We’re excited to introduce you to the always interesting and insightful Yan Pang. We hope you’ll enjoy our conversation with Yan below.

Yan , thanks for taking the time to share your stories with us today What’s been the most meaningful project you’ve worked on?

I’m thrilled to introduce you to a meaningful project that I’m bringing to life – One-Log Bridge, a 45-minute, one-act musical opera. This innovative production blends Chinese operatic tradition with American street dance, aiming to share our cultural experience in America as immigrants. One-Log Bridge serves to amplify the voices of those living in marginalized communities who have been historically silenced. This opera provides a compelling exploration of complex social dynamics, touching on themes of resilience, race, solidarity, immigration, and the challenges of settlement. The aim is not to uplift one group at a time but to provide equal footing suitable to all groups’ unique social conditions. It is an opportunity to demonstrate the value of cultural blending and to push against negativity in art, which is important for my artistic development and our community at large.

Since the conception of One-Log Bridge in 2019, the production has evolved into a living, breathing entity. It’s an ever-malleable piece that adjusts to tell the story that we continue to create and mold. We’ve had the opportunity to work with a variety of artists and institutions, including but not limited to MIXTAPE Dance, University of Minnesota, Point Park University, New Hazlett Theater, and a host of artists like David Walsh (director), Qinqing Qian (co-librettist and composer), Fei Ma (stage manager and lyricist), Jason Noer (choreographer). These collaborations continue to strengthen our message.

One-Log Bridge is about collaboration, about telling our stories as BIPOC artists. To deliver our message, we utilize both English and Chinese languages in the piece. Since English is not my first language, I’m grateful to have had the assistance of many artists who’ve contributed their time and expertise in editing the language in the libretto. There are many project collaborators, and with every new face that works on the piece, it continues to grow and change – weaving their stories into our collective history.

This opera is for everyone who has left their home to find a sense of belonging. Even though it’s bilingual (Chinese and English), we’re open to casting anyone who can relate to these experiences, with the dialogue updated to reflect changes with respect to different cultural contexts. We want this work to be a framework for the voices who are silenced, appropriated, and stereotyped to assert their autonomy across cultures.

With every additional contributor to our narrative, our story becomes more relatable, breaking down cultural barriers and prejudices about art forms. We strive to show that opera benefits from the viewpoints of underrepresented, multidisciplinary artists. I’m especially excited that this work is created collaboratively in an accessible and inclusive setting, reaching a broad range of audiences. I want to extend an invitation to audiences who might not feel connected to opera.

This project is an important step in my career, marking my first time bringing an opera and a piece with a written libretto to life. This opportunity will massively kickstart my career as a librettist/playwright, complimenting my work as a composer. It will provide the foundation for the development of other meaningful projects and expand my vision as a creator.
Ultimately, these goals matter to me deeply because providing access to resources and telling Chinese immigrant stories are steps towards supporting other immigrant narratives. I’m looking forward to further expanding this project and enabling the telling of more invisible stories.

Yan , before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?

I am a composer whose work is driven by a need to tell the stories of those often overlooked specifically Chinese immigrant women. Our stories are often left out of discussions about race and gender in America, and through my artistic exploration, I aim to shine a light on these narratives. My experiences with becoming American and encountering various challenges are central to my work.

From new music to contemporary dance to Sichuan opera, I’ve explored various approaches to tell these stories. I immerse myself in local communities of practitioners, learning these art forms and the accompanying stories of the artists. It is my desire to produce theatrical works that envision a path to building intercultural understanding and tolerance through performance.

My most current project, One-Log Bridge, the fusion of Sichuan opera with Western theatrical and musical elements, will be presented by the New Hazlett Theater CSA series on Dec 7 & 8, 2023. This unique combination showcases the artistry and expertise of immigrant artists and expands the understanding of what opera can be. I aim to share my Chinese heritage and lived experience through these works, and I am inspired to produce urgently needed art-for-social-justice pieces that delve into complex issues and promote healing.

In addition to my theatrical works, I am a composer with a deep-seated passion for the profound language of music. I pursued this artistic discipline from an early age, and this intrinsic connection with music led me into the realm of music creation. My compositions intertwine traditional Eastern motifs with Western classical music structures, a fusion that resonates with audiences worldwide, eliciting emotions that transcend cultural and geographical boundaries.

One of my key strengths lies in my ability to articulate complex emotions through music. I use my compositions to tell stories in the most evocative manner. My works reflect a profound respect for both Eastern and Western musical traditions, which I believe is a testimony to my inclusive artistic vision.

I invite potential audiences and collaborators to join me on this artistic journey. With each piece, I strive to build bridges, enabling a deeper understanding and appreciation of different cultural aesthetics. Overall, my work represents a unique blend of tradition and innovation, East and West, emotion, and intellect. It’s not just a product; it’s an experience—an experience I invite you to be a part of.

I truly believe that music and the arts have the power to unify, heal, and inspire, and through my work, I aim to do just that. I hope you’ll join me on this journey of understanding, acceptance, and artistic exploration.

We’d love to hear a story of resilience from your journey.

My journey from China to America in pursuit of music excellence is a story of resilience. As a young composer in China, I had always dreamed of a larger world to explore. I gathered up my courage and moved to America for grad school, leaving behind my family and friends. At first, my confidence took a severe blow. No matter how much I practiced the piano, I couldn’t nail the rhythm and blues. I found myself struggling with my grades, even receiving an A- in my ensemble class, which felt like a failure to me. I started questioning whether I could ever fit into American society. But I didn’t let my initial failures dissuade me.

Instead of wallowing in self-doubt, I sought guidance and support. I started attending his office hours of my professor, Guerino Mazzola, to learn how math could help me become a better composer. With his guidance, I discovered the coolness of math and its application in music composition. We eventually co-authored a book, “Cool Math for Hot Music,” which led to a series of books on the subject.

As I moved ahead, I had to deal with the intimidation of exploring new genres. Opera wasn’t initially on my radar until I met the Opera Director from the University of Minnesota at an oath ceremony for U.S. citizenship. Encouraged by his vision, I stepped into the world of opera. Despite the daunting challenges and rejections stating that my work was “not opera enough” or “blending these genres is inappropriate,” I persisted. I wrote an opera that documented the shared experiences of immigrants in the U.S, blending Chinese operatic and folk traditions with American music and dance genres. The result, One-Log Bridge, amplifies the voices of marginalized communities.

What do you think is the goal or mission that drives your creative journey?

Indeed. My mission is to reshape and broaden the perception of who an opera composer can be, which I aspire to achieve by creating inclusive and empowering music experiences. I aim to challenge stereotypes and appropriation in the music industry and provide a platform for voices from marginalized communities. My opera theatre work, One-Log Bridge, illustrates this mission vividly. It is a platform for those who leave their homes and migrate to America, acknowledging the various forms of migration – by choice, by force, or fleeing violence. It’s a piece that resonates with many, as it echoes the journey of anyone not indigenous to this land.

This project goes beyond merely mixing genres. It’s about solidarity, intention, and respect. I believe blending genres is a strategy of unity, and drawing from different inspirations is possible with thoughtfulness and honor for the cultures involved. Despite facing doubts and rejections, I continue to push forward, driven by the belief that this mission can bring significant change in the world of music and society at large.

Contact Info:

• Website: https://www.yanpangcreate.com
• Instagram: https://www.instagram.com/yanpangcomposer/
• Facebook: https://www.facebook.com/YanPangCreateLLC/
• Linkedin: https://www.linkedin.com/in/yanpangcomposition/
• Twitter: https://twitter.com/pang_yan
• Youtube: https://www.youtube.com/@yanpangyanpangcreatellc
• Soundcloud: https://soundcloud.com/yan-pang

Image Credits
Bill Cameron Alexandra Wattamaniuk