Where is the flute sound?

Author: Yu Qiuyu
Publisher:
Publish Date: 2004-06-01
Features: Professor Yu Qiuyu's new work. This book's unexpected perspective is destined to make three keywords the new focal points of cultural discourse this year: World Cultural Heritage, Kunqu Opera, and Yu Qiuyu. Known as the "mother of all Chinese operas" and the "living fossil of Chinese traditional opera," Kunqu has a history of over 600 years and was once wildly popular in China for over 200 years. In 2001, UNESCO established the "Representative List of the Intangible Cultural Heritage of Humanity," and a total of 19 cultural events and intangible cultural expressions were selected for the first time. Kunqu art was then designated as China's "Representative List of the Intangible Cultural Heritage of Humanity." Yu Qiuyu's attention and research on Kunqu art have a classic example: twelve years ago, Yu Qiuyu traveled to Taiwan and was invited by the United Daily News to give a lecture on Kunqu at the National Central Library in Taipei. After the lecture, he also had a long conversation with the renowned writer Bai Xiangyong, whom he deeply respected, about the beauty of Kunqu. The conversation was later published in the China Times. That was Yu Qiuyu's first time to Taiwan, and Journey Through Cultural Desolation had not yet been published there. Therefore, Yu Qiuyu left an impression on Taiwan as a Kunqu researcher. From this perspective, the creative thinking and writing preparation for Where Is the Flute Sound? had actually begun at least twelve years ago. Twelve years ago, I described this flute sound to the audience in Taiwan. At the invitation of the United Daily News, I gave a lecture on Kunqu at the National Central Library in Taipei. After the lecture, I also had a long conversation with the renowned writer Bai Xiangyong about the beauty of Kunqu, which was published in the China Times. That was my first time to Taiwan, and Journey Through Cultural Desolation had not yet been published there. Therefore, I left an impression on Taiwan as a Kunqu researcher.
In the past twelve years, many things have happened, and my main focus has been on on-site investigations of the ruins of major civilizations. Forgotten in which corner of the earth, I received the news that Kunqu had been recognized by UNESCO as a World Cultural Heritage. This news added a touch of nourishment to my desolate heart. From afar, I heard the flute sound from Suzhou.
Soon after, I heard another piece of news: the World Heritage Conference would be held in Suzhou. Suzhou had the qualification, and among the various reasons, one must be related to Kunqu, I thought.
After returning to China, I visited Suzhou several more times. Strangely, it seemed as if fate had already arranged it, and I met Mr. Bai Xiangyong every time. He was constantly traveling between the United States, Taiwan, and Suzhou, determined to once again promote the art of Kunqu to the world. When introducing the actors and repertoires of the Suzhou Kunqu Opera Troupe to me, he treated them as family treasures, which made me feel ashamed. We are often in the vicinity of treasures yet fail to cherish and protect them. Culture, after all, lies in this act of cherishing and protecting.
In recent years, the ancient Wu Pavilion has made efforts to revive the historical glory of Suzhou culture and asked me to talk about the art of Kunqu. This suggestion brought my mind back to peace. Slowly flipping through some of the writings I left behind from my past research in this field, I finally compiled the lecture I gave in Taiwan twelve years ago and related articles into a book to celebrate this grand occasion. With limited talent but sincere intentions, I dedicate this to the beautiful Suzhou, to that distant yet near, melodious flute sound.