11\/15\/2010<\/p>\n\n\n\n
16th ASIAN GAMES
November 15, 2010
Guangzhou, China
Presented by Mehri Madarshahi<\/p>\n\n\n\n
Human virtue cannot move forward without music. Confucius believed that one\u2019s education could not be complete without musical education, as illustrated by the following quote from Confucius himself: \u201cTo educate someone, you should start with poems, emphasize of ceremonies, and finish with music.<\/p>\n\n\n\n
Music was an important part of Confucius\u2019s teachings. He himself was said to have been a brilliant musician. In fact, he is credited with composing some of the earliest written music that still exists today: \u201cYoulan,\u201d also known as \u201cThe Solitary Orchid.\u201d He also composed music for the entire Book of Songs, a collection of traditional poems (Jones). In an anecdote, Confucius\u2019s insatiable thirst for knowledge and achievement in music is illustrated when it was said that while learning the Guqin from musician Shi Xiangzi, Confucius was not satisfied with merely performing the music well and practiced with great discipline until his performance was perfect (\u201cConfucius and Music\u201d).<\/p>\n\n\n\n
Recognizing cultural diversity and promoting racial harmony through music<\/p>\n\n\n\n
Music is an often untapped source of both motivation and inspiration\u2028for sport and exercise participant<\/p>\n\n\n\n
Harmony is an important concept in China and is also a fundamental characteristic of Chinese music. It means that the best music helps people to reach peace of mind and live with nature harmoniously. It is not only the highest praise for music but also an ideal state in dealing with everything in Chinese people\u2019s daily life. Chinese people hope that their family members live in happiness and harmony, and that the relationship between people is harmonious.<\/p>\n\n\n\n
Lately, the Chinese President Hu Jintao has urged Chinese artists and writers to devote themselves to promoting \u201ccultural harmony\u201d. Based on the conference theme, music educators will discuss how to enhance communication and understanding between different nations, cultures and genders as well as different groups at this conference. They will also discuss how to promote harmonious global development with harmonious music<\/p>\n\n\n\n
fostering global intercultural understanding and cooperation among the world\u2019s music educator<\/p>\n\n\n\n
seek to evoke unity of humanity through a constantly evolving blend of musical styles and cultural traditions, promoting diversity while acknowledging the interconnectedness of all things that influence one another over time<\/p>\n\n\n\n
he richness and diversity of the world\u2019s music provides opportunities for intercultural learning and international understanding, co-operation and peace<\/p>\n\n\n\n
\u201cwindow of opportunity \u201cThe transmission of promoting such togetherness in a multicultural society is a step forward to promote respect for diversity and the notion of other.<\/p>\n\n\n\n
that programs are consistent with the principles of \u2018community accord\u2019 which includes respect for all communities, opportunities to work together to reaffirm similarities, the elimination of racial and religious intolerance and the rejection of racial vilification, harassment and discrimination<\/p>\n\n\n\n
One\u2019s identity is a mosaic\u2014social class, ethnic heritage, national belonging, urban upbringing and religion<\/p>\n\n\n\n
In an increasingly globalised world, the ways of understanding and being part of that world we take for granted can never be understood as essentially different and are always in process of interchange and melange.<\/p>\n\n\n\n
Campbell suggests \u201cwe are all \u201cbiologically wired in similar ways across cultures\u201d. She points out that when studying music transmission, we \u201cexamine the nature of music as it is learned and taught in an array of formal and informal settings, and note the similarities as well as the distinctions across learners in many context\u201d (p.217). Hence by studying music of another, we cross boundaries and explore new possibilities in relation to our music identity and in doing so rethink who we are as a culture and a people. We move across borderlands, which Anzaldua (1987) describes as:<\/p>\n\n\n\n
Living on border and in margins, keeping intact one\u2019s shifting and multiple identity and integrity, is like trying to swim in a new element, an \u2018alien\u2019 element. There is an exhilaration in being a participant in the future evolution of humankind, in being \u2018worked\u2019 on \u2026 And yes, the \u2018alien\u2019 environment has become familiar \u2013 never comfortable, not with society\u2019s clamor to uphold the old, to rejoin the flock, to go with the herd. No not comfortable but home (p.1).<\/p>\n\n\n\n
who believed \u201cunderstanding music in turn can help us to understand the world\u2019s cultures and their diversity\u201d. It is only when we move out of our own context and into\u2018the other\u2019 that we begin to make the cross-cultural connections that may be invisible in the music of that which is comfortable and strange. By opening up the mind\u2019s eye and ear to \u2018the other\u2019 one engages and interacts with a new and different culture: \u201cyou find yourself in someone else\u2019s music\u201d (Ray Phiri, the famous black artist, quoted in Missingham, 1998, p. 426).<\/p>\n\n\n\n
Oehrle (1991) argues that, by exposing students to other cultures and music, we also explore cross-cultural possibilities more fully, richly and critically than previously. She further states that a growing awareness of other cultures is not only more possible but also necessary (p.26). The authors believe that as global citizens we should embrace diversity and change in our teaching and Dawn found that medium through music. Her experience<\/p>\n\n\n\n
the arts to promote cultural harmony and wellbeing for a more cohesive and richer society. Cultural Infusion is dedicated to promoting equality, social justice and encouraging a broader understanding of culture across our community for the benefit of all<\/p>\n\n\n\n
\u201cCommonwealth Resounds! aims not only to showcase talent, but also serve as a platform for friendship and understanding that can promote peace and unity. Music can transcend cultures, beliefs and politics \u2014 it can foster collaboration and nurture creativity. I hope that this musical event will develop into a cultural network of musical artists and music lovers in the Commonwealth,\u201d said Ms de Maria, co-director of Commonwealth Resounds!<\/p>\n\n\n\n
Music can inspire, comfort, lead, follow, and affect us in countless other ways. It is a marvellous way to engage and enjoy the cultures of others and to discover common goals and aspirations. But more than that, music binds us together.<\/p>\n\n\n\n
This concert also focuses on how people, as inventors, sustainers, and communicators of traditional music, develop strategies to accommodate the change<\/p>\n\n\n\n
9. Gezer epic tradition:<\/p>\n\n\n\n
The ethnic Tibetan, Mongolian and Tu communities in west and north China share the story of the ancient hero King Gezar, who was said to have been sent to heaven to vanquish monsters, depose the powerful, and aid the weak while unifying disparate tribes. The singers and storytellers perform episodes of the vast oral narrative (known as \u201cbeads on a string\u201d) in alternating passages of prose and verse with numerous regional differences.<\/p>\n\n\n\n
10. Grand song of the Dong ethnic group:<\/p>\n\n\n\n
It\u2019s a tradition of the Dong people in Guizhou Province in southwest China to pass on culture and knowledge through music, as exemplified in the Grand song of the Dong ethnic group, a multi-part song performed without instrumental accompaniment or a lead vocalist.<\/p>\n\n\n\n
11. Hua\u2019er:<\/p>\n\n\n\n
In northwestern Gansu and Qinghai provinces and throughout north-central China, people of nine different ethnic groups share a musical tradition known as Hua\u2019er. The music is drawn from an extensive traditional repertoire named after ethnicities.<\/p>\n\n\n\n
12. Manas:<\/p>\n\n\n\n
The Kirgiz ethnic minority in China\u2019s Xinjiang region in the west pride themselves on their descent from the hero Manas, whose life and progeny are celebrated in one of their oral traditions\u2014the Manas epic. Without musical accompaniment, epic performances take place at social gatherings, community celebrations, ceremonies such as weddings and funerals and dedicated concerts.<\/p>\n\n\n\n
13. The Mazu belief and customs:<\/p>\n\n\n\n
As the most influential goddess of the sea in China, Mazu is at the center of a host of beliefs and customs, including oral traditions, religious ceremonies and folk practices, throughout the country\u2019s coastal areas.<\/p>\n\n\n\n
14. Khoomei, the Mongolian art of singing:<\/p>\n\n\n\n
The Mongolian art of singing\u2014Khoomei, or throat harmony\u2014is a style in which a single performer produces a diversified harmony of multiple voice parts.<\/p>\n\n\n\n
15. Nanyin:<\/p>\n\n\n\n
Nanyin is a musical performance central to the culture of the people of Minnan in south Fujian Province along China\u2019s southeastern coast and to Minnan populations overseas.<\/p>\n\n\n\n
16. Regong arts:<\/p>\n\n\n\n
In monasteries and villages along the Longwu River Basin in Qinghai Province in west China, Buddhist monks and folk artists of the Tibetan and Tu ethnic groups carry on the plastic arts of painting Thangka and murals, crafting patchwork barbola and sculpting, known collectively as the Regong arts.<\/p>\n\n\n\n
the selected musical instruments have roots in the history of each country to express the culture and civilization of this country and to embody them through the spheres of the Silk Road.<\/p>\n","protected":false},"excerpt":{"rendered":"
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