2/4
koenraadelst.blogspot.com/2012/05/hindu-survival-what-is-to-be-done.html
On cinema
But Indian cinema - like Indian media - was systematically stolen out of the hands of Hindus by christoislamania and communism. Since then, the medium has consciously been turned into a vehicle for christoislamic dawaganda, while Hindus have been silenced and censured. Fortunately, the rest of the world - which briefly took an interest in bollywho for about a decade - has lost interest in it already (one-trick-pony). Not surprising. In contrast, SE and E Asian cinema still holds general interest for international audiences, because there's less christoislamoronism there and hence more creativity (owing to all the unsaved kaffirs). How many people know christian Philippines' cinema (well, I don't), versus how many know Japanese/Chinese/HK/TW/Thai/Vietnamese cinema (which is everyone). Korea is half-half: one part of their cinematic output is made by non-religious Koreans, Buddhists, Confucians and even native heathens, and is very good, the other part is made by christians (who tried to usurp the field - as christoislamism and sickularism have done in India - but didn't quite succeed in S Korea).
On Chinese and Japanese music etc
E-Asians excel at music and instruments generally. And the world's best composers of modern - that is, experimental, synthesized - music and a combination of synthesized and traditional music, are famously in one nation of the far east. And they're musical *geniuses* there: with the greatest range in themes and styles, and excelling at each.
Of course, there's innumerable geniuses in traditional Hindu classical composition in India: it's what they do. So many composers still writing songs as well as musical pieces for different instruments, and also music particularly for Hindu dances. (Plus I've noticed there's definitely one very capable composer of futuristic yet Hindu-based music in India. His best pieces are incredibly innovative and hold their own well alongside the best in futuristic-traditional combines from the East.)
But Chinese and Japanese are still good at their classical music too. The Japanese even fuse their traditional music with cinematic styles and achieve great results. The Chinese especially hold strongly to their traditional classical, and their young are exposed to it and encouraged by their community to pursue it. Their classical music hasn't at all become a "museum piece", in that it remains as popular as ever among the natives, who at a minimum appreciate it as listeners to collect CDs of it, and among whom it is as much a sign of cultured tradition and expression as Hindu classical is among Hindus. What does it matter that their music doesn't have as much visibility in the *international* scene in order to "rival" western music? It's not aiming to be "international", its existence is just to please the natives - same as Hindoo music.
It's not just music that E Asians are excellent at. The modern creative areas/media where the E Asians excel (topping the charts):
Plus on the side some even play western musical instruments really well, as Elst says.
And yet they keep up traditional calligraphy, traditional painting, traditional instrumentation, performing traditional pieces, traditional story telling devices, etc. (Also used in many of the above modern media.) They remain excellent performers of various traditional E Asian instruments, especially in China. Not to mention that Daoists in particular keep up their sacred Daoist instruments, which are used for religious purposes as Hindus have also been doing with their own.
koenraadelst.blogspot.com/2012/05/hindu-survival-what-is-to-be-done.html
On cinema
Quote:Hindus ought to feel jealous, if at all they have the ambition to do as well as Bollywood.Hindus *owned* Indian cinema until some decades back. It was the best and most creative cinema coming from India to date. Still excellently executed so that the gems of old hold up to this day and stand their ground in any comparison.
But Indian cinema - like Indian media - was systematically stolen out of the hands of Hindus by christoislamania and communism. Since then, the medium has consciously been turned into a vehicle for christoislamic dawaganda, while Hindus have been silenced and censured. Fortunately, the rest of the world - which briefly took an interest in bollywho for about a decade - has lost interest in it already (one-trick-pony). Not surprising. In contrast, SE and E Asian cinema still holds general interest for international audiences, because there's less christoislamoronism there and hence more creativity (owing to all the unsaved kaffirs). How many people know christian Philippines' cinema (well, I don't), versus how many know Japanese/Chinese/HK/TW/Thai/Vietnamese cinema (which is everyone). Korea is half-half: one part of their cinematic output is made by non-religious Koreans, Buddhists, Confucians and even native heathens, and is very good, the other part is made by christians (who tried to usurp the field - as christoislamism and sickularism have done in India - but didn't quite succeed in S Korea).
On Chinese and Japanese music etc
Quote:Whereas Chinese and Japanese classical music are museum pieces next to omnipresent Western classical music (at performing which the East-Asians excel), Indian classical music remains as the only rival.
E-Asians excel at music and instruments generally. And the world's best composers of modern - that is, experimental, synthesized - music and a combination of synthesized and traditional music, are famously in one nation of the far east. And they're musical *geniuses* there: with the greatest range in themes and styles, and excelling at each.
Of course, there's innumerable geniuses in traditional Hindu classical composition in India: it's what they do. So many composers still writing songs as well as musical pieces for different instruments, and also music particularly for Hindu dances. (Plus I've noticed there's definitely one very capable composer of futuristic yet Hindu-based music in India. His best pieces are incredibly innovative and hold their own well alongside the best in futuristic-traditional combines from the East.)
But Chinese and Japanese are still good at their classical music too. The Japanese even fuse their traditional music with cinematic styles and achieve great results. The Chinese especially hold strongly to their traditional classical, and their young are exposed to it and encouraged by their community to pursue it. Their classical music hasn't at all become a "museum piece", in that it remains as popular as ever among the natives, who at a minimum appreciate it as listeners to collect CDs of it, and among whom it is as much a sign of cultured tradition and expression as Hindu classical is among Hindus. What does it matter that their music doesn't have as much visibility in the *international* scene in order to "rival" western music? It's not aiming to be "international", its existence is just to please the natives - same as Hindoo music.
Quote:Western classical music (at performing which the East-Asians excel)
It's not just music that E Asians are excellent at. The modern creative areas/media where the E Asians excel (topping the charts):
- photorealistic painting - check,
- fantasy and sci-fi paintings - check, (west is not bad at all - still, E Europe is far better, but neither can compare to the meticulous excellence and greater depth of feeling and imagination in E Asian output, plus it's innovative rather than cliche. And it makes a lot of use of their own native "fantasy" backgrounds from folktales and other parts of their religions).
- Graphic novels and illustrations - check,
- all animation styles and genres - check (and they make it look effortless),
- CGI animation - check,
- all genres of storytelling (traditional to sci-fi and local legends/fantasy) - check,
- cinematic sci-fi and action (special mention) check.
- music listed for completion again: all genres, all styles, local and world, ancient to futuristic - CHECK.
Plus on the side some even play western musical instruments really well, as Elst says.
And yet they keep up traditional calligraphy, traditional painting, traditional instrumentation, performing traditional pieces, traditional story telling devices, etc. (Also used in many of the above modern media.) They remain excellent performers of various traditional E Asian instruments, especially in China. Not to mention that Daoists in particular keep up their sacred Daoist instruments, which are used for religious purposes as Hindus have also been doing with their own.