Ancient Traditions Find New Expression through Fusion Music

After the success of her 2025 fusion-music experiment, Shanghai musician Mandy Chen returns this summer with a more ambitious collaboration. In the coming weeks, she will lead a diverse group of musicians in what promises to be a celebration of different cultures and sounds.

This time, the Shanghai-based tabla player has invited the well-known Indian bansuri (bamboo flute) talent Rajat Prasanna to perform with flamenco guitarists and keyboardists, among others.

The tour, which kicks off in Hangzhou on Sunday, followed by performances in Shanghai, Chengde and Beijing, will offer audiences another unique encounter between Indian and Chinese musicians.

For Chen, who continues to train under a guru in India, fusion music is not about abandoning tradition but expanding upon it.

“My journey actually began with a deep love for Indian classical music,” she said. “I spent years studying traditional tabla and immersing myself in its history, repertoire and philosophy. That foundation remains at the center of everything I do.”

As a Chinese musician devoted to an Indian art form, Chen found herself naturally positioned between two musical worlds.

“What drew me toward fusion was curiosity,” she said. “I became fascinated by the possibilities that arise when different music meets — not to replace one another but to inspire new forms of creativity.”

The experiments have included collaborations involving Chinese instruments and even the handpan, a relatively modern percussion instrument known for its atmospheric sound.

“Each musical tradition has its own language, structure and way of understanding rhythm,” Chen explained.

“Indian classical music is deeply connected to the tala system. (Tala, or clap, is a structured rhythmic cycle that governs timing, pace, and rhythmic organization in performance and improvisation.) Chinese traditional music approaches rhythm differently, but this diversity is precisely what makes the collaboration exciting.”

She believes the tabla’s versatility enables it to serve as a rhythmic foundation, a conversational partner or even a solo voice.

“Rather than forcing everything into the same framework, we create a space where different musical languages can interact naturally,” she said.

Prasanna, one of India’s foremost exponents of the bansuri, shares a similar philosophy.

“What excites me most is the opportunity to engage in a genuine musical conversation with artists from another rich and ancient culture,” he told Shanghai Daily. “Indian and Chinese musical traditions have deep histories and unique aesthetics, yet both value subtle expression and emotional depth.”

Bansuri, long associated with Indian classical music and spirituality, acquires new dimensions when introduced into a multicultural ensemble, he said.

“The soul of the bansuri does not change, but its surroundings do,” Prasanna said. “It encounters different tonalities, rhythms and musical perspectives. This creates new colors and textures while preserving the instrument’s natural warmth and emotional quality.”

Prasanna hopes Chinese audiences will discover that music has the power to transcend language and geography.

“Even though our musical traditions may be different, emotions such as joy, longing, peace and celebration are universal,” he said. “I hope listeners leave with a greater appreciation for Indian classical music and the cultural dialogue that this collaboration represents.”

Maintaining authenticity while exploring new musical landscapes remains central to both artists.

“Fusion works best when it is built on a strong understanding of tradition,” Prasanna said. “The goal is not to erase differences but to celebrate them.”

Chen agrees, arguing that the future of global music depends not on superficial combinations but on meaningful exchange.

“Meaningful collaboration requires more than simply mixing sounds together,” she said. “It requires mutual respect, deep listening and a willingness to learn from one another.”

She sees projects such as these as offering a glimpse into the future.

“When artists are deeply rooted in their traditions and come together with openness and curiosity, something genuinely new can emerge,” she said.

Chinese flamenco guitarists Kaysar and Turghun are set to perform alongside Chen and Prasanna on Sunday at the JZ Club in Hangzhou, capital of east China’s Zhejiang Province.

Subsequently, Argentinian keyboardist Muriel Marco and Chinese flutist Dong Yifan will join them on the stage at the Lincoln Jazz Center in Shanghai on June 28.

There are performances scheduled to take place in Chengde, north China's Hebei Province, and Beijing.

With Prasanna’s performances in China expected to continue the momentum generated by Chen’s earlier work with Indian sitarist Murchana Adhikary Barthakur, their collaborations suggest that cultural dialogue can flourish through shared artistic experiences.

Hangzhou concert

Indian Classical x Flamenco Guitar

Date: June 21

Venue: JZ Club

Address: 6 Liuying Road

Guests: Kaysar and Turghun

Shanghai concert

Indian Classical x Fusion (Argentinian, South African, Indian, Chinese influence)

Date: June 28

Venue: Jazz at Lincoln Center Shanghai

Address: 4F, 139 Nanjing Road E.

Guest: Where Is One (band)