HONG KONG: A Hong Kong ensemble is using traditional instruments, contemporary compositions and multimedia presentations to bring the musical heritage of Dunhuang's ancient Buddhist caves to international audiences.
The performance, Resonance of Dunhuang, took place at the Jane Mallett Theatre in Toronto last Friday, marking the 56th anniversary of the establishment of diplomatic relations between China and Canada.
The concert by the Hong Kong Gaudeamus Dunhuang Ensemble featured original works inspired by the art and musical traditions discovered in the Mogao Caves, a UNESCO World Heritage site in north-western China's Gansu province.
Cheng Hongbo, acting consul-general of China in Toronto, said Dunhuang was a cultural treasure of the ancient Silk Road and "a model of communication, mutual respect and mutual learning between different civilisations".
He said the ensemble's work demonstrated a harmonious combination of traditional and modern artistic expression, reflecting both the depth of Chinese culture and Hong Kong's vitality as a meeting point between the East and the West.
Cheng also hoped that the performance would help strengthen cultural and people-to-people exchanges between China and Canada.
"I hope to modernise traditional Chinese music," said Leonie Ki, the founder of the ensemble, explaining that she wanted to introduce traditional Chinese musical culture to younger generations and encourage them to explore their cultural heritage.
She began visiting Dunhuang in 2010 and has since made 27 visits, according to her account. Her experiences inspired her to establish the Hong Kong Gaudeamus Dunhuang Ensemble in 2018.
"There are so many musical scenes in the murals, but they have no sound," she told China Daily.
The ensemble draws inspiration from 25 ancient musical notations associated with manuscripts preserved in Mogao Cave 17, the "Library Cave". Interpreting the notations for modern performance is difficult, she said, because the symbols cannot be readily translated into contemporary musical language.
The ensemble therefore combines historical research and reference materials with contemporary composition, while animated images inspired by the caves' art accompany the music.
The aim is not simply to preserve the appearance of ancient culture, but to find ways of making it accessible to modern audiences.
Ki described the combination of music and visual art as a "double impact", encouraging audiences to listen to the music while observing the images that inspired it.
She said the ensemble follows three principles: inheritance, preservation and innovation.
"Inheritance belongs to the past, and preservation belongs to the present," she said. "For the future, innovation is very important. If you stop at preservation, that is not enough."
Zhao Shengliang, former director of Dunhuang Academy, who serves as the ensemble's academic adviser, said artists could help extend the life of cultural heritage by transforming historical material into new artistic works.
"Scholars conduct research on these works of art and organise the material, but for the development of culture and art today, I think it is more important to have more artists participate," he told China Daily.
By drawing on Dunhuang's rich artistic legacy, artists can explore new forms of expression while preserving connections with the past, he said.
"I think the work of the Dunhuang ensemble represents a very good way for our era to inherit and innovate upon traditional culture," Zhao said.
Through music, he added, ancient objects and images can become more immediate to contemporary audiences.
"Through music, they interpret and bring out the spirit embodied in ancient artefacts," he said. "They allow audiences today to feel the pulse of a culture that has lasted for thousands of years."
Zhao said music also offers particular advantages in introducing Chinese culture to overseas audiences.
"Music does not require language," he said. "We may speak Chinese, which foreign audiences do not understand, but everyone can understand music."
Having worked in Dunhuang for more than four decades, Zhao said he had met many overseas visitors who were captivated by its art, sometimes on their first visit.
"Dunhuang's culture is so rich that many people can find something that resonates with them," he said.
He attributed that appeal in part to Dunhuang's history as a crossroads of civilisations. The artistic legacy preserved in its caves reflects the interaction of Chinese, Indian and other cultural traditions, he said.
"Chinese culture has continually absorbed foreign art, integrated it and innovated," Zhao said.
The movement of musical instruments across regions offers a tangible example of that exchange.
Zhao cited the konghou, a traditional Chinese harp-like instrument that has parallels in other musical traditions, as an example of how instruments travelled and were adapted as they moved between cultures.
For Ki, bringing these cultural connections to life is also a personal commitment.
"I feel that this is my mission in life," she said of promoting Dunhuang culture. She hopes the ensemble can serve as a cultural ambassador, introducing audiences around the world to the richness of Chinese heritage.
Zhao said he hoped the group would have more opportunities to perform overseas and develop new ways to present traditional Chinese culture.
"I hope the Dunhuang ensemble will have more opportunities to go overseas and carry out cultural innovation," he said.
