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Jiang Han Ping Yuan Shadow Puppetry, a traditional Chinese performing art rooted in Hubei Province's cultural heritage, embodies intricate shadow play, music, and storytelling. This research aims to explore the efficacy of integrating Jiang Han Ping Yuan Shadow Puppetry into education for cultural protection and literacy development among students. Conducted in Qianjiang City, the birthplace of Jiang Han Ping Yuan Shadow Puppetry, the study employs a multidisciplinary approach, drawing on ethnomusicology, historical theory, and the anthropology of music. Two key informants, selected for their expertise and local cultural ties, provide insights into the historical development, artistic characteristics, and cultural resilience of this shadow puppetry. Through a meticulous analysis of historical aspects, artistic features, props, and cultural practices, the research uncovers the rich tapestry of Jiang Han Ping Yuan Shadow Puppetry. Findings suggest that despite challenges such as declining popularity and economic factors, the art form has persisted, showcasing adaptability through reforms and innovations. Recommendations include curriculum development, community engagement, and awareness initiatives to strengthen the role of Jiang Han Ping Yuan Shadow Puppetry in literacy programs and cultural preservation.

The current study aimed to investigate the cultural differences in the developmental origins of children's intent-based moral judgment and moral behavior in the context of indirect reciprocity. To this end, we compared how German and Chinese children interpret and react to antisocial and prosocial interactions between puppets. An actor puppet performed either a positive or negative act toward a prosocial or antisocial target puppet with the intention to cause harm or not; 197 three and five-year-old children participated as a third party and were asked to judge the actor puppet's behavior and to distribute stickers. Results showed that 3-year-old Chinese children were able to take intention and context into account when making moral judgments and distributing resources, whereas German children did not show sensitivity to intention until the age of 5. These findings suggest that culture may mediate children's intent-based moral judgment and moral behavior in the context of indirect reciprocity.

Research Findings: The purpose of this study was to examine differences in the development of conflict management strategies, focusing on 3- and 5-year-olds, through a comparison of 3 neighboring Asian cultures, those of China (n = 114), Japan (n = 98), and Korea (n = 90). The dual concern model of conflict management was adopted to probe which strategy children would prefer to use in 2 hypothetical conflict situations. Results indicated that, first, for disagreement, 3-year-olds in the 3 countries equally preferred the dominating strategy. For competition for resources, 3-year-olds differed in their strategy preference across all cultures. Second, the observed strategy preference of 3- to 5-year-old children in this study was more or less different from that of older schoolchildren, regardless of culture. Practice or Policy: These findings suggest the significance of the context, the complexity of the phenomenon of the development of cultural differences, and the significance of cohort sampling.

How history - when history is just a high story - will describe the origins of Puppet Theatre? Analitical! Exactly! Dolls and mouth moving masks where used in rituals all over Asia, Africa, Australia. They were animated by strings or sticks….Great! So this will explain for real the origis of Theatre? Probably yes. As some arheologists and historians could claim that puppets were predceding actors. But this answer for our modern spirit is not good enough, even if we talk about Theatre or Puppet Theatre. (Yes, the question of „what was first?” will always come in our mind ) Why? Because we lost the meaning of „ritual”, our digital thinking can not respond positive to this word. Do we need a historical explanation over the origins of theatre or do we covet to understand what real needs made humans create theatre...not as a ritual but as an animated story to watch after sun will go down? An animated story with a great apparence of life that could only be seen but not touched. The story of Wu Han and Li Wang is a relevant example of how humans desire to bring back to life their beloved ones, how they accept to see only their gost if they can not see tham in flash and blood; i would go further and i woud say that humans only belive when thay see things, and theatre offered tham the eyes to see history moving, the high story evolving in front of tham. [ABSTRACT FROM AUTHOR]