Offener Kalligrafie-Kurs
Tauchen Sie ein in die Welt der chinesischen Kalligrafie!
Die Kunst der Kalligrafie ist ein wichtiger Bestandteil der kulturellen Tradition Chinas: Im chinesischen Kaiserreich zählten Pinsel, Tusche, Tuschereibstein und Papier zu den „Vier Schätzen des Gelehrtenzimmers“ (文房四宝). Das künstlerische Schreiben mit Pinsel und Tusche ist meditativ und regt Körper und Geist gleichermaßen an.
Der Kursleiter
Zhang Zhenran, geboren in Shanghai, arbeitet im Kulturbereich für das Kurpfälzische Museum in Heidelberg. Seine Arbeiten zu chinesischer Kalligrafie und Malerei wurden sowohl in China als auch in Deutschland ausgestellt sowie als Buchillustrationen veröffentlicht.
International Graduate Student Conference 2023
International Graduate Student Conference
“Flows and Circulations – Agents, Narratives, Institutions: A Transcultural Perspective”
流动与交通——行动者、叙事、建制：跨文化的视角
For the first time since the cooperation between Heidelberg University and Shanghai Jiao Tong University began more than 10 years ago, the Center for Asian Studies and Transcultural Studies (CATS), the Confucius Institute at Heidelberg University (CIHD), and the School of Humanities at Shanghai Jiao Tong University (SJTU) hosted an International Graduate Student Conference in November 2022.
Six young scholars from each of the two universities – master’s and doctoral students – presented their research in twenty-minute online presentations, which were then discussed in plenary sessions. The broad spectrum of topics covered Chinese and German poetry, visual arts, Buddhism, Chinese history and history didactics, science fiction literature, as well as production and reception aesthetics of historical newspaper advertising and contemporary computer games. The two best papers were awarded the “Sheng Sheng 生生 Best Student Paper Award”, which was endowed with 3,000 RMB each.
After the great success of the first workshop in 2022, CATS, SJTU and CIHD are happy to announce that a joint International Graduate Student Conference will be held again on November 16-17, 2023 in order to promote the academic exchange between the School of Humanities, Shanghai Jiao Tong University, and Centre for Asian and Transcultural Studies (CATS), Heidelberg University.
| Day 1 Moderator: Petra Thiel |
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9:15-9:25 / 16:15-16:25 | OPENING SPEECH | Petra Thiel |
9:25-10:00/16:15-17:00 | Lennart Riedel, University of Heidelberg ______________________________ Contemporary Literature between Harmony and Dissonance - Reframing China's Present with China's Past | Respondent: Shi Donglai |
10:00-10:35 / 17:00-17:35 | Chen Peiheng (陈沛亨） Shanghai Jiao Tong University ______________________________ A Corpus-based Critical Discourse Analysis of News Reports on the Dissemination of Chinese Traditional Festival Culture | Respondent: Sara Landa |
BREAK |
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10:45-11:20/17:45-18:20 | Yawen Hu, University of Heidelberg ______________________________ Transclutural Placemaking, Mobility, and Identities In-Between: Socialist Migrant Workers and Their Transcultural Lives in Luoyang | Respondent: Yu Qiong |
11:20-11:55/18:20-18:55 | Liu Tongyang, Shanghai Jiao Tong University ______________________________ The Plant Migration: Eco-colonialism and Internal Orientalism in the Kudzu Metaphor | Respondent: Petra Thiel |
BREAK |
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12:05-12:40/19:05-19:40 | Olivia Wenzel, University of Heidelberg ______________________________ Medicine, Mobility, and Modernization: The pio-neering lives of two medical haigui–students in 1920s Heidelberg | Respondent: Ren Yi, Ding Yijun |
12:40-13:15/19:40-20:15 | Tang Yan （唐艳）, Shanghai Jiao Tong University ______________________________ "Tong Meng": Ignorant but not Imbecilic, Childish but not Weak – On the Origin of the Character "Meng" and philosophical interpretation | Respondent: Petra Thiel |
| Day 1 Moderator: Li Juan |
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9:15-9:20/ 16:15-16:20 | SUMMARY |
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9:20-9:55/ 16:20-16:55 | Jonas Schmid, University of Heidelberg ______________________________ Transcultural History Teaching: Flows and Circulations on the Silk Road(s) | Respondent: Guo Liandong |
9:55-10:30/ 16:55-17:30 | Wei Enze （魏恩泽）, Shanghai Jiaotong University ______________________________ POUVOIR-EN-COMMUN, Ricoeur’s transforma-tional account on Arendt’s political ontology to re-locate community as a transcendental one | Respondent: Cai Wenjing |
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10:40-11:15/ 17:40-18:15 | Suk Man YIP （葉淑敏）, University of Heidelberg ______________________________ When James Bond Converts into Iron Guanyin: Exploring Shaw Brothers’ Angel Strike Again (1968) and the Political Metaphor Inside | Respondent: Wang Yuping |
11:15-11:50 / 18:15-18:50 | Yao Shun （姚舜）, Shanghai Jiaotong University ______________________________ To Imagine Southeast Asia in Chinese Cinema | Respondent: Barbara Mittler |
11:50-12:25 / 18:50-19:25 | Chang Ming Ly, University of Cologne ______________________________ Multisensory impact-aesthetics of video games: Images of China in Videogames | Respondent: Huang Yuanfan |
12:25-12:35 / 19:25-19:35 | ANNOUNCEMENT OF "SHENG SHENG AWARD" WINNERS |
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Digital Dialogue: With Jun.-Prof. Dr. Jacqueline Lorenzen (Bonn) and Prof. Michael Shiyung LIU (Shanghai)
The Digital Dialogue was co-organized by the Heidelberg “Epochal Lifeworlds” Team and the Confucius Institute at Heidelberg University with its partner university, Shanghai Jiao Tong University. Jacqueline Lorenzen, who held the Argelander Professorship for the Law of Sustainability and Ecological Transformation at the University of Bonn, and Shih-Yun LIU, Distinguished Professor in the Department of History at Shanghai Jiao Tong University, engaged in a dialogue to discuss legal as well as justice issues related to sustainability and ecology from an administrative and historical perspective.
Legal questions of international, inter- and intragenerational justice in climate protection policy
Abstract: In view of the politically and socially highly controversial so-called German Heating Act, the question of social compensation mechanisms as well as that of distributive justice in the context of climate protection measures is increasingly coming to the fore. I would therefore like to discuss the extent to which state actors are obliged to establish inter- and intragenerational justice on the one hand, but also international justice on the other and by means of which instruments this justice can be implemented.
About the speaker: Jacqueline Lorenzen is Argelander Junior Professor for the Law of Sustainability and Ecological Transformation at the University of Bonn. She studied law at the University of Heidelberg, where she also received her PhD. Before taking up her position at Bonn University, she worked as a research assistant at the University of Heidelberg and was part of the research network „Rethinking Environment“ in which the Heidelberg worldmaking team is also participating. Currently, she is particularly devoted to juridical questions of sustainable city planning and development and addresses problems within the dynamic Climate Change Law from an international, European and national perspective. Current publications are, for example, Natürlicher Klimaschutz in der Stadt – Handlungsfelder, Instrumente und Herausforderungen (Deutsches Verwaltungsblatt 2023, 398–406); Staatsziel Umweltschutz, grundrechtliche Schutzpflichten und intertemporaler Freiheitsschutz in Zeiten der Klimakrise (Verwaltungsblätter Baden-Württemberg, 2021, 485–494).
Eco-civilization and -justice in Chinese culture
Abstract: Environment has been translated to “环境huanjing” in Chinese, a term of Chinese characters learned from Japanese “kankei” in Meiji period. However, it may not mean ancient Chinese had no ideas of natural surroundings and its protection. I would like to discuss the possibility how to covert the traditional Chinese norms in protecting environment to modern social values and maybe, the legal infrastructure too.
About the speaker: Michael Shiyng LIU is Distinguished Professor in the Department of History, Shanghai Jiao Tong University, and Global Professor at the Asian Studies Center, University of Pittsburgh. He received his PhD in 2000 from the University of Pittsburgh. His research focuses on environmental history and the history of medicine. He was professor at the Institute of Taiwan History, Academia Sinica. He is the author of Prescribing Colonization: The Role of Medical Practice in Japan-Ruled Taiwan, 1895-1945 (Ann Arbor, MI: AAS, 2009), “Eating Well for Survival: Chinese Nutrition Experiments during the Second World War,” in Angela Ki Che Leung et al. eds., Moral Foods: The Construction of Nutrition and Health in Modern Asia, (Hawaii: University of Hawaii Press, 2019), “Transforming Medical Paradigms in 1950s Taiwan,” East Asian Science, Technology and Society 11 (4): 477-497 (2017), and other related publications.
How the Wild Changed Me – a Philosophical Journey LUNG Ying-Tai in Conversation with Barbara Mittler and Monika LI (translator)
Talk in English, reading in German.
Diese Veranstaltung findet in Kooperation mit dem 9. Literaturherbst Heidelberg, CATS und der National Central Libary statt.
An unsuccessful writer is sent by her Buddhist master to the foot of Mount Kavulungan in southern Taiwan for two years so that her restless nature can find peace there while observing nature, people and animals. When she meets a mysterious fourteen-year-old girl, she embarks on an adventure to the mysteries of Mount Kavulungan, the namesake mountain of Taiwanese author Lung Ying-Tai’s most recent book release. In 84 episodes, she tells a ghost story, a crime story, a love story, and more, taking her readers on a philosophical journey that leads into Taiwan’s nature, history, traditions, and society. In conversation with Barbara Mittler (Centre for Asian and Transcultural Studies, Heidelberg University) and Monika LI (translator), Taiwan’s most famous author will discuss her socially critical reflections on zeitgeist, experiences of lifeworlds as well as her own biographical journey and the multiple roles of an author in contemporary Taiwan. Traditionally, Chinese intellectuals have taken several possible positions, that of serving the country/ruler as a chenshi 臣仕/guan官; that of critiquing the ruler directly, from outside the bureaucracy or from inside, as the official censor (who may then be risiking to lose his job, thus being/becoming the “pure official” qingguan 清官) and, thirdly, that of the critic from afar—only seemingly a “silent loner”—who is so abominated by the abuses of power that he is no longer willing to “wag his tail in human dirt,” a metaphor from Zhuangzi, a famous Chinese philosopher who lived around the 4th century BCE. Lung Ying-Tai has taken on all three of these positions, and with her latest book—which will be the basis for the conversation and from which we will hear excerpts—moved from enfant terrible to minister to become the “silent loner”: Why?
LUNG Ying-Tai is one of Taiwan’s most renowned essayists and cultural critics, whose writing significantly contributed to Taiwan’s democratization. In the 1990s she taught Taiwanese literature and Culture in Heidelberg. She served as Taiwan’s first Minister of Culture (2012-14) and subsequently taught at the University of Hong Kong from where she resigned in 2019. With more than 30 published works (many of which censored, but, nevertheless, well known in the People’s Republic of China), she is considered the most well-known author in the Chinese speaking world.
Barbara Mittler studied Sinology, Musicology and Japanese in Oxford, Taipei and Heidelberg. Since 2004 she has been Professor of Sinology in Heidelberg, where she co-founded the Cluster of Excellence “Asia and Europe in a Global Context” (from 2007) and, building on this, the Center for Asian Studies and Transcultural Studies (CATS, opening 2019). Her research focuses on Chinese cultural politics, with work on Chinese music, the early press, the Cultural Revolution, and image and text in the formation of cultural memory, among others. In 2000 she was awarded the Heinz Maier-Leibnitz Prize, in 2002-2004 she was a Heisenberg Fellow, in 2009 she received the Henry Allen Moe Prize in the Humanities, and in 2012 the Fairbank Prize for her book on the Chinese Cultural Revolution. She has been a member of the Leopoldina – National Academy of Sciences since 2008, and of the Heidelberg Academy of Sciences since 2013. As a fellow and visiting professor, she has stayed at the Academia Sinica in Taiwan, at the Humanities Center of Stanford University, and at EHESS in Paris. She is currently leading two projects, the China-School-Academy, a project of the German Federal Ministry of Education and Research, which produces teaching and learning materials for school subject teaching on China (https://www.china-schul-akademie.de/), and the Heidelberg part of the BMBF Collaborative Research Center on Epochal Lifeworlds, which, together with international fellows, investigates the interplay of humans, nature, and technology in moments of “collapse” and the “critical transitions” that characterize historical epochs.
Monika LI grew up bilingual – German and Hungarian – and studied German, philosophy and sinology in Heidelberg. She first came to Taiwan in 2009 as a scholarship holder at the National Taiwan University. She lives with her family in Berlin and Taipei, where she translates Taiwanese literature into German.
Artificial Intelligence, Virtual Realities, and Disrupted Futures – Literary Visions of Chinese Science-Fiction
Diese Veranstaltung fand in Kooperation mit dem 9. Literaturherbst Heidelberg statt.
Mit freundlicher Unterstützung des Center for Language Education and Cooperation (CLEC) in Peking.
In Mumbai, a teenage girl rebels because Artificial Intelligence (AI) gets in the way of her love interest. In South Korea, two students create avatars of their teachers. In Munich, a quantum computer scientist’s plan for revenge threatens the world. These speculative scenarios were published in the prize-winning book AI 2041: Ten Visions For Our Future (German title: KI 2041: Zehn Zukunfsvisionen) written by AI-expert Kai-fu LEE and science-fiction author CHEN Qiufan.
In this book, CHEN and LEE address the effects of artificial intelligence on people’s everyday lives as we are more and more getting used to self-learning software programs, such as chatbots, digital assistants and navigation systems, controlling our lives, with artificial intelligence thus becoming more and more decisive for many areas of our future. At the same time, our future has never felt so uncertain with the climate crisis, wars and global geopolitical power shifts threatening our freedom. How will artificial intelligence have changed our lives in twenty years? And what perspectives do science-fiction and speculative literature offer us in imagining our future with AI? We will approach and discuss these and further questions in a conversation with CHEN Qiufan and by readings of selected texts by the author.
CHEN Qiufan is an award-winning science fiction author, translator, creative producer, curator and Board Member of the World Chinese Fiction Association. His novel The Waste Tide was published in German translation in 2019 by Heyne under the title Die Siliziuminsel (translation: Marc Hermann). A selection of his short stories has been published in different German science fiction anthologies. A collection of texts on the future use of artificial intelligence by Chen Qiufan and AI-expert Kai-fu Lee was published by Campus in 2019 under the title KI 2041: Zehn Zukunftsvisionen. The book won the German Business Book Prize (Deutscher Wirtschaftsbuchpreis) in 2022.Chen is the founder and COO of the content production studio Thema Mundi and lives in Beijing and Shanghai.
Petra Thiel studied Modern Sinology, Romance Studies and Religious Studies in Heidelberg and Shanghai. Her PhD thesis focuses on gender and the contemporary coming of age novel in China and in global contexts. She is the Director of the Confucius Institute at Heidelberg University.
Worin noch niemand war – Rurale Räume im interkulturellen Vergleich – Lesung mit LUO Lingyuan
Wissenschaftliche Tagung an der Universität Heidelberg (Hybrid-Format)
Seit etwa zehn Jahren entwickelt sich in Deutschland eine ‚Neue Regionalliteratur‘, die den Gegensatz von Stadt vs. Land bzw. Dorf in neuer Weise thematisiert: Weder zeigt sie die heilende Landschaft, in die sich verletzte Zivilisationsmüde zurückziehen, noch den Aufbruch in den sozialistischen Musterdörfern oder die hintergründige Gewalttätigkeit bäuerlichen Lebens in der Provinz. Stattdessen ist diese Literatur – darunter so erfolgreiche Texte wie der mit dem Deutschen Buchpreis ausgezeichnete Roman Vor dem Fest (2014) von Saša Stanišić oder Juli Zehs Unterleuten (2016) – eng verzahnt mit den Diskursen der Soziologie, Stadtplanung und Regionalgeschichte. Beobachten lassen sich v.a. neue Raumtypen, die als Folge eines gewollten Strukturwandels entstanden sind. Durch die Verschränkung städtischer und ländlicher Strukturen entstehen Übergangsbereiche zwischen Land bzw. Dorf und Stadt, die die Vorstellung vom Land bzw. seiner Besiedlungsform Dorf als geschlossenem, naturnahen Gefühlsraum verändern. Zweifelsohne vollzieht sich ein Wandel in dieser Lebenswelt, in der weiterhin etwas gesucht wird, das – um Ernst Blochs berühmtes Zitat aufzunehmen – „allen in die Kindheit scheint und worin noch niemand war […].“
Die Konzeption dieser Konferenz wollte über eine literarische Bestandsaufnahme hinausgehen und ausgreifen auf die sich seit den 1960er Jahren vollziehenden sozialhistorischen und ökonomischen Veränderungen zwischen Stadt und Land. Ziel war es, Bausteine für eine Phänomenologie des sozialen Wandels zusammenzutragen. Insbesondere der vergleichende Ansatz sollte länderspezifische Besonderheiten als auch gesellschaftsübergreifende Gemein-samkeiten sichtbar machen. Der Fokus lag dabei auf problemorientierten Vorträgen, die jeweils einen Ausblick auf zu erwartende Entwicklungen erlauben.
Der Konferenztag schloss mit der Lesung der chinesisch-deutschen Autorin LUO Lingyuan (Berlin). Sie erlebte ihren ersten Erfolg 2007 mit einem Erzählband (ausgezeichnet mit dem Adelbert-von-Chamisso-Förderpreis), in dem eine Beschreibung dörflichen Lebens in China enthalten war: Du fliegst jetzt für meinen Sohn aus dem fünften Stock! Sie laß einen unveröffentlichten Text zum Thema der Konferenz vor und führte anschließend ein Podiumsgespräch. Mit der Lesung sollte die besondere Rolle der Erzählliteratur, die historische Veränderungen eindrücklich in den gesellschaftlichen Diskurs einschreiben und so in Erinnerung halten kann, in die Praxis der Konferenz eingeholt werden.
Konferenz-Programm
Donnerstag, 05. Oktober 2023 |
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Sektion 1: raum und Biographie als Instanzen des Wandels |
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| 10.00-10.30 | Gertrud Maria RÖSCH (Heidelberg) Eröffnung |
| 10.30-11.00 | Thomas DÖRFLER (Jena): Vom Land in die Stadt und zurück. Die Wohn- und Arbeitspräferenzen der Wissensgesellschaften im Epochenumbruch |
| 11.00-11.30 | Gertrud Maria RÖSCH (Heidelberg): Lob des Herkommens. Erinne-rungen an ein Aufwachsen auf dem Land in der Gegenwartsliteratur |
| 11.30-12.00 | YANG Zhijun (Shanghai): Zur Inkarnation des ländlichen Raums in der anti-idyllischen Heimatliteratur Österreichs |
| 12.00-13.30 | Mittagspause |
Sektion 2: Der ländliche raum in der Literatur Präsenz und Digital |
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| 13.30-14.00 | LIU Dongyao (Beijing): Vom Dorf zur Welt – Land und Stadt bei Fried-rich Dürrenmatt |
| 14.00-14.30 | LIU Yang (Chongqing): Zur wissenschaftlichen Konstruktion des rura-len Raums in Adalbert Stifters Der Nachsommer. |
| 14.30 – 15.00 | Bernd ZEGOWITZ (Frankfurt): Der wilde Osten. Karl Mays Erzgebirgi-sche Dorfgeschichten |
| 15.00 – 15.30 | TAN Yuan (Wuhan): Der goldne Spiegel und die orientalischen Erzählungen in der Literatur der Aufklärung. |
Abschluss-Diskussion, danach Pause |
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| 20.00 | Lesung mit LUO Lingyuan (Berlin) Präsenz und Digital, Center for Asian and Transcultural Studies (CATS), Universität Heidelberg |
Musikalische Ausstellungsführung und Workshop: Seidenstraßenklänge – Auf dem Weg zu Turandot
Kreative Dialoge—Ferne Klänge neu hören bei der 25. CHIME-Konferenz in Heidelberg Barbarian Pipes and Strings Reconsidered—Negotiating Authenticity in the Musics of China—Transcultural Perspectives
mit NACHIN (Morin Khuur) und chinesischen Marionetten
Genau 25 Jahre nach der letzten Internationalen CHIME (Chinese Music Research Europe) -Konferenz in Heidelberg, Barbarian Pipes and Strings veranstaltete das Centrum für Asienwissenschaften und Transkulturelle Studien (CATS) gemeinsam mit dem Konfuzius Institut und der CHIME Foundation eine Konferenz, die Chinas musikalische Praktiken aus transkultureller Perspektive neu betrachtete. Wie gefährlich, fremdartig oder (un)authentisch bestimmte musikalische Stile oder Instrumente wohl sind, und wem sie “gehören”, sind durchaus relevante Fragen in einem Land, wo Melodien, Instrumente und Klänge von „anderswo“ seit jeher zum “typischen” Repertoire gehören. Kontroversen über Eigentums- und Urheberrechte an alten und neuen Volksliedern oder regionalen Opern und Klagen über Exotismus oder Selbstorientalismus spielen immer dann eine Rolle, wenn von unterschiedlicher Seite “Authentizität” beansprucht, angefochten oder neu verhandelt wird. 5 Konzerte, die „Chinas“ vielfältige musikalische Praktiken—von der Guqin über die Tabla, bis hin zur Morin Khuur, immer wieder neu reflektierten, begleiteten die Konferenz. Zu hören waren wandelbare Klangkörper—Instrumente und Melodien, die ihre Form und ihren Klang auf ihren musikalischen Reisen, u.a. entlang der Seidenstraße veränderten; seltene, ephemere Klangtexturen als Spuren musikalischer Erinnerung im transkulturellen Dialog, und schließlich eine fulminante Intervention von WANG Ying zu Gustav Mahlers “Das Lied von der Erde” (1909), das als Ausnahmewerk in der Reihe der Sinfonien Gustav Mahlers, in der Tradition des musikalischen Exotismus steht. WANG stellt Mahlers Vertonung altchinesischer Lyrik in der Nachdichtung durch Hans Bethge eine Reihe von chinesischen Gegenwartsdichtern und ihre Erinnerungen an die Klänge chinesischen Protest-Rocks gegenüber und schließt so eine transkulturell gedachte „chinesische“ Reise um die Erde.
Im Rahmen der CHIME-Konferenz in Heidelberg vom 01.-04.10.2023 gab es eine öffentliche Führung mit musikalischer Begleitung durch die Ausstellung STAUB UND SEIDE: Alte Routen – Neue Perspektiven entlang der Seidenstrassen des Völkerkundemuseums vPST. Die Ausstellung folgt den Spuren der Steppen- und Seidenstraßen durch die Zeit. Objekte aus den Sammlungen des Museums veranschaulichen historisch wichtige Epochen und Aspekte: archäologische Grabbeigaben aus der Tang-Zeit verweisen auf eine der Blütezeiten des Seidenstraßenhandels, Objekte aus dem 13./14. Jh. aus China und dem Iran auf die letzte Hochphase der Handelsrouten zur Zeit des mongolischen Großreiches. Textilien, Alltagsgegenstände und Fotografien vermitteln einen Eindruck Zentralasiens zur Zeit der wissenschaftlichen Wiederentdeckung der „Seidenstraßen“ im 19./20. Jh. Das musikalische Programm wird von der Musikerin NACHIN 那琴 gestaltet. Für eine detailliertere Beschreibung des Musikprogramms und der Biografie der Künstlerin schauen Sie bitte in den untenstehenden englischsprachigen Text.
In Ergänzung des Programms wird es zudem einen Marionetten-Workshop “TURANDOT PARADOXES: Turandot—Symbol of the Silk Road: Conceiving a Transcultural Puppet Play” mit Joachim STEINHEUER and Ksenja FEDOSENKO geben, in welchem eine Puppen-Adaption der Puccini Oper TURANDOT vorgestellt wird.
English:
SOUNDS FROM THE SILK ROAD
Oktober 4, 2023, 10.00, Völkerkundemuseum vPST
Nachin
启 OPENING
(inspired by the Heart Mantra of the
Goddess of Music Yangjin Lamu— 妙音天女心咒 )
For Dengshih, Amankhuur and Cymbals
Traditional
Dorven Oirdiin Uriyaa
For Morinkhuur
Nachin
对话 Dialogue
Improvisation for Amankhuur
齐宝力高 Qi Baoligao
Ezen Bogdiin Khoyor Zagal
For Morinkhuur
Featuring NACHIN (Morinkhuur, Amankhuur, Dengshih, et al.)
This exhibition follows the traces of the Steppe and Silk Roads through time. Objects from the museum’s collections illustrate historically important epochs: archaeological grave goods from the Tang period refer to one of the heyday periods of the Silk Road trade, objects from the 13th/14th centuries from China and Iran speak of the last peak phase of the trade routes at the time of the Mongol Empire. Textiles, everyday objects and photographs convey an impression of Central Asia at the time of the scientific rediscovery of the “Silk Roads” in the 19th/20th century.
These objects from different time periods are juxtaposed with contemporary narratives, interviews, video documentaries and artistic works: rapid developments meet slow narratives, thus illuminating connections between the “New Silk Road” and the “Steppe Corridor” and their historical routes. Works by contemporary artists play a special role in the exhibition.
Echoing this concept, the Musical Guided Tour and the Puppet Workshop will feature older and newer (imaginary) soundsfrom the Silk Road, played by musicians and marionette players present at the CHIME Conference.
In the moving recital that will accompany the guided tour and respond to and reflect upon some of the objects in the exhibit, Nachin will illustrate different types of musicking on instruments featuring prominently in several countries along the Silk Road, the Morinkhuur (Horsehead fiddle), the Mouth Harp (also known as jew’s harp), and the Dengshig, for example, a body-sounding percussion-instrument, mostly used in Buddhist music, made from four types of copper. She will illustrate different styles of music—religious and folk, traditional and contemporary, professionalized and popular, juxtaposing musical improvisation, pieces from the traditional repertoire and newly composed ones, e.g. by Mongolian composer Qi Bao Li Gao.
Nachin 那琴
Nachin 那琴 – A native Mongolian from Ordos, in Northwest China, Nachin graduated in horsehead fiddle performance from the National Minorities University of China in 2020, and took courses in ethnomusicology, She has studied various types of horsehead fiddles, and has been taking lessons with a number of traditional masters. She has given recitals of Morin Khuur music both in China and abroad, and has participated in music festivals and music programs on China Central Television (CCTV). Since 2020, she has taken lessons from Badma, a representative inheritor of China’s national intangible cultural heritage in the genre ‘Long-Tune’. Since 2015, she has carried out fieldwork on regional traditional music in Mongolia as well as in Inner Mongolia. A native Mongolian from Ordos, in Northwest China, Nachin graduated in horsehead fiddle performance from the National Minorities University of China in 2020, and took courses in ethnomusicology, She has studied various types of horsehead fiddles, and has been taking lessons with a number of traditional masters. She has given recitals of Morin Khuur music both in China and abroad, and has participated in music festivals and music programs on China Central Television (CCTV). Since 2020, she has taken lessons from Badma, a representative inheritor of China’s national intangible cultural heritage in the genre ‘Long-Tune’. Since 2015, she has carried out fieldwork on regional traditional music in Mongolia as well as in Inner Mongolia.
Konzertabend: INTERVENTIONEN – Ying WANG trifft auf Gustav MAHLER
Kreative Dialoge—Ferne Klänge neu hören bei der 25. CHIME-Konferenz in Heidelberg Barbarian Pipes and Strings Reconsidered—Negotiating Authenticity in the Musics of China—Transcultural Perspectives
Ying Wang: Of Detours and Updates. For Voices and E-Guitar (2023)
Gustav Mahler: Das Lied von der Erde für eine hohe und eine mittlere Gesangstimme mit Klavier (Originalfassung von 1908, veröffentlicht 1987)
SCHOLA HEIDELBERG | ensemble aisthesis
Leitung: Ekkehard Windrich
Genau 25 Jahre nach der letzten Internationalen CHIME (Chinese Music Research Europe) – Konferenz in Heidelberg, Barbarian Pipes and Strings veranstaltete das Centrum für Asienwissenschaften und Transkulturelle Studien (CATS) gemeinsam mit dem Konfuzius Institut und der CHIME Foundation eine Konferenz, die Chinas musikalische Praktiken aus transkultureller Perspektive neu betrachtet. Wie gefährlich, fremdartig oder (un)authentisch bestimmte musikalische Stile oder Instrumente wohl sind, und wem sie “gehören”, sind durchaus relevante Fragen in einem Land, wo Melodien, Instrumente und Klänge von „anderswo“ seit jeher zum “typischen” Repertoire gehören. Kontroversen über Eigentums- und Urheberrechte an alten und neuen Volksliedern oder regionalen Opern und Klagen über Exotismus oder Selbstorientalismus spielen immer dann eine Rolle, wenn von unterschiedlicher Seite “Authentizität” beansprucht, angefochten oder neu verhandelt wird. 5 Konzerte, die „Chinas“ vielfältige musikalische Praktiken—von der Guqin über die Tabla, bis hin zur Morin Khuur, immer wieder neu reflektieren, begleiteten die Konferenz. Zu hören waren wandelbare Klangkörper—Instrumente und Melodien, die ihre Form und ihren Klang auf ihren musikalischen Reisen, u.a. entlang der Seidenstraße verändern; seltene, ephemere Klangtexturen als Spuren musikalischer Erinnerung im transkulturellen Dialog, und schließlich eine fulminante Intervention von WANG Ying zu Gustav Mahlers “Das Lied von der Erde” (1909), das als Ausnahmewerk in der Reihe der Sinfonien Gustav Mahlers, in der Tradition des musikalischen Exotismus steht. WANG stellt Mahlers Vertonung altchinesischer Lyrik in der Nachdichtung durch Hans Bethge eine Reihe von chinesischen Gegenwartsdichtern und ihre Erinnerungen an die Klänge chinesischen Protest-Rocks gegenüber und schließt so eine transkulturell gedachte „chinesische“ Reise um die Erde.
Der zweite Konzertabend, den das Konfuzius-Institut Heidelberg in Kooperation mit der CHIME Foundation und dem Centrum für Asienwissenschaften und Transkulturelle Studien (CATS) am 03. Oktober 2023 in der Aula der Alten Universität veranstaltete, wurde eingeleitet durch eine englischsprachige Podiumsdiskussion zu Gustav Mahlers “Lied von der Erde” und seine “Cover”. Moderiert von der Sinologin und Musikwissenschaftlerin Prof. Barbara MITTLER diskutierten der deutsche Komponist Stefan HAKENBERG und die chinesische Komponistin WANG Ying mit der Musikerin DAI Xiaolian und Mitgliedern des KlangForum Heidelberg über Fragen des Exotismus und des “Chinesisch-Seins” (“Chineseness”). Für eine detailliertere Beschreibung der Veranstaltung schauen Sie bitte in den untenstehenden englischsprachigen Text.
English:
Gustav Mahler’s Lied von der Erde, in the version for two voices and large orchestra completed in 1908, was premiered posthu- mously in November 1911, six months after Mahler’s death. It requires an ensemble of some 90 musicians. The composition by WANG Ying Of Detours and Updates for voices and E-guitar had its world premiere in the spring of 2023, when it was performed in conjunction with the so-called Kammerfassung (chamber version) of Mahler’s Lied, as arranged by Arnold Schoenberg (1874-1951), to be performed in 1921 in the Vienna Verein für musikalische Privataufführungen (Society for Private Musical Performances). This performance never materialized and the piece subsequently remained unfinished. It was completed by Rainer Riehn in 1983. The present concert will combine WANG’s interventions with Mahler’s piece in yet another version, however, its Urfassung for two voices and piano. This first ever version was prepared by Mahler himself during the composition process in the summer of 1908 in Toblach (South Tyrol), but remained unpublished until 1989.
Gustav Mahler (1860-1911)
Das Lied von der Erde
For piano, mezzo soprano and tenor
WANG Ying (*1976)
Of Detours and Updates
For Voices and E-Guitar (2023)
Composition commissioned by
KlangForum Heidelberg e.V.
with the support of the Ernst von
Siemens Music Foundation (2023, world premiere)
Ying Wang
Ying Wang was born in Shanghai, China. After studying composition at the Shanghai Conservatory, postgraduate studies took her to Germany in 2003 to York Höller at the HfMT Cologne, where she also studied electronic composition with Michael Beil. Lessons with Rebecca Saunders and Johannes Schöllhorn rounded out her education. In 2010, she completed her studies in contemporary music at the HfMDK Frankfurt on a scholarship from the International Ensemble Modern Academy (IEMA). In 2012, Ying Wang participated in the Cursus de Composition et d’informatique musicale/Ircam Paris.Ying Wang works on her compositions with renowned orchestras such as the Deutsche Radio Philharmonie, Gürzenich Orchester Köln, Brandenburg Symphony Orchestra, Avanti! Orchestra Helsinki, renowned conductors such as Markus Stenz, Brad Lubman and Marcus Creed and established ensembles such as Ensemble Phoenix Basel, Ensemble Alternance, Lucerne Festival Ensemble, Cassatt Quartet, Ensemble Resonanz, Ensemble PHACE and Ensemble Kontrapunkt. Her compositions are performed at renowned festivals such as Tage für Neue Musik Zürich, Acht Brücken and Wien Modern. Her works have been performed in Paris, New York, Stockholm, Berlin, Beijing, Lucerne and many other metropolises. 2013 she was awarded the production prize of the Giga-Hertz-Prize and the composer prize of the 5th Brandenburg Biennale. In addition to the IEMA scholarship 2009/10 she received further scholarships from the Experimental Studio of the SWR, the the Federal Ministry of Vienna and, on the advice of Peter Eötvös, a scholarship from theEdenkoben manor house. In 2014 she was awarded the IRINO PRIZE for chamber orchestr in Tokyo, and in 2017 she was awarded the Heidelberg Female Artist Prize. In 2015, the Deutschlandfunk invited her as “Composer in residence” to the festival “Forum Neuer Musik” in Cologne. Ying Wang has received numerous composition commissions, including from SWR, DLF, Ernst von Siemens Music Foundation, Lucerne Festival, Kasseler Musiktage 2011/2013, Lanxess “Young Euro Classic”, Theater und Orchester Heidelberg, Kölner Philharmonie and many others. Since 2013, Ying Wang has been teaching composition at the Shanghai Conservatory.
SCHOLAHEIDELBERG
SCHOLAHEIDELBERG – Virtuosity coupled with versatility. Both individually and collectively, the vocal soloists of the SCHOLA HEIDELBERG are equally at home with widely differing styles and vocal techniques, all the way up to microtonal intonation and vocal and respiratory noise. Under the artistic directorship of their founder Walter Nußbaum, works from the 16th/17th and the 20th/21st centuries meet head-on, often with astounding results. A new interpretive culture materializes from an intensive concern with historically informed performance and contemporary music. The ensemble’s extensive repertoire is the fruit of close collaboration with leading present-day composers. Much noted are the commissions for new works deriving from projects like Heimathen and Prinzhorn. SCHOLA HEIDELBERG performs in its home city, all over Germany and at international festivals like the Salzburg Festival, Milano Musica, the Lucerne Festival, the Biennale in Venedig, the Biennale Salzburg and the Festival d’automne in Paris. The Schola has successful cooperative partnerships with the Ensemble Modern, the WDR Symphony Orchestra Cologne, the SWR Symphony Orchestra, the Bamberg Symphony Orchestra, the Deutsche Radio Philharmonie, and the Gürzenich Orchestra. SCHOLA HEIDELBERG‘s CD recordings of vocal compositions from the 20th/21st centuries have received several international awards.
ensemble aisthesis
ensemble aisthesis – A sensory understanding of new sound worlds. The ensemble aisthesis focuses on contemporary music from the 20th/21st centuries. Its Greek-inspired name reflects the bid for all-encompassing perception. Under the artistic direction of founder Nußbaum, the instrumentalists (up to 20 in number) have steadily built up an extensive repertoire ranging from modern classics like Schoenberg, Webern, Boulez, Stockhausen, and Lachenmann to forward-looking Romantic works by Wagner or Mahler. Commissions invariably take shape in close conjunction with the composers. Close collaboration with the SCHOLA HEIDELBERG has resulted in concert formats like Prinzhorn or Heimathen and the CD Nuits – weiß wie Lilien (“Nights – White as Lilies”). The ensemble aisthesis performs regularly in Heidelberg and has been invited to festivals like musica viva Munich, the Zurich Festival, the Romanische Nacht in Cologne, the Tongyeong International Music Festival in South Korea, the Kasseler Musiktage or the Basel Music Forum. One much-noted recording by the ensemble is LEIBOWITZ – COMPOSITEUR, issued to coincide with the 100th anniversary of the composer’s birth. It contains a representative cross-section of René Leibowitz’ works, impressively documenting his impact on the musical world.
Roundtable Discussion: Creative Transformations – Gustav Mahler’s Lied von der Erde and its “Covers”
Kreative Dialoge – Ferne Klänge neu hören bei der 25. CHIME-Konferenz in Heidelberg Barbarian Pipes and Strings Reconsidered—Negotiating Authenticity in the Musics of China – Transcultural Perspectives
mit WANG Ying, Stefan HAKENBERG, DAI Xiaolian und Mitgliedern des KlangForum Heidelberg, MODERATION: Barbara MITTLER
Genau 25 Jahre nach der letzten Internationalen CHIME (Chinese Music Research Europe) – Konferenz in Heidelberg, Barbarian Pipes and Strings veranstaltete das Centrum für Asienwissenschaften und Transkulturelle Studien (CATS) gemeinsam mit dem Konfuzius Institut und der CHIME Foundation eine Konferenz, die Chinas musikalische Praktiken aus transkultureller Perspektive neu betrachtet. Wie gefährlich, fremdartig oder (un)authentisch bestimmte musikalische Stile oder Instrumente wohl sind, und wem sie “gehören”, sind durchaus relevante Fragen in einem Land, wo Melodien, Instrumente und Klänge von „anderswo“ seit jeher zum “typischen” Repertoire gehören. Kontroversen über Eigentums- und Urheberrechte an alten und neuen Volksliedern oder regionalen Opern und Klagen über Exotismus oder Selbstorientalismus spielen immer dann eine Rolle, wenn von unterschiedlicher Seite “Authentizität” beansprucht, angefochten oder neu verhandelt wird. 5 Konzerte, die „Chinas“ vielfältige musikalische Praktiken—von der Guqin über die Tabla, bis hin zur Morin Khuur, immer wieder neu reflektieren, begleiteten die Konferenz. Zu hören waren wandelbare Klangkörper—Instrumente und Melodien, die ihre Form und ihren Klang auf ihren musikalischen Reisen, u.a. entlang der Seidenstraße verändern; seltene, ephemere Klangtexturen als Spuren musikalischer Erinnerung im transkulturellen Dialog, und schließlich eine fulminante Intervention von WANG Ying zu Gustav Mahlers “Das Lied von der Erde” (1909), das als Ausnahmewerk in der Reihe der Sinfonien Gustav Mahlers, in der Tradition des musikalischen Exotismus steht. WANG stellt Mahlers Vertonung altchinesischer Lyrik in der Nachdichtung durch Hans Bethge eine Reihe von chinesischen Gegenwartsdichtern und ihre Erinnerungen an die Klänge chinesischen Protest-Rocks gegenüber und schließt so eine transkulturell gedachte „chinesische“ Reise um die Erde.
Der zweite Konzertabend, den das Konfuzius-Institut Heidelberg in Kooperation mit der CHIME Foundation und dem Centrum für Asienwissenschaften und Transkulturelle Studien (CATS) am 03. Oktober 2023 in der Aula der Alten Universität veranstaltete, wurde eingeleitet durch eine englischsprachige Podiumsdiskussion zu Gustav Mahlers “Lied von der Erde” und seine “Cover”. Moderiert von der Sinologin und Musikwissenschaftlerin Prof. Barbara MITTLER diskutierten der deutsche Komponist Stefan HAKENBERG und die chinesische Komponistin WANG Ying mit der Musikerin DAI Xiaolian und Mitgliedern des KlangForum Heidelberg über Fragen des Exotismus und des “Chinesisch-Seins” (“Chineseness”). Für eine detailliertere Beschreibung der Veranstaltung schauen Sie bitte in den untenstehenden englischsprachigen Text.
English:
Already 25 years ago, at our last CHIME conference in Heidelberg, Gustav Mahler’s Lied von der Erde played a significant role. This is why we are revisiting it again this time.
When Gustav Mahler, in his Lied von der Erde, covers Tang poetry, he does so not in first, but in fourth, even fifth derivation: he follows, but also himself rewrites in some places—and there are significant differences between the piano Urfassung and the reworked symphonic version—Hans Bethge’s recreations of poetry that are themselves based on German translations of a French translation of the Chinese texts. Mahler’s is thus a quadruple “cover” of the Chinese poetry, and he translates, transforms it, into yet another language: music.
How far removed from the “Chinese universes” in which the Tang poets found themselves, is his work which falls into the high-time of musical exoticism (which also sees the making of Puccini’s Turandot)? And what does it mean if a Chinese composer like WANG Ying, is responding to his “exotic” transformations with a set of contemporary Chinese poems, accompanied by electric guitar? Must we consider the “Chineseness” of her particular use of this instrument, so prominently linked to the Chinese protest music that accompanied her childhood years – notably the demonstrations on Tiananmen Square in 1989?
What does it mean, on the other hand, if a German composer like Stefan HAKENBERG, in his composition for CHIME in 1998 unusually employs a duo of two of the oldest Chinese instruments, the literary zither Guqin, and some of the most emblematic melodies from this instrument’s repertoire in his composition? The making of this composition was accompanied by an extended philological search for the “originals” of Mahler’s poetry (which by now have all been identified!) 1 so that they could be recited in their original Chinese as well as in their German rereading in the composition. Must this composition still be called “exoticist,” after all? And why does WANG call her composition Of Detours and Updates—thus pointing more to the ruptures and changes—whereas HAKENBERG titles his work In diesem Zusammenhang—thus hinting at integration and contextual connections rather than disjunctions and breaks? And how does one translate their attempts at rethinking both Chineseness and Exoticism into musical practice?
This Roundtable will ask questions about Exoticism and Chineseness, considering HAKENBERG’s and YANG’s, and some of the many other covers inspired by Mahler’s composition—such as those created at the Gustav Mahler Reseach Center for the 2022 Mahler Musikwochen in Toblach where Mahler composed Das Lied von der Erde. All of these works seem to be inspiredby Mahler’s use of (Chinese) poetry, his musical form and specific motifs as well as his musical imagery) and the importance and meaningfulness of engaging in the experiment of transcultural montage.