展览时间：2013年3月24日 – 2014年4月14日
Organizer: Shanghai Museum of Glass
Corporation partner:Tencent Music Entertainment Group
Curator: Cathye Yang
Duration: Mar 24, 2019 – April 14, 2019
Venue: the Rainbow Chapel, Shanghai Museum of Glass
关于展览 ABOUT EXHIBITION
According to the record of the Spring and Autumn Annals, in the dance of the Getian clan in ancient China, three persons, with cattle tails in their hands, moved their feet to music and sang eight songs.
Since its emergence, music has lightened up the path of our ancestors for several thousand years like a glowing star in the long night. The music notes that have run through the long river of history have given us not only joy but also strength. They are another means to express ourselves and communicate with the world in a more convinced manner.
With its unique development, the history of ethnic music has become one of the most important part in the long music history of China. North ethnic music stresses on passion and freedom, while South ethnic music sounds softer and more exquisite. In the meantime, just as Mr. Fei Xiaotong’s idea of the “unity in diversity” of Chinese ethnic nationalities, ethnic music and Han music grow together. “The two have things in common but also have their own identities.” We need to be clearly aware that ethnic music is an indispensable part of the music history of the Chinese culture.
With many ups and downs in its development history, ethnic music has seen the decline of ethnic languages, loss of classical singing styles, the difficulty in finding inheritors and the dramatic changes in the accompanying cultural environment. Like many traditional cultures, it has faced the problems of its existence and future development. When we talk about the inheritance of ethnic music, the adherence to the tradition and comprehensive recording are the core, but to revitalize it, we need to think out of the music box. The “The New Ethnic Song Project” launched by Tencent Music Entertainment can be considered as a laudable effort that would be beneficial for the ethnic music industry. The program, equipped with the latest digital means, encourages ethnic musicians to create original work and provides effective platforms and means for communication and crossover cooperation, helping promote ethnic music and ethnic culture among the public and also before the international audience.
Communication and innovation are the key elements for healthy development of any field. As a contemporary museum that “never stops evolving and innovating”, Shanghai Museum of Glass has always made efforts to surpass itself and making breakthroughs with the goal of becoming an interactive experience-type community museum, hoping to involve in everyday life in a more approachable way and lead a museum lifestyle. This time, through “The New Ethnic Song Project”, Shanghai Museum of Glass is honored to join hands with Tencent Music Entertainment to present the special exhibition titled Flowing to the public, making a bold innovation by combining glass art with ethnic music. There is no lack of attention to music in the practices of glass art and design. For example, in his work ‘Strange Symphony’ among the collections Shanghai Museum of Glass, the German designer Philipp Weber altered the blowpipe (an important glass tool), enabling the craftsman to shape the inner form of the glass using different valves on the blowpipe. The invisible music thus becomes sensible and visible when it is solidified by glass. At her solo exhibition Thus Have I Heard held at Shanghai Museum of Glass, the Chinese glass artist Zheng Wenqing connected glass with music in a more vivid way. Centering on the dialogs between linear glass in the “dynamic state” with sound and light, she made a series of bold attempts. In the special exhibition Flowing, we will start with music and go deeply into its creation background and stories. Furthermore, we especially invite glass artist Wang Qin to find inspiration and extract from the works selected in New Ethnic Charm–Listen to Mountains and Waters and their background stories, for art creation. Music is a flowing art. It requires time to appreciate its beauty, while glass can solidify its precious dynamic state and the inspiration during creation. In this exhibition, two different art forms are combined vividly, which will definitely create some brilliant sparks.
No matter ethnic music or glass art or museums, all of those with lofty ideals must once have been faced with the dilemma of whether to stick to the “old” or “traditional” or to shift to the “new” or “contemporary”. Looking back at their history, I think it contains a subtle revelation.
“I will climb to the top of the Kunlun Mountain and play the huangzhong (Yellow Bell) sound to re-excite the inherent music blood in Chinese people…”
All those changes lay stress on only one original intention, that is, to touch the hearts of the people.
We have different languages and different musical forms, and the things in common are the emotions and spirits rooted in them.
Music goes beyond ethnic nationalities and borders and is the eternal rule despite changes.
Academic Research Manager of Shanghai Museum of Glass
关于艺术家 ABOUT ARTIST
曾多次参加国内外艺术展览,其作品被美国费城艺术博物馆、英国维多利亚及阿尔伯特博物馆、英国布里斯托尔博物馆、德国Alexander Tutsek-Stiftung 基金会、苏格兰皇家博物馆、美国康宁手机万博登录博物馆、中华艺术宫、上海手机万博登录博物馆及上海世博会中国国家馆等多家机构及个人收藏。
潘守永，男，1966年11月生，人类学家、博物馆学家，法学博士，上海大学特聘教授、博士生导师，上海大学图书馆馆长，兼任中国科学院大学教授、北京大学艺术学院教授和湖南里耶(秦简)博物馆名誉馆长。研究领域为新博物馆学、博物馆人类学与社会文化变迁，参与主持了中国体育博物馆、浙江安吉生态博物馆群、浙江松阳生态博物馆群、山西太行三村生态博物馆的策划和建设。参与国家博物馆分级评估标准的制定、中国非物质文化遗产保护法与国家博物馆条例的撰写。是第三代生态博物馆运动的参与者与领导者，在国际博物馆学界有重要影响。学术荣誉与社会兼职：哈佛燕京学者Harvard-Yenching Scholar, 富布赖特学者Fulbrighter, 史密森尼学者，第八届霍英东教育基金获得者，新世纪优秀人才，中国文化遗产保护（第八届文物保护基金）杰出团队，兼任人民网城市战略研究院文化委员会主任委员，以及中宣部、住建部传统村落保护专家组、国家文物局、国家出版基金等专家。
Wang Qin, Leading Artist
Wang Qin, born in 1978, Jingdezhen, Anhui Province. Currently he lives in Shanghai China and works in Shanghai Academy of Fine Arts, Shanghai University.
Wang has participated in many domestic and international art exhibitions. His work has been included in many public and private collections such as The Philadelphia Museum of Art, The Victoria and Albert Museum, The Bristol Museum & Art Gallery, the Alexander Tutsek-Stiftung, The Royal Scottish Museum (now The National Museum of Scotland), The Corning Museum of Glass, The China Art Museum Shanghai and The Shanghai Museum of Glass.
Pan Shouyong, Academic director
Pan Shouyong, male, was born in November 1966, who is an anthropologist, museologist, doctor of laws, guest professor and doctoral supervisor at Shanghai University, chief librarian of Shanghai University. He is also a professor at the University of the Chinese Academy of Sciences, a professor at the School of Art at Peking University as well as the honorary librarian of the Hunan Liye (Qin jian) Museum. His research fields include new museology, museum antropology and sociocultural change and he has participated in the planning and establishing of China Sports Museum, Zhejiang Anji Ecology Museum Group, Zhejiang Songyang Ecology Museum Group and Shanxi Taihang Sancun Ecology Museum. He also participated in the formulation of national museum grading and evaluation standards, and the writing of Law of the People’s Republic of China on the Protection of Intangible Cultural Heritage and the regulations of National Museum. He is acclaimed as the participant and the leader of the third generation of ecology museum movement, having great significance in the international museum academia. Academic honor and Social part-time jobs: Harvard-Yenching Scholar; Fulbrighter and Smithsonian Scholar; winner of the Eighth Fok Ying-Tong Education Foundation; a member of New Century Excellent Talents and the Outstanding Team for the Protection of China’s Cultural Heritage (the Eighth Cultural Relics Protection Fund); as well as the chairman of the Culture Committee of the Institute for Urban Strategies of People’s Daily Online; the expert of the Publicity Department of the Communist Party of China, the traditional village protection expert group of the Ministry of Housing and Urban-Rural Development, the State Administration of Cultural Heritage, the National Press Foundation and so on.
He has 16 works published (excl. editor-in-chief), and he is the editor-in-chief of national key publications, including China in Museums (10 volumes), Series of Social and Historical Investigation Materials of Ethnic Minorities in China (revised edition) (147 volumes), Myth Picture Books of 56 Ethnic Groups in China (30 volumes), wining the Chinese Excellent Publications Awards 6 times. He has more than 110 papers (Chinese and English) published.