Performing Arts: A perfect pivot for furtherance of India-China cultural relations Performing Arts: A perfect pivot for furtherance of India-China cultural relations both art forms are used as a pivot in the intensification of bilateral relationship beyond the barriers. J. Sankar Ganesh Performing arts The art forms, which are suitable to perform on the stage in group or in solo and capable to stir a kind of emotion in the mind of the Introduction audience or listener are called performing arts. Performing art forms China, Chinese, I think they really have a long history of civilization, rich mirror the creativity and inheritance of a society. These art forms culture. -Dalai Lama have no boundaries and reflect the social and chronological enormity India and China are not mere societies; they are civilizations with of a country. These art forms are very powerful medium capable to resemblance in cultural inheritance. From the prehistoric period the reach the mind of people without any discrimination. It is established bilateral cultural exchange between China and India was in practice that performing art forms including dance, music, drama, mime, and it is evident through various earlier Indian literatures. It is martial arts etc… are very much successful in manifesting the difficult to describe exactly when the cultural elemental exchange cultural and traditional strength of a nation which they belong to. has started. In his work Arthasastra by Chanakya of Maurya dynasty Performing art forms are very special art forms which are capable (350-283 B.C.) referred to Chinese silk as chinamsuka and Chinese silk enough to address and attract the attention of entire society from bundle as chinapatta. The Mahabharatha, one of the great epics of mass to class. Classical performing art forms are naturally very India, has references about China. Similarly, it is clearly perceptible attractive and powerful in inspiring the mind of people and making through some earlier Chinese literatures that both India and China them to have a high regard for it. Performing art forms are always shared and exchanged their scientific knowledge bilaterally universally used to carry sociable messages to maintain good through centuries ago. Indian astronomer Aryabhata's astronomical relationship between nations. Performing art forms are inseparable signs were translated into Chinese in the book Kaiyuan Zhanjing from the historical and conventional influences of a country. Both compiled by Gautama Siddha, an astronomer of Indian descent who India and China have many colorful and vibrant performing art lived in Chang'an in the 8th century A.D. It is also believed that he forms manifesting their historical and conventional background. translated the Indian Navagraha based calendar into Chinese. India has one of the world's largest collection of songs, music, dance, theatre, folk traditions, performing arts, rites and rituals, paintings Both India and China grew similar and shared their cultural traits and writings that are known as the 'Intangible Cultural Heritage' bilaterally since the beginning of human history. The practice of (ICH) of humanity. Similarly, China also has a huge number of great sharing art, culture and scientific knowledge has been continuing till traditional art forms such as Chinese operas, Chinese dragon dance, now. Surmounting all bilateral barriers and disputes both the Lion dance, traditional theatre of China and classical dances of countries has successfully engraved their significance and China, etc… The Indian performing art forms are brilliantly used to supremacy on the global map in various arenas. Both the countries develop their relations with China in recent times. This paper is are capable of influencing the Globe and also playing a significant mainly focusing on the dance and music of China, its similarity with and remarkable role in the growth of global cultural platform. This Indian art forms and how it is used as a pivot for the furtherance of paper is mainly focusing on the features of performing art forms bilateral relationship. particularly in dance and music arena of India and China and how Performing art forms of China and India J. Sankar Ganesh According to the earliest records, Chinese performing arts including Assistant Professor, Department of Performing Arts, S.V.University, Tirupati 517502 dance and theatre arts of China, found their origin in their religious E-mail: [email protected]

116 Area Studies, Vol.9(2), July-December 2015, pp. 116-135 Area Studies 117 Performing Arts: A perfect pivot for furtherance of India-China cultural relations Performing Arts: A perfect pivot for furtherance of India-China cultural relations both art forms are used as a pivot in the intensification of bilateral relationship beyond the barriers. J. Sankar Ganesh Performing arts The art forms, which are suitable to perform on the stage in group or in solo and capable to stir a kind of emotion in the mind of the Introduction audience or listener are called performing arts. Performing art forms China, Chinese, I think they really have a long history of civilization, rich mirror the creativity and inheritance of a society. These art forms culture. -Dalai Lama have no boundaries and reflect the social and chronological enormity India and China are not mere societies; they are civilizations with of a country. These art forms are very powerful medium capable to resemblance in cultural inheritance. From the prehistoric period the reach the mind of people without any discrimination. It is established bilateral cultural exchange between China and India was in practice that performing art forms including dance, music, drama, mime, and it is evident through various earlier Indian literatures. It is martial arts etc… are very much successful in manifesting the difficult to describe exactly when the cultural elemental exchange cultural and traditional strength of a nation which they belong to. has started. In his work Arthasastra by Chanakya of Maurya dynasty Performing art forms are very special art forms which are capable (350-283 B.C.) referred to Chinese silk as chinamsuka and Chinese silk enough to address and attract the attention of entire society from bundle as chinapatta. The Mahabharatha, one of the great epics of mass to class. Classical performing art forms are naturally very India, has references about China. Similarly, it is clearly perceptible attractive and powerful in inspiring the mind of people and making through some earlier Chinese literatures that both India and China them to have a high regard for it. Performing art forms are always shared and exchanged their scientific knowledge bilaterally universally used to carry sociable messages to maintain good through centuries ago. Indian astronomer Aryabhata's astronomical relationship between nations. Performing art forms are inseparable signs were translated into Chinese in the book Kaiyuan Zhanjing from the historical and conventional influences of a country. Both compiled by Gautama Siddha, an astronomer of Indian descent who India and China have many colorful and vibrant performing art lived in Chang'an in the 8th century A.D. It is also believed that he forms manifesting their historical and conventional background. translated the Indian Navagraha based calendar into Chinese. India has one of the world's largest collection of songs, music, dance, theatre, folk traditions, performing arts, rites and rituals, paintings Both India and China grew similar and shared their cultural traits and writings that are known as the 'Intangible Cultural Heritage' bilaterally since the beginning of human history. The practice of (ICH) of humanity. Similarly, China also has a huge number of great sharing art, culture and scientific knowledge has been continuing till traditional art forms such as Chinese operas, Chinese dragon dance, now. Surmounting all bilateral barriers and disputes both the Lion dance, traditional theatre of China and classical dances of countries has successfully engraved their significance and China, etc… The Indian performing art forms are brilliantly used to supremacy on the global map in various arenas. Both the countries develop their relations with China in recent times. This paper is are capable of influencing the Globe and also playing a significant mainly focusing on the dance and music of China, its similarity with and remarkable role in the growth of global cultural platform. This Indian art forms and how it is used as a pivot for the furtherance of paper is mainly focusing on the features of performing art forms bilateral relationship. particularly in dance and music arena of India and China and how Performing art forms of China and India J. Sankar Ganesh According to the earliest records, Chinese performing arts including Assistant Professor, Department of Performing Arts, S.V.University, Tirupati 517502 dance and theatre arts of China, found their origin in their religious E-mail: [email protected]

116 Area Studies, Vol.9(2), July-December 2015, pp. 116-135 Area Studies 117 J. Sankar Ganesh Performing Arts: A perfect pivot for furtherance of India-China cultural relations beliefs and customs. It is portrayed that magnificently costumed Heaven, Earth, Gods, Ancestors or Legendary figures. Dawu was a male and female 'Shamans' (equal to priests who sang and danced major thematic dance among the six which was generally describing according to musical accompaniment, drawing the heavenly spirits the military exploits of King Wu of Zhou and this dance form was down to earth) are the earlier source of Chinese dance forms. performed with martial weapons such as sword, javelin etc.. The Characteristic folklore (oral and textual), the shaman songs have above six dances formed part of the system of 'court music and dance' come into vogue with little improvisations on traditional methods which was first established during the Western Zhou in the name of used to lure or imitating animals. This type of dance which is also Yayue. Classical Dance of China is a highly varied art form, consisting seen in the early Indian literature was called Devarattam or Samiattam. of many modern and traditional dance genres. The dances of China Devarattam is a raw dance movement which is performed with cover a wide range of forms from various folk dances to classical accompaniments by priests as a part of temple ritual which is to draw dance performances in Chinese opera and ballet. These various the heavenly spirits down to earth or on them or on a person. Traces dance forms are also performed in public celebrations, rituals and of this form are still alive in temple rituals of the villages in India. ceremonies. Chinese Classical dance is one major branch of the performing arts of China which is perfectly established on the foundations of China's vast history and culture. It is astonishing that the semi-divine culture and profound inner meaning of China's past 5,000 years of history is habitually reflecting in many of the present day's music and dance performances.

Like Indian performing art forms, the performing art forms of China like Music, Dance and Mimesis are naturally fused with their religious activities. Centuries before Chinese performing art forms like singing and dancing were given imperial status. In the Zhou dynasty (1046256 B.C.) singing and dancing was incorporated as a part of court activity and performed at the court of the emperor. Several thousand years ago, a martial art named wushu appeared in Present day's Chinese Music orchestra China. Impressed and influenced by the movements, techniques and The body movements of classical Chinese dances are rich in their flips of this martial art, performing art forms of China, specifically ability to express a variety of feelings like happiness, sorrow, joy, Chinese classical dances adopted most of the basic body movements anger, grief, delight, peculiar emotions that come with parting and of wushu. This adoption provides a uniqueness and uniformity in the reuniting, insanity, infatuation, sickness, tipsiness, solemnity, body movements which is generally observed in all Chinese classical ignobility, and majesty. It is capable to manifest civil, military, and dances. other personalities and also historical stories through the Rites of Zhou, an ancient Chinese text, illustrated some important performance. In classical Chinese dance, it is meaning that plays the Chinese dances of the early epoch. The popular six dances of China main role. In this dance form, full expression is achieved only when which represent six early eras of China namely Yunmen dajuan, inner feelings of the theme drive the body of the performer. The Daxian daqing or Dashao, Daxia, Dahu and Dawu are mentioned in acting in classical Chinese dance involves coordination of facial the above work. These dances were performed as ritual offerings to expressions with physical movements, which, when merged

118 Area Studies Area Studies 119 J. Sankar Ganesh Performing Arts: A perfect pivot for furtherance of India-China cultural relations beliefs and customs. It is portrayed that magnificently costumed Heaven, Earth, Gods, Ancestors or Legendary figures. Dawu was a male and female 'Shamans' (equal to priests who sang and danced major thematic dance among the six which was generally describing according to musical accompaniment, drawing the heavenly spirits the military exploits of King Wu of Zhou and this dance form was down to earth) are the earlier source of Chinese dance forms. performed with martial weapons such as sword, javelin etc.. The Characteristic folklore (oral and textual), the shaman songs have above six dances formed part of the system of 'court music and dance' come into vogue with little improvisations on traditional methods which was first established during the Western Zhou in the name of used to lure or imitating animals. This type of dance which is also Yayue. Classical Dance of China is a highly varied art form, consisting seen in the early Indian literature was called Devarattam or Samiattam. of many modern and traditional dance genres. The dances of China Devarattam is a raw dance movement which is performed with cover a wide range of forms from various folk dances to classical accompaniments by priests as a part of temple ritual which is to draw dance performances in Chinese opera and ballet. These various the heavenly spirits down to earth or on them or on a person. Traces dance forms are also performed in public celebrations, rituals and of this form are still alive in temple rituals of the villages in India. ceremonies. Chinese Classical dance is one major branch of the performing arts of China which is perfectly established on the foundations of China's vast history and culture. It is astonishing that the semi-divine culture and profound inner meaning of China's past 5,000 years of history is habitually reflecting in many of the present day's music and dance performances.

Like Indian performing art forms, the performing art forms of China like Music, Dance and Mimesis are naturally fused with their religious activities. Centuries before Chinese performing art forms like singing and dancing were given imperial status. In the Zhou dynasty (1046256 B.C.) singing and dancing was incorporated as a part of court activity and performed at the court of the emperor. Several thousand years ago, a martial art named wushu appeared in Present day's Chinese Music orchestra China. Impressed and influenced by the movements, techniques and The body movements of classical Chinese dances are rich in their flips of this martial art, performing art forms of China, specifically ability to express a variety of feelings like happiness, sorrow, joy, Chinese classical dances adopted most of the basic body movements anger, grief, delight, peculiar emotions that come with parting and of wushu. This adoption provides a uniqueness and uniformity in the reuniting, insanity, infatuation, sickness, tipsiness, solemnity, body movements which is generally observed in all Chinese classical ignobility, and majesty. It is capable to manifest civil, military, and dances. other personalities and also historical stories through the Rites of Zhou, an ancient Chinese text, illustrated some important performance. In classical Chinese dance, it is meaning that plays the Chinese dances of the early epoch. The popular six dances of China main role. In this dance form, full expression is achieved only when which represent six early eras of China namely Yunmen dajuan, inner feelings of the theme drive the body of the performer. The Daxian daqing or Dashao, Daxia, Dahu and Dawu are mentioned in acting in classical Chinese dance involves coordination of facial the above work. These dances were performed as ritual offerings to expressions with physical movements, which, when merged

118 Area Studies Area Studies 119 J. Sankar Ganesh Performing Arts: A perfect pivot for furtherance of India-China cultural relations together, results in an amplified form of expression. The group Oyillatam dance of India has its origins in Tamil Nadu and is performances of Chinese classical dances are appreciated and well commonly performed in Madurai, Tirunelveli and Tiruchirapalli liked for the coordination among the performers at par with districts of Tamil Nadu. Mainly Oyilattam is performed at village expressions. This is found similar in the Bharathanatyam of India in festivals. Its themes are drawn from the great epics like Ramayana which Navarasa (facial expressions) and the abhinaya (act according to the and Mahabaratha and also the story of Lord Muruga. The Oyilattam theme) play the vital role in performance. Using of martial weapons in dance also expresses happiness and joy related with the harvest. performances is not generally seen in Indian classical performing art forms. But using sword and other martial materials were frequently seen in some Indian folk art forms. Example 1. Chau dance 2. Ottam thullal etc… Like the basic training methods found in Indian classical dance forms, Classical Chinese dance also uses the human body's natural ability and it does not require any specific training for developing muscles. The general strength of a person is improved in the course of training.

There are approximately 56 officially recognized ethnic groups in Another type of Yangge dance resembles the poikalkudhirai dance of Tamil Nadu China, and each ethnic minority group in China has its own traditional folk dance forms. There is a long recorded history of various forms of dance in China. Some Chinese dances such as dancing with long sleeves have been recorded since the very early period, dated from the Zhou Dynasty. The art of dance reached its peak during Tang dynasty, but declined in later dynasties. In recent times, performing art forms including dances of China are growing rapidly with modern developments and scientific advancements. Some of the traditional dances of China have a very close resemblance of our Indian traditional folk dances. Yangge dance of China has a close resemblance of our south Indian folk dance form oyilattam of Tamilnadu. Yangge has its originates in farming and agriculture, and it is popular in China's countryside. Yangge is commonly seen in the Northern parts of China and also, it has some connection with ancient eulogy songs which are used to sing in the sacrifices ritual to the God of the Farms. Yangge comes in different varieties according to the areas or it's form, for example, the There is similarity in the outfit of lantern dance of South China and Guzi Yangge of Shandong, the Yangge of northern Shaanxi, the Ground Chari dance of Rajasthan. Both are in the form of carrying fire on the Yangge of Hebei, Beijingand , Manchurian Yangge and the Stilts Yangge head and performing dance of Liaoning, are some popular varieties of Yangge dances. Some other popular Yangge forms are the Huagu (Flower Drum), Long Drum Dance - A dance of the Yao people ethnic group of China Huadeng (Festive Lantern), Caicha (Tea-Leaf Picking) and Yingko which is very much similar to the Pung cholom drum dance of Yangge. All Yangge dances express happiness. Similarly the Manipur.

120 Area Studies Area Studies 121 J. Sankar Ganesh Performing Arts: A perfect pivot for furtherance of India-China cultural relations together, results in an amplified form of expression. The group Oyillatam dance of India has its origins in Tamil Nadu and is performances of Chinese classical dances are appreciated and well commonly performed in Madurai, Tirunelveli and Tiruchirapalli liked for the coordination among the performers at par with districts of Tamil Nadu. Mainly Oyilattam is performed at village expressions. This is found similar in the Bharathanatyam of India in festivals. Its themes are drawn from the great epics like Ramayana which Navarasa (facial expressions) and the abhinaya (act according to the and Mahabaratha and also the story of Lord Muruga. The Oyilattam theme) play the vital role in performance. Using of martial weapons in dance also expresses happiness and joy related with the harvest. performances is not generally seen in Indian classical performing art forms. But using sword and other martial materials were frequently seen in some Indian folk art forms. Example 1. Chau dance 2. Ottam thullal etc… Like the basic training methods found in Indian classical dance forms, Classical Chinese dance also uses the human body's natural ability and it does not require any specific training for developing muscles. The general strength of a person is improved in the course of training.

There are approximately 56 officially recognized ethnic groups in Another type of Yangge dance resembles the poikalkudhirai dance of Tamil Nadu China, and each ethnic minority group in China has its own traditional folk dance forms. There is a long recorded history of various forms of dance in China. Some Chinese dances such as dancing with long sleeves have been recorded since the very early period, dated from the Zhou Dynasty. The art of dance reached its peak during Tang dynasty, but declined in later dynasties. In recent times, performing art forms including dances of China are growing rapidly with modern developments and scientific advancements. Some of the traditional dances of China have a very close resemblance of our Indian traditional folk dances. Yangge dance of China has a close resemblance of our south Indian folk dance form oyilattam of Tamilnadu. Yangge has its originates in farming and agriculture, and it is popular in China's countryside. Yangge is commonly seen in the Northern parts of China and also, it has some connection with ancient eulogy songs which are used to sing in the sacrifices ritual to the God of the Farms. Yangge comes in different varieties according to the areas or it's form, for example, the There is similarity in the outfit of lantern dance of South China and Guzi Yangge of Shandong, the Yangge of northern Shaanxi, the Ground Chari dance of Rajasthan. Both are in the form of carrying fire on the Yangge of Hebei, Beijingand , Manchurian Yangge and the Stilts Yangge head and performing dance of Liaoning, are some popular varieties of Yangge dances. Some other popular Yangge forms are the Huagu (Flower Drum), Long Drum Dance - A dance of the Yao people ethnic group of China Huadeng (Festive Lantern), Caicha (Tea-Leaf Picking) and Yingko which is very much similar to the Pung cholom drum dance of Yangge. All Yangge dances express happiness. Similarly the Manipur.

120 Area Studies Area Studies 121 J. Sankar Ganesh Performing Arts: A perfect pivot for furtherance of India-China cultural relations

The popular and unique Lion Dance and Thousand hands of Guan Yin Bhodhisattva Sanam (in Chinese Sai nai mu) dance is a wide spread and popular dance among the ethnic group Uyghur of China. It is commonly Unique dances of China performed during weddings, festival occasions, and parties. The Lion Dance of China music normally starts slowly and gradually becomes faster, upon Lion dance is also called pinyin. Lion dance is a traditional dance form which the dances also become more vivid, and vibrant especially at of Chinese culture , in which the performers mimic a lion's the end. The outfit and twists of the Sanam dance resemble the movements in a lion's costume. It is a group dance and mostly rotations performed in the kathak dance form of India. performed by the young group of artists. The lion dance is usually performed during the Chinese New Year and in some important Chinese traditional, cultural and religious festivals. It is also performed on many other important occasions such as business opening events, special celebrations or wedding ceremonies, and to honor special guests. Basic movements of Chinese lion dance are similar to the movements of Chinese martial arts wushu. Generally, two main forms of the Chinese lion dances are 'The Northern Lion', and 'The Southern Lion'. Both dance forms are commonly found in Lhamo, an opera resembles the Mask dance performance (local name China, but in abroad especially in South East Asia, 'The Southern Chams) of Jammu and Kashmir of India. Lion dance' style predominates as it was spread by the Chinese Diaspora communities who mostly belong to Southern Chinese origin. Thousand hands of Guan Yin Bodhisattva Guan Yin is the bodhisattva of compassion, revered by Buddhists as the Goddess of Mercy. Her name in short is Guan Shi Yin. Guan means to observe, watch, or monitor; Shi means the world; Yin means sounds, specifically sounds of those who suffer. Thus, Guan Yin is a compassionate being who watches for, and responds to the people in Some Chinese dance forms are very unique and perfectly express the the world who cry out for help. Bodhi means wisdom or vast history and culture of China. No such dance forms are identified enlightenment; sattva means being or essence. Put the two together, in global cultural arena. These dances are now popularly performed you get bodhisattva, a being who is enlightened and ready to in various global platforms. transcend the cycles of birth and death, but chooses to return to the

122 123 J. Sankar Ganesh Performing Arts: A perfect pivot for furtherance of India-China cultural relations

The popular and unique Lion Dance and Thousand hands of Guan Yin Bhodhisattva Sanam (in Chinese Sai nai mu) dance is a wide spread and popular dance among the ethnic group Uyghur of China. It is commonly Unique dances of China performed during weddings, festival occasions, and parties. The Lion Dance of China music normally starts slowly and gradually becomes faster, upon Lion dance is also called pinyin. Lion dance is a traditional dance form which the dances also become more vivid, and vibrant especially at of Chinese culture , in which the performers mimic a lion's the end. The outfit and twists of the Sanam dance resemble the movements in a lion's costume. It is a group dance and mostly rotations performed in the kathak dance form of India. performed by the young group of artists. The lion dance is usually performed during the Chinese New Year and in some important Chinese traditional, cultural and religious festivals. It is also performed on many other important occasions such as business opening events, special celebrations or wedding ceremonies, and to honor special guests. Basic movements of Chinese lion dance are similar to the movements of Chinese martial arts wushu. Generally, two main forms of the Chinese lion dances are 'The Northern Lion', and 'The Southern Lion'. Both dance forms are commonly found in Lhamo, an opera resembles the Mask dance performance (local name China, but in abroad especially in South East Asia, 'The Southern Chams) of Jammu and Kashmir of India. Lion dance' style predominates as it was spread by the Chinese Diaspora communities who mostly belong to Southern Chinese origin. Thousand hands of Guan Yin Bodhisattva Guan Yin is the bodhisattva of compassion, revered by Buddhists as the Goddess of Mercy. Her name in short is Guan Shi Yin. Guan means to observe, watch, or monitor; Shi means the world; Yin means sounds, specifically sounds of those who suffer. Thus, Guan Yin is a compassionate being who watches for, and responds to the people in Some Chinese dance forms are very unique and perfectly express the the world who cry out for help. Bodhi means wisdom or vast history and culture of China. No such dance forms are identified enlightenment; sattva means being or essence. Put the two together, in global cultural arena. These dances are now popularly performed you get bodhisattva, a being who is enlightened and ready to in various global platforms. transcend the cycles of birth and death, but chooses to return to the

122 123 J. Sankar Ganesh Performing Arts: A perfect pivot for furtherance of India-China cultural relations material world in order to help other people reach the same level of enlightenment. This is the ultimate demonstration of pure compassion. A bodhisattva is not a deity but a spiritually advanced human being. Although Guan Yin is depicted as a beautiful Asian woman, anyone can be a bodhisattva regardless of appearance, race and gender. Whenever you act in accordance with a natural impulse of total compassion, you have taken another step toward becoming a bodhisattva yourself. This is the inner meaning of the dance. In brief Zhang Xiaoqing, who has been learning Kathak in Beijing for five years the main theme of the Thousand hands of Guan Yin Bodhisattva dance is as follows Zhang Xiaoqing, a 32-year-old Kathak dancer from Beijing, is part of the troupe performing at the international dance and music festival As long as you are kind and there is love in your heart organized by the Indian Council for Cultural Relations. Zhang was A thousand hands will naturally come to your aid introduced to and fascinated by Indian performing art forms through As long as you are kind and there is love in your heart a Bharatanatyam recital in a T.V. show from her childhood. Later she you will reach out with a thousand hands to help others was inspired by the performance of Rama Vaidyanathan at a concert The influence of Buddhism and the contribution of Buddhist monks in Beijing and decided to learn kathak dance and enrolled herself in the development of classical dance and traditional music of China with the Kathak classes at Indian embassy Beijing. After rigorous are remarkable. training under Guru Ashok Chakrovarty for 5 years now she is Indian dance forms in China performing in various distinct stages both in India and China. In India the dance forms such is Bharathanatyam, Kathakali, Bharatanatyam dance is rapidly becoming popular in China. 33- Kuchipudi, Mohiniyattam, Odissi, kathak, Manipuri, Chau, Gaudia year-old Jin Shan Shan, a Jawaharlal Nehru University alumnus, Nritya , Saatriya and Thang ta are recognized as classical dance forms who had a passion towards Bharatanatyam is a perfect example for by the Government of India. These art forms which are considered that. She is blessed to learn the art under the tutelage of Kalakshetra unique dance forms of India, manifest Indian cultural heritage. director Smt. Leela Samson. She has established a school named Beyond borders, the charismatic beauty of Indian performing art 'Sangeetham' for Bharatanatyam in Beijing. According to Ms. Jin forms, attract many Chinese people towards India for learning Bollywood films, Yoga and Indian cuisine are rapidly becoming the various classical art forms. Many Chinese people visited India only passion of youth in China. Hence, she started a school for Indian to learn our Indian performing art forms. Some Chinese people are dance to promote Bharatanatyam in China. Now her dance school is utilizing every opportunity to learn these art forms during their stay overcrowded with more than hundred. For over a decade, she has in India for some other reasons. Some of them are now performing been regularly visiting India to brush up her skills under her Guru's and promoting Indian performing art forms in China and abroad at watchful eyes. par with Indian performing artists.

124 125 J. Sankar Ganesh Performing Arts: A perfect pivot for furtherance of India-China cultural relations material world in order to help other people reach the same level of enlightenment. This is the ultimate demonstration of pure compassion. A bodhisattva is not a deity but a spiritually advanced human being. Although Guan Yin is depicted as a beautiful Asian woman, anyone can be a bodhisattva regardless of appearance, race and gender. Whenever you act in accordance with a natural impulse of total compassion, you have taken another step toward becoming a bodhisattva yourself. This is the inner meaning of the dance. In brief Zhang Xiaoqing, who has been learning Kathak in Beijing for five years the main theme of the Thousand hands of Guan Yin Bodhisattva dance is as follows Zhang Xiaoqing, a 32-year-old Kathak dancer from Beijing, is part of the troupe performing at the international dance and music festival As long as you are kind and there is love in your heart organized by the Indian Council for Cultural Relations. Zhang was A thousand hands will naturally come to your aid introduced to and fascinated by Indian performing art forms through As long as you are kind and there is love in your heart a Bharatanatyam recital in a T.V. show from her childhood. Later she you will reach out with a thousand hands to help others was inspired by the performance of Rama Vaidyanathan at a concert The influence of Buddhism and the contribution of Buddhist monks in Beijing and decided to learn kathak dance and enrolled herself in the development of classical dance and traditional music of China with the Kathak classes at Indian embassy Beijing. After rigorous are remarkable. training under Guru Ashok Chakrovarty for 5 years now she is Indian dance forms in China performing in various distinct stages both in India and China. In India the dance forms such is Bharathanatyam, Kathakali, Bharatanatyam dance is rapidly becoming popular in China. 33- Kuchipudi, Mohiniyattam, Odissi, kathak, Manipuri, Chau, Gaudia year-old Jin Shan Shan, a Jawaharlal Nehru University alumnus, Nritya , Saatriya and Thang ta are recognized as classical dance forms who had a passion towards Bharatanatyam is a perfect example for by the Government of India. These art forms which are considered that. She is blessed to learn the art under the tutelage of Kalakshetra unique dance forms of India, manifest Indian cultural heritage. director Smt. Leela Samson. She has established a school named Beyond borders, the charismatic beauty of Indian performing art 'Sangeetham' for Bharatanatyam in Beijing. According to Ms. Jin forms, attract many Chinese people towards India for learning Bollywood films, Yoga and Indian cuisine are rapidly becoming the various classical art forms. Many Chinese people visited India only passion of youth in China. Hence, she started a school for Indian to learn our Indian performing art forms. Some Chinese people are dance to promote Bharatanatyam in China. Now her dance school is utilizing every opportunity to learn these art forms during their stay overcrowded with more than hundred. For over a decade, she has in India for some other reasons. Some of them are now performing been regularly visiting India to brush up her skills under her Guru's and promoting Indian performing art forms in China and abroad at watchful eyes. par with Indian performing artists.

124 125 J. Sankar Ganesh Performing Arts: A perfect pivot for furtherance of India-China cultural relations

Tampura, Cymbals and Conch were the instruments which these music troupes had and taken with them. According to the history of China Indian music became so popular and an Emperor named Khaotsu vainly tried to proscribe it by an imperial statute in 581-595 A.D. But his successor Yang ti encouraged it and extracted a number of new innovative tunes form a musician named Poh ming ta, a member of Indo- Kuchean family. From the vedic period the hymns are sung with seven notes in India and Indian music system is the earliest to found seven notes in an octave earlier than Greeks and Europeans. This can be testified through Samaveda and it is a pride of Indian music. Indian music is Jin Sha Sha, better known as Eesha - a name bestowed on her by Kalakshetra director Leela Samson - Jin Sha Sha is the face of Bharatanatyam in Beijing based on seven tones scale system but Chinese music is based on five tones scale system which is pentatonic. According to Indian music it Music of China and India is audava (a scale with five swara). But the music theory of Chinese Chinese music refers to the music of the Chinese people, which may argued with eight different natural musical sounds found in nature. be the music of the Han Chinese as well as other ethnic minorities 1. The Sound of skin within mainland China. It also includes that music produced by people of Chinese origin outside of mainland China using traditional 2. The Sound of stone Chinese instruments or in the Chinese language. Like Indian dance 3. The Sound of metal and music, China also has a vast history and tradition of Music. 4. The Sound of clay “According to Chinese music history a great development in all art forms occurred in Wei period. In the Xia, Shang and Zhou Dynasties, 5. The Sound of silk only royal families and dignitary officials were privileged to enjoy 6. The sound of wood music, which was made on chimes and bells. Further development in different sections of art forms was noticed in T'ang period. During 7. The sound of bamboo the Tang Dynasty, dancing and singing entered into the mainstream, 8. The sound of gourd spreading from the royal court to the common people. With the The five notes of Chinese music and its corresponding notes of introduction of foreign religions such as Buddhism and Islam, exotic European and Indian music is as follows and religious melodies were absorbed into Chinese music and were enjoyed by the Chinese people at fairs organized by religious Chinese European Indian Sruti value temples. Music was introduced and popularized in China by Indian Kung C Sa 1 or 81/81 musicians settled in Kuchi or Kucha, and Kuchean or rather Indo Kuchean music was favoured at the Chinese court for a very long Chi G Pa 3/2 or 81/54 period. Hiuen “T”sang said that the people of kuchi were great experts in playing on the lute and the pipe”. This may be the Shang D Ri 9/8 or 81/72 influence of Indian music atmosphere in Kuchi. Musical parties from Yu A Dha 27/16 or81/48 Kuchi, Samarkand, Bukhara, Kashgarh were sent to China as per the invitation of Emperor in 581 A.D. Mridanga, flute like shenai, Veena, Kyo E + Ga 81/64

126 127 J. Sankar Ganesh Performing Arts: A perfect pivot for furtherance of India-China cultural relations

Tampura, Cymbals and Conch were the instruments which these music troupes had and taken with them. According to the history of China Indian music became so popular and an Emperor named Khaotsu vainly tried to proscribe it by an imperial statute in 581-595 A.D. But his successor Yang ti encouraged it and extracted a number of new innovative tunes form a musician named Poh ming ta, a member of Indo- Kuchean family. From the vedic period the hymns are sung with seven notes in India and Indian music system is the earliest to found seven notes in an octave earlier than Greeks and Europeans. This can be testified through Samaveda and it is a pride of Indian music. Indian music is Jin Sha Sha, better known as Eesha - a name bestowed on her by Kalakshetra director Leela Samson - Jin Sha Sha is the face of Bharatanatyam in Beijing based on seven tones scale system but Chinese music is based on five tones scale system which is pentatonic. According to Indian music it Music of China and India is audava (a scale with five swara). But the music theory of Chinese Chinese music refers to the music of the Chinese people, which may argued with eight different natural musical sounds found in nature. be the music of the Han Chinese as well as other ethnic minorities 1. The Sound of skin within mainland China. It also includes that music produced by people of Chinese origin outside of mainland China using traditional 2. The Sound of stone Chinese instruments or in the Chinese language. Like Indian dance 3. The Sound of metal and music, China also has a vast history and tradition of Music. 4. The Sound of clay “According to Chinese music history a great development in all art forms occurred in Wei period. In the Xia, Shang and Zhou Dynasties, 5. The Sound of silk only royal families and dignitary officials were privileged to enjoy 6. The sound of wood music, which was made on chimes and bells. Further development in different sections of art forms was noticed in T'ang period. During 7. The sound of bamboo the Tang Dynasty, dancing and singing entered into the mainstream, 8. The sound of gourd spreading from the royal court to the common people. With the The five notes of Chinese music and its corresponding notes of introduction of foreign religions such as Buddhism and Islam, exotic European and Indian music is as follows and religious melodies were absorbed into Chinese music and were enjoyed by the Chinese people at fairs organized by religious Chinese European Indian Sruti value temples. Music was introduced and popularized in China by Indian Kung C Sa 1 or 81/81 musicians settled in Kuchi or Kucha, and Kuchean or rather Indo Kuchean music was favoured at the Chinese court for a very long Chi G Pa 3/2 or 81/54 period. Hiuen “T”sang said that the people of kuchi were great experts in playing on the lute and the pipe”. This may be the Shang D Ri 9/8 or 81/72 influence of Indian music atmosphere in Kuchi. Musical parties from Yu A Dha 27/16 or81/48 Kuchi, Samarkand, Bukhara, Kashgarh were sent to China as per the invitation of Emperor in 581 A.D. Mridanga, flute like shenai, Veena, Kyo E + Ga 81/64

126 127 J. Sankar Ganesh Performing Arts: A perfect pivot for furtherance of India-China cultural relations

Chinese music adopted the cyclic system for transposition which is temple brought Buddhist instrumental music to the fore. restricted in Indian music theoretical system. These swaras (Notes) During imperial times, 'art monks' (yiseng) were the main are similar to Raga Mohana of Carnatic music and bhoop of practitioners of instrumental music. They belonged to the category of Hindustani music of India. monks who perform rituals for the dead in return for fees. Monastic Buddhist music modernization eschewed instrumental music performances in Buddhist music is the music created for or inspired by Buddhism and temples. Buddhist ensembles comprising elderly monks were partly by Buddhist art. During the Eastern Han Dynasty (AD 25- formed, and the young were recruited from villages to preserve the 220), Buddhism entered into China. It became more than chanting tradition from this older generation. However, the strong influence and incorporated the tonality of Chinese folk music. Chinese of Buddhist instrumental music on folk music of China can be found popular scriptures were translated into Chinese and through some musical forms. For example, the 'Eight Great Suites' withouttraditional hymns, monks adapted classical folksongs along (Badatao) folk music of Shanxi is closely related to the instrumental with court music. Cao Zhi (AD 192-232), the poet and son of Wei ritual music of Wutaishan. Emperor /warlord Cao Cao (115-220), was a renowned composer Buddhist music, which originated in Buddhist religious rituals, is and singer. He wrote the first Buddhist hymn and composed in increasingly popular among the music lovers of today's China for its Chinese style, "Yushan Fanbei," which was the foundation for spiritual uplifting and soothing qualities. It is having elegance, Chinese Buddhist music, which was later called 'fanbei' in Chinese. dignity, depth, clarity and sincerity, popularly and widely used for Emperor Wu of the Liang Dynasty (AD 502-557) loved Buddhist therapeutic purposes in recent days. People, feeling stress find a music so much and he himself wrote several compositions, such as calming and comforting power in the ancient music of China "Da Huan"("Great Joy"), "Tian Dao" ("The Heavenly Way") and "Mie performed along with traditional Chinese musical instruments. It Guo E"("Cessation of Evil and Wrongdoing"). Buddhist music, which gives both tranquil and joyous effects. Buddhist religious music of is strongly rooted in religion, was loved and patronized by many China has various similarities with the Buddhist music found in Chinese rulers. Since the period of the Northern and Southern Myanmar, Japan, Vietnam, and Sri Lanka regions. This similarity in dynasties (420589), Chinese Buddhist music has developed with the art forms is one of the solid evidences for the good internal different regional prominence. In the north, a rich legacy of relationship maintained among the Diasporas and between the instrumental music was developed and practiced at many temples or provinces by the Buddhist religious people. in temple complexes. But in the south, in large monasteries of learning, vocal liturgical music predominates. The mainstream of Indian Music in China northern Buddhist music is 'mouth-organ and reed pipe' music Indian music is getting popularity among the Chinese in recent years (shengguan). The ensemble consists of the double-reed pipe and it is developing rapidly. The music of India is becoming centre of (guanzi), mouth-organ (sheng), transverse flute (di), framed pitched attraction of the youth of China. Chong Chiu Sen, a Chinese gongs (yunluo) and ritual percussion instruments, including the descendent of Malaysia, inspired by the magnificence of Carnatic drum (gu), bronze bowl (qing), wooden fish (muyu), cymbals (hazi), music he came to India. He was fortunate to be trained under the hand-held gong (dangzi) and hand-held stick bowl (yinqing). tutelage of Legend Late D.K. Pattammal and now he is popularly Instrumental music pervades temples in the northern provinces of performing and teaching Carnatic music through out India and Hebei, Henan and Shanxi, and the northeastern provinces of abroad. Shandong and Liaoning. Beijing is an important centre for this tradition. The discovery by Chinese musicologists such as Yang Yinliu in the mid 1950s of the 'Capital music' (jingyinyue) of Zhihuasi

128 129 J. Sankar Ganesh Performing Arts: A perfect pivot for furtherance of India-China cultural relations

Chinese music adopted the cyclic system for transposition which is temple brought Buddhist instrumental music to the fore. restricted in Indian music theoretical system. These swaras (Notes) During imperial times, 'art monks' (yiseng) were the main are similar to Raga Mohana of Carnatic music and bhoop of practitioners of instrumental music. They belonged to the category of Hindustani music of India. monks who perform rituals for the dead in return for fees. Monastic Buddhist music modernization eschewed instrumental music performances in Buddhist music is the music created for or inspired by Buddhism and temples. Buddhist ensembles comprising elderly monks were partly by Buddhist art. During the Eastern Han Dynasty (AD 25- formed, and the young were recruited from villages to preserve the 220), Buddhism entered into China. It became more than chanting tradition from this older generation. However, the strong influence and incorporated the tonality of Chinese folk music. Chinese of Buddhist instrumental music on folk music of China can be found popular scriptures were translated into Chinese and through some musical forms. For example, the 'Eight Great Suites' withouttraditional hymns, monks adapted classical folksongs along (Badatao) folk music of Shanxi is closely related to the instrumental with court music. Cao Zhi (AD 192-232), the poet and son of Wei ritual music of Wutaishan. Emperor /warlord Cao Cao (115-220), was a renowned composer Buddhist music, which originated in Buddhist religious rituals, is and singer. He wrote the first Buddhist hymn and composed in increasingly popular among the music lovers of today's China for its Chinese style, "Yushan Fanbei," which was the foundation for spiritual uplifting and soothing qualities. It is having elegance, Chinese Buddhist music, which was later called 'fanbei' in Chinese. dignity, depth, clarity and sincerity, popularly and widely used for Emperor Wu of the Liang Dynasty (AD 502-557) loved Buddhist therapeutic purposes in recent days. People, feeling stress find a music so much and he himself wrote several compositions, such as calming and comforting power in the ancient music of China "Da Huan"("Great Joy"), "Tian Dao" ("The Heavenly Way") and "Mie performed along with traditional Chinese musical instruments. It Guo E"("Cessation of Evil and Wrongdoing"). Buddhist music, which gives both tranquil and joyous effects. Buddhist religious music of is strongly rooted in religion, was loved and patronized by many China has various similarities with the Buddhist music found in Chinese rulers. Since the period of the Northern and Southern Myanmar, Japan, Vietnam, and Sri Lanka regions. This similarity in dynasties (420589), Chinese Buddhist music has developed with the art forms is one of the solid evidences for the good internal different regional prominence. In the north, a rich legacy of relationship maintained among the Diasporas and between the instrumental music was developed and practiced at many temples or provinces by the Buddhist religious people. in temple complexes. But in the south, in large monasteries of learning, vocal liturgical music predominates. The mainstream of Indian Music in China northern Buddhist music is 'mouth-organ and reed pipe' music Indian music is getting popularity among the Chinese in recent years (shengguan). The ensemble consists of the double-reed pipe and it is developing rapidly. The music of India is becoming centre of (guanzi), mouth-organ (sheng), transverse flute (di), framed pitched attraction of the youth of China. Chong Chiu Sen, a Chinese gongs (yunluo) and ritual percussion instruments, including the descendent of Malaysia, inspired by the magnificence of Carnatic drum (gu), bronze bowl (qing), wooden fish (muyu), cymbals (hazi), music he came to India. He was fortunate to be trained under the hand-held gong (dangzi) and hand-held stick bowl (yinqing). tutelage of Legend Late D.K. Pattammal and now he is popularly Instrumental music pervades temples in the northern provinces of performing and teaching Carnatic music through out India and Hebei, Henan and Shanxi, and the northeastern provinces of abroad. Shandong and Liaoning. Beijing is an important centre for this tradition. The discovery by Chinese musicologists such as Yang Yinliu in the mid 1950s of the 'Capital music' (jingyinyue) of Zhihuasi

128 129 J. Sankar Ganesh Performing Arts: A perfect pivot for furtherance of India-China cultural relations

Chong Chiu Sen performing at puttaparthi Two Brothers playing Sitar and Tabla 44-year-old Leon Low, a Singaporean Chinese working in the The two Chinese brothers are Tan Guo Ming and Tan Guo Jun, have Singapore Civil Defence Force (SCDF) as the Chief Paramedic for Indian names and can play the Sitar and Tabla. Sitar player Krishna Emergency Ambulance Service in the rank of a Lieutenant, was also Dasa Tan Guo Ming and his Tabla-playing brother Radha Govinda inspired by the Indian music. He was fortunate to begin lessons in Dasa Tan Guo Jun and their father Krsna Lila Dasa Tan Thiam Teck, a Vocal music with the teacher at SIFAS (Singapore Indian Fine Arts freelance music teacher adopted Hindu religion from 1980, which is Society) and a year later, came under the tutelage of Dr Bhagirathi why he and his sons have Indian names. It's part of his philosophy to Yerramilli, who took it as a challenge to teach the Chinese aspirant, embrace Indian culture, from its religion to its music and food. Both who did not understand any language of India. brothers started learning Indian music instruments from their childhood. Krishna dasa Tan Guo Ming started learning Sitar when Leon's thirst and search for Indian musical knowledge subsequently he was 10, and his brother Radha Govinda Dasa Tan Guo Jun started took him to India, where he understood the country's rich culture, with the Tabla when he was 12. This duo is now giving more than 100 traditions, customs and habits. As a music student in Indian attire, he performances per year and frequently featuring in the Chinese was able to learn as much outside the classroom as he did inside it. He media. They won the 2002 National Indian Music Competition open has 15 stage performances to his credit, with the 'Margazhi Music category playing the sitar while his younger brother Govind, at the Festival' held every year in Chennai as a highlight in his musical age of 18, won the same National Arts Council competition in 2006 in career. Another feather in his cap came in 2006 when he began to the Tabla category. Mr Tan himself plays a range of musical study for a degree in music at Madras University. Serving a Civil instruments - from the Sitar to the Tabla of India and Chinese Defence Force (SCDF) as the Chief Paramedic for Emergency instruments like Pipa to Guzheng. Both are now very popular Ambulance Service in the rank of a Lieutenant, he noted that his work performers of Global music platforms. Both are visiting India trained his mind and body to harmonize, while the sound and frequently to update their skills and to repair and purchase Indian ecstasy of music helped him music instruments. to overcome challenges in his profession. India- China co-operation concerts In recent days cooperation concerts with fusion music drift is rapidly developing in China and East Asian countries. India and China is mingling to produce new variety of fusion music to the audience and it is getting huge reception. The popular Northcote Uniting Church of Australia arranged for beautiful music feats of Indian and Chinese Leon low receiving a memento from flute maestro Dr. Ramani fusion music programme on 2011. The concert featured Mindy

130 131 J. Sankar Ganesh Performing Arts: A perfect pivot for furtherance of India-China cultural relations

Chong Chiu Sen performing at puttaparthi Two Brothers playing Sitar and Tabla 44-year-old Leon Low, a Singaporean Chinese working in the The two Chinese brothers are Tan Guo Ming and Tan Guo Jun, have Singapore Civil Defence Force (SCDF) as the Chief Paramedic for Indian names and can play the Sitar and Tabla. Sitar player Krishna Emergency Ambulance Service in the rank of a Lieutenant, was also Dasa Tan Guo Ming and his Tabla-playing brother Radha Govinda inspired by the Indian music. He was fortunate to begin lessons in Dasa Tan Guo Jun and their father Krsna Lila Dasa Tan Thiam Teck, a Vocal music with the teacher at SIFAS (Singapore Indian Fine Arts freelance music teacher adopted Hindu religion from 1980, which is Society) and a year later, came under the tutelage of Dr Bhagirathi why he and his sons have Indian names. It's part of his philosophy to Yerramilli, who took it as a challenge to teach the Chinese aspirant, embrace Indian culture, from its religion to its music and food. Both who did not understand any language of India. brothers started learning Indian music instruments from their childhood. Krishna dasa Tan Guo Ming started learning Sitar when Leon's thirst and search for Indian musical knowledge subsequently he was 10, and his brother Radha Govinda Dasa Tan Guo Jun started took him to India, where he understood the country's rich culture, with the Tabla when he was 12. This duo is now giving more than 100 traditions, customs and habits. As a music student in Indian attire, he performances per year and frequently featuring in the Chinese was able to learn as much outside the classroom as he did inside it. He media. They won the 2002 National Indian Music Competition open has 15 stage performances to his credit, with the 'Margazhi Music category playing the sitar while his younger brother Govind, at the Festival' held every year in Chennai as a highlight in his musical age of 18, won the same National Arts Council competition in 2006 in career. Another feather in his cap came in 2006 when he began to the Tabla category. Mr Tan himself plays a range of musical study for a degree in music at Madras University. Serving a Civil instruments - from the Sitar to the Tabla of India and Chinese Defence Force (SCDF) as the Chief Paramedic for Emergency instruments like Pipa to Guzheng. Both are now very popular Ambulance Service in the rank of a Lieutenant, he noted that his work performers of Global music platforms. Both are visiting India trained his mind and body to harmonize, while the sound and frequently to update their skills and to repair and purchase Indian ecstasy of music helped him music instruments. to overcome challenges in his profession. India- China co-operation concerts In recent days cooperation concerts with fusion music drift is rapidly developing in China and East Asian countries. India and China is mingling to produce new variety of fusion music to the audience and it is getting huge reception. The popular Northcote Uniting Church of Australia arranged for beautiful music feats of Indian and Chinese Leon low receiving a memento from flute maestro Dr. Ramani fusion music programme on 2011. The concert featured Mindy

130 131 J. Sankar Ganesh Performing Arts: A perfect pivot for furtherance of India-China cultural relations

Mang Wang on Guzheng, Vinod Prasanna playing bansuri flute and Liu described this concert as an India- China co-operation concert. Glen Kniebeiss on tabla. The mingling of instruments belong to two Being a popular artist of China and a professor she praised Mandolin huge traditions was well appreciated and well received. Fusion of Srinivas as a very excellent musician. Liu yuening appreciated the traditional music concerts is arranged in International platforms to concert idea and recommended for more concerts in the same highlight the traditional music of both the countries. category. Thus the person to person contact, which is the spinal cord of cultural exchange, is enhanced among the artists. A performing artist is capable to impress thousands of audience at once and it is easy to develop proximity among people through such concerts. Conclusion Maintaining good relationship with other nations becomes a crucial requirement for a country like India which is undergoing rapid development. International relations are maintained through multifaceted activities like sports, summits, industrial collaborations and business conferences. Among the existing practices, cultural A remarkable concert of Indian and Chinese classical music was exchange programs are more prolific and successful in maintaining arranged in Singapore on Friday night, reverberating to the city- international relations. Cultural relations and exchange programs state's reputation as a host to diverse cultures. Starring with India's are repeatedly discussed in regional, national and international U. Srinivas with his mandolin and China's Liu Yuening with her platforms on various distinctive themes and modes. According to the yangqin, also called the Chinese piano, the concert was a blend of Indian embassy in Beijing, only a few person are involved in instrumental music from the two ancient civilizations. Srinivas held propagating and promoting Indian performing art forms in China the centre-stage, while both he and Liu displayed their through conducting classes in Indian Embassy. But it is imprecise individualistic styles. The others in the team were Vijay Ghate (tabla), that how far these immense multifaceted and intangible cultural Selvaganesh (kanjira), both from India, besides Zhu Lin and Wang Yi traditions of India can be manifested and popularized by only a few Jen, both from the Singapore Chinese orchestra. The event was in a gigantic country like China. The urge for gaining benefits in the organized by the Singapore-based Arte Compass. label of cultural exchange programs resulted in such negligence or giving least importance to the most important aspect, namely, performing art forms in the cultural exchange activities with China. Performing arts including Dance and music play a significant role in promoting peace and harmony among the nations. Performing arts are the wonderful medium gifted by God to the humanity for developing mutual understanding. The exchange of performing art forms and artists is vital in further strengthening develop cultural exchange programmes and bringing societies closer. It is sad beyond measure that this area is still neglected. It is time that performing art forms were given their due in the cultural exchange programmes. Mandolin Srinivas of India and Liu Yuening with her yangqin from China A minimum of one trained personal to represent one performing art form of India is a necessity to popularize and showcase our cultural heritage and strength in China. Performing art forms serve the

132 133 J. Sankar Ganesh Performing Arts: A perfect pivot for furtherance of India-China cultural relations

Mang Wang on Guzheng, Vinod Prasanna playing bansuri flute and Liu described this concert as an India- China co-operation concert. Glen Kniebeiss on tabla. The mingling of instruments belong to two Being a popular artist of China and a professor she praised Mandolin huge traditions was well appreciated and well received. Fusion of Srinivas as a very excellent musician. Liu yuening appreciated the traditional music concerts is arranged in International platforms to concert idea and recommended for more concerts in the same highlight the traditional music of both the countries. category. Thus the person to person contact, which is the spinal cord of cultural exchange, is enhanced among the artists. A performing artist is capable to impress thousands of audience at once and it is easy to develop proximity among people through such concerts. Conclusion Maintaining good relationship with other nations becomes a crucial requirement for a country like India which is undergoing rapid development. International relations are maintained through multifaceted activities like sports, summits, industrial collaborations and business conferences. Among the existing practices, cultural A remarkable concert of Indian and Chinese classical music was exchange programs are more prolific and successful in maintaining arranged in Singapore on Friday night, reverberating to the city- international relations. Cultural relations and exchange programs state's reputation as a host to diverse cultures. Starring with India's are repeatedly discussed in regional, national and international U. Srinivas with his mandolin and China's Liu Yuening with her platforms on various distinctive themes and modes. According to the yangqin, also called the Chinese piano, the concert was a blend of Indian embassy in Beijing, only a few person are involved in instrumental music from the two ancient civilizations. Srinivas held propagating and promoting Indian performing art forms in China the centre-stage, while both he and Liu displayed their through conducting classes in Indian Embassy. But it is imprecise individualistic styles. The others in the team were Vijay Ghate (tabla), that how far these immense multifaceted and intangible cultural Selvaganesh (kanjira), both from India, besides Zhu Lin and Wang Yi traditions of India can be manifested and popularized by only a few Jen, both from the Singapore Chinese orchestra. The event was in a gigantic country like China. The urge for gaining benefits in the organized by the Singapore-based Arte Compass. label of cultural exchange programs resulted in such negligence or giving least importance to the most important aspect, namely, performing art forms in the cultural exchange activities with China. Performing arts including Dance and music play a significant role in promoting peace and harmony among the nations. Performing arts are the wonderful medium gifted by God to the humanity for developing mutual understanding. The exchange of performing art forms and artists is vital in further strengthening develop cultural exchange programmes and bringing societies closer. It is sad beyond measure that this area is still neglected. It is time that performing art forms were given their due in the cultural exchange programmes. Mandolin Srinivas of India and Liu Yuening with her yangqin from China A minimum of one trained personal to represent one performing art form of India is a necessity to popularize and showcase our cultural heritage and strength in China. Performing art forms serve the

132 133 J. Sankar Ganesh Performing Arts: A perfect pivot for furtherance of India-China cultural relations purpose of developing proximity among people of both countries. It 7. Prajnananda Swamy, Music of the Nations - A comparative study, is the responsibility of both Governments to take necessary measures (Munshiram Manoharlal publishers Pvt.Ltd, New Delhi, 1973 & to increase the percentage of involvement of Performing arts in R.P.2002). bilateral cultural exchange programs and it is important to exhibit all 8. Derek Lin (1998), Thousand-Hand Guan Yin, True Tao Home page (1998- varieties of intangible cultural heritages of both nations. Earlier 2014), www.truetao.org/guanyin Chinese came to India through Silk route for business and also they 9. Manisha pande, “Meet the Chinese who have been learning Kathak in learned many Indian art forms which is evident through the Beijing for five years and hopes to add Odissi to her repertoire,” DNA, similarities found in many art forms of China. But now very few 20 October 2013. performing art forms of India are exposed and given opportunity to 10. “Bharatnatyam gaining popularity in China,” The Hindu, August 2007. conduct workshops and coaching classes in China. This situation Sheela Narayan, Tabla, sitar... Tans play both, Asia one News, 19th November 2010. http://news.asiaone.com/News/AsiaOne+News/ should be improved by involving all performing art forms to conduct Singapore/Story/ A1Story20101119-248133.html. workshops and coaching classes. The strength of India lies in 11. P. S. Suryanarayana, “India-China classical music concert hosted in incredible cultural Heritage and it has to gear up in full spirit through Singapore,” The Hindu, 30 January, 2011. various performing art forms to win hearts of the Chinese people. Closeness among the people of both the countries will disputes 12. Li Anlan (2013) Buddhist music a universal language, Shanghai Daily, 01st February, 2013.http://english.people.com.cn/90782/8117661.html abscond and performing art forms are the perfect pivot for bringing hearts of the people closer. Clear the clouds of mistrust and 13. Gunde, Richard, Culture and Customs of China, Greenwood Press, 2002. misunderstanding and promote mutual appreciation and mutual 14. Lau, Frederick, Music in China, (Oxford University Press, 2007), pp. 30-34 respect among the peoples of India and China.

References: 1. Embassy of India, Beijing, China, Cultural Relations between India and China: The Tradition of Continuity, January 2014 http://www.indian embassy.org.cn/Dynamic Content.aspx?enuId =4&SubMenuId=0. 2. Zehou Li, The Chinese Aesthetic Tradition, (Translation Maija Bell Samei), University of Hawaii Press 2009. p. 5. 3. Wang Kefen, The History of Chinese Dance, (China Books & Periodicals, 1985), p. 8. 4. City University of Hong Kong, China: Five Thousand Years of History and Civilization, (City University of Hong Kong Press, 2007), p. 454. 5. Zi Yun, “The origin and evolution of Chinese dance,” The Epoch Times, 7 March 2007. 6. Ananth krishnan, “Beijing sway to Bharatanatyam,” The Hindu, 3 February 2013.

134 135 J. Sankar Ganesh Performing Arts: A perfect pivot for furtherance of India-China cultural relations purpose of developing proximity among people of both countries. It 7. Prajnananda Swamy, Music of the Nations - A comparative study, is the responsibility of both Governments to take necessary measures (Munshiram Manoharlal publishers Pvt.Ltd, New Delhi, 1973 & to increase the percentage of involvement of Performing arts in R.P.2002). bilateral cultural exchange programs and it is important to exhibit all 8. Derek Lin (1998), Thousand-Hand Guan Yin, True Tao Home page (1998- varieties of intangible cultural heritages of both nations. Earlier 2014), www.truetao.org/guanyin Chinese came to India through Silk route for business and also they 9. Manisha pande, “Meet the Chinese who have been learning Kathak in learned many Indian art forms which is evident through the Beijing for five years and hopes to add Odissi to her repertoire,” DNA, similarities found in many art forms of China. But now very few 20 October 2013. performing art forms of India are exposed and given opportunity to 10. “Bharatnatyam gaining popularity in China,” The Hindu, August 2007. conduct workshops and coaching classes in China. This situation Sheela Narayan, Tabla, sitar... Tans play both, Asia one News, 19th November 2010. http://news.asiaone.com/News/AsiaOne+News/ should be improved by involving all performing art forms to conduct Singapore/Story/ A1Story20101119-248133.html. workshops and coaching classes. The strength of India lies in 11. P. S. Suryanarayana, “India-China classical music concert hosted in incredible cultural Heritage and it has to gear up in full spirit through Singapore,” The Hindu, 30 January, 2011. various performing art forms to win hearts of the Chinese people. Closeness among the people of both the countries will disputes 12. Li Anlan (2013) Buddhist music a universal language, Shanghai Daily, 01st February, 2013.http://english.people.com.cn/90782/8117661.html abscond and performing art forms are the perfect pivot for bringing hearts of the people closer. Clear the clouds of mistrust and 13. Gunde, Richard, Culture and Customs of China, Greenwood Press, 2002. misunderstanding and promote mutual appreciation and mutual 14. Lau, Frederick, Music in China, (Oxford University Press, 2007), pp. 30-34 respect among the peoples of India and China.

References: 1. Embassy of India, Beijing, China, Cultural Relations between India and China: The Tradition of Continuity, January 2014 http://www.indian embassy.org.cn/Dynamic Content.aspx?enuId =4&SubMenuId=0. 2. Zehou Li, The Chinese Aesthetic Tradition, (Translation Maija Bell Samei), University of Hawaii Press 2009. p. 5. 3. Wang Kefen, The History of Chinese Dance, (China Books & Periodicals, 1985), p. 8. 4. City University of Hong Kong, China: Five Thousand Years of History and Civilization, (City University of Hong Kong Press, 2007), p. 454. 5. Zi Yun, “The origin and evolution of Chinese dance,” The Epoch Times, 7 March 2007. 6. Ananth krishnan, “Beijing sway to Bharatanatyam,” The Hindu, 3 February 2013.

134 135