January 21, 2012 Evergreen Brick Works Performance Itinerary

 First Session: 30 mins

Yayue – Book of Songs – Lu Ming (8 mins) TQS
(Intro speech: New Year, about Hanfu – 3~4 mins) Juni Yeung
Guqin Solo – Pei Lan (7 mins) Juni Yeung
Suona – Hua Mulan (5 mins) – Gongyu Xu
Guqin + Group Song – Guanshan Yue (3 mins) Esther Zhang, TQS group

 Second Session: 30 mins

Yayue – Book of Songs – Si Mu (7 mins) TQS
(Welcome back speech: New Year, about Yayue – 3~4 mins) Juni Yeung
Guqin Solo – Longxiang Cao (7 mins) – Yanyan Zhu
Sheng Solo – Fenghuang Zhanchi (4 mins) Gongyu Xu
Dizi – Gusu Xing (5 mins) –   Frederick M.H. Yiu

Kudos to Yanyan Zhu and Bill Wilson for photography.

This is an Official Announcement of the TQS.

願在壬辰之歲,天地定位，陰陽協和。星辰順度，日月昭明。寒暑應候，雨暘以時。山岳靖謐，河海澄清。草木蕃廡，魚鱉咸若。家和戶寧，衣食充足。禮讓興行，教化修明。風俗敦厚，刑罰不用。華夏歸仁，四夷賓服。邦國鞏固，宗社尊安。景運隆長，本支萬世。

We wish you:

In the year of Yin-shen the Yang Water Dragon, Heaven and Earth sets its place, Yin and Yang is in harmony. The stars and constellations are in order, the sun and moon shine brightly. Heat and cold reflect the seasons, rain and shine come in timely schedule. Mountains and valleys are safe and tranquil, the rivers and seas are clear and calm. Trees and foliage manifest, fish and whales are prosperous. Families are happy and clans at peace, clothing and food be abundant. Ritual and propriety take its place, and civilization enlighten us all. May human nature be honest, and not have to resort to punishment. May Huaxia return to its humane doctrine, and foreigners from the four directions be impressed. Land and country be strong, the ancestral lineage be respected and kept safe. May good fortune be everlasting, and continue like a tree into the future.

 ***
As usual, Toronto Guqin Society is involved in the production and events of Hanfu Chunwan. Be sure to go over and check out their ever more impressive lineup of shows and events on Chinese culture!

Also, we have completely uploaded the 3 pieces of the Shijing Yuepu performed series onto Youtube. You can see them by reading more below.

Thank you for your support and participation with Toronto Guqin Society, and stay in touch for further event updates. If you have any requests for when/where to hold gatherings, please also feel free to leave a reply or send an email to Juni Yeung at jt_revolution@hotmail.com.

Shijing Performed 詩經雅樂 Small Elegant Airs 小雅: Lu Ming 鹿鳴

Shijing Performed 詩經雅樂 Small Elegant Airs 小雅: Si Mu 四牡

 Shijing Performed 詩經雅樂 Small Elegant Airs 小雅: Huang-Huang Zhe Hua 皇皇者華

WANG Zhi's Xilutang Qintong, first published in Ming Jiajing Year 28 (1549). Originally 25 folios.

Source: http://www.chineseguqin.org/news_read.php?no=2513

Translator’s Note: Xilutang Qintong is one of the most comprehensive and ambitious project and achievement in premodern qin music publication history. Containing 170 pieces including 19 with lyrics, it is by far the largest single manuscript collection of existant qin music to date. Tianwenge Qinpu in 1876 comes in second, with 145 melodies.

What makes this book especially precious, asides from the surviving original being a handcopied version stored by Li Yunzhong of Tianjin with Folio 5 (including fingering index and L/R hand explanations) now lost, is the 75 unique or sole surviving versions of melodies not found in any other manuscript. Of the 29 modal themes in 14 different tunings, half of the tunings are unique to the melodies in this book. In summary, there is no overstatement to the musicological and historical importance of this collection, which the author has spent the majority of his life scouring the Ming landscape in search and editing for this compendium.

The contents regarding the upcoming dapu conference can be found in Qinqu Jicheng (QQJC) 2nd ed., Vol. 3, pp. 60-90. On the commonly-shared PDF file, they are on pp.72-102.

***

In light of the recently concluded Dapu conference for the Ming manuscript Songxianguan Qinpu, a compendium will be published by the Shanghai Music Publishing House for the results. Now, we are making a call-out to qin players everywhere for submissions of superb dapu works. The event’s details are as follows:

1. The contents of this conference is confirmed as the 24 melodies as contained in Folios VI, VII, and VIII of Xilutang Qintong. All qin people in and outside China are welcome to participate. All dapu’ers must abide by the original writings and reject brash alteration of the score. If there are obvious mistakes in the original, any changes must be footnoted and annotated. Dapu’ers can choose one to three pieces to be submitted to the office. The deadline is on December 31, 2012. Manuscripts sent will not be returned, hence please keep your own copy.
2. Outstanding dapu works will be compiled into publication at the end of this conference, with copyright belonging to the Zhongguo Minzuyue Xuehui (Chinese Ethnic Musicology Association) Guqin Studies Committee. In order to keep the original form and accuracy of the submissions, our dapu compilation will take shape in photocopies of the original submissions. Please use manuscript paper as assigned by our association, and print neatly in uniform characters. Sample and blank scoresheets are attached with this notice, or can be downloaded at http://www.chineseguqin.org.
3. Dapu submissions must also include an audio draft recording on CD. After the submissions period, one to three outstanding dapu works will be recorded in a unified setting.
4. Should the Dapu’er need to write afterwords or endnotes, please email them to guqinyishu@126.com.
5. On-site performances of the dapu’d works will be organized during the conference. We are also accepting academic papers on the Xilutang Qintong manuscript, and will be discussing it during the course of the conference.
6. Finalists in the dapu selection will be invited to attend the conference, with travel and accomodation fees paid for in full by the association.

Mail address (Chinese):  北京安外安贞桥东胜古家园3号楼D座1506　白云龙 收　邮编100029
Mail address (English): Bai Yunlong,
Apt. 1506, Bldg D, Shenggu Jiayuan
3 Anzhengqiao Dong, Anwai
Beijing, CHINA.
PO 100029

By express post or delivery only.

Tel:010-64415082　13391838383 张子盛 (Zhang Zisheng)

(Signed,)
中 国 古 琴 学 会 办 公 室 (Office of the Chinese Guqin Association)
2011年9月9日 (September 9, 2011)

Appendix: Titles to be dapu’d (with links to silkqin.com for reference):

Folio 6:

• 《調絃品》　Tiaoxian Pin (2 [#s not written]; String tuning piece); only here, though similar to Yisa Jinof 1539 (III/60)
• 《宮意》　Gong Yi (1; Meaning of Gong); compare 1425(III/60)
• 《修禊吟》 Xiuxi Yin(3; Cleansing Ceremony Intonation; occurs 3/3); prelude to #4, but see #12; 1st of nine (III/61)
• 《陽春》　Yang Chun (10^T; Sunny Spring); seems unrelated to 1425; 35 of this version from 1539(which has lyrics) (III/61)
• 《康衢謠》　Kangqu Yao (7 [6^L, Ballad of the Highroad, from Liezi, end of Chapter 4 {Confucius}]); only here (III/63)
  Along the road Yaohears a boy sing, “You raised us up….(立我蒸民，莫匪爾極。不識不知，順帝之則。)”
• 《沖和吟》　Chonghe Yin (3; Intonation on Balanced Vital Force); prelude to #7 (III/64)
  Guide 18/179/–: 1st of 10 (but see 1589; 沖和 17565.22)
• 谷口引　Gukou Yin (13^T; 谷口引 Gukou Prelude); concerns the recluse 鄭樸 Zheng Pu; 1st of 5; III/65)
• 《圯橋進履》　Yiqiao Jin Lü (7^T; Going for Shoes under the Bridge); 2nd of 34 from 1539, which has lyrics (III/67)
• 《梅花三弄》　Meihua Sannong (10^T; Three Repetitions of Plum Blossom); about 50 pu from 1425(III/69)

Folio 7:

• 《達觀吟》　Daguan Yin (3; Intonation about Being Free of Worldly Emotions); prelude to #11; only here(III/71)
• 《廣寒遊》　Guanghan You (11^T; Wandering in a Lunar Palace); in 16 pu from 1425(III/71)
• 《流觴》　Liu Shang (8; Floating Goblets, a ceremony during xiuxi [see #3]); like Jiu Kuang, but extra at end (III/73)
• 《高山》　Gao Shan (6^T; High Mountains); in 42 pu from 1425(III/74)
• 《流水》　Liu Shui (10^T; Flowing Streams); in 37 pu from 1425(III/76)
• 《幽蘭》　You Lan(10; Secluded Orchid); Confucius compares himself to it; 1st of eight (III/77)

Folio 8:

• 《商意》　Shang Yi #1 (1; Meaning of Shang); “taigu” (most ancient); see 1425(III/80)
• 《天風環佩》　Tianfeng Huanpei (3; Jade Pendants in a Heavenly Breeze); 3rd of 7 from 1425(III/80)
• 《騎氣》　Qi Qi (9; Riding the Vapor); “also called Shen You Liuhe” (Spirit Roaming the Universe); 4th of 5 from 1425(III/80)
• 《白雪》　Bai Xue (9; White Snow); 6th of 35 from 1425(III/82)
• 《飛電吟》　Fei Dian Yin (3; Intonation of the Lightning Flashes); prelude to #21; only here(III/84)
• 《風雷》　Feng Lei (8^T; Wind and Thunder); 42 pu from 1539(III/84)
• 《隱德》　Yin De (3; Hidden Virtue); 3rd of 34 from 1425(III/85)
• 《春江》　Chun Jiang (10; Spring River); only here; unrelated to the 7 Chunjiang Qu first found in 1511 (III/86)
  Minister Fan Liof Yue retires
• 《鶴鳴九皋》　He Ming Jiugao (9^T; Cranes Cry in the Nine Marshpools); 6th of 9 from 1425 (III/88)

Hanfu - a symbol of a reflective and conscious people?

Source: http://tieba.baidu.com/p/743843382 (【随想】礼之用，和为贵（昨日羊肉串事件随想） by 月曜使·檀越之) English title: [Random thoughts] Purpose of Ritual, Value of Harmony – Thoughts after yesterday’s lamb skewer event; by Yueyaoshi*Tanyuezhi

http://tieba.baidu.com/p/1337580509?pn=3 (深衣出门九小时【带图片预告】 by 容漱雪凌紫冥) (post 61-64)
English title: Nine hours wearing a Shenyi outside [with picture preview] by Rongshu Xueling Zhiming

Translated by Satsuki Shizuka for Torguqin.wordpress.com

Translator’s foreward: As the year 2011 comes to a close, comes a time for us to think back and make some conclusions on our doings and faults over the past year. Since Wang Letian’s expedition in September 2003, the cultural scape of a rapidly modernizing (or Westernizing, as some claim) China has gradually shifted towards thinking of a culturally, environmentally, and humanely sensitive future, rather one solely dependent on economy and efficiency.

Here I bring two stories of how a common Chinese person, through understanding and putting into practice a respect for his or her own tradition, can become proactive members in developing mutual respect and dignity for other people and cultures, and truly become world citizens and upholding global peace. Their actions may be personal, but the power of one is great when it is modelled by all by sheer virtue.

Yueyaoshi*Tanyuezhi.

Yueyaoshi*Tanyuezhi – Story of the Lamb Skewer Shop (story 1 of 3)

“The philosopher You said, “In practicing the rules of propriety, a natural ease is to be prized. In the ways prescribed by the ancient kings, this is the excellent quality, and in things small and great we follow them. Yet it is not to be observed in all cases. If one, knowing how such ease should be prized, manifests it, without regulating it by the rules of propriety, this likewise is not to be done.” — The Analects, Ch. 1 Xue Er

Master Nan Huaijin wrote in his opus Lunyu Biezai this: “Speaking of Li (ritual/propriety), what great  lament the word brings! As we all know, Chinese people call themselves “a country of rituals and manners”, but it’s very problematic nowadays. A few decades ago, when one meets another, people will bow with crossed hands, but later it became a simple bow, and later it became somewhat militaristic, with a 15° bow while raising a hand near the brow. Now, it’s the handshake with a nod of the head, or a wink with the chin. Nowadays, for us Chinese, who knows what set of rituals we use when we see each other.

When I look back on these words now, I feel that same lament as Master Nan. Let me recall what happened earlier today, of no particular importance nor mundaneness.

After school today, a friend and I were buying lamb skewers from a stall operated by Uighurs. Two girls and another slightly chubby man was in front of us. As we waited, we found that they were speaking obnoxiously loudly, with a girl rushing the shopowner, “Is it done yet? Hurry up!” The Uighur was grilling the skewers, and the chubby guy blurted out in front of everyone’s face, “I’m not the one grilling it, the f*** does it matter with me!” Several others were also involved in the clamour. The Uighur man started to show rather unpleasant looks. At this point, my friend and I started to sigh in decry. I remember my cousin who is going to the ethnic university, and retold many tales of “certain and such ethnicities really see the Han as enemies”. In reality, these situations are more or less commonplace. At first, I was angry at such statements, and felt that these minority peoples are being unreasonable. But, let us think, a Uighur person coming to the South to start a small business, surrounded by people with a different appearance and language, spewing obscene comments as they bought his lamb skewers — undoubtedly, this will lead to him to think that these people are arrogant, conceited, and as if they are holier-than-thou. In the eyes of a Uighur, such an image usually is a Han Chinese. Not everyone can treat another person “by the incident” rather than personally. As if a rural person came to the big city, and was discriminated and rudely treated by the urbanites, he’ll likely recall to his family after his return to the countryside how bad and disgusting city people are. In other words, these Uighur small business owners are most likely to return to Xinjiang, telling others how Hans are despicable they are. Unknowingly, the seeds of evil are sown.

Now, I would like to cry foul on behalf of our Han race — because although these people here, aside from filling out “Han” in official forms, what meaning does that hold for them? In such ordinary, mundane events, they become the representatives of “those Hans outside who are all very bad”. As a Han person, I have an indescribable sentiment for my own race, perhaps it can be put better with the word ‘faith’. I wear my own ethnic Han dress in daily life, and many people asked me, “You must have a serious interest in Han Chinese dress?” Out there there’s now this term called “Hanfu amateurs” which they put over me and my fellow Han compatriots’ heads, and I think there’s nothing more ridiculous than this term – “Hanfu amateurs,” appearing among the Han Chinese lexicon! What is ‘amateur’? It is personal, and changes as one grows and matures! If we are talking about a love for a certain fashion, certainly cwe won’t go as far as wearing it every day in our lives? Or say that someone’s love for jeans can become a religion or faith worth sacrificing him or herself? NO! The reason why we respect and love hanfu, is because it is embedded with a special meaning – she is our Han ethnic dress! It is the clothing and headgear carrying millennia of our ancestors’ culture and lives. I am but a common Han Chinese citizen, who has found the beauty of its patterns and clothing, and a sense of belonging amidst the vastness of our rituals and propriety.

I digress.

After those few people left, the Uighur fellow had a rather sour and sunken expression. When our skewers were ready, our friend and I gave a courteous “thank you”. It is here that he lifted up in head, and said twice in Chinese, “You’re welcome.” I could feel that he’s lightened up a lot.

This is when the incident occurred. As we turned and was about to leave, a tall, stocky man was taking a snapshot of me behind my back with his celphone. Having a photo of me in hanfu taken without consent is something I greatly despise – something that evolved from our own race on our own soil, being given a curious eye and the hidden cameras by fellow countrymen in Western suits and leather shoes – is something that enrages me. Of course, if you look at the reality, hanfu is still something that was disjointed for three centuries, and even I don’t want to recall much that history of blood and tears that led to its downfall – look it up yourself if you want to. Now, she’s home, in her homeland, and naturally “the children will meet but not recognize, and ask, smiling, “from where are you from, dear guest?” [TL: famous lines from He Zhizhang's Tang poem Huixiang Oushu] Alas! Not only the “children”, but even old people don’t know what hanfu is, and even more people think that hanfu is an ‘imported good’, as a continuation of youths chasing after Korean and Japanese culture, it hurts my heart to think of this.

But who am I to say this? Backtrack three years ago, wasn’t I one of those who thought that our traditional dress was a suit and tie? But, I really hate these voyeur shots! This isn’t an issue with ethnicity or ethnic dress, it’s a matter of manners. I’ve met a lot of people with good decorum before, who have asked me properly, and I will explain in all seriousness. If he was genuinely interested in our culture, I will definitely be happy to discuss and take pictures together. If he’s not interested, no problem, as long as we respect each other, respect each other’s ethnicities, we can still be friends. So, your voyeur snapshots is rude in itself, and disrespects the other! When I find out about such situations, I usually will flip out my phone, and aim it to the voyeur (of course I need to know who you are – what’s your purpose in sneaking photos of me? It’s also a sign to them that I don’t want to be shot at.) Usually, these people would usually know that I don’t want to be taken photos of, and will shut off their phones and leave. But, this guy today had a thick face, and refused to leave or even dodge after I point my own cellphone camera in his face.

As they say, a shameless person is an invincible person, I could only hide behind my friend, but the guy tried to come around and continue. My friend questioned him, “Do you even know what manners are?” Who’d have thought that the man would charge up and barked, “F*** your mother! Manners my a**!” and motioned for a fight. Since this person was rather stocky, I’m sure we wouldn’t beat him with the two of us combined, so we were quite frightened. At this time, the unbelievable thing happened.

The Uighur compatiot at the lamb skewer stall saw the whole situation, and came forward as he saw us quarrelling, shouting in some language we couldn’t understand. The stocky man realized the situation was going in the wrong way, and ran in the other direction. After that, I repeatedly gave my thanks to that Uighur compatriot. He was wearing a distinctive ethnic upper tunic and hat. He gave me an honest smile as he nodded in reply. As we were about to leave, he held my hand with both hands and said in subpar Chinese, “Good day, friend!”

At that moment, I felt a warmth long forgotten and moved my heart. Suddenly, I felt that we were very much the same, despite each of us wearing our own ethnic dress. It was our mutual respect, that created this harmonious, warm feeling.

On the bus back home, I kept recalling this event of neither importance nor non-importance. At this point, the words “In practicing the rules of propriety, a natural ease is to be prized (禮之用，和為貴)” came as such an epiphany! As Master Nan said, our modern society really lacks this word, “propriety (禮)”? Two thousand years ago, Master You Ruo already said this. From as small as person to person, to as large as between ethnicities and countries, “propriety” is an essential element, otherwise we’d lose any sense of harmony.

No matter what era or nation, we couldn’t possibly unify the thoughts and personalities of people. In interactions amongst ourselves, there may be people who use sharp words and make others uncomfortable. When something like this happens in a banquet, there’ll always be someone who will round off the situation: “Aai, don’t mind him, he’s just a tad blunt and honest.” Then, you have the kind of person who will always find an alibi for himself — “I’ve always been blunt, it’s my personality” and such. If that’s the case, blunt people really can’t get along well with sensitive and meticulous people, and cautious people probably will never be together with the daring types — our society would never be harmonious then.

I’m rather ashamed to say, the problems facing Chinese society today, Master Kong already prescribed a formula to cure it — “Respectfulness, without the rules of propriety, becomes laborious bustle; carefulness, without the rules of propriety, becomes timidity; boldness, without the rules of propriety, becomes insubordination; straightforwardness, without the rules of propriety, becomes rudeness.” (The Analects, Ch.8 Tai Bo) Therefore, it’s not hard to understand that “The use of propriety is in its natural ease” is not in telling you become a mediator between fights, but is in letting people learn and put in practice this “propriety”. This way, even though people have different personalities and ways to life, they can mitigate and harmonize through this “propriety”. This is what “Yet it is not to be observed in all cases. If one, knowing how such ease should be prized, manifests it, without regulating it by the rules of propriety, this likewise is not to be done” (Analects, Ch.1 Xue Er) truly means.

But when we talk about this “propriety” word nowadays, more or less people will feel that it’s dogmatic, as part of that “feudal dogmaticism”, feel that this “propriety” are a bunch of dead rules, limiting the thoughts of people and strangling personality. This totally throws off our ancestors’ meaning by a million miles. This is because Master Kon said that no matter it is “filial piety” or “propriety”, it has to come from our sincere hearts. As we say that “sincerity to our inside, and act on the outside” (Greater Learning Chapter 14), we’re not trying to have people act in a certain way in order to become “filially pious” or “proprietary”.

***

Rongshu Xueling Zhiming.

Rongshu Xueling Zhiming – At an English Corner with Muslim students (Post 61-64)

[TL Note: This was excerpted from a longer thread, reporting the writer's whole day on the Sichuan University campus in Chengdu.]

As I carried my clothes [from a day of photo shoots] back, the English corner on campus on Friday night becomes a marketplace, bustling with people forming up into cliques and discussing on various subjects.

In some groups, people were asking each other, “What’s your major?” and were at a loss of topics after that. Others would expand to other stuff, like, “Have you seen the last Harry Potter?” or “How is it like to study in the US?”

But I came across a group that was fiercely arguing. A freckled middle-aged man was exclaiming, “It’s not convient, so it’s against human nature. it’s the bad part of you [sic] traditional culture!” Oh my god, just because it’s inconvenient, means that it is against human nature, and you must go against tradition?

On the receiving end of such words, were some exchange students. Judging from their facial features, I’d guess there from the Middle East. They seem to be discussing about the burqa, the face veils of Arabic women. I listened on, the exchange student was replying something about wearing the veil or not is a matter of personal choice, and not one where it is demanded whether to wear or not.

The man listed many examples, such as women suffering inconveniences when eating or washing their faces – what if they wanted to eat? This kind of tradition is harmful. “Just like Chinese girls bounded[sic] feet in the past.” Chinese people wearing light and convenient Western clothing, he said, was the sign of cultural progress.

This Middle Eastern student’s English doesn’t seem to be that good either, so she insisted that it was a matter of their personal freedom of choice and traditional habits. A large group spectated as the man continued to put the girls down, directly calling their traditional practices as wrong.

This was too much. Our country’s ethnic policy has a section detailing on respecting our own ethnic minorities and their traditions! And to think, this man is insulting even ethnicities and traditions of outside exchange students, and feel that Chinese wearing Western clothing is cultural progress!

“Excuse me,” I budged in. “[Convenience] doesn’t mean [everything]……”
Then I started exchanging hollerings with the man.
I stated that other people’s cultures and traditions should be respected. Whether it’s a face veil or whatnot, only Arabic girls and women have the choice to decide to dump it or not, and he has no right to put down another. As well, the pursuit for convenience in everything is a standard brought forth by consumerism, not some kind of universal value. Besides, the face veil exists because in another’s culture, their men don’t want their women to show their faces to the public, hence demand women to wear it. Demanding the abolishment of the veil by this reason is problematic in itself – if men imposed their will upon women in this example, then what of high heels, revealing clothing, and makeup? Don’t tell me that women wanted to look at themselves and have to “torture themselves” for it? This does not explain that traditional clothing is ‘behind’ modern dress. It is only an inequality of the sexes, and a difference in expression.

Then, a tall exchange student suddenly decided to play it cute, “I’m on your side!” and jumped beside me with a grin. The man continued to put us down, but I could see that although he was proficient in debate, he was easily guided by others’ directions. I won’t get down to the details of the actual wording, so I’ll skip. In the end, the man made a dare, saying that if there was any girl who’d be willing to wear a veil every day, he’d approve of Arabic women’s face veil culture.

We asked a girl who just joined our group to answer the question, to which she said, the context to this question was that she’d first have to be an Arab woman, to which she’s not, and cannot answer.
The man began to act cocky.
I then said, “Wait, you can ask our girls whether they will wear their own ethnic clothes!”
(Hurr durr, who am I to worry? There’s a set right here in my bag! What girl would say no and forfeit a chance to try it on?)The response from the man? He turned around and scramed.

Before he left, he said this: “I know why you are against me……”

Based on what I later heard, this man frequents English corner, putting down people on various topics every week. As for why the man knew what I had in my hand was Hanfu, and disappeared without giving it another look? There were fellow hanfu tongpao compatriots who went to English corner before, and some of them were quite good at debate. Perhaps some of them had a skirmish with him before, and he’s probably had his fill in this, hohoh.

Personally, I don’t approve of going to English Corner and arguing with people there. Once it starts, mutual exchange turns to a spectating arena. But then, I have to thank that potential someone who’s taught that man a lesson before.

After he disappeared, a Chinese student and a Middle Eastern guy came over and said: “On behalf of Muslims, thank you.“

This time, it was my turn to be stunned. Never have I thought that my occasional stroke of settling an injustice would be treated with such importance by another, and have them come thank me in such deliberate manner. Had I not that sense of compassion and understanding, simply carry my traditional clothes and not look at others being insulted or worse because of their traditions, I could’ve simply been a bystanding spectator, and the exchange students being a foreigner in a foreign land could only stay silent with their opinions. If it were this way, we’d never understand how important some topics are to another people, and perhaps we’d be just like that man, blabbering away with audacious claims and not be self-aware, still thinking that we’re the representatives of modern civilization.

That kind of arrogance only prevents us from mutual understanding. Only when we recollect our own tradition, can we understand other people’s insistance. We already live in an environment where faith is lacking, if we lose tradition and memory, that’d be just sad.

At the end of that debate, there were more and more listeners, standing on our side like those first exchange students, in approval of our views. When the freckled man left, the girl closest to me curiously looked at the clothes in the bag, and said that she wanted to see.

“If you want to see it, go ahead.” So she took it out.
“Go on, open it, it’s alright.” “You can put it on.”
The girl pondered a while, figured that she’d need to take off her coat, and was embarassed to try it on.
Then a guy came up. After he learned that it was a style that both men and women can wear, he happily tried to put it on, looking for the sleeve opening. Two girls helped him tie the belt, and then, wahaha, it was a flurry of cameras and Bluetooth transmissions.

The boy, named Ibrahim, then said, “Oh, help me take it off, i’m getting too much attention.”
Personally, I think Ibrahim wearing the Zhiju…felt weird.
Perhaps it’s the style of the clothing, being plain and reserved, with a spirit of a scholarly recluse, is a virtue best left for the Chinese spirit. When this set of clothing is worn on a boy or girl with an Eastern face, it evokes a memory, such as the goddesses Luoshen and Xiangjun, or scholars and saints like Li Bai and Du Fu. As for Ibrahim…well, I guess I won’t upload his picture here, ohoho. Perhaps I will have Ibrahim try on a Tang style round-collar robe, that should fit his style well.

Another middle-aged man asked me, “Are you doing this ‘Hanfu Movement’ thing?”
Me: “Hanfu movement?”
Man: “I’m not quite sure myself. There was another person like you, with clothes like yours, saying so in the past.”
Me: “Eh…(So all they know is the movement eh…)”
Me: “Perhaps. It’s because everyone is beginning to accept this. The image of the Hans on the official government website, I thought it was a Qipao, but now it’s big-sleeved robes like these.”
Man: “What website?”
Me: “The official portal of the Chinese People’s Government, under population overview. Some person from the Hanfu Movement said so, and I checked it was true.”
Man: “That should be the case. (Good sir, I’m sure that you’re saying this only after you knew from me that the goverment approved, right?)”
Me: “I used to think that it should’ve been the Qipao…” (At this point, I should secure my argument by going around corners)
Man: “That should be it!” (At this point he’s using his lecturing tone)
Ohoho, older people don’t like being lectured by younger ones, so it’s important to be strategic in our exchange, and let him feel like he’s lecturing you, then it’ll be alright! (Dear sir, you’re actually using my point to lecture me~~but then, I’ll let you lecture me more this time…)

The reason? As I said in the beginning, people believe in their own words the most. When they say the words you wanted to say yourself, they’ll be led to think that they’re trying to convince you! This is what a prominent architect responsible for rebuilding after the Wenchuan quake said to me, when the local officials don’t know much on professional architecture, but do not want to learn or be lectured by professionals and academics either. Come to think of it, it was pretty useful.

This is an Official Announcement of the TQS.

A few members have expressed that they have not received detailed information about the yaji (such as address and time). I would like to remind all that despite the EMAIL updates by the subscribe button, it does NOT update itself by sending you a new email when the post gets EDITED for new information.

Since TQS also operates by Facebook, be sure to join the Guqin – 古琴 (Guqin International) group, as all TQS events are posted there, and the system DOES give updates to whatever changes that are being made to that said page. Also, it helps us to tally who is going, so we can arrange the proper amenities.

In the future, we will look into making more posts to notify everyone of these smaller changes, so that you don’t miss out on the action!

What are we up to?

 In celebration of the 2012/4710 Chinese New Year of the Water Dragon, the Toronto Guqin Society (TQS) has partnered up with the Toronto Chinese Orchestra (TCO) and Mr. William Ho of The ONE Gallery in Unionville, to bring you authentic traditional ritual music used in the Guanli coming-of-age ceremony. Recorded in High-Definition, this is the first time since TQS performed the piece in partnership with the Chinese Students and Scholars Associations of Ontario Universities (CSSAOU) in the 60th anniversary of the PRC in 2009.

Toronto Guqin Society: http://torguqin.wordpress.com
Evergreen Brick Works Farmers’ Market: http://ebw.evergreen.ca/whats-on/farmers-market#jan21

 ***

為迎接公元2012年﹑黃帝4710壬辰龍年之際﹐多倫多古琴社以高清高質視聽錄像模式﹐與多倫多中樂團在和萬錦於人村歷史Main街區『壹藝軒』何靖恆老師再度合作 , 為全球華人送上傳統成人冠笄禮的禮樂。這是繼2009年多倫多古琴社與安省高校中國學生學者聯誼會(CSSAOU) 協辦『中國風﹐海外情』國慶60周年暨中秋晚會中『成人禮』(冠禮笈禮)表演之后﹐再度隆重推出傳統雅樂演奏節目.

冠禮笈禮三加所用之音樂為《詩經﹕小雅》的連續三首《鹿鳴》﹑《四牡》﹑《皇皇者華》。使用的樂譜為清代《乾隆欽定詩經樂譜》﹐為當時禮樂制度改革的一部份。民國年間這本《詩經樂譜》公開出版, 並無對清代版本作任何改動。多倫多古琴社社長楊雪亭耗時兩年對古代樂制潜心研究﹐並且嘗試把十四律制音樂轉換回現代十二律制﹑並且找尋現代民族樂器律制之間的平衡。

 多倫多古琴社將於2012年1月21日(周六)上午10:00時至11時30分﹐在Evergreen Brick Works國家常青自然文化社區中心(550 Bayview Avenue, Toronto, ON M4W 3X8 Canada)向公眾推出中國傳統雅樂和古琴音樂演奏活動﹐歡迎愛好音樂的家庭来參與﹐齊接喜慶水龍年﹗屆時本節目將與當地每週農夫市場(Farmers’ Market)同時進行。

詳情請瀏覽以下網站﹕多倫多古琴社http://torguqin.wordpress.com, 常青會農夫市場http://ebw.evergreen.ca/whats-on/farmers-market#jan21

Below is a sneak preview of what’s to come:

What are we up to?

For those wondering what TQS has been up to these days, the picture on the right gives a little hint for what is about to come — and here’s a hint, it’ll be online, and you’ll see it soon.

A big kudos to Thomas Yun for offering his (new) place in a condo near Yonge/Sheppard as venue. Please bring $5 (and any housewarming gifts) on the day of the event.

Date: November 12, 2011 (Sat) November 13, 2011 (Sun)
Time: 2PM – 5PM (3 hours), dinner outside may follow
Dress: Warmly, semi-casual Western or Hanfu (eg. Daopao, Zhiduo, Ruqun) recommended.
Address: (Thomas Yun’s place), 35 Hollywood Drive, Unit 2115, North York, ON
RSVP: Please contact Juni Yeung or Yanyan Zhu by email, or at the Facebook Event Page.
Juni Yeung: jt_revolution (at) hotmail (dot) com
Yanyan Zhu: opnsesame (at) hotmail (dot) com

NOTE: Date has been changed to the following day. Also, Thomas would like to invite everyone to pitch in to a potluck dinner afterwards, so if you would like to contribute a dish (vegan recommended but not mandatory) please do so!

Where one falls, many will take his/her place. From left: 玺儿，麦麦，二分月，墨香，白·胭脂，思晓，盛唐明华，易易，龙的传人.

Source: http://tieba.baidu.com/p/1248056883
Original title: 成都德克士烧汉服事件一周年——现场照片以及视频 (1 Year Anniversary of the Chengdu Dico’s Hanfu Burning Incident – On-site photos and videos)
Original Author: Bai*Yanzhi 白·胭脂
Translation/commentary: Satsuki Shizuka

Translator’s note: On the evening of October 16 one year ago, Sun Ting (alias; net alias Muka)’s unfortunate encounter with fanatic anti-Japanese demonstrators has left a significant scar among Chinese people, as their own kind mutilated their brethren in the name of ‘patriotism’, but led to international humiliation and a stinging pain among those who believe in restoring China as a land of virtue and decorum. One year later today, we still see young Chinese students being oppressed at school as their hair gets forcefully cut and publically ridiculed for wearing their traditional clothes, along with a plethora of other social injustices — but the social consciousness continues to stand in vigilance, making a stand for the expression of national and self identity, without the oppression of silent or violent discrimination.

Walking down Chunxi Road, downtown Chengdu.

Last year on this day in Chengdu, a shocking event happened here — the Hanfu burning incident. Now, a year has passed, but we have not drowned ourselves in sorrow and anger. We are happy to see that in the events of this year, with the dedication and work of all our tongpao comrades, more and more people are aware, understanding and accepting about Hanfu. One year later today, we still wear our beautiful yi-shang, standing in the very same place, and honestly accepting the dubious, shocked, or appreciating gaze of bypassers. We need to use our minute bits of strength, to tell everyone in the world: They can burn up Muka [Sun Ting]‘s Hanfu, but they will never burn away the Hanfu in our hearts. Restoring Huaxia is a heavy responsibility, and the road is long. We will continue to walk down this path.

Video: http://www.tudou.com/programs/view/_sFDcyawbOs/ and http://v.youku.com/v_show/id_XMzEzMzc2MTQ0.html

The verandah where Sun Ting's hanfu was burnt, 1 year later.

Crowds cross and weave about, but we are not afraid - instead, we are proud.

 Erfenyue 二分月

Gathering in Dico's, and living life as it is.

Muka,

Last year, you have suffered a very disenheartening event at this place. After a year, this event has affected many people, and more people now understand and accept Hanfu than ever. At the same time we feel sorry and hurt for you, we are also happy to discover that over this past year, we have made significant progress on restoring Hanfu. Comrades join us in masses by the day. Today, at this very place, we gather together to tell everyone: They burnt away the clothes on Muka’s body, but they can never burn away the Han clothes in our hearts!

We hope that Muka can walk out of her shadows soon,
and we hope that such tragedies will never happen again.
The mission of restoring Huaxia is heavy and the path is long, but we will continue to walk down this way.
Lest you say you have no clothes, for I share my robes with you! 岂曰无衣，与子同袍！

After 100 years of struggle against foreign colonialization, foreign Imperialism, and wrestling with various Western values left and right, we once again return to the beginning – let us reflect our long run for our democratic freedom – or as Dr. Sun Yat-Sen have stated, minzu (ethnic identity), minquan (sovereignty and power by the people, for the people), and minsheng (livelihood and wellbeing of the people).

“慎終追遠﹐民德歸厚矣。” — 曾子﹐《論語　學而篇第一》
“Let us be wary of our end purpose in human existance and trace our distant ancestral roots. With this, the virtues of the greater people will return to being earnest.” — Zeng Zi, The Analects, Chapter 1 Xue Er.

As mentioned in 2009 on this blog in detail regarding the logistics and music (and more) of the She Li, or Archery Ritual, here is a detailed, half-hour special produced by our friends in Beijing Hanfu Association on the rundown of the ritual itself.

The language spoken is Mandarin, but we have (painstakingly) annotated the entire episode on Youtube, in the English language.

盡我綿薄之力﹐復我禮義之邦﹗
Let us make our small contribution, to revive our Nation of Rituals and Righteousness!

A modern public qin studio lounge, adorned with qins and other instruments used in opera, with a station for ceremoniously preparing tea.

The primary trait in filtering Chinese culture to its elite essence is the element of Ya (雅), commonly translated as “elegance”. What does this Ya entail? Let us compare it with its antonym, Su (俗). Where Su is widely accepted and loved by almost everyone, Ya is appreciated by a select few (usually of recluses and the educated); where Su strives to please the senses, Ya has a totally different aim — to “rectify” the senses by transmission of ‘sagely teachings and spirit’ to develop an elevated state of conscious realization of the human condition, coupled with a desire to remove oneself from the delusions of human social deceit. Where Su is artificial and man-made to refinement, Ya is considering the unadorned natural being as refinement and prefection unto itself.

This year, a widely circulated saying that claimed the following:

“The New Four Major Vulgarities [Su] of Capitol City [ie. Beijing]” (京城新四大俗):

学琴学古琴，// Learning qin [ie. musical instrument] equals to learning guqin,
开店开会馆，// Opening a shop, a clubhouse is of choice.
学佛修密宗，// Practicing Buddhism, Vajrayana [Tibetan] is the Way,
喝茶喝普洱。// And Pu’er is the drink of all teas.

Old is new, elegant is the new vulgar?

Another version goes:

弹琴弹古琴. // Learning qin [ie. musical instrument] equals to learning guqin,
喝茶喝普洱. // Pu’er is the drink of all teas.
手机用苹果. // With a cellphone bearing the Apple mark,
画室当会所. // The art studio is the clubhouse.

Numerous netizens have replied and reposted some version of the above statement with commentary on how this is true in not only Beijing, but across all urban centres in China and even beyond. These venues and objects were by and large restrictive and exclusive practices by the wealthy, prestigious, or the educated elite, but with the state and international recognition, commercialization and speculation followed. What was once the greatest expressions of Ya, is now “infested” with the hordes of “vulgar merchants and commoners”, all to willing to open their spending accounts or personal piggy banks for a taste of what was for previous generations something almost mythical in nature.

It is little wonder why the qin became such a popular instrument among the Chinese nouveau-riches and bourgeoisie today, and why many “old guard” traditionalists with historical lineages tend to look down on these newcomers, whom they consider as “poor of everything but money”.

Anthropologists Maria Tam and Nan Hongyan published an essay following an investigation of the changing scene of guqin culture over the period of 2004 to 2008. [1]  Tam points out that from the standpoint of the traditional literati, the picture of current changes in the guqin field is a grim and darkening one. Whereas in the past, the monetary value of the qin object itself was unspoken of for ”ideally, the qin was a daily necessity of the literati and cannot be bought or sold, for it is the vessel [embodiment?] of the teacher’s character, knowledge, refinement and ideals…but nonetheless the commercial nature of the qin has always existed, in economically developed regions its commoditization is especially evident” [2], Tam notes that the current market exists for pure commodity speculation: “With market value, the focus of the people are no longer tuned in on the timbre or the legend behind the instrument; we often only care how much money it is worth, to the degree that we may not even pay notice to whether it is a ‘good’ qin.”

Throughout Tam’s essay, she interlaces field study interviews conducted by Nan Hongyan toward qin makers, qin students in group classes, and qin teachers on pedagogies which contrast (if not a total reversal) from traditional method. In the interview at a qin group lesson, we are presented with three students at varying levels of skill but all expressing a negative feedback (eg. “looks/heard as difficult, didn’t learn much, don’t enjoy class” etc.), and in turn denouncing the system as an ineffective and inaccurate way of how ‘modern’ methods of pedagogy mutilate the interest into a profit and performance-driven enterprise. [3] No counter-example was given, however, at a more similar situation compared to traditional teaching or enjoyment of qin music, for example a student actually enjoying class at a 1-on-1 tutorial or at a gathering itself, where conservatory and lineage players alike perform in a social, un-pressured setting.

To further her position on affirming the irreplacibility of the oral tradition among literati-qin players, she indicated:

Scholars believe, traditional Chinese literati methods of teaching guqin is an oral one. For example Hong Kong player Lau Chor-Wah states: “All music, even after writen scores are settled, will require oral transmission. Guqin’s special trait is a [written] manuscript of techniques, but its fingerings all the more require oral transmission, and can only be transmitted by oral and spiritual transmission (kouchuan xinshou) generation after generation. A digression of transmission would only mean its mutation.
Yip Ming-Mei has further description on this oral and spiritual transmission, as she pointed, “[...]in playing face-to-face, the teacher unreservedly hands his/her own technique and style to the student…this method can be said that…teacher-student transission is done through the medium of music alone.[...][4]

A qin group session. All students practice on their own in the same room simultaneously, and may play in synchronization to the teacher in front.

Her counter-example, an undisclosed Nanjing teacher, taught students more difficult pieces from the start, arguing that rather than fixing to ‘beginner-level’ pieces, “any piece can be used as an introduction piece, as difficult techniques can be dealt with as one encounters them…the most important thing is not in this, but rather how to nurture your concept of the way of qin,” (p.186) was not to argue against oral or literati transmission, but as an alternate proof that the study of the qin focused primarily on cultivation.

Tam reinterprets Fredrik Barth’s theories on ethnic boundaries where identity is constructed not by inherent qualities or content but boundaries of social class or strata for the guqin world: “…in order to establish a literati-qin player identity, there mut be a ‘non-literati-player’ identity. The cultural [i.e. refinement] prerequisites towards students would be a most effective discrimination measure.” (p.189) She then proceeds to explain the necessity to this move as a trait among civilian lineage qin players emphasizing traditinal literati tastes and interests to contrast and compete for the definition of the culture from the conservatory-based ones, suggesting that the move is a defensive one.

Summarily, Tam alludes to the distinct divide between the wen-ren literati and the musician ‘commoner’ as social class differences, measured by the currency not of technique or skill, but in the number and quality of social and genealogical connections to other mutually-recognized players of said scholar-qin player circle. While Tam and Nan actively observed complementary commercial activities and sartorial preferences, there is an undertone of difference between these two strata in each of their approach. The ‘old traditional’ group was described in Nan’s field note example to “like to wear Tangzhuang during class instruction, as well…sell redwood furniture on the side” (p.174), while the newer class was portrayed as:

In these qin studios, ancient-styled furniture adorn the place, hanging some Chinese paintings, plum vases, gongfu tea etc. to give an air of serenity. Certain qin studios even exemplify their “ethnic Han traditions”, and in their yajis require participant to wear “ancient Han clothing (gudai hanfu)“. These various “traditional” operations’ purpose, is to exemplify its owners’ antiquarianism, to complement the “ancientness (gu)” of the gu-qin, to ensure the authenticity and real-ness, and the studio master’s legitimacy in lineage (daotong).[5]

Tam’s obvious failings to observe the current discourse between the ethnic-univseralist philosophies embodied in the Hanfu-Tangzhuang debate has led to a serious misinterpretation in thinking that the Hanfu-supporting faction (perceived as a trait of the ‘new-player’ camp, due to its relative novelty compared to the other) is a competition with the Manchu-based design in antiquarianism (as most Chinese usually do not see the ethnic divide but a temporal divide, that Han clothing simply ‘preceded’ the Manchu one), rather than as a symbol of a neo-liberal, post-colonialist social movement striving for ‘the truly authentic’ Chinese character.

It is most unfortunate that Tam’s portrayal of the Other in her essay consummately produces the image of a young, nouveau-riche or bourgeois urbanite with the desire of learning qin, for the sake of external prestige (be it high school credits, social status, etc.), but perhaps lacking (sometimes to a severe degree) true knowledge or cultivation in Chinese tradition (knowing “only guqin” and lacking training in other arts, say poetry or Classics; and lacks the mannerisms and courtesy of a well-learned person), and may perhaps be ‘strangely antiquarian’ (coupled with the last description, the Chinese unfortunately has the idiom of “Duke Ye’s Love of Dragons” to criticize the situation). When such people spend their hard-earned capital and now ‘buy’ their way into this once exclusive club, not only are the forces of ‘the learned aristocracy’ and ‘the commoner (former) proletariat’ are involved in this power play, but much more complex patterns in competition for leadership in defining (or re-defining) the image of this “Chinese culture’s Traditional Lineage (daotong)” into the future.

Yet, when we look beyond the guqin world (and perhaps, the hanfu one as well), we are faced with the looming question of hundreds of thousands of Chinese youth who largely fit the above description, all wanting a taste of what his/her ancestors can only dream or aspire to. Rather than simply look onto our current development of consumerism and influx of ‘lower-(education) class’ as the death of the qin tradition and even the literati class itself like Tam, Lau, and others, we should be wary that rather than the death of the concept of the literati, it may be simply be the death of their concept of it. Further topics worthy of individual contemplation might be, to begin, how to satisfy the sheer quantity of people and quality of the education they demand to have them become this ‘literati’ status? How much ‘less elite’ and ‘less excluive’ will this social class become in the future? What will a larger demographic base for this class bring in terms of thought and influence? What in-house reforms will happen with a complete shift of ideology within this social strata (eg. a “Hanist” one)? Partial shift?

It is an uncanny reference that Tam made in defining the old and new qin players as different social classes, for the class struggle and China often allude to evident, if not outright violent, conflicts.

Rather cower and sigh in the passing of ‘the last of the literati’, perhaps we should look forward with hope and dedication, that this uncertain future class of ‘literati-to-be’ and ‘literati-want-to-be’s do healthily and properly develop into a group worthy of continuing the Chinese spirit, and reaching new heights no previous generation, era, or epoch has ever gone before.

Endnotes:

1. Tam, Siumi Maria 譚少薇 and Nan, Hongyan 南鴻雁. “To Where is the Guqin Going? Chinese Contemporary Tradition of Guqin, Consumerism, and Literati Recognition” (《古琴往何處去﹖中國當代的古琴傳習﹐消費主義與文人認同》), in Lau Chor-Wah 劉楚華, Essays on Qin Studies: Traditions of the Guqin and its Human Ecology (《琴學論集﹕古琴傳承與人文生態》). Hong Kong: Cosmos Books, 2010. pp.171-194)
2. ibid., p.177
3. pp.174-176
4. p.184-185
5. p.184

The embroidered Tieli is most famously known as the outfit of the "Dongchuang secret agents" of the Ming government. However, the design itself is worn by men of all trades.

The Yesa (read Yeh-sah, written 曳撒) is a distinctive Hanfu design which stood out particular as Ming-era fashion. As a Sinicized version of the Mongolian Jisun (banquet) robe, the function of this robe changed greatly as it changed hands to the Han. Rather than formal wear, yesa are worn by Imperial eunuchs, servants and street-running pages, as well as martial and military parade regalia. The large pleated skirt in front greatly enhances the hip and thigh profile, and with the robe sometimes worn short enough to expose the entire boot, it exemplifies the masculine prowess of the wearer.

The distinctive feature of the yesa is the construction of the outfit itself – while looking from the front it consists of a cross-collared top sewn together to a pleated skirt, the back is a straight long robe. The skirt is not sewn shut to the back piece, but rather use two large outward-extending “flaps” or “ears” to cover the side slits. While not as “protective” as a daopao’s flap design which ties to the insides of the back panel, it creates a unique side and back profile that allows unrestrained leg movement and access to the inner layer of clothing, making it convenient, for example, reaching to trouser pockets.

The Tieli (read [ti-eh]-lee, written 貼里) is a variant design of the yesa, but instead of its unique bottom design, it is a pleated skirt attached to the top and worn in a classic manner similar to any long robe or shenyi. Both the yesa and tieli serve similar functions and offer similar freedom of movement, and hence are loved by commoners and elite alike. Moreover, tieli are often seen as the outer clothing of young boys and servants of pre-adolescent age, making the unclumsy design suitable for all ages.

The Yesa, in essential outlines.

The yesa is probably the most complex single-piece design in the entire Hanfu system (arguably alongside with the Quju shenyi). We will combine our knowledge of Hanfu-making from all previous tutorials into this exercise, including how to cut long robes and short tops, measuring the width of each piece, measuring the curve of the collar and fitting the collar strip on, and creating wrap-skirts with pleats.

It is preferable to find and work with cloth with 150cm (60″) for this exercise, as narrower widths may require more seams to extend the length required for the skirt portion.

2 suggested layouts for cutting. The red outline on the right diagram indicate choice to use different fabric.

Without further ado, let’s take a look at the cutting layout:

Shown on the right are two methods of laying out the pieces to be cut out on a 150cm width broadcloth. Remembering that each piece has a width equivalent to 1/4 of the wearer’s height (or total armspan), the Qianyun Guan layout may produce a problem where when the back piece is flaring out, there may not be enough space to fit the sleeve piece properly, and a straight back panel may cause problems with the side slits being covered properly. Hence, in my redraw of the diagrams, I suggest using a fresh section of cloth to cut out the sleeves separately, allowing more sleeve choice rather than only up to approximately a wrist-length cover.

If the same material is to be used for the bottom skirt as the top, Qianyun Guan’s layout presents a second problem of confusing the warp and woom of the fabric, which may lead to material tensile problems when sewing or after washing, as well as potential pattern incompatability. My revised diagram on the right has fixed this, as well further conserving material from removing pleats in the right (inner) skirt that will be invisible outside, as well as the extra fabric needed for pulling the material into a gather stitch before pleating, thereby removing excess weight and sharpening the features of the design.

Layout of the outer skirt and flap on the left side.

The skirt’s pleats can be “improvised” by folding them one by one and checking whether enough fabric is left (30cm) for the flaps by the end. As the diagram shows, 5 pleats is ideal before the front large panel on the right side, connecting to the end of outer lapel on the top. Remember to double-check the pleating in the right direction, so that they brush along to the back. Align the centre of the large “face” with the front centre meridian, or offset it by about 2cm towards the (armpit) side. The front face should be 20-25cm wide, depending on preference.

The side flaps are created by folding the extra 30cm of fabric into halves, flip it inside out, and sew along the diagonal line as shown (and then flip it back). The improvised way to check whether this diagonal angle is correct is by folding in the outer corner of the rectangle to form a triangle until the skirt no longer sags down. DO NOT sew the bottom of this flap, as the seam will pull the wing outward and work against its function of covering the side slits. Let it hang naturally.

The side "flap" of the yesa's skirt should be folded in naturally, and allow it to extend without sagging.

As for the inner skirt (connected to the inner lapel and flap extending to the right), reduce fabric as needed as pleats are unneeded until near the side seam for the top, where you can fit 2 to 3 pleats before extending to the flap. This way, there should be 6~8 pleats visible on either side, giving a balanced look.

A yesa, from the front.

Here are a few extra tips for making the robe, which can also be applied to other designs:

• The armpit position should preferably be generous (9″ each side of the shoulder), and front edge should be 1/2 to 1″ longer (further down) than the back edge, in order to shift the seam further back into the underarm.
• Never forget extra room on the fabric for seam edges.
• Instead of having a perfectly equal width on all pieces, try adding an extra 1 to 2″ to the body while removing the same amount on the lapel piece to shift the front meridian – since the human body is not 2D, body thickness will move the front seam to the sides – especially evident on a stocky person.
• Shorten the front lapels so that they fall short about 2~3″ with the other side of the robe. This helps the collar from warping (going into the underarm) and stand straight, as well making the tying of the sash a much easier task by moving the knot forward a bit instead of reaching and pulling sideways to achieve a tight fit.

• 

  The back of the yesa.

  A tieli is simply a yesa without the long back, same way as you make a regular top yi, and a long pleated skirt wrapping around. You don’t need pleats on the skirt attached to the inner lapel.

• Traditionally the tieli is male apparel. However, objectively speaking it is a perfect dress. With the right matching of colours and materials, as well as relocating the waistline from the lower waist to mid-waist, it could become very suitable office-wear for ladies.
• Being “business” or “semi-formal/work” wear, a leather or similar belt adds to the sharp touch.
   

Won't be indoor, this time though.

Dear TorGuqin members:

Our next meeting is scheduled for Sunday, September 11, 2011 sometime in the afternoon, tentatively located at Toronto Botanical Gardens. We welcome all people in the Greater Toronto Area to join us for a day of fresh air, guqin music, various exotic plants and trees, and maybe even mooncake to boot!

However, in order to make this happen, we will need YOUR suggestion as to what time and whether you are available or not. So leave a message here, or see and mark the Facebook event located here!

The plan for the day: We meet up outside Edward Gardens near the Water Garden, then take a nature hike to a grassy area south (red star), where we will sit down and enjoy music and chat casually for 1/3 of the session, then take the route back to the parking lot, and regather at the Botanical Garden's patio area (NE area, where the "Edward Gardens" label is) for food and drinks and more music.

Apple fanbois unite/beware!

Years ago, a gag photo of a qin labelled with the famous Macintosh Apple caused quite the laugh and musings of the Facebook qin community.

Yanyan Zhu of TorGuqin (front 2nd left) and Zhang Peiyou of NYQS (front 3rd left), along with friends and family on the day of the gathering.

On August 7, 2011, Yanyan Zhu (of Longyin Qin Studio and TorGuqin) and her family were warmly received by members of the New York Qin Society (NYQS) in a local gathering, where we shared music, singing, food, and calligraphy.

Despite some fretting the night before, we managed to take lots of memories in the form of pictures, audio recordings, and videos! Great thanks to Matthew Flannery for bringing the various calligraphy scrolls and works of Zeng Xi 曾熙 (1861-1930), calligraphy master and teacher of modern Chinese painting maestro Zhang Daqian 張大千, and Jeanette for the delectable refreshments for everyone to enjoy.

For Chang Peiyou’s account of the day and evening, see her accounts here.

If you have Facebook, see a video of Yanna playing Jiu Kuang here.

Also click below for more audio recordings. Kudos to Chang Peiyou for the source.

Yanna Zhu – Pingsha Luoyan 平沙落雁

Yanna Zhu – Oulu Wangji 鷗鷺忘機

Yanna Zhu – Gexi Mei Ling 鬲溪梅令

NYQS Judy Yeh and student Sam Zhang playing Guanshan Yue. More pictures on NYQS site and Facebook group.

See more about the event, or catch up with the New York group on Facebook, located here.

See Matthew’s mini-lecture on Zeng Xi’s calligraphy below:

Shen Xinhai (1855-1941). "停琴仕女圖" (Portrait of a Servant-lady Pausing from Qin-playing). Created in 1898.

 When this site was first founded, our basic mandate was to prove that “Guqin =/= Guzheng”, and we’ve made an (de)motivational poster gag about it. For that, TorGuqin would like to thank the Facebook International Qin Society for their collective effort on pitching in witty and snarky comments on the behaviour.

Courtesy of Mr. Muka Fushimi of Kamakura Qin Society, here we have yet another specimen ripe for such a play. However, we haven’t come up with a line that delivers enough punch. We want you to think up of a line to show your love of this totally boring transcendent tradition and pack a punch at it!

Here’s what we have so far:

Shuengit Chow: ‎:) what most “forced to play the qin” students are like most of the time, very honest painting.
title of painting: “I love guqin”. [TL: Yes...zzzzzZZZZZZzzzz]
John Thompson: She really wants to play but her little sister is snoring too loudly. << [TL: I'm sure that's a boy there...]
Juni L Yeung  “An Ox’s Mind – The censer does nothing!”

So, give your wits a little sharpening, and scribble your ideas in reply below!

Mark your calendars for our next gathering on Sunday, July 17, 2011, at 2PM to 5PM, at Longyin Qin Studio (Yanyan Zhu’s place)! Please RSVP via reply here or email jt_revolution (at) hotmail (dot) com for confirming your availability!

Asides from the usual tea and music circle, we will also be presenting our latest CDs and experiences in qin repair/maintenance. We also welcome any poems, ideas, or chamber music performances to join us, so please RSVP today!

Thanks for coming by TorGuqin @ SPoT Summer 2011!

A big thank you to everyone who came by on Sunday, Jun 21 by our Small Press of Toronto Book Fair booth! Also, a very nice to meet you to all of our new friends who learned about our society on that day, and we hope to see you again soon in a gathering!

***

In other news, I sadly announce that the TorGuqin members’ CDs currently on sale at Lulu.com will be discontinued from sales after September 19, 2011 as the said printer will no longer provide CD/DVD printing services. We are looking into alternative POD CD publishers, and will keep you advised on the issue. At the meantime, we highly recommend you to show your support to our talent by buying our books and CDs — revenues go the individual artists themselves, and is an excellent way of showing support for developing the Toronto qin community! Head over to the discography page or click the links below to buy them today!

Standards of the Guqin: An Audio Exemplar to the Chinese Seven-Stringed Zither

Long Yin -dragon murmurs- by Yanyan Zhu.