Monday, December 1, 2008

Mei Lan Fang's Former Residence: Huguosi Hutong


November 29, 2008. Mei Lan Fang’s Former Residence

Earlier this semester, I had gone in search of Mei Lan Fang’s Former Residence but was unsuccessful. The directions given in the Lonely Planet Guide were insufficient. The directions listed the subway station but other than that there was no other information. The website was also not extremely helpful. Since I am on a tight budget, I have refused to take a taxi unless absolutely necessary.

On Friday, I called the museum and a nice man answers the phone. He lets me know that I can take Bus 107 from Xizhimen to ChangQiao. I look at my map and find out that I would be about a block or two away from the mentioned bus stop. I decide that it would be best for me to go to the more touristy places on Friday and visit this place (and the South Cathedral) on Saturday.

I wake up very early on Saturday morning and head out to Dongwuyuan. I am also photo-journaling my favorite shopping haunts in the Haidian District. I do not want to forget those places. Thankfully for this idea, I found out that Bus 107 plies the route between Dongwuyuan, the Beijing Exhibition Center and would take me to ChangQiao. It does not pass by Xizhimen at all. I hop on the bus after I finish taking pictures and this bus does not serve the most popular route so I manage to get a seat.

I get off at the right stop and see the Huguosi Hotel. Mei’s residence is located in the Huguosi hutong area. I walk north as I remember from looking at my map and cross the street towards the hutong. I thought I would have to search for it so I was pleasantly surprised when it was right at the corner. I snap a couple of quick pictures and proceed to buy my ticket. My student ID has come in handy at many places so I enter the residence for RMB5.

I am pleasantly to find English captions on the displays. The first display was a photo exhibition of Mei’s life and all the major opera roles he starred in. Mei looks extremely feminine to me and I wonder whether that is the reason he starred in the female roles, or whether his femininity is an influence of the roles he played. Mei is known for establishing a style of singing and is now known as the Mei Lan Fang School. I wish they had videos or recordings of his performances playing in the exhibition hall. I am interested in finding out what the Mei Lan Fang School is. Photography is not allowed in the display area.


The second display is only visible through the glass. Mei’s living room, study and bedroom are on display. He lived in this home from 1949-1961, except for a brief stay in Hong Kong. The furniture belonged to him and walls are decorated with his own calligraphy or ones given to him by friends.



The third and last display area holds several of his costumes and more pictures of his career. To me, the most interesting display in this room is a photo chart of Chinese opera hand gestures and their related meanings. I knew the gestures usually represented something but I now realized how intricate the movements are and a slight difference would imply a different meaning. While there was no museum worker in the room, I snap as many pictures as I can.



I knew I should buy some souvenirs of his performances and I wanted better pictures than what I sneaked. I allowed myself to be talked into buying a DVD, a souvenir booklet and a deck of cards, each with a different costume with his character listed. I knew this would prove to be interesting to my students someday and just looked at my purchase as a future investment. I walk off towards another main street to catch the bus to Nantang.

Subway/Bus Directions: Jishuitan Subway Station. Bus 808, 47, (heading south, stop at Huguosi which is along Xinjiekoulu Nan) then walk east towards Huguosi Hotel. The museum is at the end of the hutong road.
From Baishiqiao Dong near Carrefour, take old blue Bus 105, it will stop somewhere near Huguosi too.
From Bejing Zoo take the old blue Bus 107 (stop at ChangQiao Lukou Si after PingAnLi Lukou Si) then walk north about a block and cross the street to Huguosi Hutong (west). This is the closest bus stop with the least walking!

Laoshe Teahouse: Opera Lovers' Afternoon

November 12, 2008 I visited Laoshe Teahouse, near Qianmen on a Wednesday afternoon. I purposely picked this afternoon because the Beijing Opera Lovers' Afternoon would be going on from 2:00pm-4:00pm. I had been in these teahouse the Sunday before and had scoped it out. I wanted to attend one of the evening performances but they had raised their ticket prices considerably. The cheapest ticket used to be RMB60 but now it is RMB180. I decided it would be worth it for me to go to a vaudeville-like variety show. I arrived at the teahouse around 2:30pm and am bombarded with questions by the doormen. I am not sure exactly what they are asking or telling me as they were using the Beijing dialect. While I was in the lobby, I heard some Beijng opera singing coming from the adjoining room but I couldn't figure out where or how I get in. The brochure said they had English speaking staff but that wasn't quite the case. I decide to wander the floors of the teahouse. Depending on one's taste, it is either ornately or gaudily decorated. The walls are lined with pictures of all the dignitaries they have hosted. The second floor has a tea shop and also a gift shop, along with displays of opera costumes. I observe that the prices of the gift shop are unreasonable, given that one could pick up the same souvenirs for a fraction of the price at Qianmen. There were several miniature versions of the costumes on sale for exorbitant prices of several thousand yuan. The place is rather empty except for one wandering (lost) person: me. I proceed to the top floor and there are several tea rooms. I stumble upon the other afternoon performance program at the main performance room. I walk in and stand there for sometime, but none of the attendants ask whether I'm here to see the show. I saw part of a puppet show and shadowplay being performed. I would have loved to sit down somewhere but I did not want to be overcharged for tea. I was not sure whether I had to seat myself or be seated. I resort to standing at the doorway and watched part of the shadowplay. I observe that most of the people who are presently watching the performance are all foreigners. It was too quiet of a crowd and I felt rather uncomfortable because this is not the norm for watching such performances. I decide to brave it and proceed back to the lower floor. I would try and figure out how to get to the opera lovers' afternoon. I manage to talk to the receptionists there and figure out all I had to pay for RMB10 for entrance and a cup of tea. When I walk in, I am again totally out of my element. I think I'm the only one who is below 30 in the room. All the people were sitting around round table, talking and drinking tea. Obviously, they were regulars at this event and know each other very well. There is not a spot in the room that is open except the front table. The waiter, sensing my apprehension, finally lets me sit up in the balcony by myself. I quite enjoy my vantage point because I could now be the silent, unseen observer of the event. The audience behavior is as expected for a Chinese opera performance. While the amateurs sing their hearts out on stage, the rest are happily talking away, drinking jasmine tea and eating melon seeds. The singing is occasionally interrupted by clapping and shouts of acknowledgement from the audience. The audience participates in the performance in this manner. It is also not rude to walk in and out while there is singing. I also notice the accompanying musicians are not all completely masters of the repertoire. One person in the jinghu or erhu group was definitely the leader. He knew most of the tunes by heart. The rest of them had score books they were playing out of. I am very glad to observe this afternoon as many of these traditions are dying in Beijing. I find it very odd that the Beijing general audience doesn't quite know how to observe concert etiquette for both Western classical performances and Chinese classical performances like this one. I am not sure whether there is a middle ground and whether the middle is where the Beijingers are. If I was a Beijing opera performer, I would be disheartened to perform to a silent crowd. On the other hand, when I perform on the piano, I am distracted by a noisy audience. Maybe I wasn't the most polite and cultured guest this afternoon, as I was quiet, too quiet.

Saturday, November 29, 2008

Yang Liping's Latest Dance Show: Tibetan Riddle



November 26, Thursday night

I have already attended three dance concerts in the last 4 days. I was writing my review on Dynamic Yunnan and had to look up the title of Yang Liping's latest dance show. When I surfed on to the ticketing site piao.com.cn, I saw that there were still cheap tickets available for the Sunday afternoon matinee. I wondered whether I would regret not watching her dance now, as she is almost 50 yrs old and will likely not be dancing on stage for too much longer. I call the ticketing agency and they tell me that there are round 50 tickets left at that price. The show was opening tonight at the Poly Theatre. I decide to go on an adventure and try my chances with the scalpers. I took 200 yuan cash with me and if I couldn't get a ticket for that price, I'll go home and book a ticket for Sunday. Tickets for all other shows were sold out.

I got to the Poly Theatre at around 6:15pm which is still very early. I walk to the two scalpers I recognized as they shooed me away before and ask whether they have tickets for tonight's performance. They said they would have tickets at around 7:10pm and for me to return then. One of them recognizes me and I feign ignorance. I head towards McDonald's and walked until I found a cheap, but popular noodle joint close by. The wind was nasty this evening and I was not dressed warmly enough to be outside for too long.

I went back to the theatre and ran into another scalper, who would try to locate a ticket for me. As time wore on, I stood close by where the scalpers were trying to pawn off their tickets. They were wanting ridiculous prices of 400 & 500rmb. Of course, they were good seats but I just needed a seat. I asked for a ticket and then decided not to buy it. A couple standing by me was also trying to purchase a ticket. They only had one but needed another and I needed one. They suggested that they sell their ticket to me and go home. They told me that it would be best, they do not live far away so it was not a bother to go home and try for another performance. I bought their 280 rmb ticket for 200 rmb. I then find out that she is a retired Peking University professor of German. How amazing! I thank them profusely for the ticket.

I head on into the auditorium. I had a seat in the upper right box. I am excited to see what they have in store as now Yang has updated technology at her disposal. The stage has Tibetan prayer wheels and incense burning. Actors are turning the wheels and occasionally the horn is blown. The story line and translation of the songs are flashed on the side screens. I am able to read parts of it as I cannot read that fast yet. I am enclosing the outline of the program below found at http://www.piao.com.cn/en_piao/ticket_2028.html and will be inserting my comments in italics. Please observe the Chinglish!

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The newest work of Liping Yang, the most popular Chinese ethical dancer and choreographer Coryphaeus by Rongzhong Erjia, the legendary Tibetan singer
A splendid and soul-shocking ethical music banquet in Beijing after its 80 shows’ tour around other cities

About Tibetan Riddle/Enigma:
Tibetan Enigma is a painstaking works of Liping Yang and Rongzhong Erjia. It is an epic showing different styles of pure Tibetan colorful music and dance in different regions.

“The Tibetan people are born to be the master of dance and singing, I can’t learn all their unique skills,” said Yang. Therefore, she invented some Tibetan men and women to take part in this show. It is the first time for all these folk performers to walk out their hometown and daily lives. They will be a great surprise to the audience in the choreography by Yang.
I'm not sure how one is supposed to invent people ... but the invention is very convincing.

Tibet Enigma debuted in 2008 as an audial and visional banquet. Nonprofessional Tibetan performers will bring local color and amorous feeling of the Tibet. Meanwhile, the Tibetan folk music instruments and vocality like Tibetan guitar and Dafahao (a big-size music instrument used in a Buddhist mass) will be firstly used on the stage. Three thousand Tibetan local costume, accessories and treasures will be exhibited in the show. It took five years for the choreographer to create and perfect the show.

It is specially worthy of mentioned that the Tibetan farmers will playing the Tibetan guitar, singing the folk song and dancing the tap dance at the same time. It is the unique performance style of Tibetan people.

The story
The story of Tibetan Enigma is about an old Tibetan woman’s experience along her pilgrim journey. Tibetan lives, culture, customs, and religion are all exhibited to the audience by the song, dance and music instruments.

Audience will see Liping Yang’s totally new profile and dance as well as Rongzhong Jiaer’s romantic voices. It is a collection of Tibetan sing and dance, a fashion show of ethnic costumes, and music festival with one-hundred folk Tibetan artists. The production has been prepared by Liping Yang for five years. She will perform a fairy who leading the old woman to the pilgrim road.


Scenes

Scene I
Tibetan Guitar and Long-leave Dance
Tibetan Guitar by all actors
Long-leave Dance by all actors and actress
Leading Singer: Baimalaji Cairangnanjie
This is what I like most about Yang's work. She incorporates music, song and dance into her show. These people were not just performing, they were thoroughly engaged with what they were doing. It's hard to be distant when one is singing, dancing and playing an instrument at the same time. I enjoy it when dancers are accompanied live, especially when they accompany themselves. The long-leave dance is a form of tap dancing.

The women came on stage singing a song. It sounded really familiar to me and I then realized it was the same song the ladies sang at the Niu Tibetan Village which we visited. Isn't that amazing? Or they just have very similar songs. This song and dance brought back fond memories of our study tour.

Scene II
Trash Highland Barley and Lover antistrophe
Leading Dancer: Naimaer Gudehamu
Leading Singer: Rongzhong Erjiar

Yak Dance lead by Dadanzeng The yak dance was the most light-hearted of all the dances. The yak herder had a script and he would also give commands to the yaks. To make things interesting, there was only one female yak amongst the male ones. The singers in this portion were three women and their song was sung in close dissonant harmony (in 2nds almost the entire song).

Scene III: Trash Aga, Shower Festival, Costume Race Festival
Leading Singer: Cairangnanjie Yinzhoucao
Notes
Trash Aga: A strange dance from the saint labor of repairing Potala Palace
If I'm not mistaken this involved clapping their hands together, followed by full prostration and is definitely religious in nature.
Shower Festival: It is an annual festival in Lunar Tibet Year when Tibetan women will have a shower in saint lake.
Costume Race Festival: It is a festival when the Tibetan youth will compete with their costumes and accessories. On the festival, these young boys and girls will have their most luxuriant gaudery on. For Tibetan people, the gaudery is the symbol of richness. The most expensive assets are ceremonious costumes and accessories.

Scene IV Nirvana Dream
Programs
1. Pilgrim
2. Tibetan Guitar
3. Long-leave Dance
4. Trash Highland Barley The dance was by the young people and they used their brooms as rhythmic instruments.

5. Lotus Drolma (Solo by Liping Yang)The crowd gives Yang a warm welcome as this was her first appearance of the evening. She is dressed like a Bodhisatva and dances on a lotus platform. Her dance movements are similar to the Moon Dance and the Peacock Dance. It was amazing to watch her dance and see what an excellent flexible dancer she is. I was glad I brought my binoculars with me as I watched her closely for the whole dance.

6. Yak Dance (reprise)
7. Song: Pilgrim, King Gear (Sing by Rongzhong Erjia)
8. Trash Age

9. Costume Race (Lead by Liping Yang) This was similar to the water dance in Dynamic Yunnan. Yang is the lead dancer in the center of an inverted triangle. The rest of the dancers are male.

In this dance, Yang's graceful actions are replaced by energetic street dance style movements. The dance is aptly name "Black Hat".
10. Nirvana (Drolma by Liping Yang ) Yang comes out one more time and dances something similar to the nirvana dance.

Casting
Art Director/ General Choreographer/Leading Actress: Liping Yang
Producer/ General Executive/Leading Actor: Rongzhong Erjia
Choreography/Leading Actress: Sun Flower
Stage Design: Jiangtao Luo
Music Director/ Music Executive: Xiao Pang

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At the end of the show, Rongzong Erjia introduces all the main dancers of the show. He leaves for the finale of the show and then when all the dancers are on stage, he acknowledges Yang. The audience claps and waves to the performers fondly. I can see them hug and spin each other on stage. They are very happy and proud of their successful debut in Beijing.

Central Conservatory Beijing: Shen Wenyu, piano

November 18, 2008
I decided to also to a piano recital by a Chinese pianist and also visit another concert hall. His concert was held at the Central Conservatory Concert Hall, home of China’s greatest musicians. Many Chinese musicians who have made a career in the international music world have passed through this conservatory at one point or another. During the Cultural Revolution, many of its professors and students were persecuted. After the revolution ended, the conservatory has since been restored and is the most respected school for piano in the country. This is China’s Julliard.

The conservatory area is beautiful and I just couldn't imagine what it was like during the Cultural Revolution. I just pondered on the fact that all the Chinese pianists and composers I admire, have walked or played in this hall. I again did not bring my camera to the recital as I forget that I will be allowed to take pictures of the recital.

Shen is a fairly young pianist and technically brilliant. For such a young pianist, he displayed a depth and maturity to his playing. Thankfully there was none of the flashy displays made infamous by another excellent Chinese pianist. The selection of pieces for the afternoon consisted of transcriptions. He opened with Liszt’s transcription of Beethoven’s Symphony no. 5 which would be a crowd pleaser and followed it with his own transcription of the “Yellow River Piano Concerto”. It was difficult to judge his playing just from transcriptions. After the intermission, Shen played a duet with a young boy. If my memory serves me, it was a Schubert composition. The second half of the concert consisted of one or two original pieces. “Flight of the Bumble Bee” is always exciting to watch and he played two versions of this. Overall, this concert showed what a genius he is at the piano.

Shen’s teachers were there and so were the next generation of China's pianists between the ages of 5 and up. It was like a circus or a cinema. I was so thankful my seat was on the last row of the hall. I would not need to tolerate any noise behind me, except that it was a blustery day and it got fairly chilly at the back. They were walking in and out at anytime, eating, drinking, videoing the performance on tripods, clapping in between movements and the like. Even the conservatory piano majors sitting close to me were chatting away. I wonder whether I should be annoyed at all these. If I were to hold on strictly to current musicology findings, all these were the norm at concerts given by Mozart and Beethoven. Since then, concert convention has changed and we now have a class of audiophiles. I am just not sure where I stand on this issue.

With all the children and their parents who escorted them here, the concert seemed like it was geared towards the uninitiated but the playing was at such a high level. I am not sure whether they could fully understand what was going on and how remarkable those fingers were. I am sure it adds pressure to all the young children who are learning to play the piano but will never make it to this stage ever. I hope their parents know that out of the 20 million pianists in China there will only be a handful who will be successful in an international performing career.

Peking University: Giovanni Vitaletti, piano

November 2, 2008
Vitaletti's concert was at the Peking University Centennial Concert Hall. It was slightly difficult to locate as it was difficult to pull up a map showing where the concert hall is. I looked up various translations of the venue and finally found a bus map with walking directions to the hall.

The hall was bustling with energy as people poured in for the concert. I had purchased a more expensive ticket and was seated closer to the front. I bought a program but I couldn’t read all of it. I knew from the opus numbers which pieces were going to be played during the first half. The second half, I would have to resort to guessing.

The concert started slightly late to accommodate some of the late guests. People were still entering the hall and looking for their seats between movements. I particularly enjoyed Vitaletti's playing and interpretation of Beethoven op. 53 and 57. The op. 53 Waldstein sonata is particularly difficult technically and musically. I was very happy to hear him start the piece at a moderate and calm tempo unlike most pianists who would dash through the piece. The audience didn’t realize the intricacies of this piece. He also played Busoni's "Carmen Fantasy" and the Don Juan Fantasy by Liszt. I had to look this information up when I got home. I'm sorry I didn't know the titles as the program was entirely in Chinese (of course) but I ended up doing some translation for the Italians close by.

I did not bring my camera into the concert hall following Western concert attendance practice, but it was not so with the local crowd. Even though they were more or less respectful of the no flash photography, they didn’t realize that the little blinking red light on the camera would still reflect off the nice, shiny Steinway. It was a little distracting but it didn’t affect the performer. I wish I videoed his performance like everyone was doing.

I don't think the audience knew how to appreciate his playing as much as the Frenchman's. People started leaving when he was playing his encores, which were from Mussorgsky's "Pictures at an Exhibition" - Ballet of the Unhatched Chicks & Schymule. He did not manage to play his third encore which would be standard practice in Europe. At least, he was greeted with lots of “Brava!” from his countrymen. I was sad that I did not have anyone to process this concert with me so I called my piano professor at UA when I got home that night.

Friday, November 28, 2008

Central University of Nationalities Ethnic Dance School

As I had mentioned earlier, this school is famous for its dance and ethnic music program. This is the third evening in a row that I have attended a performance. No, I am not tired out from this. In fact, this is what I have waited for the whole semester. I am glad the tickets are free.

I have adapted very well to living back in Asia. I now fully remember what it is to have free seating and have to arrive at a concert venue way in advance to get a good seat. It is also ethical to save seats for your friends if you arrive early. I get to the university auditorium at 6:50pm and the front door is already crowded with students. I stand on the top stair of the entrance, a fairly precarious position as I could fall anytime. At around 7:10pm, the ushers shoo us off and told us to let the teachers in first, else we would not be permitted in. I do not move all the way down the stairs as I know there will be a chance to sneak back into the crowd. I am successful, when they do not notice I make my way back to the front and this time I am the first person at the door. I begin to prepare for the "land rush" by removing my scarf and unbuttoning my coat. You may think this is all too funny to read, but I had no qualms about being obnoxious tonight.

The security guards unlatch the door and I have my game plan ready. As soon as I get into the hall, I head for the first row of the rear section of the hall. I fling my coat on the fifth seat, dump my scarf on the 4th, fling my purse on the 3rd and I sit immediately on the first seat and keep my arm on the 2nd seat. Yes, I have 5 seats in a row. I text Allison, Andrew, Dario and Matthew to come as quickly as possible, as I don't know whether I'll be able to hold the seats.

Our teachers arrive sooner so they see me and don't see the rest of the gang yet. Hahah I beat them to the good seats! Mrs Lee was all too proud of her Class no. 5 whom were all sitting in a row with legroom especially for the tall guys. :) She was a little giddy, as of course she does have bragging rights in front of all the other teachers. :) Our class asked for so many tickets that they didn't have any left to give. She said most other classes only 1 or 2 students wanted to go. We had 8 people who wanted tickets.

We can't wait for the performance to begin as this concert. I left my program at home but this time I brought an extra memory card and extra batteries to capture as much of the dance performance on video as possible. The dancers had won competitions recently in the national, regional, or city level. We had watched two of the dances performed tonight at the Yi festival. The men's Mongolian dance was much better than the previous performance. The women in the Korean drum dance was consistently good both times. I believe repeated performances just push the standards higher each time and that is true in this case.

I had watched a similar performance done by more mature dancers for the Genghis Khan show and it looked better. This is an interesting point in which I had discussed with my teacher. She was also at the Genghis Khan performance. The dance was performed by more mature men, hence there is more muscle build and strength there. A friend raised this question: this critique is like saying the girls aren't skinny enough so it didn't look nice? Yes, I revealed my bias.

The dances all lasted around 5 minutes each. The solo dances are challenging for the performers as they have to keep engaged and energized the whole time. It was evident that the dancers enjoyed what they do. I noticed this particularly with the Tibetan dancer. The Dai solo dance was also interesting as it was a reminder of Yang Liping's dance style but this dancer's costume was creatively designed. At first it was like a body suit pulled over her head, but at the right moment, it was pulled down and it became an overlay for her dress. I wonder who thought of this design.

A major critique I have of this performance is the audience behavior. The hall was packed to the brim with not an empty seat in the house. It was standing room only and some people thought the aisles were free game too, walking in and out as they so pleased. There were children who would also stand anywhere they liked even when they are obviously blocking everyone's view. I also thought this was the hardest crowd to please. The applause after each item was short, barely lasting long enough for the performer/s to leave the stage. I find this rather unacceptable. My friends and I clapped loud and long, just to keep the applause from dying too soon.If these dancers were performing in the USA, there would be thunderous applause and a few bows. Even before the finale was over, people started walking out. How sad! Are Beijingers always in a hurry?

Why is this so? In my opinion, I think Beijingers are spoiled with excellent performances. After watching too many excellent performers, one is desensitized to the amazing skills, talents, capabilities and hard work. There is always the need for something better and someone who can do more. There is this unhealthy craving of excellence and dissatisfaction in the Beijing audience. I am having to consciously guard myself against this now that I have been to almost a dozen concerts of high quality. I would not want to perform in Beijing to a jaded audience.

Mongolian Guest Performers at CUN

I had an incredible Sunday before I headed off to the dance performance by Mongolian dancers on campus. Ever since arriving on the CUN campus, I have longed to go to the dance performances on campus. The dance dept of this campus is famous and well-respected in China, especially for their ethnic minority dances. They are often featured on international CCTV when Beijing has events.

I was expecting this to be the student dancers here but it was actually a guest dance troupe from Mongolia. The event had some publicity I'm sure. There were some VIPs there, all dressed in Mongolian outfits. There were the usual speeches before the performance began. There was a printed program for the performance. The show would consists of dance, vocal and instrumental numbers. The hall was not full and the audience was fairly polite given that TIC. There was no scramble for seats when the doors opened unlike some other events.

The show started off with a slightly modern number, with dancers in animal print costumes. The dance was not very well choreograph and did not show off the dancers in the best possible way. We hoped the performance would get better as the evening progressed. There were group dances but since I had watched "The Cyclone of Genghis Khan" with the top dancers of Mongolia, this troupe was not as good. There were similar dances but the dancers lacked the energy to keep the audience engaged.

I wonder whether the sound techs here have hearing problems because everything is so loud. They have a higher risk of damaging their hearing more than the audience. Sadly, I had left my earplugs at home and had to hold my camera to video the event, therefore I couldn't cover my ears. They hurt that evening. The singing was actually very good but the mics were turned up so loud that there was distortion. I noticed that the singers sang on pitch, to whatever the accompaniment was. The singing style is more strident than a western singing style, therefore the mics usually need to be turned down and not up. I am almost certain they could be heard in the hall without amplification because of the placement of the sound. I also mention this because these songs were sung on the grasslands, and they are trained to sing out in the open fields so an enclosed auditorium is not a problem.

I noticed that the musicians were trying to blend the old and the new. There was a performance of the Mongolian horse-head fiddle. The two players were accompanied by an electric guitar and an accompaniment soundtrack which sounded like techno. My friend asked me whether they were out-of-tune at one point, to which I nodded. These instruments do not have the exact same tuning as Western instruments, especially the synthesizer and electric guitar. They would have sounded better just on their own. (Opinion: The synthesizer poses another problem as its sounds are electronically generated, leading to another acoustic problem for the fiddle. There would be less overtones for the fiddle to match, I would think.) This item gained a lot of appreciation from the young audience.

On the other hand, the traditional Mongolian ensemble with three throat singers was a much better performance. Although the music was neither blaringly loud, nor thumping, the serene and mellow tunes gave a more genuine portrayal of Mongolian music. I have listened to unaccompanied throat singing and it is easy to appreciate the technique, but it is hard on the ears. I was very glad to hear how well this singing style blended with the instrumental ensemble. It was a very pleasant end to the evening for me. I wasn't quite sure whether the rest of the audience enjoyed this as much as I did.

Wednesday, November 26, 2008

Yi Minority New Year

I changed my mind: I finished blogging and went to Yang Liping's Tibetan Riddle. I think that caps my week of attending dance events.

I need to start off with the Yi Minority New Year celebrations. I have been dancing with the Yi student group on Saturday nights. Their dances are not too hard to learn, but it takes some getting used to using the same foot twice. They have circular dances and also line dances. I am not very good at picking up line dances so I refrained from attempting them. Judging from the movements of their dances, the Yi people are extroverts and outgoing. The arm movements and kicking motions used take up quite a bit of room.

I went to their morning events which involved traditional wrestling. My Yi friend won a match and gave me his prize. Woohoo! Then I was almost roped in for the bride snatching event. I just told them I don't think I'm going to join in, I'm claiming Han status. The girls went to one side of the field and the guys went to the other side. There is no official start to this event. The guys just run across the field and haul one of the girls to the other side, while the other girls try to pelt him with flour and the other guys can also try and steal her from him. It was hilarious to watch. I imagine if one of them tried to steal me, they'd figure out I am not as light as the most of the skinny girls there. After this event was over, came the bride carrying race. This was fun to watch as the guys had to carry the girl they stole and run a race. Again, there were lots of laughs.

In the afternoon, there would be a new year concert. My friend asked me to be there at 2:00pm and I found out why. The doors were not open and he was sneaking me in via the side door. I managed to get a good seat in the center portion of the auditorium, just in front of the soundboard. I like these seats always because you rarely get disturbed. The doors opened at 2:30pm and it is like land rush. Swarms of people pour into the auditorium.

The concert begins at around 3:00pm. As usual like any event in China, there were speeches. Some of the things said in the speeches were very interesting but I will not mention them here. They have some dances and lots of singing. Unfortunately for me, my ears are very sensitive and in my haste I left my ear plugs at home. Everything was blaringly loud, so loud that my ears hurt. They invited a celebrity to perform on stage. I don't know what his name is but he was on a talent show and his pianist is black. The most interesting thing which happened was he gave a long speech about his parents being the last of the genuine Yi and that the younger generation is losing their Yi identity. He wanted to rally the younger ones to appreciate and preserve their culture. He then proceeded to sing a song to encourage that, but very surprisingly (and unfittingly) the song was in English - "Just the Two of Us". This was rather baffling, as I expected him to sing a Yi song and let the whole crowd join in, which would have been a better way of separating the outsiders from them ;).

I leave after the concert to have dinner on my own. From other sources, I found out that dinner was a closed event and only Yi people could attend it. I return in the evening to the field where they are hosting the dance. We did not have a happy medium as the music was too soft and it was hard to hear in the open air. I managed to dance as much as wanted, as there were lots of people and it was hard to follow the leaders who were in the innermost circle. There were up to four circles at times. I managed to dance more accurately with the smaller circles outside the main circle. There was also a group of people who were dancing their own selections and singing as they did. They were much more interesting and more traditional. My friend was of course, already drunk when I saw him at the dance. What's a festival without alcohol? :) I had a great time and went back home at around 10pm.

Tuesday, November 25, 2008

Dance Reviews: Dynamic Yunnan


Yes, this is another installment of an assignment. I type faster than I can write.

Dynamic Yunnan, Kunming.
We were in Kunming for the day. After an interesting noodle meal for dinner, we headed off to a dance performance in the city. Dynamic Yunnan is the brainchild of Yang Liping, dancer and choreographer. Yang Liping is now a household name in China, raising the standards of ethnic dance performances in China. Although this performance was in Yunnan, I have decided to include this in my Beijing journal project as it will put other dance performances in Beijing in perspective.

Dynamic Yunnan features the dance traditions of the different minority groups in Yunnan. The Chinese have been constantly praised for technical excellence in the performing arts, but have also faced constant criticism of their lack of performance and emotive skills. It is also usual to find ethnic performances which are watered down just for entertainment purposes and is not challenging both to the performer and audience. Yang, decided to change all this. The dancers would be required to have expression, expressing motion and emotion through their bodies and faces.

The show included Dai, Tibetan, Miao, and other minority dances. The show also involved live drumming. The music featured was a blend of traditional and modernized forms of minority dance music. The lighting and technical elements of the stage were well-planned. The costumes were nicely designed to include traditional elements but also classy enough for stage. The dancers were very involved in their performance, making it look extremely easy, belying the amount of practice and hard work they have put in. The choreography was intricate, and the motions required of the dancers boggled our minds.


My best experience at the show was the Moon dance and the Peacock Dance, which were both originally danced by Yang Liping herself. Currently the main dancer of this troup is Yang Wei. Her name sounded very familiar to me during the show. For one of the dances, Yang Liping was the singer on the music accompaniment track. The Dai dance required flexibility and suppleness of the entire body. Words will not adequately describe the beauty of this dance. A few weeks before I left for China, I had watched CCTV 9's Centre Stage program featuring a dance extravaganza. The Peacock Dance was featured on the show and I am now almost certain Yang Wei was the dancer. I was thrilled to be able to watch this dance live. I remember watching it on tv and wondering whether it was actually humanly possible to be that flexible.


Pat had warned us that the show is a little dated but it inspired many other similar dance shows in China. Imitation is the best form of flattery. Like we say in China, genuine imitation is good, but imitation can be of extremely poor quality. I hope this explains my comments on the "Cyclone of Gengkhis Khan" and why I found the show to be a little lacking. Currently, Yang Liping has a new dance show out called "Tibetan Riddle". I have decided I will give it a miss as I can't afford to spend USD$100 on a ticket.

(I have posted the links to the Moon & Peacock Dance. Take a look, you won't regret it!)
Yang's Biography

Sunday, November 23, 2008

Two Plays: Woman, Woman & Journey to the West

I am writing some reviews of performances which I have attended here on the blog and transferring them to my written journal. This journal is one of the assignments I have to complete while in Beijing.

Woman, Woman.
The play revolves round the lives and struggles of the modern woman. There were six actresses portraying the different roles in the play. The medium allowed the writer to explore and expound on some of the current issues faced by women. Some of these issues are not considered to be controversial in the USA or other western countries, but they remain taboos or rarely discussed subjects here. The issues raised include weight loss, adultery, prostitution, lesbianism, career vs husband or family, unrequited love, gender inequality and tensions in the workplace, and reality vs. fiction. The set was rather simple, a pedestrian crosswalk and traftic lights, a raised platform and some chairs. The play unfolds with a news broadcast that an elephant has escaped from a zoo. Whatever the outcome, someone had first placed the animal in a cage. The play had many scenes, each one with a slightly different format: fairy tale story telling, Chinese opera, talk show, game show, street scene, office scene, shopping etc. At the end of the play, the women associate themselves with this elephant, a willing prisoner in a zoo which perhaps has escaped or imagined it has escaped.

Since I attended this play in the beginning of the semester, my comprehension of the play was limited. I would love to attend this play again at this point when my aural skills are much better. The actresses tried to interact with the audience but I felt the audience members were rather hesitant in general. For the talk show and game show, they ran out and high-fived the audience. They also noticed our AL gang by the side and proceed to sing "Beijing Welcomes You" to us. That drew some laughter from the audience. At a point, they interviewed the audience as to whether a woman should be married. The people they asked were caught off guard and gave tentative answers. Some stereotypes were used for the team who were in favor of marriage. Korean women are stereotyped to be soft spoken and good wives. To some extent, male bashing occured but I don't think it was overboard.

One particularly disturbing or mind rattling scene was about a normal woman but is repeatedly told a lie. She is attempting to cross the street but is constantly stopped by others. They tell her the light is green when it is red & vice versa. As each person passes her by, they increase the volume they use to speak to her. By the last person, she is utterly confused and thinks she is deaf or color blind. I think the writer is trying to communicate that one would be convinced something is the truth if this lie was repeated long and loud enough. That brings us to the post-modernist question "What is truth?". I digress.

Journey to the West
I attended this modern play of a famous Chinese epic at the Experimental Theatre. The play was supposed to be Journey to the West from a feminist's point of view. I am not fully familiar with the story of Journey to the West although I have read Wu Cheng'en's novel "Monkey". I know the main characters of the tale but the story is intricate with many mythical characters and sub-plots. I wanted to go to the play without refreshing myself on the story-line and characters to see whether I would be able to understand the play based on my Chinese comprehension.

I was greeted with a cloud of cigarette smoke as I walked into the theatre. It was free seating and so we quickly found seats in the middle section. We were handed some postcard flyers for today's show and the upcoming events. I was surprised that the program was a 2008 calendar. Don't you think it is rather late to be handing out a 2008 calendar at the end of November? I think so. As I walked past the stage, there was an incense burner on the front. Many seats were reserved for VIPs, so tonight must have been the premier of the play.

The play began with a bang.. if you could call Mozart's Eine Kleine Nachtmusik 1st mvt a rousing start. The actress comes out in coat and tails, with a conductor's baton and mimes. She cuts the orchestra (the audience) off and says to the violin section that they keep missing a note - C. She sings the scale "do, re, mi, fa, sol, la, ti" and leaves out C. I hum it because I cannot stand unresolved cadences. Then the middle section gets lectured about rhythm and she reminds them to say the word "you" as in swimming. The poor cellos are reminded to remember .. "ji". With this she also gives a short introduction about Wu Cheng'en's play .. "Si you ji". The audience here gladly participated with her in this little exercise.

There were five acts to the play. Even though I understood the play a lot more than the first play I went to, I could not figure out the point or a plot to the play. The play only involved one actress and there were no other persons on stage. There were costume changes and she was mainly playing a man's role. There was a lot of mimickry as to what a man should be like. There was also the use of previously recorded video portraying the journey of the monkey.

Even in a play, the USA and Japan are not spared. In one of the videos, the character was at Donghuamen Food Street at(Wangfujing) and she pays the candied fruit seller. She is given a US dollar as change, she spits in it and stamps on it. I thought this was rather offensive and our group gives a collective gasp. There are many levels in which this could be interpreted. There was a point in the play where she speaks a phrase of Japanese which means "get out of the way". The last scene the script calls for English and Mandarin with a fake foreign accent which was merely just a monotone. Most of it was incomprehensible, neither English nor Chinese. Again this could be taken as a subtle insult to foreigners.

At the end of the play, I was left confused as to what the writer's point was. The fact that it was a solo play made it more difficult to understand. I appreciate the fact that it was very hard work for her to be on stage for 1 1/2 hours by herself. I am not sure whether the rest of the people in the audience understood her effort. I just know she must be exhausted. She only had two bows and then the people started leaving. I don't think that was sufficient acknowledgement for a solo act but we were all tired by then.

China Philharmonic Nov 1

November 1. I had just visited the Forbidden City in the morning and returned to the area for the China Philharmonic concert. The concert hall is in Zhongshan Park beside the Forbidden City and Tiananmen Square. The program consists entirely of pieces by French composers Ravel and Jolivet.
This was my first experience going to a classical concert in China. I do not know what to expect in the hall. I find my seat in the balcony and am seated in front of a row of women. It is disconcerting that they are chatting very loudly and planning their next move, as to whether to make a dash for better seats before the concert begins. Their restlessness affects me, so I submit to the temptation of moving to a row which is less occupied.
The orchestra opened with Ravel’s Le Tombeau de Couperin. While the orchestra was playing, latecomers were still allowed to walk in and find their seats. I was a little disappointed to see two young children walk into my row. Their moms also have food wrapped in noisy plastic and drink with them. The children were fairly well-behaved so I was slightly relieved.
The audience shifts again. There is another scramble for better seats a’la Chinese musical chairs while the stage is set up for the piano concerto.
Following that Alain LeFevre, a French pianist played the featured piano concerto. The piece performed was Saint-Saens Piano Concerto in G major. The pianist was very showy, flailing arms and lots of head banging. The sound and technique however didn't match. Everything was fast and loud. I hated the encore the most, when he played the Etude in C minor (Revolutionary). I have never heard that piece so fast and loud before but the audience loved it. I felt like he ran a train through the piece.
After intermission, I stayed for a trumpet concerto. The piece was straightforward and I don't know enough about trumpet music to judge it. I decided to leave after this as it was a cold night. As I was putting on my coat in the stairwell, I heard the trumpeter's encore. To my surprise, it was a movie theme. Sorry to say it wasn't a very good concert. I left after intermission. I made the right decision not to stay. I enjoyed Tiananmen Square at night better than I did the concert.
If I wanted a head banging concert, I would have gone to Kanye West at the Beijing Workers Stadium.

Time Flies

Time flies. I have less than a month in Beijing and it will be time to return home to Malaysia. I have extended my stay to the 20th of December, so I may have time to go down south to Guangdong.

Some of the things I have done in Beijing since my last post are:
1. Forbidden City: Pretty amazing. All this for one man??? It was a Saturay morning and that only means one thing in Beijing - PEOPLE and lots of them. I never had so much jostling to catch a glimpse of the throne room. Chinese people here have no qualms about shoving or pushing you away even when they can actually scoota by without touching you, they just do. I was pretty ticked off by the middle of our tour. I was giving some people very very dirty looks. I want to go back to the area maybe on a weekday afternoon to catch one or two more buildings in there.

2. China Philharmonic: The concert hall is beside the Forbidden City and Tiananmen Square. Some French pianist played.. sorry it wasn't a very good concert. I left after intermission. The piece performed was Saint-Saens Piano Concerto in G major. The pianist was very showy, flailing arms and lots of head banging. The sound and technique however didn't match. Everything was fast and loud. I hated the encore the most, when he played a Chopin piece.. it escapes me now. I have never heard that piece so fast and loud before.. and the audience loved it. After intermission, I stayed for a trumpet concerto. The piece was straightforward and I don't know enough about trumpet music to judge it. I decided to leave after this as it was a cold night. As I was putting on my coat in the stairwell, I heard the trumpeter's encore. To my surprise, it was a movie theme. I made the right decision not to stay. I enjoyed Tiananmen Square at night better than I did the concert.

3. Two piano recitals: Giovanni Vitaletti & Shen Wen Yu - both of which I enjoyed very much.



They were not the 'hot' showy pianists but more of the introvert artists. Vitaletti's concert was at Peking University. I particularly enjoyed Vitaletti's playing and interpretation of Beethoven op. 53 and 57. He also played Busoni's "Carmen Fantasy" and a set of variations by Liszt. I'm sorry I don't know the titles as the program was entirely in Chinese (of course) and I ended up doing some translation for the Italians close by. I don't think the audience knew how to appreciate his playing as much as the Frenchman's. People started leaving when he was playing his encores, which were from Mussorgsky's "Pictures at an Exhibition".
Shen is a fairly young pianist and technically brilliant. For such a young pianist, he displayed a depth and maturity to his playing. Thankfully there was none of the flashy displays made infamous by another excellent Chinese pianist. His concert was held at the Central Conservatory Concert Hall. His teachers were there and so were the next generation of China's pianists between the ages of 5 and up. It was like a circus or a cinema. I was so thankful my seat was on the last row of the hall. I would not need to tolerate any noise behind me, except that it was a blustery day and it got fairly chilly at the back.
The conservatory area is beautiful and I just couldn't imagine what it was like during the Cultual Revolution. I just pondered on the fact that all the Chinese pianists and composers I admire, have walked or played in this hall.


4. Dance: The Cyclone of Gengkhis Khan - I had received two free tickets to the dance show from my oral Chinese teacher. The tickets were worth 280 yuan each. I couldn't find anyone else to go with me so I went alone.
When I got to the Poly Theatre, I found out that tonight's show was the Beijing premier. I wish I was better dressed for the performance and wish that I had brought my camera along with me. There were lots of press photographers and interviews going on. Some of the dancers were already in full costume, posing for photos in the lobby.
I ran into some CUN students and a dance teacher. She helped me scalp off the ticket. That was an interesting experience as I had never done such a thing before. At first we went close to the subway exit, and quickly discovered we were in the professional scalper's territory. He was not friendly at all and basically told us to find our own spot. We go back to the entrance of the building and we just start asking people around us. Finally, a middle-aged man bought the ticket from me. I wouldn't name my price and just said I would take whatever he offered. He pulls out a thick wad of cash and pulls out a 100 bill. He asks if that's enough, so I got 100 yuan for the extra ticket. I was happy! (It means another trip to Dong Wu Yuan .. for another blog.)
The audience was primarily Beijingers and this meant a different concert etiquette. Since this was the premier, the press were filming the show. There was also a slight commotion as some seats were blocked by the sound and light board. The couple who had those seats were not happy and were shouting at the ushers. Somehow they had it resolved. I guess they were given seats further up front. I had a seat towards the rear of the auditorium and was seated right in front of the press rows. Unfortunately, they walked most of the evening. It was obvious they had seen the rehearsals and could indulge in their own conversations.
The show was good but after watching the seed of such dance dramas (Dynamic Yunnan), this paled in comparison. The dances were well-choreographed and the costumes were amazing. They danced to Mongolian music and I was glad to hear some throat singing. There was however something missing from this performance. The expressions may have been a little fake but I still cannot pin point what is missing. I was fairly disappointed but expected that they would praise GK, and omitted the fact that he enjoyed "the sight of men crying when their women were carried away on horseback and their children slaughtered". The end of the show was the most interesting when the audience stood and joined them in singing a song. I had no idea what it was.
The best part of the evening was this: I got a free bus ride home to CUN with the dance school. I was glad not to have to take the subway and bus back as I was simply exhausted.

Wednesday, October 22, 2008

Practicing the Piano in Beijing

I am keeping up with my practice while in Beijing. I am not allowed to use the pianos on campus because I'm not a music major here so I have to rent a practice room from the piano stores around here. The piano practice rental fee is reasonable ranging from 5 yuan to 10 yuan (USD 1.20) an hour.

Practicing has been a challenge because I have to walk about 15mins to get to the practice venues. Taking a bus there is also possible, but I still have to walk about 10 mins to get to the bus stop. The place I am regularly practice at is Song of Songs Piano City next to Beijing Foreign University close to the 3rd Ring Road. (In case, google brings this up.) I am not at the best piano practice facility around this area. There is some air circulation occasionally and the pianos are in okay shape. Some keys may not work and the pedals may not work. There are only 8 rooms here. There is a much better place near the Haidian Huangzhuang subway station, on the southwest corner, on the 5th floor above McDonalds. I tried their pianos there yesterday and was pleased with the quality.

Practicing in the piano stores have allowed me to observe piano pedagogy and piano practice habits of the students there. I am not sure which to be more frustrated at, the lack of air circulation or hearing John Thompson & Hanon being horribly practiced at the room next door.

I had the misfortune of being kicked out of my practice room on Tuesday because they don't schedule their teachers in. The story gets better when a 10 yr old kid had just snuck into the room with the best piano and I have to wait for him to finish his practice session. I stand at the door like a piano vulture and take the opportunity to observe his practice habits.

He started playing a junior version of Hanon (everything in crotchets/quarter notes) and this is no. 1 of book 1. Every note had an accent on it so I watched his technique. Lots of stress and pressing ... hahah I know. Also I realized that he kept getting lost in the note reading. It is obvious he has not been taught to recognize note patterns and poor reading skills.

I watch him practice other pieces and he played about 5 different pieces. They were mostly correct as far as rhythm and notes go, with occasional inaccuracies. John Thompson book 2 was what he was playing out of. I don't think he had any concept of five finger patterns in the different keys he had to play in. He also did not notice errors aurally immediately. His practice was the usual play through like most students, me included. During his practice, there was no attention to dynamics, tempo or phrasing. Musicality was absent in his playing.

I watched some lessons there too and I can't remember how many times the teachers would actually correct finger positions. I see a lot of John Thompson and I heard that Bastien is now used. I haven't seen any Hal Leonard or Faber method books here either. I talked to a teacher about using technology in the lesson and that is a new concept to them to. I think technique is a great asset to piano playing but it is not the end all. I wish my technique was better but I don't think I put people to sleep in the practice room.

Well, maybe I can try and give a seminar or a lecture before I leave Beijing. If I do that, I want to be paid. That's for sure. Ok, enough venting, time to go practice now!

Rural Study Tour aka Hokey Pokey special

I just want to post on my rural study tour to Guizhou and Yunnan. If you are on facebook or my email list you have already received this. I will write about some other things concerning the study tour later.

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I just want to give you all an update of my adventures in China. I was away from Beijing for 16 days and visited several villages in China. I was at a Miao (Hmong) village in Guizhou and at a Tibetan area in the Himalayas. The tour was crazy and very challenging. I'm glad to be back in Beijing and sleeping in the same bed.

We were hosted by families in the Miao village, which is farming community in the mountains. I dressed up like they did for part of the time while I was there. Our group worked on repairing the road, harvesting rice and doing some of their traditional craftwork. It's the first time I picked up a shovel, a pick and a sickle. As for the craftwork, it's been a long time since I did any embroidery or beading, and I enjoyed that. The Miaos also love song and dance, so I thoroughly enjoyed myself. I was one of the last few at their singing event, which I also had to emcee in Mandarin (of course). This I had no advanced preparation for. I didn't even bring any water to the event which lasted 4 hrs. By the way, they only drink rice wine (50% alcohol) or beer and I was not going to ask for anything to drink. (I had more alcohol in this village than I've ever had in my life, including beer for breakfast.) I have no pics of me playing emcee as I couldn't take pics of myself. It was intense and I had to think quickly in Chinese...argh!! I had to dig up every Chinese song I remembered from childhood and they'd join me in singing. The ladies out danced us. It was funny watching them dance to techno but it worked. The villagers also enjoyed doing the Hokey Pokey with us, and we had encores of that. Our last dance before we left the village was the Hokey Pokey. The villagers walked with us for part of the hike downhill and then they waited from across the valley until we were totally out of sight. They shouted from across the valley when we were 1/2 into our hike. It was very touching and just indescribable. They will miss us more than we ever could. I was really sad to leave this village.

After the Miao village, we had some down time to do touristy stuff. We went to some caves and Huangguoshu, the biggest waterfall in China. We did take a sleeper train to Kunming city and I managed to give myself some nice bruises slipping of the bunk. I also developed a bad cold while in Kunming. We flew into Zhongdian, which is now called Shangri-La for tourist reasons. We travelled by bus through the Himalayas to Deqin, going over a mountain pass of about 4200m high. You can guess it... my cold and the altitude made it unbearable for me. I couldn't breathe and my head felt like it was going to burst. We rested for a day in Deqin which was at around 3400m. It is an interesting town, somewhat like a frontier town and it was the only place I didn't feel safe walking around by myself. I felt better after sleeping for 12 hrs and taking lots of medicine.

We drove the following day to a small village where the hike to the glacier at Meili Snow Mountain began. The village had vineyards all around it. We had Tibetan guides and mules to haul our stuff. That was really nice as I wouldn't be able to hike with any extra weight. I have been fighting a hip and knee problem for most of the trip anyway. It was a fairly steep and dangerously narrow trail at some parts. I'm glad I am no longer afraid of heights, if not the hike would have been a nightmare. When we hiked in the Himalayas, I camped out for the first time and was brave enough to do it for two nights. We had beautiful weather for the three days we hiked and it was clear enough to see the snow capped peaks. I had the option of hiking down the second day but I didn't. I attempted to hike up to the glacier with the other students but I quit after two hours as there was no trail. They were hacking their way through the forest. I couldn't pace myself and didn't wanted our guide to be dragging me by the hand. I sat in a valley for 4 hrs waiting for the rest of the gang but I enjoyed every moment of it, sitting in the sunshine staring at the mountain peak and chatting with my Tibetan guide. I was the slowest hiker everyday but didn't mind at all. I wasn't sore from the hike and I had our main guide with me the whole time. He had to take me by the hand more than a little. I didn't feel bad to be rather helpless as I had not hiked for ages and couldn't afford to fall.

We stayed overnight at the Tibetan village and something special happened that evening. They danced and sang for us. Tibetans are usually very shy people and rarely do this, unlike the Miao who are incredibly outgoing. This village also had not had foreigners since the early 80s. The other students were really tired out from the hiking but I saved some energy for my dancing feet and so I joined them. We wanted to engage them so I taught them the Hokey Pokey. So somewhere in the Himalayas, in a remote village, they know the Hokey Pokey thanks to me! I also did another simple circle dance with them. We danced and at one point, a friend and I danced a swing & a hustle. It's hard to process all this. As far as food went, they had amazing fruits here: pears, grapes, apples and pomegranates. I tasted my first pomegranate here. The next morning we made our way back to Zhongdian. I could tell our guides were heavy hearted to see us leave. Unlike the Miao village, only three guys saw us off but I could tell it was hard for them to say goodbye. We had danced, drank and ate with them and were just about to have some interaction but we had to go. I hope to go back.. as crazy as this sounds.. I do.

What I wrote is not even half of what happened on the tour, but it's already long enough. I hope the pictures give you a glimpse of what happened on the tour. I will try to recover from wanderlust and hit the books here in Beijing. It is rather surreal to be sitting in a classroom after this experience.

Monday, September 8, 2008

The "Malay" Race

I am posting this for several reasons. I have been in class concerning Chinese culture and the establishment of the 56 minorities in China. The assigned readings for this course can easily be applied to the situation in Malaysia. I am very disturbed by the growing Malay nationalism in my home country. Last week, the Chinese were called "squatters" or "immigrants" and today they have been compared to American Jews. There is a tendency to remind the Chinese that they should be grateful for the granting of citizenship. When I visited the Ethnic Minority Culture Park, I saw some groups who looked very similar to the Malays. So "semua balik Cina"? I leave you to decide.

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Written by a Professor of National University of Singapore. It reflects the Anthropologists views that there is no such race as the "Malays" to begin with. If we follow the original migration of the Southern Chinese of 6,000yrs ago, they moved into Taiwan, (now the Alisan), then into the Phillipines (now the Aeta) and moved into Borneo (4,500yrs ago) (Dayak). They also split into Sulawesi and progressed into Jawa, and Sumatera. The final migration was to the Malayan Peninsular 3,000yrs ago. A sub-group from Borneo also moved to Champa in Vietnam at 4,500yrs ago.
Interestingly, the Champa deviant group moved back to present day Kelantan. There are also traces of the Dong Song and HoaBinh migration from Vietnam and Cambodia.. To confuse the issue, there was also the Southern Thai migration, from what we know as Pattani today. (see also "Early Kingdoms of the Indonesian Archipelago and the Malay Peninsular")

Of course, we also have the Minangkabau's which come from the descendants of Alexander the Great and a West Indian Princess. (Sejarah Melayu page 1-3)
So the million Dollar Question... Is there really a race called the "Malays"?
All anthropologists DO NOT SEEM TO THINK SO. (strangely, this includes all Malay Malaysian Anthropologists who are of the same opinion.)

Neither do the "Malays" who live on the West Coast of Johor. They'd rather be called Javanese. What about the west coast Kedah inhabitants who prefer to be known as "Achenese"? or the Ibans who simply want to be known as IBANS. Try calling a Kelabit a "Malay" and see what response you get... you’ll be so glad that their Head-Hunting days are over.

In an article in the Star, dated: Dec 3rd 2006 available for on-line viewing at:
http://thestar.com.my/news/story.asp?file=/2006/12/3/focus/16212814&sec=focus
An excerpt is reproduced here below:
"The Malays – taken as an aggregation of people of different ethnic backgrounds but who speak the same language or family of languages and share common cultural and traditional ties – are essentially a new race, compared to the Chinese, Indians and the Arabs with their long histories of quests and conquests. The Malay nation, therefore, covers people of various ethnic stock, including Javanese, Bugis, Bawean, Achehnese, Thai, Orang Asli, the indigenous people of Sabah and Sarawak and descendants of Indian Muslims who had married local women. Beneath these variations, however, there is a common steely core that is bent on changing the Malay persona from its perceived lethargic character to one that is brave, bold and ready to take on the world. "

The definition of “Malay” is therefore simply a collection of people's who speak a similar type language. With what is meant by a similar type language does not mean that the words are similar. (A native Kelantanese native speaker has no clue whatsoever what his Iban native brother is talking about; if both speak their own dialect) Linguists however, call this the "Lego-Type" language, where words are added on to the root word to make meaning and give tenses and such. Somehow, the Indonesians disagree with this "Malay" classification and insist instead on being called "Indonesians" even though the majority of "Malays" have their roots in parts of Indonesia. They refuse to be called "Malay"…. Anyhow you may define it.

The writer failed to identify (probably didn't know), that the "Malay" definition also includes, the Champa, Dong Song, HoabinHian, The Taiwanese Alisan and the Philippino Aetas. He also did not identify that the "Orang Asli" are (for lack of a better term) ex-Africans. If you try to call any one of our East Malaysian brothers an "Orang Asli", they WILL BEAT YOU UP! I had to repeat this because almost all West Malaysians make the same mistake when we cross the South China Sea. Worse, somehow, they feel even more insulted when you call them “Malay”. Somehow, “kurang ajar” is uttered below their breath as if “Malay” was a really bad word for them. I’m still trying to figure this one out. (Watch “Malays in Africa”; a Museum Negara produced DVD. Also, the “Champa Malays” by the same.)

With this classification, they MUST also include the Phillipinos, the Papua New Guineans, the Australian Aboroginies, as well as the Polynesian Aboroginies. These are of the Australo Melanesians who migrated out of Africa 60,000yrs ago.
Getting interesting? Read on...

"Malay" should also include the Taiwanese singer "Ah Mei" who is Alisan as her tribe are the anscestors of the "Malays". And finally, you will need to define the Southern Chinese (Southern Province) as Malay also, since they are from the same stock 6,000yrs ago.

Try calling the Bugis a "Malay". Interestingly, the Bugis, who predominantly live on Sulawesi are not even Indonesians. Neither do they fall into the same group as the migrating Southern Chinese of 6,000yrs ago nor the Australo Melanesian group from Africa.

Ready for this? The Bugis are the cross-breed between the Mongolian Chinese and the marauding Arab Pirates. Interestingly, the Bugis, (just like their Arabic ancestors) were career Pirates in the Johor-Riau Island areas. Now the nephew of Daeng Kemboja was appointed as the First Sultan of Selangor. That makes the entire Selangor Sultanate part Arab, part Chinese! Try talking to the Bugis Museum curator near Kukup in Johor. Kukup is located near the most south-western tip of Johor. (Due south of Pontian Kechil) He is more than willing to expound on the Bugis heritage. Buy him lunch and he can talk for days on end.

Let's not even get into the Hang Tuah, Hang Jebat, Hang Kasturi, Hang Lekiu, and Hang Lekir, who shared the same family last name as the other super famous "Hang" family member... Hang Li Poh. And who was she? Legend tells us that she is the Princess of a Ming Dynasty Emperor who was sent to marry the Sultan of Malacca. Won't that make the entire Malacca Sultanate downline "Baba"? Since the older son of the collapsed Malaccan Sultanate got killed in Johor, (the current Sultanate is the downline of the then, Bendahara) the only other son became the Sultan of Perak. Do we see any Chinese-ness in Raja Azlan? Is he the descendant of Hang Li Poh? But wait a minute....

That's what legend says. Let's look at the proof.. The solid evidence. There is a well next to the Zheng He Temple in Malacca which is supposed to be the well built by the Sultan of Malacca for Hang Li Poh. According to legend, anyone who drinks of it shall re-visit Malacca before they die. Hmmm smells like a romantic fairy tale already. But let's look at who Hang Li Poh actually is. Which Ming Emperor was she a daughter to? So I got into researching the entire list of Ming Emperors. Guess what? Not a single Ming Emperor's last name begins with Hang. In fact, all their last names begin with Tzu (pronounced Choo). So who is Hang Li Poh? An Extra Concubine? A Spare Handmaiden? Who knows? But one thing for certain, is that she was no daughter of any of the Ming Emperors. Gone is the romantic notion of the Sultan of Malacca marrying an exotic Chinese Princess. Sorry guys, the Sultan married an unidentified Chinese commoner.

Next question. If the Baba’s are part Malay, why have they been marginalized by NOT BEING BUMIPUTERA? Which part of “Malay” are they not? Whatever the answer, why then are the Portugese of Malacca BUMIPUTERA? Did they not come 100yrs AFTER the arrival of the first Baba’s? Parameswara founded Malacca in 1411. The Portugese came in 1511, and the Dutch in the 1600’s. Strangely, the Baba’s were in fact once classified a Bumiputera, but some Prime Minister decreed that they were to be strangely “declassified” in the 1960’s. WHY? How can a "native son of the soil" degenerate into an "un-son"? The new classification is "pendatang" meaning a migrant to describe the Baba's and Nyonyas. Wait a minute, isn't EVERYONE on the Peninsular a migrant to begin with? How can the government discriminate? Does the Malaysian Government have amnesia?

The Sultan of Kelantan had similar roots to the Pattani Kingdom making him of Thai origin. And what is this "coffee table book" by the Sultan of Perlis claiming to be the direct descendant of the prophet Muhammed? Somehow we see Prof Khoo Khay Khim’s signature name on the book. I’ll pay good money to own a copy of it myself. Anyone has a spare?

In pursuing this thread, and having looked at the history of Prophet Muhammed (BTW, real name Ahmad) we couldn't figure out which descendant line The Sultan of Perlis was. Perhaps it was by the name Syed, which transcended. Then we tried to locate which downline did the Sultan descend from of the 13 Official Wives of Prophet Muhammad named in the Holy Koran? Or was the Sultan of Perlis a descendant from the other 23 non-wives? Of the 13 Official Wives were (at least known) 3 Israeli women. Then you should come to this instant revelation, isn't Prophet Muhammad an Israeli himself? Yes, the answer is clear. All descendants of Moses are Israeli. In fact, the Holy Koran teaches that Moses was the First Muslim. Thus confirming all the descendants of Moses to be Israeli, including Jesus and Prophet Muhammad. But since this is not a Religious or a Theological discussion, let's move on to a more anthropological approach.

So, how many of you have met with the Orang Asli’s (Malaysian Natives)? The more northern you go, the more African they look. Why are they called Negrito’s? It is a Spanish word, from which directly transalates “mini Negros”. The more southern you go, the more “Indonesian” they look. And the ones who live at Cameron Highlands kinda look 50-50. You can see the Batek at Taman Negara, who really look like Eddie Murphy to a certain degree. Or the Negritos who live at the Thai border near Temenggor Lake (north Perak). The Mah Meri in Carrie Island look almost like the Jakuns in Endau Rompin. Half African, half Indonesian. Strangely the natives in Borneo all look rather Chinese in terms of features and facial characteristics especially the Kelabits in Bario.

By definition, (this is super eye-opening) there was a Hindu-Malay Empire in Kedah. Yes, I said right… The Malays were Hindu (just like the gentle Balinese of today). It was known by its’ old name, Langkasuka. Today known as Lembah Bujang. This Hindu-Malay Empire was 2,000yrs old. Pre-dating Borrobudor AND Angkor Watt. Who came about around 500-600yrs later. Lembah Bujang was THE mighty trading Empire, and its biggest influence was by the Indians who were here to help start it. By definition, this should make the Indians BUMIPUTERAS too since they were here 2,000yrs ago! Why are they marginalized?

The Malaysian Government now has a serious case of Alzheimer's. Why? Simply because, they would accord the next Indonesian who tomorrow swims across the Straits of Malacca and bestow upon him with the apparently "prestigious title" of the Bumiputra status alongside others who imply have inhabited this land for hundreds of centuries. (prestigious, at least perceived by Malays) They also have a strange saying called "Ketuanan Melayu" which literally transalates into "The Lordship of Malays" The Malays still cannot identify till this day "who" or "what" the Malays have "Lordship" over. And they celebrate it gallantly and triumphantly by waving the Keris (wavy knife which has Hindu origins in Borrobudor. Ganesan is seen brandishing the Keris in a bass-relief sculpture) during public meetings over National TV much like a Pagan Wicca Ceremony on Steroids. Let's all wait for that official press release to see who the "Malays" have Lordship over, shall we?

Of the 3 books listed, "Contesting Malayness" (about S$32 for soft cover)is "banned” in Malaysia; you will need to "smuggle" it into Malaysia; for very obvious reasons.... :( or read it in Singapore if you don’t feel like breaking the law. Incidentally, the Professor (Author) was invited to speak on this very subject circa 2 yrs ago, in KL, invited by the MBRAS. You can imagine the "chaos" this seminar created... :( Fortunately the FRU was not called in.

The other, "Kingdoms of the Indonesian Archipelago, and the Malay Peninsular" (about RM84) are openly sold at all leading bookshops; Kinokuniya, MPH, Borders, Popular, Times, etc. You should be able to find a fair bit of what I’ve been quoting in this book too, but mind you, it is extremely heavy reading material, and you will find yourself struggling through the initial 200+ pages. It is extremely technical in nature. Maybe that’s why it hasn’t been banned (yet)…coz our authorities couldn’t make head or tail of it? (FYI, if I weren’t doing research for my film, I wouldn’t have read it in its entirety)

The "Sejarah Melayu" (about RM 50) however, is freely available at the University Malaya bookshop. I have both the English and Royal Malay version published by MBRAS. Alternatively, you could try reading the Jawi (Arabic Script) version if you are truly a sucker for unimaginable pain....... (may feel like circumcision). There are actually many sources for these Origins of Malays findings. Any older Philippino Museum Journal also carries these migration stories. This migration is also on display at the Philippines National Museum in Luzon. However, they end with the Aeta, and only briefly mention that the migration continued to Indonesia and Malaysia, but fully acknowledge that all Philippinos came from Taiwan. And before Taiwan, China. There is another book (part of a series) called the "Archipelago Series" endorsed by Tun Mahatir and Marina Mohammad, which states the very same thing right at the introduction on page one. “… that the Malays migrated out of Southern China some 6,000yrs ago…”. I believe it is called the “Pre-History of Malaysia” Hard Cover, about RM99 found in (mostly) MPH. They also carry “Pre-History of Indonesia” by the same authors for the same price.

It is most interesting to note that the Malaysian Museum officials gallantly invented brand new unheard-of terms such as "Proto-Malay" and "Deutero-Malay", to replace the accepted Scientific Term, Australo-Melanesians (African descent) and Austronesians (Chinese Descent, or Mongoloid to be precise) in keeping in line with creating this new “Malay” term.. They also created the new term called the Melayu-Polynesian. (Which Melayu exists in the Polynesian Islands?) Maybe they were just trying to be “Patriotic” and “Nationalistic”… who knows…? After all, we also invented the term, “Malaysian Time”. While the rest of the world calls it “Tardy” and “Late”. It’s quite an embarrassment actually…. Singaporeans crossing the border are asked to set their watches back by about a 100yrs, to adjust to “Malaysian Time”…

In a nutshell, the British Colonial Masters, who, for lack of a better description, needed a “blanket” category for ease of classification, used the term “Malay”.
The only other logical explanation, which I have heard, was that “Malaya” came as a derivative of “Himalaya”, where at Langkasuka, or Lembah Bujang today was where the Indians were describing the locals as “Malai” which means “Hill People” in Tamil. This made perfect sense as the focal point at that time was at Gunung Jerai, and the entire Peninsular had a “Mountain Range” “Banjaran Titiwangsa”, as we call it.
The Mandarin and Cantonese accurately maintain the accurate pronunciation of “Malai Ren” and “Malai Yun” respectively till this very day. Where “ren” and “yun” both mean “peoples”.

Interestingly, “Kadar” and “Kidara”, Hindi and Sanskrit words accurately describe “Kedah” of today. They both mean “fertile Land for Rice cultivation. Again, a name given by the Indians 2,000yrs ago during the “Golden Hindu Era” for a duration of 1,500yrs. It was during this “Golden Hindu Era” that the new term which the Hindu Malay leaders also adopted the titles, “Sultan” and “Raja”. The Malay Royalty were Hindu at that time, as all of Southeast Asia was under strong Indian influence, including Borrobudor, and Angkor Watt. Bali today still practices devout Hindu Beliefs. The snake amulet worn by the Sultans of today, The Royal Dias, and even the “Pelamin” for weddings are tell-tale signs of these strong Indian influences. So, it was NOT Parameswara who was the first Sultan in Malaya. Sultanage existed approximately 1,500yrs in Kedah before he set foot on the Peninsular during the "Golden Hindu Era" of Malaysia. And they were all Hindu.

“PreHistory of Malaysia” also talks about the “Lost Kingdom” of the “Chi-Tu” where the local Malay Kingdom were Buddhists. The rest of the “Malays” were Animistic Pagans. But you may say, "Sejarah Melayu" calls it "Melayu"? Yes, it does. Read it again; is it trying to describe the 200-odd population hamlet near Palembang by the name "Melayu"?(Google Earth will show this village). By that same definition, then, the Achehnese should be considered a “race”. So should the Bugis and the Bataks, to be fair. Orang Acheh, Orang Bugis, Orang Laut, Orang Melayu now mean the same… descriptions of ethnic tribes, at best. So some apparently Patriotic peron decided to upgrade the Malays from Orang Melayu (Malay People) to Bangsa Melayu (Malay Race) Good job in helping perpetuate the confusion. And since the “Malays” of today are not all descendants of the “Melayu” kampung in Jambi (if I remember correctly), the term Melayu has been wrongly termed. From Day One. Maybe this is why the Johoreans still insist on calling themselves either Bugis, or Javanese til today (except when it comes to receiving Government Handouts). So do the Achehnese on the West coast of Kedah & Perlis and the Kelantanese insist that they came from Champa, Vietnam.
Moreover, the fact that the first 3 pages of "Sejarah Melayu" claim that "Melayu" comes from Alexander the Great and the West Indian Princess doesn't help. More importantly, it was written in 1623. By then, the Indians had been calling the locals “Malai” for 1,500 yrs already. So the name stuck….

And with the Sejarah Melayu (The Malay Annals in page 1-3) naming the grandson of Iskandar Zulkarnain, and the West Indian Princess forming the Minangkabau. Whenever a Malay is asked about it, he usually says it is "Karut" (bullshit), but all Malayan based historians insist on using Sejarah Melayu as THE main reference book for which "Malay" history is based upon. The only other books are “Misa Melayu”, "Hikayat Merong Mahawangsa", "Hikayat Pasai", "Hikayat Raja-Raja Siak" and “Hikayat Hang Tuah” among others; which sometimes brings up long and “heated” discussions.

Interesting to note is one of the great "Malay" writers is called Munsyi Abdullah; who penned "Hikayat Abdullah" He was an Indian Muslim. Let's re-read that little bit. He was an Indian Muslim. How can an Indian change his race to be a Malay? He can change his shirt, his car, his religion and even his underwear, but how can anyone change his race? This must be The New Trick of the Century, which even David Copperfield will pay lots of money to watch (and perhaps learn).

"Mysterious Race Changing Trick"- created by The Malaysian Government.
Still, Malaysians are still only second to the Jews (who by the way, are the only other people in the world who are defined by a religion) So perhaps David Copperfield has yet to learn a few tricks on the mass deception skills of the Malaysian Government?
Malaysia Boleh...
I find this strange.

I also find, that it is strange that the "Chitti's" (Indian+Malay) of Malacca are categorized as Bumiputera, while their Baba brothers are not. Why? Both existed during the Parameswara days. Which part of the “Malay” side of the Baba’s is not good enough for Bumiputera classification? Re-instate them. They used to be Bumiputera pre 1960’s anyway.

Instead of "Malay", I believe that "Maphilindo" (circa 1963) would have been the closest in accurately trying to describe the Malays. However, going by that definition, it should most accurately be "MaphilindoThaiChinDiaVietWanGreekCamfrica". And it is because of this; even our University Malaya Anthropology professors cannot look at you in the eye and truthfully say that the word "Malay" technically and accurately defines a race.
This is most unfortunate.

So, in a nutshell, the “Malays” (anthropologists will disagree with this “race” definition) are TRULY ASIA !!! For once the Tourism Ministry got it right….
We should stop calling this country “Tanah Melayu” instead call it, “Tanah Truly Asia”. You must understand now, why I was "tickled pink" when I found out that the Visit Malaysia slogan for 2007 was "Truly Asia". They are so correct... (even though they missed out Greece, and Africa)

BTW, the name UMNO should be changed to UTANO the new official acronym for “United Truly Asia National Organization” . After all, they started out as a Bugis club in Johor anyway….

I told you all that I hate race classifications…. This is so depressing. Even more depressing is that the "malays" are not even a race; not since day one.

- Prepared by Michael Chick -

Sunday, August 31, 2008

Beijing Olympics 2008


Yes, it was great to be at an Olympic venue and see the Bird's Nest with the Olympic flame burning. It was a crazy day and it was really hot when we went to the Olympic Village. We managed to walk around the area close to the Bird's Nest and the Water Cube. Having two blondes and a bunch of American guys walking around the area caught the attention of the majority Chinese crowd.

Needless to say, we were mobbed (or they were) for photos and such. It was really humorous. At one point, I suggested we walk ten across down the street so people could take all the pictures they wanted without them pulling one or a few of us aside for pics. I felt like we had the paparazzi after us. Everytime we stopped to take a group photo with one of our cameras, we would find a crowd of other cameras taking pictures of us. I would love to see some of our pictures taken by other people. These were random strangers. So funny, I laughed so hard.... (well, I didn't feel too left out. I'm Chinese, not considered as special but I had a great time watching the spectacle and translating when needed.)



When we stopped for a break, someone offered to braid the hair of one of the girls. That was pretty amazing as the lady did a fairly complicated updo, but it was awesome. There were lots of people trying to sell us imitation Olympic souvenirs. We had to turn many of them down. Then there was a man who looked like he was trying to sell us a button and each one of us said no. I was the last one he spoke too and he said, "I'm giving this to you for free. Take it. I'm not selling anything." He was a little frustrated and we were sad we turned him down. He was trying to be nice to the foreigners.

After a lunch of Beijing jiaozi, we tried to reenter the place but the police had already cordoned it off. We walked through a park and found a vantage point to see the Olympic flame. We found a kid there who was catching little frogs (some of them were still tadpoles). He had about 20 stuffed in a water bottle. It was fun convincing him to put some of it back into the pond.

Later that evening, the brave few went out with me to try to see the fireworks live. It was both exciting and frustrating at the same time. The places where we were in the morning were cordoned off by the police. We couldn't understand why some things were blocked, and then the next second it wasn't. When we found a spot, the fireworks were already going off in the distance. I sprained my ankle trying to secure a spot on a hill slope. We also couldn't get back to the subway station we arrived at and thankfully we found some Olympic volunteers who walked with us to the next nearest subway station. It was a fun day but really really tiring. It was worth it catching some Olympic action live.