EA109 Fall 2013 — Course guide

Open Start Page

EA109 History of Culture of Tea in China and Japan

Han dynasty beaker
—from Accumulating Culture: the Collections of Emperor Huizong
Patricia Buckley Ebrey
U of Washington Press, 2008

Orientation

◊ Enrollment issues & completion of enrollment card

◊ Schedule, major graded events

❖ Class thematic boundaries and focus

❖ Expected Methodology

Thoughts—read before class, revisit for tests

For most, my orientation session helps position students to do well. If you have missed this session, try to get notes and, if it is available, listen to the audio file or podcast. Ask questions.

"Class thematic boundaries" means that we focus, mostly, on tea as it is represented in "high-culture" (literature, painting, ceramics, rituals), before around 1600, with an equal balance in our attention to China and Japan. We learn the basics of tealeaf crafting, and in a limited way consider the politics and economics of tea.

"Expected methodology" means that while this class is details-dense, its conceptual framework is important. We ask questions about the flow of culture between things: between countries, between diverse systems such as Buddhism / ceramics, and so on. There is an analytic component to this course.

Required—to be completed for today's session

✓ Attendance.
✓ Locate and look over the Start Page and the Course Guide Page. Read the syllabus (if available). Come prepared to ask questions about any of these things.

Open Start Page Back to Course Guide

Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

Camellia sinensis basics ①
Names, origins, cultivation, harvesting

❖ Biological origins in the biodiverse Yunnan region

❖ Plant description

❖ Growth habits, regions of cultivation, harvesting (what part of the plant and when)

◊ Variations: assamica

Required—to be completed for today's session

✓ Read Camellia Sinensis Origins & Physicals [bSpace, PPT]. Waitlisters: this is also available directly from this Web page here.

✓ View Map Possible tea origin region [bSpace, JPEG]

Open Start Page Back to Course Guide

Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

Silver Needle tea, a white tea (usually)

Camellia sinensis basics ②
Nomenclature, crafting, brewing

❖ Tea nomenclature in China, Japan and the West

❖ Crafting (yellow; white, green, oolong, red, and black)

❖ Brewing

Thoughts—read before class, revisit for tests

American English is often casual or inaccurate in its tea terms:

"Fermentation" frequently is misused when talking about "oxidation" so be careful about that. (Fermentation is a biological process that involves the growth of organisms, like when organic matter begins to smell like alcohol or molds. Oxidation is a chemical change caused by exposure to oxygen, like when an apple browns after being cut.)

Also, "black tea" or just "tea" in English usually means, in Chinese terminology, "red tea". China has the term "black tea" but it refers to something much more processed (darker) than English "black tea".

"Japanese tea" means to most everyone Japanese green tea even though in fact there are lots of types of Japanese tea, such as the roasted hojicha. Further, China also has the term "green tea" but it is not the same flavor as the more bitter green tea in Japan and few Americans even know that China has a green tea. By the way, the Japanese word "o-cha" (honorable tea) means Japanese green tea while "ko-cha" means "not Japanese tea—probably British style tea".

In fact, "tea" in English can mean anything made by an infusion (steeping) method. However, herbal teas do not use the tea leaf. Strictly speaking, mint tea is not tea, it is the steeped leaves of the mint plant. Please note, though, that "Jasmine tea" IS tea; it is the c. sinensis tea leaf with jasmine added as a fragrance.

In short, in this class we will call "tea" only that which is made from the c. sinensis tea leaf. Further, to be consistent, we will use the Chinese (not Japanese) set of terms (black, red, etc) except when the Japanese terms are necessary.

There are a lot of details related to this session. Understand the basic steps in the process of crafting, not every little thing, and the basic range of tea production, from "white" to "black".

The pages required below have a lot of information. Please spend 20-30 minutes looking over them. We come back to this information over and over again in class.

Required—to be completed for today's session

✓ Read Tea production steps: China [on site—use nav button "Tealeaf crafting" in the footer, HTML]
✓ Read Tea nomenclature: China [on site—use nav button "Tea—China terms" in the footer, HTML]
✓ Read Tea nomenclature: Japan [on site—use nav button "Tea—Japan terms" in the footer, HTML]
✓ Look over Tealeaf crafting steps as flow chart [bSpace, PDF]. Waitlisters: this is also available directly from this Web page: here.

Multimedia notes

❖ DVD excerpts: "teance: the renaissance of tea" (F. Lit Yu directing, 2005)

❖ DVD excerpts: Martin Yan's Hidden China: Episode #10 - For All the Teas in Western China

Other

Crafting links v1009 [bSpace, PPT] (This is a quick draft type file, basically just some notes.) Waitlisters: this is also available directly from this Web page: here.

Health benefits v1009 [bSpace, PPT] (This is a quick draft type file, basically just some notes.) Waitlisters: this is also available directly from this Web page: here.

Open Start Page Back to Course Guide

Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

Anxi County, Fujian Province tea competition
graphic downloaded 9-8-2010 from this commercial site

Camellia sinensis basics ③④
"...All in This Tea" (A)
—screening documentary, no podcast

❖ Basic tea types and teaware, basics of brewing

❖ Bio-documentary on David Hoffman Lee, tea trader

  • treat this as a current cultural moment
  • look a little at the politics of tea

◊ Formation of tea groups & their leaders

Thoughts—read before class, revisit for tests

Although our emphasis is on tea up until the 17th century, the David Lee Hoffman documentary gives us an opportunity to discuss inter-cultural issues in tea production and distribution.

I show this film for two reasons. First, for those completely unfamiliar with the cultivation and trade of tea in China it provides information on farming and marketing practices. Second, in keeping with the theme of "cultures crossing boundaries" it provides a forum for considering the flow of culture. David Hoffman Lee lives in Marin Country.

Random comment. (This is not a tea-related comment; it is just FYI if interested.) Werner Herzog appears in this documentary. For those of you who do not know this artist / film director he is worth knowing about. One of his early famous, very dark, movies is "Aguirre, The Wrath of God" (1972).

Required—to be completed for the first of these two sessions

✓ Take notes during the film on the above issues. We have time for discussion.

✓ We make our tea groups during this session. I will say how many students per group, you are free to decide the membership. Complete and give to me at the end of the session the index card provided. Put on it the membership names, the group leader name, and the group name. The group leader is my contact person. (Some team name examples from earlier semesters: Diversitea, The Bobas, Matcha Do About Nothing, Tearex.) If you are not here on this day you will be assigned randomly to a group.

✓ Please read the instructions at Assignments & Tests > Tea Identification Day since due times are coming up. I will probably make no announcements in class but I still expect on-time submission of material.

Required—to be completed for the second of these two sessions

✓ Submission of tea for Tea Identification Day and the accompanying excel form.

✓ Take notes during the film on the above points. We have time for discussion.

Multimedia notes

"...All in This Tea" (Flower Films, 2007, Les Blank directing). *This DVD is available for viewing at the Moffitt library Media Center at Moffitt.

Links

David Hoffman Lee's Phoenix Collection (puer tea for sale)

Open Start Page Back to Course Guide

Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

Dragonwell, steeping

Camellia sinensis basics ⑤
Tea Flavor Profiles Day—no podcast

◊ Tea flavor profiles

Thoughts—read before class, revisit for tests

On this day we brew and taste various teas.

Tea Flavor Profiles Day is a group effort and I need volunteers. When I do not have enough volunteers, the day is canceled and we study geography, and possibly quiz it. When the document that invites volunteers is ready to go, it will be available on Google Drive. Volunteers receive extra credit. ... The Fall 2013 version is now available, go to: Volunteers for Tea Taste Profiles Day

We observe color, aroma, taste. These will help with Tea Identification Day. The color of brewed tea will become a topic of discussion over the next few weeks since tea color and ceramics have interacted closely over time.

Required—to be completed for today's session

✓ Arrive on time. I have only a couple of minutes to explain the day before I get busy with managing the event.

✓ Consider sitting with your group. There is nothing for the group to do on this day but you will be identifying teas in the next session and it might be helpful to taste teas together.

✓ You will write your name and your description of the flavors tasted on an index card I provide. You will give this to me at the end of the session.

✓ Bring a tea story or thought about the culture of tea to share with your tasting-mates.

✓ Bring your own cup if possible (small is just fine, we are tasting, not drinking). I will bring cups but it will reduce my after-event dish-washing if you can bring a cup yourself. We do not use paper cups for good tea!

Open Start Page Back to Course Guide

Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

Taiwan oolong tea leaves

Camellia sinensis basics ⑥⑦
Tea Identification Day(s)—no podcast

◊ Tea identification

Thoughts—read before class, revisit for tests

This session and the next session are identical. Half the class attends one session, as designated in the following list (if I have not inserted tea group names into list by 48 hours before the start of Session 07, please remind me!):

Required—to be completed for today's session

✓ On time attendance, if this is your designated day. Other instructions are at Assignments & Tests.

✓ In preparation for this day, I encourage you to perform Web searches for the visuals of the tea leaves of various teas (before they are brewed, of course).

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

Shennong
—from history.cultural-china.com

Pre-Tang China ①
Legends & beginnings

❖ Chinese Legends associated with the origins of tea consumption (revisited)

  • Shen Nong ("Holy Farmer") and his Materia Medica (神農本草經, Shen Nong Ben Cao Jing, Han period)
  • Bodhidharma

Thoughts—read before class, revisit for tests

We consider how Chinese culture frames tea by the origin legends it still propagates. Origin legends are important markers for establishing the "place" of an iconic object within its culture. We revisit the two primary legends for how tea came to China and, while we are at it, contrast this with the discovery legend of coffee in Ethiopia. The cultural "weight" placed on tea resembles the "weight" placed on coffee, as asserted in the documentary and by the documentary style itself (for coffee's "place" in Western / European culture).

Required—to be completed for today's session

✓❖ The Materia Medica actually dates from the Han dynasty. Check when this is on this graphic: Relevant eras China-Japan-Korea

✓ Become very familiar (from an analytic point of view) with legend portions of: Camellia Sinensis Origins & Physicals [bSpace, PPT].

✓ Locate on bSpace the Venn diagram worksheet titled Compare Legends (bSpace, PDF), print out at least one copy for your group (and your own copy if you want). Before class, read the Camellia Sinensis Origins & Physicals PPT, complete two of the three spheres, or at least arrive with ideas for your group on how to complete it. In class I will screen a video and ask you to finish the diagram, making a copy for me (tear at the dotted line), to share with the class, if time allows. YOU CAN WRITE SMALL BUT PLEASE WRITE VERY CLEARLY SINCE I WILL NEED TO READ QUICKLY ONCE I RECEIVE YOUR SUBMISSION.

Side-note: The reading for this session is light but very soon the required reading gets heavier. You might want to look ahead to the next several sessions and see what I mean, and plan your work for this class accordingly. We switch gears now from tea basics to tea culture history and preparation for class becomes more challenging.

Multimedia notes

❖ Coffee legends (brief clips from a KQED TV-documentary titled "Black Coffee [Part 1]: The Irresistible Bean". The coffee documentary is easy to locate on Google; it continues to be screened on public broadcasting networks and is available on disc via Netflix.

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

China landform map with the Ba-shu States (Sichuan) region super-imposed

Pre-Tang China ②
Up through Han dynasty

❖ Early contacts with Chinese (Han) culture—Very early Chinese tea culture

Thoughts—read before class, revisit for tests

The Contract for a Youth is an important document to us. It will be used as our one certain early date. Please don't skip it, and remember it.

Required—to be completed for today's session

✓❖ Check when are the dynasties that are part of this lecture: Relevant eras China-Japan-Korea

✓ Read with care: Contract for a Youth (Wang Bao 59 BCE) [bSpace, PDF]

✓ Read: Chinese National Tea Museum, English page on history [offsite, html] (pre-Tang portions only, and you can skip the opening about Shen Nong. The "Bashu states" mentioned on this site were collectively in the Sichuan area. See this map.)

✓ Read: Very Early Encounters [bSpace, PPT]

✓ View: Map Ba-shu states [bSpace, JPEG]

✓ Read: Chinese Tea Culture (Wang Ling, 2000) Chpt 1 [bSpace, PDF] (right-pointing arrow means start reading, left-pointing arrow means stop reading)

✓ Read up through the Han dynasty: Tea in China (Evans, 1992) Chpt 4 [bSpace, PDF]

*Both Wang Ling and John C. Evans need to be read skeptically (Evans in all cases, Wang Ling for the early material). Also, they are OCRed and have quite a few spelling errors, missing words, etc. in them. If you need to check something, use the non-OCRed version in the "PDFs from JPEGs" folder.

Multimedia notes

◊ I might present in class on this day some very brief clips of tea preparation and presentation found in Battle at Red Cliff (John Woo, 2008). Historical accuracy to Han Dynasty tea drinking is marginal, but I list it here anyway, if you want to review what I showed in class. Regardless of historical accuracy, it does support the course's interpretation of tea's current place within culture. Battle at Red Cliff is on Netflix. Tea scenes are scattered throughout. Students, for extra credit, have viewed the movie and indexed the tea scene, providing comments along the way in some cases. You can access those lists on bSpace as Red Cliff tea scenes according to Andria, Red Cliff tea scenes according to Karen and Red Cliff tea scenes according to Mina.

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

Pre-Tang tea set (cup & bowl) configuration
from Chinese National Tea Museum: Tea Sets Hall

Pre-Tang China ③
Han until Tang dynasty

◊ Cultural regions within China

❖ Very early Chinese tea culture

Thoughts—read before class, revisit for tests

The reading assignments are essentially the same as the previous session since these two sessions are linked. I cover what I can in the first session and finish with this session.

I started on a timeline for early tea developments. I haven't gone back to this file for a while, but I'm offering the draft version of it as Early tea origins timeline-in progress [bSpace, PDF].

Required—to be completed for today's session

✓ There will be online work to do. Bring something you can network with, or make sure you group at least can do so. The more devices the better. You will be under time pressure.

✓ The exercise done during this session requires exploring "credible" academic sources. If you have not read my entry on "credible sources" on the Cross-course > Key Concepts & Terms page, do so ahead of class. If you do not know about, or how to access, eBrary and JSTOR, at minimum, learn to do this. You can check Cross-course > Research Start Points for some help.

✓ Review if you feel shaky on specific content: Contract for a Youth [bSpace, PDF]

✓ Review if you feel shaky on specific content: Chinese Tea Culture (Wang Ling, 2000) Chpt 1 [bSpace, PDF] (right-pointing arrow means start reading, left-pointing arrow means stop reading)

✓ Review if you feel shaky on specific content up through the Han dynasty: Tea in China (Evans, 1992) Chpt 4 [bSpace, PDF]

✓ Review if you feel shaky on specific content: Very early encounters [bSpace, PPT]

Multimedia notes

I project during this session a set of maps, using a PDF titled China Cultural Regions [bSpace, PDF]. You can have it if you want it. We do need to know some basics about cultural regions in China; however, this map is used primarily as a start point for discussion.

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

Dai bamboo tube tea

Non-Han tea culture practices

❖ Some non-Han tea practices

Thoughts—read before class, revisit for tests

There are two areas of this course in particular where I would like to give more emphasis but have not found the space to do so. The first is this session, non-Han ("ethnic") contributiones to Chinese tea culture. The second is the role of Korea at the onset of Japan's chanoyu tradition. We will return to this latter point when we discuss Sen Rikyu.

Non-Han tea practices are of critical importance:

  1. tea occurred naturally in an area of China (Yunnan region) that was originally not part of Han China and remains the home of many ethnic groups
  2. the cultivation of tea, tealeaf crafting, brewing and social practices all developed first in this area, to be further enhanced in Sichuan (Szechuan) province and Hubei province, to be later adapted to Han culture often via tea masters born and trained in these latter two regions
  3. international trade routes cut through the Yunnan-Sichuan-Hubei provinces and the trading of tea for horses was critical to China's ability to resist attacks from outside its core geographic boundary
  4. Yunnan as a production area remains important today
  5. Yunnan's ethnic diversity continues to add a layer to Chinese tea culture.

Required—to be completed for today's session

✓ Read Some non-Han tea practices [bSpace, PPT]

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

Shandong Province, where Mt. Tai and Ling yan 靈岩寺 are located

Tang China ①
Buddhism and tea

❖ Early association of Buddhism with tea as deduced through the writings of monks:

  • Zhiyi (6th c.)
  • Yijing (635-713, perhaps associated with Yogacaric sects)
  • Xiangmo Zang (fl. early 8th c., Chan)

❖ Record by Feng Yan ("What Master Feng Heard and Saw", Fengshi wenjian ji, 8th c.)

Thoughts—read before class, revisit for tests

Please notice the dynamics of how Buddhism promotes the spread of tea culture, where spread means both geographic spread and its introduction to social subgroups.

Required—to be completed for today's session

✓❖ We are in the Tang dynasty. Check when that is, and while there, check the relevant Japanese dynasties: Relevant eras China-Japan-Korea

✓❖ Read: pp 213 – 221 and 231 of "Buddhism, Alcohol, and Tea in Medieval China" in Of Tripod and Palate: Food, Politics, and Religion in Traditional China by Roel Sterchx (Palgrave Macmillan, 2005) [off-site: eBrary, HTML]

✓❖ Read: Buddhism and Tea in Tang China [bSpace, PPT]

✓❖ View: Map Silk Road Tea-horse Road-landform [bSpace, JPG]

✓❖ View: Map Silk Road Tea-horse Road-line map [bSpace, JPG] *This map indicates the location of the provinces of Sichuan and Yunnan.

✓❖ View: Map Yellow and Yangzi Rivers [bSpace, JPG]

✓ For practice: Map Blank line map of China [bSpace, JPG] *The map set was created by me but the landform map that sometimes appears might have a copyright and so this map set must be used only for the purposes of this class, privately by you.

✓ View carefully and analytically (asking the question of the flow of tea culture—you will need this for the in-class exercise): This is a very useful graphic for visualizing the geographical relationship between the development of tea in the south and the arrival of Buddhism in the north: The Spread of Buddhism to AD 600. It is also on bSpace as Spread of Buddhism to AD 600 [bSpace, JPG].

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

from the first page of an early print edition of the Cha jing

Tang China ②
The first tea manual, Cha jing (A)

❖ Mid-Tang China (8th c.) — Tea manuals: Cha jing basics and the philosophy behind the work

  • Tea Classic (Cha jing, ca. 760-761) by Lu Yu
  • Yin-yang concepts, including the five elements

Thoughts—read before class, revisit for tests

The Cha jing (and I will call it this, not by its English title) is the first of the tea manuals and is the "go to" classical for all major treatises on tea that came later. It places tea for the first time within the discursive tradition of scholarly essay and intellectual history and, by that, the status of tea officially changes. There will be many other tea manuals but all will acknowledge this as the first and foundational text, even when offering different views. It remains the most frequently mentioned manual. We read it with some care. In one way it is quite simple in content, but if read for its implications it grows in expressive power. Try to understand the implications of the statements made. Lu Yu titled his text Cha jing, and the "jing" asserts the canonical nature of his essay.

Required—to be completed for today's session

✓ Read Tea Classic (Cha Jing) Lu Yu 760 [bSpace, PDF].

✓ View Map Lu Yu birthplace [bSpace, JPG].

Multimedia notes

Cha jing in Chinese (Project Gutenberg): here

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

tea grinder dated 896
unearthed from the Famen Temple
(in Fufeng, near Xi'an, Shaanxi province) in 1987

Tang China ③
The first tea manual, Cha jing (B)

❖ Graphics-based lecture introducing items related to Lu Yu's Cha jing: Tang ceramics, tea-related paintings, tea utensils

❖ Tea's role in the anecdotes and poems included at the end of the Cha jing, and in other Tang poems.

Required—to be completed for today's session

✓ View & read: Tang China Cha jing ceramics poems [bSpace, PPT].

✓ Sit with your group.

✓ Be ready to answer questions based on the PPT such as "What seems to be missing from the Cha jing?" "What does it emphasize?" "What 'signs' can we suggest seem to be making strong appearances in the anecdotes included at the end of the Cha jing?" (And same question for the PowerPoint poems.) You will probably submit your work.

✓ Another PowerPoint titled Tang China 'signs' is released at the end of class. It has extra credit opportunities.

Multimedia notes

A search using 茶的诗句 will turn up a lot of Chinese poems (in Chinese), many of which will be Tang dynasty no doubt.

This is an online collection of Wang Wei poems (it claims to be a complete collection — I haven't confirmed). I have found four tea poems on this site. Complete Wang Wei Poetry

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

Tea cakes made in an effort to imitate tea cake forming as described in the Cha jing

Tang China ④
Tea practices

◊ Tea cultivation, crafting, preparation, consumption, trade during the Tang dynasty

Thoughts—read before class, revisit for tests

Most of the content of this lecture is based on Evans, Tea in China. His comments on cultivation are probably fairly accurate—he says they are based on the Si Shi Zuan Yao (四時纂要) which is a Tang dynasty agricultural work. As an historical document its provenance is pretty solid but it is difficult to tell whether Evans uses it directly or via secondary (Western language) scholarship that summarizes passages.

This lecture is not especially on-point with regard to the "development and movement of tea culture" theme of this course. Rather, it tries to give some historical details of the course's "tea basics" component. I have not marked this topic, in general, as a study topic for exams; however, I do think the below key points are important enough to warrant possible inclusion of exams:

❖ Regarding cultivation, techniques are improved and stimulated by Tang state policy (for increased production) and imperial tribute tea.

❖ Regarding crafting, leaves are steam-heated (a type of kill-green process but probably not sophisticated) then mashed, to make tea cakes. These are pierced, sun-dried to some extent, the oven-dried, then stored. This "wet" heating process differs from most Chinese approaches now, but is similar to Japan processing.

❖ Overall, if we link this to the main topic of the course (history of culture of tea), we can consider how Tang Buddhist practices and the growth of Buddhism in general,Tang imperial sponsorship of tea cultivation, Tang international trade practices, Lu Yu's Cha jing, and technical advances in agriculture and tea cuisine of the time interact to develop move tea culture.

Required—to be completed for today's session

✓ There is no required reading; however, attendance is recommended since most of this information is delivered only through the lecture.

Other

This article (via MUSE) discusses the role of women in cultivating tea: "Beyond the Paradigm: Tea-picking Women in Imperial China" (Weijing Lu, 2004). It is not exclusively about Tang dynasty practices but includes them.Many students express an interest in the topic of women's roles in tea culture and want to write essay about it. This is just a note for one possible resource.

In preparing this lecture I came across this interesting Wiki Tang Dynasty comment: "Although wrapping paper had been used in China since the 2nd century BC, during the Tang Dynasty the Chinese were using wrapping paper as folded and sewn square bags to hold and preserve the flavor of tea leaves." This cites a work with an appealing title: Joseph Needham, Science and Civilization in China: Volume 5, Chemistry and Chemical Technology, Part 1, Paper and Printing, Taipei: Caves Books 1986. Just sharing.

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

from Kūkai Hoken Hyō (Shoryōshū, volume 4), dated 814, one of the portions where he discusses tea

Heian Japan: First arrival of tea

❖ The arrival of tea to Japan in the early 800s: Kukai, Saicho, Eichu, Emperor Saga

Thoughts—read before class, revisit for tests

Japan sent emissaries to Tang China to learn all types of things and, by happenstance, tea became one of the things they learned about. The return of Japanese from overseas bringing tea knowledge, tea leaves and tea seeds is considered the "first arrival" of tea to Japan because, after the collapse of Tang China, Japan ended direct contact and distanced itself from Chinese cultural models. Perhaps tea drinking faded for this reason. Individuals important to this first arrival include Kukai, Saicho, Eichu, and Emperor Saga. (*I usually do not use diacriticals in this class for either Chinese or Japanese. It should be Kūkai, etc.)

I might make some short comments about the test, and I will try to answer your questions. Come prepared with your questions in hand, however. We will only spend about 10 minutes on this.

Required—to be completed for today's session

✓❖ We are in the Heian period. Check when that is, and while there, check the relevant Chinese and Korean dynasties: Relevant eras China-Japan-Korea

✓ Read: Heian Japan [bSpace, PPT].

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

"Cliff tea" in the high mountain portion of the Wu Yi Moutain Region
http://www.wildchina.com/blog/tag/andrew-stein/
an interesting Web site

Song China ①
Tea practices 1—Tea cultivation, tribute tea

❖ Introductory comments

◊ Tea cultivation

◊ Tealeaf crafting

❖ Imperial tribute tea

◊ Extra-country trade

Thoughts—read before class, revisit for tests

From the most general perspective, the 300 years or so of the Song dynasty introduced many changes in tea at all levels. Among these, of particular note is the lead role that imperial patronage takes in enhancing, regulating and taxing tea cultivation and this, together with weakened Buddhist institutions, in some ways would seem to shift the focus from religious institutions to government ones. However, from our perspective, which includes the cross-border developments of tea culture, tea as it is being developed within Buddhist institutions is the tea that Japanese visiting monks will encounter and learn and bring back to Japan in the late 1100s. Nevertheless, imperial patronage stimulates tealeaf crafting (in particular the imperial love for white tea, in a "true" powdered form—the powdered tea that will be the basis for the Japanese tea ceremony), tea cake making (smaller, more beauitful, with embossed designs as an area of artistic competition), and tea contests (for selection as imperial tribute tea and for entertainment—imperial tribute tea competitions also stimulate teaware design including striking black ware meant to show off beauitfully the white froth of competition tea). The Jianzhou region of Fujian province becomes the preeminent tea-producing area. All imperial tributes teas are located somewhere in Fujian though tea is being produced in nearly all provinces of China by this time.

Widespread production and consumption of tea supports the full development of teahouses and it is in conjunction, in part, with the entertainment provided at these houses that important developments in Chinese literature and theater occur.

Required—to be completed for today's session

✓❖ Check: We are now in the Song dynasty. Check it on the graphic. Note the historical eras of Japan and Korea while you are there: Relevant eras China-Japan-Korea. Will will also discuss the Liao dynasty. It is 916-1125 (so, concurrent with a portion of the Song dynasty). It is not on the simple graphic.

✓ Note: Song notes [bSpace, PDF] *You do NOT have to read this. But you are invited to print tithis out before class and use it as a base document for note-taking. Please check back, however, to see if a new version was published just before or perhaps after the session (but in time for a test). — These notes cover the several sessions. Compare the topics stated on this session page with the actual progress in class to get a sense for how much to read ahead of time and/or print out to bring to class. (Printing out all the notes once at the beginning might not be the best option since there is a likelihood that they will be updated as I prepare or complete lectures. The Song lecture support notes are less complete than some other support notes I might release later.)

✓ Assignment to submit by a deadline: Please note that there is an assignment due at the beginning of class on the session titled Song ③. Read it now since it might take a few days to complete.

Other

Whisking clip movie [bSpace, MOV] (Also probably shown in class in case the video format does not work for you.)

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

Entertainment (of various levels of quality) was associated with teahouses beginning in the Song dynasty. The below was from a Hangzhou tourist site (image no longer there). "In a tea house, two performers are showing tea art."

Song China ②: Tea practices 2

❖ Trade & Tribute (Liao Dynasty)

❖ Tea Contests (茗戦・闘茶・回茶・飲茶勝負・茶寄合・茶湯勝負・貢茶・茗茶・銘闘)

❖ Teahouses

Thoughts—read before class, revisit for tests

This continues material from the previous session. The dividing line between these two sessions (how much is covered in the first, what is covered here) is flexible; however, all the material is covered by the end of this session.

For general comments on lecture content, see the previous session.

Required—to be completed for today's session

✓ Assignment to submit by a deadline: Please note that there is an assignment due at the beginning of class on the session titled Song ③. Read it now since it might take a few days to complete. Contact me if you cannot access the document.

✓ See the comment about Song notes [bSpace, PDF] in the previous session page.

✓❖ Read: Song dynasty tea contests [bSpace, PDF]

✓❖ Read: *Required, even though online. It is also available as Chinese Tea House - China culture [bSpace, PDF]: Details regarding teahouses (chaguan 茶館) with some illustrations on cultural-china.com: Chinese Tea House - China Culture

✓❖ Read: *Required, even though online. It is also available as Tea houses in Sichuan [bSpace, PDF]: A short online article on teahouses in Sichuan: Land of Teahouses by Gwenaële Chesnais

✓ Consider reading ahead for the next session. There is a substantial amount of reading assigned for the next session.

Other

I read in class from Tea in China (John C Evans). The pages I read from are on bSpace as Evans 58-59. We will revist these in Kamakura Japan.

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

1928 edition of Cao Xiang's Cha lu

Song China ③
Tea-related literature, tea manuals

Tea Record (Cha lu 茶錄・茶录 [J: 茶録], 1049-53) by Cai Xiang 蔡襄

Treatise on Tea (Da guan cha lun 大觀茶論, 1107-1110) by Emp. Huizong

❖ Tea-related poems: Su Shi, Du Xianshan, Fan Zhongyan, Lu Yu (not the same as the author of the Tea Classic)

Required—to be completed for today's session

✓❖ Assignment to submit: Your team completes the two objects you have claimed (one poem, one prose text, first-to-claim-gets-to-have-that-object distribution rule) on this GoogleDoc. (Further instructions are there). Your comments are due at the beginning of this period. We will not cover in class all comments but all comments are relevant for the next midterm. I will select some comments and I will ask a random member of your team to explain / present the poem or prose and/or answer my questions. This means that although you can divide up the composition work among your team members as you wish, all team members must be thoroughly knowledgeable about the team's content by this class session.

✓ See the comment about Song notes [bSpace, PDF] in a prior session page.

✓❖ Read: Huizong History (Ebrey, 2006) [bSpace, PDF]

✓❖ Read: Sen on Cai and Huizong [bSpace, PDF]

✓❖ Read: Cai and Huizong further notes [bSpace, PDF]

✓❖ Read: Partial trans. Huizong treatise [bSpace, PDF]

✓❖ Read: Song dynasty tea-related poems [bSpace, PPT]

Other

Chalu (in Chinese) [bSpace, PDF]

Chalun (in Chinese) [bSpace, PDF]

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

detail from Zhao Mengfu's "Tea Drinking Competition" (Yuan period but in the style of Song)

Song China ④
Paintings & ceramics

❖ Song tea-related paintings:

  • "Lofty Scholar" Wei Xian (Late Tang)
  • "Night Revels" Gu Hongzhong (Northern Song)
  • "Literary Gathering" Emp. Huizong (late Northern Song)
  • "Crushing Tea" Liu Songnian (Southern Song)
  • "Tea Drinking Competition" Liu Songnian (Southern Song)
  • "Versed in the Ancient" Liu Songnian (Southern Song)
  • "Tea Drinking Competition" Zhao Mengfu (Yuan)

❖ Song ceramics:

  • Ding (定) ware
  • Ru (汝) ware
  • Guan (官) ware
  • Jun (鈞・钧) ware
  • Jian (建) ware

Required—to be completed for today's session

✓❖ Read and prepare: For this session we look at Song paintings, especially the details in the paintings. On bSpace there are two files: a PPT titled Song tea-related paintings and a zip file titled Song Painting Guess Components Packet. (This second file is not released until 2-3 days ahead of the session date. If it is not available wthin 48 hours before the session, please write me!!) The zip file has specific "zoomed in" areas of the paintings in the PPT. Using the PPT and any other resources you would like to use, look at the objects in the "zoomed in" images and decide as best you can what they are. I will ask individual students to name specific objects.

✓❖ Study after the session: Song Ceramics [bSpace, PPT] (This file is not made accessible until after the session.)

✓ See the comment about Song notes [bSpace, PDF] in a prior session page.

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

A monument in front of a small patch of tea at Myoe's Kozan-ji near Kyoto labeled "Japan's oldest tea field"
from Web site titled Kozan-ji Temple site (in English)

Kamakura Japan
Second arrival of tea to Japan

❖ Tea manual: Drinking Tea for Health (Kissa Yojoki 喫茶養生記, 1211 or 1214) by Eisai 栄西

❖ Tea cultivation by Myoe (明恵, 1173–1232)

❖ Dogen's Rules for Monks

❖ Other Buddhist sect practices

❖ Early spread into lay culture

Required—to be completed for today's session

✓❖ We are in the Kamakura era. Check when that is, and while there, check the relevant Chinese and Korean dynasties: Relevant eras China-Japan-Korea

✓❖ Kamakura notes with Myoe dreams [bSpace, PDF] *You are invited to print this out before class and use it as a base document for note-taking. Please check back, however, to see if a new version was published just before or perhaps after the session (but in time for a test).

✓❖ Kissa Yojoki (which has interpretive pages by Sen Shoshitsu and, in the last few pages, an excerpt from the original) [bSpace, PDF].

✓❖ You should be able to answer in class the questions listed on Kissa Yojoki—Questions. [bSpace, PDF]

✓❖ Second Arrival to Japan [bSpace, PPT]

Dogen and koans [bSpace, PDF]

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

Very early Ming dynasty Yixing teapot

Yuan and Ming China ①
Hybrid Yuan cultural landscape & trade
Yuan / Ming practices & innovations
Ming tea manuals

❖ Yuan/Ming trade, tea innovations, tea practices

❖ Ming tea manuals:

  • Tea Guide (Chapu 茶譜, 1440) by Zhu Quan (朱權 1378-1448)
  • Commentary on Tea (Chashu 茶疏, ca. 1603) by Xu Cisu (許次紓 1549-1604)

Thoughts—read before class, revisit for tests

We have seen that tea culture has been stimulated by those interested in its medicinal qualities, stimulant and mind-clarifying qualities, for its taste and, frankly, for the opportunity it provides for the display of wealth and power through obtaining and consuming (or gifting) tea, and ownership of fine objects related to it. The major players in such stimuli are those involved in government, Buddhist institutions, and literati. Further, these groups interact and overlap to some degree. Supporting these interests are the cultivators and merchants of tea, as well as the artisans and merchants of tea objects. In this vein, given where we have arrived in terms of trade and economy, I think it is appropriate to remember the ever-present relationship between economic factors and tea's high culture as articulated and practiced by the elite. While the relationship has been important from the beginning, indeed essential, by the Yuan dynasty it is beginning to become difficult to maintain a discursive distance between the economics and culture of tea because trade is as important a source of stimulus for the development of culture as the Buddhists, literati and emperors once were. Tea production is supporting the widespread tea consumption and cultivation, crafting and brewing practices and meeting these needs and would be able to continue to do so even without imperial interest (although it often was there) or Buddhist sponsorship. The important crafting, brewing and perihelia techniques developed in the Yuan and subsequent dynasties are as much a result of innovations that meet the needs of trade and commerce as they do imperial desire. Thus, in short, the "streams" of tea as a low level commercial ("kiosk") industry and tea as a beloved object of those involved in the production and consumption of high culture have, in a sense, converged.

Given that commerce has grown much more powerful and the landscape for tea consumption is much more diverse, it is at this time also appropriate to consider the stimulus afforded to tea from peripheral (to Han culture) groups. In tea's earliest days, tea knowledge, tea practices and indeed tea expertise at nearly every level flowed out from Yunnan and Sichuan—more specifically, from the ethnic groups of those areas or teamen closely associate with them. Later, the Liao tribes of central Asia placed themselves between the high-culture dynasties of Tang and Song. This, however, was less significant than the pressure placed on the Song towards the end of their rule. This forced Song Chinese southward (and back into places like the Sichuan basin to the West and Hangzhou on the coast, where rich teahouse cultures then flourished). Further, Mongolian rule that follows the Song—the Yuan dynasty that is the topic of this session—has its own contributions to tea culture and left behind the legacy of a Ming landscape that had discontinuity with the Song in many ways and placed its own unique mark on tea culture. Further, these surrounding areas has an enormous impact on trade in their demand for tea, the opening or closing of trade routes. The Silk Road is important for tea trade but, when not available, southern sea routes are developed as an alternative. The consumption habits and transportation needs of central Asia and points westward oversea are different, and encourage different solutions. Thus we should see tea advancing not just within Han culture (via its high culture leaders and sponsors) but also from the pressures and needs of surrounding countries.

While the above comments are of course about tea, it seems to me that this is something of a model of how culture, even high culture, originates and evolves. In both China and Japan "vulgar" practices in the arts are taken up and refined by an elite that then generate high art. Such crossovers (between economic groups, ethnic groups, and so on) surely are key.

Required—to be completed for today's session

✓❖ We are considering now tea in the Yuan and Ming dynasties. Check when those are, and while there check the relevant Japanese and Korean dynasties: Relevant eras China-Japan-Korea

Yuan and Ming notes [bSpace, PDF] *You are invited to print this out before class and use it as a base document for note-taking. Please check back, however, to see if a new version was published just before or perhaps after the session (but in time for a test).

Ming innovations (Vicony Tea) [bSpace, PDF]

Ming tea manuals Chashu and Chapu [bSpace, PDF]

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

"Compatriots With One Mind" Yuan dynasty

Yuan and Ming China ②
Paintings, kilns

❖ Yuan/Ming paintings related to tea

❖ Ming porcelain (Jingdezhen kilns)

Required—to be completed for today's session

✓❖ Yuan and Ming paintings and ceramics [bSpace, PPT]

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

Gongfu cha set
from: Shaolin Temple Luzern

Qing China

❖ Qing dynasty tea practices:

  • Manchu culture and dual kitchens
  • gongfu cha / kungfu cha (功夫茶•工夫茶)

❖ Primary Qing dynasty tea innovations:

  • oolong tea
  • gaiwan (covered tea cup)

❖ Qing dynasty tea manual:

  • Additional Book of Tea (Xu Cha Jing 續茶經•续茶经) by Lu Tingcan (陸廷燦), ca. 1734

❖ Qing dynasty tea-related paintings

❖ Comments on Qing dynasty porcelain

Thoughts—read before class, revisit for tests

*Bibliographic entries sometimes, incorrectly, list Additional Book of Tea as being written by Lu Yancan 陸延燦.

Required—to be completed for today's session

✓❖ We are now in the Qing dynasty, the last dynasty of China that we will consider. Check when it is, and while there check the relevant Japanese and Korean dynasties: Relevant eras China-Japan-Korea

Qing notes [bSpace, PDF] *You are invited to print this out before class and use it as a base document for note-taking. Please check back, however, to see if a new version was published just before or perhaps after the session (but in time for a test).

Qing various [bSpace, PPT]

Readings from Story of the Stone [bSpace, PDF]

Other

I may or may not have time to screen portions of the following YouTubes that cover how to use a gaiwan. I've selected, from among the many overly mannered or "exotic" presentations of this, two very plain & practice presentations:

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

modern presentation of traditional Korean tea ceremony

Notes on Premodern Tea Culture in Korea

❖ Brief history of tea in premodern Korea

Required—to be completed for today's session

✓❖ Please review before today's session the Korean dynasties: Relevant eras China-Japan-Korea

✓❖ Use these notes to help organize your notes but this is also required reading: Korea Tea lecture notes [bSpace, PDF].

✓❖ Optional except for the "Abstract" and "Conclusion": Two Korean Tea Classics Compared [bSpace, PDF].

✓ Optional: Cho ui-Hymns to Korean Tea (1837) [bSpace, RTF].

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

Trigram "kan" (water) drawn on ashes to be used as the bed for the coals that will boil the tea water
(example of Chinese Tang philosophical foundations of tea preparation in practice in Japan)

Understanding traditional "wabicha"
Kamakura & mid-Muromachi Japan tea practices

❖ Historical background: Military rule, Buddhist reforms

❖ Two streams of early tea practice in Japan: service at Buddhist temples and “kaisho” parties

Required—to be completed for today's session

✓❖ We have returned to the Kamakura period and we begin to consider tea culture in the Muromachi period. Check when these eras are, and while there check the relevant Chinese dynasties: Relevant eras China-Japan-Korea

✓❖ Review the previously assigned: Evans 58-59 [bSpace, PDF] from Tea in China (John C Evans)

✓❖ Kamakura Tea Contests (Sen) [bSpace, PDF]

*Assignment for next time is heavier so consider reading ahead.

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

Temple of the Golden Pavilion
(Kinkakuji)
located in the Northern Hills of Kyoto
reformed in 1397 as the shogun's villa,
the period of Northern Hills Culture

Muromachi Japan
Northern Hills Culture

❖ Northen Hills culture (late 14th to mid-15th c.)

◊ Cultural advisors (doboshu)

❖ Linked-verse parties

◊ Shinkei's linked-verse poetics: wither (kare), chill (hie), thinness (yase)

Required—to be completed for today's session

Shinkei on Chill (Hirota) [bSapce, PDF]

*Assignment for next time is much heavier; consider reading ahead.

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

Temple of the Silver Pavilion
(Ginkakuji)
located in the Eastern Hills of Kyoto
built in the late 1400's as the shogun's villa,
the converted to a Zen temple,
the period of Eastern Hills Culture

Muromachi Japan
Eastern Hills culture
Zen principles (and “The Way”) synthesized into poetics and tea practices

❖ Eastern Hills Culture (late 15th c.)

❖ Noami and the venue for tea service

❖ Murata Juko and “total commitment” / concept of "The Way" (michi, 道)

❖ Takeno Joo’s “wabicha”

Required—to be completed for today's session

Special note: by now I should have created a GoogleDoc page for museum visit signups. Remind me if that has not happened. In additional, I will need volunteers to help me screen the film "Rikyu" on the days I am not in the room. Please contact me. (These comments will make more sense if you look ahead a few days on the schedule.)

✓❖ Wabicha 01 - Northern and Eastern Hills Culture Tea-related (bSpace, PPT)

✓❖ Wabicha 02 Changing Tea Venues (bSpace, PPT)

✓❖ Wabicha 03 - Early Tea Masters (bSpace, PPT), companion to the below PDF

✓❖ Early tea masters (bSpace, PDF)

✓❖ Japanese Way of Tea: From Its Origin in China to Sen Rikyu, Chapter 8: "Takeno Joo and the Maturationof the Way of Tea" (Sen) (ebrary). Pay attention in particular to:

✓❖ Sabi-wabi graphic (bSpace, PDF)

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

Sen Rikyu

Momoyama Japan
Sen Rikyu ①②

❖ Individuals leading up to Rikyu (review)

❖ Sen Rikyu's life

❖ Sen Rikyu's contributions to tea

Thoughts—read before class, revisit for tests

Sen Rikyu is most definitely the founder of the Japanese tea ceremony as we know it today. All major branches of tea ceremony schools trace their lineage back to him. He is a major figure for this class both as a historical event and for the content he provides for tea ceremony philosophy, ceramics, garden design, architecture, cuisine, and so on.

Required—to be completed for the sessions on Rikyu

✓❖ We are in at the very end of the Muromachi era. While we do not formally discuss the Edo period, we are in the final few years of the Muromachi period, years of warfare that established the Edo period. Check when both are, and while there check the relevant Chinese and Korean dynasties: Relevant eras China-Japan-Korea

We spend three sessions covering material on Sen Rikyu. (Sometimes these are consecutive sessions, sometimes not, depending on museum availability for the museum visit days.) Expect us to cover some of this module's material in class with the remainder to be read and/or viewed by you using as your guide the Module: Sen Rikyu found on bSpace in a folder with the same name. I like to leave it undecided as to where we will stop for each of the three sessions. Prepare about one-third of the material for each day but adjust according to in-class coverage as we go along.

These files are coordinated with each other:

✓❖ Sen Rikyu (Read me first) (bSpace, DOCX)

✓❖ Sen Rikyu (no video) (bSpace, PPTX)

✓❖ Multiple videos with various names, inside the module folder (bSpace, various formats)

This is a stand-alone assignment to be read in full. It is probably most helpful to read it all by the first session but you can make your own judgment:

✓❖ Sen Rikyu (Sen) (bSpace, PDF)

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

Berkeley Art Museum

Museum visits and screening of "Rikyu"

◊ Museum visit

❖ Begin screening film on Rikyu's life

Thoughts—read before class, revisit for tests

On this day or these days, students are given a chance to join a special showing of tea-related items belonging to our Berkeley Art Museum. This is for us alone. Details are on the Assignments & Tests page. Students who do not go to the museum are to go to class as usual, to view the film "Rikyu". This is tested material. Together we finish viewing the film, after the museum visit days are over.

Required—to be completed for today's session

The museum visits are optional however there are special rules for attendance (to protect the objects). Please read the details on the Assignments & Tests page.

✓❖ The film is not optional. Attend class at the appropriate time and view the film with some care. Details about the film are on the Assignments & Tests page. If you need to view the film outside of class, access details are also on that page.

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

from Teshigahara's "Rikyu" (1989)

Screening of "Rikyu"

❖ We complete screening of film on Rikyu's life

Required—to be completed for today's session

The film is required. We finish viewing it on this day. Be sure to be in class or access the film otherwise. Details about the film and its access can be found on the Assignments & Tests page.

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

生花早満奈飛
(an ikebana manual, late Edo period, showing Hideyoshi and Rikyu)

Momoyama Japan
Sen Rikyu ③

❖ Sen Rikyu's contributions to tea (continued)

Required—to be completed for today's session

This is a continuation of the Rikyu module. Please see the previous sessions for details.

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

1970s British tea commercial

Contemporary tea practices (short videos day)

◊ Sharing online videos relevant to tea culture in China, Japan, Korea or elsewhere, premodern and modern

Thoughts—read before class

This is an optional class where we look at interesting short videos. You are invited, for extra credit, to submit a possible video. Slight extra credit for submitting on-time and per instructions, one or two links, of quality, to a video relevant to today's topic, very broadly defined (this includes humorous videos). More extra credit if the submission is selected for viewing (this is a competitive selection done by me ahead of class). For details see Assignments & Tests > Participation: Short Videos Day.

To be completed for today's session

✓ If you plan to submit a video link for consideration for this day, note the deadline elsewhere.

✓ The next session is Culture Share Day. Please read now (for various reasons, for example, we may not meet in the usual room) the instructions for that day at Assignments & Tests > Culture Share Day.

Open Start Page Back to Course Guide Tea-leaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

Russian silver & enamel samovar with cup & tray, late 19th century

Open topics

◊ We share personal experiences on this day.

Thoughts

I keep this class unscheduled so we have options regarding the last day. For details on how we will use this class, watch for announcements or get details from in-class discussions, and read the below "Required" section.

Required—to be completed for today's session

✓ Watch for announcements.

✓ Read Assignments & Tests: Culture Share Day and do what is required for this day. It is not listed here, but there is a required component to this day and it is explained there.

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 Fall 2013 — Assignments & tests details

Tea Identification Day(s)

Tea Identification Day(s) — this is a separate assignment than "Tea Profiling Day" and is unrelated to it

(NOTE: If you do not usually own tea, or just happen to have run out of tea, or just don't like sharing tea, this exercise does NOT require that you submit tea to the class, but I hope that you can.)

Early in the term, after we have discussed the physical attributes of the tea plant and brewed tea, students bring to class samples of tea that we then try to identify. I lay out the teas on tables, in coded ziplock bags, and student tea groups go from table to table, completing an answer sheet as they try to guess the details of the teas inside the bags. Although a good nose is probably your best weapon for this exercise, I have strewn clues across these several sessions, and the look of the leaf is your next best technique, so some Web searching of basic tea types (and your notes from tea brewing day) might be helpful. This is an ungraded assignment except that I do expect attendance on one of the two identification days (schedule provided elsewhere).

Timeline:

  • Two class sessions before the tea flaor profiling day (three sessions before the first "tea identification day"):
    • Required: We form groups. You will make a team, designate a team leader, and give me an index card with the details.
  • One class session before the first tea identification day (this probably means exactly on the tea profiling day):
    • Submit your tea in a ziplock bag day. (See instructions, below. *Please note that although some will bring tea on this tea profiling day, this tea is for drinking on that day and has nothing to do with this separate exercise of tea identification.)
  • "Tea Identification Day, First day": Required on this day—attendance if your group has been assigned this day.
  • "Tea Identification Day, Second day": Required on this day—attendance if your group has been assigned this day.

Instructions for submitting tea:

  1. Submission of tea is optional. We don't need 50 bags of tea, but it would be nice to have 25. Extra credit for bringing tea, whether used for the exercise or not. (When there is a tea overflow, I select an appropriate number of bags.)
  2. How much to bring. Please bring the amount of tea that you would use to make one or, better, two "cups" of tea.
  3. How to bring the tea. Please place your tea inside a sealable but openable and clear small plastic bag. We open and smell. (If your tea is very strong in smell, please double bag it. The smell penetrates the bags of other teas and makes them hard to identify.) Label it like this: your initials + a three digit number. I'm John R Wallace, so I might code my bag as "JRW276" (the number is random). This method should prevent two of you from accidentally having the same ID on your bag. If you do not want your tea given away at the end of the exercise or do not want it opened and sniffed / touched, place a large "X" on the bag somewhere. I will return it to you. Bags with "X" on them cannot be opened by anyone.
  4. Information sent separately. Download from bSpace the excel sheet titled EA109Fa13 LASTNAME classname IDTEA, complete it, and email it to me (using the regular subject line plus the keyword TEAID) by the requested time (see Important Dates & Deadlines for the due date). The excel sheet asks for this information:
    • the ID number on the bag you submitted (plus an "X" if you want the tea no to be opened, and later returned to you)
    • the place of origin (country, province, further details if known) — do not submit tea if do you not know its country of origin
    • type of tea (Use the Chinese terms exactly as we have them on the Chinese terms web page, from the row labeled "literal meaning". Do not submit a tea if you feel you can't get an accurate statement on this aspect, although some variation is typical. Call pu-er, by the way, red/black unless you know for a fact that is was a green tea that was then fermented.)
    • and, if it has a neat history, share that please — "bought this from a shop in Shanghai this summer" etc.

Identifying the coded teas and reporting your guesses. On tea identification day, the group receives answer sheets (one for each person in the group plus an additional one sheet). The leader gets the sheets from me. Groups move from table to table according to my time control (which is usually about 4 minutes per table) while taking notes. After they have seen all the teas, the group consults, making guesses about the tea. The group leader is responsible to give to me, at the end of class, all of the individual answer sheets and the one group answer sheet that has the official decisions of the group.

Special note: You can bring more than one type of tea, but please don't bring more than three. I will be selecting which teas to put out for identification. (Generally this means reducing the number of duplicates but poorly labeled tea and such can cause elimination.)

Special note: Please try extra hard to be in class on time or a bit early. Set up for this exercise is complicated. Sit with your group.

Special note: If you intend to use tea bags, please cut the bag and bring only the loose tea. I prefer that you do not use tea bags since most tea bag content is tea leaves cut into fine pieces. It becomes hard to guess the tea. Still, not all tea bags are like this and some aromatic teas and such could work, too.

Special note: In theory we are identifying camellia sinensis (or assamica) leaves. However, you are welcome to bring blended tea or other, non-camellia leaves used to make "tea" and try that way to trip up other groups. No illegal substances please!

Midterm 01

Test content

We are studying, at a detailed level, how tea culture was shaped and moved. Prioritize your data management using that principle. Successful prioritizing requires a good understanding of the conceptual thrust of the course, and part of the exam is checking how well you understand those concepts. That being said, the icon below on PowerPoints identifies specific slides or even sections of specific slide as testable.

reading icon

That should help give a sense of both the level of detail and the type of information I think is target information. The tea basics segment of this course is not forgotten but the vast number of questions are from the lectures after we wrapped up the tea basics portion of the course. The last lecture before the midterm, on Heian Japan, is definitely part of the exam.

Test style

This is a closed-book exam, with a seating chart.

There are prompts for which you need to write key information. The prompts are in the shape of pictures, poems, names of individuals, descriptions of an individual's actions, maps and so forth. You will write very brief descriptions of the prompts (less than a sentence).

There are several very short essay questions. They might be analytic or they might be the types of questions a random person might ask you about tea culture.

On test day

  • Memorize the last four digits of your SID ahead of time.
  • Arrive on time. You need every minute for the essay questions. Since there is a seating chart, and since the room is often crowded beforehand, be ready to sit down quickly in your correct location.
  • Make restroom stops ahead of time. You cannot leave the room during the exam. If you do need to leave the room, give me your exam. I will grade the portion you have completed. You cannot reenter the room.
  • You may write with pen or pencil. You may have whiteout or erasers but pen holders will need to be put away.
  • You do not need paper or anything else. I will project time at the front of the room.
  • If you look at another student's answer sheet during the exam, you will receive an "F" for the exam.

Preparation

Good familiarity with the key information is very helpful since you will not have much time to think. For the essays you need to think deductively, drawing on a variety of sources for your answers. I will be watching carefully if you understand the essentials, not whether you can roll out a lot of facts but don't seem to understand the significance of those facts. On-point, brief answers grounded in course information should be your goal.

Grading rubric

Actually, I decide this post-exam after I have done an initial grading. In princple the information check section and the essay section are of equal weight. There are no extra credit questions. Spelling should be good but does not need to be perfect. You must write in English. I understand that I am "spot checking" your knowledge of the details of the course and that there are a lot of details. Thus, the usual conversion scale for the information check section settles on the bottom of the "A" backet at around the 80% mark, usually.

Midterm 02

Fall 2013: Midterm 02 is almost exactly like Midterm 01. I have highlighted with green below when I have added or changed comments that were under Midterm 01

Test content

We are studying, at a detailed level, how tea culture was shaped and moved. Prioritize your data management using that principle. Successful prioritizing requires a good understanding of the conceptual thrust of the course, and part of the exam is checking how well you understand those concepts. That being said, the icon below on PowerPoints identifies specific slides or even sections of specific slide as testable. In addition, on lecture notes you will see some items with sidebars or in bold. That is where the focus should be.

reading icon

That should help give a sense of both the level of detail and the type of information I think is target information. The last lecture before the midterm, on Korea, is definitely part of the exam.

Test style

This is a closed-book exam, with a seating chart.

There are prompts for which you need to write key information. The prompts are in the shape of pictures, poems, names of individuals, descriptions of an individual's actions, maps and so forth. You will write very brief descriptions of the prompts (less than a sentence).

There are several very short essay questions. They might be analytic or they might be the types of questions a random person might ask you about tea culture.

On test day

  • Memorize the last four digits of your SID ahead of time.
  • Arrive on time. You need every minute for the essay questions. Since there is a seating chart, and since the room is often crowded beforehand, be ready to sit down quickly in your correct location.
  • Make restroom stops ahead of time. You cannot leave the room during the exam. If you do need to leave the room, give me your exam. I will grade the portion you have completed. You cannot reenter the room.
  • You may write with pen or pencil. You may have whiteout or erasers but pen holders will need to be put away.
  • You do not need paper or anything else. I will project time at the front of the room.
  • If you look at another student's answer sheet during the exam, you will receive an "F" for the exam.

Preparation

Good familiarity with the key information is very helpful since you will not have much time to think. For the essays you need to think deductively, drawing on a variety of sources for your answers. I will be watching carefully if you understand the essentials, not whether you can roll out a lot of facts but don't seem to understand the significance of those facts. On-point, brief answers grounded in course information should be your goal.

Grading rubric

Actually, I decide this post-exam after I have done an initial grading. In princple the information check section and the essay section are of equal weight. There are no extra credit questions. Spelling should be good but does not need to be perfect. You must write in English. I understand that I am "spot checking" your knowledge of the details of the course and that there are a lot of details. Thus, the usual conversion scale for the information check section settles on the bottom of the "A" backet at around the 80% mark, usually.

Midterm 03

Midterm 03 is a closed-book test with two essay questions. Both questions need to be answered. Both ask you to bridge actual film content (film summaries read online will not suffice) with module content, using analysis. The best way to prepare for this test is to be familiar with the film "Rikyu", screened in class, and the module on Rikyu that is on bSpace. The .docx that is in that folder is the guide to the module. There is a scene summary on bSpace in the Midterm 03 folder. It also has the basic outline of the module document at the end of it. This PDF will be given to you in class at test time, to be used as a reference to work from.

Brief presentation of term essay content during RRR week

During RRR week, each student presents on A LIMITED PORTION of her or his essay for just under 3 minutes. This presentation MUST be based on a completed essay—not what you plan to do but what you have done, finished.

You will be given a presentation time on one of the three RRR days, and with a very specific time slot.

Other students are strongly encouraged to attend parts of or all of these sessions. The schedule might be published. Watch for an announcement.

Special note

This is a TWO COMPONENT assignment: there is a powerpoint called "RRR Presentation" and an MSWord description of your essay called "Essay Portrait." Both are to be submitted at the same time using one email that has both attachments.

RRR Presentation—Content and grading rubric

The content should be anything interesting to others that is in your essay, or that you learned while doing your essay even if it is not in your essay. The idea is to share a wide variety of well-thought-out or well-researched (or both) observations on tea and/or tea culture. Use that as your guide to select the one or few things you will share. Avoid, at all costs, a "here's the short 3-minute version of my essay" or "here's the thesis of my essay". These presentations are to highlight interesting features, not build arguments or to show off how much work you have done for your essay. It is graded on interest and clarity and timeliness of submission—only these three things. If you try to do too much it will be neither interesting nor clear so there is a downside to cramming in material.

Essay Portrait—Content and grading rubric

This is a full description of your essay in 500 words or less. It should have the essay title, a description of the topic, a description of the main observations, interpretations or conclusions, and a full bibliography following proper bibliographic style (MLA or another format, anything standard).

RRR Presentation—How to complete the assignment

Complete the set of powerpoint slides and submit. If you do not know how to work with powerpoints now is the time to find a friend to teach you!

The PPTX you are to use is on bSpace in a "Essay" folder and is titled EA109Fa13 LASTNAME classname ESSPREPPT. Please be sure to put your name on the file title by changing the "LASTNAME classname" portion to your last name and your classname!

The below rules are important. Read them carefully and follow them.

The provided PowerPoint currently has eight 30-second slides for a total of four minutes. You get to use 3.5 minutes of that. The remaining .5 minutes is when you to leave the podium and the next student to arrives. THIS TIMING IS 100% INFLEXIBLE because we publish a presentation list down to the exact minute and must finish on time.

Put your name, topic and title at the top of each slide, otherwise content is as you wish.

You can change the number of slides and their timing EXCEPT:

1) Leave the final slide (the transition slide) at 30 seconds. You are not allowed to change the slide's timing, but you can change the picture if you want. It is NOT part of your presentation, however.

2) Your total timing is EXACTLY 3.5 minutes.

Please remember, students will be exposed to a lot of information in 50 minutes. Keep to just a few interesting points. (Remember: There are about 15 presentations in a row, with no breaks. We can fatigue easily.) Be very focused. Don't make us read a lot.

You can just have a blank slide and talk for 3.5 minutes if you want. You can just have slides and not talk at all. You can talk for a minute then have Q&A time. These things are your choice. What isn't your choice is that you must use 3.5 minutes, exactly.

If you do not use Microsoft Word to generate the PowerPoint, test it on a laptop before submitting it.

When I get your slides, I will simply dump them into the huge number of other slides that make a single, long PPTX that will run uninterrupted and automatically for the session. — that is how we we keep on time.

There are examples in the folder, titled RRR Presentation examples.

Essay Portrait—How to complete the assignment

The instructions are on the document.

The document you are to use is on bSpace in a "Essay" folder and titled EA109Fa13 LASTNAME classname ESSPRE. Please be sure to put your name on the file title!

Submitting the RRR Presentation and Essay Portrait

These share the same deadline and should be sent to me as one email, with both the powerpoint and document attached. There are severe penalties for late submission:

  • The presentation is graded. Its late penalty is: 50% off the grade for more that 5 minutes late, "F" for more than 12 hours late since it will now be too late for me to include it in the RRR schedule.
  • The essay portrait is not graded except that if it is missing or late penalties will be assessed to the final essay.

Use in the subject line EA109Fa13 LASTNAME classname RRREP and of course change it to your name. ("Classname" = your first name that you have asked me to use for you.)

After you submit the RRR Presentation and Essay Portrait

Watch the announcements so that you know what day and when you are supposed to present.

Presentation Days (Fall 2013)

I hope to see everyone for all or most presentations (that is, in addition to your own presentation) but I cannot require this, because it is RRR week.

Several students have asked if they can talk beyond the length of their slides. This is not possible. Each student has the same 3.5 minutes (with .5 minutes for switching speakers).

*I have corrected PPTs that did not arrive in quite the right form. If you want to know whether yours was one of the PPTs that I changed, and if you want to know how I changed it, go to bSpace > Resources > Essay > Fixed PowerPoints. If the schedule says "Topic unknown" it means I did not receive a PowerPoint in time to include. I have, instead, put a 3.5 minute PowerPoint slide in the slot. You are still welcome to present during that time slot for this graded exercise but you will have to just speak from the podium or bring 30 handouts of visual material you want to share.

Check the PRESENTATION SCHEDULE (when available...it is now on bSpace > Resources > Essay and is titled EA109Fa13 RRR Presentation schedule) to find out when you present. Be in the room at least 15 minutes ahead of your presentation. Follow the schedule to know when you will need to go to the front of the room. Your name will not be announced and the PPT does not stop or pause. There are 30 seconds for one presenter to leave the podium and the next to be at the podium. You do not have access to the laptop running the PowerPoint and I will not stop it or return to previous slides.

Term Essay

Early submission of an essay draft (optional)

You are invited to submit an essay draft by the deadline stated on the Important Dates & Deadlines page. If you do so, and if it is really a draft of a nearly complete essay, I'll comment on it to give you a sense of what else might be needed or whether it already looks good.

General description of the expected essay

Length. Each student is required to write an essay of moderate length (1,600-3,000 words) on a topic(s) of their choice.

Topic. The essay has only these limitations: 1) it must be in good taste, 2) it must be about tea (does not have to be premodern), 3) it must meet the "equal interest" rule of this course, that is, it must involve with equal energy two of the three countries we have considered. *If you cannot develop a topic that is workable in two countries, you can write two slightly shorter essays on different topics, one for each country. Please write about something that interests you. If you choose this path the word total for the two essays combined should be 2,400 - 3,000 words. A warning: competition is stiff in the "health factors of tea" category. It is typically the largest category and includes some excellent, careful essays. Otherwise good essays can score low in this category when another student has treated the topic better than you.

Content. The essay should be credible and interesting, as defined at Cross-course > Key Concepts & Terms. Please read that definition because it is part of the grading rubric for this essay.

While I prefer an essay with analysis. (If you are unclear as to what I mean by analysis, consider reading analysis, as defined at Cross-course > Key Concepts & Terms.) While any A+ essay will almost certainly earn that grade through interesting analysis, I am more flexible than in some of my other classes as to the mix between researching facts and information balanced against your interpretation of that information. BUT, if your essay is more research than analysis, this is OK as long as you avoid a basic paper on a basic topic that could be described as "All about ..." or "The main points on ..." or "A survey of ..." or a review / revisiting of material already covered in class. You must break new ground. You need to use advanced sources and go deeply into the topic. This is not a beginner's class or an opportunity to restate course content.

Academic honesty. Academic dishonesty related to the essay earns the student an "F" for the assignment, probably and "F" for the course, and probably a report to the University. Please reread Cross-course > Academic Honesty.

Research. The sources should be credible, as defined at Cross-course > Key Concepts & Terms. This can be especially hard with tea but, with effort, you can find good sources. You might have to switch your topic in order to do so. A warning: credible sources on tea are difficult to find. I am very skeptical about Web sources that are not academic Web sources and since the key grading rubric is "credible and interesting" the grade goes down when the sources are weak. Essays written with Web-based only material, unless it is from academic repositories (see Cross-course > Research Start Points, and Cross-course > Key Concepts & Terms), it unlikely to score higher than a "B-". You can do better than just kicking around on the general, public Web for your research material. Research intelligently and with some care. Every semester I get essays that have the same sources even though the sources aren't perfect for the topic at hand. I assume this is the effect of Web search engines, and wonder how much in control you are of your own research pathways.

Documentation of research — citations. Your essay can use in-line citation method or footnote citation method but please handle this with care. I look carefully at your use of sources to determine credibility. Be accurate, be specific.

Documentation of research — bibliography.

  • Your essay must have an accurate bibliography that follows MLA or APA style, or something similar, in its basics.
  • It must be titled "Works Cited" because I only want works cited, not other things that you have looked at.
  • All electronic sources much have URLs that I can easily use.
  • Be careful when using JSTOR: "JSTOR" is NOT the name of the journal from which the article came. Find out, and use, the journal name.
  • A warning: I am skeptical of long bibliographies. Make sure I can easily see how each of your bibliography listings has contributed to your essay. If I cannot see that connection, it will have a negative impact on your grade. I will check to see if it is cited in the essay, and if that citation was necessary rather than just decoration. If you do not think I can easily see the use of a source, include, in the bibliography, under the source, "How I used this source:" and explain.

Title. It should have an informative title, as defined at Cross-course > Key Concepts & Terms. This is graded.

Style. Your essay should follow some MLA style or APA style in its basics. This will not be given a specific grade but poor form will begin to lower your grade by up to two letter grades. Links to information on proper style can be found at Cross-course > Key Concepts & Terms.

Submission information

Submit by the deadline! If you miss the deadline your submission will be ignored and you will be given an "F" unless I can use something from your presentation to justify a "D+".

  • Submit as MSWord if possible. Your submission will be ignored if the file is corrupt and I cannot open it. It is unlikely that there will be time for me to write you and ask for a resubmission.
  • Submit as an attachment to an email.
  • Do not put anything important in the email, although other comments are welcome. (I separate the essay from the email and do not return to the email so your important comments will go unnoticed. When logging in essays I do not have time to read or response to important questions in the submission email.)
  • Use the subject line EA109Fa13 LASTNAME classname teadone.

After submission

Watch the announcements AND emails. It is very risky (to you) to assume I have your essay until I say so, via announcement or email. It is likely that I will log in essays after the deadline has passed.

Typically, essay grades are not announced until after the final exam is completed, except for semesters when the essay is due in full before RRR week.

Museum visit / film days

Museum attendance is NOT required, nor does it earn extra credit. I only want students at the museum who, for their own reasons, are interested in being there.

Attendance splits on this day: one half of the class is invited to participate in a museum visit (optional, scheduled at the same time as class) while the remaining half attends class as usual, to view the film "Rikyu" (required). Watch the Start Page (Announcements) for the sign-up opportunity.

Attendance details:

One half of the class goes to the museum at the regular class time (using "Berkeley time") —

Berkeley Art Museum and Pacific Film Archive
(2625 Durant Avenue) visit

The other half of the class goes to the regular classroom —

Screening of the 1989 film "Rikyu" (imdb) (This movie is available through the East Asian Library's Media Center as a 1 day loan: PN1997 .R557 2000 DVD)

Museum details:

First twenty to sign up are eligible to attend. The link to the sign-up page will be here, when available: Fall 2013 Sign-up sheet

We gather at the Durant lobby at regular class time; it is right around the corner from the conference room where we'll meet for the class. The usual museum-type rules apply: no photography (including cell phone cameras—the material might have copyright protection), no food or drink, and only pencils may be used if you want to take notes. If it is raining, your backpacks and such might be placed in a room separate from the viewing room. It should be relatively safe, but it is not a guarded room.

We'll be looking at a few paintings with tea references and some Chinese and Japanese ceramics.

Film details:

This film is about the founder of the modern Japanese tea ceremony: Sen Rikyu. The director, Hiroshi Teshigahara, focused on documentaries and films rich in biography. However, he was the director of a very large number of films including the award-winning 1965 film Woman of the Dunes and The Face of Another. The director's father was not involved in tea but was deeply involved in flower-arranging, an art intimately close to the tea ceremony:

(Director bio from imdb:) "Hiroshi Teshigahara was born as the son of Sofu Teshigahara who was the founder of the Sogetsu School of Ikebana (flower arrangement). In 1950, he was graduated from Tokyo National University of Fine Arts and Music in oil painting. In 1958, he became the director of Sogetsu Art Center and took a leading role in avant-garde activities in all fields of art. Since 1980, acting as movie director, he has been the Iemoto (Headmaster) of the Sogetsu School of Ikebana."

Film plot in detail at: http://www.vernonjohns.org/snuffy1186/rikyu_1989.html

This movie won the Silver Lion award at the 1989 Venice International Film Festival.

Historical details are very good.

Contemporary tea practices (short videos day) submission

Usually one day during the term is devoted to viewing interesting short videos. You are invited, for extra credit, to submit a possible video:

  • slight extra credit for submitting on-time and per instructions, one or two links, of quality, for a video relevant to this course, very broadly defined (this includes humorous videos)
  • more extra credit if the submission is selected for viewing (this is a competitive selection done by me ahead of class).

Content

Anything that supports our theme the culture of tea in either China or Japan or Korea. Video content can be on traditional or contemporary topics, and can be serious or humorous. However, it needs to be in good taste and less than 5 minutes long and easily accessible as a URL on a legal Web site that I can go to without registering for anything. I much prefer videos that do not first run an advertisement, since we have very little time.

Submission

Submit the link by the deadline, as an email to me with the standard subject line and the keyword SHRTVFA13.

Culture Share Day

This session is run differently each time the course is offered.

Please watch the announcements for details.

REQUIRED: Despite changing details, the following is always required: Bring, on an index card (nothing smaller) or half-sheet of paper a personal experience (something you saw or did or traveled to or drank, or family practices, etc.). Write this concisely and briefly. Put your name at the top of the sheet. I will read a few of these aloud to class. If you do not want your name shared, please say so under your name. Give me this card/sheet as soon as you arrive to class. Do NOT write it once in class. I will not accept it. This is a busy day and we do not have time to wait for you.

Final

The final will be an open-notes test with multiple essay questions. Some will be short answer, others will require more extended answers. Some of the essay questions will be built around the themes of "the development of tea culture" and "signs".

"Open-notes" means that you can have notes that are on paper but no electronic devices, including electronic dictionaries. Answers are to be hand-written.

I will provide paper and will run time.

I will be there for the full three hours of our time slot if necessary but I don't expect students to need all of that time, given the questions I have in mind.

My recommendation for prep for this exam is to have well-organized notes, think over the topics just mentioned, and read the wording of the questions very carefully.

Important dates & deadlines

Aug 30 (F, Session 01) — First class

Sep 9 (M, Session 04) — Formation of tea groups

Sep 13 (f, Session 06) — Submission of coded tea samples at the beginning of this session. *I have extended this deadline. It used to be Wendesday.

Oct 11 (F, Session 18) — Midterm 01

Nov 4 (M, Session 28) — Midterm 02

Nov 20 or 22 (W, F, Session 34 & 35) — optional museum visit (half the class on one of these days, the other half on the other day)

Nov 23 (Sa) — Essay proposal, 2 AM on this day (that is early Saturday morning, not Sunday—this is an optional submission, for those who want feedback)

Dec 2 (M, Session 38) — Midterm 03

Dec 3 (Tu) — Extra credit (optional): Short Video Day submission, 3:30 PM

Dec 6 (F, Session 40) — Last class

Dec 8 (Su) — RRR Presentation PowerPoint slides AND Essay portrait, at 2 AM (that is early Sunday morning, not Monday—severe late penalties)

Dec 8 (Su) — Essay draft (optional), 2 AM

Dec 9, 11, 13 (M, W, F) — RRR periods: presentation (optional attendance except for presenter)

Dec 17 (Tu) — Essay final draft at 2 AM (that is early Tuesday morning, not Wednesday—no late submissions accepted)

Dec 19 (Th) 3-6PM — Final Exam

EA109Fa13 Team Memberships

Tea N/A

  • *Jason
  • Brian
  • Chieko

cHa2O

  • *Kimberly
  • Sarah
  • Shufan
  • Andrew

Infinitea

  • *Janet
  • Lisa
  • Jackie

Man-atea

  • *Nick
  • Eric
  • Michael
  • Austin

No ITEA

  • *Amy C.
  • Eunhye
  • Cindy
  • Josephine
  • Vivienne

Teahee

  • *Crystal
  • Gita
  • Alex G.
  • Rainbow

TEAm TEA

  • *Ellen
  • Joon Sub
  • Becca
  • Ally

Teankerbell

  • *Michelle
  • Katheryn
  • Tara
  • Sam, when present

TeaPot

  • *Stacy
  • Aimee T.
  • Allen

The Partea

  • *Victoria
  • Jocy
  • Alex D.
  • Haoqi

EA109 History of Culture of Tea in China and Japan

caption

matchlistviewbar

topics

Thoughts—read before class, revisit for tests

Lorem Ipsum

Required—to be completed for today's session

Lorem Ipsum

Tealeaf crafting Tea—China terms Tea—Japan terms

EA109 History of Culture of Tea in China and Japan

caption

matcheslistview

◊ topic

❖ topic

dumpherefirst

Thoughts—read before class, revisit for tests

inserthere

Required—to be completed for today's session

pastein

Open Start Page Back to Course Guide Tealeaf crafting Tea—China terms Tea—Japan terms