0:00:34 > 0:00:36So, this is my cello.
0:00:36 > 0:00:38Have you ever seen one before?
0:01:21 > 0:01:23THEY START PLAYING
0:01:46 > 0:01:49SINGING STARTS
0:03:29 > 0:03:31CHEERING
0:03:43 > 0:03:45The many faceted career of cellist Yo-Yo Ma is
0:03:45 > 0:03:47a testament to his continual search
0:03:47 > 0:03:49for new ways to communicate with audiences...
0:03:53 > 0:03:56..Mr Ma maintains a balance between his engagements and his solo...
0:04:00 > 0:04:02..He's recorded over 90 albums,
0:04:02 > 0:04:05including more than 17 Grammy Award winners...
0:04:09 > 0:04:10..studied at the Juilliard School...
0:04:18 > 0:04:20..President's Committee on the Arts and the Humanities.
0:04:20 > 0:04:22After Mr Ma's remarks tonight,
0:04:22 > 0:04:24we will have an opportunity to ask questions...
0:04:27 > 0:04:30So without any further ado, please welcome Yo-Yo Ma.
0:04:30 > 0:04:32APPLAUSE
0:04:37 > 0:04:38Hi, there.
0:04:40 > 0:04:41Hi.
0:04:43 > 0:04:46I'll start off with this. There's an old joke.
0:04:46 > 0:04:51A six-year-old boy tells his father,
0:04:51 > 0:04:54"When I grow up, I want to be a musician."
0:04:56 > 0:04:57And the father looks at the son,
0:04:57 > 0:05:00shakes his head sadly, and says,
0:05:00 > 0:05:03"I'm sorry, son, you can't do both."
0:05:03 > 0:05:05LAUGHTER
0:05:18 > 0:05:21I think when I was a kid, a lot of things just happened.
0:05:22 > 0:05:25There has come to us this year
0:05:25 > 0:05:28a young man aged seven,
0:05:28 > 0:05:31bearing the name Yo-Yo Ma,
0:05:31 > 0:05:35a Chinese cellist playing old French music
0:05:35 > 0:05:37for his new American compatriots.
0:05:42 > 0:05:44Being good at something can carry you really far
0:05:44 > 0:05:46for a long period of time,
0:05:46 > 0:05:47and not require a lot
0:05:47 > 0:05:49of introspection, right?
0:05:49 > 0:05:52Because... you're good at it and everyone tells you that.
0:06:00 > 0:06:03I would think that somebody who has mastered his art
0:06:03 > 0:06:06so early in life, so completely,
0:06:06 > 0:06:09would have the problem that most wunderkinder have,
0:06:09 > 0:06:12which is, how do you keep your interest up?
0:06:15 > 0:06:19That's part of my problem. When you grow up with something,
0:06:19 > 0:06:21you kind of don't make a choice.
0:06:29 > 0:06:33I never committed to being a musician.
0:06:33 > 0:06:37You know? I just did it, I fell into it.
0:06:37 > 0:06:40I was interested in a lot of things, but...
0:06:40 > 0:06:44I didn't particularly pursue any of those.
0:06:47 > 0:06:49Leon Kirchner said to him when he was young,
0:06:49 > 0:06:52"You're a phenomenal musician, but you haven't found your voice."
0:06:55 > 0:06:58And this notion was stuck in my dad's mind.
0:06:58 > 0:07:00"What does that mean? How do you do that?"
0:07:04 > 0:07:06I think he started looking for answers.
0:07:29 > 0:07:32APPLAUSE
0:07:33 > 0:07:37I'm always trying to figure out at some level
0:07:37 > 0:07:40who I am and how I fit in the world,
0:07:40 > 0:07:42which I think is something
0:07:42 > 0:07:45that I share with seven billion other people.
0:08:01 > 0:08:04I was calling my mum in Damascus before... before you guys came in.
0:08:04 > 0:08:05And she's like, "Oh, Kinan, did you clean the place?"
0:08:05 > 0:08:08I'm like, "Yes, Mum, it's OK."
0:08:08 > 0:08:10- She wants to make sure... - Mums are always mums.
0:08:10 > 0:08:12No, she wants to make sure that the CDs are not here, because, you know,
0:08:12 > 0:08:14they're there and, you know, it's like, "Is it all tidy?"
0:08:14 > 0:08:16I said, "Yes, I've tried my best. It's going to be fine."
0:08:16 > 0:08:18So...
0:08:23 > 0:08:26I mean, growing up in Damascus was great.
0:08:26 > 0:08:30Just had, you know, lots of friends and family.
0:08:33 > 0:08:35I don't think of myself as somebody who just,
0:08:35 > 0:08:37you know, packed his stuff and left, actually.
0:08:39 > 0:08:43I mean, I still have a little apartment back in Damascus.
0:08:44 > 0:08:47And my parents are still there.
0:08:50 > 0:08:52I miss it a lot. I do miss it.
0:08:54 > 0:08:57Now I'm thinking a lot, like, "What is home?
0:08:57 > 0:09:00"Is it where your friends are? Is it where your family are?
0:09:00 > 0:09:02"Is it the place where you grew up
0:09:02 > 0:09:05"or is it the place that... where you want to die?"
0:09:05 > 0:09:06I mean, you know, all the...
0:09:06 > 0:09:08all these questions, and I think now I'm realising that
0:09:08 > 0:09:11it's basically the place where you feel you want to contribute to
0:09:11 > 0:09:12without having to justify it.
0:09:14 > 0:09:15And here is your coffee,
0:09:15 > 0:09:17whoever wants my little Arabic coffee.
0:09:30 > 0:09:35I mean, since I left Syria, lots of things have changed.
0:09:42 > 0:09:45There's always a fight in each one of us
0:09:45 > 0:09:49between believing in the power of the human spirit
0:09:49 > 0:09:52and dreading the power of the human spirit.
0:09:58 > 0:10:00SIREN WAILS
0:10:01 > 0:10:03March 2011...
0:10:03 > 0:10:05when the Syrian revolution started...
0:10:06 > 0:10:10I found myself experiencing emotions that are, by far,
0:10:10 > 0:10:13more complex than...
0:10:13 > 0:10:15than what I can express with my music.
0:10:15 > 0:10:18So the music fell short,
0:10:18 > 0:10:21and I found myself not able to write any music.
0:10:26 > 0:10:28Like, can a piece of music stop a bullet?
0:10:28 > 0:10:31Can it feed somebody who's hungry? Of course, it doesn't.
0:10:32 > 0:10:35You question the role of art altogether.
0:10:50 > 0:10:52When I was a student at Harvard,
0:10:52 > 0:10:56Leonard Bernstein came to visit.
0:10:56 > 0:10:59In his lectures, he was searching
0:10:59 > 0:11:01for a universal musical language.
0:11:01 > 0:11:05That idea stuck with me ever since.
0:11:05 > 0:11:09What's the relevance of all this musical linguistics?
0:11:09 > 0:11:11Can it lead us to an answer
0:11:11 > 0:11:14of Charles Ives' unanswered question, "Whither music?"
0:11:14 > 0:11:17And even if it eventually can...
0:11:18 > 0:11:19..does it matter?
0:11:19 > 0:11:22The world totters, governments crumble,
0:11:22 > 0:11:25and we are poring over music.
0:11:31 > 0:11:33Out of the 35 years I've been married,
0:11:33 > 0:11:38I've been gone for 22 of those years, away travelling.
0:11:41 > 0:11:43I used to throw up before every trip,
0:11:43 > 0:11:47you know, just... I would just feel so awful and anxious,
0:11:47 > 0:11:49and just like, you know...
0:11:49 > 0:11:51it's like I'd get so paralysed.
0:11:55 > 0:11:57What is my role?
0:11:59 > 0:12:03I'd better find a good reason to say, "Why am I doing this?"
0:12:36 > 0:12:38Play... play a song.
0:12:38 > 0:12:39Which song? Um...
0:12:41 > 0:12:44Play... Iron Man.
0:12:51 > 0:12:52Let's own it!
0:12:52 > 0:12:55My interest is kind of jump out of the box...
0:12:57 > 0:13:02..not only limiting myself as a Chinese musician or pipa player.
0:13:03 > 0:13:05Yes!
0:13:05 > 0:13:07SHE LAUGHS
0:13:07 > 0:13:09Yeah! Woo-woo-woo-woo!
0:13:09 > 0:13:10Thank you, thank you.
0:13:10 > 0:13:13Hey, wait. What do you do? This...
0:13:13 > 0:13:15SHE LAUGHS
0:13:15 > 0:13:17I mean, Wu Man was not supposed to be here.
0:13:17 > 0:13:20She was just supposed to be a music professor, right,
0:13:20 > 0:13:22at the Central Conservatory or somewhere in China.
0:13:46 > 0:13:49I remember 1966,
0:13:49 > 0:13:51start of the Cultural Revolution.
0:13:54 > 0:13:59And then my parents actually asked me to learn music...
0:13:59 > 0:14:01to escape from that situation.
0:14:03 > 0:14:08Wu Man was in the first class of students
0:14:08 > 0:14:13that re-entered Conservatory
0:14:13 > 0:14:16after the Chinese Cultural Revolution,
0:14:16 > 0:14:19and she became a sensation overnight.
0:14:29 > 0:14:32We had no information about Western culture.
0:14:36 > 0:14:38Right after revolution...
0:14:39 > 0:14:42..everything was destroyed, culturally,
0:14:42 > 0:14:47so we are, I guess, standing on the ruins,
0:14:47 > 0:14:51dreaming, "What's the next music?"
0:15:00 > 0:15:03Oh! Surprised they open.
0:15:08 > 0:15:10It's all very different.
0:15:14 > 0:15:16Isaac Stern gave a masterclass here,
0:15:16 > 0:15:19right here on this stage.
0:15:26 > 0:15:28It's like opened another idea.
0:15:28 > 0:15:31It opened the door to me.
0:15:31 > 0:15:35"American orchestra, that's... that's very interesting."
0:15:37 > 0:15:41I wanted to see what's going on outside China.
0:15:50 > 0:15:54In the '80s, when I was asked in an interview
0:15:54 > 0:15:58about what my next project might be...
0:15:58 > 0:15:59What's next for you?
0:16:00 > 0:16:03I'm casting about for something, anything,
0:16:03 > 0:16:06I said that I had always...
0:16:06 > 0:16:10I said, "I have always been fascinated by" - guess what?
0:16:10 > 0:16:13The bushmen of the Kalahari Desert.
0:16:13 > 0:16:16LAUGHTER
0:16:16 > 0:16:18Yeah.
0:16:22 > 0:16:25I think he went because he wanted...
0:16:25 > 0:16:28He wanted to put some dirt in his bones.
0:16:28 > 0:16:31He wanted to get down into the soil.
0:16:31 > 0:16:35He wanted something that was going to radically alter
0:16:35 > 0:16:38his ways of thinking about things.
0:16:43 > 0:16:44Shoot.
0:16:44 > 0:16:46Where the hell is the F?
0:16:46 > 0:16:48There we go.
0:16:48 > 0:16:50I'll tell you one thing that stayed with me
0:16:50 > 0:16:53that actually became the event
0:16:53 > 0:16:55that unlocked all of this.
0:16:57 > 0:16:59They do a trance dance...
0:16:59 > 0:17:02THEY SING AND CLAP
0:17:02 > 0:17:05..and I was invited to participate.
0:17:07 > 0:17:08They get into trance,
0:17:08 > 0:17:11and then they lay hands on people who need healing.
0:17:14 > 0:17:18I asked the women why they do their trance ritual...
0:17:20 > 0:17:23..and they said the clearest reason
0:17:23 > 0:17:29for music, for culture, for medicine, for religion.
0:17:29 > 0:17:31They said, "Because it gives us meaning."
0:17:38 > 0:17:41So one day, I sat with Yo-Yo at the cafe
0:17:41 > 0:17:44and we were talking about where creativity comes from...
0:17:46 > 0:17:48Where new ideas come from.
0:17:50 > 0:17:53And so he drew on a napkin at the bar.
0:17:53 > 0:17:55He drew circles intersecting.
0:17:55 > 0:17:58And then he shaded the intersections and said,
0:17:58 > 0:17:59"This is, you know... this is a culture,
0:17:59 > 0:18:02"this is another culture, and in the intersection,
0:18:02 > 0:18:04"that's where new things will emerge."
0:18:11 > 0:18:15The Silk Road Project - we started as an idea
0:18:15 > 0:18:18a group of musicians getting together
0:18:18 > 0:18:22and seeing what might happen... when strangers meet.
0:18:28 > 0:18:33We went and scoured from Venice through to Istanbul,
0:18:33 > 0:18:36central Asia, Mongolia and China,
0:18:36 > 0:18:37looking for incredible talent.
0:18:37 > 0:18:41This was like the Manhattan Project of music.
0:18:41 > 0:18:44We invited about 60 performers
0:18:44 > 0:18:46and composers from the lands of the Silk Road,
0:18:46 > 0:18:49meeting in a kind of workshop.
0:18:50 > 0:18:52No-one knew what was going to happen.
0:18:53 > 0:18:57"Did Yo-Yo go off his tracks or something?
0:18:57 > 0:18:59"What... What did he drink?" You know?
0:19:02 > 0:19:06We gathered in the summer of 2000 in Massachusetts.
0:19:10 > 0:19:12Frankly...
0:19:12 > 0:19:14I was scared to death.
0:19:18 > 0:19:21Yo-Yo Ma is, of course, a golden child.
0:19:21 > 0:19:24He can touch anything and do anything,
0:19:24 > 0:19:26and everything... Everybody thinks it's great.
0:19:30 > 0:19:31But you could not expect
0:19:31 > 0:19:36that someone from Africa or China picks up
0:19:36 > 0:19:39on the subtleties of a culture that is not their own.
0:19:43 > 0:19:48A lot of people thought that what we were doing was not pure.
0:19:48 > 0:19:51It's, uh... What is it called?
0:19:51 > 0:19:53Cultural tourism.
0:19:54 > 0:19:56Let's go. Yeah.
0:20:32 > 0:20:34Beautiful.
0:20:35 > 0:20:36This is basic rhythm.
0:20:36 > 0:20:38I mean, just not the accent.
0:20:38 > 0:20:40Try... dut-dut, ba-ba-ba-ba.
0:20:40 > 0:20:42Ba-ba-ba-ba, ba-ba-ba...
0:20:42 > 0:20:46HE SINGS
0:20:46 > 0:20:50Kayhan, he's such a well-known figure in Iran,
0:20:50 > 0:20:53and he was here at the very beginning.
0:20:57 > 0:20:58- That's fantastic.- Ah.
0:20:58 > 0:21:00So the nail going back and forth, right?
0:21:00 > 0:21:02Yeah. Right, left, two rights.
0:21:03 > 0:21:04Oh.
0:21:46 > 0:21:50My intention is to represent my culture
0:21:50 > 0:21:53and the contribution
0:21:53 > 0:21:57that this very old culture made to human life.
0:22:03 > 0:22:07If you go back, you know, in the beginning of the 20th century,
0:22:07 > 0:22:11every Eastern culture was so fascinated with West...
0:22:11 > 0:22:16You know, the technology, cars, and music, of course.
0:22:17 > 0:22:20My instrument, kamancheh,
0:22:20 > 0:22:24it was not being taught.
0:22:24 > 0:22:25And I was really lucky,
0:22:25 > 0:22:27because I got to professional music very early,
0:22:27 > 0:22:30so I had the chance to work with the older generation.
0:22:33 > 0:22:35Kayhan, he brings you closer to the horse
0:22:35 > 0:22:37or to the cow or to the source,
0:22:37 > 0:22:39you know, that you forget.
0:22:42 > 0:22:45But Kayhan has had a very tragic life.
0:22:49 > 0:22:52The revolution.
0:22:52 > 0:22:54Chaos.
0:22:56 > 0:23:00You realise that your life's not going to be the same anymore.
0:23:03 > 0:23:05I was 17...
0:23:05 > 0:23:08My parents decided that I had to leave.
0:23:11 > 0:23:14I just walked... walked, you know, out...
0:23:14 > 0:23:16out of the country like that.
0:23:18 > 0:23:23I... I worked little by little in every country, kind of farm work.
0:23:25 > 0:23:29Turkey for nine months, and then Romania, Yugoslavia, Italy.
0:23:30 > 0:23:34Yeah, I had a little backpack... and, um... I had a kamancheh.
0:23:36 > 0:23:38That was it. Yeah.
0:23:58 > 0:24:01When I left...
0:24:01 > 0:24:05meeting a lot of different world musicians...
0:24:05 > 0:24:07that was very attractive to me.
0:24:09 > 0:24:12I always wanted to do something outside of my culture.
0:24:12 > 0:24:14I think that was
0:24:14 > 0:24:17a very important turning point in my career.
0:24:23 > 0:24:25How's it going, Kayhan?
0:24:25 > 0:24:28Uh, fine. We definitely need more rehearsal time.
0:24:28 > 0:24:31But... um, they're very good musicians,
0:24:31 > 0:24:34and they're much better than yesterday,
0:24:34 > 0:24:36so... there is hope.
0:24:36 > 0:24:38HE LAUGHS
0:24:48 > 0:24:50The Tanglewood workshop was fantastic,
0:24:50 > 0:24:53because we don't speak necessarily perfect English
0:24:53 > 0:24:55or perfect Chinese or perfect Persian,
0:24:55 > 0:24:59but we speak perfect music language.
0:25:05 > 0:25:10Some projects, you know at the end of it, that's wonderful.
0:25:10 > 0:25:12It was a great thing, but it's done.
0:25:13 > 0:25:15This one... is different.
0:25:37 > 0:25:39APPLAUSE
0:25:40 > 0:25:44You make a connection. You make a cultural connection.
0:25:44 > 0:25:47You make a connection to another human being.
0:25:47 > 0:25:49That's very precious.
0:25:49 > 0:25:53We were faced with the decision, "Should we go on or is this it?"
0:25:53 > 0:25:57And we were very careful to try to not just say
0:25:57 > 0:26:00we should go on because we would like it to.
0:26:03 > 0:26:05What's the reason for going on?
0:26:09 > 0:26:12Of course, the major concern is human loss.
0:26:12 > 0:26:15I mean, do you know if there were many people in the building?
0:26:15 > 0:26:16Oh! Another one just hit!
0:26:16 > 0:26:18Something else just hit. A very large plane
0:26:18 > 0:26:21just flew directly over my building, and there's been another collision.
0:26:21 > 0:26:24- Can you see it? I can see it on this shot.- Yes.- Oh, my...
0:26:24 > 0:26:26Something else has just... that looked more like a 747.
0:26:26 > 0:26:28We just saw a plane circling the building.
0:26:33 > 0:26:39I was in a hotel room at nine o'clock the morning of 9/11.
0:26:44 > 0:26:45My wife called me and said,
0:26:45 > 0:26:49"Turn on the television. Something's happening."
0:26:51 > 0:26:53I saw a large plane, like a jet,
0:26:53 > 0:26:57go immediately heading directly in towards the World Trade Center...
0:27:02 > 0:27:05It was surreal.
0:27:05 > 0:27:07You know, nation was in shock.
0:27:11 > 0:27:15And I had a lot of time to think.
0:27:24 > 0:27:28We really wondered that, in the face of the xenophobia,
0:27:28 > 0:27:31it might just not be possible to do this anymore.
0:27:35 > 0:27:39Everybody, in the face of disaster,
0:27:39 > 0:27:42re-examines who they are in their purpose.
0:27:46 > 0:27:49We are a group that has so many disparate elements.
0:27:49 > 0:27:53We could have been a group of adversaries, essentially.
0:27:55 > 0:27:57And I think all of us kind of knew that, you know,
0:27:57 > 0:27:58we had a responsibility to...
0:28:00 > 0:28:02..to work harder.
0:28:05 > 0:28:09This piece is called Quartet to the End of Time,
0:28:09 > 0:28:13and it's written by a composer named Olivier Messiaen.
0:28:13 > 0:28:18He wrote this while he was a prisoner of war during World War II.
0:28:36 > 0:28:38How does Messiaen do that?
0:28:39 > 0:28:45How do you express incredible grief or eternity and love?
0:28:49 > 0:28:50You add a little vibrato,
0:28:50 > 0:28:54and you suddenly feel that you might be bathed
0:28:54 > 0:28:57and blanketed by the warmth of an intense light.
0:29:01 > 0:29:03That love is mythic,
0:29:03 > 0:29:07eternal and unconditional love.
0:29:10 > 0:29:13It's a paradox.
0:29:13 > 0:29:15By trying to kill the human spirit,
0:29:15 > 0:29:19the answer of the human spirit is to revenge with beauty.
0:29:33 > 0:29:35Culture doesn't end.
0:29:36 > 0:29:38It's not a business deal where,
0:29:38 > 0:29:41at the conclusion of the business deal, it's done.
0:29:41 > 0:29:42You know, it's not an election cycle.
0:29:42 > 0:29:47It's about keeping things alive and evolving,
0:29:47 > 0:29:49and so we decided to go on,
0:29:49 > 0:29:52and then that's when all of our trouble began.
0:29:59 > 0:30:01SHE SINGS
0:30:05 > 0:30:07THEY SHOUT
0:30:15 > 0:30:17Cristina is one of those people
0:30:17 > 0:30:21that we were lucky to meet through Osvaldo.
0:30:21 > 0:30:25He said, "Guys, you have to work with Cristina.
0:30:25 > 0:30:27"She is amazing."
0:30:27 > 0:30:31She brings... something...
0:30:31 > 0:30:36so sensual, so... earthy.
0:30:37 > 0:30:38She needs to be here,
0:30:38 > 0:30:41because she brings something that is essential
0:30:41 > 0:30:43to the universal soul and it was missing.
0:30:52 > 0:30:55There is something very primitive about the sound of the gaita.
0:30:58 > 0:31:00To me, it's like hearing my father speaking.
0:31:13 > 0:31:15THEY CHEER
0:31:18 > 0:31:21In the generation I come from, it's like you have two choices,
0:31:21 > 0:31:23of playing soccer or playing bagpipes,
0:31:23 > 0:31:25if you were born in Galicia.
0:31:28 > 0:31:30- Whoo!- Oh!
0:31:46 > 0:31:48If I ask you to think about Spain
0:31:48 > 0:31:50and to think about what is
0:31:50 > 0:31:53the first music that comes to your mind...
0:31:56 > 0:31:59..Galicia doesn't have anything to do with that.
0:32:05 > 0:32:08Galicia is in the northwest corner of Spain,
0:32:08 > 0:32:10and geographically speaking,
0:32:10 > 0:32:12it has been always kind of isolated.
0:32:14 > 0:32:16It has its own language, its own culture,
0:32:16 > 0:32:20and if you were to shrink everything to just one sound,
0:32:20 > 0:32:23the sound of the bagpipe is the sound of Galicia.
0:32:32 > 0:32:34SHE SINGS
0:32:37 > 0:32:41That part of Spain...
0:32:41 > 0:32:46is culturally rich and economically poor.
0:32:46 > 0:32:49SHE SINGS
0:32:49 > 0:32:52Cristina is hugely conscious
0:32:52 > 0:32:57of what her friends and family go through in Galicia.
0:32:59 > 0:33:02I knew exactly what the tradition meant to the elder generation.
0:33:06 > 0:33:08But I was excited about everything
0:33:08 > 0:33:10that was happening in the present tense.
0:33:16 > 0:33:18CHEERING
0:33:22 > 0:33:23SHE YELLS
0:33:26 > 0:33:28It was like something explosive.
0:33:30 > 0:33:32She took the instrument to an extreme
0:33:32 > 0:33:35that people could not even think about.
0:33:37 > 0:33:39She's the Jimi Hendrix of the gaita.
0:33:41 > 0:33:45But, you know, I don't think everybody likes Jimi Hendrix.
0:33:49 > 0:33:51When you play an instrument that really represents
0:33:51 > 0:33:54your country or your area of the world,
0:33:54 > 0:33:57that has implications.
0:34:01 > 0:34:06The first bad reviews I got were from the kind of people
0:34:06 > 0:34:10that really wants to preserve pure, traditional Galician music,
0:34:10 > 0:34:15and some of them were not very nice to me.
0:34:16 > 0:34:18I was 18 years old.
0:34:18 > 0:34:22I wasn't thinking about any other political meaning.
0:34:22 > 0:34:23I just played bagpipes.
0:34:26 > 0:34:31One day I woke up and I saw myself doing that for the rest of my life,
0:34:31 > 0:34:33and I didn't like that feeling.
0:34:35 > 0:34:39I decided to put all that life away and go away.
0:34:39 > 0:34:41I didn't even bring my bagpipe.
0:34:42 > 0:34:45SHE SHOUTS
0:34:48 > 0:34:51CHEERING AND WHISTLING
0:34:51 > 0:34:53BIRDSONG
0:34:53 > 0:34:55SILENCE
0:35:08 > 0:35:12I mean, I moved to New York about 10 days before 9/11 happened.
0:35:14 > 0:35:15And do I say it was easy?
0:35:15 > 0:35:18It wasn't easy, because all the stereotypes come.
0:35:18 > 0:35:21And, you know, you're judged by the way you look,
0:35:21 > 0:35:23and I had a big beard at that time.
0:35:35 > 0:35:38I was born in Paris.
0:35:38 > 0:35:40We moved to New York,
0:35:40 > 0:35:42and I had nothing to do with that,
0:35:42 > 0:35:44except things just changed around me.
0:35:44 > 0:35:48The way things look, smell, taste.
0:35:50 > 0:35:51And it was confusing.
0:35:54 > 0:35:56A lot of friends said, "Why are you going to America?
0:35:56 > 0:36:00"You're crazy." And... I was crazy, actually.
0:36:02 > 0:36:03No English.
0:36:03 > 0:36:05Nobody know what a pipa was.
0:36:12 > 0:36:14The very first thing that I learned
0:36:14 > 0:36:17was that my experience as kamancheh player
0:36:17 > 0:36:19would not count as anything.
0:36:19 > 0:36:21It was zero.
0:36:29 > 0:36:33The moment you place yourself in a different context...
0:36:33 > 0:36:35SHE SINGS
0:36:37 > 0:36:40..then you have to stretch yourself,
0:36:40 > 0:36:45because nobody knows the pipa or the kamancheh or the gaita.
0:36:46 > 0:36:49I worked in a restaurant. I drove a cab.
0:36:50 > 0:36:52But I wanted to learn,
0:36:52 > 0:36:55I wanted to study and become a better musician.
0:36:57 > 0:37:01Play in a Chinatown with... local musicians,
0:37:01 > 0:37:04you know, factory worker, taxi driver.
0:37:06 > 0:37:09That's the only way I keep it up.
0:37:09 > 0:37:10SHE SINGS
0:37:16 > 0:37:18The good thing about being in New York,
0:37:18 > 0:37:20everybody comes from a different place,
0:37:20 > 0:37:22and we all bring our roots.
0:37:23 > 0:37:26Those roots get re-rooted here.
0:37:39 > 0:37:41Definitely, America's very different.
0:37:44 > 0:37:48But I'm more interested in actually appreciating the differences...
0:37:50 > 0:37:51What you have that I don't have.
0:37:51 > 0:37:53Not that I want to take it away from you,
0:37:53 > 0:37:55no, but I want to learn from it, you know?
0:38:05 > 0:38:06I do remember a press conference
0:38:06 > 0:38:09which was one of the first times that we got up as a group
0:38:09 > 0:38:12to talk about what we did in front of cameras, in front of the press.
0:38:12 > 0:38:17And they were asking questions along the lines of, you know,
0:38:17 > 0:38:19"It's like you're taking this traditional music,
0:38:19 > 0:38:22"you're mixing it together, and you're diluting,
0:38:22 > 0:38:23"you know, these traditions."
0:38:23 > 0:38:27- Nick, you want to go?- Uh, sure.
0:38:27 > 0:38:29I was just terrified.
0:38:29 > 0:38:30Share a little bit about...
0:38:30 > 0:38:32We were not at the point of describing it
0:38:32 > 0:38:35as a family or as this creative cauldron.
0:38:35 > 0:38:36Uh...
0:38:36 > 0:38:39We had none of that, really, to stand on.
0:38:39 > 0:38:42Thanks, everybody, for being here.
0:38:42 > 0:38:44I'm going to go to the bathroom.
0:38:44 > 0:38:47To try to describe what we were trying to do,
0:38:47 > 0:38:51what this meant and all that was... was a nightmare.
0:38:52 > 0:38:55I knew that whatever we did,
0:38:55 > 0:38:57there was going to be naysayers from all sides.
0:38:57 > 0:39:02- Kinan and Wu Man, are you ready?- KINAN:- Yep.
0:39:02 > 0:39:04All set.
0:39:04 > 0:39:06Yes, criticism hurts.
0:39:09 > 0:39:12But you actually have to have conviction
0:39:12 > 0:39:17in the genuineness and the power of your ideas.
0:39:17 > 0:39:21And I'm sort of saying, "Gee, let's take a chance."
0:40:29 > 0:40:32SHE CHEERS
0:41:02 > 0:41:05Phew!
0:41:05 > 0:41:06What a beaut!
0:41:06 > 0:41:09This project, it adds your voice.
0:41:09 > 0:41:11I think this is what is exciting about the journey is,
0:41:11 > 0:41:13you look for your voice, you know?
0:41:13 > 0:41:14Sometimes you think you found it,
0:41:14 > 0:41:16and then once you have it, it changes again.
0:41:38 > 0:41:41Oh, look, look, look. They're playing badminton.
0:41:42 > 0:41:43Oh, yeah, let's go see this.
0:41:43 > 0:41:45This is... I love this.
0:41:48 > 0:41:51Wow!
0:41:54 > 0:41:56- Oh.- Whoa!
0:41:59 > 0:42:01That's great. That's great.
0:42:15 > 0:42:17Mmm!
0:42:44 > 0:42:46HE SINGS
0:43:30 > 0:43:32HE SINGS
0:44:05 > 0:44:07INDISTINCT
0:44:24 > 0:44:28It's very, very necessary for me to go and live in Iran,
0:44:28 > 0:44:32because what happened after the revolution...
0:44:32 > 0:44:36all of the better teachers moved out.
0:44:39 > 0:44:43I went back 2002 to teach Persian music.
0:44:50 > 0:44:52HE HUMS
0:44:58 > 0:45:00WOMAN LAUGHS
0:45:30 > 0:45:33I think living with tragedy for many years
0:45:33 > 0:45:36and being alone is really, really tough.
0:45:39 > 0:45:43So when he moved back to Iran...
0:45:43 > 0:45:46he started teaching, met Zohreh...
0:45:46 > 0:45:48and it changed his life.
0:46:34 > 0:46:35It's very dangerous.
0:46:35 > 0:46:41The Iranian government really keeps their eye on artists like Kayhan
0:46:41 > 0:46:43and other musicians that are quite popular.
0:46:43 > 0:46:47They were warned that they should not be participating
0:46:47 > 0:46:50in conversations about what's happening in Iran.
0:46:52 > 0:46:55One thing that I cannot accept is violence.
0:46:58 > 0:47:01I've been outspoken, I've been active,
0:47:01 > 0:47:03you know, to try to help that.
0:47:05 > 0:47:08Did anything happen to you personally?
0:47:08 > 0:47:11Yes, but, you know, I... I wouldn't want to talk,
0:47:11 > 0:47:13you know, to camera about it.
0:47:16 > 0:47:19I can choose to be part of that society or not,
0:47:19 > 0:47:24and... and that's not a very idealistic society
0:47:24 > 0:47:26for me to be a part of.
0:47:28 > 0:47:30So I had to leave.
0:47:33 > 0:47:36But... Zohreh stayed.
0:47:43 > 0:47:46I haven't been back for five years now, yeah.
0:47:55 > 0:47:56You know, I miss her,
0:47:56 > 0:47:58and I miss my homeland,
0:47:58 > 0:48:01and I always want to go back and live there.
0:48:03 > 0:48:05I haven't been able to do it so far.
0:48:06 > 0:48:09But I think it... it will happen.
0:48:15 > 0:48:18Yeah, I think I missed one.
0:48:18 > 0:48:21OK, guys, all right. CHATTERING
0:48:21 > 0:48:24OK. I'd like to ask you something.
0:48:24 > 0:48:30I would like a very free rhythm
0:48:30 > 0:48:32and almost nothing.
0:48:32 > 0:48:36It's sort of intimate and atmospheric and...
0:48:36 > 0:48:38So, how does it go?
0:48:54 > 0:48:57It can go... It can do something there.
0:49:04 > 0:49:07OTHERS JOIN IN
0:49:12 > 0:49:14Good. Something like that.
0:49:14 > 0:49:17Mongolian birds' wings fluttering.
0:49:17 > 0:49:18And if you want to do...
0:49:18 > 0:49:21you know, it could be wind, right? So...
0:49:23 > 0:49:26- Is that OK? - Yeah. Let's do it.
0:49:26 > 0:49:28So it should sound like a giant horse fart.
0:49:28 > 0:49:32You know? Like... HE SNORTS, THEY LAUGH
0:49:32 > 0:49:34Back to the top.
0:49:50 > 0:49:54In the States, the first few years was really difficult.
0:50:00 > 0:50:03But music circle and the music community is very small.
0:50:04 > 0:50:06So when you're interested,
0:50:06 > 0:50:08you went looking for something,
0:50:08 > 0:50:11and definitely, it's there or there
0:50:11 > 0:50:12if you pay attention.
0:50:18 > 0:50:21My instrument, nobody knows it.
0:50:21 > 0:50:25And I remember one day, I get phone call.
0:50:25 > 0:50:28"How come this string quartet wanted to work with me?"
0:50:35 > 0:50:37She is a total rock star.
0:50:37 > 0:50:41She started playing with so many different people.
0:50:42 > 0:50:45It's like, "I need a pipa player!" "Call Wu Man."
0:50:51 > 0:50:53APPLAUSE
0:51:08 > 0:51:11In America, people think you're Chinese.
0:51:12 > 0:51:15You play Chinese instrument and from China.
0:51:15 > 0:51:18But when I go back to China, they say, "Oh, you're American."
0:51:27 > 0:51:30"You... you don't know today's China."
0:51:42 > 0:51:44When you leave your home, your country,
0:51:44 > 0:51:49and you have this picture of it in your mind.
0:51:49 > 0:51:54When I went back, nothing fit that picture I had in my mind.
0:51:57 > 0:51:58Everything changed.
0:51:58 > 0:52:01People were even speaking differently.
0:52:07 > 0:52:09I think the challenge in Galicia right now is
0:52:09 > 0:52:12the same challenge that exists in the rest of the world,
0:52:12 > 0:52:15which is keeping your roots alive.
0:52:26 > 0:52:28There is no tradition that exists today
0:52:28 > 0:52:32that was not the result of really successful invention.
0:52:35 > 0:52:39But unless a tradition keeps evolving...
0:52:41 > 0:52:45...it naturally becomes smaller and smaller.
0:52:47 > 0:52:49That leads me back to China,
0:52:49 > 0:52:53to rediscovering "What is China's music?"
0:53:09 > 0:53:13None of us can prove anything about how...
0:53:13 > 0:53:16much of the past we carry with us.
0:53:19 > 0:53:23I had thought that this is, in Yo-Yo's mind...
0:53:24 > 0:53:28..his investigations into his own past.
0:53:32 > 0:53:35My father was born in 1911...
0:53:35 > 0:53:40and he left China when he was about 25 to go to France to study.
0:53:44 > 0:53:48And he wrote about that fusion of what Chinese music
0:53:48 > 0:53:53might sound like with French techniques of composing.
0:53:54 > 0:53:58Isn't that strange that, so many years later...
0:53:58 > 0:54:01the apple did not fall that far from the tree?
0:54:41 > 0:54:42Yo-Yo!
0:54:43 > 0:54:47Yo-Yo.
0:54:47 > 0:54:49Yo-Yo!
0:54:49 > 0:54:52SHE CALLS OUT
0:54:52 > 0:54:55That's Yo-Yo, the dog.
0:54:55 > 0:54:57OK, come on in.
0:55:03 > 0:55:05CHATTER AND LAUGHTER
0:55:26 > 0:55:28Home is this for me.
0:55:28 > 0:55:30Every birthday of mine since I was first,
0:55:30 > 0:55:34my first birthday, was celebrated here or in this house.
0:55:53 > 0:55:57And for us to keep that cultural identity alive
0:55:57 > 0:56:01is probably one of the most defining aspects
0:56:01 > 0:56:03of what it means to be a Galician.
0:56:08 > 0:56:11During the history of time,
0:56:11 > 0:56:13many different civilisations have tried
0:56:13 > 0:56:15to take away that identity...
0:56:17 > 0:56:19like Roman Empire.
0:56:35 > 0:56:36..they will lose their memories.
0:56:36 > 0:56:39Their... They couldn't remember anything.
0:56:54 > 0:56:56HE SINGS
0:57:26 > 0:57:30That's the legend behind the piece I wrote for my mother,
0:57:30 > 0:57:35who maybe, like, four years ago started to... to...
0:57:36 > 0:57:38..lose her memory.
0:57:38 > 0:57:40THEY SING
0:58:11 > 0:58:13SHE LAUGHS
0:58:17 > 0:58:19We want to protect what we have...
0:58:21 > 0:58:25..our culture, our music.
0:58:25 > 0:58:30And we want our children to keep the language alive.
0:58:35 > 0:58:38And in order to be alive, you have to let it grow.
0:58:50 > 0:58:53Lots of people, when they think of the Middle East,
0:58:53 > 0:58:55they think of divisions, like Sunni, Shia,
0:58:55 > 0:58:59Christian, Armenian, Kurds, Turks.
0:59:01 > 0:59:03I don't think of the Middle East this way.
0:59:03 > 0:59:05You know, I think it's an ancient place
0:59:05 > 0:59:09where all the cultures happen to exist at some point.
0:59:09 > 0:59:11- How much are these?- Excuse.
0:59:11 > 0:59:13That's OK, that's OK. I'm just going to play this, yeah?
0:59:13 > 0:59:15Yeah?
0:59:18 > 0:59:19When we were in Juilliard,
0:59:19 > 0:59:23Kinan and I, Kinan was graduating...
0:59:23 > 0:59:26He made this very moving, beautiful piece.
0:59:27 > 0:59:31And I told Kinan, I said, "I think I can contribute
0:59:31 > 0:59:33"something in this piece."
0:59:50 > 0:59:53We think very similarly,
0:59:53 > 0:59:55even though he's Muslim Arab and I'm Armenian Christian.
0:59:55 > 0:59:58It's... it's not necessary. We grew up without even knowing
0:59:58 > 1:00:00who's Christian, who's Muslim in Syria.
1:00:00 > 1:00:01It was not a necessary thing.
1:00:04 > 1:00:06So this place was... used to be a church,
1:00:06 > 1:00:08and then it turned out to be a mosque.
1:00:08 > 1:00:12And then here it is, now it's a museum.
1:00:46 > 1:00:48No, "This is so beautiful, I don't want to cover it."
1:00:48 > 1:00:51That's the power of art,
1:00:51 > 1:00:55one crosses any... limitation.
1:01:02 > 1:01:05Apparently I thought my father worked at the airport
1:01:05 > 1:01:08when I was a child, because that's where he was always going,
1:01:08 > 1:01:10and so it was a bit of a massive revelation
1:01:10 > 1:01:13that he was not, in fact... employed by Logan Airport.
1:01:15 > 1:01:18But he knows what's important,
1:01:18 > 1:01:22and I think he sees his obligation,
1:01:22 > 1:01:24particularly when he goes to smaller towns,
1:01:24 > 1:01:26as beginning the moment he lands
1:01:26 > 1:01:30and lasting the entire time he's on the ground.
1:01:35 > 1:01:38He's there to spread his sense of the world
1:01:38 > 1:01:42in every conversation and interaction that takes place.
1:01:42 > 1:01:45APPLAUSE Wow.
1:01:45 > 1:01:48Good evening. I'm Yo-Yo Ma,
1:01:48 > 1:01:51and this is my brother, Kayhan Kalhor.
1:01:53 > 1:01:54Now, we were twins,
1:01:54 > 1:01:57but we were separated at birth.
1:01:57 > 1:01:58LAUGHTER
1:01:58 > 1:02:03But we found out from DNA analysis...
1:02:05 > 1:02:08..that even our life choices...
1:02:10 > 1:02:13- ..are the same.- Almost, yeah. - APPLAUSE
1:03:01 > 1:03:06Everybody is afraid of going somewhere they haven't gone before.
1:03:08 > 1:03:12But you build enough trust within a group,
1:03:12 > 1:03:16and sometimes you can turn fear into joy.
1:04:45 > 1:04:47CHEERING
1:04:50 > 1:04:51A lot of us in our own careers
1:04:51 > 1:04:53have developed in different directions.
1:04:53 > 1:04:54We have our own bands,
1:04:54 > 1:04:57or we have our own work here and there,
1:04:57 > 1:05:01but this is the one place where you can come together...
1:05:01 > 1:05:04and play music that you... that you don't get to play otherwise.
1:05:05 > 1:05:08That tells people like me,
1:05:08 > 1:05:11it's OK to be doing what I'm doing.
1:05:24 > 1:05:26SHE CALLS OUT
1:06:01 > 1:06:02HE LAUGHS
1:06:02 > 1:06:04HE SINGS
1:06:27 > 1:06:29THEY LAUGH
1:06:40 > 1:06:42HE SINGS
1:07:46 > 1:07:48Music is their whole life,
1:07:48 > 1:07:51and they told me they're already 11th generation.
1:07:51 > 1:07:53So I asked them, "What about 12th generation?
1:07:53 > 1:07:56"Is there any 12th, 13th?"
1:07:56 > 1:07:59They look at me. There's no answer.
1:07:59 > 1:08:03So that... to me, really emotional.
1:08:58 > 1:09:00CHANTING
1:09:02 > 1:09:04I don't know who writes the scripts
1:09:04 > 1:09:07for different revolutions, but they all look the same...
1:09:08 > 1:09:10..and they affect people's life in the same way.
1:09:15 > 1:09:17Cultural Revolution is
1:09:17 > 1:09:20the darkest history time period of China.
1:09:23 > 1:09:26And for artist, there is no creation.
1:09:28 > 1:09:30The party tell you what to do.
1:09:45 > 1:09:47I question the role of art.
1:09:47 > 1:09:50I question my role, like, "What am I doing?"
1:09:53 > 1:09:56What is my role in comparison to somebody who's on the ground,
1:09:56 > 1:09:59peacefully demonstrating, at the risk of being shot, you know?
1:10:09 > 1:10:12If you ask me, "Do you want to go home?" Of course, I want to go home,
1:10:12 > 1:10:14but in what circumstances would I go?
1:10:51 > 1:10:53We humans are...
1:10:53 > 1:10:56We have a tendency to control everything.
1:10:56 > 1:11:00The Earth, animals, you know,
1:11:00 > 1:11:03even the humans around us.
1:11:08 > 1:11:10It's endless.
1:11:17 > 1:11:20Later on, when the Iran-Iraq war started,
1:11:20 > 1:11:23it was a very, very difficult period.
1:11:31 > 1:11:33I lost two of my friends.
1:11:40 > 1:11:41I lost my best friend.
1:11:45 > 1:11:49And later on... a missile hit our house.
1:11:53 > 1:11:55I lost all of my family,
1:11:55 > 1:11:57my parents and my brother.
1:12:00 > 1:12:02SHE SINGS
1:12:08 > 1:12:11I mean, you see how the world is reacting to Syria.
1:12:35 > 1:12:39Just three days ago, people die of cold.
1:12:41 > 1:12:42I mean, as simple as that.
1:12:42 > 1:12:44SHE SINGS
1:12:48 > 1:12:51I mean, the fact that they tried to cut the aid for...
1:12:51 > 1:12:55for the refugees, because it's too expensive.
1:12:55 > 1:12:59You know, it's just people are not... are not bothered.
1:13:17 > 1:13:21We are not our political identities.
1:13:23 > 1:13:27Nobody remembers who was the king when Beethoven lived.
1:13:28 > 1:13:30But culture stays,
1:13:30 > 1:13:32language stays as a part of culture,
1:13:32 > 1:13:35music stays as part of culture.
1:13:40 > 1:13:42SHE SINGS
1:14:02 > 1:14:06The arts is more about opening up yourself to possibility.
1:14:08 > 1:14:10Possibility links to hope.
1:14:12 > 1:14:13We all need hope.
1:14:15 > 1:14:17SHE SINGS
1:14:30 > 1:14:32- Hey, Yo-Yo.- Hi, Fred.
1:14:32 > 1:14:34- So glad to see you. - Nice to see you.- Thank you.
1:14:34 > 1:14:37When you play,
1:14:37 > 1:14:39I'm sure you have a lot of different feelings.
1:14:39 > 1:14:42And as you played as a child,
1:14:42 > 1:14:45did you ever play happy things or sad things
1:14:45 > 1:14:47or angry things, just cos you wanted to?
1:14:47 > 1:14:50Oh, sure. One of my favourite was "The Swan," which is...
1:15:03 > 1:15:06And you can imagine the swan... right?
1:15:12 > 1:15:15MUSIC: The Swan by Camille Saint-Saens
1:15:33 > 1:15:38You look at anybody's life, you could find tragedy.
1:15:38 > 1:15:44Nobody escapes either the great things or horrible things.
1:15:47 > 1:15:50That's the space between life and death.
1:16:20 > 1:16:23How do you deal with the fears and doubts?
1:16:25 > 1:16:26Do you dare go there?
1:16:26 > 1:16:29Can you put all of yourself behind something
1:16:29 > 1:16:34and be absolutely authentic in doing it to the best of your ability?
1:16:52 > 1:16:54MUSIC ENDS
1:16:56 > 1:16:57All right, then.
1:17:00 > 1:17:05This is the first time that I tried to smuggle flutes into somewhere.
1:17:05 > 1:17:08It feels like smuggling flutes, actually...
1:17:08 > 1:17:11but it's smuggling for a good cause.
1:17:20 > 1:17:23Of course it's emotional, yeah. It's just simply emotional.
1:17:23 > 1:17:26I'm going to teach...
1:17:26 > 1:17:30Syrian children who have been... They left their homes by force.
1:18:11 > 1:18:12I was like them when I was kids.
1:18:16 > 1:18:18Look, I didn't have...
1:18:18 > 1:18:22a hope that I'm going to be in New York doing my art.
1:18:22 > 1:18:26And definitely, one or two of those kids, they're going to make it.
1:18:26 > 1:18:28So if we can inspire them and can help them to do this,
1:18:28 > 1:18:32they're going to just continue this... this circle.
1:19:23 > 1:19:25THEY LAUGH
1:19:29 > 1:19:31THEY SING
1:20:49 > 1:20:52It's one of those moments again in your life, you know?
1:20:52 > 1:20:54Just you realise that...
1:20:57 > 1:20:59Considering what I'm doing for the culture
1:20:59 > 1:21:02and for the country, you know, I shouldn't be treated that way.
1:21:02 > 1:21:04This is what I don't deserve.
1:21:17 > 1:21:20You know, I miss my wife.
1:21:22 > 1:21:25It doesn't really matter where the base is...
1:21:26 > 1:21:29as long as we try to see each other, you know,
1:21:29 > 1:21:32as-as... as much as we can.
1:21:58 > 1:22:00- HE WHISTLES - Zohreh.
1:22:07 > 1:22:10THEY SPEAK IN OWN LANGUAGE
1:22:35 > 1:22:37We have a tendency not to be appreciative
1:22:37 > 1:22:40of beautiful things that surround us.
1:22:40 > 1:22:43But if you realise what you have in this life
1:22:43 > 1:22:46and how precious is the breaths that you take,
1:22:46 > 1:22:52the water that you drink, the music in your life...
1:22:52 > 1:22:54and your loved ones around you,
1:22:54 > 1:22:58it's just enormous wealth and happiness
1:22:58 > 1:23:00that doesn't have...
1:23:00 > 1:23:02to have anything else to complete it.
1:23:02 > 1:23:04It's just complete by itself.
1:23:20 > 1:23:22What's the purpose?
1:23:22 > 1:23:25Everything I've learned about performing,
1:23:25 > 1:23:26about music,
1:23:26 > 1:23:30about what happens between the notes...
1:23:30 > 1:23:34that's about making sure that culture matters.
1:23:38 > 1:23:41I don't think Yo-Yo sees himself as a cellist.
1:23:41 > 1:23:42I think he sees himself
1:23:42 > 1:23:45as someone who wants to change the world,
1:23:45 > 1:23:47and he happens to have a cello with him half the time.
1:23:50 > 1:23:53And he wants us to be collaborators with scientists
1:23:53 > 1:23:57and be collaborators with historians and educators.
1:23:57 > 1:24:00HE SINGS, THEY REPLY
1:24:01 > 1:24:05I would love it to be contagious.
1:24:05 > 1:24:08It's nice just to see that it's a new way of thinking,
1:24:08 > 1:24:11also about music, about what people can do together.
1:24:19 > 1:24:21Cultural identity,
1:24:21 > 1:24:26it actually shapes your decisions all the time,
1:24:26 > 1:24:28and you can take that
1:24:28 > 1:24:30as a good challenge or a bad one.
1:24:31 > 1:24:35Being part of this experiment did make me understand
1:24:35 > 1:24:38what it means to keep your identity alive.
1:24:42 > 1:24:46I have dreams about having some sort of role in...
1:24:46 > 1:24:50in the arts in Galicia in the future.
1:24:50 > 1:24:55And for that, I started the festival, Galician Connection.
1:24:55 > 1:24:59This is a festival where I put together international artists
1:24:59 > 1:25:02with Galician traditional artists.
1:25:08 > 1:25:10When you learn something from another culture,
1:25:10 > 1:25:14you will grow more if you're giving back to your own culture.
1:25:15 > 1:25:17HE SINGS
1:25:49 > 1:25:54Just imagine, if we don't have Silk Road musicians moving around,
1:25:54 > 1:25:59Chinese music scene or Western music scene are different.
1:26:01 > 1:26:04To me, the world is round.
1:26:11 > 1:26:15There's no east or west. It's just a globe.
1:26:39 > 1:26:40As a four-year-old,
1:26:40 > 1:26:45what I wanted to do in life was to understand.
1:26:47 > 1:26:49As TS Eliot said,
1:26:49 > 1:26:53"We shall never cease from exploration
1:26:53 > 1:26:56"and the end of all of our exploring
1:26:56 > 1:27:00"will be to arrive where we started
1:27:00 > 1:27:03and know the place for the first time."
1:27:09 > 1:27:13I don't think that the Silk Road Project was his trying to go home.
1:27:13 > 1:27:16I think it was his trying to go away, away from music,
1:27:16 > 1:27:20away from a single repertoire.
1:27:21 > 1:27:25And I think through that process, he found himself at home again.
1:27:44 > 1:27:47APPLAUSE
1:29:58 > 1:29:59APPLAUSE