David Darling & The Wulu Bunun Downloads

In the year 2000, Accton Technology Corporation established the Accton Art Foundation in the Hsinchu Science-Based Industrial Park, the centre of technology in Taiwan. The premise was to create a connection between technology and the arts, in the hope that the transmission of art and culture can be as far-reaching as the Internet. In this way, it is hoped that the art of Taiwan can be shared with...
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In the year 2000, Accton Technology Corporation established the Accton Art Foundation in the Hsinchu Science-Based Industrial Park, the centre of technology in Taiwan. The premise was to create a connection between technology and the arts, in the hope that the transmission of art and culture can be as far-reaching as the Internet. In this way, it is hoped that the art of Taiwan can be shared with the rest of the world. This recording, which involved the people from the Wulu village of the Bunun, realized a long-term goal of the foundation: to ‘enable the world to hear the voice of Taiwan, and to allow Taiwan to communicate with the rest of the world through its music’. Credit and thanks are due to the many outstanding musicians for their collective efforts and their dedication in enabling this dream to become a reality. When UNESCO’s international musicologists first heard the Bunun singing ‘Pasibutbut’, with its eight-part harmony, they were astonished. Now, fifty years later, the joining together of this ‘Prayer For A Rich Millet Harvest’ with the cello music of David Darling is not just a meeting between East and West; it is also a song of hope for the future of music and culture in Taiwan. The Bunun With a population of more than 200 million people, the Austronesians are second in number only to the Indo-Europeans. The Austronesian language family is characterized by the fact that it is the only language group spoken primarily on islands, which are located mostly in Southeast Asia, with Taiwan the furthest north place where the Austronesian languages are spoken. Through their research, archaeologists and anthropologists have deduced that the Austronesians planned their migration from Taiwan, largely thought to be the origin of Austronesian culture. Currently, Taiwan’s government recognizes twelve groups of indigenous people on the island. Each of these groups has its own unique culture, customs and village structure. Taiwan’s indigenous people became known to the world through the unique eight-part harmonic singing of the Bunun people, which, in 1943 (when Japanese scholar Kurosawa Takatomo presented recordings of Bunun music in Paris) caught the attention of Western ethnomusicologists. Nine years later, Kurosawa permanently changed musicologists’ ideas about the origins of music when he introduced a traditional Bunun song called ‘Pasibutbut’ (‘Prayer For The Millet Harvest’) to UNESCO. With its complex harmony, the song overturned the scholars’ original theory that music originated in single-note melodies, progressing to two-note harmonies, and then on to more complex arrangements. ‘Pasibutbut’, which has been called the ‘sound of nature’, is said to have been created by a member of the Bunun who was inspired by the sounds of humming bees, a rushing waterfall, or the sounds made when crossing through a pine or bamboo forest. In the legend that accompanies the song, a pair of lovers are separated by a mountain, with one of them living on the eastern face, and the other on the opposite face. In order to meet one another, they had to cross a wooden plank spanning a deep valley, but one day – when crossing the plank to meet her lover – the girl slipped, and when the boy reached out to help her they fell together into the valley stream far below. Even to this day, it is said that, whenever the Bunun people cross the stream they can still hear the sound of someone singing, and it is because of this legend that the Bunun say their harmonies are learned from the moving waters of the mountain streams. Jin-niang Hu, a teacher in the Bunun village of Wulu, said: ‘Our singing voices are like streams. They make different sounds, high and low, when passing over rocks. Sometimes they separate; sometimes they come together.’ Singing in harmony is an essential part of daily life for the Bunun people. They use harmonies to express themselves while hunting, weaving, celebrating and drinking. Hunting, in particular, is often accompanied with song, and many of the songs deal with this topic. However, this comes as no surprise, when you consider that traversing the mountains and valleys in pursuit of wild animals is a vital part of Bunun life. The Bunun live along Taiwan’s Central Mountain Range at altitudes higher than any other indigenous group on the island. Their culture is closely tied to their experiences in the mountains, and they were the last tribe of native people in Taiwan to give up hunting as an integral part of daily life. With the impact of modernization and the strong influence of a primarily Han Chinese culture, the language and culture of Taiwan’s indigenous peoples is disappearing at an increasing rate. Rice has already largely replaced millet as the staple food of the aborigines, and hunting practices have largely been curbed by local laws and statutes. Traditional Bunun methods of harmonizing have also slowly disappeared due to the influence of Western singing styles and ways of harmonizing, and the focus on the bel canto style of singing, in which beauty of tone is emphasized over power of voice. Today, Wulu Elementary School’s Jin-niang Hu is the only teacher who is still dedicated to teaching children to sing the traditional harmonies of the Bunun people. For the Bunun, music is part of life, culture and rituals; it is their way of passing along and recording the culture and history of their people. The Bunun village of Wulu is located on the southeastern part of the Central Mountain Range at an altitude of over 700m above sea level. There are only sixty households in the village and a population of just over 300 people. Wulu is not easily reached, due to its location, which means that it has been less influenced by the outside world. This also means that traditional Bunun culture has been carefully preserved there. Currently, Wulu is the most unadulterated of all the Bunun villages, and the home to the most traditional styles of Bunun singing. Producer’s notes In the autumn of 2000, I travelled with musicians David Darling, Ketil Bjornstad and others, to a tiny elementary school in Wulu. That was the first time I was able to hear in person the Bunun people’s sacred song, ‘Pasibutbut’. A group of Bunun men formed a circle, with their arms around each other’s shoulders and their heads held high with solemn expressions on their faces. They stepped and swayed as they lifted their voices in song. At first, the singing began with a low humming suggestive of a swarm of bees, and from there it gradually began to climb. The ascending tonal scales rose between half- and third-note tones, within a tight harmonic structure. The low, middle and high notes worked together, complementing and filling in for one another. At the conclusion, the singers’ voices came together to form a powerful sound as vast as the mountains that surrounded the singers. As I sat there in that village tucked deep in the mountains of southeastern Taiwan, listening to this ancient style of singing with a complexity and intricacy akin to modern music, I began to think about our plans for the recording. There appeared in my mind an image of David playing the cello, surrounded by the Bunun people. My thinking was simple. First, the music of the cello is closer to the sound of the human voice than that of any other Western instrument. And second, with David’s unique style of playing the cello, I was sure that he would be able to meld with the Bunun’s singing, find his place in their music, and create a new sort of musical integrity. From the beginning, I had no intention of using ethnomusicological field recordings as a starting point. Furthermore, I was unwilling simply to sample aboriginal music, and bring it into the studio for remixing. Rather, I wanted to enable a true exchange to take place between musicians from the East and the West, thereby offering to the world a new perspective from which to interpret the music of Taiwan’s indigenous people. Ten days before recording was due to begin, I rushed from London back to Taitung. Even in the thick heat of May, Wulu greeted me with a leisurely air. At nightfall, I joined the villagers in the courtyard in front of the village chief’s house, and played for them David’s arrangement demo. I looked around and saw a combination of bemusement and surprise on their faces. It was the first time for this group of people (who are used to singing a cappella) to hear their voices accompanied by an instrument. There was a mild uneasiness in the air, but once David arrived this uneasiness vanished. Every day the recordings took on a party-like atmosphere, with the Bunun villagers drinking millet wine as they sang their songs for David. For these people, a difference in language proved to be no barrier to communication. We chose to do the recording in a valley, far away from the village, as this would enable us to reduce outside interference and take full advantage of the natural sounds of the surroundings. Aside from cornfields and a small wooden hut, the only thing visible in the distance was an endless stretch of mountains and a blue sky dotted with white clouds. We set up a microphone in the shade of a tree, and the sounds of the birds and insects that accompanied us from dawn until well through the afternoon became part of the music. We recorded all of the singing and part of the cello accompaniment in our valley recording spot, then used a forest location to record David’s solo. After returning to the studio in the United States, we recorded more layers of cello music until the cello was able to become an integral part of the final product – a vehicle of sorts to bring the voices to the other end of the universe. I would like to thank everyone who played a part in this recording and helped make it a reality; and I’m particularly grateful for the support of the Accton Art Foundation. But in the end, the person who constantly comes to mind is Wulu Elementary School’s Jin-niang Hu, who unselfishly gave her time and efforts through the entire recording process. In her long-term dedication to teaching Bunun children to speak and sing in their mother tongue, I see a certain resolve that is not uncommon among the Bunun people. And it is this resolve that has allowed the Bununs, who have lived in Taiwan for thousands of years, to pass their legends down from generation to generation and to turn these legends into folk songs. These songs contain the proud history of the Bunun – not only do we strive to preserve that history, but we also attempt to give this history an opportunity to ferment, to meld with other elements, and to be reborn. It is in this way that music is reinvigorated and brought to life. Shu-Fang Wang 1 Ku-Isa Tama Laug (Weaving Song) 2:12 Ku-isa tama laug? Siza tu tagavaz Azah si-sizaun? Hus-hus tu busul Azah hu-hus husav? Panah tu sakut Azah pa-panahav? Hul tu cina puni Azah pahu-hulav? Cindun tu habag Azah ci-cindunav? Painuk tu uvaz Azah pa-painukav? Si-sit tu uvaz Dasun zaku tas-tas lausi Call Response Where is Laug going? He’s going to gather leeks. Why is he going to gather leeks? He’s going to use them to clean the rifle. Why is he going to clean the rifle? He’s going to shoot a muntjac. Why is he going to shoot a muntjac? He’s going to give it to Puni to eat. Why is he going to give it to Puni to eat? Because she is a hard-working weaver. Why is she weaving? She’s making clothing for the children. Why is she making clothing for the children? Because it is very cold. Lead singer/Chorus: Let’s go to the place with the beautiful view of the waterfall. This song is commonly sung in the everyday lives of the Bunun people, with the adults and children singing the verses to one another as a form of call and response. It is often sung when the men go hunting in March and April – the women will sing it as they weave and take care of their children at home. 2 Lugu Lugu Kan-Ibi (Diligent Child) 2:26 Lead singer: Chiu-yu Hu Lugu-lugu kan-ibi nitu maupas adul daig Matasdaza iska lunan Aivik-aivik ka-kaunan Tahu-tahu cina savi Ali-ali paigki-paigki paisu-su A-u hai-ia hai-ia hai-ia du-a-i du-a-i There is a lazy child named Ibi. He’s not as diligent as Adul. Adul does things swiftly and energetically. His grandmother asked him to fetch the pipe, So he quickly ran and got it for her. He even jumped up and down and said, ‘Grandmother, here is the pipe!’ Grandma Savi said happily, ‘Thank you for giving me the pipe.’ This song shows the relationship between grandparents and their grandchildren. 3 Mudanin Kata (The Journey Home) 1:41 Lead Singer: Guo-liang Yu Mudanin kata mudanin kata Kupat sidian kupat sidiant Kan tasipal tas-tas kan tasipal tas-tas Muhaiv ludun muhaiv ludun Kan tasipal tunuh kan tasipal tunuh Muhaiv ludun muhaiv ludun Ik-aminus unas-unas Ik-aminus vini daigaz We’re ready to go, we’re ready to go, we’re ready to walk all the way back home – to the place where we raise our goats. We’re heading along the road back home. We’re going to cross over a mountain and pass by a waterfall. Then, after we cross through a mountain forest, we must climb over the crumbled rocks of a landslide, and go over another hilltop. And after walking so far, and passing through the undergrowth, we are sticky and wet. It is then that we discover that leeches are crawling on our bodies and sucking our blood dry! Because the Bunun villages are spread out over such a large area, it is necessary for people to walk for quite a way through the mountains to visit one another. This song is sung while travelling across long distances. 4 Manas Kala Muampuk (Joy Tonight) 3:14 Lead singer: Chun-yu Chiu Manas kala muampuk muskun kata lus-an Manas kala muampuk muskun pis-hasi-bag Manas kala muampuk muskun lisha-hai-ia Minu ampuk tu tais-an mihumisag We happily celebrate today’s ceremony, we are happy to come together. Aside from celebrating today’s ceremony, there are other activities as well. We are going to swing on the traditional swing. To all of our friends who join us, we wish you good health and happiness. This song is sung as a way of greeting one’s friends. 5 Malas Tapag (Celebration) 3:50 Lead singer: Chia-ching Yu Call Response hu hu-hu masikua dau sinpa katnul kaupin davus napisaitan kazag tasa itu tumaz napisaitan maika nai-ian takis ulavan hu hu-hu hu hu-hu masikua dau sinpa katnul habasag hau namai lansan tuma nanu masau vazag maika naian nahai sulan hu hu-hu hu hu-hu masikua dau nahai nudan humapu sia sinpa katuna kazag tasa pai cis tuban maka nai-ian taki ludun hu hu-hu hu hu-hu masikua dau sinpa katnul humanug ku maika naian nahai sulan hu hu-hu hu hu-hu masikua dau sinpa katnul habasag hau namai lansan tumamagan masa uvazag maika i-ma mas tudipag maka nai-ian taki ludun hu hu-hu hu hu-hu masikua dau nahai nudan hu hu-hu habasag hau namai lansan mas ma-magan kazag pitu pitua cini pitu manah mas tail maunduag maika nai-ian tak banuaz hu hu-hu. Call Response A toast to you. I once hunted down a black bear. Allow me to Please tell us of your accomplishments. introduce myself: My mother is from the Huang family. A toast to you. I once followed my famous grandfather who I Please tell us of your accomplishments. admired very much. My mother is from the Wang family. A toast to you. I accept this toast. When I was young I once Please tell us of your accomplishments. challenged a good wrestler. My mother is from the Gu family. A toast to you. I accept your toast with honour, but I don’t have Please tell us of your accomplishments. any accomplishments yet. But I am learning diligently. My mother is from the Wang family. A toast to you. When I was young I once followed a hero. That Please tell us of your accomplishments. year they took five enemy heads. My mother is from the Gu family. (This response shows that the singer comes from a strong family background – either the chief’s family or the family of a hero.) A toast to you. I once went hunting with a heroic hunter in a deep Please tell us of your accomplishments. valley; we quickly caught our prey in the net. That was my most memorable experience. My mother is from the Wang family. 6 Wulu Dream 3:35 Composed and performed by David Darling 7 Macilumah (Song For Concluding Work) 2:43 Lead singers: Guo-liang Yu, Guo-hsiung Yu, Chin-long Yu When the Bunun people carry heavy things down the mountain, such as animals, millet and sweet potatoes, they call out to the people of the village to come and help. The villagers respond by humming the sound ‘hon’ in different pitches, with the meaning ‘Thank you for your hard work!’ If everyone sings together, then it means that everyone is carrying heavy things on their backs, and that it is a good harvest. It is a joyful song. In the traditional lives of the Bunun people, this song has a profound meaning, and those who are not carrying heavy loads on their backs are not allowed to sing it. The deep sounds that the singers emit show that they are carrying heavy loads of food on their backs. While the singers seem weary from the weight of the load, the song is natural and resonant. 8 Pasibutbut (Prayer For A Rich Millet Harvest) 8:56 This is a prayer for peace, good health, safety and a rich harvest for the family. It must be sung when sowing and harvesting the crops, and during ceremonies only adult males may participate in the singing. For women to sing it is taboo, and Bunun tradition suggests that this would be to the detriment of the harvest. The singing must also be continuous, with no breaks, or it will likewise affect the people’s health and the harvest for the coming year. The rich, deep voices of adult males work as a prayer to the gods and ancestors for protection. It is hoped that the deities will hear this prayer and take care of each seed that is planted, and therefore ensure a plentiful harvest. 9 Mataisah-hik Sagan (My Dream Last Night) 3:08 Lead singer: Chun-yu Chiu Mataisah-hik sagan sizaus tahai daig Matai nata min du-duaz Matailumah bina-nauaz Kau pas tama mubabah-bah tahu-tahu hanival-val Tupa bahuaz tu mapaitas pulavaz Nakaunus ibu laitaz Sibaku-baku dais-dais Last night I dreamed that I was getting married to a man named Tahai. He was peeking in from outside the front door, and I was inside the house. I saw my father crying, And my mother had turned into an arching rainbow, perhaps because she was so sad. ‘Cut the beans!’ said a man named Bahuaz. Give them to that slow, mute woman Ibu to eat. This song is sung during the bean harvest (roughly in August or September of each year), hence the seemingly unrelated reference to beans at the end of the song. In the past, when food was not plentiful, beans were thought to be a valuable crop. The song suggests that the Bunun people should take care of everyone in the village, even the slow, mute woman named Ibu. 10 Wulu Mist 3:10 Composed and performed by David Darling Dedicated to Jin-niang Hu 11 Bunun Tuza (The Bunun People) 3:59 Lyrics and song: Chin-hu Yu Lead singer: Guo-liang Yu Bunun tuza kata tu taki sianta daig ludun nanu tu mahatba uninag tu tuza-i minhan siap laupaku asa-tu malmananu mabas mav mughuma malis vala mihumis iskaisa kamu-i musuhaisa kusaincin asa-tu manaskal taskun kata kulumah Masi aupa maiasag sakakivan daig ludun pasiskun pasiskun pasi alak ta-taskun mal mantuk musuhis mal man tuka musuhis manaskal manaskal manaskala kata-i saba-baivan maihuma muba bah-bahmiliskin uninag mita tu mada-daigaz mita-i mapala mai-asag kanadan ta mihumis asa tu manas kal taskun kata kulumah We are the Bunun people. We live high in the mountains, and possess natural strength. We work hard to create a good life for ourselves. Young people, where are you now? Bring back your sons and daughters. Don’t lose your direction; you must joyfully come back to be with us. We reflect on our hometown; together we look back. With hands joined together, we return home. We thank our ancestors for saving this holy land for us; we must joyously return home together. ??????????????? This is a modern-day composition written by the people of the Bunun of the Wulu village. 12 Sima Cisbug Bav (Who Is Shooting On The Mountaintop?) 4:13 Lead singer: Chin-niang Hu Sima cisbug bav Ciag hanal dau Maz panahun hanvag Hanal dau Min kuin-kuin min kaus-kaus Tupai haisul mabazua cilas Nadasun, hanup Masi kaisa hanup masi saupa ludun Matam puzu taki hanvag Who is shooting a gun on the mountaintop? Is it that bald man named Ciag? What is he shooting at? He’s hunting a mountain deer. What does the mountain deer look like? It looks healthy and has a beautiful coat of fur. Haisul said, ‘Let’s hull some millet and bring it up the mountain.’ Where shall we go? Let’s go up to the mountaintop. There is a pile of deer droppings on the mountaintop (which means that there is a herd of deer there). This song is usually sung after the hunt is over, as a way of calling out to the others to tell them of a successful hunt. It is part of daily life for the Bunun people, and usually it is possible to tell which family is shooting on the mountaintop. 13 Malkakiv Malvanis (Song Of The Trap) 3:54 Lead singer: Guo-liang Yu Malkakiv malvanis saubatuas halavag paigki-paigki paisusu va-vagduas li-litu ci-ciskas mazainsuh lanig avas laituan palum basas hulaisva sibut-butun dun ahusihainavu sia lukis situsun silampas bulug-bulug kuvahlas kan tulunan mapataz cis amaun kulumah pilumahun matuk-a pahu silun mas bunun Today, when hunting in the mountains, we passed by a place that had been visited by wild mountain boars. The hunters quickly set a trap. When they returned later, they discovered that they had caught one. The hunters held on to the struggling boar with ropes and waved their wooden sticks. But the boar surged forward, pulling down the tree branch and snapping the rope. The boar escaped and slipped into a valley stream below. The hunters went down to the stream to retrieve the boar and we carried it home on our backs and shared it with everyone. The Bunun people sing this song in everyday life. It tells of how the hunters share the game with everyone after a big hunt. 14 Wulu Sky 1:21 Composed and performed by David Darling 15 Pis Lai (Song Of Prayer For Rifles) 8:24 Lead singer: Chin-lung Yu Call Response Ma-magana Ma-magana Nama ima Nama ima Mais pislai Mais pislai Mu-ampukag Mu-ampukag Amina ci-ci Amina ci-ci Amina tumaz Amina tumaz mugna busulatan mugna busulatan Amina hanvag Amina hanvag mugna busulatan mugna busulatan Amina vanis Amina vanis mugna busulatan mugna busulatan Amina sidi Amina sidi mugna busulatan mugna busulatan Amina sakut Amina sakut mugna busulatan mugna busulatan Amina utug Amina utug mugna busulatan mugna busulatan Mu-mapukag Mu-mapukag mugna busulatan mugna busulatan Ma-magana Ma-magana Nama ima Nama ima Mais pis lai Mais pis lai Mu-ampukag Mu-ampukag Amina ci-ci Amina ci-ci Cishavisag Cishavisag Give our rifles strength! Give our rifles strength! Use our capable hands. Use our capable hands. We pray for our rifles. We pray for our rifles. We pray that all of the animals We pray that all of the animals May enter into the range of our rifles. May enter into the range of our rifles. Bears! Bears, come before our rifles, come before our rifles! Mountain deer! Mountain deer, come before our rifles, come before our rifles! Wild boars! Wild boars, come before our rifles, come before our rifles! Goats! Goats, come before our rifles, come before our rifles! Muntjacs! Muntjacs, come before our rifles, come before our rifles! Monkeys! Monkeys, come before our rifles, come before our rifles! Give our rifles strength! Give our rifles strength! Use our capable hands. Use our capable hands. We pray for our rifles. We pray for our rifles. We pray that all of the animals We pray that all of the animals May enter into the range of our rifles. May enter into the range of our rifles. We pray that the evil forces may come We pray that the evil forces may come before our rifles. before our rifles. The Bunun people sing this song after they have returned from a hunt. They give thanks for their rifles and pray that they may be equally effective the next time they are used. Vocal: Bunun singers, Wulu Village, Taitung, Taiwan Cello: David Darling Ambient sounds: birds, frogs, monkeys and insects around Wulu Village, Taitung, Taiwan Participants in recording: Adult Bunun Mountain Traditional Music Group: Dahu, Lanihu, Tahai, Kavas, Dahu, Biug, Navas, Kavas, Buah, Dahu, Vilian, Kavas, Vilian, Lanihu, Suci, Valis, Abus, Apig, Savi, Niun, Savi, Ibu, Apig, Li-li, Palahu, Mua, Puni Wulu Primary School Children's Choir: Chiao-Ying Ku, Chieh Wang, Ya-Chun Wang, Chih-Jung Wang, Hsin-Yi Wang, Hsiu-Li Wang, Nien-Tsu Wang, Ya-Fang Wang, En-Tien Lu, Hsiu-Chen Yu, Hui-Min Yu, Hao Yu, Hui-Ting Yu, Liang-Chieh Yu, Meng-Ju Yu, Hui-Chen Yu, Tse-Hao Yu, Hui-Ting Yu, Chi-Hsiung Yu, Wei-Wei Li, Sheng-Hui Lin, Meng-Hsin Chiu, Chun-Nan Chiu, Mu-Tsun Chiu, Hui-Chen Chiu, Sheng-Wei Chiu, Chin-Lung Chiu, Hui-Wei Chiu, Sheng-En Chiu, Hsin-Hsien Chiu, Chien-An Chiu, Cheng-Cheng Hu, Chih-Hsin Chang, Che-Chien Chang, Yi-Hua Tseng, Wan-Ju Tseng, Hong-Kuei Yang, Hui-Lin Yang, Yun-Ju Chen, Chin-Sheng Chen All music are Bunun traditional songs arranged by David Darling, except track 11 composed by Chin-hu Yu and arranged by David Darling, and tracks 6, 10, and 14 solo cello pieces composed and performed by David Darling. All arrangements and compositions co-published by Riverboat UK Music (MCPS) and Tasker Music (ASCAP), administered by Ev-Web Music (ASCAP). Thanks: Phil Stanton, Sandra Alayón-Stanton and all at World Music Network Special thanks: A.J. Huang, T.C. Lin, Mayway Wu, Winter Chiang, Mickey Houlihan, Tian-Long Hotel and everyone in Wulu Village Wulu Primary School: Chin-Tsai Wen, Principal Hailtag, Teacher Su-Hui Lin, Teacher Hsiu-Ping Ho, Teacher and all the faculty and forty children Produced by Shu-Fang Wang Production Team in Taiwan: September Culture International Executive Producer: Sean Fu Project coordinator: Guang-Da Chen, Elsa Ke Location recording in April 2002, in Wulu Village, Taitung, Taiwan Recording Engineer: Mickey Houlihan Assistant Recording Engineer: Sean Houlihan, Roger Li Additional recording during June to November 2002: Wind Over The Earth, Camp David Studios Recording Engineer: Mickey Houlihan, Tommy Skarupa Editing: James Tuttle, Tommy Skarupa, David Darling Mixing Studio: Wind Over The Earth, USA; Camp David Studios, USA; Sensible Studio, UK Mixing Engineer: Mickey Houlihan, Tommy Skarupa, Jon Moon Mastering: Mickey Houlihan Lyrics translated from the Bunun language to Mandarin Chinese by: Chin-hu Yu (Dahu), Jin-niang Hu Mandarin Chinese descriptions: Chien-hui Chen, Elaine Hsiung Chinese to English translation: Andrew Ryan Photos: Winter Chiang, Sean Houlihan, Shu-Fang Wang Design by Undertow, coordinated by Duncan Baker Under licence from Accton Arts Foundation. Further information on Riverboat Records can be found at www.worldmusic.net, where you can also listen to sound samples of all World Music Network and Riverboat Records releases.
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