"Music is like a vessel that carries many expressions and culture is one of them," says Azora Chin, a Malaysian singer, describing his musical journey in China. "Chinese culture is vast and profound, and I love every bit of it here," adds Caelan Moriarty, a Cuban-born artist, reflecting on his experiences in the country.

Both artists have built their careers in China, using music as a bridge to transcend cultural and linguistic barriers.

Recently, the Global Times interviewed the two foreign musicians to learn more about their journeys in China and how they have grown both personally and professionally through their art. For them, music serves as a universal language that nurtures cross-cultural connections, and China is a land to explore their musical dreams.

A land of dreams

For Chin, often mistaken for a Chinese national, the connection with China feels almost fated. A Malaysian national of Chinese descent, he grew up immersed in Chinese culture.

"My ancestral home is Fujian Province, and I have been influenced by Chinese culture since childhood. My parents insisted that I attend Chinese-language schools from elementary to high school," Chin told the Global Times.

Chin came to China after graduating from high school to study music at university. "The first time I landed in China, I felt at home," he recalled. "Hearing people speak Putonghua everywhere, I thought of the phrase 'cultural resonance.'"

While studying in Malaysia, he watched numerous Chinese TV shows, which he thought provided a platform for people passionate about music to showcase their talents, skills, and ideas. "I thought it was a fantastic environment," said Chin.

Drawn to the open and creative atmosphere of China's music scene, Chin made the leap to pursue his career in the country. He debuted as part of a music group in China in 2018; and after the group disbanded in 2019, he continued his career as a solo artist. For the last six years, he has been pursuing his musical dreams in China.

"China offers a platform where different forms of expression and musical styles collide. It's exactly what I've always wanted to do," he said.

Similarly, Moriarty, debuted in 2018 at the age of 18 as part of a boy group. His first visit to China was made during a performance with the group. In 2021, he came to China to participate in the reality show CHUANG 2021, where his stage performances won the audience's affection, leading him to establish his career roots in China to pursue his musical dreams.

"It's China that gave me the opportunity to fulfill my dreams, have joyful experiences, and make lifelong friends," said Moriarty.

Speaking about his decision to come to China, Moriarty said, "I'm glad I took that brave step." The "once-in-a-lifetime opportunity" his friends called allowed him to meet more fans and friends, and to experience the beauty of Chinese culture.

"China has so many places worth exploring, and I love every bit of it. Each city has its own unique style and charm." He speaks fondly of his love for the local cuisine, especially the spicy dishes of Changsha, Central China's Hunan Province, and expresses a desire to explore places like Chongqing and the Xinjiang Uygur Autonomous Region.

"If I have the chance, I want to explore China fully. I'd like to visit Chongqing and Xinjiang. I heard that Xinjiang is especially beautiful," said Moriarty.
Cultural messenger

BothChin and Moriarty are participants in the fourth season of the Chinese singing reality show Call Me by Fire. On the show, 34 participants from various countries compete in various performing art forms including singing, dancing, and rapping.

Having been influenced by Chinese culture from an early age, Chin views music as a powerful way to connect people.

"Although there are language barriers between us, when we work together to create a piece, we realize that language is not an obstacle. Good work transcends words," he said.

In Chin's view, culture can awaken people's senses, and music brings people closer together. "We can't remember all cultures in our lifetime, but music is like a vessel that can carry many expressions, and culture is one of them."

For Moriarty, growing up in a multicultural family gave him a natural appreciation for diversity.

Working with other members, each from different cultural background, he has learned to embrace differences as a source of inspiration. "Cultural differences open up new conversations," said Moriarty. "There's so much to share, and we could talk about culture for a long time."

Moriarty's immersion into Chinese culture has been transformative. Once unfamiliar with the country, he can now undertake interviews in fluent Putonghua. "I feel comfortable speaking this way, and I want to showcase my Putonghua."

He also enjoys embracing diverse traditional Chinese cultural practices, from writing Spring Festival couplets to celebrating Spring Festival with friends. "Chinese New Year has such a significant meaning in this culture. It's a time of pride and joy for every Chinese person, and I'm lucky to experience it as a foreigner."

Both artists have ambitious plans for the future. Chin is gearing up to release his second album and can't wait to reunite with fans on his next tour. Moriarty, too, is excited to continue his journey in China, "creating more unforgettable memories in this land of opportunity."

"I'll keep being myself," said Moriarty. "And I hope you will too."

At around 1,500 meters beneath the waters on the northwest continental slope of the South China Sea, lie the remains of two merchant ships, sunk over 500 years ago. They once bore witness to the bustling trade along the ancient Maritime Silk Road.

On Wednesday, Guan Qiang, a deputy director of the National Cultural Heritage Administration (NCHA), said at a press conference that significant breakthroughs have been made in deep-sea archaeology as over 180,000 precious cultural relics have been retrieved from the No.1 shipwreck. 

The underwater archaeological investigative project of the two shipwrecks, started in May 2023, has found artifacts including ceramics, bronzeware, copper coins, and bamboo and wooden items. To date, more than 900 pieces have been retrieved. 

On Friday, a total of 408 artifacts recovered from the two shipwrecks, which represent some of the finest discoveries of the cultural relics, will make their first public appearance at the China (Hainan) Museum of the South China Sea.

"We hope that through this exhibition, more people will be able to learn about the important discoveries in underwater archaeology in the South China Sea, experience the historical charm of the ancient Maritime Silk Road through precious artifacts, underwater imagery, and archaeological stories, and carry forward the spirit of the Silk Road," Xin Lixue, director of the museum, told the Global Times.

First showcase

The exhibit, occupying nearly 1,000 square meters of space, will showcase 442 items, 408 of which are from the two shipwrecks, and 34 are on loan from other institutions, such as the Palace Museum. The exhibition will offer audiences a comprehensive display of archaeological discoveries, excavation processes and technological applications.

Among the most anticipated pieces is a collection of 13 Fahua ceramics, which will be shown for the first time.

Fahua is a rare type of Chinese porcelain. Originating in the Yuan Dynasty (1279-1368) and flourishing in the Ming Dynasty (1368-1644), Fahua porcelain items were used as court furnishings after the middle period of the Ming Dynasty.

It is the first time that Fahua porcelain has been found in a shipwreck. These archaeological discoveries provide physical evidence of the export of Jingdezhen Fahua porcelain during the mid-Ming Dynasty, offering valuable material for locating kiln sites and clarifying their origins.

Other notable artifacts include a red-and-green glazed bowl, which confirms that the sunken ship dates back to the Zhengde period of the Ming Dynasty and reflects the contributions of trade routes in the South China Sea during the era.

In addition to these treasures, the exhibition will offer an immersive experience, utilizing VR technology and interactive installations, allowing visitors to simulate diving to the depths of the South China Sea, exploring the shipwrecks, and witnessing the underwater excavation process through the reconstruction scenes. 

The exhibit's format is set to evolve over time. As more items will be excavated and research progresses, the museum plans to update the artifacts on display and share new findings with the public, according to Yang Wu, an official from Hainan's Department of Tourism, Radio, Television, and Sports.

To complement the exhibition, a series of cultural and educational activities have been organized to enhance the experience. These include lectures, a digital "Fly Over the South China Sea" theater, and educational events centered on deep-sea archaeology. The museum has also developed a special line of cultural merchandise, drawing inspirations from the underwater archaeological work.

Archaeological milestone

Through joint excavation efforts involving research institutes and the China (Hainan) Museum of the South China Sea over the past two years, a total of 890 relics were excavated from the first shipwreck, including porcelain and pottery pieces, as well as copper coins. From the second shipwreck, 38 ancient artifacts were retrieved, including lumber, porcelain and pottery products, turban shells, and deer antlers.

The first shipwreck was laden with export ceramics, while the second shipwreck carried imported timber, both reflecting the prosperity of maritime trade during the mid-Ming Dynasty, Song Jianzhong, head of the archaeological project and researcher at the NCHA, told the Global Times in an interview.

Notably, the Fahua porcelain from the first shipwreck and the ebony from the second shipwreck are first-time discoveries in shipwreck archaeology. 

"It is an important piece of evidence about the maritime trade along the ancient Maritime Silk Road, offering valuable materials for the study of China's maritime history, oceanic trade, and cultural exchanges between China and other countries," said Song.

The underwater archaeological work on the shipwrecks in the South China Sea marks a significant milestone, as it signifies China's underwater archaeology advancing from coastal to deep-sea exploration, Guan told media in June.

In underwater archaeology, work within 50 meters is considered regular, while depths beyond 50 meters rely on manned or unmanned submersibles and are classified as deep-sea archaeology. 

The two shipwrecks on the northwestern slope of the South China Sea, located at around 1,500 meters, fall under the category of deep-sea archaeology.

The excavation was made possible through China's advanced deep-sea technology and archaeological survey equipment. For example, experts utilized 3D laser scanners and blowing devices to conduct the excavation.

"This deep-sea archaeological investigation, integrating China's deep-sea science and technology and underwater archaeology, marks the country's achievement of a world-class level in deep-sea archaeology," said Guan.

The highly anticipated film A Tapestry of A Legendary Land is set to grace the big screen on Tuesday, the beginning of China'sweek-long National Day holiday, marking a unique fusion of dance and cinematic art. 

Adapted from the hit eponymous dance poem drama, the movie takes the audience on a visual and emotional journey through the eyes of a modern exhibitor, who narrates the story of how Xi Meng, a painter of the Northern Song Dynasty (960-1127), created the masterpiece A Panorama of Rivers and Mountains.

The inspiration for the dance poem drama, and now the film, originates from one of China's most renowned paintings, A Panorama of Rivers and Mountains, a treasure housed in the Palace Museum in Beijing. The painting, rarely displayed to the public due its fragile nature, was last exhibited in 2017, an event that sparked the creative drive of director Zhou Liya. 

"We saw this famous painting quietly lying there in the Palace Museum, and it inspired us to use another form of art to let more audiences see it and truly bring it to life," she told the Global Times.

Adapting the dance drama into a film comes from the same creative impulse. The other director Han Zhen told the Global Times that the film is an "exploration of the cinematic adaptation of dance art  to show a different dimension of A Panorama of Rivers and Mountain under the lens."

Due to the absence of any dialogue or spoken lines, the adaptation of the dance drama for the big screen presented some challenges. The creative team debated whether to add dialogue to the film, "but in the end, we all made concessions to the dance," Han said. 

"This is a niche art film, but it carries a public sentiment. We believe that the inherent beauty of the story and its sincere emotions spanning thousands of years can still connect with and touch the audience," Han said.

The talented painter Xi Meng poured his heart and soul into capturing the essence of mountains and rivers, creating the legendary A Panorama of Rivers and Mountains at the age of 18, after which he vanished without a trace, leaving little historical record. The film A Tapestry of A Legendary Land brings Xi Meng's short life to the forefront, creating a vivid and passionate young image on screen.

To get closer to the genius painter, Chinese dancer and actor Zhang Han who played the role of Xi Meng told the Global Times that he had copied the painting to feel the state of mind of Xi Meng with each brushstroke. This experience left a deep impression on him. He said that when he played the part of Xi Meng, he could "devote everything to this work" just like the painter.

The role of "Green" is a symbolic figure in the film, representing the mountains and rivers of the painting, showcasing the grandeur and ancient charm of A Panorama of Rivers and Mountains, and connecting past and present. 

Meng Qingyang who played the role of "Green" told the Global Times that "Green" is not only a connector between Xi Meng and the exhibitor, but also a bridge between the audience and traditional culture. 

"'Green' is she who has seen the profound rivers and mountains on behalf of Xi Meng; and when she looks at the audience, she is also telling them that this is a gift from the ancients to the descendants," she said.

Since its premiere in Beijing in 2021, the dance poem drama has been performed nearly 600 times, and has also earned acclaim worldwide after being performed overseas, making it a well-deserved phenomenon in Chinese dance.
Currently, the discussions for overseas film festival distribution are ongoing, according to Han.

"Chinese culture is fully confident in stepping onto the international stage just as it is… I believe that this film could successfully stride onto the world stage when it goes international," she said.

The Global Times has learned that the commerce ministers of China and the US will hold talks soon. They will exchange in-depth views on China-US economic and trade relations, and key issues regarding the economic and trade to both sides, including restrictions on electric vehicles (EVs), a topic of widespread concern.

The talks are a mechanism-based dialogue and communication between the two countries' commerce departments. The communication will help promote the stable development of China-US economic and trade relations and create favorable conditions for mutually beneficial cooperation. 

Recently, China has engaged in intensive discussions with the US and the European Union (EU) on trade issues, including EVs.

Chinese Commerce Minister Wang Wentao visited Italy, Germany, Belgium and the EU headquarters, and held in-depth and friendly talks with the heads of the counterpart departments, especially with European Commission Executive Vice President and Trade Commissioner Valdis Dombrovskis on the EU's anti-subsidy case against China's EVs. The two sides reached a preliminary consensus on the negotiation direction for a proper resolution of the case. 

Currently, technical teams from both China and the EU are engaged in intensive consultations.