En Chordais Ensemble (Greece) & Guest Artists
World Première
Marco Polo’s Travel to China – Appreciation Guide
New works commissioned by the Silk Road Arts Festival
Composed by Kyriakos Kalaitzidis
This appreciation guide is available for downloading at
http://www.silkroadfestival.gov.hk/en/prog/marcopolo.html from 30 October onwards.
www.silkroadfestival.gov.hk
Outline:
1. Introduction - Venice in the 13th century ............................................................p1
1.1 Diplomatic Strategy of the Venetians
1.2 Background of Marco Polo
1.3 The Polo journey
1.4 The Silk Road .................................................................................................... p2
1.5 Cultural Exchange of the East and the West
Think about
2. West and Central Asian music culture ................................................................ p3
2.1 Religion
2.2 Cultural Exchange
2.2.1 Instruments
2.2.2 Comparison of Musical styles in the
Middle Eastern Regions ....................................................................... p5
2.3 Natural Environment and Ecosystem
Think about .............................................................................................................p6
3. Visual Arts and Culture
Think about ............................................................................................................. p7
4. Multimedia Performance
Think about ............................................................................................................. p7
1. Introduction - Venice in the 13th century
Venice in the 13th century was a thriving city with beautiful palaces and churches along the canals.
Politically it was a republic ruled by a Doge. The Venetian cultural tradition was Byzantine. Located
at the north end of the Adriatic Sea, the city communicated with Europe to the north and Central Asia
to the east by way of the Mediterranean. Thus, this favourable location led to its growth as the most
important centre of East-West trade of the medieval world. Venetian merchants exchanged goods
with traders; and some travelled to the East as far as China to bring back luxury goods demanded in
Europe. These merchants traversed by land to spend years away from home in pursuit of their trade.
Besides, multilingual interpreters, known as ‘dragomans’, were available easily for hire in the city to
facilitate the trade. However, most of the Venetian merchants learned Arabic and Persian in order to
interact directly with Muslim traders and customs officials.
1.1 Diplomatic Strategy of the Venetians
Venetians gained dominance in trade with Central Asia and Near Eastern trade due to their skilful
diplomatic efforts. Venetian doges engaged sultans and other officials in trade negotiations, a
process facilitated by ambassadors. These diplomatic visits highlighted the importance of the
sultans through the displays of rituals and gift exchanges. On some occasions, an artist would be
offered to stay in the trading colony as an artist-in-residence for a few years acting as a friendly link
between the two trading partners.
1.2 Background of Marco Polo
Among the Venetian merchants who travelled to China were the Polo family members, the most
renowned merchant was Marco Polo (1254-1324), principally because he published a journal of his
travels, including fiction as well as facts, in The Travels of Marco Polo.
Marco was born in Venice, son of Nicolo Polo and nephew of Maffeo, Venetian merchant and
traveller. Young Marco was well educated, having studied classical authors and understood the text
of the Bible. He also knew commercial French and Italian in addition to his native Venetian dialect.
His interests also included such diverse subjects as natural history and peoples of different races and
cultures.
1.3 The Polo journey
In 1271, when Marco Polo was 17 years old, he set off his travel to the east with his father Nicolo
and his uncle Maffeo. It took them 24 years to journey through Asia. They were the first travellers
who reached beyond Mongolia to China, which he called Cathay (Cathay = an ancient name of
China). It was the open personality of the great Kublai Khan (1214-94) combined with Marco’s
all-round educational background and detailed knowledge of local laws and customs that brought
the two men together as close confidants. During the visit, Marco reported himself to have been
appointed to high offices in the Khan’s administration. He was also supposed to have been sent on a
number of special missions in China, Burma and India.
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1.4 The Silk Road
As early as the Han dynasty, Pliny the Elder (23-79AD) wrote that silk was produced in Seres
(China). The “Seres people” wove silk into beautiful fabrics, such as brocade. Silk fabrics were
imported into Rome, where they were made into exquisite gowns for noblewomen. The westward
transport of silk gradually became the route linking Asia with Europe. This route became known as
the Silk Road.
The route ran through China and Central Asia dates back to 2 CE. The trading reached its height
during the Sui (589-618 CE) and Tang (618-907 CE) dynasties. Apart from silk, tea and porcelain
were transported west by Chinese traders; while precious stones, leather, glass and agricultural
produce were brought into China.
1.5 Cultural Exchange of the East and the West
Besides the trade between China and Europe, cultural exchange also took place actively. For
example, the four great inventions of China - paper, gunpowder, printing and compass were brought
to Europe. In the other direction, three religions - Buddhism, Islam and Christianity were brought
into China. Of particular interest to us at this Silk Road Arts Festival today, some of the Chinese
instruments, the yueqin and sounar being the most popular, were brought into China from Central
Asia along the Silk Road.
Think about:
˙ In the performance, the En Chordais Ensemble tried to portray the fear of Marco Polo during his
journey to the East.
1.
2.
3.
4.
5.
Can you imagine his frustrations?
Can you feel them in the performance?
Did Marco Polo conquer his anxieties in the end?
Can you feel his anxieties in the music?
If you were Marco Polo, would you feel other frustrations? What would they be? How would
you cope with them?
˙ During the journey, Marco Polo was trusted by the Kublai Khan.
6. Other than his knowledge and skills in language, people, law and customs, what qualities
earned him the trust of a foreign ruler?
˙
Exchanging works of art and performing ethnic music and dance were common strategies for
effective diplomatic exchange.
7. How can these exchanges of visual and performing arts help stabilize the economic and
political environment, advance globalization and promote world peace?
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8. If you were to choose a piece of creation or a performance that can represent Hong Kong, what
would it be? Give reasons for your choice.
9. Hong Kong is always claimed as a multicultural city, in what way do you think it serves its
function in the ancient Silk Road?
2. West and Central Asian music culture
Music does not exist as a separate aspect of culture. It is deeply interwoven with the environmental
and historical circumstances in which people live. Music which is originated and developed in
diverse environments can be identified by the distinctive styles of expression.
Factors such as geography, history, climate and religion affect the formation of the musical culture of
a region and its peoples. In the Western and Central Asia, the people who lived there throughout the
centuries shared many common elements in their musical culture. Here we are going to pinpoint the
discussions of musical instruments and styles in the context of religion, cultural exchange, natural
environment and ecosystem along the Silk Road.
2.1 Religion
Christianity, Buddhism and Islam are powerful religions which determine the lifestyles, cultural
forms and traditions of their followers.
Islam remains the most important religion along the Silk Road. In the Islamic world, music is not
used in acts of worship. However, musical elements can be found in their religious ceremony. For
example, the muezzins’ five-times-a-day call for prayer, as well as the chanting of the Koran,
includes definite rhythm, which can be considered a musical element.
Buddhism is the first religion that has spread beyond India during the reign of King Ashoka along
the Silk Road and has reached other cultural spheres. This period also marks the development of
Buddhist music. With the development of Buddhist music, apart from chanting sutra, instruments
like copper gongs, drums and conch horns accompany the chanting and ceremonial music. When
Buddhism reached Tibet, the use of song and dance, in addition to instruments are included in
certain ceremonies like the New Year Festival.
2.2 Cultural Exchange
Trading along the Silk Road has brought the region not only material exchange but also linked up
the civilization of East and West.
The music of the Western and Central Asian cultural sphere comprises Persian (Iranian), Arabic and
Turkish music. Persian culture had a strong influence to Western Asia during the Middle Ages,
when Persia dominated the region. Later on, when the Turks took over control, the Arabic world
underwent another cultural impact. The continuous interaction among Persian, Turkish and Arab
music led to the formation of the West Asian, Islamic musical cultural sphere. These influences
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extended to Xinjiang in Asia where Islam dominated and back to Europe in Greece. As a result, the
regions shared common musical characteristics including musical instruments and musical style.
However, though exposed to a myriad of cultural impact in certain regions like Arabia, Iran and
Xinjiang, the music kept their original characteristics while absorbing new elements brought by the
exchange.
2.2.1 Instruments
In general, at least five types of popular musical instruments can be found in Central Asia. They
are: long-necked plucked lute, bowed string, wind, percussion instruments and hammered
dulcimers. These instruments, though they may come from the same origin, have different names
or are modified to fit their current culture.
Table of Middle Eastern Instrument
Type
Countries
China
Lute-
liuxianqin,
a. long-necked plucked
yeuqin, sanxian
b. pear-shaped bodies
pipa
Iran
Turkey
Afghanistan
setar, tar
saz
panitar
Iraq
Xinjiang
Greece
saz
setar, tar
oud
laouto
(baglama)
c. pear-shaped with
tambur
qunan
resonating strings
Bowed string/luteerhu, sihu
a. with cylindrical bodies
b. with spherical bodies
kemanche
kamanche
joza
lyra
Wind
cane flute:
double-tube
a. flute like
ney
flute: sabay
b. double reed
zurna
santur
Hammered Dulcimer
yangqin
Percussion:
Most of them share through the region: tabula, kettledrum, domak, darabukka, framed drum,
tambourine
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santur
zourna
yangqin
santouri
2.2.2 Comparison of Musical styles in the Middle Eastern Regions
• Similarities among countries along the Silk Road:
Vocal and instrumental parts are both important
Ensemble includes lute, drum and vocal and sometimes with dance as well.
•
Melody is based on a modal system, called mugham.
The vocalist sings highly in improvisatory manner, with the accompaniment of an
ensemble, which is often in heterophonic texture.
Both instrumental players and vocalists are encouraged to improvise freely within
the framework only.
In addition to the use of microtones, (the scales are divided into more than 12
semi-tones), the music is usually employed with rhythmic patterns (some dance-like
meters such as 3, 5, 7) in order to intensify the dance motions.
Distinctive characteristics in Arabic and Persian music:
Arabic: with diverse combinations and repetition of various melodic patterns, like an
arabesque
Persian: melodies are concentrated on a narrow register, simple rhythmic patterns,
emphasis on cadence, symmetry, and motivic repetition, fast in tempo
2.3 Natural Environment and Ecosystem
Ethnic instruments are usually made of natural materials. Climate and other features of natural
environment are important factors affecting the material in making musical instruments. Western
and Central Asia are both located in the dry region of the world. These areas comprise mainly
steppes and deserts. Few trees of large size are found, therefore, most of the wooden instruments
are small in size. For example, there are many varieties of string instruments (lute) from Xinjiang to
the Western and Central Asia; most of them have small bodies. Instrument like the oud in Arab
music, with its large body, is made of pieces of wood joined together, and such instrument is rare.
For flute-like instruments such as the Persian ney, are often made of reed instead of wood or
bamboo.
Arabic people in West Asia traditionally led a pastoral life. So they used strings of goat-gut on most
of their instruments. In China and other areas where silk flourished, silk strings are used instead.
For percussion instruments and membranophones, skin of goats, camels, cattle, horses and other
animals raised in the region, are used as the membrane. For example, the Chinese sanxian, snake
skin is used to cover the resonance box. The Persian tar is covered with sheepskin.
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Think about:
1.
2.
3.
Have you ever seen these ethnic instruments?
How do you describe your feelings when you first encountered these instruments?
What makes the music so unique?
In today’s performance, you heard music from Venice to the Western and Central Asia.
4. Can you tell the differences between the music of these different regions?
5. Can you describe them?
En Chordais Ensemble brought a newly composed multicultural piece especially for this performance.
6. If you were the composer, what would you take into considerations when you compose?
It is difficult to compose a multicultural piece because every musical culture has its uniqueness.
7.
8.
What is the purpose of composing a multicultural piece? Think about it in terms of
globalization and cultural preservation.
How did the ensemble manage to achieve their multicultural goals through their music?
People say that
“Music is a universal language.”
“Music is not a universal language because it is a product of culture, so you have to first understand
the culture then you will understand the music.”
9. In your judgment, which of these statements is correct? Please justify.
3. Visual Arts and Culture
In addition to music, other art forms like painting also reflect facets of a culture. The content of a
painting can reveal information on the way people lived during a certain period. In the Middle Ages,
paintings carried an educational role as not everyone understood text.
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Think about:
about:
1.
Art and culture cannot be separated. Every form of art is a reflection of the culture. Other than
music, how do other art forms such as painting, drama, dance, architecture, sculpture, reflect a
culture? Can you give some examples from Hong Kong and other major cities?
2.
Look at these two paintings. Can you tell what cultural elements they reflect? Hong Kong is a
cosmopolitan city, a meeting point of the East and the West. Can you identify some
multicultural traits in Hong Kong’s art, such as drama and novels? How can you tell these
characteristics?
4. Multimedia Performance
Multimedia is the use of more than one presentation medium at the same time. Multimedia
performance means the combination of text, sound and/or video. The combination of various
elements in which one is complementing each other, resulted in directing the audience to appreciate
the performance from several angles.
Think about:
1.
En Chordais Ensemble performs music with text narration and images projection, have you
ever experienced this kind of performance before? Comparing with pure music performance in
deliberating the journey of Marco Polo, how do you feel about it?
2.
Does this multimedia performance create an environment that leads you to feel the core of the
story; and liven the magic of discovery? Is there any possible element that you may suggest
adding to the performance? Why?
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Bibliography
Benton, Janetta Rebold, & DiYanni, Robert, Arts and culture: an introduction to the humanities,
Prentice Hall, N. J. (2002)
Broughton, Simon, Dowell, Vanessa, Duane, Orla, Ellingham, Mark and Trillo, Richard, edited, World
music: the rough guide, Penguin Group, London, New York (1999)
Buswell, Jr., Robert E., editor in chief, Encyclopedia of Buddhism, vol.1&2, Macmillan, New York
(2004)
Fleming, William, Arts & Ideas, 9th edition, Harcourt Brace College Publishers, Fort Worth (1995)
Ikeda, Daisaku, Buddhism the First Millennium, Kodansha International, Tokyo, New York, London
(1982)
Kunihiko, Nakagawa, Yuji, Ichihashi, directed, Katsumori, Ichikawa, produced, Emmert, Richard, &
Yuki, Minegishi, translated, The JVC video anthology of world music and dance, book 2&5,
Newburyport Press, Inc., Newbury, Massachusetts (19--)
Nettl, Bruno and Stone & Ruth M. advisory editors, Porter, James, & Rice, Timothy, founding
editors, The Garland encyclopedia of world music, vol. 2, 6,7, Garland Publishing, New York (1998)
http://www.britannica.com/EBchecked/topic/87186/Byzantine-Empire/9261/
http://www.duke.edu/~azomorod/persian2.html
http://www.historyworld.net/wrldhis/plaintexthistories.asp
http://www.metmuseum.org/toah/hd/byza/hdbyza.htm
http://www.metmuseum.org/toah/hd/otto1/hdotto1.htm
Appreciation Guide written by Charlotte Chiu
Translated by KCL Language Consultancy
© The Leisure and Cultural Services Department (LCSD)
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