 7 A Correction On page 101 of CHINOPERL Papers No.7, 1977 the legend for the bottom photograph should read: "Luyi's big yangge dance". The photograph shows the troupe performing the figure "walking the circuit" (zou dachang) or "running the circuit" (pao dachang). Spacing in the line is none too even. The five figures in the middle of the arena may be the actors in an accompanying yangge play. (Source: yinshua youxian gongsi, 1949) A Communication I am on leave from the University of California, San fliego for a full year to direct a research project in dance and movement arts that is suported by the National Endowment for the Humanities. It is entitled The Chinese Cultural Experience in America: An Approach Through the Movement Arts. At the present time I am conducting a resource survey and developing a detailed plan for a long-term project that will relate dance and other movement arv genres to the acculturation processes of the Chinese in the urban centers of San Francisco and New York. I am concentrating on three movement genres: martial arts, dance and traditional and modern theatre. In addition, I am interested in the paratheatrical traditions of storytelling, puppetry, festivals, ceremonials and rituals. As part of our survey, we are attempting to identify collections, archives, and resource centers with relevant data on historical activities of Chinese performers and performance groups, past and present, and manifestations of martial arts, theatre, dance, ceremonies and festivals found among the Chinese communities. I would be grateful if you would mention this project in the next issue of Chinoperl so that readers and scholars could respond and comment on the project. on leads to audio-visual materials. We are especially keen We hope eventually to produce Labananaiysis scores on the different movement genres. Yen Lu Wong P.O. Box 1206 La Jolla, CA 92038 (714) 755-7024 ...