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BIMONTHLY SUPPLEMENT OF

LPCUWCS MONTHLY STUDENT MAGAZINE

http://www.scribd.com/DragonflyLPC/

Contents
Editorials Articles
Mythology Myths, Legends and Fantasies (#1: Overview) By Alice Mills Cultural Interviews By Ryan Black On Appreciation of Indian Classical Music By Ravi Shankar (Introduced by Sonia Kabra) Roberto Bolao or the end of Latin America By Camilo Ruiz Tassinari Approach Chinese culture by the characters From Fun with Chinese Characters (Compiled by Ryan Black) Luc Bat Poems (Vietnamese poems) By Ryter Roethicle ... ... ... ... ... ... Page 4 Page 10 Page 14 Page 16 Page 18 Page 19 ... Page3

Visual Art
Photography: Vietnam, Laos, Thailand By Briana Camacho ... Page 20

Just for Fun


The differences between Western and Eastern cultures By Yang Liu ... Page 24

News
New Quan Cai: Language Appreciation ... Page 25

Editorial

Dear LPC,
So, here we are! After 5 months of seeking ideas, at last, the first LPC cultural magazine Dragonfly a bimonthly supplement of BTW is now here. Dragonfly is born with the hope that it can be the bridge connecting various cultures within our UWC. The mission of this supplement is to be an issue where people can introduce every beautiful detail of their cultures. Dragonfly is where cultural issues from all over world are shared and learned. Here, we encourage everyone to introduce their cultures by writing an article telling us anything that may help us better understand their countries, their cultures, the way people in their cultures think and feel and act. What you write is not very important as we believe that how you write it will also tell us something about you. For that reason, Dragonfly wishes to be the platform where you can play to challenge yourself and by doing that, let your culture seen and appreciated. Sometimes, our job is also to help select and re-introduce to you some articles that have inspired us and helped us better understand world cultures. We hope that you will find them interesting and useful as we do. Dragonfly would like to say thank to Briana, Johanne, G.V, Camilo and Sonia for their contribution. They are the very first contributors of this very first issue. We really appreciate their support. That has been like putting the very first bricks onto the framework of the bridge we mentioned earlier. As you are starting to explore this issue, we hope that you will get some sense of what we are trying to do. If you have any response, please send an email to Dragonfly.BTWLPC@gmail.com so that we can improve in order to bring you a better issue next term. Best regards, Your editor, Ryan Black. the

MYTHOLOGY MYTHS, LEGENDS AND FANTASIES


#1: Overview

GREEK AND ROMAN MYTHOLOGY


Take a trip back to ancient Greece and Rome with the wealth of myths in the Classical Era. It was a world where mighty god Zeus (Jupiter) reigned supreme from the top of Mount Olympus. Heroes and heroic quests played an important role in Greek and Roman mythology. After a long and event-filled voyage, Jason and the Argonauts reached Colchis and were able to take possession of the Golden Fleece. The son of Zeus (Jupiter), Heracles (Hercules) was another significant hero of the Classical Era. With amazing strength and courage he undertook 12 difficult tasks or labors set for him by King Eurystheus. Some Greek and Roman characters never overcame their hardships and grief. The magnificent musician Orpheus could not bring his wife back from the underworld, and restlessly wandered the earth until his death.

There were many different deities in the Greek and Roman pantheon. Aesclepius, the god of medicine and healing, carried two vials of Gorgons blood one had the power to give life, while the other offered only death.

Snake-haired Medusa is perhaps the most famous Gorgon in the Classical Era, as she could turn a man to stone with just one look. The great hero Perseus bravely entered Medusas cave and beheaded her.

EGYTIAN AND AFRICAN MYTHOLOGY


The animals of Africa are as much a part of the mythology of the continent today as they were centuries ago. Symbolizing strength, nobility, and power, leopards and lions are particular favorites. In the ancient Egyptian world, gods often took the form of animals. Anubis was the jackal-headed god of mummification, and was responsible for guiding the deceased through the underworld to Osiris, the judge of the dead. With the shining jewel of Egypt in its crown, Africa is the dark continent no longer. Lovers of myth are discovering the mesmerizing stories of the region, tales born from the deserts, the oases and the savannas. Egyptian myths are some of the most enduring stories from the ancient world. Hieroglyphics and detailed tomb paintings preserve the way of life, beliefs, and mythology of this fascinating culture. With a successful journey to the afterlife uppermost in the minds of the ancient Egyptians, priests became powerful people in that culture. As well as advising the pharaoh, they super-vised ceremonies and rites.

African kings and tribal leaders were often said to be descendants of the gods, and were revered for their mystical powers. They inspired both awe and fear in their people, and were celebrated in myth and art.

MYTHOLOGY OF THE AMERICAS

The Aztecs of Mesoamerica had over 1,000 different deities, from the sun god Tonatiuh to the beloved Quetzalcoatl. Dramatic myths detailing the creation of the world and humans show the capricious nature of these gods.

From the snowdrifts of the Arctic to the steamy jungles of the Amazon, the Americas encompass the extremes of geography. The mythology of the region is just as diverse, with symbols both unique and universal. North American tribes relied on the local fauna for food and clothing, and these animals soon became part of the mythology. Polar bears were admired for their size and power by the Inuit peoples. The people of Mesoamerica had a large pantheon of gods, which had to be worshipped with frequent offerings including human sacrifice. A number of beautiful temples were built, decorated with images of the gods.

South American mythology is dominated by the tales of the Incas, but other cultures existed before the people of the sun. The Moche of Peru idolized the fearsome-looking Ai Apaec as their creator god.

Sadly, many South American cultures disappeared long ago without leaving much of a record of their way of life. A few ruins now well-preserved form the only evidence of their beliefs and mythology.

MIDDLE EASTERN AND ASIAN MYTHOLOGY


The mystical region stretching from the Middle East to the Far East is the birthplace of many of the worlds religions. Stories of gods and goddesses entwine with those of divine rulers like the Mesopotamian Gilgamesh. Chinese and Japanese mythologies are also influenced by Buddhism. Unique local landscapes symbolized the harmony between people and the natural universe, and rites and festivals were linked to the seasons.

The meeting between the great Middle Eastern King Solomon and the Queen of Sheba is a popular tale in both Jewish and Islamic mythology. It is just one of many stories that these two different religious groups share. Indian mythology is rich in stories designed to offer moral lessons to the reader. Tales of the trials and tribulations of deities like the goddess Prvti guide the mortal to the right path for spiritual enlightenment. Set high in the Himalayas, Tibets mythology is influenced by its spectacular location and its devotion of Buddhism A wealth of stunning art and inspirational stories is dedicated to the life of Buddha Sakyamuni

But Eastern mythology could also be a dark place populated by terrible creatures. In the Japanese version of Hell Jigoku giant horned demons called the Oni skewered the heads of the damned.

EUROPEAN MYTHOLOGY
Many of the worlds most beloved legends come from European mythology. Ancient runes tell the stories of the earliest Norse people, while other European tales come to life in special songs and epic poems. From the emerald fields of Ireland to the dark forests of the continent, the European realm boasts many creatures both good and evil. The unicorn was symbol of purity, and its horn had the power to heal. European mythology is brimming with dramatic tales of great battles, either man against man, or human versus animal. Strength, skill, and courage saw individuals quickly reach the status of legend. Not all creatures in European myths were considered sacred. Dragons, vampires, and werewolves roamed the land, and the task of defeating them was given to the bravest men in Europe the knights.

Mystical animals adorn the Gundestrup Cauldron, a remarkable Celtic relic from the first century B.C. It reveals the importance placed on animals in pagan mythology, especially those thought to have magical qualities.

And there is no greater legend in European mythology than King Arthur. He may well have been a real person, but for a millennium storytellers have embellished the tales of his exploits to mythical proportions.

MYTHOLOGY OF OCEANIA

Maori creation mythology centers on the Earth Mother (Papa) and the Sky Father (Rangi). Their separation allowed light and knowledge to fill the world, leading to the creation of all life on earth.

Nestled in the turquoise waters of the Pacific Ocean, the lands of the Oceanic region are ruled by ancient spirits that inhabit the sky and the earth. Many myths describe the relationship between humans and the natural world.

Carved figures called tikis represent either the creator or an ancestor, two prominent subjects in Oceanic mythology. Stories of how the world came into existence evolved into a sacred history of the people.

Maori ancestors took on demigod status, and were celebrated in both elaborate artworks and riveting mythological stories. The gods created mankind by blending human principles and divine elements. The unique animals and birds of Oceania also feature prominently in the mythology of the region. Kangaroos, dingoes, and emus all have an important part to play in Australian Aboriginal mythology.

In the mythology of some Australian Aboriginal groups, the Rainbow Serpent created the mountains, the valleys, and the rivers during the Dreaming. Snakes were the ancestral guardians of the waterholes, and the makers of rain.

Source: Mythology Myths, Legends, and Fantasies by Alice Mills

CULTURAL INTERVIEWS
Here we have two interviews with Johanne and G.V. They are from different regions. They have different cultures. But they do share some points of view about cultures as you will learn later in the interviews. We asked them the same questions about what their cultures are like and how they think about them. We think that not only their answers but also the way the approached the questions would tell us many things about their cultures as well as their own points of view about culture.

JOHANNE LAACHE
Dragonfly: How do you define culture? individual as a part of the group, while Norwegian culture is very much about individuals like you are an individual and its important that you develop, that you process, that you are special, that you are unique and everything. Its kind of a weird culture because sometimes its not necessarily cold, but sometimes its a bit distant. Its a very personal culture, I think. Its kind of individualistic. Dragonfly: How is it different between Norwegian culture and Hong Kongs culture? Johanne: In some ways, its quite similar. I think Hong Kong has many elements of the western culture, although I dont know Hong Kongs culture well enough to say that, I guess. I think Hong Kongs culture is much more about competition than Norwegian culture. Especially in terms of schools, in Norwegian schools, of course, its about getting good grades as well but thats not the prime thing. We are one of the countries in Europe that excels a lot in academics, where students are taking best care of. No childs left behind. Everyone should get an education. So you measure to see who are the worst and try to bring them forward, rather than taking the students that are best and pushing them forward and forward. Its more like how you keep them as an equal level and how you let them enjoy themselves at school. It is to compare with Hong Kong education system which is about pushing people to the top. Dragonfly: What is the most famous symbol of your culture? Johanne: When people think about Norway, they always think about salmon, especially Asian people. Sometimes they think about snow and mountains. Yeah, usually its referred to things that are nature

Johanne: I guess its how you yourself choose to live. It can be involved inheritance, but also selfchoosing. Cultures arent really a static thing but there is something that changes because people change the way that they want to live, I guess. And we get some from our parents but we can also choose some to get from friends, like just because youre in India and born in India doesnt mean that you end up Indian culture. I think culture is something that all of us have inside us, and affects who we are or what we speak or anything. Dragonfly: Can you give a brief introduction about your culture? Johanne: Oh, well When we think about culture, we will think about like cultural evenings for example, there are lots of culture expressions like dances, foods, songs, movies, like creative expressions. I guess I cant Like if I talk about that then Im not really sure how to talk about Norwegian culture or where I come from. But I guess I would rather say that Norwegian culture is a lot about the individuals, sort of. As suppose, for example, Chinese culture is a lot about the

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to a country, like: Oh! Its a beautiful country! Oh! Theres a lot of snow and also the main thing. I cant really think about anything else. We are a very small country. Dragonfly: How do you define success? Johanne: If you like what youre doing and you contempt to your life as it is then I think youve succeeded. Ok, it sounds really nave but I think if youre happy with who you are then I think its success. Dragonfly: family? How important is education in your

deadlines arent that enforced just because people dont submit on time. Dragonfly: What does a party mean to you? Johanne: What I think about is a table and some people are cooking, some people are talking, some people are controlling the music, some people are dancing. And I think about the kitchen because it is the soul of the house. There, you cook, you listen to music and you have conversations. Dragonfly: What is considered disrespectful in your culture? most

Johanne: Its very important in the way that its not so much the job that you would get afterward but Im quite happy that my family focus on the idea of gaining knowledge rather than the idea of at the end coming out with a degree. For example, my father is a farmer but hes studying history in a university and hes over fifty. Hes studying in a university not necessarily because hell get a better job but its just because he enjoys learning a lot. Also, most of my family are educated. Its expected to go to higher education, I would say. Dragonfly: Is punctuality important to you? Johanne: Eh. Yes! But its more relative after I came to LPC because punctualitys relative in LPC. If you schedule then you have to expect people to come 15 minutes late. I didnt think about it before but now Im more conscious of how to deal with it. Dragonfly: How about in your culture? Johanne: You dont come late. If you dont show up on time, its kind of disrespectful. Its like something bad happened or you had an accident or something. So you show up on time if you can, it shows your respect. Dragonfly: Have you ever come late to a meeting and felt its alright because its LPC? Johanne: Yes Its also because people say that the deadlines are really strict but sometimes, the

Johanne: Eh I dont really now. Actually, we dont have any cultural quote like that. But maybe I would say being late Dragonfly: What is the most commonly held misconception about people in your culture? Johanne: That we are really restrained and cold; really not shy, but cold. Dragonfly: Do young people in your country today have a sense of culture? Johanne: I think its kind of a hard question because you are already assuming that there is something to figure out. It is something subconscious that the youth in Norway shape. I think there are a lot of things that I cant tell because I havent lived in Norway for 2 years. I dont think I can see very clearly. But I dont think that there is a conscious development towards a Norwegian culture rather we are taking from our parents what we like and we throw away what we dislike. Dragonfly: Do you find yourself in a dilemma of choosing your culture and UWC culture? Johanne: No! Because that would mean that I would have two different kinds of morals, or even two sets of principals. And I really dont think that I do. I think that the things that I had before influenced by UWC and by other peoples cultures come together as a sort of mix. Dragonfly: Thank you very much.

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IMSOUCHIVY SOUS
Dragonfly: How do you define culture? G.V: To me, culture is something really big. And its concerned with every aspect of what we live with every day. Culture actually has two aspects: one that we can see is the visible aspect and one that we cannot see is the invisible aspect. Visible aspect is really big, for example: the way you dress, the way you use your language And belief and religion count as invisible aspect, apart from religious stuffs that we can see, like temples or pagodas, where we go to praise. Thats what I call culture. And culture, I think, is even the way you walk. Its different from other regions, other nationalities Dragonfly: Can you give a brief introduction about your culture? G.V: Well, my culture... I believe that it is one of the oldest cultures in South-East Asias nations because Cambodia is the country that existed before the first century. And our culture has a great range of aspect. We have different people, different ethnic groups in our country. Its interesting to know that in Cambodia, in terms of religion, Buddhism is the national religion. Its promoted by our government. We have lots of temples from the thirteenth century. One of the most well-known which is Angkor-Wat Temple is one of the seven wonders suggested by UNESCO. We also have a great range of foods which is one the visible aspect of culture. And of course, our language is unique in South-East Asia. And there are many more. Dragonfly: How is it different between Cambodian culture and Hong Kongs culture? G.V: Well, Cambodias culture and Hong Kongs culture? Honestly, when I arrived here in LPC, I had a culture shock. It was really annoying me for the first week. Im really proud to get rid of it and to adjust and adopt an environment of culture. The difference is that people here are open, but at the same time, theyre conservative. In Cambodia, when we smile to someone at the station, or someone we meet on the way, they will smile back. But in Hong Kong, you stand next to a person, even in MTR, he does not look at you. Dragonfly: What is the most famous symbol of your culture? G.V: Angkor-Wat Temple. It represents our country. We have that temple on our flag. And its interesting to know that the Cambodian flag is the only one flag in the world that has an element of building on it. Dragonfly: What does it stand for? Why was it chosen to be in your flag? G.V: Because it represents how strong we are as we built it without any machine. It is man-made, of course, even though there are some stories telling that it was made by God. But think about that, in the twelfth and thirteenth centuries, we didnt even have a spade. How people built it is incredible. We attract millions of visitors every year. And it is a part of our lives. Dragonfly: How do you define success? G.V: Well, its a hard question. If we think about success in a simple way, it is when we want to do something and we achieve it without any fail. But to me, success is more like when you do something and you get benefits from it and gain your life experience regardless if you achieve it or not. That is how I define success. Dragonfly: family? Is education important in your

G.V: In my family, since my great-great-greatgrand-parents, we are all educated people. Most of us are government officers and none of us are business men. I believe that education takes quite an important role in my family and the whole society. Because without education, I believe that I would not be here (in LPC) today. I cannot see the world or anything out of the box. And I believe that education is the key of success. Dragonfly: Is punctuality important to you? G.V: Yes, it is. If I dont have any problem, Ill be on time. I dont want to skip anything. Unless Im really sick, I cannot do it, or when I have many other urgent, really urgent things to do. If I can make it, I will be 100% punctual.

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Dragonfly: G.V: Dragonfly:

How about in your culture? What does a party mean to you?

Its the same.

G.V: In my culture, when we say party, the first thing that comes to our minds is a celebration with family and friends. And when we have a party, we have music and foods. There are chats going on during the party, we may have some traditional dances. After I came to LPC, party means another thing. Here, party is about hanging out with friends more that family. Its often concerned with music and dancing. Alcohol is also involved. To me, when you say the word party, it always reminds me of my family and my foods. But actually, without family, there is no party. Dragonfly: What is considered disrespectful in your culture? most

Korean guys look cool theyre also like Why not? Its cool That may be the problem. But still, I think they still have something at least concerned with Cambodian culture. Dragonfly: Do you find yourself in a dilemma of choosing your culture and UWC culture? G.V: Uhm No! I choose my culture. Of course, UWC culture is actually a mix and its about how we understand each other. I understand its culture. I have nothing against it. But whatever happens, I choose Cambodian culture. I make myself ready to answer all question concerned my culture. And I believe that even if I live here for the rest of my life, Im still Cambodian. Dragonfly: Those are all the question I have, do you want to say anything to the readers of Dragonfly? G.V: Its because, I find it interesting to share what I know, to share what Ive learned about my culture and my personal point of view about culture. Also, I find it useful. It is actually one of the basic things that UWC is all about. Its about sharing and learning from each others culture, regardless of learning IB or doing other services. I believe that this is a great thing to do when we are in UWC because apart from the topics that we chat at the canteen tables, in classrooms or wherever, I dont think most of the questions we are sharing in Dragonfly are about that, for example you will never ask me How do you feel about your culture these days? So, I find it useful. I encourage all the readers to appreciate it and contribute as much as possible to it where we are in UWC. Dragonfly: Thank you very much.

G.V: There are many things that you can consider disrespectful because Cambodian culture is more like conservative. In Cambodia, I cannot even touch someones hair. I have to greet people that are older than me regardless who they are. One of the most important things compared to LPC is our teachers. In my culture, we have to treat our parents as gods and teachers are our second parents. I never call any of my teachers by their name, but always, teacher or sir. Dragonfly: What is the most commonly held misconception about people in your culture? G.V: They always mix us up with Vietnamese and Thai people maybe because were too close to each other. Dragonfly: Do young people in your country today have a sense of culture? G.V: I think not everyone but most of them do. I live in a conservative family, so I have a great sense of culture. But because of westernization or some other cultures that flows from international media to Cambodia, like K-Pop, Japanese stars or American stars in Hollywood movies. Its like when they see Hollywood stars smoke, they may think that Its cool! Why not? or when they see

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On Appreciation of Indian Classical Music


By Ravi Shankar (Introduced by Sonia)
Indian classical music is principally based on melody and rhythm, not on harmony, counterpoint, chords, modulation and the other basics of Western classical music. The system of Indian music known as Raga Sangeet can be traced back nearly two thousand years to its origin in the Vedic hymns of the Hindu temples, the fundamental source of all Indian music. Thus, as in Western music, the roots of Indian classical music are religious. To us, music can be a spiritual discipline on the path to self-realization, for we follow the traditional teaching that sound is God - Nada Brahma: By this process individual consciousness can be elevated to a realm of awareness where the revelation of the true meaning of the universe - its eternal and unchanging essence - can be joyfully experienced. Our ragas are the vehicles by which this essence can be perceived. The ancient Vedic scriptures teach that there are two types of sound. One is a vibration of ether, the upper or purer air near the celestral realm. This sound is called Anahata Nad or unstruck sound. Sought after by great enlightened yogis, it can only be heard by them. The sound of the universe is the vibration thought by some to be like the music of the spheres that the Greek Pythagoras described in the 6th century B.C. The other sound Ahata Nad or struck sound, is the vibration of air in the lower atmosphere closer to the earth. It is any sound that we hear in nature or man-made sounds, musical and non-musical. The tradition of Indian classical music is an oral one. It is taught directly by the guru to the disciple, rather than by the notation method used in the West. The very heart of Indian music is the raga: the melodic form upon which the musician improvises. This framework is established by tradition and inspired by the creative spirits of master musicians. Ragas are extremely difficult to explain in a few words. Though Indian music is modal in character, ragas should not be mistaken as modes that one hears in the music of the Middle and Far Eastern countries, nor be understood to be a scale, melody per se, a composition, or a key. A raga is a scientific, precise, subtle and aesthetic melodic form with its own peculiar ascending and descending movement consisting of either a full seven note octave, or a series of six or five notes (or a combination of any of these) in a rising or falling structure called the Arohana and Avarohana. It is the subtle difference in the order of notes, an omission of a dissonant note, an emphasis on a particular note, the slide from one note to another, and the use of microtones together with other subtleties, that demarcate one raga from the other. There is a saying in Sanskrit - "Ranjayathi iti Ragah" - which means, "that which colors the mind is a raga." For a raga to truly color the mind of the listener, its effect must be created not only through the notes and the embellishments, but also by the presentation of the specific emotion or mood characteristic of each raga. Thus through rich melodies in our music, every human emotion, every subtle feeling in man and nature can be musically expressed and experienced. The performing arts in India - music, dance, drama, and poetry - are based on the concept of Nava Rasa, or the "nine sentiments." Literally, rasa means "juice" or "extract" but here in this context, we take it to mean "emotion" or "sentiment." The acknowledged order of these sentiments is as follows: Shringara (romantic and erotic): Hasya (humorous): Karuna (pathetic): Raudra (anger): Veera (heroic): Bhayanaka (fearful): Vibhatsa (disgustful): Adbhuta (amazement): Shanta (peaceful). Each raga is principally dominated by one of these nine rasas, although the performer can also bring out other emotions in a less prominent way.

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In addition to being associated with a particular mood, each raga is also closely connected to a particular time of day or a season of the year. The cycle of day and night, as well as the cycle of the seasons, is analogous to the cycle of life itself. Each part of the day - such as the time before dawn, noon, late afternoon, early evening, late night - is associated with a definite sentiment. The explanation of the time associated with each raga may be found in the nature of the notes that comprise it, or in historical anecdotes concerning the raga. Although there are 72 "melas" or parent scales upon which ragas are based, Indian music scholars have estimated that, with all their permutations and combinations, there exist over 6,000 ragas! But a raga is not merely a matter of the ascending - descending structure. It must have its "chalan "- or certain note patterns characteristic of the raga; its principle important note (vadi); the second important note (samavadi); and its main feature known as "jan" (life) or "mukhda" (face), the cluster of a few notes by which a raga is immediately recognised. In terms of aesthetics, a raga is the projection of the artist's inner spirit, a manifestation of his most profound sentiments and sensibilities brought forth through tones and melodies. The musician must breathe life into each raga as he unfolds and expands it. As much as 90 percent of Indian music may be improvised and because so very much depends on understanding the spirit and nuances of the art, the relationship between the artist and his guru is the keystone of this ancient tradition. From the beginning, the aspiring musician requires special and individual attention to bring him to the moment of artistic mastery. The unique aura of a raga (one might say its "soul") is its spiritual quality and manner of expression, and this cannot be learned from any book. It is only after many long and extensive years of "sadhana" (dedicated practice and discipline) under the guidance of one's guru and his blessings, that the artist is empowered to put "prana" (the breath of life) into a raga. This is accomplished by employing the secrets imparted by one's teacher such as the use of "shrutis" (microtones other than the 12 semitones in an octave, Indian music using smaller intervals than Western music: 22 within an octave): "gamakas" (special varieties of glissando which connect one note to the other), and "andolan" (a sway - but not a vibrato). The result is that each note pulsates with life and the raga becomes vibrant and incandescent. The traditional recital begins with the alap section - the stately and serene exploration of the chosen raga. After this slow, introspective, heartfelt, sometimes sad beginning, the musician moves on to the jor. In this part, rhythm enters and is developed. Innumerable variations on the raga's basic theme are elaborated. There is no drum accompaniment in either the alap or the jor. The alap and the jor evolve into the gat, the fixed composition of the raga. Here the drums enter with the wonderful rhythmic structure of the gat and its time cycle, the tala. This section in based on the "Khyal: form. From this moment on, the gat (which can be anything between 4 and 16 bars of fixed composition) becomes the vehicle for the musician to return to after his improvisation. While the artist has complete freedom to improvise, he may do so only as long as he does not leave the format of the raga and tala. This freedom within the bounds of artistic discipline comes only after many years of training and sadhana. This is why one cannot rightfully compare the improvisation in Indian music with the improvisation of jazz. The step-by-step acceleration of the rhythm in the gat finally culminates in the jhala portion as it becomes more and more playful and exciting. Sawal jabab, the dazzling and rapid dialogue between sitar and tabla, has the power to enthrall even the most uninitiated listener with its thrilling interplay. Indian music is much more appreciated and respected today in the west. Many composers and musicians have been influenced by our music. The openness, willingness to learn, and sincere enthusiasm of western audiences are a continuing source of inspiration and delight. Compiled by Sonia

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Roberto Bolao or the end of Latin America


By Camilo Ruiz Tassinari
If the Nobel Prize winner Gabriel Garca Mrquez published in 1962, what could be seen as an analogy of the creation of Latin America through the story of Macondo in One Hundred Years of Solitude, then the Chilean/Mexican/Spanish writer Roberto Bolao (1953-2003) wrote in his posthumous novel, 2666, the allegory of its end. Born in Santiago de Chile, he moved to live in Mexico City when a teenager, where he gathered and led a group of young, mainly Mexican poets that would call themselves the "Infrarealists". 1976 saw the creation of the "Infrarealist Manifestos", a document trapped in the middle between the Surrealist Manifesto by Andr Breton, the poetry of Arthur Rimbaud and Baudelaire and the Communist Manifesto. The infrarealist movement can be interpreted in different ways: As the soil that would feed the best underground writers in Spanish language in the last fifty years, as a movement of declasses, that gathered in the bars of the center of Mexico City for writing generally misunderstood poetry, inspired by unstoppable flows of tequila and beer; or as revolutionaries of the culture, that attempted to break down the establishment of the production and distribution of Culture in Latin America, that depends completely on the funds of States that see art as a mean of enhancing their hegemony. Bolao was part of that generation that saw the movements of liberation crashed in their faces, while Latin America fell under the flag of military coups and dictatorships. When the socialist reforms of Allende in Chile in 1973, he went back to his motherland from Mexico to support the Revolution. Few days after his arrival, the military joint led by Pinochet seized power, killed Allende and put into jail tens of thousands of Chileans; Bolao between them, who eventually managed to escape and go back to Mexico with no harm. These two factors conditioned in a great extent the work of Roberto Bolao: The idea of the permanent exile and the disappointment after the defeat of the Revolutions or rebellions in Latin America, together with the relations between "real" literature and the all-powerful State's institutions, are a constant through all his work. Roberto Bolao left Mexico and the Infrarealist movement after some years, when he migrated to Spain. This aesthetical separation from the hard line ideology and the lumpen-style life of these poets permitted him to try to write novels and not only poetry - and allowed his libertarian instinct to flourish in the books that he wrote between 1993 and 2003. Bolao wrote some of his first great books while he worked as a night guard in a camp site in the out bounds of Barcelona, or while working in any other part time job that would partially fed him and his family. It was not until the release of his first major work, "The Savage Detectives", in 1998, that public attention started turning the head towards him and he could dedicate fully to writing. This novel won the Rmulo Gallegos prize, maybe the most important one in literature in Spanish, awarded every four years, and the Herralde Prize, awarded by the most important publishing house of the Hispanic American world. After that, Bolao started a race against time for finishing the book that he considered would restructure literature in Spanish: 2666. Ten or fifteen years of writing poetry while drinking tequila had damaged his liver to a mortal extent.

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http://booktrek.blogspot.com/

Although he didnt drink anything on the last ten years of his life, Bolao needed a liver transplant if he wanted to keep living. He died waiting for it. After he passed away, his editor spent months gathering the different drafts of the novel and putting them in a publishable way. 2666 was released in Spanish in a volume of 1,100 pages and, although its short life until today - the influence of works over literature can only be measured in decades or centuries, but hardly in a few years - this "total novel" has opened the doors through which the tendencies of the new millennium shall circulate, as one critic said. 2666 is not a book. It is five different books, with five different stories that take place in three different continents and through the last 70 years of the 20th century. The five parts, apparently disconnected, merge together in the figure of an old German writer, Archimboldi, that no one has ever met and no one has ever known but whose literature is a symbol of the sad 20th century that had just left, and in the dry urban landscape of Ciudad Jurez - a symbol of the sad 21st century that is about to come, in the Mexican border with the US; and, more concretely, in the relation of all the characters with the assassination and terrible torture of young, working class women that has happened in that city since the early 90's - today accounting 400 clear deaths and 4000 missing, in what is one of the darkest and most representative crimes of the industrial paradises that populate Latin America. In fact, the fourth part of the book, "The part of the crimes" tells the story, with a "police report" vocabulary, of all the deaths during several years: "Juana Martnez. 17 years. Born in Chiapas, Mxico, arrived in 1997 to Ciudad Jurez to work on the factory. Was found in the km. 32 of the Tijuana-Ciudad Jurez highway, next to a small group of bushes. Her underwear was, partially destroyed, left next to her. The autopsy showed signs of repeated rape and traces of semen of at least four different men. Her left nipple was removed by bites. Four out of the sixteen stabs she received on her chest and abdomen were mortal, which finally killed the victim." On the eyes of foreign readers, Bolao's work, "The savage detectives" and "2666" particularly, may appear as the result of the disproportionate imagination of a man with a sad childhood. But it is not. It is, before all else, a strange and cruel fable of the history of Latin America, particularly the last 40 years. Or even, a fable about the end of Latin America, because in Bolao's conception of what exists and what is meant to exist; of what is real and what is rational, the Culture is the only Reality. A civilization, therefore, represented by "the culture" in the figure of the old European writer about to die, for whom literature was just a simulation of salvation; lost in the daily "reality" of the desert of endless factories and bodies of teenage women that appear week after week; where words are limited to describe with detail the suffering of these people, is one that has a gap between these two factors too big like for being filled and that, therefore, the only thing it can do is to wait patiently for its death. Bolao's main works have been translated into all major languages and has been particularly well hosted in France, the US and the UK. The Spanish speakers of LPC can have the pleasure of reading Bolao's books existing on the library, and the non-Spanish speakers can buy the English version of any of these two novels in any Hong Kong bookstore for less than $200 HK.

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APPROACH CHINESE CULTURE BY THE CHARACTERS


Most people are amazed at the first time they see a Chinese character. While most of languages in the world that people are familiar with are phonetic ones, which represent speech sounds by means of symbols, Chinese is not. It is considered as a hieroglyphic language that includes picture characters. The genesis of the Chinese script is not known much, therefore there is no reliable history. However, it is believed that many words describing tangible objects, such as bird (niao ), tree (mu ), sun (ri ), moon (yue ) were invented based on the shape of those things in nature. Therefore, with a little imagination, you can guess quite accurately the meaning of a Chinese character. It would be an enjoyable puzzle. Besides, to form a word expressing a massive abstract notion, Chinese people combined picture characters of determinatives indicating or suggesting its meaning. Studying the determinatives chosen, we can understand how they define or evaluate a notion in real life or more broadly, we can understand somewhat the way they think, the way they study and the way they create. Examples presented in this topic will help you remember some common Chinese characters as well as approach Chinese culture initially. Lets start with these first 3 characters: The original pictograph for woman depicted her in a bowing position . Apparently, for ease in writing, man reduced this to a humbler form a woman kneeling down but not for long. The modern version graphically portrays the big stride woman has taken up to keep up with man.

n Woman Girl Daughter

This character for child originated from a representation of an infant with outstretched arms and legs. Eventually it was modified to one with legs swaddled in cloth bands. Evidently, to the Chinese parent, the secret of infant care lies in keeping one end wet and the other end dry. z Child Son Infant

Man combined (wife or daughter) with (child or son) to form a character for goodness and excellence. From experience he must have found his greatest good in the possession of a wife and a child or a son and a daughter. It is also good that the wife sticks to his child. ho Good Right Excelle nt

Lets guess! What does

mean? Hint: A woman under a roof

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Man conceived the idea that to attain peace he should have only 1 woman under the roof or confine her within the house.

Source: Fun with Chinese Characters

Answer: n peace, contentment

Lc Bt Poems (Vietnamese poems)


By Ryter Roethicle
A lot of poets enjoy writing in Tri meter (Three feet) or six sound units and Tetra meter (Four feet) or eight sound units and so this form should make a reasonable challenge for them. Some of you who prefer lyric style poetry might find this form useful as well as challenging because it lends itself quite nicely to some styles of storytelling also. The Lc Bt is a Vietnamese form of poetry, which simply means six eight. Unlike other verse forms which are traditionally enjoyed only by high class Vietnamese, lc bt is traditionally composed and enjoyed by people of all classes, from the lowly peasants to the noble princes. It can be regarded as a living style of Vietnamese people. The odd lines (1,3,5,etc) are six sound units and the even lines (2,4,6 etc) are eight sound units long, hence the title. The rhyming scheme is simple also. The last word (sixth sound unit) of the odd lines rhymes with the sixth sound unit of the even line and the eighth sound unit rhymes with the sixth unit of the next odd line. Vietnamese is a tonal language with six tones. These tones are divided into two groups (sharp and level) for the purposes of rhyming in poetry. That is, two syllables don't need to have the same tone to rhyme, but they must have tones from the same group. Because English is an intoned language, it doesn't have tones but it does have stressed syllables. To approximate the rhythm of a Luc Bat poem in English, the English poet should use a stress pattern that places the stress on the even numbered syllables (i.e. iambic meter). There is no set length, nor is there any requirement to finish on an even line, just so long as there is a link back. Here is an example written as an exercise: A Luc Bat Poem A luc bat poem is such You need not say so much at all Simple words can enthrall It can be simple and small or big An epic thingamajig Alter words make them fig or fit The poetic license bit Just like that line of **** or **** Whatever, give it a bash Now my mind I must thrash and beat And turn these humble feet So first and last lines meet and touch Adopted from http://www.thepoetsgarret.com/Challenge/lucbat.html

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Photography: Vietnam, Laos, Thailand By: Briana Camacho

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THE DIFFERENCES BETWEEN WESTERN AND EASTERN CULTURES


These graphics are drawn by a Chinese guy raised in Germany, named Yang Liu. He wanted to make some comparisons between Germany culture and Chinese culture from his own perspective. The graphics have been travelled around the (online) world as many people find them interesting and believe that they are applicable to Western cultures and Eastern cultures in general as well. This is just for fun. But let check and see if you agree. (Blue/Left: West Red/Right: East)

1. Opinion expression

2. Weekend

3. Weather and Moods

4. Way of Life

5. Party

6. The boss

7. Punctuality

8. Talking in the restaurant

9. Whats in trend?

10. Contact

11. Travelling

12. The child

13. Waiting

14. Confronting a problem

15. New things

16. Sense of Self

17. Life of elderly

18. Perception of each other

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New Quan Cai: Language Appreciation


What is Language Appreciation?
Living in a multinational environment, many of us have an urge to explore the world of languages which is an interesting, colorful, wonderful and mysterious one. Language Appreciation will be the place where we can share, learn about and appreciate every single language we have in LPC, from English, Chinese, Spanish, French, Arabic, Hindi to Khmer, Bengali, Punjabi, Balinese

Why Language Appreciation?


We all agree that language is the key to understanding another culture. Every culture is reflected by its language. Learning a new language is learning a new culture. With Language Appreciation, we do not have enough time to learn a new language thoroughly but we can gain some insight about it and therefore be more knowledgeable about the world of languages. In terms of culture, what we are trying to learn about is the way how a particular language is special and how it has been the boat bringing its culture to the world. I believe that if we do not take the chance when we are in LPC, we will never have another one out there.

How does Language Appreciation work, as a Quan Cai?


Every week, the members will take turn to introduce their own languages by facilitating a meeting that takes place in 1.5 hours. Every meeting will have three sections (each of which is about 30 minutes long): Section 1: A presentation about the language of the week, where we talk about its history and its remarkable characteristics. [Note: The presenter would also include the words or expressions that have been adopted in other languages, and how this has happened. This will show us the world are interconnected in terms of languages and cultures] Section 2: A discussion where we study the language to learn about its culture Section 3: A lesson where we learn some common conversational statements in the language

When we all have shared and learned about our languages, we will invite other people in LPC to come and talk about their own languages. By doing so, we hope that everyone will have opportunities to share with us their own languages, as well as their cultures. There will also be some sessions where we discuss about internet language, media language, etc.

Something special?
In this Quan Cai, we will also organize a festival to celebrate the International Mother Language Day on 21st, February 2011. It will be the first in LPC.

If you are interested, please contact Ryan Black for more information and join us next year.

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