Happy September and happy Mid-Autumn Festival which arrives early, falling on Saturday 10th September this year. 中秋节快乐 (Zhōngqiūjié kuàilè)!
Following the successful rolling out of the iRise Social and Wellbeing Event – A Taste of Chinese Tea with Guzheng Music in July, we would like to invite you to join our Mid-Autumn Festival celebration with a cultural talk on its history and social impact, with a taste of mooncakes (赏月 shǎng yuè) and MIDI keyboard performance (赏乐 shǎng yuè) –
Organised by The Language Centre and BAME & International Staff Network, QUB
Presented by Dr Liang Wang, The Language Centre
Contributed by Kehan (可瀚), BSc candidate in Music and Audio Production, School of Arts, English and Languages
Date: Friday 23rd September 2022 Time: 15:30 – 17:00 Venue: The Auditorium, McClay Library
Please note: Due to rescheduling we may have some limited spaces available. For colleagues who signed up for the event and still can attend, you don’t need to do it again. However, if you are no longer able to attend in-person, please email liang.wang[at]qub.ac.uk so that places can be made to others. Please register by 4.00pm on Thursday 22nd September.
With thanks to Queen’s students DENG Wei (邓维), and QIAO Zexuan (乔泽轩) for coming together to produce this Celtic/Chinese inspired performance to welcome the arrival of the Spring Festival.
We would also like to share our President and Vice-Chancellor’s New Year greeting with you all. In his message, Prof Ian Greer points out that Tiger loves adventure and challenge – the two characteristics will take you afar here at Queen’s. It’s not that you have to be always the strongest – life is that using all skills you have and those you’ve learned to take you further.
What can you do on a rainy and wet winter day? Perhaps visiting a museum for an exhibition or event will be a good choice. In this post, we invite Yang LIANG (梁阳), a Queen’s graduate in TESOL from School of Social Science, Education and Social Work to share with you her recent experience of visiting Henan Museum (河南博物院Hénán Bówùyuàn).
About Henan Museum
Henan Museum, built in 1927, is one of the oldest and largest museums in China. Its site changed for several times and finally lies at Nongye Road, Jinshui District, Zhengzhou, Henan. It is a history and art museum with a collection of more than 130,000 pieces of cultural relics through the ages.
After some ten years, I went to visit Henan Museum again. This time, I went there mainly for a show on ancient Chinese music performance, as well as re-visiting the relics.
– Yang Liang
The ticket is free, but one needs to book it, either online or on site. I did it via a mobile app for a slot of admission. Then I took a bus there, as the public transport system is very convenient nowadays and there is a bus station nearby.
The collection of photos show what the main entrance looks like and the main exhibition halls from different angles.
This is what it looks like inside of the museum with some of the exhibits. For a full range of exhibition, you can return to the Museum’s website above.
As a layperson of architecture and archaeology, I’m not going to focus on these constructions and relics. However, I’d like to share with you what I felt about this visit from my personal experience of watching the show performance and some other observation.
I watched the music show before walking to the exhibition halls, as I was more interested in the new forms and functions museum nowadays promote – not only for educational purposes, but also to entertain visitors of all walks of life. I was totally impressed by the quality of ancient music performance, fully immersed in the show and the marvelous acoustic effects which allowed me to travel back to thousands of years ago. Here are a few clips of performances that I recorded:
Nowadays, more and more young people enjoy visiting museums, attending both exhibitions and relevant events like talks and shows which encourage more dynamics and interactive engagement, in contrast to the formulaic stereotypes that visitors just took photos around in museums and left without much understanding and appreciation of such exhibitions. I recall that decades ago I went there seeing the same kinds of lifeless objects without any interest in observing, discovering, and imagining how and why they were relevant to me in history and have impacted on my life, let alone a good level of appreciation. If one has no good knowledge about these exhibits, they would easily feel so bored and want to escape.
This time, when I got it in hand, I found the idea of blind boxes, or mystery boxes, really appealing as I never could have guessed what kind of things were inside until I opened it with a ‘Wow’.
(The added line of characters read ‘拆盲盒的快乐 ~’, meaning the happiness (快乐 kuàikè) of opening (拆 chāi) the blind box (盲盒 mánghé). The photo shows that there is a set of samples of palace maid band designed by Henan Museum.)
I also came across two boys who were giving a video call to their mum, making a live broadcast while walking around. They told their mum what they saw and how they were impressed, and their mum sounded really excited over the phone.
I would also like to attribute this wonderful experience to the advance of modern technology which makes these old objects alive. For example, the amazing lighting and acoustic effect made me feel as if I stood in a traditional Chinese ink painting, exploring a wonderland when I saw many white cranes fly in the sky and heard the stream flowing pleasantly. Wow! Who wouldn’t enjoy this kind of visiting experience?
CCF11 – Whose Play Is It? Translating and Performing Chinese Drama for the Global Stage
Speaker: Dr Yangyang LONG 龙杨杨, Xi’an Jiaotong-Liverpool University
Dr Yangyang LONG is Assistant Professor in Translation and Interpreting. She was awarded PhD by Queen’s University Belfast in 2019. Her works have been published on journals such as The Translator, Asia Pacific Translation and Intercultural Studies, Atlantic Studies: Global Currents and Coup De Théâtre. She is currently working with Routledge on a monograph entitled “The Works of Lin Yutang: Translation and Recognition”, which will be published with the series “Routledge Studies in Chinese Translation”.
Outline: Who owns a translated foreign-language play? The translator? The author? The playwright? The director? The dramaturg? The actors/actresses? The audiences? The critics? The theatre company? The (mass) media? What makes a Chinese play – in this case a classic of its national literature – worth translating and performing in a new environment, that is, the here and now of the 21st-century English-speaking world? This talk aims to explore the translation and performance of 2017 “Snow in Midsummer” (窦娥冤, The Injustice to Dou E That Moved Heaven and Earth by Guan Hanqing), a new stage production by the Royal Shakespeare Company for its “Chinese Classics Translation Project” (2013-2023).