#STOFF2023 offers over 120 events created by over 60 acts involving 159 creatives from over 20 countries
The FRINGE is a multidisciplinary smörgåsboard of live events in traditional and unconventional settings. #STOFF2023 will be presented across the city and region of Stockholm, with over 17 venueshosting local and global talent! On the menu: Dance / Installations/ Music / Performance / Site-Specific / Spoken-Word / Stand-Up / Theatre
Stockholm, Dec. 17(ChinaEuropeDialogue)—2021 Word Historical and Cultural Cities Expo and World Cities Heritage and Innovation Forum have been successfully held in Nanjing, Jiangsu Province, East China recently.
With the theme of “Activation of Cultural Heritage-Towards Sustainable Urban Innovation”, experts and scholars discussed the innovative paths of cities in enhancing heritage and culture through online and offline methods, and shared best practices from all over the world.
It is worthwhile to note that the “Report on Culture Promoting the Vitality of World Cities” has been released at the forum. As a global case, Nanjing‘s vitality indicators in literature and culture aroused great attention.
Report on Culture Promoting Vitality of World Cities was released and Nanjing has excellent indicators.
Justine Simons, Chairwoman of World Cities Culture Forum and Vice Mayor of London sent her congratulatory remarks through a video.
“Nanjing is a very important member of the World Cities Culture Forum.” Said Simons. “It is necessary to make the most of the opportunity of hosting the World Cities Heritage and Innovation Forum to promote sustainable urban development”.
In 2019, Nanjing officially joined the highest-level international inter-city cultural exchange platform–World Cities Culture Forum. After Nanjing joined the forum last year, it co-organized the World Cities Cultural Space and Night Economic Development Forum for the first time.
During the famous cities meeting this year, the World Cities Culture Forum and Nanjing co-organized the “2021 World Cities Heritage and Innovation Forum” .
At the forum, David Adam, an expert in the field of world culture and creativity, founder and head of a global city consulting agency, released the “Report on Culture Promoting the Vitality of World Cities”.
The report was compiled on the basis of “Creating a Healthy Night Economy-Key Cultural Indicators of World Cities” released last year.
This year’s report lists a city’s economic and cultural vitality indicators by studying various aspects related to culture in 12 cities, such as cultural creation, cultural planning, cultural entrepreneurs, etc.
Mr. Adam explained how cities can enhance cultural vitality from different dimensions, pointing out that “cultural vitality promotes urban development and fosters a creative economy.”
It is worthwhile to note that Mr. Adam has repeatedly mentioned Nanjing’s outstanding performance.
“Nanjing performs very well in terms of literary and cultural indicators, and it is one of the cities with the best performance in this field.”
He noted that from the data point of view, fast-growing cities like Nanjing, Shenzhen and Chengdu have seen balanced development with cultural vitality.
Li Qianmu, Vice Chairman of Jiangsu Association of Science and Technology said in his speech that Nanjing is at the forefront of exploring the use of scientific and technological means to protect historical and cultural heritage. Technological innovation and cultural protection complement each other, allowing history and modernity to reflect each other, such as Nanjing’s city walls, Dayou Lane and Confucius Temple, which are all good evidences.
In the protection of scientific and technological innovation, Nanjing has formed a good ecology that promotes each other, retains the memory of the city’s history and culture, and makes living environment better.
In Nanjing, one of the most beautiful cities, literature is connected with the 2500 years of the urban construction history and linked with people’s beautiful life.
In Nanjing, mountains, rivers, cities and forests are all poems, and the humanities are also literature. It formally joined the UNESCO Global Creative City Network two years ago and was awarded the title of “Capital of Literature”. This year, the first batch of 109 Nanjing “World Literary City Landmark Network” was unveiled and more literary infrastructures were completed.
Nanjing is strengthening literary exchanges with other cities in the world with an open and inclusive attitude to promote sustainable urban development. Let Nanjing literature, Chinese literature and world literature complement each other, and let the world enjoy the enthusiasm from Nanjing, the Capital of Literature.
Wen Yiwu, secretary general of Nanjing City of Literature Promotion Association, gave a keynote speech on “Community-oriented Urban Literary Space Plan”.
He said that Nanjing had issued the “Planning Outline for the Construction of the Literary City”.
That focuses on creating a pivotal literary guest house, many demonstrating literature spaces and shared places for literary atmosphere.
“We hope to create such an atmosphere which is full of factors and elements which are conducive to literary development.”
A person can walk on a small path with a book in his or her hand and experience a beautiful cultural feast.
Lu Andong, Professor and Dean of the Department of Architecture of the School of Architecture and Urban Planning of Nanjing University, introduced Nanjing’s vision of the World Capital of Literature.
It is a substructure, unprecidented to use new technology to connect everyone in Nanjing.
“People encounter literary landmarks scattered in the city, and based on their own cognition, interest and hobbies, with support of smart means, they connect with literature in the urban space,” said Lu Andong.
“Nanjing is currently building a literary museum and planning 10 literary paths in the city. Among them, three small paths include the Six Dynasties Literature Path near Jiming Temple, the Modern and Contemporary Literature Path on Yihe Road, and the Ming and Qing Literature Path in the west of Mendongmen. They will be completed by next spring.”
This also means that in the future, people walking on the streets and alleys in Nanjing will encounter literary trails and get a touch of the literary atmosphere. More importantly, Nanjing is building a Literature Capital on the Cloud.
“We are building a database of the Capital of Literature. We shall give people information about each literature point, but behind each point, path and venues, there is a big cloud of the City of Literature.” said Lu.
Cloud Sharing of best practices in the world
At the forum, participants exchanged ideas and discussed urban cultural heritage and innovation practices.
Lori Martin, Senior Cultural Affairs Officer of the Department of Culture and Arts of the City of Toronto, talked about how Toronto has created a waterfront space that is livable, industrial and touristic. Toronto’s waterfront regeneration project has been going on for 20 years. This project hopes to create a more natural and healthier river connecting Toronto’s inner harbor and Lake Ontario, while at the same time eliminating the risk of waterlogging on more than 700 acres of urban land.
Zhang Da, representative of Shanghai Cooperation Organization and managing director of China Science and Technology Cultural Tourism, shared the “SCO National Cultural Tourism Industry Collaborative Innovation Plan”.
He said that he is discussing with relevant industry experts on how to create an independent cultural and tourism industry development belt between the SCO countries through the Eight Wonders of the SCO and the SCO National Miracle.
During this process, it is also necessary to rely on a global creative network like UNESCO to create a unique business card for each city.
Alison Bowden, Director of the Trust Fund for the UNESCO Literary Capital of Edinburgh, and Chris Grebe, CEO of the Norwich National Writing Center, the UNESCO Literary Capital, introduced Edinburgh and Norwich to the participants some projects carried out by these two “literary capitals” . They have effectively incorporated literature into the development of the city.
Richard Kirk, director of the Center for Architecture and Visual Arts at the University of Liverpool, Maria Privalova, curator of the Moscow Central Library, and Domenique Lemieux, general manager of the Canadian Institute of Quebec, also made separate presentations and wonderful case sharing.
The Regional Cooperation Forum of the World Cities Culture Forum is an important channel for member cities to seek collaboration and cooperation. The practical cases and the results of this forum will be published on the “Circle of Friends” and official website.
中华人民共和国驻瑞典特命全权大使桂从友阁下开启“2021年瑞典欢乐春节”庆典活动，祝在瑞华侨华人和各界中瑞友人牛年吉祥如意！H.E. Mr. Gui Congyou, Ambassador of the People’s Republic of China to Sweden, unveils 2021 “Happy Chinese New Year” online celebration in Sweden and wishes all overseas Chinese in Sweden, Chinese and Swedish friends in all sectors of society a Happy Chinese New Year of the Ox!
中华人民共和国驻瑞典特命全权大使桂从友阁下致辞 Remarks by Ambassador Gui Congyou
过去的一年，新冠疫情肆虐全球，许多活动不得不暂停或取消。通过斯德哥尔摩中国文化中心、在瑞华侨华人以及中、瑞各界友人的共同努力，2021年“欢乐春节”从线下走到线上，以全新的形式推出，节目丰富多彩，充满着浓郁而温馨的中国年味。各位新老朋友足不出户就能感受丰富多彩的中国春节文化魅力。Over the past year, COVID-19 has been raging around the world, causing many events to be suspended or cancelled. Thanks to the joint efforts of China Cultural Center in Stockholm, overseas Chinese in Sweden and Swedish friends, 2021 “Happy Chinese New Year” is able to continue online this year. This year’s activities include all kinds of virtual exhibitions, performances, lectures and interactive experiences, creating a warm and typical Chinese New Year atmosphere. Old and new friends can feel the colorful charm of Chinese Spring Festival culture without leaving home.
“欢乐春节”全球启动仪式及开幕音乐会 “Happy Chinese New Year” Global Opening Ceremony and Concert
“欢乐春节”是中国对外文化交流覆盖最广、参与人数最多、海外影响最大的综合性品牌活动，迄今已在瑞典举办十八届，增进了中瑞两国人民的了解和友谊。”Happy Chinese New Year” is a comprehensive brand of China’s external cultural exchange with the widest coverage, the largest number of participants and the greatest overseas influence. So far, 18 editions have been held in Sweden that have facilitated mutual understanding and friendship between Chinese and Swedish people.
2021“欢乐春节”开幕演出 中瑞线上联欢会 2021 “Happy Chinese New Year” Online Gala
节目单Program 歌曲《我的深情为你守候》/ 杨筱音Female Solo: My Affection Awaits You / Yang Xiaoyin 舞蹈《雪国的新年祝福》/ 桑娜·祖马林Dance: New Year’s Greetings from Winter Wonderland / Sanna Zommarin
古琴演奏《良宵引》、《梅花三弄》/ 邓红Guqin Solo: Tune for a Peaceful Night; Three Variations on the Plum Blossoms / Deng Hong 儿童歌曲串烧：《春晓》/ 樊晨曦；《读唐诗》/ 赵欣慧；《游子吟》/ 瑞蔼龄；《祖国、祖国我爱你》/ 张雨然Children’s Song Mix: Spring Morning / Fan Chenxi Reading Tang Poetry / Zhao Xinhui Song of the Parting Son / Elin ReiniusMotherland, I Love You / Zhang Yuran
扬琴演奏 《节日的天山》/ 杨晶莹 Yangqin (Chinese Dulcimer) Solo: Festival on Tianshan / Yang Jingying
钢琴曲《山丹丹开花红艳艳》/ 唐诗雨Piano Solo: Red Lilies Crimson and Bright / Tang Shiyu 《京剧小段 – 新春祝福》/ 郝景霞Peking Opera: Blessings for the Spring / Hao Jingxia
2021“欢乐春节”线上庆典将持续至2月26日（农历正月十五元宵节），为大家带来各种有趣的在线体验，敬请关注！ 2021 “Happy ChineseNew Year” online celebration will last until February 26 (the Lantern Festival) in Sweden to share with you a variety of virtual experiences. Follow us and enjoy! 《过年》剪纸动画Paper Cut Animation Chinese New Year
《听瓷语·观世界》互动体验
Longquan Celadon Experience Tour
金牛迎春——生肖设计虚拟展
Happy Chinese New Year of the Ox: Virtual Exhibition of Chinese Zodiac Design
红梅花开——民族室内音乐会
Red Plum Blossoms Chinese Chamber Concert
《中国味道》——春节美食工作坊
A Taste of China: Chinese New Year Gourmet Workshop
《木色华光》——木版年画虚拟展
The Luster of Wood and Color: The Virtual Exhibition of Woodcut New Year Paintings
情境冰秀——冰上杂技艺术晚会
Ice show: Acrobatics on Ice
“大河之源”——原创民族舞剧
National Dance Drama: Follow The Mother River
弦音兆丰年——新春祝福交响音乐会
Chords of the New Year: Spring Festival Symphonic Concert
中国年：文化与设计Chinese New Year: Culture and Design
在线•互动•轻课堂《话年俗•看技艺•读文化——品品春节的味道》Customs · Technique · Culture – Elements of Chinese New Year
牛气冲天——国际友人的“中国年味”Bullish – A Taste of Chinese New Year by Foreign Friends
京昆线上贺岁《兰陵王》、《真假美猴王》 Peking Opera and Kun Opera: The Prince of Lanling and The Real vs. The Fake Monkey King
世界看见·诗画浙江海外推广文旅金名片线上展
A Show to the World: Picturesque Zhejiang – Online Exhibition of Dynamic Zhejiang Culture and Tourism
“新年纳余庆，嘉节号长春”，这幅春联寓意新年享受着先代的遗泽，佳节预示着春意常在，承载着人们对社会安宁祥和的祈盼。祝大家新春快乐，2021吉祥如意！ “Enjoy ancestors’ legacy in the New Year; the joyous festival heralds the everlasting spirit of the spring.” This spring festival couplet has been carrying people’s hope for peace and social harmony for centuries. China Cultural Center in Stockholm hereby wishes you a Happy Chinese New Year and all the best in 2021!
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事实上，人类拥有共通的认同感。音乐，便是一种跨越国界超越语言的交流媒介。它以全人类共有的表达形式，打破一切藩篱，架起交流的桥梁。When different cultures meet, it may be easy to believe that linguistic and cultural barriers make understanding difficult, but there is often a core of recognition. Music is a universal type of communication medium that transcends language barriers and national boundaries, bridging exchanges among peoples.
民族音乐 Folk Music
早在远古时期，中华民族勤劳智慧的先民们在劳动生活中创造的民间歌曲便是中国民族音乐的精华。中国第一部诗歌总集《诗经》以歌唱形式广泛深刻地反映了周朝的社会状况。汉代的“乐府”在记录和推广民歌方面发挥了重要作用。唐朝通过对外文化交流，广泛吸收其周边民族音乐，并保持着中国民歌旺盛的生命力。宋至明、清以来，在原有民歌体裁继续传播的基础上，随着城镇商业经济日益繁盛，号子、田歌、山歌、信天游、花儿等民间小调体裁也广泛流传。 Since ancient times, folk songs created by the diligent and intelligent Chinese ancestors in their work and lives have been an essential part of Chinese folk music. The Book of Songs, the first collection of poems and verses in China, profoundly and extensively reflected the history and civil society of the Zhou dynasty in the form of singing. Yuefu (Chinese poems composed in a folk song style) of the Han dynasty played an important role in recording and promoting folk songs. As international cultural exchanges thrived in the Tang dynasty, Chinese folk songs embraced folk music of neighbouring nations while maintaining its own vigorous vitality. From the Song dynasty to Ming and Qing dynasties, a variety of new folk music styles were also widely spread with the growing prosperity of urban commercial economy, such as Haozi (work song), Tian’ge (field song), Shan’ge (mountain song), Xintianyou (popular on the Loess Plateau), Hua’er (popular in Northwest China), etc.
中国民歌按音乐体裁可分为以下九类：号子，在劳动中产生并演唱，铿锵有力的音乐节奏与劳动节奏紧密相连；山歌，在山间旷野或高原草原中演唱，节奏自由、音域宽广、曲调高亢；田歌，长江中下游流域在水田劳作时唱的一种古老的民间歌曲；小调，广泛流传于城镇乡村中，曲式结构规整，曲调细腻婉转，因职业艺人与文人墨客的参与，其填词度曲更为考究，有些曲调已形成曲牌，并产生许多变体；舞歌，且歌且舞的民间歌曲，曲调律动感、节奏感较强，大多在民间喜庆、节日集会时演唱；渔歌，反映渔民生活的歌，其音乐风格优雅平稳，结构短小，主要流传在沿海、沿江河的部分地区；礼俗歌，在相沿积久的特定风俗活动中传唱，并直接反映该风俗活动的基本内容和特征；儿歌，反映儿童生活情趣，传播生活、生产知识、具有民歌风味的简短诗歌，词句音韵流畅，节奏轻快；生活音调，反映日常生活中最真实的风土人情，尤以表现农民和妇女生活为多的歌曲。由于中国各少数民族在地理、历史、人文、语言等方面的不同，情歌、叙事歌、宗教歌等也具有十分重要的地位。 Chinese folk songs can be divided into the following nine categories according to musical genres: Haozi, originated and sung by laboring people during their work, the music rhythm of which is closely linked with that of labor; Shan’ge, sung in the mountains, on the plateaus or grasslands with free rhythm, wide vocal range and high pitch; Tian’ge, an ancient type of folk song sung by farmers in the middle and lower reaches of the Yangtze River when they are busy farming in paddy fields; Xiaodiao (ditty), widely spread in towns and villages with relatively fixed lyrics, regular musical form and graceful melody – due to the participation of professional artists and literati, their lyrics and composition are more exquisite, leading to the emergence of some Qupai (labeled melody) and variations; Wuge (dance song), folk music with dynamic and rhythmic melodies for singing and dancing, mostly in folk festivals and celebrations; Yuge (fisherman’s song), depicting fishermen’s life in regions along the coasts and rivers featuring elegant style and short structure; Lisuge (ceremonial song), sung in traditional and folk activities revealing the content and characteristics of the customs; Er’ge (children’s song), catchy and delightful short folk verses that reflect children’s joyful life and spread knowledge of life and society; life tone, depicting the most real daily life and customs, especially that of farmers and women. Due to differences in geography, history, culture and language among Chinese ethnic minority groups, love songs, narrative songs and religious songs are also important parts of their music.
Scandinavian folk music springs from an improvisational culture where the music is based on having an ear for music and oral tradition where the music is passed on and taught by listening and rarely written down, which is similar to Chinese folk music. It is played with great variations and adaptations to the practitioner’s own style and the author of individual tunes can be difficult to trace, despite terms such as “polska after Hjort Anders…”.
在斯堪的纳维亚半岛北部，传统音乐总是隐含忧郁凄然之感，也许是与那渺无人烟的广袤荒野与苍莽幽林有关。而在南部，肥沃宜居的环境也反映在更为轻松愉悦的音乐之中，例如《父亲之歌》（Song for Father）。民间颂歌，一种以民间曲调歌唱古老宗教赞美诗的音乐，婉转悠扬的旋律如刺绣般绵延流淌，成为无数现代音乐家的灵感来源。叙事曲，以歌曲讲述一段长篇故事，人们围成圆圈载歌载舞——这不仅是瑞典，也是整个斯堪的纳维亚半岛，包括冰岛和法罗群岛的风俗。有时，尤其是在法罗群岛，人们唱起叙事曲并随之舞蹈更像是一种祷文，为阻挡邪恶的降临做最后准备。此外，还有牧歌和短歌等。
In the northern part of Scandinavia, traditional music often has a melancholy undertone – perhaps formed by the vast wild nature and wide forests where there were long distances between the villages. In Southern areas with richer soil and friendlier landscape, the music is often more delightful and light-hearted – an imaginable reflection of the surrounding nature. An example is the heartbreaking ”Song for Father”. One of the many branches of Swedish folk music is folkloric corals (folkliga koraler) which is old religious psalms sung in a folk tune, the melodies are often rich of drills and sinuous like embroidery and continues to inspire many musicians today. Also ballades is very common; songs of many verses that were sung and danced in ring telling a longer story. This was a custom not only in Sweden but in whole Scandinavia, also Iceland and Faroe Islands. Sometimes and especially on the Faroe Islands they were sung and danced like an invocation and as an eventual preparation so the evilness would not happen. Other branches include dances, sheperds´ music such as vallåtar and fäbodpsalmer, shorter songs (visor) and much more.
Khoomei is a form of singing that originated in western Mongolia, in the Altai mountains. The performer imitates sounds of nature, simultaneously emitting two distinct vocal sounds: the drone is produced with very taut vocal cords, and the melody is created by modulating the size and shape of the mouth cavity, opening and closing the lips and moving the tongue. The singer simultaneously produces a continuous drone and a clear high pitch, creating a harmonious concord with different voice parts by one person. Khoomei literally means pharynx, and it is believed to have been learned from birds, whose spirits are central to shamanic practices. Khoomei is performed by Mongolian nomads in a variety of social occasions, from grand state ceremonies to festive household events. Khoomei is also sung during herding, and inside the yurt to lull babies to sleep.
A very special song technique in Scandinavia is called ”kulning” and is used in the northern parts of Sweden to call for the cattle and sheep in the mountains and meadows, mostly by female shepherds. It´s a song that can be heard several kilometers away and each shepherdess had her own song so that her herd would recognize the tune and come. It was also used as communication between homesteads. The song has a high-pitched vocal technique, i.e. a loud call using head tones, so that it can be heard or be used to communicate over long distances. It has a fascinating and haunting tone, often conveying a feeling of sadness, in large part because it often includes typical half-tones and quarter-tones (also known as “blue tones”) found in the music of the region. Also instruments like different kinds of horns were used. This way of singing is still taught and is a significant part of the folk music of today. The blue tones or in-between tones are difficult to learn, though when performed it touches one’s heart and mind in a very special way that adds layers to the blue feeling. A modern master of these tunes is Lena Willemark, a singer from Älvdalen in Northern Sweden, who often plays with Ale Möller and sings in her own dialect, which is more like a language of its own.
Chinese ethnic minorities are natural singers and dancers creating distinctive and appealing music and dances, such as the Uyghur’s Meshrep, the Tibetan’s Guozhuang dance, the Naxi’s Worere dance, the Dong’s Duoye dance, the Dai’s Peacock dance, etc.
As a vital part of Chinese music, Chinese musical instruments encompass a wide range of varieties developed in its thousands of years of history, which mainly fall into four categories: (1) wind instrument: flute, sheng (reed pipe), xiao (vertical bamboo flute), suona horn, etc.; (2) Plucked string instrument: guqin (seven-stringed Chinese zither), pipa (four-stringed Chinese lute), sanxian (three-stringed plucked instrument), zheng (Chinese plucked board zither); (3) percussion instrument: yangqin (Chinese struck zither), drum, gong, cymbal, etc.; (4) stringed instrument: erhu (two-stringed Chinese vertical fiddle), banhu ( bowed Chinese fiddle), morin khuur (horsehead fiddle), etc.
There are a great variety of musical instruments in Sweden amongst which the violin is by far the most important, while several kinds of flutes, horns and modern instruments such as guitar, harmonium etc. are also commonly used. A sister instrument to the violin is nyckelharpa, a keyed fiddle, and an older version is vevlira, which produces sound by a hand crank-turned wheel rubbing against the strings, much like a violin bow.
Until now, the following Chinese elements regarding music and dance (excluding operas) are inscribed on the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity: Guqin and its music; Xi’an wind and percussion ensemble; Nanyin; Hua’er; Urtiin Duu, traditional folk long song; Mongolian art of singing, Khoomei; Grand song of the Dong ethnic group; Uyghur Muqam of Xinjiang; Farmers’ dance of China’s Korean ethnic group; Meshrep; Gesar epic tradition; Manas; Hezhen Yimakan storytelling.
The 1900s marks a time of fusion of Eastern and Western culture, and consequently, a new chapter of Chinese music. In the current context, exchange and integration with foreign folk music continues to play a profoundly important role in various fields of Chinese music, including music creation, performance, education, theory, publication and marketing, etc., contributing to the development and prosperity of Chinese music in the new era.
During the early 1900s, many Swedish music scholars wanted to protect the folk heritage and performed extensive work on recording and writing down folk songs from the oral tradition. Choreographers were also inspired by folk dances and songs, and created music and dance for scenic use. The melodies are traditional songs but the way of playing may differ slightly from that to the folkloric dances.
Today’s expressions in folk music in Sweden take on many different shapes and are influenced by jazz, world music, pop and rock. Folk music in Sweden is experiencing an upswing with a big variety of groups, composers and educations in folk music at universities and folk high schools. Many folk music festivals and events are organized every year, including Falun Folk Music Festival, Urkult, Umefolk, Korrö Folk Music Festival etc. Also the popular and various folk dance scenes throughout the country attract people of all ages for dancing and listening.
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STOCKHOLM, Nov. 29(Greenpost) — Hunan Cultural and Tourism Promotion conference was successfully held at Sheraton Hotel in Stockholm on Friday.
Yu Xinrong, Secretary of Party Committee of Department of Culture and Tourism of Hunan Province, Central China said Hunan enjoys very rich tourism resources and has many cultural relics such as Yueyanglou Pagoda, Mawangdui cemetery, Maozedong’s hometown. The famous Zhangjiajie tourism spot was the shooting site for animation Avanda, its beauty has attracted many people.
Yu said that Hunan also has China’s largest lake Dongting Lake which stretches over 400 kilometers. Hunan has many ethnic minorities thus has rich culture. Hunan’s cuisine is famous for its hotness. The pheonix city and Furong Town are famous for its history.
The ancestors of the Chinese nation, Emperor Yan and Emperor Shun were buried in Hunan, Zeng Guofan and Zuo Zongtang were born in Hunan and became famous for their achievements in Chinese history. Hunan also boasts many ethnic groups which all have their own culture and traditions.
Yu Xinrong welcomed Swedish friends to visit Hunan and enjoyed the diversity in Hunan.
Cecilia Rahmqvist, Director of Laplands tourism bureau in northern Sweden also introduced Kiruna’s Ice Hotel, Tree Hotel and Ice tourism resources. She said that they used solar energy to keep the ice even in summer. She welcomed Chinese tourists to visit them.
Liu Fang, President of Hunan and Hubei Town-fellow Association in Sweden expressed her welcome to the Hunan delegation. She said her association has been promoting Hunan and Hubei culture in Sweden by holding Duanwu festival every year.
During the promotion conference, audience also watched promotion video which showed all the beautiful tourism resources and infrastructure in Hunan and impressed the audience a lot.
Cao Diefeng, Counselor of Education department of Chinese Embassy in Sweden also attended the conference.
Other guests include Zhu Jinchuan, General Manager of Air China in Stockholm, Zhang Shouting, President of Nordic China Sustainable Development Association and Ulf from BRIX.
During the promotion conference, a dozen of pictures showing the beauty of Hunan were also displayed.
