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Chinese Folk
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Soul Mountain (my views)
Gao Xinjian is the only novelist from China who has the honor of winning the Nobel Prize for Literature for his memorable novel 'Soul Mountain' which has set a new trail for the Chinese novel. It is an autobiographical social commentary that has significant place for the supernatural in its plot. It describes the self-imposed exile in Sichuan Province from where the author draws elements of the plot. Had he been in the central China, he would have definitely faced persecution but the seclusion provided him time enough to set out for his spiritual pilgrimage.
The story takes the readers into the remote and past world of Oriental Spiritualism and philosophical abundance. Soul Mountain is , in real sense, a whole world in itself.
Shamanistic customs and traditions are still practiced in Sichuan Province. Xinjian incorporates into the novel his experiences with monks, folk-singers, and recluses, and so portrays the history and mythology of the people around him. Through Xingjian's writing, history and reality blend with mythology and the natural distortion of time, and perceptions of the past and present blend with history and folklore into one experiential moment.
Xingjian's writing appropriates Taoist concepts, according to which one pursues pure wisdom by exploring the paradoxes of truth. The contrast of truth and wisdom appears often in the book, especially when Xinjian discusses his earlier disillusionment upon discovering that his immersion in books did not endow him with wisdom, but rather prevented him from truly living.
The novel's perspective changes rapidly, the narrative voice shifting among first, second and third person. Each character's viewpoint reflects aspects of a single, fractured consciousness. Xinjian thus blurs the distinction between personal and social identities; his young female companion represents not only his desires but also the emerging sexual freedom that began to appear in the post-Mao era. Yet Xingjian's prose is enigmatic, and the novel's shifting perspective and style force the reader to search him in interpreting the story, and to question internal and social mores.
Despite its ambitious philosophical premise, Soul Mountain has a very straightforward plot, which centers on a spiritual journey that mirrors Xingjian's. The protagonist is meant to be a universal character, taking the forms of "I," "you," "he" and "she." By alternating the personal perspective from chapter to chapter, beginning one with "I" and the next with "you," Xinjian forces the reader to compare and contrast these two different facets of one self.
Undertaking its own Odyssey, this tale provides a detailed account of a modern journey. The main protagonist takes crowded trains, hitchhikes and travels on foot. He travels the hard way into the interior of China, often blown off of his path or staying longer than necessary in one place.
Further complicating the journey, the protagonist has a series of short-lived relationships with a series of women, always referred to as "she." The relations range from ephemeral to platonic to carnally real. Yet the sexuality that Xinjian explores in Soul Mountain has overtones of misogyny. Xinjian described one of the "she's as a "struggling wild animal" who "suddenly turns docile" with him. In Soul Mountain the understanding of women's sexuality remains undeveloped and so every "she" is objectified and thereby distorted.
Many images are culled from the protagonist's consciousness: "Ponds with floating duckweed, small town wine shops, windows of upstairs rooms overhanging the street, arched stone bridges, canopied boats passing under arched bridges and a dried up old well." In order to enhance his consciousness of his origins, he gains a sense of wisdom through childhood memories and through the collection of traditional lore, ranging from tales of bandits to an account of a monastery raid.
Just as the protagonist visits the past, he also ponders his fate. An enlightening encounter with death resonates with a personal crisis in Xingjian's past. In 1982, Xinjian was falsely diagnosed with cancer, which compelled him to reevaluate his life, seeking solace in the classic Confucianism text I Ch'ing or The Book of Changes. With personal insight, Xinjian vividly captures his protagonist's fearful wait for a fateful X-ray: "While awaiting the pronouncement of the death sentence, I was in this state of nothingness, looking at the autumn sun outside the window, silently intoning Namo Amitofu, over and over in my heart." The emotional and spiritual upheaval Xinjian underwent pushed him to question the very nature of his existence and the fruits of this journey are displayed in Soul Mountain.
Many stories collected along this journey involve cruelty. The first woman that he comes across describes her nausea before love, her constant suffering and her desire for a death that will cause others to pity and admire her, martyrdom. Hostile encounters in the novel seem to allude to Xingjian's experiences with the Chinese government. One story that directly addresses the Cultural Revolution involves the savage execution of political enemies of the radicals. However, the underlying currents of violence are oddly juxtaposed with the theme of spiritual growth, and the author never resolves whether any character can ever truly move beyond these atrocities. By refusing to tell his own story and simultaneously trying to relate universal themes, Xinjian exceeds the limits of his fiction. Constantly wavering between a quest for an individual enlightenment and an attempt to stir social consciousness, the story seems adrift. The story has the enigmatic power to enthrall the readers and keep them absorbed right from the beginning till the end, for the majority of the non-Chinese readers will remain submerged in exploring the mysteries of the unseen world.
Raja Sharma
Raja's views
http://www.raja-books.blogspot.com
Chinese-Theater-Arts
Chinese-Theater-Arts
Chinese Theater Arts
The Chinese theater art dates back to as early as the Shang Dynasty in 1500 BC.Visit here now http://evolutionofdance-youtubevideo.blogspot.com
Now there are so many subcategories in the Chinese theater such as Beijing Opera, Acrobats, Clowning, Shadow puppetry, etc. Music and acrobatics evolved in the Shang Dynasty with many plays having these elements. Theater arts further flourished during Yuan Dynasty. The structure began evolving and gaining recognition throughout whole of China. The Yuan style is reflected in Beijing Opera which is alive till this date.
Chinese theater arts involve primarily four skills. They are voice, dance, song and acrobats. Dancing is done along with acting and combat is a part of the acrobats. In all these the basic emphasis is on the beauty of the movement and the actors are supposed to master all four of them as they are the part and parcel of the Chinese theater arts. Certain actions are a code and can be interpreted about some happening. Like when an actor walks in a circular motion, that means he is travelling over a long distance, on other instances if the actors on stage straighten their cloths and head gear means that the leading character is going to say something important.
The Tang Dynasty witnessed the rise in shadow puppetry. It reached such great heights that an acting school named The Pear Garden was started by Ming Huang which produced musical drama and the actors of this school were known as The Children of the Pear Garden. There two subcategories of shadow puppetry, Cantonese and Pekingese. The difference was in the making of the puppet. The Cantonese puppets were larger with the characters having symbolic colors according to the roles they are depicting. They were made out of thick leather and the rods were attached perpendicular to the head of the puppet. The Pekingese puppets were more delicate and small and brightly colored. They were made out of thin and translucent leather and the rods were attached to the neck of the puppet which were bent at ninety degree and ran parallel to the body of the puppet. The storyline was usually same for both Cantonese and Pekingese. The Chinese puppeteers believed in an age-old superstition that the puppets come alive at night if the head of the puppet was left intact with the body. So the head and the body were detached and stored in two different boxes.
The shows are usually being presented on rectangular platforms with the audience surrounding it from three sides. Shoujiu is an embellished curtain which divides the curtain into two. The stage is sparsely decorated with more emphasis on the actors who wear bright clothes and makeup and thus less number of props are used during the performance. The attire differs according to the role being played. King and his family wear yellow costumes where as a highly ranked warrior wears a purple outfit. Mang or python robe is the name given to this class of costumes. A character of high rank wears red garment with rich embellishments often in the shape of a dragon and other characters of lower rank wear blue robe. A young character wears white clothes, an older personality wears white, olive or brown and the rest of the supporting actors wear black robes.
The music is played on instruments such as jinghu, a small two strings, high pitched spike fiddle and Ruan, a plucked lute with circular body. The performance begins with the stern beating of drums known as Xiaoluo and Daluo. There are three classifications of the melodies being played. Aria is the first class with two subcategories, Erhuang and Xipi. Xipi is used to express more loud expressions. Qupai is the second class which basically consists of instrumental tunes depicting the happening of a big event like a festival or feast or the entree of an important character. Percussion pattern is the third class which includes fixed tune music.
The theme of most of the plays are illusionistic and nor realistic mostly involving Chinese folk tales. Later on plays were also written on history and the dramas today encompass the Chinese version of international plays such as A Midsummer Nights' Dream and King Lear.Visit here now http://evolutionofdance-youtubevideo.blogspot.com
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What are some famous instrumental Chinese music? [traditional/folk]?
I don't care what instruments are included but I need something instrumental and moves at a fine pace [not slow or very fast] about 3 mins max. for a video I'm creating but I don't know titles.
some famous songs comes from the sizhu and hanyue... one such title is the lament of the zhao jun(direct translation) of course if you need, you can always search the 12 girls band and find out the title of the songs they are playing... even though the are a modern band, most songs are actually traditional..
friday, july 23
rock, etc. Kirov Indie rock. Chinese Pilot Jao Da. 8 p.m. #La Minor Urban folk. Fish Fabrique (Nouvelle). 8 p.m. Brigadny Podryad Punk rock. Glavclub. 8 p.m.
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the violing strings that my sister use is made up of those nylon strings, they sound good anyway ;:`