(Minghui.org) A wave of traditional music has recently emerged in China, but most of it was composed and performed by Japanese artists.
One example is “The Original Scenery of Hometown” from Japanese ocarina master Sojiro (the ocarina is a wind instrument). The music transports the listener from the bustling modern world and evokes images of elegant landscape paintings. Listening to this music I recall my hometown, including the quiet mountains, gurgling water, and a gentle breeze blowing through the willows...
“Palace Memories” from S.E.N.S. (Akihiko Fukaura and Yukari Katsuki) was the first soundtrack from NHK’s 1996 TV large-scale documentary Forbidden City. Many feel the music is magnificent. The rhythms of traditional Chinese percussion instruments such as drums, cauldrons, and chimes are deeply touching. As the music unfolds, the Forbidden City’s imposing palace gates, golden glazed tiles, and vermilion palace walls seem to be right in front of you.
“Dawn of Hero” is the opening song composed by renowned Japanese musician Yokoyama Seiji for the movie Romance of the Three Kingdoms. The music uses Chinese classical instruments such as erhu, guzheng, and pipa, with the main melody played by the erhu. The music expresses the chaos in the late Eastern Han Dynasty, when people called for heroes. The music not only shows the heroes’ courageous spirit, but also the tenderness of these iron men, and gives people a sense of tragedy.
“The Great Wall” is an interlude composed by Michihiko Ohta for the Japanese “Cooking Master Boy” anime series. The music is magnificent, and the style is elegant and melodious. It has both a heavy sense of history and classical charm. Riding on the wings of music, China’s majestic Great Wall stands before you.
There are other noteworthy Japanese melodies, such as “Seven Swords’ Victory” by Toshihiko Sahashi, “Awakening” by Toshihiko Sahashi, “Long Journey” by Kiyoshi Yoshida, “Street Where Wind Resides” by Yukiko Isomura, “The Prayer Of Thousand Years” by Himegami, “Silk Road” by Kitaro, and “A Sea of Clouds in the Moonlight” as well as “Silent Love (Forever)” by Joe Hisaishi. This music covers a wide range of themes and styles. They are often used as background music in film and television works, and many Chinese people praise them.
The Chinese Music Industry’s Issues
Why can’t musicians in China produce equally great melodies? There are several reasons.
Loss of Traditional Culture
Chinese traditional culture is extensive and profound, and had a far-reaching impact on Japan, South Korea, Hong Kong, Taiwan, and other places. Many aspects of Japanese culture echo China’s—in particular China’s Tang Dynasty: Chinese medicine, Go, swordsmanship, the tea ceremony, and so on.
But after the Chinese Communist Party’s (CCP) numerous political movements, especially the Cultural Revolution, cultural relics and historical sites were almost completely destroyed; the graves of historical figures were nearly dug up, and traditional culture was completely wiped out. In it’s place the CCP imposed Party culture. If Chinese people talked about religion, gods, or Buddhas, they were accused of being superstitious; if they mentioned morality or traditional culture, they were accused of being feudal. In contrast, “Kyara” from S.E.N.S., the 3rd soundtrack from NHK documentary The Silk Road of the Sea, gives people a feeling of being in a Buddhist temple.
Lack of Independent Thinking
In order to create a good piece of music, there must be a good creative environment, including open-mindedness and creative freedom.
Under the CCP’s rule where “politics are in command,” there are many taboos if one wants to create literary or artistic works. Political songs that praise the CCP are popular, such as “Party, My Dear Mother.” Countless other songs from different periods praise the CCP. “The East is Red” was originally a northern Shaanxi folk song, but was altered by the CCP to praise Mao Zedong, and was later made into a large-scale musical, but the message from beginning to end was, “Kill!”
In Japan, no one restricts people’s thoughts or interferes with creative freedom. Thus, this relaxed environment nurtures numerous world-renowned musicians who create excellent works.
Low Moral Character
Music is a reflection of the human soul, and good music is uplifting. People with low moral character have limited ability to create uplifting artworks.
The CCP has systematically destroyed traditional Chinese culture to deliberately lower Chinese peoples’ moral standards.
A man from another country who visited China during the Cultural Revolution wrote in his memoirs, “The loudspeakers in the square played the song ‘When the potatoes are cooked, add beef and no need to fart.’...” He was surprised. How could such a vulgar song be played non-stop on a loudspeaker?
In a recent example, Yan Jingming, vice chairman of the China Writers Association, reviewed the movie Ne zha 2, and said the movie was very vulgar—including the Yuxu Palace toilets used as tableware, and so on. He pointed out that this damages the beauty of traditional culture and tarnishes mythology.
His review attracted a flood of criticism and online abuse. Let’s think about what the CCP did to the Chinese mindset. Nezha, a classic mythological figure, is now portrayed as a demon child. China, which was once a country of etiquette and self-restraint, has become a cesspool.
When morality is corrupted, everything becomes bad, including music. Most songs in China now are vulgar. How can they give people a sense of beauty?
Perfection Requires Patience
Another prominent trait of people who were raised in CCP culture is impatience.
Sojiro first heard the ocarina in 1975, and decided to learn how to play it. He studied the instrument, then designed a model. He searched for clay, made his own instrument, and conducted repeated experiments to perfect the sound—often spending 16 hours a day making the ocarina. After the flute was fired, it was smoked black, polished, and finally tuned—each step took a week or two. He devoted all his efforts to making the ocarina.
From 1975 to 1985, after releasing his first CD, Sojiro made more than 10,000 ocarinas, but he only used twelve of them.
Shen Yun Brings Hope
But Japanese people are not Chinese, and their understanding of China is indirect. If China’s traditional culture is to be truly revived, the Chinese must do it.
In 2006, a group of overseas Chinese artists took as their mission reviving traditional Chinese culture and founded the Shen Yun Performing Arts Company in New York, USA. The company’s members adhere to the principles of Truthfulness, Compassion, and Forbearance. While improving their artistic skills, they also improve their moral standards and spiritual realm. They launch a new set of programs every year and tour around the world. Whether it’s music, dance, costumes, the dynamic backdrop, or the content of the performances, the program is pure, traditional Chinese culture, without a trace of CCP culture.
Shen Yun musicians skillfully combine traditional Chinese instruments, such as gongs and drums, erhu, pipa, wooden fish, and guzheng, with Western instruments using Western harmony techniques, to showcase traditional Chinese melodies. Shen Yun also revived the traditional bel canto singing method.
Each piece of music touches the heart, and people remember it. People praise it, and some say, “It comes from heaven,” “It has a strong energy,” and, “It’s amazing.”
When the curtain opens on Shen Yun’s program, a gong sounds, and majestic music sounds. The audience is transported to scenes of China’s 5,000-year old civilization. Many audience members say they are moved to tears, or that the wonderful feeling is hard to describe in human language.
Shen Yun has traveled the world. Unfortunately, Shen Yun has not yet been performed in China, but many Chinese who have seen the performances say they look forward to the day when Shen Yun and classical Chinese culture return to China.
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