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	<title>Guanxi Master &#187; Media</title>
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		<title>Rediscovering a Forgotten Beauty</title>
		<link>http://www.guanximaster.com/historical-china/693/rediscovering-a-forgotten-beauty/</link>
		<comments>http://www.guanximaster.com/historical-china/693/rediscovering-a-forgotten-beauty/#comments</comments>
		<pubDate>Wed, 12 Oct 2011 06:13:07 +0000</pubDate>
		<dc:creator>Will</dc:creator>
				<category><![CDATA[Arts]]></category>
		<category><![CDATA[Confucianism & Philosophy]]></category>
		<category><![CDATA[Cultural Issues]]></category>
		<category><![CDATA[Historical China]]></category>
		<category><![CDATA[International Relations]]></category>
		<category><![CDATA[Media]]></category>
		<category><![CDATA[Modern China]]></category>
		<category><![CDATA[Taoism]]></category>
		<category><![CDATA[China]]></category>
		<category><![CDATA[Chinese Lifestyle]]></category>
		<category><![CDATA[Confucius]]></category>
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		<category><![CDATA[Traditional Asian Art]]></category>

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		<description><![CDATA[In these days of increasing communication between our two perspectives, and the enormous social implications of these exchanges, music has become the most important ambassador between our cultures. Music holds the keys to the most effective cultural exchange and mutual understanding, since it truly is the universal language. It can help us to overcome our bias and dislike for one another, and replace them with feelings of beauty and appreciation readily available through the experience of listening. Understanding music's functions within both cultures, its background philosophy, its theory, and its meaning as a representative outside of its native culture, has become an essential area of cross-cultural study for musicians and language learners on both sides of the Pacific.]]></description>
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		<title>Return to the Peach Blossom Spring</title>
		<link>http://www.guanximaster.com/historical-china/644/return-to-the-peach-blossom-spring/</link>
		<comments>http://www.guanximaster.com/historical-china/644/return-to-the-peach-blossom-spring/#comments</comments>
		<pubDate>Wed, 20 Jul 2011 04:53:18 +0000</pubDate>
		<dc:creator>Will</dc:creator>
				<category><![CDATA[Confucianism & Philosophy]]></category>
		<category><![CDATA[Cultural Issues]]></category>
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		<description><![CDATA[A Story to Reflect the Zeitgeist of Contemporary China ]]></description>
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		<title>The Collapse of the Village Ethic</title>
		<link>http://www.guanximaster.com/historical-china/614/the-collapse-of-the-village-ethic/</link>
		<comments>http://www.guanximaster.com/historical-china/614/the-collapse-of-the-village-ethic/#comments</comments>
		<pubDate>Fri, 21 Jan 2011 09:17:24 +0000</pubDate>
		<dc:creator>Will</dc:creator>
				<category><![CDATA[Confucianism & Philosophy]]></category>
		<category><![CDATA[Cultural Issues]]></category>
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		<description><![CDATA[The cultural paradigm of a villager exists in every culture, creating a kind of universal archetype that fuels California shopping malls with courtyards and fortune five companies with “mixing areas for the open exchange of ideas”. Man does not like to be alone, and his best work is often accomplished communally. This does not begin to explain, however, the Chinese idea of the “Community Conscience”, which is so vital to the understanding of the concept of face, and is a phenomenon unique to the Chinese cultural evolution.]]></description>
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		<title>Shades of Gray</title>
		<link>http://www.guanximaster.com/historical-china/595/shades-of-gray/</link>
		<comments>http://www.guanximaster.com/historical-china/595/shades-of-gray/#comments</comments>
		<pubDate>Tue, 30 Nov 2010 07:34:30 +0000</pubDate>
		<dc:creator>Will</dc:creator>
				<category><![CDATA[Arts]]></category>
		<category><![CDATA[China Government]]></category>
		<category><![CDATA[Confucianism & Philosophy]]></category>
		<category><![CDATA[Cultural Issues]]></category>
		<category><![CDATA[DPRK]]></category>
		<category><![CDATA[Historical China]]></category>
		<category><![CDATA[International Relations]]></category>
		<category><![CDATA[Korea]]></category>
		<category><![CDATA[Korean History]]></category>
		<category><![CDATA[Media]]></category>
		<category><![CDATA[North Korea]]></category>
		<category><![CDATA[North Korean Art]]></category>
		<category><![CDATA[China]]></category>
		<category><![CDATA[cross-cultural]]></category>
		<category><![CDATA[government]]></category>
		<category><![CDATA[multi culturalism]]></category>
		<category><![CDATA[nationalism]]></category>
		<category><![CDATA[philosophy]]></category>
		<category><![CDATA[Traditional Asian Art]]></category>

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		<description><![CDATA[A few years ago, I remember looking on in anticipation as a batch of paintings from several North Korean “National Treasures” artists, slowly slid from their protective coverings to form a small pyramid of scrolls on a white sheet spread out on my apartment floor. My best friend from college, Mike, art dealer and media producer in China, brought them back to the US, partly as a gesture of good will and partly to show the American art community the unexpected serendipity of having a North Korean communicate over the gulf of ideology and politics that separates our two nations through the flimsy elements of water, soot, and rice paper. I don’t know what I was expecting, but as scroll after scroll was unfurled before me, the swirls of color and bold brush strokes seemed to catch me off balance and lodge in my mind’s eye in a profoundly simple expression of joy. A kind of joy unexpected from a land associated in the media with terror, famine, and deprivation. I had not expected to be moved by art from the most narrowly defined ideological genres in existence… instead I was overwhelmed.]]></description>
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