US.-China Arts Exchange

SPECIAL YUNNAN S S U E

Volume 1 1 Fall 1995 Newsletter of the Center for U.S.-Chino Arts Exchange at Columbia University Program Years 1990-1995

Yunnan Nationalities Cultures Project

Since the summer of 1990, the main focus of the Center's work has been the Yunnan Nationalities Cultures Project. Designed to assist the cultural leaders of Yunnan Province in creating a compre hensive strategy for the continuation and further development of the traditional arts of Yunnan's twenty-five minority nationalities, the project has involved hundreds of specialists in China, in the United States, and throughout the Pacific region. This special issue of the Center's Newsletter highlights our work with Yunnan's leaders in nationalities arts and arts education and also provides an update Chou Wen-chung greets Wujiepu Village residents in Luxi County during his December on our other continuing programs. ■ 1990 research trip to Yunnan Province.

Designed to address some of the gaps in and the Art Department and China U.S.-China cultural exchange, we initi Studies Institute at San Diego State Bringing You ated conferences; workshops; seminars; University, brought painters from China and radio, video, and translation projects. to the California campus for a four-week Up To Date One example of our Core Programs was seminar. After the seminar the University Our last newsletter, published in the the introduction into China of a "musical provided the artists with studio space and spring of 1992, reported on the Pacific season"—something China had never the time to create new works. San Diego Music Festival, held in Sapporo, Japan, had before. A collaborative effort State mounted an exhibition of their in the summer of 1990. Because we have between the Center and various music efforts, marking the culmination of this not issued a comprehensive report on our institutions in China was to result in a project. activities since then, we have much news range of musical events that would take We also began preparing—for distri to share. place in each season. bution—Chinese editions of conference In late 1988 and early 1989 the Another project that fell under our proceedings from: (I) our July 1988 Center had embarked on a series of inno Core Programs was an artists' workshop Tarrytown, N.Y., Arts Education vative projects we identified as our Core held in June/July 1991 in San Diego. Conference, held at the completion of Program (see "Core Programs Continue This program, held in collaboration with our Rockefeller Brothers Fund-supported, continued on page 3 Unabated," p. 28, for more information). the International Institute for the Arts Table of Contents

1 Bringing You Up To Date

1 Yunnan Nationalities Cultures Project

7 Yunnan Specialists Come to the United States

13 Specialists Travel to China from the United States and South and Southeast Asia

1 5 I n T h e i r O w n W o r d s

1 7 C e n t e r H o l d s a R e v i e w o f t h e Yu n n a n N a t i o n a l i t i e s Cultures Project

18 Minority Arts in Yunnan

19 Intellectual Climate in China Since the Tiananmen Events

22 Yunnan Nationalities Cultures Project: Cooperating Institutions and Individuals

26 O'Neill Teachers Exchange in Arts Education

28 The Center's Core Programs Continue Unabated

29 The Center Works With the Sichuan Conservatory

29 Planned Exchange Trips Unfortunately Canceled

30 Pacific Composers Project (PCP)

34 Chou Wen-chung's Many and Varied Activities

35 The Center Receives Funding for a Variety of New Projects

36 Advisory Council Changes

36 Purpose and Organization

37 Acknowledgments

39 Staff Changes Volume 11 Fall 1995

forestation and reproductive health, In the fall of 1990, the Center Bringing You Up To Date prompted the Foundation's representatives informed the Ford Foundation's Beijing continued from page 1 to consider adding a cultural component representative that the Center director to their work. Ford's interest was specifi would agree to the Foundation's three-year collaborative project with cally in the traditional cultures of Yunnan's suggestion that he conduct an Harvard Project Zero; (2) our August twenty-five minority nationalities. exploratory trip to Yunnan. We based 1988 Columbia University, Mainland/ Although we were concerned that a our decision on three findings: (1) that Taiwan Composers Conference on major project on minority arts might Yunnan is the province in China with the "Tradition and the Future of Chinese d i s t r a c t u s f r o m o u r c o m m i t m e n t t o a r t s largest number of minority nationalities Music"; and (3) the 1991 Artists' exchange throughout China and that it with living traditions; (2) that many of Workshop described above. The latter might drain our limited resources, we Yunnan's minority peoples are ethnically two were later distributed broadly to began to carry out extensive research on and culturally related to the peoples artists and educators throughout China. Yunnan and on the nature of its throughout Southeast Asia; and (3) that Following the tragic events of the population and its arts. Southeast Asia is an area that has summer of 1989, the Center suspended Yunnan Province protrudes from attracted the attention of many Western exchange work with China to await the China's southwest comer, sharing bound scholars, who have created an available return of an atmosphere more conducive aries with Myanmar (formerly Burma), database on which we could draw, and to the creative process and professional Laos, and Vietnam. The province is less many study projects on cultural issues projects in the arts. The venue for the than 100 miles from Thailand, across Laos have already been undertaken in some of planned 1990 Pacific Music Festival or Myanmar, and even closer to northeast t h e c o u n t r i e s t h e r e . (PMF), of which then-Advisory Council India, over mountain passes across Tibet. Center Director Chou Wen-chung member Leonard Bernstein was artistic It is sizable—slightly larger than Italy— embarked upon a trip to China in director, was shifted from China to with a dramatically diverse environment, December 1990 with a dual mission. Japan. The Center spent most of ranging from tropical forests to snow Earlier he had applied for a grant to FY1989-90 planning for the PMF. We capped mountain ranges. travel to China to study the intellectual recruited a 123-member youth orchestra Yunnan's population is about twice climate in the aftermath of the events at from the entire Pacific region; designed that of the state of New York and is easily Tiananmen in the summer of 1989. This and carried out a Pacific Composer's one of the most colorful mixes in the world. would be a follow-up on Center work Conference (PCC), with forty-six Yunnan is home to numerous groups of undertaken in 1987 by a delegation participants; and designed and oversaw peoples with differing ethnic and cultural organized by the Center under an earlier three contemporary Pacific concerts, roots, known in China as "minority Ford grant to conduct a broad survey on which were performed in conjunction nationahties." Twenty-five of the fifty- the same issue in three Chinese cities. with the PCC. (See Newsletter^o\\xmt five minority nationalities in China are (See Newsletter, Volume 9, Fall 1990.) 10, Spring 1992.) found here, sixteen* of which are exclu It was agreed that Chou would combine While the PMF was a fascinating and sive to the province. Most of these nation the two goals: of exploring the possi extremely worthwhile enterprise on its alities have many branches, which display bility of a minority nationalities cultural own, it also helped us to see the value of distinct cultural traits of their own. conservation project in Yunnan and, including Southeast Asia as an integral Thirteen* of Yunnan's nationalities also simultaneously, of investigating the part of our projects. In the late summer share ethnic and cultural traits with the overall climate for intellectuals and of 1990, as we were beginning to resume peoples of Southeast Asia. (See box on artists post-Tiananmen. (See edited our Core Program activities. The Ford "Yunnan's Minority Nationalities," p. 5.) excerpts from Chou's "Minority Arts in Foundation approached us with another Not only is Yunnan an area of Yunnan" and "Intellectual Climate in programmatic option, which, diversity in its natural environment and China Since the Tiananmen Events," coincidentally, tapped into our newly peoples, it is also a province undergoing pp. 18-21.) After visiting Yunnan, Chou forged interest in the Southeast Asian striking change. Modemization and traveled to Xi'an and then retraced his region. Ultimately, Ford's initiative tourism are rapidly revising the 1987 route, stopping in Chengdu, resulted in our taking another new economic picture. While additional Beijing, and Shanghai. Chou concluded direction ... one that has already lasted foreign currency will bolster the living that China, which has undergone one for five years. standard of local people, the concomitant hundred fifty years of exposure to the Ford's involvement in economic changes threaten to exploit or destroy West, had responded with "two powerful development projects in Yunnan traditional cultures that have survived and diametrically opposed reactions: Province, specifically in the fields of intact for several thousand years. continued on page 4

* The numbers sixteen and thirteen are approximations, as the exact count frequently shifts with the identification of new nationalities and the recognition of subdivisions of already identified nationalities. U.S.-ChinaArts Exchange

The bronze drum, which is found throughout southwest China, is also evident in many parts of Southeast Asia. This musical instrument, which has been in use for almost 3,000 years and is still used in Yunnan, represents a major cultural phenomenon shared by the peoples of a wide geographic area. Its manifold engraved designs provide a colorful visual reminder of cultural interactions in the region during recent millennia. The Center chose the bronze drum as a symbol of the Yunnan Nationalities Cultures Project. At left, artist John F. Nebesney's rendering of the bronze drum, used by the Center to decorate T-shirts and tote bags. At right, a bronze drum in Luxi County, Honghe Prefecture, to the southeast of Kunming.

out both horizontally and vertically— Bali, and New Delhi. This trip, undertaken Bringing You Up To Date horizontally among the rural villages; in January of 1992, served to reinforce our continued from page 3 vertically, with the major cultural belief in the significance of Yunnan to the institutions in Yunnan's capital city entire cultural region and the relevance of cultural xenophobia, on the one hand, Kunming. Agreements were negotiated the diverse cultures represented in these and complete Westernization, on the b e t w e e n t h e C e n t e r a n d t h e Yu n n a n locales to the situation in southwestern other. The ensuing conflicts in the arts Nationalities Affairs Commission China. b e t w e e n t h e s e t w o e x t r e m e s h a v e n e v e r (Minwei) and between the Center and Not only did the Center feel all the been resolved. Worse, no middle ground the government of rural Luxi County, more committed to bring this area into h a s t a k e n h o l d i n t h e C h i n e s e m i n d c h o s e n b e c a u s e o f i t s r i c h m i x o f the programming, but we found much throughout the past century." nationalities and its enlightened enthusiasm for cooperation with China During a second Yunnan trip, Chou leadership. on this work among educators, artists, formed a Specialists Group to function as Unfortunately, for us, the county museum personnel, and cultural leaders a kind of Steering Committee in China. e x e c u t i v e s o f L u x i w e r e s o o n t h e r e a f t e r throughout the region. We also heard This group was made up of individuals promoted to other positions, and we uniform expression of the belief that a with a keen interest in the issues of have been unable to carry out projects model for cultural conservation was maintaining living traditional cultures and directly with any rural villages. A goal greatly needed in Southeast Asia, and, the willingness to work toward that end. for the future, however, would be to while these areas surely had much to (Current "Specialists Group" members are resurrect this aspect of the project. The offer China, they also hoped to gain listed at the end of this article.) With this agreement with Minwei has remained in m u c h f r o m t h e i r i n v o l v e m e n t i n t h i s small committee, an agreement was place over the ensuing four years, and broad-reaching project. Convinced of forged, called the Joint Plan on Yunnan M i n w e i h a s f u n c t i o n e d a s t h e C e n t e r ' s the need to "triangulate" the project, Nationalities Cultures, with a mandate to counterpart in Yunnan. One more the Center sought additional funding to choose and carry out appropriate cultural preparatory trip was needed before all the enable scholars, educators, arts conservation projects in Yunnan. plans would be in place —that was a administrators, and artists from South At that point the Center's intention joumey to Southeast and South Asia, and Southeast Asia to take part in the was for the Yunnan Project to be carried including Manila, Jakarta, Yogyakarta, J o i n t P l a n . G r a n t s w e r e r e c e i v e d f r o m

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both the Asian Cultural Council and the statement, an awareness of the needs of United Board for Christian Higher the museum's constituencies, and the Yunnan's Minority Education in Asia to carry out the Asia- acquisition of modem techniques of t o - A s i a d i m e n s i o n o f t h i s w o r k . administration and exhibition. Particular Nationalities Over the course of the three-year grant attention has been given to the signifi period, the Center has worked closely cance of performance, demonstration, Total Yunnan population is 36,972.587. with innumerable Yunnan institutions, education, outreach, and satellite pro The minority population of 12,358,054 including the Nationalities Museum, grams as integral to the museum's unique Nationalities Institute, Academy of Social represents 33.42% of the total population goals of establishing collections that of Yunnan province. Sciences, Institute of Arts, Painting represent all cultures of Yunnan's Academy, Nationalities Painting nationalities and serving a public that % OF Nationality Population TOTAL Academy, Folk Arts Center, Travel and remains in their own villages—often Tourism Bureau, Parks Department, r e m o t e f r o m t h e m u s e u m s i t e . Yi 4,060,372 10.98 Bureau of Culture, Education The Center promoted the Bai 1,341,508 3.63 Commission, Provincial Museum, establishment of a mentorship/appren- Hani 1,249,297 3.38 Yunnan University, and Honghe and ticeship program as a non-governmental Zhuang 1,010,876 2.73 Xishuangbanna Prefectures. With some of organization (NGO), a relatively new Dai 1,014,643 2.74 these, fully developed projects were phenomenon in China. The program Miao 895,704 2.42 undertaken; with some, projects were recruited rural youths to study indige Lisu 556,533 1.51 initiated but could not be carried out; and n o u s m u s i c a n d d a n c e w i t h s e l e c t e d Hui 521,561 1.41 with others, extensive discussions were village master artists for the purpose of: Lahu 408,304 1.10 held, but projects did not result. promoting greater respect for local Va 347,731 0.94 The four major projects to which we artistic traditions, offering master folk Naxi 265,450 0.72 devoted most of our energy from 1992 artists opportunities to perform and Yao 172,722 0.47 through 1995 were: (1) the establishment teach, and affording incentives for young Jingpo 118,412 0.32 of a new arts department—for the people to learn their own traditions—all Tibetan 111,335 0.30 teaching of music, dance, and visual in the hope of ensuring the continuation Bulang 81,876 0.22 arts—at the Yunnan Nationalities and development of local heritages in the Bouyei 34,101 0.09 Institute; (2) the design and planning for face of rapid modernization and tourism. Pumi 29.333 0.08 a new museum of nationalities cultures; The program has been in existence Achang 27,619 0.07 (3) the implementation of a program for for more than a year and has successfully Nu 26,667 0.07 mentorship to pass on living traditional recruited mentors and apprentices to Jinuo 17,851 0.05 arts of the minority nationalities; and work in a single training site near De'ang 15,397 0.04 (4) the formation of a fieldwork/research Kunming. However, it has yet to find its Mongol 13,148 0.03 group of younger scholars with diverse bearings on fundamental policies, such Shui 7,971 0.02 and innovative research topics to pursue. as decentralizing training sites to avoid Man 7,044 0.02 T h e Yu n n a n N a t i o n a l i t i e s I n s t i t u t e i s removal of its participants from their Drung 5,539 0.01 one of thirteen colleges, countrywide, own communities, streamlining the Other 17,060 0.05 with the goal of educating China's training process to avoid long-term minority students. The Center has disruption of participants' community Source: Tabulation on the 1990 Population constructed a draft curriculum for the relationships, and securing local Census of Yunnan Province (Computer Nationalities Institute's new arts depart cooperation to make it possible for Tabulation), edited by Population Census Office ment that will address the specific returning participants to contribute of Yunnan Province, published by China academic needs of minority nationalities meaningfully to the conservation of their Statistical Publishing House, 1992. students. The students will pursue four own cultures. The program must also The approximately sixteen nationalities found tracks of study, consecutively: (1) train resolve such issues as the temptation to exclusively in Yunnan (not in any other Chinese ing in their own nationality traditions; become an elite performing group or the province) are: Hani, Lahu, Jingpo, Achang, (2) training in Han majority traditions; pros and cons of joining the profit- Jinuo, Nu, Drung, Dai, Bulang, De'ang, and Va (3) background in the varied traditions of making tourist.industry. (sixteen with the Kemu, the Kucong and other the arts throughout Asia, especially yet to be formally recognized nationalities). The Finally, the Center offered thirteen nationalities of Yunnan Province that Southeast Asia; and (4) a working encouragement and modest financial are also found in countries of Southeast Asia knowledge of Western art traditions. support—in the form of individual are: Miao, Hani, Dai, Jingpo, Lahu, Lisu, Va, Our work with the Nationalities awards—to a select group of younger Yao, Yi, Zhuang, Bouyei, Kemu, and De 'ang. Museum, which opened November 1995, scholars and artists working in fields focused on the evolution of a mission continued on page 6

5 U.S.-China Arts Exchange

a collaborative program. Although the Bringing You Up To Date Museum is fortunate enough to have continued from page 5 holdings of 130,000 objects, of which 20,000 are from nationalities cultures, its related to cultural anthropology. budget remains constrained and its ("Fieldwork/Research Group" members programming rather conventional. Mod are listed at the end of this article.) This em approaches to community education recognition has enabled them to devote and outreach have not yet been tried by m o r e e f f o r t t o fi e l d w o r k a n d r e s e a r c h o n this institution, known for its excellent minority cultures, particularly in remote bronze collection. rural areas. The result has been the Both the Yunnan Painting Academy establishment of a Center for the Study and the Nationalities Painting Academy of the Arts of Minority Nationalities at have also had rather conservative the Yunnan Academy of Social Sciences. Jinuo women and drum, Bapo Village approaches to training and exhibition. W h i l e s o m e o f t h e i r w o r k h a s Although we held discussions with them, received praise from abroad, these T h e F o l k A r t s C e n t e r s t i l l r e t a i n s t h e we have not been able to include them in researchers still face daunting challenges, n e t w o r k o f c o n t a c t s i t i n h e r i t e d i n a l m o s t the Joint Plan. In the most recent years, such as utilizing up-to-date research every hamlet in the province. In the there is the hint of a more forward-looking theories and methodologies, acquiring future, we expect to use this well- attitude at these institutions, demonstrated modem equipment, and undertaking developed network to conduct truly by some of the young arts faculty. demanding fieldwork with meager a u t h e n t i c fi e l d w o r k t h a t w i l l e n r i c h l o c a l Yunnan University, which has a fi n a n c i a l r e s o u r c e s . A l l t h i s m u s t b e d o n e self-knowledge and province-wide S o u t h w e s t C h i n a B o r d e r N a t i o n a l i t i e s in the face of the rapid disappearance of understanding of the arts and cultures of Economic and Cultural Research Center, rural cultural objects or massive Yunnan's nationalities. w a s a n o t h e r v e n e r a b l e l o c a l i n s t i t u t i o n exploitation by commercial agents and T h e Yu n n a n I n s t i t u t e o f A r t s w a s o n e with which the Center had frequent even scholars from abroad, armed with of the first cultural agencies the Center meetings in setting up the Joint Plan hard currency. saw as a potential partner for a major projects. Although the interest was there, A s f o r t h e i n s t i t u t i o n s w i t h w h i c h t h e project within the Joint Plan. Our early collaboration was hindered by an Center explored options, several may be i n t e r e s t w a s a r o u s e d b e c a u s e o f t h e inability to find appropriate projects of included in the Joint Plan if it continues Institute's position as the only educational mutual interest. after 1995 (pending funding). Foremost institution in Yunnan that trains profes Two other major local agencies with among these is the Folk Arts Center, sional artists of all kinds and art teachers which we tried to negotiate projects were which is a recent manifestation of the for Yunnan's school system. However, the Yunnan Education Commission and Qunyi Guan (Institute for Arts for the no project has yet developed out of our the Department of Culture. It was the Masses). The Qunyi Guan used to be a numerous discussions. Center's hope that Yunnan's pre- governmental apparatus for promoting and Early on, the Center specifically collegiate teachers and its cultural organizing cultural events, using trained explored the possibility of collaborating workers (or cultural cadres) would be able personnel, functioning from the cities to on research of nationalities arts, for to participate in the Joint Plan projects. the tiniest hamlets throughout China. Its which there was an in-house designated Unfortunately, although extensive efforts goals were ideological as well as cultural. group of researchers that had carried out were made to have the specialists from Perhaps worse than carrying out initial work. In recent years, abroad interact with professionals from politically motivated cultural activities, unfortunately, because of leadership and these two agencies, such projects never its cadres were usually trained only budgetary problems, the researchers have reached fruition. (See story on "O'Neill superficially by graduates from Western- a b a n d o n e d t h i s e f f o r t . Teachers Exchange," p. 26, for a separate style academies or conservatories. They The situation, however, has begun to project carried out with the Yunnan would, as a mle, "improve" the songs improve. The Western arts teaching Education Commission.) a n d d a n c e s o f t h e c o m m u n i t i e s i n w h i c h methodology that has served as the Finally, administrators from both the they were stationed, drawing on their pedagogical model for decades is being Travel and Tourism Bureau and the Parks meager knowledge of Western concepts complemented with a more Chinese and B u r e a u w e r e a l s o i n c l u d e d i n o u r i n i t i a l and techniques. traditional approach. The Center hopes to planning efforts; but to no avail. Perhaps Today the picture has changed. be able to carry out collaborative programs we will be able to develop future projects Ideology is gone; massive organized with the Institute of Arts in the future. that involve their staffs in efforts to c u l t u r a l e v e n t s h a v e b e e n c u r t a i l e d . T h e T h e Y u n n a n P r o v i n c i a l M u s e u m i s develop cultural or heritage tourism. Folk Arts Center has begun a genuine a n o t h e r i n s t i t u t i o n w i t h w h i c h t h e C e n t e r attempt at collecting arts from the people. had extensive dealings but has not shared continued on page 7

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Bringing You Up To Date Yunnan Specialists continued from page 6 Come to the United States

Over the course of the Yunnan Barbara Berger, Docent, The Asia Specialists Group Nationalities Cultures Project, Yunnan Society Galleries, The Asia Society Alison Bernstein, Director, Gao Zongyu, Director, specialists have come to the United Yu n n a n N a t i o n a l i t i e s M u s e u m Education and Culture Program, S t a t e s t o v i s i t c u l t u r a l i n s t i t u t i o n s a n d The Ford Foundation He Yaohua, President, meet with their counterparts in the fields Irene Bloom, Associate Professor, Yunnan Academy of Social Sciences of museum design, administration, and Asia/Middle East Studies, Huang Huikun, Vice President, education; arts education; folk arts and Columbia University Yu r m a n N a t i o n a l i t i e s I n s t i t u t e mentorship; and research and fieldwork. Sarah Bradley, Program Associate, Tian Feng, Director, Yunnan Asian Cultural Council Mentorship/Apprentice Program; Cultural Leaders' Myron L. Cohen, Professor, Composer-in-Residence, Central Anthropology, Columbia University Philharmonic Inaugural Visit KInshasha Holman ConwIII, Director, In April 1993, a study group headed by T h e S t u d i o M u s e u m i n H a r l e m Wang Zhengfang, Deputy Director, Yunnan Nationalities Commission, Ma Lisan, Director, Yunnan Patricia Cruz, Deputy Director- Yunnan People's Congress; Nationalities Affairs Commission, spent Programs, The Studio Museum former Deputy Director, Yunnan f o u r w e e k s i n t h e U n i t e d S t a t e s o n a in Harlem Nationalities Affairs Commission professional visit designed to give them Theodore deBary, Provost Emeritus, Ye Gongxian, former President, an overview of the American response to Columbia University Yunnan Institute of Arts the issues of keeping living traditions Dawn Delbanco, Professor, Art History and Archaeology, Columbia University Zhao Jiawen, President, viable in the modem world. During their VIshakha Desal, Director, The Asia Yu n n a n N a t i o n a l i t i e s I n s t i t u t e month in the U.S. the group met with Society Galleries, The Asia Society museum, folk arts, cultural conservation, Secretary: Yin Shaoting, Deputy Peter Gelthner, Director, and arts education specialists. Other Director, Yunnan Nationalities Asia Programs, The Ford Foundation Museum members of the group were Wang T. C. Hsu, President, Zhengfang, Deputy Director, Yunnan T h e S t a r r F o u n d a t i o n Nationalities Affairs Commission, and Joan Jeffrl, Coordinator, Program in Fieldwork/Research Chairman, Nationalities Museum Arts Administration, Teachers College, Group Preparatory Committee; Gao Zongyu, Columbia University First Deputy Chairman, Yunnan Laurel Kendall, Curator, Department of Deng Qiyao, Deputy Director, Nationalities Museum Preparatory Anthropology, American Museum of Nationality Literature Research Institute, Natural History Yunnan Academy of Social Sciences Committee; Ye Gongxian, former President, Yunnan Institute of Arts; Tian Fran La Fleur, Curator, Chinese Guo JIng, Deputy Director, Institute Collection, C. V. Starr East Asian Feng, Composer-in-Residence, Central of History, Yunnan Academy of Philharmonic of China; Huang Huikun, Library, Columbia University Social Sciences Terrlll E. Lautz, Vice President and Acting President, Yunnan Nationalities Secretary, The Henry Luce Hao Yuejun, Assistant Research Fellow, Institute; and He Shaoying, Chairperson, Film and Video Division (Anthropology), Foundation, and member of the Center's Advisory Council Information and Reference Center, History Department, Yunnan Yunnan Academy of Social Sciences N a t i o n a l i t i e s I n s t i t u t e . T h e s e v e n Robert A. Levlnson, Chairman, Andrex specialists from Yunnan traveled in both Industries Corporation, and member of Wang Qinghua, Assistant Research urban and mral areas in a wide variety of the Center's Advisory Council Fellow, Institute of Ethnological Studies, Yurman Academy of Social Sciences regions in the United States. Among the Ruth Mayleas, Program Officer, people with whom they met were: Education and Culture Program, Zhao Yaoxin, Head, Visual Arts The Ford Foundation Department, Yunnan Folk Arts Center N e w Yo r k C i t y, N e w Yo r k Tom Miller, Scientific Assistant, Zhou Kaimo, Deputy Director, American Museum of Natural History Radhlka Balakrishnana, continued on page 8 Research Division, Yunnan Instimte Assistant Program Officer, o f A r t s ■ Asia Programs, The Ford Foundation Susan Ball, Executive Director, * Note: Titles and affiliations cited reflect College Art Association positions held at the time the program was conducted.

1 U.S.-ChinaArts Exchange

Yunnan Specialists Come to the U.S.

continued from page 7

Michael Morris, Executive Vice President, Burson-Marsteller, a n d m e m b e r o f t h e Center's Advisory Council Douglas P. Murray, President, Lingnan Foundation, and member of the Center's Advisory Council Polly Nooter, Curator, T h e M u s e u m f o r A f r i c a n A r t Anne Ofstedal, China Program Coordinator, United Board for Christian Higher Education in Asia Arthur H. Rosen, President Emeritus, National Committee on U.S.-China R e l a t i o n s a n d M e m b e r o f t h e C e n t e r ' s Advisory Council David Sensabaugh, Assistant Professor, Art History and Archaeology, Columbia University Cannon County, Tennessee, basket maker Albert Thomas (front left) demonstrates his Marta Vega, Director, Caribbean Cultural Center artistry for (clockwise from left) Mrs. Thomas, Wang Zhengfang, Ma Lisan, Ye Gongxian, Huang Huikun, He Shaoying, Tian Feng, and Gao Zongyu (front right), during the Yunnan David Vikner, President, United Board for Christian Higher Education in Asia Cultural Leaders' Inaugural Visit. Christine Vincent, Program Officer, Education and Culture Program, The Ford Foundation Boston, Massachusetts Linley Logan, Exhibit Programs Assistant, N a t i o n a l M u s e u m o f t h e A m e r i c a n I n d i a n Susan Vogel, Director, Joanne Morgan, Principal for Museum Howard Morrison, Museum Program T h e M u s e u m f o r A f r i c a n A r t Planning, E. Verner Johnson & Associates Specialist, Division of Education, David Wang, Associate Professor, Department of Public Programs, National East Asian Languages and Culture, E. Verner Johnson, Principal, Museum of American History Columbia University AIA, E. Verner Johnson & Associates Fred Nahwooksy, Community Service Carl Wolz, Dean of Dance, Hong Kong Coordinator, National Museum of the Washington, DC Academy of Performing Arts American Indian

Alice Yang, Curator, The New Museum Scott Baker, Associate Director of the Diana Parker, Director, of Contemporary Art Gallery of Art, College of Fine Arts, Smithsonian Folklife Festival Howard University Teddy Yoshikami, Assistant Mary Sams, Librarian, Textile Museum Coordinator of Community Education, Vivien Ta-Ying Chen, Folklife Specialist, Peter Seitel, Senior Folklorist, Center for American Museum of Natural History Smithsonian Institution, Center for Folklife Programs and Cultural Studies, Folklife Programs and Cultural Studies Mystic Seaport, Inc.; Smithsonian Institution Feng Wei, Intern, Center for Folklife Jim Volkert, Deputy Assistant Director for Mystic, Connecticut Programs and Cultural Studies, Exhibition and Facilities Planning, Smithsonian Institution Jane Keener, Vice President for N a t i o n a l M u s e u m o f t h e A m e r i c a n I n d i a n Mattibelle Gittinger, Curator, Southeast Curatorial and Educational Programs, Helen Wechsler, Program Assistant, Asian Textiles, Textile Museum Mystic Seaport, Inc. International Programs, American Jan Larson, Supervisor of School Hank Grasso, Designer, Department of Association of Museums Services, Mystic Seaport, Inc. Exhibition Design, National Museum of American History Mary Louise Wood, Director, Rob Richter, Assistant to the Supervisor American Association of Museums Raina Green, Director of American of School Services, Mystic Seaport, Inc. Indian Programs, National Museum of Nashville, Tennessee Old Sturbridge Village; American History Robert Cogswell, Folk Arts Coordinator, Sturbridge, Massachusetts Richard Kurin, Director, Center for Folklife Programs and Cultural Studies, Te n n e s s e e A r t s C o m m i s s i o n Barbara Hopkins, Old Sturbridge Village Smithsonian Institution Arlyn Ende, Program Director, Cannon County Arts Center Crawford Lincoln, Director, Old Sturbridge Village

8 Volume 1 1 Fall 1995

Richard A. Northcutt, Chairman, Board Bruno NettI, Professor Emeritus of Music Bruce Bernstein, Chief Curator, of Directors, Cannon County Arts Center and Anthropology, University of Illinois M u s e u m o f I n d i a n A r t s a n d C u l t u r e at Urbana-Champaign Faye Northcutt-Knox, Director, Business Charlene Cerny, Director, Development, Stones River Hospital Claire Oakes, Museum Volunteer, The M u s e u m o f I n t e r n a t i o n a l F o l k A r t Hazel Charlene Parker, President, D u S a b l e M u s e u m o f A f r i c a n - A m e r i c a n To m C h a v a s , D i r e c t o r , Cannon Association of Craft Artists History, Inc. Palace of the Governors Dale Prater, woodworker Martin Prekop, Dean, School of the Art Walter Dasheno, Governor, Institute of Chicago Connie Rigsby, Director, Santa Clara Pueblo Cannon County Square Dancers Ramon B. Price, Chief Curator, Gloria Emerson, Director, Center for T h e D u S a b l e M u s e u m o f A f r i c a n - Albert Thomas, basket maker Research and Cultural Exchange, American History, Inc. Institute of American Indian Arts David Thomas, woodworker Phyllis Rabineau, Deputy Chair, Paul Gonzales, Director, Institute of Program Development, Field Museum A m e r i c a n I n d i a n A r t s M u s e u m Memphis, Tennessee of Natural History Michael Bering, Director, Indian Arts Bertha Bachus, quitter Gwendolyn Robinson, Executive Research Center, School of American Giatout Lee, storyteller Director, The DuSable Museum of Research African-American History, Inc. Joe Light, painter Alice King, First Lady of New Mexico Charlotte M. Rogan, Public Events The Honorable Bruce King, Governor Annie McDaniel, storyteller Coordinator, Lockport Gallery of New Mexico Judy Peiser, Executive Director, Cap Sease, Head, Division of C e n t e r f o r S o u t h e r n F o l k l o r e Edmund Ladd, Curator of Ethnology, Conservation, Field Museum of Natural Laboratory of Anthropology, Museum of Mose Vinson, pianist History New Mexico Jenny Solataroff, Interpreter, Vernon Lujan, Educator, Museum of Chicago, Illinois T h e D u S a b l e M u s e u m o f A f r i c a n - I n d i a n A r t s a n d C u l t u r e Gerald Adelmann, President, American History, Inc. Elizabeth Naranjo, potter, Santa Clara Canal Corridor Association, and member Michael Spock, Vice President of Public Pueblo of the Center's Advisory Council Programs, Field Museum of Natural Gloria Naranjo, Assistant Tourism Carolyn Blackmon, Chairman, History Director, Santa Clara Pueblo Education Department, Jessie Thymes, Coordinator, Outreach Field Museum of Natural History Program, Field Museum of Natural Jody Naranjo, potter, Santa Clara Pueblo Bennett Bronson, Chairman, History Rose Naranjo, potter, Santa Clara Pueblo Department of Anthropology and Audrey Tuggle, Museum Volunteer, The Tessie Naranjo, Director, Santa Clara Curator, Asian Archeology & Ethnology, D u S a b l e M u s e u m o f A f r i c a n - A m e r i c a n Pueblo Cultural Preservation Project Field Museum of Natural History History, Inc. Marie A. Reyna, Executive Director, Margaret Burroughs, Founder and Susan Webb, Director of Development, O o - o o n a h C h i l d r e n ' s A r t C e n t e r President Emeritus, The DuSable T h e D u S a b l e M u s e u m o f A f r i c a n - American History, Inc. George Rivera, Director, Pojoaque Museum of African-American History, P u e b l o P o e h C e n t e r a n d M u s e u m Inc. Isabelle Wong, Director of Overseas Paula Rivera, Assistant Curator, Museum Amina Dickerson, Director, Education Projects/East Asia, University of Illinois o f I n d i a n A r t s a n d C u l t u r e and Public Programs, Chicago Historical at Urbana-Champaign J i l l i a n S t e i n e r S a n d r o c k , E x e c u t i v e Society Director, Fund for Folk Culture Felice Dublon, Dean of Student Affairs, Albuquerque, New Mexico Kathryn Tijerina, President, School of the Art Institute of Chicago Pat Reck, Curator, Pueblo Indian Institute of American Indian Arts Richard Duggan, Design Manager, Museum, Indian Pueblo Cultural Center David Warren, Research Associate, Field Museum of Natural History Marian Rodee, Curator, Southwestern M u s e u m o f I n d i a n A r t s a n d C u l t u r e Teri Edelstein, Deputy Director, Ethnology, University of New Mexico Art Institute of Chicago Joe Sando, Director, Institute for Pueblo San Francisco, California Calvin Gray, Developer, Indian Studies, Indian Pueblo Cultural African Exhibit, Field Museum of Center Albert Cheng, Director, Administrative Natural History Services, California School Leadership Santa Fe, New Mexico Jonathan Haas, Vice President of Academy Museum Affairs and Director, Duane Anderson, Vice President of Him Mark Lai, Member, Board of Directors, Center for Understanding and Cultural Operations, School of American Chinese Historical Society of America Change, Field Museum of Natural Research Manni Liu, Assistant to the Executive History Tomas Atencio, Professor, D i r e c t o r a n d C u r a t o r i a l A s s i s t a n t , Chinese Culture Center Cheryl Hahn, Gallery Administrator, University of New Mexico, and Lockport Gallery President, Rio Grande Institute Dr. Jane Tom Barbara Harrison, Museum Volunteer, Stephen Becker, Director, D r . S a n f o r d To m ■ Field Museum of Natural History M u s e u m o f I n d i a n A r t s a n d C u l t u r e continued on page 10

9 U.S.-China Arts Exchange

Nathaniel Normant, Coordinator of Flora Kaplan, Professor and Director, Yunnan Specialists Come to Scholastic Development, Provost's Museum Studies Program, NewYork the U.S. Office, Baruch College, CUNY University continued from page 9 Carmen Pedrogo, Affirmative Action Laurel Kendall, Curator, Department of Officer, Baruch College, CUNY Anthropology, American Museum of Pamela T. Reid, Associate Provost and Natural History Two Nationalities Dean for Academic Affairs, The Graduate David McFadden, Curator of Decorative Institute Scholars Visit School and University Center, The City Arts and Assistant Director for Collections and Research, Cooper- New York University of New York Gall Smith, Program Director, CUNY Hewitt National Design Museum Huang Huikun, Acting President, Pipeline Program, The Graduate School Caroline Mortimer, Special Assistant to Yunnan Nationalities Institute (N.I.), and and University Center, The City the Director, Cooper-Hewitt National He Shaoying, Chairperson, History University of New York Design Museum Don Watklns, Ombudsman and Professor Dianne Pilgrim, Director, Cooper-Hewitt Department, N.I., were visiting scholars National Design Museum at the University of Virginia for the of Higher Education Administration, The Department of Education, Baruch Cordelia Rose, Registrar, Cooper-Hewitt spring semester of 1994. For both of College, CUNY ■ National Design Museum them it was a return trip, since Huang Erika Sanger, Manager, Public Programs and He had participated in the April 1993 and Media, Brooklyn Museum Cultural Leaders' Inaugural Study Group Museum Debbie Schwartz, Vice Director of and He had previously spent an academic Administration Education, Brooklyn Museum year at the University of Virginia. Stephen Van Dyk, Chief Librarian, Huang was in the United States to Study Trip Cooper-Hewitt National Design Museum study the history of Western In September 1994, Xie Mohua, Deputy George Wheeler, Research Chemist, anthropological theory and He was Metropolitan Museum of Art Director, Yunnan Nationalities Museum, conducting research to compare non- David Wright, Registrar and Archivist, traveled to the United States for three mainstream cultures in China and the Pierpoint Morgan Library weeks to focus on all aspects of museum U.S. In June 1994 the two scholars made Susan Yelavlch, Assistant Director for a professional visit to New York to meet administration. In addition to visiting a Public Programs, Cooper-Hewitt with educators and specialists in full range of museums and galleries, he National Design Museum educational administration. They also participated for one week in New York visited the American Museum of Natural University's graduate program in Chicago, Illinois Museum Studies. In Chicago he had a History and renewed their acquaintance Gerald Adelmann, President, Canal residency at the Field Museum of Natural with Laurel Kendall, Curator, C o r r i d o r A s s o c i a t i o n History, which gave him exposure to all Department of Anthropology, who had Wlllard Boyd, President, Field Museum traveled to China for the Yunnan Project museum functions, from registration to of Natural History exhibition design; from conservation to in May 1993 and who had spent time Bennett Bronson, Curator and Chair of outreach and education. In Santa Fe, not with the April 1993 Chinese study group. Anthropology, Field Museum of Natural Among the people with whom they met only did Xie work closely with the History administration and staff of the Museum were; Jacqueline Carter, Assistant to the of Indian Arts and Culture, but he also President for Cultural Understanding, Susan Carnochan, Director, The Rassias Method Language Program, The Division participated in a four-day field trip that Center for Cultural Understanding and of Continuing Studies, Baruch College, traced the history of the Navajo Nation Change, Field Museum of Natural CUNY from the 17th through the 19th centuries. History Jim Croft, Vice President, Finance, The Frances Degen Horowitz, President, The Among the individuals with whom he DuSable Museum of African-American Graduate School and University Center, met are those listed below: The City University of New York History, Inc. Terl Edelstein, Deputy Director, Art Jorge Izquierdo, Principal, P.S. 163 N e w Yo r k C i t y, N e w Yo r k Institute of Chicago Delmos J. Jones, Professor, Ph.D. Linda Dunne, Assistant Director for Jean Felt, Secretary, Education Program in Anthropology, The Graduate Administration, Cooper-Hewitt National School and University Center, The City Department, Chicago Historical Society Design Museum Laura Gates, Vice President, Museum University of New York Diana Fane, Curator of African, Oceanic, Affairs, Field Museum of Natural Frank Kehl, Assistant to the Provost for and New World Art, Brooklyn Museum Special Proy'ecf.v.Office of the Provost, History Baruch College, CUNY John Fell, Exhibitions Coordinator, Chris Gross, Collections Manager, Field Laurel Kendall, Curator, Department of Cooper-Hewitt National Design Museum Museum of Natural History Laura James, Head of Development, Anthropology, American Museum of Diane Hanau-Strain, Designer, The Natural History Cooper-Hewitt National Design Museum DuSable Museum of African-American History, Inc.

10 Volume 11 Fall 1995

Chulmel Ho, Research Associate, Field Wesleyan University; Museum of Natural History Arts Department Middletown, Connecticut Janet Kamien, Director, Exhibits, The Curriculum DuSable Museum of African-American Abraham Adzenyah, Instructor, Music History, Inc. Study Group Department Janice Klein, Registrar, Field Museum of John Barlow, Instructor, Music Natural History During October and November 1994, a Department Marie Lettiere, Assistant Educator for group of specialists from the Yunnan Lauren Cowdery, Instructor, Dance Public Programs, Chicago Historical Nationalities Institute came to the United Department Society States to visit departments, colleges, and Leo Leansing, Dean of Arts and Dejin LI, Senior Archeologist, Chinese schools of fine arts and music throughout Humanities Academy of Social Sciences; Field the United States. Their trip was made in Urip Sri Maeny, Instructor, Dance Museum of Natural History preparation for the establishment of pro Department James Lowers, Director of Auxiliary gramming and curriculum and the training Helen Mensah, Instructor, Dance Services, Retail, Field Museum of Department Natural History of faculty in their newly established arts Marianne fhWWps, Instructor, Dance D. Lynn McRalney, Associate Educator department. This arts department will be the first of its kind, designed primarily to Department for School Programs, Chicago Historical Samarsam, Instructor, Music Department Society train students from rural minority villages Jane Shaw, Director, Center of the Arts Jean Slusa, Director of Family Programs, in the arts and cultures of their own Kraft Education Center, Art Institute of traditions. Mark Slobin, Professor, Music Chicago Pu Tongjin, Vice President for Department Marian Thomas, Director of Educational Academic Affairs; Yang Dejun, Su Zheng, Assistant Professor, Music Programs, The DuSable Museum of Researcher, Nationalities Research; Yang Department African-American History, Inc. Jun, Chairman, Preparatory Committee, Baltimore, Maryland Santa Fe, New Mexico Department of the Arts; and Wang Sidai, Associate Professor of Han Chinese Ray Allen, Vice President, Maryland Duane Anderson, Vice President of Institute, College of Art Language and Literature and Director of Operations, School of American the Nationality Folk Literature Research Stephen G. Baxter, Acting Dean, Research Peabody Conservatory of Music Group, traveled from the East Coast to Stephen Becker, Director, Museum of Leslie King-Hammond, Dean of Graduate the West Coast of the United States. I n d i a n A r t s a n d C u l t u r e Studies, Maryland Institute, College of A f t e r a n i n t r o d u c t i o n t o m a i n s t r e a m a r t s J. J. Brody, Research Curator, Maxwell Art Museum of Anthropology programs they focused on minority or Fred Lazarus, President, Maryland

E m i l e d u B o l s , M u s e u m To u r non-mainstream programs. Among the Institute, College of Art Coordinator, Institute of American individuals with whom they met were: Frankle Martin, Mentoring Specialist, I n d i a n A r t s M u s e u m Mentoring Network, Maryland Institute, Preston Duwyenle, Instructor, Institute N e w Yo r k C i t y, N e w Yo r k College of Art of American Indian Arts Stephen Clapp, Dean, The Juilliard Sana Musasama, Ceramicist, Maryland Nora Fisher, Curator of Textiles, Museum School Institute, College of Art o f I n t e r n a t i o n a l F o l k A r t Carol Convlssor, Director of Special David Simon, Director for Academic Marlta Hinds, Manager, Institute of Projects, The Juilliard School Affairs, Baltimore School for the Arts A m e r i c a n I n d i a n A r t s M u s e u m VIshakha Desal, Director of the Elizabeth Tolbert, Professor, Peabody Eunice Kahn, Museum Registrar, Institute Galleries, The Asia Society Conservatory of Music o f A m e r i c a n I n d i a n A r t s M u s e u m Nathalie Gleboff, Executive Director, Albuquerque and Santa Fe, Tammy Rahr, Educator, Museum of School of American Ballet New Mexico I n d i a n A r t s a n d C u l t u r e Lewis Kaplan, Violin Instructor, The Pearl Sunrise, Instructor, Studio II- Juilliard School Duane Anderson, Vice President of Fashion Design, Institute of American Elizabeth Keen, Dance Instructor, The Operations, School of American Indian Arts Juilliard School Research

Ed Wapp, Instructor, Music Studio, C h a r l e s S . O l t o n , D e a n , P a r s o n s S c h o o l Cynthia Barber, Program Coordinator, Institute of American Indian Arts of Design Tamarind Institute Melanle Yazzle, Instructor, Institute of Joseph W. Polish President, The Juilliard Stephen Becker, Director, Museum of ■ A m e r i c a n I n d i a n A r t s School I n d i a n A r t s a n d C u l t u r e Roger Shepherd, Chair, Department of J. J. Brody, Research Curator, Maxwell Fine Arts, Parsons School of Design Museum of Anthropology

Leon Waller, Museum Educator, continued on page 12 Brooklyn Museum

11 U.S.-China Arts Exchange

Internationally recognized potters Barbara and Joseph Cerno (third and second from right) offered shards of ancient pots, which they use to create new works, to Yunnan Nationalities Institute representatives (left to right) Yang Dejun, Wang Sidai, Yang Jun, and Pu Tongjin (far right). Photo was taken at the Cerno's home and studio near Acoma Pueblo in Grants, New Mexico.

George Rivera, Director, Pojoaque Jeremy Morgan, Associate Professor, Yunnan Specialists Come to Pueblo Poeh Center and Museum, San Francisco Art Institute the U.S. Pojoaque Pueblo Kathryn Reasoner, Director of Extension continued from page 11 Sarah Schlanger, Curator of Archeology, and Summer Programs, San Francisco M u s e u m o f I n d i a n A r t s a n d C u l t u r e Art Institute

Cassie Bussma, Work/Study Student, Douglas Schwartz, President, School of Moira Roth, Tresethen Professor of Art Music Department, College of Fine Arts, American Research History, Mills College University of New Mexico Joyce Szabo, Assistant Professor, Art and Ronald Takaki, Professor of Ethnic Christine Castillo, Work/Study Student, Art History Department, University of Studies, Asian American Studies Music Department, College of Fine Arts, New Mexico Department, University of California, University of New Mexico James B. Wright, Professor of Berkeley Tom Dodson, Dean, College of Fine Arts, Librarianship, Director, Fine Arts Larry Thomas, Dean of Academic Affairs, San Francisco Art Institute University of New Mexico Library, University of New Mexico Emile du Bois, Tour Coordinator, Carlos Villa, Professor and Director of San Francisco, California Institute of American Indian Arts Multicultural Programs, San Francisco Art Institute Museum Benjamin Brinner, Assistant Professor, Michael Hering, Director, Indian Arts Music Department, University of Gerald Vizenor, Professor, Native Research Center, School of American California, Berkeley American Studies Department, Research Dewey Grumpier, Associate Professor, University of California, Berkeley Ellen McCullough-Brabson, Professor, San Francisco Art Institute Oily Wilson, Chair, Music Department, Music Education, University of New Mark Johnson, Assistant Professor and University of California, Berkeley ■ Mexico Gallery Director, San Francisco State Tessie Naranjo, Director of Historic University Preservation, Santa Clara Pueblo Fred Martin, Dean of Academic Affairs Cultural Preservation Project, Santa Emeritus, San Francisco Art Institute Clara Pueblo

12 Volume 11 Fall 1995

Specialists Travel to China from the United States and South and Southeast Asia

The Center considers the period from formal programs —including the between specialists in Yunnan and those 1990 through spring 1995 as the first Yunnan Institute of Arts, the Yunnan from abroad, assessing the needs of each stage of the Joint Plan on Yunnan Folk Arts Center, the Yunnan Painting program, traveling to the villages to Nationalities Cultures. During this first Academy, Yunnan University, and the provide the visiting specialists with an in situ look at the nationalities cultures, and stage, the emphasis has been on theoreti Yunnan Provincial Museum. cal and conceptual approaches to cultural The inclusion of an Asia-to-Asia having the American and Asian special conservation of the living traditions of dimension, which has sent Asians from ists offer suggestions and models for the Yunnan's minority nationalities. We Indonesia, the Philippines, and India to Chinese to use or alter as applicable. T h e C e n t e r f o c u s e d fi r s t o n t h e hope that further funding will enable the China, since the project's inception, and Y u n n a n N a t i o n a l i t i e s M u s e u m b e c a u s e Center, and our counterparts in China, to this has been crucial to its success. continue the project through a more Through grants that supplement the Ford of the immediacy of its demands and Foundation's support, given by the Asian time constraints. In June 1991, Heather programmatic and practical second stage. During the first stage, fifteen special Cultural Council and the United Board Peters, a specialist in anthropology, ists from the United States and Asia for Christian Higher Education in Asia, archeology, and muscology from the traveled to China to consult on formal triangulation—the joining of specialists University of Pennsylvania, and Lo-yi projects established by the Center with from the United States, China, and Chan, an architect at Prentice & Chan, the Yunnan Nationalities Museum, the elsewhere in Asia—has been made Ohlhausen, met with planning officials Yunnan Nationalities Institute, the possible. for the proposed museum and reported Yunnan Academy of Social Sciences, The first stage of the Yunnan Project back to the Center on its planning to date. and the Mentorship/Apprenticeship has been made up of two eighteen-month In May 1993, Stephen Becker, Director, Museum of Indian Arts and Program. To complement their activities grants each from The Ford Foundation, with these primary institutions, the the ACC, and the United Board. Under Culture, and Laurel Kendall, Curator, this funding, the initial professional specialists also met with representatives Department of Anthropology, American from secondary institutions—institutions visits of Americans and Asians to China Museum of Natural History, also worked with which the Center has considered focused on establi.shing relationships primarily with the Yunnan Nationalities Museum, meeting with m e m b e r s o f t h e Yunnan Province, Southwest China preparatory committee and staff. In addition to meeting with representatives from all of the above primary and secondary institutions, Becker traveled north and west of Kunming, visiting Bai and Naxi villages, Dali, and the Stone Forest (a developed tourist site), and Kendall visited villages southwest of Kunming. Myanmar In June 1993, Center

Laos D i r e c t o r C h o u W e n -

Thailand chung and Jose Maceda,

Vietnam Professor Emeritus,

Cambodia University of the Philippines, both continued on page 14

13 U.S.-China Arts Exchange

In Xishuangbanna, Xiaojie Village elders demonstrate preparation of a wedding headdress on Mi Du, a young Hani woman.

exhibition design and museum educa Institute and the Yunnan Academy of Specialists Travel to China tion, especially outreach programs. Jain Social Sciences, focusing on nationalities continued from page 13 also spent several days in the countryside, folk music and fieldwork methodologies. meeting with village cultural workers Maceda also addressed the potential for participated in exchanges in China and artists to encourage their participa establishing links between cultural con focusing on professional arts education, tion in the museum and its projects. servation and economic development, the humanities, and training in rural The husband-and-wife team of Sam- using the Philippines and other countries areas, in general, and nationalities music ang Sam, Executive Director of the in Southeast Asia, which have enjoyed and its future, in particular. Both Chou Cambodian Network Council, and Chan immense success in this effort, as and Maceda spent a substantial amount of Moly Sam, a choreographer and dancer examples. time on the development of village trained in the traditions of Khmer court In April 1994, Sal Murgiyanto, programs to identify outstanding national dance and Javanese dance, followed later Deputy Rector for Administration at the ity artists who could pass on local that December. The Sams, who have Jakarta Arts Institute, and 1 Made nationality arts traditions to younger dedicated their lives to reclaiming and Bandem, Director of the Indonesian members of the village communities. developing Khmer culture, discussed College of the Arts, traveled to villages They also worked on drafting curricula, with Chinese educators the parallel in Luxi County to study the living in conjunction with the Yunnan Nation issues currently facing both Chinese and traditions and natural environments of alities Institute (N.I.), for a proposed arts Cambodian artists and indicated to them the nationalities. Following their village department the N.l. had been seeking to some of the strategies being trips, the two consulted with establish for a decade. implemented by Cambodian cultural administrators and faculty at the Mentor- The Asia-to-Asia component of the leaders to address these issues. ship/Apprenticeship Program and the project continued in December 1993 As a follow-up to his very successful newly established arts department at the when Jyotindra Jain, Senior Director, May 1993 visit, Jose Maceda returned to Yunnan Nationalities Institute. While at Crafts Museum in New Delhi, spent Yunnan as the second eighteen-month continued on page 16 three weeks with the staff of the Yunnan grant took effect. Maceda held lectures Nationalities Museum. Jain focused on and discussions at both the Yunnan Art

14 Volume 11 Fall 1995

In Their Own Words . . .

"Yunnan is a patchwork of "Originality is not [frozen]. adapted and changed to meet their nationalities, many of which have When a tradition moves to a different new environment; and, in turn, small populations and are therefore place, it will definitely change. If the effected great change on the culture vulnerable to cultural extinction. To content and the context change, the that was already beginning to lose these cultures would be tragic, form will also change. Rather [than] develop in the U.S. Dr. Price's point as some of them, the Yifor example, preserving a 'living fossil' It is better was that African-American traditions have had a history as long as ten [to conserve] through 'living activi are the "essence of United States' thousand years." ties,' or 'preserve by doing.' Preserva culture. " When this heritage is —Tian Feng tion should be done for the people preserved, it is not just for African who own the tradition first. Out Americans, but is for all Americans. siders will [benefit from] ... the —Ma Lisan observed, based on preservation/conservation second.... this concept, that the DuSable was In describing the April 1993 Change can be initiated from the "every bit a mainstream institution Cultural Leaders' Inaugural Study outside or from the inside; voluntarily and not a second-class citizen. . . . Trip to the United States: or by pressure. In [preserving], we African-American history is not a "Everything we saw on the journey cannot prevent the culture from tributary." was new and exciting to us, and, in changing (as a result of [the] natural —Gao Zongyu further asserted many cases, worthy of emulation. I interaction with time and progress. " that "the history of China's minorities was particularly impressed with the —Sal Murgiyanto is the history of China." emphasis and the efforts put forth by —Gao Zongyu the American people in promoting ethnic cultures. . . . May the cultural exchange bridge between the United "What is 'mainstream' and what States and China be forever is 'non-mainstream'?"—Dr. "Aj' a museum professional, steadfast." Gwendolyn Robinson, then-Director anthropologist and folklorist, gaining —Wang Zhengfang of the DuSable Museum of African- experience through this exchange American History, explained to program [with] China added members of the April 1993 Cultural tremendously to my repertoire of Leaders' Inaugural Study Trip that ideas and concepts, challenging my "I think we can be optimistic "the experience of Africans coming thinking and assumptions about about the future of traditional to America influenced everything cultural preservation and cultures in this New Yunnan. . . . about American life; its art, music, interpretation at every turn. " With the goodwill and energy of all history, culture, and heritage. " If it "Yunnan's Nationality cultures the people involved in the Yunnan was true that the African experience are not dying. They do not need Project—in the institutes, in the and heritage actually shaped and 'rescue,' perhaps the most trouble museums, and in the villages—we informed "mainstream " life, then some word we encountered during will see a golden age for Yunnan and Ma Lisan and Gao Zongyu our trip. Change needs to be recog it will become an important questioned the distinction that nized as inevitable, but language, showplace as a community where the categorized the DuSable as an culture and diversity [need] to be peaceful living together of many " a l t e r n a t i v e " o r s o m e h o w l e s s t h a n respected and nurtured. Training minorities is a model for the global " m a i n s t r e a m " m u s e u m . and preparing the young workers at society of the future. " —Ramon Price, the DuSable the museum and the students at the —Carl Wolz Museum's Chief Curator, explained Institute are, in my mind, the highest that all immigrants to the United priorities for sustaining traditional States, except those from Africa, cultures in the future. " continued to practice their culture as —Stephen Becker they had back home. Only the Africans

15 U.S.-China Arts Exchange

Amidst the Yunnan Institute of Arts' collection of nationality objects, (left to right) Zhang Xingrong, Zhou Kaimo, Jose Maceda, and Chen Xiaoling compare musical traditions of Yunnan and the Philippines.

Dai potter and weaver Yu Meng in the village ofMandou, Xishuangbanna, demotistrates her technique and skill.

The fall of 1994 saw the exchange of the newly approved arts department of Specialists Travel to China the final two American specialists. In t h e N a t i o n a l i t i e s I n s t i t u t e t o c r e a t e a continued from page 14 November, J. J. Brody, Professor dance program for the arts department Emeritus, Department of Art and Art that would be appropriate for students the Nationalities Institute, they drafted a History, University of New Mexico, and from nationality villages. He also working curriculum to which subsequent Research Curator, Maxwell Museum of evaluated tenured and newly hired specialists have since contributed. Anthropology, University of New t e a c h e r s a n d a d v i s e d t h e s c h o o l ' s Also in April, Francisco Feliciano, Mexico, visited several museums in administrators on ways to institute an President of The Asian School of Music, Yunnan—both Kunming and the villages innovative teacher-training program. Worship, and the Arts, traveled to Yunnan —to compare various collections, exhibit At the completion of the two t o w o r k w i t h t h e Yu n n a n N a t i o n a l i t i e s designs, and philosophies to gain a better eighteen-month grants, in May 1995, the Institute on the arts department understanding of what was needed at the Center conducted an eleven-day Review curriculum. Feliciano's many years Yunnan Nationalities Museum. Brody Session to evaluate the progress to date, of experience in this area made him also worked with the Yunnan Academy to involve all the participating Yunnan a n a t u r a l c h o i c e t o l e a d i n t e n s i v e o f S o c i a l S c i e n c e s a n d t h e N a t i o n a l i t i e s institutions, and to set an agenda for d i s c u s s i o n s w i t h i n d i v i d u a l Museum to design interinstitutional future work. (See p. 17 for "Center e d u c a t o r s a n d t h e c o m m i t t e e projects—consistently an underlying H o l d s a R e v i e w o f t h e Yu n n a n responsible for the department's goal of the Yunnan Project—to build Nationalities Cultures Project.") H design. Feliciano submitted a r i c h e r r e s o u r c e s o n n a t i o n a l i t i e s a r t s . module for teaching music In December 1994, Carl Wolz, performance and composition to the Professor of Dance, Japan Women's committee and then extensively College of Physical Education, met with d e m o n s t r a t e d i t f o r t h e m . members of the planning committee for

16 Volume 11 Fall 1995

the Nationalities Institute, the Observers Center Holds a Fieldwork/Research Group, and the attempts to set up a viable mentoring Carolyn d'Amboise, Review of the Photographer/Dancer, New York City program. The Center's next newsletter Yunnan w i l l b e d e v o t e d t o t h i s e v e n t . T h e Chiang Ching, Dancer, Stockholm, Sweden following people attended the Review Nationalities Yi-an Chou, Floral Designer, New York Session: Cultures Project City Mingder Chung, Program From the Representative, Asian Cultural In May 1995, the Center held a Review United States Council, Taiwan Session to evaluate the work conducted Sana Musasama, ArtiTr, New York City Gerald Adelmann, President, Canal in Yunnan to date, to involve all the Marcia K. Nielsen, Educator, Corridor Association, Chicago participating Yunnan institutions, and to New York City set an agenda for future work in Yunnan Stephen Becker, Director, Museum of Waldemar A. Nielsen, President, with minority nationalities cultures. Indian Arts and Cultures, Santa Fe Waldemar A. Nielsen, Inc., New York City Designed and organized by the Center, Barry Bergey, Deputy Director, Folk Arts Program, National Endowment for the Review Session was supported in Anthony J. Saich, Representative for the Arts China, The Ford Foundation, Beijing, large part by The Ford Foundation, with Amina DIckerson, Vice President for China additional funding for Southeast and Education, Chicago Historical Society South Asian participation from the Asian Helen Walker Spencer, Fund Raiser, Tessle Naranjo, Director of Historic Project Originations, Incorporated, Cultural Council and the United Board Preservation, Santa Clara Pueblo New York City for Christian Higher Education in Asia. Cultural Preservation Project Mark Studdert, Lawyer, London, Seventeen specialists in the arts from the Martin Prekop, Dean, College of Fine England United States, the Philippines, Indonesia, Arts, Carnegie-Mellon University, Carolyn Taylor, Lawyer, London, and India attended the Review Session, Pittsburgh England Frank Proschan, Associate Scholar of supported by the foundation Audrey Topping, Semiotics, Adjunct Associate contributions, including Advisory Photojournalist/Documentary Professor, Indiana University, Council member Gerald Adelmann; and Filmmaker, New York Bloomington thirteen more participated on a self- Yinyin Zeng-Saich, Ai50Ciafe Professor, George Rivera, Director, Pojoaque Central Drama Academy, Beijing, funded basis, including Advisory P u e b l o P o e h C e n t e r a n d M u s e u m China, and Sinological Institute, Council members Waldemar A. Nielsen, Paul Smith, Director Emeritus, Leiden, Netherlands ■ Helen Walker Spencer, and Audrey American Craft Museum, New York Topping. The entire Center staff also City participated. Larry Thomas, Academic Dean, San Events were held over an eleven-day Francisco Art Institute Chou Wen-chung's period, and included a three-day trip to Judy Van Zile, Professor of Dance, Many and Varied Activities Xishuangbanna, where all participants University of Hawaii, Honolulu continued from page 34 traveled to remote villages of Jinuo, Tom Wilson, Former Executive Hani, Yao, and Kemu nationalities. Back Director, Southwest Museum Varese) for filming and provided an on- in Kunming, the group visited the camera interview. Nationalities Museum (still in progress), F r o m A s i a • Chou, who is on Film America's Board the Nationalities Institute, the Academy Francisco Feliciano, President, Asian of Advisors, was interviewed on film for of Social Sciences, the Mentorship/ Institute for Liturgy and Music, their documentary series Music in the Apprenticeship Program, the Provincial Manila, Philippines 20th Century. Museum, the Folk Arts Center, the Sal Murgiyanto, Senior Lecturer, • In June 1995, Chou made final Institute of Arts, the Nationalities Jakarta Arts Institute, Jakarta, arrangements to donate instruments that Village, and other sites of cultural or Indonesia belonged to Edgard Varese to the Musee h i s t o r i c i n t e r e s t . Jutta Neubauer-Jain, Art Historian and Exhibition Curator, New Delhi, India de la Musique in Paris, France. Full-day sessions were held to review all the projects under the Joint Plan for Jyotindra Jain, Senior Director, Crafts • Between 1991 and the end of 1995 the Yunnan Nationalities Cultures; and Museum, New Delhi, India following compositions by Chou Wen- round-table discussions were held to Ramon Santos, Professor of chung were published by C. F. Peters discuss the plans for the new Composition, Theory, and Musicology, Corporation: Beijing in the Mist, Yiin, University of the Philippines Nationalities Museum, the curriculum for Echoes from the Gorge, and Concerto the newly established arts department at for Violoncello and Orchestra. ■

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Minority Arts in Yunnan In December 1990, Center Director Chou Wen-chung traveled to Yunnan Province, at the initiation and with the support of The Ford Foundation, to explore the feasibility of carrying out a cultural project on the minority nationalities of Yunnan. The following are edited excerpts from Chou's report on his findings and his conclusions:

A major characteristic of Chinese civilization is China's Observations on Conditions incorporation of many minority nationalities since the for Minority Cultures beginning of its written history. Many of these minority cultures interacted with Han culture throughout the ages, 1. influencing the development of China's arts. Yunnan, in The need for preserving cultural traditions mns the whole southwestern China, has the largest number of minority gamut of localities, from the most remote and therefore nationalities in any one province—twenty-four* and the most pristine, to the most accessible and consequent numerous subdivisions. One-third of Yunnan's popula ly the most corrupted. And erosion is accelerating. Local tion is minority and is distributed over two-thirds of the professionals use the term qiangjiu (rescue) to emphasize province's area. the urgent need for preservation. While historically Yunnan nationalities may not have contributed as much to Chinese culture as some of those 2. in the northern and far western provinces, they have, in When the Chinese speak of qiangjiu, they mean qiangjiu turn, been much less influenced by Han culture than other wenwu (rescue relics), not "rescuing the living art." minorities. In modem times Yunnan has experienced only This reflects a Han mentality that is hardly excusable two periods of limited exposure to other cultures: when today, especially among those who work on behalf of the province fell under the so-called "sphere of influence" the nationalities. of France at the very end of the 19th century, and when 3. Kunming became the staging center for military aid from The answer clearly is not in merely moving artifacts— the United States during the Second World War. By whether of artistic or historic value—to a central contrast, since the 1930s, the music, dance, and visual location, such as an urban museum. That would only arts of the southwestern nationalities have been popular further erode local traditions and would fail to recognize throughout China and have regularly been a source of these cultures as "living." Nor should any solution borrowing for creative artists in the mainstream. interfere with the much-needed improvement in local lifestyles. A multifaceted approach through planning, consultation, and education is needed—as numerous At a time when the pace of modernization in Yunnan is American communities have learned in recent decades. quickening and tourism is spreading, study and preserva tion of these artistic traditions are urgently needed. The 4. However, in spite of an inherent conflict between the fast-changing taste and waning interest on the part of the young further demand a measure of revitalization of need to preserve and the pressure to modernize, we must these traditions as well. As China strives to achieve a recognize that it is equally urgent that measures be taken modern artistic outlook, the continued appropriation by to improve the economy and raise the standard of living. its creative artists of the superficial features found in The question is how to plan for the preservation of these minority traditions cries out for an in-depth inter traditions, while still attracting foreign investment and tourism. action between the latter and the much-Westernized Han artistic heritage of today. 5. In any event, a viable resolution to the question of preser vation would have to elicit the support of local authorities and interest on the part of the young population. Addi * Ed. note: Following publication of the 1990 tionally, it should attract the commitment of major census, the Man nationality is now included among provincial cultural institutions. Yunnan's recognized minority nationalities, bringing the number usually cited to twenty-five.

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Intellectual Climate in China Since the Tiananmen Events In December 1990, on his first trip to China since the events of June 1989, Center Director Chou Wen-chung retraced the steps of a 1987 China trip, undertaken to look at the climate for intellectuals and artists of that time. The 1990 Ford Foundation- supported trip began in Yunnan Province's capital city of Kunming and the rural area of Luxi County, where Chou was exploring the feasibility of designing a Center project on Yunnan's minority nationalities. Following the Yunnan visit, Chou traveled to Xi'an and then repeated the earlier Chengdu, Beijing, and Shanghai itinerary, focusing on meetings with painters, writers, musicians, and scholars. The purpose of the visit was to assess the effects of Tiananmen and its aftermath on the intellectual and artistic atmosphere in some of China's major cities. The following are edited excerpts from Chou's report on the "Intellectual Climate in China Since the Tiananmen Events":

The Continuing Crisis cultural xenophobia, on the one hand, and complete in Chinese Culture Westernization, on the other. The ensuing conflicts in the arts between these two extremes have never been The observations in this report, ultimately aimed at both resolved. Worse, no middle ground has taken hold in American and Chinese readers, will be more meaningful the Chinese mind throughout the past century. T h e t r u e " c u l t u r a l r e v o l u t i o n " i n C h i n a w a s n o t t h e if considered in a Chinese historical context. First of all, it is important to keep in mind that the ability to assim political Cultural Revolution of 1966 to 1976, but the ilate foreign cultures is a fundamental characteristic of intellectual consequences of the May Fourth Movement Chinese civilization. The influx of foreign influence of 1919. These were the first tangible manifestations o f C h i n a ' s c u l t u r a l c o n f l i c t w i t h t h e W e s t — t h e f i r s t has, however, always been effectively counterbalanced by the capacity of Chinese civilization to reshape ideas attempt at initiating a movement toward a modem from other cultures on its own terms. This usually C h i n e s e c u l t u r e . B u t t h i s m o v e m e n t f a i l e d i n t h e a r t s . There was too little time for artistic retrospection before happens over a long period of disintegration and China was caught up in further struggles for survival: amalgamation—at a time of rebirth in Chinese history. The best-known example of such a time of cultural a quarter-century of civil war, eight years of Japanese transformation is the period leading up to the Tang invasion, and the Communist revolution. dynasty—a dynasty with a culture that was neither During these decades three trends evolved in the arts. On one extreme there was a complete disregard a n c i e n t C h i n e s e n o r C e n t r a l o r S o u t h A s i a n . The most recent such period in China's history has, for contemporary Westem arts and only a rudimentary imitation of traditional Westem arts of the eighteenth perhaps, been unfolding for over one hundred fifty years now. For three-quarters of a century, symbolically from and nineteenth centuries. The emphasis was exclusively the Opium Wars of 1839 to 1860 through the so-called on technique, without regard to cultural context. On the other extreme, there was a mindless indulgence in the "Open Door" policy advocated by the United States in 1898 and the Boxer Rebellion of 1900, China experi status quo of China's traditional arts as they were found enced some of the worst political and economic exploita at the collapse of the Qing dynasty. Between these tion and racial humiliation in its history. As might well opposite directions there was an attempted synthesis be expected, there was a concurrent process of the t h a t w a s " n e i t h e r f i s h n o r f o w l " — o r a s t h e C h i n e s e disintegration of an already decaying culture. saying would have it "bu zhong bu xi" [literally, It is unfortunate that China's first exposure to modem "neither Chinese nor Western"]. This approach led to Western culture should have taken place in such oppres the rendering of Chinese folk themes in Westem styles sive circumstances. The result was predictable. It inspired and techniques. two powerful and diametrically opposed reactions: continued on page 20

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Intellectual Climate in China Since the Tiananmen Events continued from page 19

An example of the first trend was the widespread These artists are praised in the West often on the basis interest in oil painting in the nineteenth-century of certain Eurocentric concepts of what modem art is, European style. For the opposing trend, there was the or according to what some Westemers regard as the continued popularity of the so-called Peking Opera. way new Chinese art "should" be. Back home, they are Even more representative of this tendency was the evaluated either according to politics or to the degree revival, in the early 1930s, of the music for qin (Chinese of attention they attract in the West. zither) without really understanding the meaning or This has hardly been a healthy ambience in which to the significance of its aesthetics. The third trend could nurture a renewed culture in China that reaches beyond be seen by the common practice in the past half-century its old self—long in stagnation—or becomes more than of rendering Chinese folk songs with an overlay of a shadow of the West. Given China's history, this is conventional tonal harmony of the West. Another more or less to be expected as part of its growing pains. example would be the recasting of minority nation Symbolically, and at a tragic cost that June night in a l i t i e s ' d a n c e m o v e m e n t s i n t o t h e f r a m e w o r k o f 1989—ten years after the beginning of the first sustained Western classical ballet. cultural exchange between China and the United States In short, there was not enough understanding of —an alarm sounded, not only for diplomatic relations, Western culture or knowledge of modem artistic but also for a thoughtful reexamination of the arts rela concepts on the part of Chinese artists to revitalize a tions between these two cultures flanking the Pacific. Chinese culture that would remain true to itself while at the same time benefit from the Western experience. Meanwhile the tradition of Chinese culture was being chipped away piece by piece by the processes of a so- What China Needs to Do c a l l e d " m o d e r n i z a t i o n " a n d " W e s t e r n i z a t i o n . " E v e n then, in the 1920s and 1930s, these were fashionable The Chinese leadership maintains that the single most terms among intellectuals. urgent task for China is to achieve a superior economy After the 1949 establishment of the People's through the processes of modernization. Everything else Republic of China, the same trends and processes is subordinate to this focus. The reality will no doubt c o n t i n u e d — a n d o n a m u c h b r o a d e r s c a l e . F o r t h e n e x t prove to be a little more complex than that. To achieve thirty years, there was a dominant Russian influence the goals of modernization as set by China's leaders, a and the strict constraints of Communist ideology. "modern mentality," which still eludes the masses, will Fortunately, this period was also marked by a consider have to develop. Achieving this, in turn, depends on a ably higher level of professionalism than before and "modern" culture, which, in all honesty, China does not a substantial increase in the training of talented artists, yet possess. Perhaps what is needed is some conclusion especially in the performing arts. to the long cycle of interaction with Western culture that The reestablishment of diplomatic relations between was initiated so painfully in the mid-nineteenth century. t h e U n i t e d S t a t e s a n d C h i n a i n 1 9 7 9 m a r k e d t h e r e a l China has to comprehend and absorb modem ideas from beginning of China's exposure to modern Western the West in their cultural context, but also must invig arts—a crucial moment in China's cultural history. By orate its own cultural traditions in order to provide a 1983 the fruition of this exposure manifested itself with solid foundation for modern development. Without these the emergence of a substantial number of young Chinese two steps China can only copy or borrow from the West. composers, painters, and filmmakers who could reason Having taken these steps, China would then be able to ably match the work of young American artists in their evolve its own modem experience in its own environ own fields. ment and emerge out of the shadow of both the United A few years later, by the time of the Tiananmen States and the Soviet Union. All of this is to say that as tragedy, many of these young Chinese artists were crucial as economics may appear to be to China at this studying or working in the West, attracting considerable time, culture is at least equally important. attention. Their work, however impressive, is none theless imitative and barely hints at a search for oneself.

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United States-China Relations China will produce an impact on the whole Pacific region. Many countries in the area have already initi Long-term U.S.-China relations do not rely on political ated their own exchange programs, and yet at the a n d e c o n o m i c i n t e r a c t i o n s a l o n e . E ff o r t s i n t h e s e a r e a s same time are attracted to projects of a broader nature have brought about, and will continue to bring about, between the two giants on the opposite shores of immediate but often temporary results. For the long- the Pacific. Finally, in this country, we must also be term future, however, efforts in cultural interaction will prepared for domestic cultural changes that are bound be indispensable to the success of the relationship. The to accelerate as the predicted demographic shifts unfold Tiananmen tragedy should serve as a moment for during the next three-quarters of a century, leading introspection for Americans as well as Chinese. During t o t h e m o m e n t w h e n t h e U n i t e d S t a t e s w i l l b e c o m e a the ten years leading to that moment, while we proudly nation without a racial majority. Exchanges with China excited the Chinese people with our concepts of will offer opportunities for Americans to leam about democracy and market economy, did we make a cultural interaction in depth and exposure to a society conscious effort to sufficiently impart to them the of vastly different environment and tradition. ■ cultural underpinnings on which democratic principles rely? Had there been exchanges in culture and the arts approaching the magnitude of those in the political, financial, and commercial spheres? Americans have historically been regarded by the Chinese as their friends among Westerners. This is obviously not because the Chinese believed in John Hay's "Open Door" policy, nor because a very small percentage of Chinese profited from working for or trading with the American business community. It was largely because many of the Chinese intellectual leaders studied in this country. Today, following Tiananmen, perhaps Americans will at last recognize the need for intensive interaction with China in the arts, providing China with experiences we have had in evolving our modem society so as to encourage China to develop its own set of modernizing experiences. Our healthy long-term relations with China depend on a genuinely modern Chinese society, which, in turn, de pends on the development of a modem culture of its own.

Larger Implications Successful cultural exchanges with China will have larger implications as well. First of all, what China has been going through culturally is less an ideological phenomenon than it is an Asian and post-colonial one. Its struggle serves as a colossal prototype of the processes of modemization and cultural integration that all Asian nations are experiencing. Secondly, s u c c e s s f u l i n t e r a c t i o n b e t w e e n t h e U n i t e d S t a t e s a n d

Hani girl, Manmo Village

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Yunnan Nationalities Cultures Project; Cooperating Institutions and Individuals Over the course of the five years the Center has been Chen Zhengqiang (Jingpo), Research Fellow, Literature Research Division working to develop, design, and carry out the Yunnan Gao Lishi {Bai), Associate Research Fellow, Yunnan Nationalities Cultures Project, we have had contact with Nationalities Research Institute innumerable institutions and individuals throughout Yunnan He Shaoying (Naxi), Research Fellow, Yunnan Nationalities Province. Reflected are key cultural, educational, artistic, Research Institute scholarly, and governmental leaders, both in Kunming and in Huang Minchu, Photographer, Nationalities Institute the outlying prefectures, counties, and villages. With some Museum we forged cooperative links that resulted in major projects; Jin Xiaobai {Dai), Assistant Research Fellow, Nationalities with others, although we explored possibilities, circumstances Institute Museum prevented the development of collaborative activities. We Li Bo, Assistant Interpreter, Foreign Affairs Office hope to include many of these organizations and/or individ Li Danhe, Dean, Foreign Language Department u a l s i n t h e J o i n t P l a n f o r Yu n n a n N a t i o n a l i t i e s C u l t u r e s i n Li Weixin, Secretary, Arts Department, Preparatory our future planning. The following is a partial —by no means Committee comprehensive—list of those organizations and individuals Luo Haining, Lecturer of Nationality Education; Deputy with which/whom we have worked most closely since 1990. Director, Yunnan Nationalities Research Institute We are grateful for their efforts, dedication, energy, and ideas. Ma Yisheng, Director, Nationalities Institute Museum The institutions cited often also provided in-kind support Shi Rui (Jingpo), Research Fellow, Jingpo Literature Research Division without which the projects would have been greatly ham Tang Yebi (Dai), Assistant Professor of Dance pered or impossible to carry out successfully. Wu Lingyun, Professor of Dai Language and Culture; Deputy D i r e c t o r , Y u n n a n N a t i o n a l i t i e s R e s e a r c h I n s t i t u t e Xie Chongshu, Associate Professor, Arts Department Yang Chaoqun, Deputy Section Head, Academic Affairs Institutions With Which the Section Center Has Formal Programs You Li, Party Secretary

T h e Y u n n a n N a t i o n a l i t i e s M u s e u m N a t i o n a l i t i e s A f f a i r s C o m m i s s i o n o f Yu n n a n P r o v i n c e Gao Zongyu, Director Ma Lisan (Yi), Director Xie Mohua (Bai), Deputy Director Wang Zhengfang (Hani), former Deputy Director Yin Shaoting, Deputy Director Ma Huaqing (Hul), Deputy Director Bai Yubao, Staff Lei Yintian, Deputy Director Dong Xun, Staff Zhang Nin, Director, Foreign Affairs Gu Weilin, Staff Gao Yunming, Vice Director, International Foundation Relations He Yaobo, Staff Chen Jianming, Assistant to the Director Jiang Zhen, Staff Jie Shunbao, Staff Yu n n a n N a t i o n a l i t i e s I n s t i t u t e Li Rui, Staff Zhao Jiawen (Bai), President Yang Bing, Staff Pu Tongjin (Yi), Vice President Yang Li, Staff Huang Huikun, Vice President Yang Songhai, Staff Di Huayi, Associate Professor, Director of Education Yang Xiao, Staff Administration Yu Hanjiao, Staff Hu Maoxiu, former Director, Foreign Affairs Office Zhou Mingqiang, Director, Foreign Affairs Office Yang Dejun (Bai), Research Fellow, Art Research Division; Founder, Yunnan Nationalities Institute Museum Yang Jun (Bai), Associate Professor of Nationality Art Wang Sidai {y\), Associate Professor, Department of Chinese Shi Yuzu, Associate Professor, Arts Department

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Mentorship/Apprenticeship Program Liang Jinquan,* Member, Provincial Party Standing TIan Feng, Director Committee; Party Propaganda Chief; President, Yunnan Association for Cultural Exchanges with Foreign Countries Wang Zhengfang, Senior Advisor Li Jinghua, Director, Department of Research and Exhibition Ma Zhanlun, Director, General Office of the Yunnan People's Political Consultative Conference Liu Sujuan, Deputy Director Pu Fazhen, Staff Peng Rendong, Head, Yunnan Province Foreign Affairs Office Zheng Feng, Delegate, Yunnan People's Political Consultative Pu Jiufen, Staff Conference Zhang Qi, Staff Zhang Shiiin, Staff

Yunnan Academy of Social Sciences Organizations With Which He Yaohua, President the Center Has Worked

Tang Chenjie, Vice President Yu n n a n F o l k A r t s C e n t e r Deng Qiyao, Director, Nationality Literature Research Gao Tianyi, Curator and Director Institute Zhu Zi, Deputy Director Duan Yuming, Deputy Director, Institute of History Bai Qi, Chief, Operations Division Feng Zhao, Interpreter/Research Assistant Zhao Yaoxin (Yi), Department Chief, Visual Arts Department Guo Dalie, Director, Institute of Ethnological Studies Guo Jing, Deputy Director, Institute of History Huang Lin, Senior Advisor, Music Chen Li, Deputy Department Chief, Visual Arts Department Mao Yuejun, Research Fellow, Film and Video Division, Information and Reference Center Dai Yuru, Fine Arts Consultant Li Xiaoqing, Curator, Decorative Lantern Division Jiang Hong, Deputy Director, Foreign Affairs Office Li Xianxu, Director, Information and Reference Center; Staff Lu Ying, Fine Arts Advisor Archivist Li Yaohan, Institute of Chuxiong Yi Culture Yunnan Institute of Arts Li Zuanxu (Bai), former Director, Nationality Literature Zhang Jianzhong, President; Vice Chairman, Yunnan Artists' Association Research Institute Na Shihua (Yi), Director, Administrative Affairs Wang Qinghua, Assistant Research Fellow, Institute of Ethnological Studies Wang Fuling, Vice President Wang Shuwu (Bai), Deputy Director, Institute of Ethnological Chen Zuji, Director, Yunnan Nationality Folk Arts Research Studies Institute Zuo Yasha, Director, Foreign Affairs Office Zhou Kaimo, Associate Professor of Musicology and Composition; Deputy Director, Yunnan Nationality Art Government of Yunnan Province Research Institute He Zhiqiang, Governor He Yongkun, Chairman, Commercial Arts Division Pu Chaozhu, Party Secretary General Li Jian, Research Fellow, Dance Chen Liying, Vice Governor Li Jinghuan, former Director, Yunnan Nationality Art Dai Guanglu, Vice Governor Research Institute Li Xiaoming, Director, Department of Fine Arts Yang Jianqiang (Bai), Vice Governor (in charge of Nationalities Affairs) Lin Di, Research Fellow, Visual Arts Wang Tingzhen, Mayor of Kunming Liu Xiaogeng, Assistant Professor of Composition Ma Lisan (Yi), Director Song Yang, Tenor Wang Zhengfang, Deputy Director, Nationalities Sun Weike, Deputy Director, Foreign Affairs Office Commission, Yunnan People's Congress Wang Lu, Director, Foreign Affairs Office Yin Jun* (Bai), Chairman and Executive Secretary General, Wang Shenghua, Associate Professor, Drama Yunnan People's Congress; President, Yunnan Association for Wen Jie, Research Fellow, Music Friendship with Foreign Countries; former Deputy Party Xu Xiang, Director, Performing Troupe Secretary General of Yunnan Province Zhao Tingguang* (Yao), Vice Chairman, Yunnan People's Yang Fang (Hani), Professor of Nationality Music Political Consultative Conference; President, Yunnan Ye Gongxian, former President Minority Nationalities Studies Society; former Vice Governor Yu Xiwu, Research Fellow of Yunnan Province Zhang Qilong, Research Fellow, Visual Arts Jin Cankun, Deputy Division Chief, Foreign Affairs and Zhang Maoning, Chairman, Department of Dance E c o n o m i c s D i v i s i o n Zhang Mingqin, English Teacher/Translator Lei Yaomin, Secretary, General Office of the Yunnan Zhang Xingrong, Professor of Music Provincial Government continued on page 24

* Honorary Advisor, Yunnan Nationalities Cultures Project

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Yang Yongsheng, Reporter, Yunnan Nationalities Cultures Project Nationalities Division, Yunnan Daily Cooperating Institutions and Individuals Zhang Jianxiang, Reporter, continued from page 23 News Division, Yunnan Daily and Yunnan Evening News Zhang Xing, Deputy Director, Nationalities Division, Yunnan Daily Yunnan Painting Academy Wang Jinyuan, President Zeng Xiaofeng, Professional Artist; Member, Regional Organizations Chinese Artists' Association (in alphabetical order) Yunnan Province Education Commission Hai Song, Chairman Chuxiong Autonomous Prefecture Ma Youliang, Vice Chairman Chuxiong Autonomous Prefecture Nationalities Affairs Commission Yang Chonglong, Deputy Director Lufeng Natural History Museum Zhu Wenhua, Deputy Director

Wang Qianghua, Deputy Division Chief, D a l i B a i A u t o n o m o u s P r e f e c t u r e General Education Division Dali County Government Li Yuan, Section Chief Dali Regional Museum Foreign Affairs Section Dali Municipal Museum Han Yuexin, Director, Foreign Affairs Office Xiaguan Provincial Museum Li Danjie, Program Officer, Weishan Yi/Hui Autonomous County Foreign Affairs Office Lu Bingyan, Deputy Bureau Chief, Honghe Autonomous Prefecture Luxi County Government A r t s E d u c a t i o n B u r e a u Chen Senlong, former Mayor Yunnan Design Institute Chen Yanhua, former Deputy Director Rao Weichun, Chief Architect Wang Minglong, Acting Mayor Yin Zuoyao, Senior Architect Cao Chao, Deputy Mayor Mao Kun, Architect Wang Lishou, Deputy Mayor Wang Xianlin, Senior Engineer Shi Chaoxing, County Party Secretary General Yang Zhizhong, Senior Engineer Wan Jianxiong, Deputy Office Director, County General Office Yunnan University Yang Jicai, Bureau Chief, County Bureau of Culture Zhang Wenxun, Director, Southwestern Border Region Nationality Economic and Cultural Research Center Shiping County Government Li Zixian, Deputy Director, Southwestern Border Region Pu Qiaoyan (Yi), Mayor Nationality Economic and Cultural Research Center Zhang Jun (Yi), Executive Deputy Mayor Yang Shouchuan, Deputy Director, Southwestern Border Zhang Chaoping (Dai), Deputy Mayor Region Nationality Economic and Cultural Research Center Lijiang Prefecture

Yunnan Association for Lijiang Prefectural Museum International Educational Exchange Dongba Institute Han Yuexin, Secretary General Simao Prefecture Simao Z,hen (town) Government Yunnan Minority Nationalities Studies Society Bai Cunde (Hani), Vice Governor Zhao Tingguang, President Shen Jie, Deputy Prefecture Secretary General Chinese Minority Nationality Music Society Xu Yong'an (Yi), Deputy Director, Prefecture Nationalities Affairs Commission Huang Lin, Member; Associate Research Fellow Wu Xueyuan, Member, Executive Council Mojiang Autonomous County Government Zhao Jiaming (Hani), Mayor Media Zhang Ke'ai, Bureau Chief, County Bureau of Culture Liu Wen, Editor and Reporter, Nationalities Division, Yunnan People's Radio Pu'er County Government Ma Jiabao, Mayor Jiang Shizheng, Reporter, Yunnan Daily

24 Volume 1 1 Fall 1995

Yuxi Prefecture Bureau of Landscaping and Parks of Kunming City Yuanjian Autonomous County Government Ma Jieyun, Director Bai Zhonghua (Yi), Deputy Mayor Wang Jinbao, Section Chief, Foreign Affairs Section Liu Shizhu, Deputy Mayor Li Mingfu (Dai), Director, Nationalities Affairs Commission Kunming Lake Dianchi National Wang Meizhen, Bureau Chief, County Bureau of Culture Recreation/Tourism Region Xie Guangting, Director, County Culture Center He Jun, Manager Tonghai County Nationalities Affairs Commission Luc Fuiiang, Manager Hu Zefei, Deputy Director, Kunming Lake Dianchi National Tonghai County Government Recreation/Tourism Region Administrative Committee Xishuangbanna Autonomous Prefecture Ethnic Folk Culture Villages Park Xishuangbanna Nationalities Affairs Commission Huang Bin, Deputy General Manager Xishuangbanna Autonomous Frefectural Wei Fei, Manager, Yi Hamlet Government Dao Aimin (Dai), Governor China Federation of Literary and Art Circles, Li Yong (Dai), Vice Governor Yunnan Branch Dao Jin'an (Dai), Director, Prefecture Li Biyu, Chairman Nationalities Affairs Commission Qian Zhan, Deputy Bureau Chief, Chinese Dancers' Association, Yunnan Branch Prefecture Bureau of Culture Dao Meiian, Chairman Yi Xiaokun (Dai), Office Director, Ma Huixian, Association Member; Choreographer Prefecture Government General Office

Yu n n a n D a o M e i i a n I n t e r n a t i o n a l C e n t e r o f A r t Dao Meiian, Chairman, Dancers' Association Organizations the Center Wang Shiye, Deputy Director. Composer H a s C o n t a c t e d Chinese Musicians' Association, Yunnan Branch Yunnan Nationalities Painting Academy Huang Hong, Chairman Lu Denggu, Vice President Yunnan Yi Nationalities Studies Society Yao Yongmao (Yi), Vice President Ma Lisan, President Zhang Zhongqi, Member Yunnan Nationalities Theoretical Studies Society Yunnan Provincial Museum Wang Zhengfang, Vice President Li Kunsheng, Director Li Yi, Deputy Director Yunnan Association for Cultural Exchanges Tian Xiaowen, Deputy Department Chief, with Foreign Countries Department of Education for the Masses Liang Jinquan, President Xu Kangning, Deputy Department Chief, Liu Shirong, Deputy Secretary General Department of Education for the Masses Gao Tianyi, Member, Executive Council Zhang Zengqi, Research Fellow Zhu Baotian, Specialist on Dongba Culture Yunnan Association for Friendship with Foreign Countries Department of Culture of Yunnan Province Yin Jun, President Gu Qun, Eoreign Affairs Section Li Gaopin, Representative for Honghe Prefecture Yunnan International Cultural Exchange Company Li Zhengrong, Deputy Director Wang Lirong, General Manager Liu Shirong, Head, General Office Qiu Xuanchong, Director, Cultural Relics Division Nationalities Economic Sun Wei, Deputy Director and Cultural Development Company Shen Qirong, General Manager T r a v e l a n d To u r i s m A d m i n i s t r a t i o n Yunnan International Non-Government of Yunnan Province Li Lu'an, Director Organizations Society Guo Jingming, Director ■ Tong Jiuru, Deputy Director Chen Keqin, Deputy Section Chief, International Marketing and Development Section

25 U.S.-ChinaArts Exchange

O'Neill Teachers Exchange in Arts Education

Minnesota music teachers Tom Wells (center left) and Dawn Allan (center right) say farewell to students at the Kunming Normal School for Kindergarten Teachers. Standing with them are the school's principal, Lu Chongbi (far right), and their interpreter, Su Li (front left).

In 1985, the Center for U.S.-China Arts This innovative program received the Three Classroom Exchange was in the middle of a three- generous support needed from George year project to compare arts education in and Abby O'Neill. Teacher Exchanges China and the United States at the early Three teams—two Chinese and one During the period from spring through childhood, pre-collegiate (elementary American—had already completed their fall of 1994, the Center—in cooperation and secondary school), and college travel, and one American team held with the Yunnan Education levels. In collaboration with Harvard plane tickets for China, when the events Commission—carried out three teacher Project Zero in this country and the leading up to the political turmoil of exchanges between the United States Ministry of Culture and State Education spring 1989 came to a head and all was and China. In April 1994, Dawn Allan Commission in China, the project relied put on hold. and Tom Wells, two music teachers from on theoretical and scholarly studies In August 1990, when the Center Minneapolis, Minnesota, traveled to conducted in both countries by education resumed exchange work with China, Yunnan to visit elementary and secondary specialists and administrators. we undertook a feasibility study for the schools and teacher training institutes. While the exchanges carried out development of a project in Yunnan B o t h M s . A l l a n a n d M r. W e l l s h a d b e e n included many disciplines and involved a Province. The focus of this project was chosen as project participants, in 1988, broad spectrum of educators, the Center the continuation and development of the by a distinguished panel of Minnesota i d e n t i fi e d a s e c t o r o f t h e a r t s e d u c a t i o n t r a d i t i o n a l a r t s a n d c u l t u r e s o f Yu n n a n ' s arts educators, in consultation with the community that was not being minority nationalities (to which most of Center. Although events in China in a d d r e s s e d — t h a t o f t h e c l a s s r o o m a r t s this issue of the Newsletter is devoted). 1989 had forced postponement of the teachers. As a result, the Center, in It became our hope that, at some point in project, the two teachers had remained consultation with the State Education the future, we could negotiate a program ready throughout the intervening five Commission in Beijing, developed an i n Yu n n a n t h a t w o u l d a l l o w u s t o r e i n s t a t e years, eagerly awaiting the opportunity exchange plan that would enable three our exchange of classroom arts teachers to carry out their planned trip. t w o - m e m b e r t e a m s o f C h i n e s e a r t s between China and the United States. When they finally got to go to t e a c h e r s t o v i s i t t h e U n i t e d S t a t e s f o r In January 1993, an agreement was Kunming they were very anxious to make t h r e e w e e k s e a c h a n d t h r e e t w o - m e m b e r entered upon with the Yunnan Education the most of their time. While in Yunnan, t e a m s o f A m e r i c a n a r t s t e a c h e r s t o v i s i t Commission, and the O'Neill Teachers they observed classroom teaching, and C h i n a f o r t h r e e w e e k s e a c h . T h e s e Exchange was officially transferred to had the opportunity to speak with teachers, teachers of music and visual arts, chosen Yu n n a n P r o v i n c e . O v e r t h e c o u r s e o f administrators, parents, and students. from a pool of applicants, would be 1994, the Center was able to successfully Ms. Allan, whose specialty is vocal s e l e c t e d o n t h e b a s i s o f t h e i r e x c e l l e n c e carry out the remaining three sets of education, gave demonstration lessons as classroom teachers, their adaptability visits, extending this valuable project to of singing classes; and Mr. Wells, who is t o i n d i v i d u a l s a n d c u l t u r e s o t h e r t h a n c l a s s r o o m t e a c h e r s i n C h i n a ' s s o u t h w e s t a brass and jazz teacher, demonstrated their own, and their ability to share their a n d A m e r i c a ' s m i d w e s t . his music teaching methods, including international experience with their peers improvisation. upon their return home.

26 Volume 11 Fall 1995

Late fall 1994, Mr. Chen Siming and States in early 1989 on the Teacher Observations made by the Minnesota Mr. Wu Xinwen, two visual arts teachers Exchange. An emotional highlight of this music and voice teachers on their visit to from Kunming, visited elementary and 1994 reciprocal China trip was the China were characterized by an secondary schools in Minnesota and also appearance in Kunming of Mr. Mu—an awareness of how much more controlled sat in on painting classes at several local elementary school teacher from Jilin an environment is the Chinese classroom universities. Their hosts were the Province, in the northeast of China. Mr. than the average American classroom. teachers who had been to China in Mu had vowed to see the Ohio teachers Although the Chinese expressed April—Dawn Allan and Tom Wells. In again, and was not to be denied! He not admiration for, and fascination with, the Ms. Allan's capacity as Director of the only was reunited with them in spontaneity and flexibility the Americans Teacher/Mentor Program for the Kunming, accompanying them to meet demonstrated in their teaching styles, Minneapolis Public Schools, she was local painting teachers who were his they indicated they had very little able to arrange meetings for the Chinese personal contacts, he then traveled with intention of changing their own teaching v i s u a l a r t s t e a c h e r s t h a t w o u l d i n f o r m the American teachers to Beijing and methodology to coincide with the style them on teacher-training approaches in escorted them as they did some cultural of the Americans. the United States. Ms. Allan and Mr. sightseeing. They were extremely T h e A m e r i c a n s w e r e s o m e w h a t Wells shared the responsibility of hosting touched by his efforts on their behalf and surprised and certainly dismayed at the the Chinese teachers, introducing them to by his personal dedication to making paucity of musical instruments and radio/TV classes, dance classes, magnet their visit to China as successful as teaching resources available to the schools, parenting centers, and band possible. Chinese teachers. While they observed practice as well as many local sites that that China compares poorly with the included the famous Mall of America Observations United States in this regard, they were and Walker Art Center. They also sensitive to the likelihood that today's According to Mr. Feng Wei, a Chinese arranged for many local teachers and China probably compares favorably with Ph.D. candidate in folklore, living in the parents to entertain the Chinese teachers the China of the past. U.S., who has been working as an intern in their homes and accompanied them to For the Ohio visual arts teachers, the at the Smithsonian Institution and served a football game in the Dome. as interpreter for the Chinese art teachers highlight of their visit seems to have To complete the entire two-way been opportunities to demonstrate their when they visited Minnesota, the exchange program, Georgie Ann Daube- own teaching methods. They were Chinese were most impressed by the Grosse and Darlene Yeager, two visual thrilled and gratified to be teaching dynamism of arts education in the U.S. arts teachers from Cincinnati, traveled to young Chinese children and were and in the choices of programs offered to Kunming at the end of 1994. This visit touched by the enthusiastic responses American students. They expressed was especially poignant because Ms. they encountered. They have put together Grosse and Ms. Yeager had been ticketed particular interest in: (1) the diversity of a video presentation on their trip and school curricula; (2) teaching styles of to fly to China in May 1989. Their trip have already shown their slides to art teachers; (3) student participation in was canceled because of the dangerous community audiences. ■ situation in Beijing at that time; but these classes; (4) workshops and field trips; teachers never lost faith that they would and (5) ethnic cultural materials used some day travel to China. To finally i n a r t s e d u c a t i o n . make the journey was an emotional as well as educational experience for them. Ms. Grosse, who is a Montessori specialist, and Ms. Yeager, a water coiorist, are both prize-winning teachers with years of dedicated service. Among the schools they visited were two also Photos: Courtesy of Dawn Allan visited by Dawn Allen and Tom Wells— the Kunming Normal School (a teachers college), where Wang Xincheng is Left: Dawn Allan shares laughter headmaster, and the Normal School for and song with students at the No. I Kindergarten Teachers, where Lu Kindergarten in Kunming. Chongbi is principal. Above: Tom Wells (center, holding micro Ms. Grosse and Ms. Yeager had been phone) gives a demonstration/ lesson to among the hosting teachers when visual students at the Kunming Normal School arts teachers Mu Yunguang and Shuai Qi for Kindergarten Teachers. had spent three weeks in the United

27 U.S.-China Arts Exchange

The Center's Core Programs Continue Unabated

In fiscal year 1988-1989 the Center attendance and challenged them with Center worked closely with The New initiated a roster of Core Programs— discussion on the future of Chinese arts Music Consort directors Claire Heldrich and Madeleine Shapiro to select projects designed to address some and the influence of the West, lack of unexplored areas in U.S.-China cultural originality in contemporary Chinese art, composers, commission works, the political situation in China, and their exchange. Since that time, Core correspond with artists in China, raise own goals and identities as artists Programs have been carried out in music, funds, and publicize the concert. (See visual arts, arts education, and many attempting to succeed outside of China. "Pacific Composers Project," p. 30, for details on this concert.) o t h e r fi e l d s . Transcriptions of the day's meetings, • At a reception hosted by the Chinese O n e o f t h e m o s t a m b i t i o u s o f t h e which were conducted in Chinese, have Center's Core Programs is the Pacific been prepared by the Center for future I n f o r m a t i o n a n d C u l t u r e C e n t e r o f reference and are available upon request. Taiwan in New York on April 1, 1992, Composers Project (PCP)—a direct With Chou Wen-chung as the Chou met Kuo Wei-fan, Chairman of the consequence of the Center's work on the summer 1990 Pacific Music Festival, moderator, the following artists Council for Cultural Planning and held in Sapporo, Japan. The PCP has participated in the workshop: Chen Development in Taiwan. Chou's served as a resource center, has provided Danqing, Han Xin, Wang Dongling, discussion with Kuo and the staff at the extensive consultation on Pacific music, Yang Qian, Huang Yali, Ruan Jie, Hou C u l t u r e C e n t e r f o c u s e d o n t h e and has inspired and collaborated on Wenyi, Li Mo, Gen Jingqi, Xu Bing, development of Chinese arts and set the foundation for possible future many concerts since its inception in Zhang Qiang, Shengtian Zheng, and 1991. (See "Pacific Composers Project," Dang Qingnian. c o l l a b o r a t i o n b e t w e e n t h e C e n t e r a n d t h e • A delegation from China's Ministry of Culture Center. p. 30, for details.) During the period from 1990 to 1995, Culture, en route to South America, • A second Pacific Composers Project the following projects have been came to the Center in May 1991 to concert was held on May 13, 1992, at De undertaken as part of the Center's Core discuss the arts and culture of America IJsbreker Music Center in Amsterdam, Programs: and possible cultural exchanges for the the Netherlands. The program, called • In conjunction with the Intemational future. Representatives included Gao "Pacific Music Festival," was based on Institute for the Arts (llA) and the Art Zhangxiang, Wang Dajun, Zhang Zhiya, concerts organized by the Center for the Department and China Studies Institute Luo Yang, and Cao Weiyan. Pacific Composers Conference in at San Diego State University, in June • In September 1991, Li Dan-na, Head Sapporo, Japan, in the summer of 1990. and July 1991 the Center co-sponsored of the National Intermediate and (See "Pacific Composers Project," p. 30, " T h e F i r s t C h i n e s e A r t S e m i n a r W o r k Elementary Music Education Committee for details.) shop." The workshop was designed and of the Chinese Musicians' Association, • Maestro Hu Yong-Yan, concurrently

directed by Professor Sheng Tian Zheng, and Li Ling, Vice Chairman of the a s s o c i a t e c o n d u c t o r o f t h e S a v a n n a h Vice President of llA, with the strong Chinese Musicians' Association, came to Symphony Orchestra and adviser and support of Center Advisory Council the United States on a five-city tour to permanent conductor of the Central member Waldemar A. Nielsen, Chairman study American music education and the Philharmonic in Beijing, met with Chou ofllA. teaching of Orff Schulwerk music to discuss his professional The workshop was created to provide pedagogy in the United States. While in responsibilities and to exchange ideas in Chinese artists an opportunity to network New York, they met with educators from May 1992. As guest conductor of the overseas, exchange information and area public and private primary and Shanghai Symphony, Hu was scheduled ideas about contemporary Western art, secondary schools. The Center to lead the orchestra on a month-long and nurture their own cultural identity coordinated their program. European tour in the fall of 1992; the during a four-week residency in San • T h e f i r s t c o n c e r t o f P a c i f i c m u s i c Symphony's program included Chou's Diego. The month-long program includ coordinated by the Pacific Composers composition And The Fallen Petals. ed visits to museums, talks with profes Project was "Premieres! New Works • I n J u n e 1 9 9 2 P r o f e s s o r C h o u m e t w i t h sionals in arts administration, studio f r o m M a i n l a n d C h i n a . " " P r e m i e r e s ! " Du Yaxiong, an ethnomusicologist and time, a symposium on "Contemporary featured works by five young composers l e a d e r i n n o n - H a n C h i n e s e f o l k m u s i c Chinese Art: Crisis and Perspective After and was performed at Columbia research, based at the Chinese Conserv the 1980s," and a culminating exhibition, University's Miller Theatre on October atory of Music in Beijing. Their discus supported by the University, of works 17, 1991. The New Music Consort, an sion concentrated on the changing role of created by the participating artists. innovative contemporary ensemble from On June 10, Chou Wen-chung met minority populations in China and New York, performed the program of abroad. w i t h t h e t h i r t e e n C h i n e s e a r t i s t s i n world and United States premieres. The continued on page 29

28 Volume 11 Falll995

The Center's Core Programs The Center Works continued from page 28 With the Sichuan Conservatory • Chi Fu Den, Dean of Academic Affairs at Chiao Tung University in Taiwan, met The United Board for Christian Higher Ramon Santos, Professor, College of w i t h C h o u a t t h e C e n t e r i n J u n e 1 9 9 2 . Education in Asia, an ongoing supporter Music, University of the Philippines, Den consulted with Chou on the of the Center's work, contributed made a professional visit to the Sichuan development of a new humanities funding to enable music specialists from Conservatory in the beginning of June curriculum for his university. the Philippines to travel to China to 1995. While in Chengdu, Santos gave • Beginning in November 1992, Chou participate in the Yunnan Nationalities two lectures: "Philippine Modern Music" for the Composition and Theory Faculty s e r v e d a s m e m b e r o f t h e s e l e c t i o n Cultures Project. In addition to their time and "Philippine Oral Traditions" for the committee for the "Twentieth-Century in Yunnan, both Jose Maceda and Ramon Santos spent time in Chengdu, at Musicology Faculty. He also had a one- Masterpieces by Chinese Musicians." This project, established by the Chinese the Sichuan Conservatory, offering day field trip to the Dujiang Waterworks and a nearby Taoist Mountain Temple Culture Promotion Society in Beijing, lectures and interacting with the music was organized to choose 124 outstanding faculty and students. (Qingcheng Shan). The Waterworks, a In January 1994, Jose Maceda, more than 2,000-year-old dike, and the compositions by 20th-century composers of Chinese origin. Selections were Professor Emeritus, University of the temple represent a link between a major public works project and the community performed in Beijing in June 1993 in a Philippines, addressed the Sichuan series of ten concerts; Chou's And The Conservatory's Faculty of Traditional spirit it inspired. At the temple Santos observed Taoist rituals that included F a l l e n P e t a l s w a s i n c l u d e d i n t h e Music on recent trends in ethnomusicol- m u s i c a n d d a n c e . program. ogy, including "public ethnomusicology" in the United States, and on training in Sending these two music specialists • In March 1993, Chou met with two the humanities and philosophy. to Chengdu builds on a long-term representatives of the Tianjin In speaking with a small audience of relationship the Center has had with the Conservatory of Music—Shi Weizheng, Sichuan Conservatory of Music that composers and students, Maceda president, and Bao Yuankai, composer dates back to the early years of the and professor—to discuss music and art encouraged them to look to their own A s i a n " o r c h e s t r a l " t r a d i t i o n . T h i s i s i n Center's work. In 1987, when Chou education in America and the role of Wen-chung undertook a fact-finding trip international exchanges as a part of keeping with the work Professor Maceda had engaged in at the Pacific Composers to assess the intellectual climate in China A m e r i c a n m u s i c e d u c a t i o n . Conference (see Newsletter, Volume 9, at that time, he found that Chengdu was • Chou served as Honorary Advisor to Fall 1990), a meeting held in Hokkaido, a city where the arts were particularly the Chinese Music Festival 1993, held in Japan, that focused on the need for healthy. Although negatively influenced Hong Kong from October 15 to younger Pacific composers to search out by the post-Tiananmen atmosphere, the N o v e m b e r 5 . T h e e v e n t f e a t u r e d C h i n e s e their own indigenous musical traditions Conservatory is still a place with faculty music talents from Hong Kong, China, rather than wholly adopt Western and students eager for contact with and Taiwan, as well as artists of Chinese approaches to music. experts from abroad. ■ background living elsewhere. Chou advised on the selection of performance groups and concert programming. • On April 16 and 17, 1994, the State Planned Exchange Trips University of New York at Buffalo presented the Festival of Music by Unfortunately Canceled Contemporary Chinese Composers, consisting of concerts and panel Over the course of the Yunnan up-to-date thinking in the field. E. Verner Johnson and Joanne Horgan, principals in discussions. The Festival, which was Nationalities Cultures Project, there were t h e B o s t o n fi r m E . Ve r n e r J o h n s o n a n d organized by Kenneth Kwan, in close several specialists with whom the Center collaboration with the Center, reflected worked who tried, in vain, to carry out Associates, were among the first museum the philosophy of the Pacific Composers trips to or from China. In the early stages a r c h i t e c t s w e c o n s u l t e d . W e b e l i e v e d these talented architects—who were Project, introducing music by of the project, we had hoped to exchange contemporary Chinese composers that architects—especially those who responsible for the design of the Museum of New Zealand/Te Papa Tongarewa, explores their Chinese heritage. (See specialized in museum architecture—so "Pacific Composers Project, p. 30, for that the design for the new Nationalities Wellington, New Zealand, and the Hong continued on page 35 details.) ■ Museum could be influenced by the most

29 U.S.-China Arts Exchange

Pacific Composers Project (PGP)

While planning the performance of The PCP continues to provide History of the PCP Chou's Landscapes in October 1992, resource opportunities for Western In June 1990, after two years of Paul Dunkel, Resident Conductor, performance groups interested in planning—including a midway change of American Composers Orchestra, and developing a repertoire of music by venue from China to Japan because of M u s i c D i r e c t o r / C o n d u c t o r o f b o t h t h e composers inspired and influenced by events at Tiananmen—the Center served D e n v e r C h a m b e r O r c h e s t r a a n d t h e N e w their Pacific heritage, exposure for as one of the major organizers of the Orchestra of Westchester, solicited the Pacific composers, and information for Pacific Music Festival (PMF) in Sapporo, help of Chou and the PCP as he explored scholars interested in increasing their Japan (see Newsletter, Volume 10, Spring the possibility of organizing a mini- knowledge of Pacific music. 1992). The Center recruited a youth festival of Chinese music. orchestra from the Pacific region and Claire Heldrich and Madeleine designed and carried out the Pacific PCP Concerts Shapiro, whose New Music Consort is in Composers Conference (PCC). The PCC residence at the Manhattan School of The first concert of Pacific music brought together forty-six composers, all Music, have a long-standing relationship coordinated by the PCP was "Premieres! of whom were at different points in their with the PCP. Through the PCP Library New Works from Mainland China." careers, to explore the influence of their they have become acquainted with "Premieres!" featured works by five Pacific heritages on their compositions composers Chen Yi, Bun-Ching Lam, Ge young composers and was performed at and the future of Asian/Pacific music. Ganru, Guo Wenjing, He Xuntian, Qu Columbia University's Kathryn Bache As an offshoot of the PCC, in 1991 Xiaosong, and Zhou Long. In 1993 the Miller Theatre on October 17, 1991. The the Center founded the Pacific Composers group commissioned works from Zhou New Music Consort, an innovative Project (PCP), to help promote the Long and Ge Ganru. contemporary ensemble from New York, musical works of young and emerging In March 1993, the Manhattan referred to above, performed the program Pacific composers by providing exposure Contemporary Ensemble performed of world and United States premieres. through concerts and recordings of their Chen Yi's As in a Dream. Manhattan The Center worked closely with The music, increasing access to Pacific scores School of Music student Pi-Ling Lu New Music Consort directors Claire for Western performance groups chose music from the PCP Library for a Heldrich and Madeleine Shapiro to select interested in adding Pacific music to their voice recital in June 1993 as did Glen composers, commission works, repertoire, and offering resources and Saunders for his dissertation correspond with artists in China, raise information on Pacific composers and performance. funds, and publicize the concert. (The their compositions to an interested public. The San Francisco Symphony's Wet concert program appears on the facing In setting up the PCP, a Selection Ink Festival, with Bright Sheng as page.) Committee was formed, comprised of Artistic Director, took place from April 9 The second PCP concert was held on composers Chou Wen-chung, Earl Kim, to 30, 1993. This three-week celebration May 13, 1992, at Music Center De Chinary Ung, and Joji Yuasa; and an focused on the music of composers from IJsbreker in Amsterdam, the Editorial Committee was formed, with the Pacific Rim and featured works by Netherlands. The program was based on younger composers Tetsuo Amemiya, seven composers associated with the concerts organized by our Center for the Chen Yi, Chew Seok-kwee, Qu Xiao- PCP: Chen Yi, Chou Wen-chung, Pacific Composers Conference—a part song, and David Tsang as members. Conrado Del Rosario, Alexina Louie, of the Pacific Music Festival that took Peter Sculthorpe, Bright Sheng, and place in June 1990 in Sapporo, Japan. PCP Resources and Isang Yun. The Amsterdam concert came about as a Related Activities William Kraft, composer and result of conversations between Chou conductor, consulted Chou in April 1993 Wen-chung and Jan Wolff, Artistic The PCP Library was set up at the offices on the possibility of collaborating with Director, Music Center De IJsbreker. of the Center for U.S.-China Arts the PCP to organize a Pacific Region Wolff had traveled to Japan to observe Exchange on the Columbia University Festival at the University of California, the Pacific Music Festival. Out of a campus in New York City. This resource Santa Barbara. Through the Center's belief in the importance of promoting center has been frequented by music recommendation, PCP composers new Asian music, Wolff adapted the students and professionals interested in Chinary Ung, Joji Yuasa, and Earl Kim three concerts of contemporary Pacific exploring new works for concerts, student agreed to participate in the Festival, music held in Sapporo to a one-concert recitals, dissertation performances, and which took place in the spring of 1994. format, even borrowing for the concert academic papers. Several events that the title "Pacific Music Festival." The resulted are described below. concert program appears on page 32.

30 Volume 1 1 Fall 1995

The PCP was again the inspiration for In collaboration with Chou Wen-chung The two concerts, which were held at two concerts held in Buffalo, New York, and the PCP, panel discussions were the Slee Concert Hall on the SUNY on April 16 and 17, 1994. These concerts, organized that included Chou Wen-chung, Buffalo campus, included works by Chan comprised entirely of contemporary David Felder, Eric Lai, Richard Tsang, Ka-Nin, Chan Wing-Wah, Chen Mao- Chinese compositions, were part of a two- Jeffrey Stadelman, and Zhou Long, Shuen, Chou Wen-chung, Alice Ho, day "Festival of Music" that included panel addressing such issues as "Contemporary Alexina Louie, Hwang-Long Pan, Qu discussions as well. This was the first such Chinese Music," "The Hong Kong Xiaosong, Bright Sheng, Richard Tsang, conference to be held in the United States. Chinese Orchestra and its Unique and Zhou Long. The concert programs Kenneth Kwan, a Ph.D. candidate in music Repertoires of Contemporary Works by appear on page 33. " theory at the State University of New York Hong Kong Composers," and "Using at Buffalo, used PCP resources over the Traditional Chinese Instruments in course of a year to plan the festival. Combination with Western Instruments."

Thursday, October 17. 1991 at 8:00 pm The Kathryn Bache Miller Theatre

NEWworksOCTOBER Program III T H E N E W M U S I C C O N S O R T

M e m b e r s o f t h e e n s e m b l e

Judith Pearce, flute Victor Kioulphides, double bass Robert Ingliss, oboe Bill Anderson, mandolin Jean Kopperud, clarinet Eliza Garth, piano Jane Taylor, bassoon Barbara Hegner, piano Marshall Coid, violin Frank Cassara, percussion Mary Rowell. violin Dominic Donato, percussion Veronica Salas, violin and viola Michael Lipsey, percussion Madeleine Shapiro, cello and Chuan Bo Bill Trigg, percussion Victor Rice, double bass Claire Heldrich, conductor

The Program

Duet for violin and Zheng (1988) * CHEN XIAOYONG MILLER THEATRE (b. 1955) Wu Man, Zheng — Mary Roivell, uiolin T H E K A T H R Y N B A C H E M I L L E R T H E A T R E AT COLUMBIA UNIVERSITY

Yi ( 1 9 9 0 ) * QU XIAO-SONG N E W Y O R K CITY (b. 1952) for flute, clarinet, violin, viola, bass, piano and percussion Claire Heldrich, conductor Points (1991) ** CHENYI 1991 —199Z (b. 1953) Wu Man, Pipa

Intermission

Imagine the Sound (1991) ** H E X U N T I A N (b. 1953) for flute, oboe, clarinet, bass clarinet, bassoon, contrabassoon, cello, double bass and percussion Claire HeldricK corviuctor

S h e H u o ( 1 9 9 1 ) * G U O W E N - J I N G (b. 1956) for flute, clarinet, bass clarinet, 2 violins, cello, Chuan Bo, doulile bass, mandolin, piano and percussion Claire Heldrich, cotmuctor "Premieres! New Works from Mainland China" (program U . S . P r e m i e r e - * W o r l d P r e m i e r e - * * left and above), held on October 17, 1991, at Columbia This concert is made possible, in part, through public funding from University's Kathryn Bache Miller Theatre, was the first the National Endowment for the Arts. Miller Theatre also wishes to acknowledge support from the New York State Council on the Arts, the Helena Rubinstein concert of Pacific music coordinated by the Pacific Foundation, the Mary Flagler Gary Charitable Trust, cmd the generous individuals of the Friends of Miller Theatre and the Director's Council Composers Project.

31 U.S.-China Arts Exchange

"11:

Woensdag 13 mei 199?, 2&8&unr

Serie Festivals

P a c i fi c M u s i c Festival

Jurjen Hempcl, dirigDnt

Abbie de Quan(, fluit I v a r B e r i x . k l a r i n c t Rene Eckhardt, piano / ccleata Robert Szreder, viool H a n s W o u d e n b e r g , c e l l o C h i n a r y U n g Spiral (1987) P e t e r P r }1, Richard Jaoscn He (1942) voor cello, piano en slagwerk (14') Rieken, Bart Koi en Rcnii Oussoren,

Sung-Ki Kim 12 contes for piano (15') Muziekcentrum (1954) :,:Y5BREiCER„ Melisssa Hui Tfempered Glass (1989) (10') (1966) voor fluit, klarinet, viool, cello, piano en slagwerk

pavize The May 13, 1992, Music Center De IJsbreker concert (program above and at right) was Chou Wen-chung Echoes from the Gorge (20') (1923) voor slagwerk (1989) based on concerts held at the Pacific Music Prelude Raindrops on Bamboo Leaves Festival in Sapporo, Japan, in summer 1990. Echoes from the Gorge Autumn Pond C l e a r M o o n S h a d o w s i n t h e R a v i n e Old tree by the Cold Spring S o n o r o u s S t o n e s Droplets Down the Rocks Drifting Clouds Rolling Pearls P e a k s a n d C a s c a d e s Falling Rocks & Flying Spray

Zhou Long Dhyana (1990) (1953) voor fluit, klarinet, viool, cello en piano (9')

Dit programma met Chinese muziek wordt aangeboden in samenwerking met het Pacific Composers Project van het Center for U.S. ■ China Arts Exchange in New York. Het Pacific Composers Project is opgericht door het Center om uitvoeringsmogelijkheden te bieden aan jonge componislen waarvan het werk het erfgoed van de Pacific verklankt, en om muziek uit de Pacific eenvoudiger bereikbaar te maken voor Westerse uitvoerenden en publiek. De keuze van werken werd gemaakt uit drle concertcn in de Pacific Composers Conference die in juni 1990 in Sapporo, Japan, plaatsvond.

I'2-

32 Volume 11 Falll995

State University of N e w Yo r k a t B u f f a l o Department of Music

FESTIVAL OF MUSIC BY C O N T E M P G R A R V C H I N E S E C O M P O S E R S

Saturday, April 16, 1994 8:00 p.m. Slee Concert Hall

Concert 11 Sunday. April 17, 1994 8:00 p.m. Kenneth Kwan, doctoral candidate in Music Theory, Slee Concert Hall worked with the Pacific Composers Project for more than a year on the SUNY Buffalo "Festival of Music," that included two concerts and panel discussions. The

No cameras or tape recorders are permitted in the Concert Hall during performances. concerts, held April 16, 1994 (program below left), and April 17 (program below right) were comprised entirely of contemporary Chinese compositions.

F E S T I V A L O F M U S I C B V S a t u r d a y , A p r i l 1 6 , 1 9 9 4 F E S T I VA L O F M U S I C B V S u n d a y, A p r i l 1 7 , 1 9 9 4 C O N T E M P O R A R Y C H I N E S E C O M P O S E R S 8 : 0 0 p . m . CONTEMPORARY CHINESE COMPOSERS 8:00 p.m. Slee Concert Hall Slee Concert Hall — ■ --

Concert I Concert H PROGRAM PROGRAM

B R I G H T S H E N G F o u r M o v e m e n t s f o r A L I C E H O Forest Rain Piano Trio Kirk Brundage, nmiimba and vibraphone Susan Soong, violin David Meyer, cello Michael Klein, piano HWANG-LONG PAN B i l d e r a u s d e r Kinderzeit Shu-Han Chang, piano CHAN KA-NIN Phantasmagoria , ■ -; - Stephen Bertino, harpsichord ZHOU LONG Dhyana Festival Ensemble

A L E X I N A L O U I E M u s i c f o r P i a n o Jens Bamieck, piano - I n t e r m i s s i o n -

CHAN WING-WAH Continuity QU XIAOSONG Ya Ya Susan Soong, violin David Meyer, cello Festival Ensemble Michael Klein, piano

! CHOU WEN-CHUNG Echoes from the Gorge

- I n t e r m i s s i o n - M a e l s t r o m P e r c u s s i o n E n s e m b l e - _ - - - - ■ " Charles Peltz, conductor*

CHEN MAO-SHUEN Two Nocturnes Helena Bugallo, piano Festival Ensemble David Clampitt, violin Bryan Eckenrode, cello Melissa Stewart, flute Curt Steinzor, clarinet R I C H A R D T S A N G L o t u s F a n t a s y Stephen Bertino, piano Criag Bitterman, percussion (Ya Ya only) Curt Steinzor, clarinet David Meyer, cello Erik Ona, Conductor Stephen Manes, piano* Erik Oha, conductor M a e l s t r o m P e r c u s s i o n E n s e m b l e Robert Accurso John Bacon Jr. Kirk Brundage Gary Rutkowski * UB Music Department Faculty Member *UB Music Department Faculty Member

33 U.S.-China Arts Exchange

Chou Wen-chung's Many and Varied Activities

In addition to his responsibilities as formed during the period of the Decem • In August 1993, Chou received a com F o u n d e r a n d D i r e c t o r o f t h e C e n t e r f o r ber meetings. m i s s i o n f r o m t h e B a r l o w E n d o w m e n t f o r U.S.-China Arts Exchange, Chou Wen- • In 1992, Chou began serving on the Music Composition for a string quartet. chung is involved in a wide variety of American Nominating Committee for the • On March 3, 1994, Marian van Dijk of

professional activities in education and Praemium Imperiale, "a series of interna t h e C e n t r e f o r M i c r o t o n a l M u s i c i n t h e a r t s . T h e s e c o m m i t m e n t s a r e o f t e n tional prizes awarded to a living individual Amsterdam, the Netherlands, began a i n t e r t w i n e d w i t h t h e C e n t e r ' s C o r e for lifetime achievement in the disciplines three-week stay in New York to consult Programs, as illustrated by the following: of Architecture, FilmWideo, Music, Chou on the works of Edgard Varese. • From October 6 through 10 of 1990, Painting, Sculpture, and Theatre." The • In April 1994, Chou was appointed to C h o u w a s h o n o r e d a s o n e o f fi v e Praemium Imperiale was established by t h e B o a r d o f A d v i s o r s f o r F i l m A m e r i c a . the Japan Art Association, and the participants in the "Minds for History" Chou will be consulting on a series of conference of the Cosanti Foundation, Nominating Committee is chaired by documentary films. Music in the 20th held in Arcosanti, Arizona. Along with David Rockefeller, Jr. Century. • C h o u ' s i n v o l v e m e n t w i t h t h e a r c h i v a l Betty Friedan, James Farmer, John Allen, • In May 1994, the 16th Conference and and Lynn Margulis, Chou took part in a material of Edgard Varese has brought to Festival of the Asian Composers' League week of events "designed to identify and the Center's attention the following was presented by the ACL's National document the processes and models of individuals and institutions: Mark Kidel, Committee in Taiwan. Participants thinking employed by extraordinary an independent television producer and a s s e m b l e d f r o m a r o u n d t h e w o r l d f o r individuals . .. whose minds have gener director, who is preparing a documentary seven days of panel discussions and ated remarkable discoveries, initiatives, fi l m o n t h e l i f e a n d w o r k o f Va r e s e i n concerts. Chou presented the Chinese achievements, and insights into culture, conjunction with the British Broadcasting version of the paper "Asian Music history, and society." Chou's composi Company; Marc Battier, IRCAM-Centre Today? What is it?" to enthusiastic tion Windswept Peaks was performed Georges Pompidou in Paris, who has acclaim. during the conference. expressed interest in the Center's Pacific • In June 1994, Chou—a member of the While in Arizona, Chou visited Composers Project and has helped expand a n c i e n t I n d i a n s i t e s a n d t h e H e a r d our network to include Pacific composers American Nominating Committee— Museum, making contacts and collecting living in Paris; and Nancy Perloff, Getty participated in a series of events held to i n f o r m a t i o n f o r t h e Y u n n a n N a t i o n a l i t i e s Center for the History of Art and the honor recipients of the Praemium Cultures Project. Humanities, who has expressed interest Imperiale (see above). Events included a • In October and November 1990, Chou i n t h e C e n t e r ' s w o r k w i t h t h e a r t s o f dinner at Kykuit, the Rockefeller Family estate in Pocantico Hills, New York met with the publisher of Ricordi—the Yunnan's minority nationalities. Italian publishing firm. In addition to • Chou's composition Concerto for (now owned by the National Trust for Historic Preservation); a press discussing the unfinished works of Edgard Violoncello and Orchestra was premiered c o n f e r e n c e h e l d a t t h e M u s e u m o f Varese, Chou explored Ricordi's possible at Carnegie Hall on January 10, 1993. Modem Art, New York; and a reception interest in Center projects (the Pacific The piece was performed by the American at the White House. Composer's Project in particular). These Composers Orchestra with Janos Starker • Chou served on the nominating jury for discussions were fruitful, and might lead a s s o l o i s t a n d D e n n i s R u s s e l l D a v i e s t h e P u l i t z e r P r i z e i n M u s i c f o r 1 9 9 5 . to future publication of works written by conducting. composers involved in the PCP. • On April 1, 1993, a retrospective • In August 1994, Chou traveled to the

• In December 1990, Chou made a return c o n c e r t o f C h o u ' s m u s i c w a s h e l d a t Civitella Ranieri Center near Umbertide, trip to Amsterdam to teach and serve as a Merkin Concert Hall in New York. Five Italy, to consult on the formation of a leader at the International Composers works, written from 1965 to 1990, were residency program for artists and t h i n k e r s f r o m a r o u n d t h e w o r l d . Workshop at which contemporary and performed by Boston Musica Viva, the t r a d i t i o n a l m u s i c w e r e b o t h d i s c u s s e d . New Music Consort, and Speculum • Since early 1993 Chou has consulted Great interest was expressed in the Musicae. The event was organized by a on the production of a documentary on Pacific Composers Conference, the committee with Isaac Stem as Honorary the life and work of Edgard Varese, Pacific Composers Project, and the C h a i r m a n a n d N o r m a F. F l e n d e r a s sponsored by the British Broadcasting Center's Pacific music resources by Chairperson; additional assistance came Corporation and Les Films d'lci of colleagues and new acquaintances at the f r o m t h e G r e e n w i c h H o u s e M u s i c S c h o o l . France. In October 1994, Chou opened Amsterdam workshop. Echoes from the T h e c o n c e r t w a s a l s o a c e l e b r a t i o n o f his home (formerly the home of Edgard Gorge and Windswept Peaks were per Chou's 70th birthday. continued on page 17

34 Volume 11 Fall 1995

The Center Receives Funding for a Variety of New Projects

Over the course of the past several years, symphonic music in China. Through a Conference (PCC), the PCP was the Center has received funding for series of guest visits by Western conduc designed to provide opportunities for projects across a wide spectrum of disci tors and principals, educational work performance of music by composers who plines. In the spring of 1995, The Henry shops, chamber concerts, and by adding are inspired and influenced by their Luce Foundation, Inc., contributed a Western arts management techniques, the Pacific heritage; to provide Western $100,000 grant to the Center to initiate Center hopes to assist China in its efforts performance groups access to scores and an urban and architectural study, compar to raise the level of its orchestral music. information on Pacific composers; and to ing cities in the United States and China. Daniel and Rebecca Ng, of Hong offer the public the opportunity to American and Chinese specialists in Kong, have contributed $ 16,000 to the become better acquainted with Pacific architecture, urban studies, sociology, Center—$15,000 of which is for the music. (See p. 30 for more on the the environment, cultural history, and purpose of creating a database of "Pacific Composers Project.") The new preservation will travel to each other's musicians of Chinese heritage residing in database will augment work already countries to observe, collect data, and t h e U n i t e d S t a t e s . T h i s i n f o r m a t i o n w i l l done by the Center to promote the meet with their counterparts to compare b e u s e d t o b o l s t e r t h e a b o v e - m e n t i o n e d linkage between Chinese composers and urban organization in the two countries. project in symphonic music and also will musicians, on the one hand, and Western Northern Telecom, a Canadian further the Center's previous work in the performance groups and audiences, on communications company, gave the Pacific Composers Project (PCP). the other. ■ Center a grant of $50,000 to kick off a An offshoot of the 1990 Pacific major fund-raising campaign to support Music Festival's Pacific Composers

Gao Zongyu, director of the Yunnan President, respectively, of the School of Planned Trips Canceled Nationalities Museum, was twice American Research—a prestigious continued from page 29 scheduled to travel to India to visit the repository for Native American art and a C r a f t s M u s e u m i n N e w D e l h i . T h e center where research scholars explore Kong History Museum, Kowloon, Hong museum is world famous as a laboratory Native American heritage as well as Kong—had much to offer the Chinese. a n d c e n t e r f o r b o t h t h e c r e a t i o n a n d anthropology, archeology, and American Although they did meet with the Cultural display of traditional Indian arts. Its culture and history. SAR provided in- Leaders' Inaugural Study Group on its director, Jyotindra Jain, consulted with depth briefings for both the Cultural April 1993 visit to the United States, they the Chinese in Yunnan. The November Leaders who came from Yunnan in April were unable to schedule a trip to China. 1 9 9 5 d e a d l i n e f o r t h e N a t i o n a l i t i e s 1993 and the Curriculum Group that Ralph Appelbaum, recently known Museum's opening prevented Gao—or c a m e i n N o v e m b e r 1 9 9 4 . for his design of the United States his Deputy Director, Xie Mohua—from Two other specialists were scheduled Holocaust History Museum in making the India trip. to attend the May 1995 Review Session Washington, D.C., and the renovation of Three Chinese architects representing from Indonesia—I Made Bandem, t h e f o u r t h fl o o r F o s s i l H a l l s a n d " D a r k the Yunnan Design Institute, Rao Director, Indonesian College of the Arts, Caves, Bright Visions: Life in Ice Age Weichun, Yin Zuoyao, and Mao Kun, and Edi Sedyawati, Directorate General for Europe" at the American Museum of had hoped to come to the United States to Culture, Department for Education and Natural History, was also on the brink of visit several cities, observe architectural Culture, Research Center for Humanities traveling to China for the Yunnan styles, and meet with their counterparts. and Social Sciences, University of Project. His excruciatingly demanding Unfortunately, many obstacles delayed Indonesia, whose position is at a schedule prevented him from carrying their trip, and then it became too late for m i n i s t e r i a l l e v e l . B o t h B a n d e m a n d out this plan. In the same way, Charles them to influence the design of the new Sedyawati were forced to cancel their Correa, noted Indian architect, designer Nationalities Museum. participation at the last minute because of the renowned Mahatma Gandhi In May 1995, the Center held a they were required to attend urgent cultural M e m o r i a l M u s e u m i n A h m e d a b a d a n d Review Session to evaluate the progress meetings in Indonesia. Although Bandem recipient of the 1994 Praemium of the Yunnan Project to date. There were had traveled earlier to Yunnan to advise on Imperiale, for lifetime achievement in the four specialists we very much wanted to the dance portion of the Nationalities arts, was also unable to carry out his include who were unable to participate. Institute's new arts curriculum, this was to intention of visiting China in connection Two of them, Douglas Schwartz and have been the first trip for Sedyawati. ■ with the Yunnan Project. Duane Anderson, are President and Vice

35 U.S.-China Arts Exchange

Advisory Counci Purpose and Organization Changes The Center for United States-China Arts Exchange is a not-for-profit national organization affiliated with Columbia University. The Center was founded to The Center extends a warm welcome to promote mutual interest and understanding in the arts of the United States and George Rupp, President, Columbia China and to promote creativity in both countries. The Center's geographic University, who assumed the position as reach has since expanded to include the entire Pacific region. Honorary Chairman of the Advisory Established on October 1, 1978, with support grants from the Eord Council's Board of Managers. President Foundation and the Rockefeller Brothers Fund and a research grant from the Rupp is replacing Michael I. Sovem, Henry Luce Foundation, the Center receives contributions of office space and Kent Professor of Law, School of Law, university services from Columbia, where it is headquartered. The Center is not Columbia University, who stepped down a funding organization; it relies on contributions of money, materials, and from the Board of Managers when he services from foundations, corporations, and individuals to carry out its resigned from Columbia's presidency in programs. the summer of 1993. We are pleased and The Board of Managers and the Advisory Council, both created in the spring gratified to report that since returning to of 1981, oversee the Center's programs and policies. teaching, former President Sovern has agreed to become a member of the Board of Managers Helen Walker Spencer Center's Advisory Council. Also joining George Rupp, Honorary Chairman I s a a c S t e r n the Advisory Council since 1992 are Jonathan R. Cole Audrey Topping Gerald Adelmann, President, Canal Chou Wen-chung Carl Wolz Corridor Association, Chicago; New *as of Fall 1995 Advisory Council* Yorkers Norma F. Flender, pianist, Gerald W. Adelmann O f fi c e r s a n d S t a f f Terrill E. Lautz, Vice President and Norma F. Flender Chou Wen-chung, Director Secretary, The Henry Luce Foundation, Geraldine S. Kunstadter Susan L. Rhodes, Associate Director Inc., and Helen Walker Spencer, Fund David M. Lampton William Cossolias, Administrative Raiser, Project Originations, Inc.; and Terrill E. Lautz Associate Tokyo resident, Carl Wolz, Professor of Ming Cho Lee Ken Hao, Assistant to the Director Dance, Japan Women's College of Robert A. Levinson Carrie L. Lanese, Program Associate

Physical Education. Cho-Liang Lin Student Intern The Center would like to express our Yo-Yo Ma Grace Norman best wishes and sincere appreciation to A r t h u r M i l l e r Robert E. Armstrong, Joan Harris, and Newsletter/Special Issue Douglas P. Murray Editor: Susan L. Rhodes Esther B. Hewlett for their generous W a l d e m a r A . N i e l s e n Assistant Editors: Carrie L. Lanese c o n t r i b u t i o n s a n d d e d i c a t e d s e r v i c e Russell A. Phillips, Jr. and Scott Monje during their terms on the Advisory Joseph W. Polisi Council. Peter Smith also stepped down Design/Layout: Melanie Teagle, A r t h u r H . R o s e n Office of University Publications, from the Board of Managers upon Norman Ross Columbia University resigning from his position as Dean of Michael 1. Sovem C o l u m b i a ' s S c h o o l o f t h e A r t s . It is with great sadness that we mark the passing of two Advisory Council m e m b e r s w h o s e d e d i c a t i o n a n d T h e t i e s h e e s t a b l i s h e d w i l l c o n t i n u e Times and author of twenty-nine books, c o n t r i b u t i o n t o t h e C e n t e r w e r e serving and influencing generations to Salisbury, dedicated much of his time to immeasurable: come. Porter McKeever, a Columbia enriching the coverage of China and the W e r e m e m b e r P o r t e r M c K e e v e r w i t h graduate, passed away March 3, 1992. arts. Salisbury passed away on July 5, great fondness and abundant gratitude. Harrison E. Salisbury, an insightful 1993. We are extremely grateful for his McKeever, one of the founding members author and journalist, loyal friend to the many years of support. ■ of the Advisory Council, serving the Center, and member of the Advisory Center from 1980 to 1992, offered Council from 1984 to 1993, will be continuous support, spirit, and remembered for many outstanding knowledge to every facet of the Center. qualities and innumerable His contributions strengthened the bond accomplishments. A Pulitzer Prize- b e t w e e n t h e U n i t e d S t a t e s a n d C h i n a . winning correspondent for the New York

36 Volume 1 1 Fall 1995

Acknowledgments*

The Center is grateful to the The Center thanks the following Douglas Evelyn following organizations and organizations and individuals for Diana Fane individuals for general support, contributions of materials, services, Feng Wei program grants, and contributions and hospitality that enriched its Field Museum of Natural History received from spring 1991 through 1991-1995 programs: Dru Finley s u m m e r 1 9 9 5 : Nora Fisher Dawn Allan The Ford Foundation American Association of Museums Adelheid M. Gealt Support Grants and Contributions American Folklife Center P e t e r G e i t h n e r Asian Cultural Council American Museum of Natural History Mattiebelle Gittinger Chou Wen-chung Paul Anderer Henry Glassie The Ford Foundation Carole Anderson K i m G o r d o n The Albert Kunstadter Family Art Institute of Chicago Solomon R. Guggenheim Museum Foundation The Asia Society Guo Wenjing The Henry Luce Foundation, Inc. Bai Demao P e t e r H a r r i s Mr. and Mrs. Daniel Ng B a l t i m o r e S c h o o l f o r t h e A r t s John Haworth Helen Walker Spencer Petra Barreras He Xuntian Northern Telecom Beverly Becker Candace Lee Heald United Board for Christian Higher T h o m a s B e n d e r Education in Asia Sidney Ho Barry Bergey Joanne Horgan The following individuals made a Ernest L. Boyer Howard University, College of Fine Arts Tom Bradley generous contribution to the Center Huang Hong Jeanne Brody Kim Igoe through their participation in the Brooklyn Museum Indian Pueblo Cultural Center May 1995 Yunnan Nationalities C u l t u r e s R e v i e w S e s s i o n : Margaret Burroughs Institute of American Indian Arts Burston-Marsteller Institute of American Indian Arts Gerald Adelmann George Calderaro Museum Carolyn d'Amboise C a n a l C o r r i d o r A s s o c i a t i o n Alan Jabbour Chiang Ching Cannon County Arts Center Nancy Jervis Yi-an Chou Center for Folklife Programs and E . V e m e r J o h n s o n & A s s o c i a t e s Sana Musasama Cultural Studies, Smithsonian Michael Joroff Institution The Juilliard School Marcia K. Nielsen C e n t e r f o r S o u t h e m F o l k l o r e Rebecca Kamen W a l d e m a r A . N i e l s e n Helen Walker Spencer Joseph and Barbara Cemo Hon. Bruce King, Governor of New Gregorita Chavarria Mexico Audrey Topping Chen Senlong Bert Krawczyk Vivien Ta-Ying Chen Fran La Fleur Chen Yanhua Fred Lazarus

Chicago Historical Society Jonna Lazarus * The people and organizations to which Martha Coigney Tunney Lee Columbia University Susana Leval t h e C e n t e r i s i n d e b t e d a r e t o o n u m e r o u s Geoffrey W. Conrad Li Delun to list completely. We apologize for any Debbie Cooke Li Junjie o m i s s i o n s a n d t h a n k a l l t h o s e i n v o l v e d Cooper-Hewitt National Design Museum Li Yongyuan for their generosity of time, spirit, Patricia Cruz Li Zhongyong materials, and support. Bernard Crystal Liang Jinquan Dao Meilan Liu Dadong T o m D o d s o n Lockport Gallery T h e D u S a b l e M u s e u m o f A f r i c a n - Lu Weiming American History, Inc. S. T. Lung Kate Eisenhart Maryland Institute, College of Art Gloria Emerson continued on page 38

37 U.S.-China Arts Exchange

Norman Ross Ya Wen Acknowledgments Nan Rothschild Yao Zhonghua continued from page 37 Anya Peterson Royce Yin Jun Paula Rubel Yu Hui Mather Museum, Indiana University San Francisco Art Institute Zhang Bingchen Maxwell Museum of Anthropology J i l l i a n S t e i n e r S a n d r o c k Zhang Qicheng Ruth Mayleas Santa Clara Pueblo Zhang Zhongqi Memphis, Tennessee, Mayor's Office Santa Clara Pueblo Cultural Preservation Zhao Hongtao Meng Guang Project Zhao Tingguang Metropolitan Museum of Art Leon Schmidt Zheng Shengtian Mexican Cultural Institute School of American Ballet Zou Deci T o m M i l l e r School of American Research Minneapolis Institute of Art The School of the Art Institute of A special thank-you to the following Minneapolis Public Schools Chicago individuals for their time and M i n n e s o t a C e n t e r f o r A r t s E d u c a t i o n P e t e r S e i t e l dedication to the Center from 1991 Minnesota College of Art and Design Shelby County, Tennessee, Mayor's to 1995: Office Barbara Morehouse Paul Smith Michael Morris Gerald Adelmann Mu Yunguang Smithsonian Eolklife Festival Stephen Becker Smithsonian Institution M u s e u m f o r A f r i c a n A r t Willard Boyd M u s e u m o f I n d i a n A r t s a n d C u l t u r e Song Daneng Dai Guanglu S t u d i o M u s e u m i n H a r l e m M u s e u m o f I n t e r n a t i o n a l F o l k A r t Vishakha Desai Rina Swentzell M u s e u m o f M o d e r n A r t Marvin Harris Lonn Taylor P e t e r H a r r i s Mystic Seaport, Inc. Elizabeth Naranjo Te n n e s s e e A r t s C o m m i s s i o n Flora Kaplan Gloria Naranjo J e n n i f e r Te s o r o F r a n k K e h l Rose Naranjo Textile Museum Laurel Kendall Tessie Naranjo Larry Thomas Leslie King-Hammond . Liu Deyou Ernest Nast Kathryn Tijerina National Museum of American History, Betty Ting Leslie Lo Smithsonian Institution Jane Tom Ma Lisan N a t i o n a l M u s e u m o f t h e A m e r i c a n Sanford Tom Robert McNulty Indian, Smithsonian Institution Reiko Tomii Dianne Pilgrim The New Museum of Contemporary Art Irvin and Lisa Trujillo Anthony J. Saich New York University, Museum Studies Marsha Tucker Ralph Samuelson Program University of California, Berkeley Larry Thomas W a l d e m a r A . N i e l s e n University of Minnesota Tian Feng Joseph Noble University of New Mexico Michelle Vosper Office of Eolklife Programs, Library of Malta Vega Wang Zhengfang Congress Marsha Wagner Gwendolyn Wright Old Sturbridge Village W a l k e r A r t C e n t e r Wu Jinghua Drew Oliver Wang Anguo Wu Zuqiang Palace of the Governors, Sante Ee David Wang Zhang Wutang Diana Parker Wang Jinyuan Su Zheng Parsons School of Design Eileen Wells Zhou Wenzheng Peabody Conservatory of Music T o m W e l l s Zhou Ying Russell A. Phillips, Jr. Wesleyan University J a m e s P o l s h e k David Whisnant Pojoaque Pueblo Poeh Center and Danielle Wierengo Museum Deborah Winograd Martin Prekop Constance Wolf Joseph Roach Mary Louise Wood Marian Rodee Wu Liangyong A b r a h a m R o s m a n

38 Volume 11 Fall 1995

The following people ivere invaluable resources as we designed the Yunnan Nationalities Cultures Project: Staff Changes In May 1992, Carrie Lanese, who Herman Agoyo, Governor, San Juan Drew Oliver, Director, Museum r e c e i v e d h e r B . A . i n I n t e r n a t i o n a l Pueblo Programs, National Endowment for the Affairs from the Elliot School at George Arts Susan Ball, Executive Director, College Washington University, in Washington, D.C., joined the Center as the Program Art Association Ralph Samuelson, Director, Asian Assistant after spending a year in China Cultural Council Chang Kuang-chih, Professor, teaching English at Northern Commun Department of Anthropology, Harvard Joe Sando, Director, Institute for Pueblo ications University in Beijing and study University Indian Studies, Indian Pueblo Cultural ing Chinese language and culture at Vivien Ta-Ying Chen, Folklife Center, Albuquerque Normal University in Shanghai. In the Specialist, Smithsonian Institution Peter Seitel, Senior Folklorist, Center for spring of 1994, she was promoted to the Eolklife Programs and Cultural Studies, position of Program Associate. Mary Jane Crook, Consultant, The William Cossolias, who holds a B.A. Smithsonian Institution Henry Luce Foundation in Religion from New York University, Dan Sheehy, Director, Folk Arts Walter Dasheno, Governor, Santa Clara has received two promotions since being hired in 1991—first in 1993 to Admini Pueblo Program, National Endowment for the Arts strative Assistant and then in 1994 to

Murry N. DePillars, Dean, School of the Lonn Taylor, Assistant Director, Public Administrative Associate, replacing Arts, Virginia Commonwealth Elizabeth Mintz Friedberg, who left that Programs, National Museum of University American History position to pursue graduate studies in Vishakha Desai, Director of the social work after four-and-a-half years Marcia Tucker, Director, The New Galleries, The Asia Society at the Center. Museum of Contemporary Art Molly Kinney, who preceded Carrie Douglas Evelyn, Deputy Director, Lanese as Program Assistant, resigned Jim Volkert, Deputy Assistant Director N a t i o n a l M u s e u m o f t h e A m e r i c a n from her position in the spring of 1992 for Exhibition and Facilities Planning, Indian, Smithsonian Institution to continue her graduate work in N a t i o n a l M u s e u m o f t h e A m e r i c a n International Affairs. Before leaving the Henry Glassie, Professor, Folklore Indian Center altogether, Molly stayed on until Institute, Indiana University, Carl Wolz, Professor of Dance, Japan the fall of 1992 to work part time on the Bloomington Women's College of Physical Education Pacific Composers Project. Richard Hill, Assistant Director of Since the spring of 1991, student Public Programs, National Museum of Mary Louise Wood, Director, International Programs & AAM/ICOM, interns, part-time assistants, interpreters, the American Indian a n d t r a n s l a t o r s h a v e i n c l u d e d P a t r i c i a American Association of Museums Kim Igoe, Director of Accreditation, Chang, Peter Chang, Chen Xiaoling, Margaret Wysomirski, Director of Chen Yi, Claire Cohn, Feng Wei, American Association of Museums Planning, Research, and Budget Magnus Fiskesjo, Elizabeth Mintz Leslie King-Hammond, Dean of Coordination, National Endowment for Friedberg, Cathy Hong, Sara Huong, Graduate Studies, Maryland Institute, t h e A r t s ■ Michele Jhun, Kang Xiaofei, Connie College of Art, Baltimore Lee, Liu Keming, Liu Sujuan, Ziad R. Ruth Mayleas, Program Officer, Mawlawi, Caroline Nath, Grace Education and Culture Program, The Norman, Pan Shyh-ji, John Schwartz, Ford Foundation Shuang Shen, Dimitri Starostin, Jane Stewart, Betty Ting, David Tsang, Xu Haoliang, Emily Yang, Erhmei Yuan, Yu Jian, Farnoosh Zamani, Zhang Hong, Zhou Long, and Zhu Ciliu. Mitchell M e n s c h i s t h e C e n t e r ' s fi n a n c i a l consultant. ■ Facing page and above right: Detail ofJinuo boy's jacket, Bapo Village

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