The erhu (Chinese fiddle)

The first talk will focus on the historical development of the erhu. We will explore how the instrument is made and learn about its diverse repertoire since the early 20th century.

Guest: Xinjie Yang (MA Conducting, RNCM)

Date & time: 6-7pm on 30 October
Venue: 91直播 Central Library

The violin

The second talk is on the violin. It examines the transmission of violin culture from Europe to China. We will discuss how the violin influenced Chinese musical development and explore various compositions written over the last century.

Guest: Ziluo Huang (PhD Musicology student, University of Manchester)

Date & time: 6-7pm on 20 November
Venue: 91直播 Central Library

The guzheng

The last instrument in the series is the guzheng. The talk will introduce composing for the guzheng. It will discuss how our guest reimagined the instrument’s musical tradition by integrating Chinese philosophies found in painting and ancient literature.

Guest: Li Yang (MA Performance Studies student, University of Manchester)

Date & time: 6-7pm on 11 December
Venue: 91直播 Central Library

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The "Chinese Bridge" International University Student Chinese Competition is an international competition organized by the Center for Language Exchange and Cooperation of the Ministry of Education of China aiming to strengthen academic and people-to-people exchanges between China and other countries through language and culture.

In this year's competition, a total of 24 contestants participated in the semi-finals, with 11 contestants making it to the final. Eight finalists took part in the Business Innovation Competition.

Childimma Daisy Anyakora has been studying Chinese since 2019 and shares her learning experience via the popular Chinese social media channel Little Red Book. Julia, who successfully represented 91直播 Confucius Institute at the Chinese Bridge competition in 2021, is currently in her fourth year at UoM. 

They follow in the footsteps of UoM medical student, William Hart, who successfully taught himself Chinese over lockdown and won the Grand Prize at the finals of the 2022 Chinese Bridge competition.

Want to improve your Chinese so you can compete next year? Check out our .

This is the first time the 91直播 CI team managed to bring home the first prize in the competition’s ten-year history.

30 students and staff from the University of Manchester joined the racing team and competed against four other Confucius Institutes in the Northwest: Liverpool, Lancaster, Lancashire and Edge Hill.

After four races, the 91直播 CI team came first with a time of two minutes and four seconds.

Dragon boat racing has been a traditional Chinese paddled watercraft activity for over 2000 years and began as a modern international sport in Hong Kong in 1976. For competition events, dragon boats are generally rigged with decorative Chinese dragon heads and tails. 

For races, there are 18-20 people in a standard boat, and 8-10 in a small boat, not including the steersperson and the drummer.

Where did the idea for Another Life come from?

The idea of the play came naturally during a discussion we had after our first pitch meeting with Karen. We wanted to create something that ESEA (East and Southeast Asian) audiences can enjoy and relate to, yet also something we wanted to see ourselves. With these ideas in mind, and after a weekend brainstorming session, we came to the conclusion that we wanted to incorporate the voices and experiences of ESEA people in 91直播 and elevate what might appear as ordinary stories on stage.
 

What was your writing process like?

It was very collaborative. Me and Haley knew we wanted to work on a show together since we first met back in 2017, and we made sure to split the workload evenly. Regarding the structure of the piece, we instinctively knew we wanted a range of people and ages, ending with a story that can encompass the main theme of the show: what it means to belong in a place far away from home. Therefore, we compiled a series of questions into an online survey open to everyone from the ESEA community. 

We started by sorting the answers we’ve received into age groups and by thematic similarities. For example, all the testimonies we used in the Jamie character section were by students and respondents currently at university. Looking at the range of lived experiences, we organised the play’s general arc and direction: what was the opening, the rising action, climax, and denouement? 

This took several days of workshopping where we organised different sequences and determined what we thought was best with help from our dramaturg, Linnae Abraham.

Afterwards, we started taking direct quotes from these responses and built a narrative arc around it: how do these individual sections function on their own as monologues? How are the aesthetics of each character different from one another? Do they view the world differently? Are the movement sequences or dialogues literal or metaphorical?
 

What are the challenges of writing and directing a verbatim-inspired play?

On the directing side, it was important that the characters felt like real people, not characters. Though the world around them and the presentation of these stories might be stylised, the actors’ performances had to be grounded in reality. There’s definitely a pressure to present these stories taken directly from people we knew or from complete strangers with respect and care.
 

Tell us a bit about the characters?

Jamie Leung is from Hong Kong who has come to the UK to pursue her studies. Having gotten used to her routine and structured lifestyle back home, she’s struggling to navigate the hectic first months here.

Celia Xie has a deep love of travelling; however, an incident causes her to stay in the UK longer than she expected. For someone who cannot stay in one place too long, how does she manage to build a life in a place she’s never anticipated to be in?

Joey Yang feels as if they’re being pulled in two directions: they’re too British to be Chinese and too Chinese to be British. We watch them try and discover what their identity is and what it means to belong - is it as simple as they believed?
 

Who would you like to see in the audience and what would you like them to take away from the experience (without revealing any spoilers!)? 

It’d be amazing to see a variety of ESEA audience members who can hopefully take away something from the performance, whether that be a direct experience that they can relate to, or something that reminds them of someone else they know.
 

What do you find most exciting about this play?

The movement and dance sequences! They’re all quite different from each other and all the actors have a moment to shine.
 

Tell us a little-known fact about yourself?

I’d love to be able to sing or perform in a musical capacity. I’ve been writing songs for quite some time, and it’d be great to find an opportunity to do so again!
 

What should people who enjoyed this play and are interested in Chinese culture see next? Any plays or films you would recommend?

Keep an eye out for ESEA performers and shows from New Earth Theatre, Papergang Theatre, or the newly established Horizons Collective. Recently, there was a Scratch Night done by this year’s New Earth Academy Plus cohort at The Lowry which showcased incredible snippets of works curated and performed by ESEA creatives in 91直播. Also, East by Southeast (ExSE) is a great collective showcasing the talents of ESEA creatives across theatre, film, and television.
 

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Why did you decide to audition for this role?

For me, being able to be part of a performance has been valuable, fun and challenging; and a chance for me to experience another person’s life. Besides, Another Life 另生 is a play that discusses the stories of Chinese people living in the UK. 

As a Chinese student currently studying in the UK, I am very honoured and excited to have the chance to tell the story of a character who has a similar cultural background, but a completely different experience from my own.
 

Tell us a bit more about your character?

I will be playing Vivian, a middle-aged woman born and raised in the UK by Chinese parents. She is currently living in the UK with her husband and two children. By watching the performance, you’ll learn more about Vivian’s struggles, the changes she goes through and the inspiration behind her mixed-culture experience.
 

What was your first impression of the script?

I was curious about how we are going to perform the play, because it contains different performance forms such as monologue, dialogue and some movement. I was very excited to work on the play with the others.
 

How did you feel about performing in a play that is based on real-life testimonies?

I was quite nervous when I first found out that the play is based on real experiences, because I was afraid that I may not be able to deliver the true thought behind my character. However, as the rehearsals began, I enjoyed playing the character as I could interpret it with my own understanding. 

Besides, since it is based on real life testimonies, it also encouraged me to think and discover more about the character, which really helped me better understand them.
 

Who would you like to see in the audience and what would you like them to take away from the experience (without revealing any spoilers!)?

Instead of having each character perform their monologue alone on stage, we have diverse performances to illustrate their storylines. I would also like to see the audience being curious about the ongoing stories of each character after watching the show.
 

Is there a particular scene in the play that really excited you? If yes, why?

I am very excited about the scene that tells the story of Vivian’s parents. It is a short scene with no words but full of complicated emotions.
 

Tell us a little-known fact about yourself?

I played the role of Snow White in a kindergarten performance when I had my first kiss!

What should people who enjoyed this play and are interested in Chinese culture see next? Any plays or films you would recommend?

Films: Dying to Survive, Big Fish & Begonia, Farewell My Concubine
Dance drama: The Eternal Wave
Reality show: China in the Classics (典籍里的中国)
 

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Why did you decide to audition for this role?

Writing that captures these types of perspectives is very rare in the UK right now, and I couldn’t resist the opportunity to get involved!
 

Tell us a bit more about your character?

Lo is an elderly Chinese immigrant who has lived in the UK most of his life, building a successful career in the takeaway food industry. He’s pushing 70 and has reached a point where he has begun to reflect on his life and the choices he’s made. He’s a fan of Chinese food, brightly coloured shirts and Clint Eastwood!
 

What was your first impression of the script?

After my first read, I was incredibly excited. It’s hard these days to find East Asian characters presented in such a real and humanising way, and this script manages to do just that.
 

How did you feel about performing in a play that is based on real-life testimonies?

Terrified that the person who gave the testimony might be in the audience!
 

Who would you like to see in the audience and what would you like them to take away from the experience (without revealing any spoilers!)?

Firstly, I’d love to see young creatives from East and Southeast Asian backgrounds in the audience.
 

I’d also love to see some people from British backgrounds as well! The script does a great job of capturing the lived experience of immigrants in this country, which they might not have encountered before.
 

Is there a particular scene in the play that really excited you? If yes, why?

We’ve got some dynamic and interesting movement sequences in the play that I really love. I can’t give too much away, but I really love the choreography we’ve been working with to build different environments and tell certain parts of the story!
 

Tell us a little-known fact about yourself?

I’m really into animals, and my favourite ones are shrimp! I can’t eat them because of this.
 

What should people who enjoyed this play and are interested in Chinese culture see next? Any plays or films you would recommend?

I’d keep an eye out for whatever Haley Yiu and Yanni Ng end up doing next! They’ve proven themselves to be great theatre makers throughout the rehearsal process, and I’m sure they’re going to continue to create some really great work!
 

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Why did you decide to audition for this role?

I have always had a deep-seated passion for theatre. This audition not only presented an exciting opportunity to explore and express my creative side, but also aligned perfectly with my desire to immerse myself in the world of theatre. Furthermore, it is also very interesting and challenging to play a character that is completely different, and it is very rewarding to be able to present ‘someone else’s’ life through acting.
 

Tell us a bit more about your character?

Celia is a vibrant and adventurous 35-year-old woman whose spirit is fuelled by a profound passion for travel and freedom. What sets her apart is that she defies the conventional expectations of a 'typical Chinese girl.' She loves daydreaming, considering it her gateway to finding utopia, and she's the type of person who actively pursues and manifests those dreams in real life.

Her love for exploration goes hand in hand with her resistance to the idea of settling in one place forever. Celia embraces a dynamic lifestyle that values continuous exploration and discovery. She sees each journey as an opportunity for personal growth and a chance to broaden her horizons.
 

What was your first impression of the script?
 

Moreover, the script provided a comforting realisation that my experiences and emotions as a Chinese individual navigating life in a new country were not isolated. In exploring the characters and their journeys, it's a reassuring reminder that, despite the challenges, I am not alone in my journey. It is a connection that goes beyond the script itself.
 

How did you feel about performing in a play that is based on real-life testimonies?

As mentioned above, it provides a sense of reassurance and comfort to know that my struggles as a Chinese individual in the UK are not isolated. The narratives grounded in real-life testimonies make the characters more than just roles; they become conduits for shared stories, echoing the voices of those who have faced similar challenges.

However, this recognition also comes with a sense of responsibility. It's crucial to approach the performance with a delicate understanding of the real experiences behind the script. 
 

Who would you like to see in the audience and what would you like them to take away from the experience (without revealing any spoilers!)?

I hope to see a diverse audience, including those who've experienced coming to the UK for the first time. It would be fantastic if the shared experiences on stage resonated with people from similar backgrounds, saying 'yep, that's how I felt.' 

Additionally, I welcome locals to gain a better understanding of the challenges faced by international individuals or immigrants. My goal is for everyone to leave with an appreciation of diverse paths and recognizing universal connections.
 

Is there a particular scene in the play that really excited you? If yes, why?

I'm particularly excited about the dancing sequences in Celia's parts. These scenes use music, movement, and expressions to convey emotions, making them powerful and impactful. The interpretive nature of the dances allows the audience to imagine the stories themselves, adding a dynamic and engaging layer to the play.
 

Tell us a little-known fact about yourself?

Despite my love for big and modern cities, I prefer rural life.
 

What should people who enjoyed this play and are interested in Chinese culture see next? Any plays or films you would recommend?

For those who enjoyed this play and have an interest in Chinese culture, I highly recommend the sitcom 'Fresh Off the Boat'. The show revolves around a Chinese family in America, offering a delightful mix of humour and warmth. It accurately portrays the dynamics of a Chinese family, and each character in the family has a distinct personality, adding depth and interest to the series. 

If you're curious about how a Chinese family navigates life in American society, 'Fresh Off the Boat' is an excellent starting point that combines entertainment with cultural insights.
 

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Where did the idea for Another Life come from?

We wanted to create a show that could provide a glimpse into the life of East Asians in the UK, so we decided to conduct a survey to help inspire us and to better understand those struggles and experiences. 

The results showed a range of experiences based on the varying ages and backgrounds, so we created multiple characters who could properly represent them. We soon realised that the characters had such unique perspectives that they each deserved their own time in the spotlight, which is why we ended up creating vignettes instead.
 

What was your writing process like?

I’m quite methodical when it comes to my writing process. I started off by doing some research online and going through the survey results. This was to help me better understand the characters I would be writing, especially since the specific characters I wrote were quite different from myself in both experience and background. 

While I looked through those surveys, I would note down any quotes I wanted to include in the show as they helped me hone in on the themes and character traits I wanted to include. Afterwards, I would focus on the structure of the story to best portray the characters on stage. Finally, I would begin to write and edit through the work until completion.
 

What are the challenges of writing and directing a verbatim-inspired play?

There were quite a few challenges that came up when we were writing. The main one being that we knew the weight the show carried in having to accurately represent these people who entrusted us with their stories.
 

But this also resulted in another issue, which was separating them from the source material. We wanted the characters to be inspired by, rather than be the same as, the actual source. So, it was a very fine line of creativity and truth that we had to find while we were writing the piece.
 

Tell us a bit about the characters?

Lo is a man in his late 60s looking back on his life. Deciding to share his wisdom, Lo shows us a glimpse of his life as an East Asian who has lived in the UK for almost 50 years. We see the expectations and realities that come with living here, and sometimes, even the cost.

Vivian is a second-generation British East Asian mother who is struggling to raise her mixed children. We see her understand the importance of finding a balance between two different cultures and how it can link the past with the present.
 

Who would you like to see in the audience and what would you like them to take away from the experience (without revealing any spoilers!)?

I would love to see East Asians who recently moved to the UK in the audience.
 

What do you find most exciting about this play?

I’d have to say I find the multi-roling the most exciting. Since they’re vignettes, there are lots of different characters we have to play to help develop the story of each of the protagonists. We go from one character to their complete opposite within seconds. It’s an amazing challenge to have as an actor, as it tests not only our abilities but also our imaginations.
 

Tell us a little-known fact about yourself?

Although my name is spelt a bit differently, I was named after a character in The Parent Trap (1998).
 

What should people who enjoyed this play and are interested in Chinese culture see next? Any plays or films you would recommend?

I would suggest reading Mountains: The Dreams of Lily Kwok. It's a gorgeous play based on the real-life story of Lily Kwok who opened up the first Chinese restaurant in 91直播. It explores how food can connect different generations of family as well as provide insight into our culture and heritage.
 

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Why did you decide to audition for this role?

I've always wanted to try acting, as it's a way for me to experience a different life and a different perspective on the world.
 

Tell us a bit more about your character?

Jamie is a very resilient girl, and although she gets anxious and upset when she encounters new situations that have the potential to break her down, she doesn't run away and doesn't give up. At the same time, she is also a person who doesn’t easily show her vulnerable side to others – she prefers to try to maintain harmony on the surface.
 

What was your first impression of the script?

For Jamie, I think her situation and change of heart were somewhat like mine when I first came to England, but the difference was that I was more devastated than she was. I would talk to my parents about my insecurities.
 

How did you feel about performing in a play that is based on real-life testimonies?

It prompts me to analyse the changes of emotions and mentality more carefully, because there are no exaggerated behaviours in daily life, and we need to make everything look so natural and close to life in our performances.
 

Who would you like to see in the audience and what would you like them to take away from the experience (without revealing any spoilers!)?

First of all, my family and friends. I hope they can see a different version of me and feel the emotions that I want to convey through my performances.
 

Or people who are going through the transition that Jamie went through, telling them that they're not the only ones feeling upset and anxious, encouraging them to adapt to the moment and enjoy it.
 

Is there a particular scene in the play that really excited you? If yes, why?

Yes, I think it was the scene where my parents were helping me pack and I was confronting my mum and talking back to my dad. That's the part I felt was most removed from my daily life. It wasn't the way I interacted with my parents, but at the same time it allowed me to experience the different ways people deal with each other and the different environments in which they are raised.
 

Tell us a little-known fact about yourself?

I'm not sure if it's little-known, but I think I'm a sensitive person sometimes. A lot of my friends think I'm a big-hearted person, which is why I don't tend to show my sensitive side.
 

What should people who enjoyed this play and are interested in Chinese culture see next? Any plays or films you would recommend?

“Farewell my Concubine”, the gorgeous costumes, Peking Opera and Kunqu Opera are stunning and reflect the spirit of Chinese Opera.
 

• Find out more about the play

The collaboration between 91直播 Confucius Institute and the University of Manchester Drama department is not new. Another Life follows in the footsteps of , a 2022 play telling the story of three Chinese women of different generations and the friendship they form through the challenges they face.
 

Karen Wang, Deputy Director, Confucius Institute, said:

Book your tickets

- John Thaw Studio Theatre, Martin Harris Centre

- John Thaw Studio Theatre, Martin Harris Centre
 

Behind the scenes

We talked to the cast and crew about the play, why they wanted to be part of the project and what it was like working with stories from real people.

Read more about the Q&As we asked the following:

• Yanni Ng – Writer and director
• Haley Yiu – Writer and playing Joey Yang
• Georgia Wei – Playing Jamie Leung
• Lily Yang – Playing Celia Xie
• Matthew Bevan – Playing Lo
• Shuwei Shi – Playing Vivian Tsang

will be performed by Chinese students and alumni of the University of Manchester and the Royal Northern College of Music. It will showcase both established and emerging composers from China and will include pieces that have not been performed in the UK before.

Arthur Yuen, recent graduate of the Royal Northern College of Music and Concert Curator for Sonic Reverie said:

This event is the first in a series of events celebrating Chinese New Year in 2024, the year the University of Manchester marks its bicentenary. It’s a year to celebrate 200 years of learning, innovation and research. 200 years of our incredible people and community. 200 years of global influence.

Chinese New Year 2024 is a great opportunity to celebrate the University's historical links with China over the last 200 years and the contribution Chinese students make to the University.

for the concert.

Find out more about the .

Visit the bicentenary website to find out about upcoming events.

Dr Dong is Senior Programme Officer at the Office of International Exchange and Cooperation at Beijing Normal University. 

Her academic background is in education, with extensive practical experience in university administration and international Chinese education.

Dr Dong said:

Dr Dong was previously a visiting scholar at the University of Manchester between 2016-2017, after which she began to specialize in Confucius Institute-related work. In 2019, she led a BNU student Art Troupe on a two-week performance tour of England and Scotland.

She replaces 91直播 CI’s longest serving Director, Zhang Hui. Professor Zhang led the Institute for four years providing stability and leadership during some of the most challenging times, from COVID-19 lockdown to uncertainty around CIs due to geopolitical tension. 

Despite these challenges, he helped raise 91直播 CI’s profile supporting students and teachers to participate in competitions and win prizes on behalf of the Institute. 

He led the team to deliver language teaching and testing to the great accolade of learners. He always showed dedication and commitment to his work and will be sorely missed by his colleagues for his humility, technical know-how and photography skills.

The contest, organised by the Chinese Proficiency Test UK Committee, was hosted by 91直播 CI at the University of Manchester for the first time.

Ru Wang won the Adult Category and Zhongyu Fan came third, while Miaoqing Zhang won second place in the Primary & Secondary School Student Category. The other 91直播 CI teachers received honourable mentions.

Ru Wang said:

40 participants entered the competition, with 20 selected to take part in the final hosted at the University of Manchester. Contestants included teachers from Confucius Institutes across North and Central England including at the Universities of Newcastle, Hull, Nottingham, Liverpool, Central Lancashire, Lancaster and others.

Ru Wang and Miaoqing Zhang will now progress to the UK-wide competition, which will take place in London in 2024.

January Mandarin courses at the 91直播 Confucius Institute are now . 

Gu Shi and Wen Zhen, two authors from China who contributed to anthology, will be reading their work and discussing the book with translator Christopher MacDonald. 

The event will take place at the in central 91直播 at 4.00PM and it is free to attend. 

Wen Zhen is one of the best-regarded young writers in China. She was the youngest writer ever to win the prestigious Lao She Literary Award 2014 with ‘A Love Affair on Anxiang Road’ included in her first short story collection Eleven Doses of Love.

Gu Shi’s short fiction has won two Galaxy Awards for Chinese Science Fiction and three Chinese Nebula (Xingyun) Awards. Her novels include Love is Everywhere.

Christopher Macdonald is a translator and interpreter based in South Wales. He won the Comma Press Emerging Translator Award in 2019 and is the author of The Science of War: Sun Tzu’s Art of War re-translated and re-considered.

This event is sponsored by Leonardo Hotels.

to avoid disappointment.

The UK’s regional final of the 21^st international Chinese language competition took place in London last Monday, 27th June 2022. After two years of online broadcasts, Mandarin learners from universities across the UK took turns to impress the judges in person again. The competitors demonstrated their talents in two rounds, firstly their Mandarin speaking skills through speeches and secondly their cultural knowledge and creativity through a variety of performances.

William Hart (Chinese name 威廉) is the first 91直播 student to win the UK Grand Prize. He, along with three other competitors, will now go on to represent the UK in the global finals that can hopefully take place in China. William’s excellent Chinese language skills, humorous conversations and charm won the judges and online/offline audiences over at once. The focus of his speech was his understanding of a healthy lifestyle and concern for environmental conservation. He then went on to stage a talk show in order to share valuable tips for learning Chinese.

At the start of lockdown, the medical student was looking for a challenge, and in just two years taught himself Mandarin Chinese to a really high level. This has not only helped him to stay focused during challenging times, but it has also allowed him to become more confident and make new like-minded friends. Watch him share his personal experience learning Mandarin!

91直播’s second candidate, Aude Rajaona (Chinese name 湖妮), who is a final year student of Chinese and Business Management won the Excellence Award. She has been studying Mandarin for four years and wowed the judges with a singing and dancing performance of the Chinese folk song Jasmin Flower 茉莉.

Congratulations to both contestants – they are truly an inspiration for other learners!

Taking part in Chinese Bridge is a great way for non-Chinese university students to develop their language and presentation skills with a lot of fun in the process. Each year, 91直播 Confucius Institute and Chinese Studies Department select students to represent The University of Manchester at the UK finals in London. The candidates receive coaching and support from CI staff to help prepare them for the competition. In recent years, 91直播’s students have achieved great successes with Gabriel Marriage winning 3rd price in 2020, Orla Fawcett being awarded the Best Talent Prize and Julia Makosa winning 2^nd Prize overall, representing the UK in the global finals in 2021.

Watch the UK Regional Final of the 21st 'Chinese Bridge' Competition 2022 back .

The composer was inspired by a Qing Dynasty scroll held in the collections of the John Rylands Research Institute and Library which took centre stage at last year’s exhibition The Qing: China’s Multilingual Empire. Following three years of in-depth research into the China collection, the exhibition was eventually opened to the public from October 2021 until March 2022, attracting thousands of visitors from across the UK, especially Chinese and Chinese Studies students.

The 24-metre scroll illustrates bustling Beijing street celebrations for Emperor Kangxi’s birthday that took place in 1713 with meticulous detail of everyday life, shops, animals, infrastructure and entertainment. The music responds to the ceremonial and processional imagery shown, with some elements being the first depiction in Chinese art. Throughout the piece of music, the luachui or ‘scattering hammer’ rhythm is used to signify cultural exchange by combining rhythmic elements of Chinese opera with old English songs that existed around the same time. Another inspiration for this piece is the scroll as an object in itself, with the music being used as an analogy for the paper’s slow continuity and the deliberate but delicate ink marks on the surface.

Illustrations of the Grand Ceremony premiered online on 6^th June 2022 at the John Rylands Library where the performance by Mercury Strings was filmed. Its live premiere took place on 20^th June at St Anne’s church, Rossendale by the same ensemble. The accompanying tape track was produced and performed by Joshua Brown himself. 

 You can watch Illustrations of the Grand Ceremony on the 91直播 Confucius Institute’s website and .

In addition to The Qing: China’s Multilingual Empire exhibition, 91直播 Confucius Institute held a 16-day online campaign to mark their 15th anniversary. Through video and photo content on their social media platforms, they revisited key moments and accomplishments together in conversations with key stakeholders such as the former Chair of CI Board, Confucius Classrooms staff, cultural partners, teachers and staff.

  and relive the last 15 years with them!

Gabriel Marriage was diagnosed with a form of autism as a young child. He struggled with English Literature in Secondary school and was eventually asked to drop both French and German in exchange for additional English lessons.

He felt treated unfairly as he very much enjoyed learning languages, so rather than simply accepting the limitations being put on him by others, he made a plan! To prove that he is capable of learning new languages, he decided to teach himself Mandarin Chinese and take a GCSE exam in it.

Over the following years, he went to his room after school and taught himself Mandarin Chinese by using self-study textbooks and digital video lessons. By his first year in sixth form, he achieved his goal and earned an A* in his Chinese GCSE.

Dr  of the University of Lancaster says teaching methods should be adapted for students with learning difficulties, rather than taking them out of language classes. "The teacher just needs to be aware of it and teach slightly differently: much more visually, acting things out and explaining things a bit more explicitly than they would to other students. Some people are more receptive to audio channels of learning; others to visual, so using a combination of the two can be really effective."

Gabriel agrees, saying that teaching methods held him back more than his actual autism. The pictorial nature of Mandarin can, in fact, make it easier to learn for pupils with learning difficulties than phonetic languages, such as French or Spanish. And he has certainly proven that there is not a one size fits all approach for teaching languages to students. After his GCSE success, Gabriel decided to change his career path from science to one that features Mandarin Chinese.

On 19 September 2020, he took part in the UK Regional Final of the Chinese Bridge Competition and came 3rd! He was one of 10 regional winners, each of whom delivered a speech in Mandarin, answered a wide range of questions on Chinese language and culture and performed at a talent show. The competition has been running for 19 years now and provides an excellent opportunity for language learners to showcase their ability and talent.

Since March, , as well as the , have provided intensive language and cultural lessons to help prepare Gabriel for the competition. Learning a language requires commitment; whilst talent is an important characteristic, the ability to remain committed even in the face of adversity is vital. It is this that made Gabriel stand out. Our Confucius Institute felt honoured to be able to support him along the way and wish him all the best for the future!

Watch Gabriel’s short video story of his Chinese learning journey:

From gunpowder to space rockets: The China Space Programme, which runs from 30 January to 7 August 2010 in MOSI’s Air & Space Hall, includes models of ancient rockets, as well as recent satellites (including the Donfanghong series), rockets (including the Long March series), space ships and a lunar rover.

The Chinese were the first people to invent gunpowder and ancient rockets during the Song dynasty in 960-1279AD. The exhibition, which was developed by the China High-Tech Industrialisation Association, tracks China’s history in space, from the development of the first rockets and early attempts to fly, through to the launch of the first carrier rocket on 29 June 1964, development of satellites and the launch of the Chang’e-1 lunar probe satellite on 24th October 2007, as well as future plans.

Steve Davies MBE, Director of MOSI said: “China led the world in its early development of gunpowder and rockets and is now competing with the world’s superpowers in the space race. This fascinating new exhibition, brought to 91直播 thanks to the Museum’s links with organisations such as the China Museum of Science and Technology in Beijing, reveals the history of ancient China’s innovations and the country’s modern efforts to travel into space.”

Professor Alistair Ulph, Vice President and Dean of the Faculty of Humanities at The University of Manchester, chairs the Board of Directors at the Confucius Institute.

He said: “We are delighted to be collaborating with MOSI on what we feel is an important exhibition illustrating history of China’s space exploration from ancient times to the present day.

“It is a fitting way for us to celebrate the links between University’s Jodrell Bank Centre for Astrophysics, the Confucius Institute and the Chinese National Observatory. We hope that visitors to the exhibition– and especially young people – will enjoy finding out about this fascinating area of Chinese culture and learning.”

Following its success in developing satellites and manned spaceflight, China is now planning to set up a space laboratory orbiting the earth. After the launch of Chang’e-1 the next phases of this programme involve sending a probe which will land on the Moon and collecting rock and soil samples before returning to Earth. 

MOSI has worked with the Confucius Institute to develop partnership arrangements with a number of science-based organisations in China, and The China Space Programme Exhibition is a result of this.

Notes for editors

For more information or images call Sarah Roe on 0161 606 0176 m: 07847 372647. www.mosi.org.uk or Mike Addelman, Media relations, Faculty of Humanities, University of Manchester 0161 275 0790