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Cultural trip to China|Intangible cultural heritage has a newcomer- the harmonious sound of silk and bamboo plays a new voice of ancient charm

In the enchanting, rain-soaked region of Jiangnan, the air vibrates with the ethereal charm of silk and bamboo instruments. When you step into the Jiangnan Silk and Bamboo Museum in Suzhou, Taicang, the corridors often echo with captivating melodies that tell a timeless story of grace.

Tucked away in a bamboo grove behind the museum, you might find Zhou Zhou playing the bamboo flute with his father and son. As the gentle breeze sways the lush bamboo leaves, dappled sunlight creates a beautiful interplay of light and shadow, showcasing this cherished family moment. “We need to hold that last note a little longer. Let’s give it another shot,” 12-year-old Zhou Dong eagerly shares his enthusiasm for the bamboo flute, as his father, Zhou Zhou, patiently guides him during their family time.

**Preserving a Legacy: The Tradition of Jiangnan Silk and Bamboo**
The roots of Jiangnan Silk and Bamboo trace back to the Ming Dynasty, under the Jialong Emperor, when a group of musicians led by Wei Liangfu established a comprehensive silk and bamboo ensemble at the southern dock of Taicang. This ensemble, enriched by Wei’s son-in-law, Zhang Yetang, was formally called Jiangnan Silk and Bamboo. It began as a fusion of Northern opera’s string melodies intertwined with the unique style of Kunqu opera, ultimately evolving into its own distinct musical genre.

A traditional Jiangnan silk and bamboo orchestra typically features a range of instruments, including the erhu, yangqin, sanxian, qin, dizi, and xiao, blending the lyrical nuances of Kunqu with the expressive tones of Northern strings. The soft and elegant melodies echo through Jiangnan’s picturesque landscapes, paired beautifully with the region’s lyrical dialect, earning Jiangnan Silk and Bamboo the nickname “Tang Poetry in Music”—a cultural symbol of the area.

Jiangnan Silk and Bamboo is far from being a niche style; it has thrived throughout history. Notably, Wang Xijue, a respected minister of the Ming Dynasty, once opened a music school in his Taicang home. For centuries, Jiangnan Silk and Bamboo performances have remained a staple, with annual competitions attracting over 30 amateur bands, showcasing participants from their teens to their eighties.

Growing up in Taicang, Zhou Zhou was surrounded by the sounds of silk and bamboo. His father, a music enthusiast at the cultural center, would often play his finely crafted flutes, filling their home with mesmerizing melodies. With encouragement from his mother, Zhou Zhou started learning the bamboo flute under his father’s guidance.

**From Sound to Tradition: The Journey of Continuation**
Jiangnan Silk and Bamboo consists of four main categories of instruments, often referred to as “Blow, Pull, Pluck, and Strike.” “Blow” encompasses wind instruments such as the dizi, xiao, and sheng; “Pull” refers to string instruments like the erhu and violin; “Pluck” includes instruments like the pipa and guzheng; while “Strike” covers percussion instruments, typically involving the naban and bangu.

However, mastering the bamboo flute is no easy task, especially for beginners. Zhou Zhou reflects on his early days, saying, “At first, I was ecstatic to play a note, but after a few days, I felt frustrated.” The playing demands long, controlled breaths, and as a young child, Zhou faced challenges with his small physique. His early performances often lacked strength, and he missed out on a key opportunity to perform publicly. It was during this time that he recognized the need for a solid practice foundation.

A pivotal moment came in 1997, when Zhou was in fourth grade. The student orchestra in Huangjing Town invited composer Zhang Xiaofeng to mentor them, and during a rehearsal, Zhou’s clear flute sound floated in from an adjoining classroom. “That melody was something my father had taught me. I was just waiting for the chance for Teacher Zhang to hear me,” he recalls, describing it as a subtle self-promotion. This moment allowed him to join the student orchestra.

In college, Zhou interned at the Jiangnan Silk and Bamboo Museum, working closely with mentor Chen Jianzhong. They developed a mutual respect, with Chen commending Zhou’s commitment: “Even though he was formally trained, he consistently sought out performance opportunities, embracing every chance to practice.” Years later, as Deputy Director of the Taicang Cultural Center, Zhou and Chen collaborated to unite various Jiangnan silk and bamboo orchestras for “The Jiangnan Silk and Bamboo Heritage Concert.” To date, they’ve hosted eight successful concerts that resonate with the spirit of the region, marking significant strides in preserving this cultural treasure.

**A Unique Fusion: The Harmony of Cultures**
The tranquil beauty of Jiangnan has given rise to music that flows as fluidly and vibrantly as its waterways, embodying the light and lively essence of Jiangnan Silk and Bamboo. Performers often focus on improvisation, injecting personal flair into compositions without altering the fundamental melody—a practice known as “adding flowers” or “living performance.” Each note and vibration captures the musician’s feelings, allowing the same piece to resonate differently in varying hands.

This improvisational approach not only enhances the expressive potential of Jiangnan Silk and Bamboo but also inspires creativity in blending Eastern and Western musical traditions. Zhou’s innovative experiments exemplify this merging, as he combines the fluidity of Jiangnan Silk and Bamboo with Western music’s precision to forge new musical experiences. During the Taicang Beer Festival, he led a traditional ensemble in performing the German folk song “Sailor’s Song.”

The distinctive sounds of Jiangnan Silk and Bamboo filled the vibrant streets, captivating German visitors. “Taicang is a hub for German businesses, and our annual beer festival serves as a platform to showcase the beauty of cultural integration through traditional music,” Zhou explains. He articulates that while Chinese music intricately weaves imagery and emotion through personal interpretation, Western music is deeply rooted in precise techniques and harmonies. Though the two traditions might appear divergent, a common thread exists that can nurture cross-cultural dialogue.

In this modest cross-genre endeavor, Jiangnan Silk and Bamboo not only highlights its unique charm but also opens fresh avenues for merging Eastern and Western musical traditions. “We must honor our heritage, yet we also need to innovate and evolve,” Zhou emphasizes, underscoring the significance of balancing tradition with modernity and Eastern influences with Western insights. This pursuit of harmony has breathed new life into Jiangnan Silk and Bamboo for contemporary audiences.

As time advances, and circumstances shift, the aspiration for a beautiful life and the appreciation for cultural heritage continue to flow through Jiangnan like its timeless waterways—everlasting. The new generation of musicians is stepping up to carry on the legacy of their predecessors, actively preserving traditional techniques while exploring and innovating to invigorate this cherished cultural heritage.