The Chinese connection looks back at the cultural shift that China went through during the Maoist revolution. At this time, all traditional and modern art forms got radically affected and altered by the new communist ideology that purged music, theatre and arts from traditional and occidental influences, promoting new esthetics aiming to raise a new popular myth. The sound material is taken from demonstrations and trials of opera, music and art masters judged by the youth of the communist party. On the cultural level, the Maoist and the Pan-Arabist movements applied the same totalinarist mentality, and even after the fall of the Pan-Arabist ideology, many national and popular movements in the Arab world today follow the same strategies in creating new mythes and sectarian identities. One of the compositional principals of this piece is creating a struggle between the concrete sounds of trials and of propaganda hails with a sea of very harsh, dense and agitated electronic sounds and rough distorted textures. It is a constant subversion between compositional elements and their scale in a conflicted way that reflects the condition of these painful and hard times of forced cultural and social change. Produced by the Shrajah Art Foundation in the frame of the exhibition Disorientation II 更多