April 20th 2020 marks its fifth anniversary celebration of China Cultural Center in Pakistan. On this special day 5 years ago, Chinese President Xi Jinping on a state visit to Pakistan together with Pakistani former Prime Minister Nawaz Sharif jointly unveiled China Cultural Center in Pakistan on 5 April 2015 at the Pakistani Prime Minister’s Office in Islamabad.
China Cultural Center in Pakistan officially launched and began its operation Islamabad of Pakistan ever since.
In order to fight the epidemic and convey confidence and determination to overcome the Covid-19, China Cultural Center in Pakistan has launched online celebrations on Facebook. Visiting China Online series of activities include five online photo exhibitions, “Our Silk Road”, “World Cultural Heritage in China”, “The Ancient Silk Road State of Kucha”, “Beautiful China”, “Celebrating in Harmony and Joy – Chinese Spring Festival Photo Exhibition” and documentary series “Beautiful China”, “China Beyond Your Imagination”, and “One Belt One Road – People to People Connectivity”.
The establishment of the China Cultural Center in Pakistan is an important symbol of the further deepening of bilateral relations between China and Pakistan. Center’s aim and objective is to strengthen cultural exchanges and cooperation between China and Pakistan and enhance mutual understanding and friendship between the people of two countries. Since its establishment in Pakistan, China Cultural Center has actively organized various types of cultural activities i.e., cultural performances, visual arts exhibitions, film festivals, film shows, teaching, training, lectures, seminars and other different cultural activities.
China Cultural Center in Pakistan has organized 26 grand exhibitions in the past such as “China-Pakistan Friendship Photo Exhibition”, “Beautiful China Photo Exhibition”, “Belt and Road in My Eyes, A Pakistani Students’ Poster Competition” attracting more than 20,000 visitors. To celebrate Chinese New Year, more than 30 grand cultural performances such as the “70th Anniversary of the Founding of the People’s Republic of China”, “65th Anniversary of the Establishment of Diplomatic Relations Between China and Pakistan”, and “Chinese Mid-Autumn Festival” gala performance for more than 100000 audience. Training workshops such as Chinese Martial Arts, Chinese Culinary Art, and Chinese Paper Cutting attracted more than 3,000 people. China Cultural Center has participated in eighth and ninth Pakistan National Book Festival in Islamabad, Pakistan and displayed Chinese cultural elements by setting up booth attracting Pakistani people from different walks of life. President of Pakistan Dr. Arif Alvi also visited China Cultural Center’s booth and highly praised the friendship between China and Pakistan. These two National Book Festivals attracted more than 500,000 people.
With collaboration of different universities and educational institutions, China Cultural Center also held a series of “Happy Chinese New Year” activities, lectures on “Traditional Chinese Medicine”, “Belt and Road” and Chinese-Western Art Exchange” and other relevant topics to effectively provide interactional exchange between students and teachers of universities. The “China Film Festival and Film Conference” held in August 2019 opened a new chapter in the exchange and cooperation between film industry of China and Pakistan.
China Cultural Center in Pakistan will comprehensively utilize all the humanity resources in the future to showcase Chinese history, culture and stories, promote traditional and contemporary Chinese culture, tourism, intangible culture and will continue to make relentless efforts for a new chapter of China-Pakistan friendship.
China-Pakialstan Dosti Zindabad!
Remembering legendary Nigerian drummer Tony Allen
Exactly in August 2009, legendary Nigerian drummer Tony Allen, who created the Afrobeat along with his old bandmate Fela Kuti, and I had our first historical meeting in Paris, France. I had flown in from Shanghai, China, to meet with him for an informal encounter. Despite our heavy working schedules and limited time, the meeting lasted for about two hours. During the discussions, I asked him several questions about his professional musical career and life. In fact, he was extremely passionate and enthusiastic talking with me, and to remember him here are a few excerpts:
When did you begin your musical career and who are your favorite musicians?
My career started at the age of 20. In fact, I was hired by Sir Victor Olaiya to play claves with his highlife band, “the Cool Cats” and was able to fill the drum-set chair when the former Cool Cats drummer left the band. I also played with Agu Norris and the Heatwaves, the Nigerian Messengers and the Melody Makers.
In 1964, I joined Fela’s ‘Koola Lobitos’ and stayed with Fela for 15 years. When I was learning to play I’d check out LPs and magazine tutorials by Gene Krupa, Art Blakey and Max Roach, Guy Warren was also an influence. Of course, I was also a fan of Elvin Jones, Tony Williams and Bernard Purdie.
I was asked to name my dream band to play with, and I chose: Oumou Sangare and Salif Keita on vocals, Bootsy Collins on bass, George Benson on guitar, Wayne Shorter on sax, Joe Zawinul on keys, Don Cherry on trumpet, and with a line-up like that I’d have to be the drummer!
What was the motivation behind your chose profession?
My parents were…not keen. Back then, musicians were more or less thought of as beggars, or worse. But I just put it in front of them. I was an electrical technician, but I wanted to make a change. My mother was never happy about it, but my father, who was an amateur musician, eventually agreed.
How is this profession influencing or shaping your own social life?
It has had a profound effect. Our albums with Afrika 70 either provoked or described a series of increasingly brutal attacks by the Nigerian army and police. Fela and his immediate family bore the brunt of this long and shameful catalogue of assaults, trumped up charges and jailings, and I myself was jailed on one occasion. With Fela it was like being at university, and you don’t run away from education. We learnt so much by not being cowards.
When I left Fela’s band that had a big effect on my life. Lagos was too small for me and Fela. It was a small place, and I wanted room to take off without causing competition, I eventually chose Paris partly because the British immigration people were giving me difficulties, but also because African music was more happening then in Paris than in London, and my record company at the time was in France. It was the only place I felt I could exercise my knowledge. The only place to make a living. Being a musician, the line between work and social life is, often blurred doing what I do for a living is what I do for enjoyment.
There seems to be some truthfulness in your career. Which songs spiritually appeal most to you personally when on stage?
Absolutely, as a musician and an artist you have to be true to yourself. Different songs appeal to me more at different times and under different circumstances, it can depend on who you’re playing with, where you’re playing and how the audience respond to what you’re playing. Playing music is very spiritual but I won’t say that one thing I do is more spiritual than another as I try to invest all in everything that I do.
Of what importance are the messages you convey through your songs to our society, in your interpretation?
Afrobeat has always been about the struggle, then and now. Fela was right about everything, especially the messages in all his songs. Everything he sang about is still happening. Nigeria’s not getting any better. It’s all misadministration and corruption, survival of the fittest. Lagos is a complete mother ****** of a place. These messages we send to the government, they never listen to them. The people wait for an effect, but there’s no effect. These guys do nothing. Afrobeat is rebellious music. We have to keep shouting.
Do you mind talking about your experiences (both positive and negative) in previous European tours?
Laughs! I don’t mind at all but this is a big question that I’m not sure how to answer. The fact is that the good experiences overwhelmingly outweigh the bad, which is why I’m still out on tour at nearly 70 years old. As long as people want to come and see me play, I’ll play.
How do you usually visualize your audience during musical performances?
I am very pleased to have had the chance to play at many festivals abroad. The foreign people know all about social and political upheaval, so even though our cultures and heritage are completely different, they feel the power of Afrobeat and confirm my belief that music is the great healer in the world. It was a long musical trip, there is no way back but well worth it. You just don’t have to return, I have to move forward!
Many people think going into musical world is just to make quick money. What is your reaction to this?
Ha! Most musicians are struggling musicians only a small minority make serious money, musicians all around the world play for the love of it, to express themselves creatively and for the interaction with the audience. A lucky few might make millions but you can’t judge everyone else on that basis, lawyers, accountants, bankers, those guys make the serious money. Also, those motivated by money don’t make as good music, if your inspiration isn’t true, then it shines through in music.
Would you have opted out of stage if you were offered an alternative job? Not all, as I said earlier, I had job which I left in order to be a musician, that wa almost 50 years ago and I am still in it. I think I made the right decision.
If you could have lunch with anyone, real or fictional, alive or dead, who would it be and what is the first thing you would ask him or her?
It’s impossible to pick one single person, there are loved ones that would be great to see one more time, but musically the most obvious person would be Fela Kuti, and I’d ask him if he’s happy with what’s happened to the music that we created together.
What are your goals for the coming years?
I want to keep on doing what I do, improving and doing new things. I’m very happy with my band and our new album, we can do great things together. I’m very fortunate that I get the opportunities to work with all manner of artists doing different and interesting projects, long may it continue.
Music is my mission. I never get satisfied and I’m still learning from others. The musical world is very spiritual, and I don’t think there’s an end to it. The best legacy is your professional work and leaving an indelible mark on the minds of people.
Additional information: Agence France Press (AFP) wrote that Allen was the drummer and musical director of Fela Kuti’s band Africa ‘70 in the 1960s and 1970s. During that time, the pair created afrobeat, combining West African musical styles such as highlife and Fuji music with American imports jazz and funk. Afrobeat went on to become one of the totemic genres of 20th century African music.
Over Allen’s thrilling beat, Fela laid out his revolutionary and pan-African message, which led him to become one of the abiding icons of the struggle for freedom across the continent. Allen and Fela recorded around 40 albums together in Africa ‘70, before parting ways after a mythic 26-year collaboration. Such was the hole that Allen left in his band, Fela needed four drummers to replace him.
Allen taught himself to play drums from the age of 18, drawing inspiration from American jazz greats Dizzy Gillespie and Charlie Parker as well as contemporary African music. He remained hugely influential and beloved by generations of musicians.
British musician and producer Brian Eno has called Allen “perhaps the greatest drummer who ever lived.” Allen was the drummer in the supergroup The Good, the Bad & the Queen, also featuring Blur singer Damon Albarn and The Clash bassist Paul Simonon, which released its second album in 2018. Tony Allen died suddenly at the age of 79 in the Paris suburb Courbevoie, France.
Even during COVID-19, art ‘brings us closer together than ever’
With billions of people either in lockdown or on the front lines battling the COVID-19 pandemic, this first celebration of World Art Day is a timely reminder that “art has the power to unite and connect in times of crisis”, the head of the UN Educational, Scientific and Cultural Organization (UNESCO) said on Wednesday.
“Bringing people together, inspiring, soothing and sharing: these are the powers of art, the importance of which has been made emphatically obvious during the COVID-19 pandemic”, Audrey Azoulay said in her message.
Throughout self-isolation, art has nonetheless been flourishing. Pointing to peformers tapping into their creativity to relay health guidelines and share messages of hope – as well as neighbours singing to each other on balconies, and concerts online – Ms. Azoulay maintained that creativity abounds.
And the Mona Lisa – Leonardo da Vinci’s most famous masterpiece, the anniversary of whose birth, on 15 April, has been chosen for the World Day – has been revisited in a variety of ways, including images of her self-isolating in the Louvre Museum, or covering her enigmatic smile with a surgical mask.
“This is how, despite the crisis, art is demonstrating its resilience today”, explained the UNESCO chief.
Paying tribute to the solidarity shown by artists and institutions at a time when “art is suffering the full force of the effects of a global health, economic and social crisis”, she flagged that this time of confinement can also be “a period of openness to others and to culture, to strengthen the links between artistic creation and society”.
Through the hashtag #ShareCulture, UNESCO has invited everyone to communicate their love of art by sharing it broadly.
The coronavirus pandemic has closed museums and cancelled concerts, plunging many cultural institutions into uncertainty and immediate financial loss while also threatening a long-term effect on the arts.
As the world waits for the current measures to be lifted, vulnerable groups who are unable to get online, exacerbating a global digital divide, have even greater difficulty in gaining access.
Keeping art alive requires the twofold approach of supporting cultural professionals and institutions, and promoting access to art for all, according to Ms. Azoulay.
As these challenges require far-reaching cultural policies it will be necessary to “listen to the voices of the artistic world in their globality and diversity”, she stressed.
With the aim of affirming the resilience of art in during this difficult period and in preparing for the future, UNESCO has launched the “ResiliArt” movement, which, among other things, will consist of a series of global virtual debates with renowned artists and draw support for the cultural world throughout the crisis.
And looking forward, guidelines will be drawn up on improving the protection of artists for future crises.
The UNESCO chief urged everyone to participate in “this strong impetus for culture” to prove that even in a period of personal distancing, “art brings us closer together than ever before”.
Asian Pop Culture for the UN Sustainable Futures
As a 16-year-old high school student in Taiwan, I’ve struggled to find opportunities to make an impact on international issues. Like many passionate students who are involved in Global Affairs and Model UN, I’ve always tried to take initiative and seek out opportunities that can promote youth action for a greater cause. With this drive, I decided to commit myself to the UNODC E4J’s “Educating for the Rule of Law” project when I saw the competition poster on the UNODC website.
When I was five, my grandfather’s Filipina caregiver, Aher, told me stories about her friends who were victims of human trafficking in Southeast Asia. As I grew older, with more access to resources and information from the internet, I began to dive into the details and history of the matter. After my grandfather passed, Aher also left the house and went to work for someone else, where, I found out, she faced maltreatment and abuse from the homeowner. Since the incident, I had the urge to work in the social justice and the law enforcement field. Now that I am a student, I can contribute to a wider audience through my art.
With a focus on Sustainable Development Goal 16 (Peace, Justice and Strong Institution), I decided to dedicate my song to human trafficking and the smuggling of migrants because of those very stories told by Aher. The entire process took me roughly four months in total. Every detail, from writing the lyrics, coming up with the melody and guitar chords with my peers, recording the song, adding instrumentals and beats, gathering video clips, editing video clips, and blending in the music to producing an awareness music video was worth the hard work. The result came as a shock. I couldn’t imagine out of the 1,200 submissions around the world, I was selected. I was in disbelief when I woke up that morning and saw the notification on my phone: Invitation to the UNODC E4J High-Level Conference. Over the next few weeks, I rehearsed over and over again with my guitar and background track to make sure that my performance would be flawless.
Using my prior knowledge in music composition, international affairs, and public performance, I was able to successfully engage with the audience, maintaining my posture, and effectively delivering a speech about my motivation behind the creation of “Heed The Plea, and Set Them Free.”As I wandered around the conference room, I took the initiative and spoke with numerous experts in different fields, gathering a stack of business cards, making long-lasting connections, and witnessing real-time professional operations inside the UN. I could feel a door had been opened.
Mr. Yury Fedotov, Chief Director of the UNODC, tweeted a group picture of himself, me, and the other E4J winners with compliments and words of encouragement for all the effort that the youth have contributed towards promoting the culture of lawfulness. Meeting all the other winners of the contest was amazing as we shared our experiences and talked about our process of hard work. A teenager from the Philippines, who was the winner in the tertiary level, produced a short film about violence with an unforgettable use of emotion and film technique, connecting to the real-world issue of terrorism. The most phenomenal presentation of youth effort in fighting for the rule of law, however, came from a 14-year-old Nigerian girl who delivered a moving call-to-action to stand up for the rule of law, receiving a standing ovation from the crowd.
Although I told myself it was just like the many times performing for my band at school, I wasn’t able to manage my emotions standing on the stage in front of diplomats, organization CEOs, and educators. Stage fright was hitting me like I was in elementary school again. This live performance, however, was not like any music performance at the courtyard or auditorium. This was a pivotal turning point in my life, presenting myself as a representative of a youth movement on an international platform. This performance was proof for every youth who has ever doubted they could impact global issues, and, more importantly, proof for everyone to witness youths’ ability to make a difference in this world and to use art as a medium to influence people.
Beyond the performance
On day two, I had the honor of presenting my song, along with three other #Create4Justice artists, and discuss how various forms of artistic expression can be utilized to promote the rule of law. Along with three other panelists, I introduced my music as a medium to promote justice in an engaging way. I was deeply intrigued by how different manifestations of the arts can bring about awareness and change. Mr. Andrew Newman, a close friend and colleague, talked about the power of journalism and journalists’ efforts to show the world the “truth” behind world issues through the camera lens. An Italian architect and artist talked about how transforming old houses into colorful artworks helps with crime prevention and overall community wellness. The one artist that I talked with the most and still stay in touch with to work on song collaborations was Mr. Leonardo Parrága from Colombia. Our common robust interest in Reggaeton music created a new hashtag,#ReggaetonPorJusticia (R4J) with the purpose of reaching Spanish-speaking audiences, addressing issues relevant to justice and law in South America, and transforming the provocative image of reggaeton-type music. In addition, the head of the UNODC Doha Declaration Global Programme, Mr. Marco Teixeira, showed a strong interest in Reggaeton and expressed a willingness to help with my song creations. Even more encouragement came from Dr.Sofija Bajrektarevic, Director-General of the fascinating Vienna-based platform ‘Culture for Peace – Unifying potentials for the Future’. She suggested series of programs to be organised under her vision of bridging the generational gap through ‘Tomorrow’s People’ Board.
An Album Is Born
I am ambitious. I started with one song, and now I want to kickstart a whole album consisting of 17 songs that showcase different styles of music, are written in a plethora of foreign languages, and appropriately represent each and every one of the UN Global Goals. My original idea was to convey a unique story through the medium of music with a visual (video) accompaniment. However, it wasn’t as easy as I thought. It took me four months to finish producing my human trafficking song, “Heed The Plea and Set Them Free.” I couldn’t imagine the amount of time it would take for me to achieve this dream on my own. So I thought, why not feature different artists around the world, let them tell their own stories, and write their own lyrics in the languages closest to their hearts?
With the help of MUN Impact, I was able to launch my music project—The SDG Album, which involves youth from all over the world, creating songs about various global goal targets in the local language of their respective regions. Through all the hard work from MUN Impact, the outreach team, Mr. Andrew Newman, Ms. Lisa Martin, and the UNODC Education 4 Justice team, the album is now receiving submissions on a rolling basis. A winner, selected for demonstrating the most influential and effective idea through their song, will win a trip to MUN Impact Morocco in June!
During the High-level conference’s first break, UNODC conference press Ryan Haidarian decided to interview me about my motives behind my song and my vision after this once in a lifetime experience. I had the honor to have this video featuring me shared across UN social media platforms such as Twitter and Facebook.
This event has helped me come to the realization that young people do have the power to make an impact on this world. The reality is, we, the youth, may not have as many resources, connections, or some would even say, maturity to handle the pressure. What we do have, however, is the most impact when it comes to advocacy because people will think, “If a 16-year-old can do it, I can do it too.” From a middle school student miserably figuring out how Model UN works and how to overcome a paralysing fear of public speaking to an advocate for the SDGs, trying to change the world with his voice and guitar, I have grown. After the conference, it feels strange to receive messages and tweets from UN officials and high-level diplomats complimenting my work and effort in promoting the rule of law. I can’t believe the profound changes a UN conference could bring to a teenager. From the media attention from Twitter and new insights about the United Nations to connections with people from educational institutions, UN agencies, and people with the same musical passion as me, leading to collaboration projects on song-productions on UN Global Goal topics, I can finally tell my friends from Model UN… I made it to the UN!
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