Obelisks, made of local granite, were the grave markers of Aksum residents. Varying in height from several meters to dozens of meters, they were all carved from single pieces of stone.

Archeologists said the Italians plundered a 24-meter-high obelisk in 1937. After persistent demands by the Ethiopian Government and people for its return, it was handed back in 2005 and restored to its original place. The Ethiopians' just struggle protected the dignity of obelisks as well as their nation. We have reason to feel glad for them because they washed off a national stigma they had suffered with the return of the obelisk.

In recent years, there have been frequent media reports about Greece, Egypt and China urging Western countries to return looted artifacts. However, few attempts have succeeded like Ethiopia's. A nation should pursue cultural development based on its own efforts, instead of through brutal seizure and plundering. While it is possible to get rich overnight materially, it is impossible to do so culturally.

Harmony in diversity

Ethnic groups around the world have vastly different etiquette and customs. Some greet VIPs with flower bouquets, others with tea or wine. The Tanzanians welcome guests with colorful folk dances. I experienced their warm hospitality during my trip to the country. On airport lawns and in government compounds alike, we were deeply touched by spontaneous song and dance performances that immersed us in unique Tanzanian culture.

Like a river flowing from its source, art also has sources, which are people, life and nature. If it is confined to altars, palaces and a world dominated by the pursuit of fame and profits, art will lose its originality, simplicity and vitality. In other words, without the spontaneous flow of emotions, art will be reduced to flattery, empty and insincere shows, flirtations, absurdity and dullness.

Some scholars said Africa is a "cultural desert." But I think it is an oasis steeped in culture as well as a cultural treasure house. As a matter of fact, we can find African elements in the most avant-garde forms of art today, from the globally popular modern dance to stylish rapping. Many of the scholars who are critical of African culture have not closely examined Africa from a cultural perspective with a down-to-earth attitude. As a result, they are not in a position to make comments. Nobody is more qualified to speak about African culture than the Africans.

As I took a close look at African culture during my trip to Africa, I fell in love with African art. At the same time, I could not help wondering if the Africans like Chinese art.

It happened that while I was in Zimbabwe, an art troupe from China's Zhejiang Province came to Africa as part of a cultural exchange program. I watched their premiere show along with African friends in Harare. The show featured traditional Chinese songs and dances, Chinese acrobatics and kungfu. I saw with my own eyes how Chinese art drove the African audience crazy.

The show took place in a newly completed church auditorium with more than 3,000 seats, all of which were packed with audiences. From the beginning to the end, applause, cheers and screams filled the place. It never occurred to me that an authentic show of Chinese culture and art could make such a big hit in Africa. Recently, there have been a lot of discussions about cultural confidence. In the Harare auditorium, it was only natural for a Chinese to be overwhelmed by pride and confidence.

The more national characteristics a culture exhibits, the more global recognition it enjoys. National characteristics and distinctive appeal are the reasons for both our love of African art and the Africans' fondness of Chinese art.

When speaking of cultural exchanges between China and the outside world, we naturally think of Zheng He's (1371-1433) westbound voyages 600 years ago. Zheng's fleet embarked upon seven expeditions to the Indian Ocean, which the Chinese called the "Western Ocean," and made several landings on the coast of East Africa. In the National Museum of Tanzania, the curator proudly displayed to us a few porcelain objects from the Ming Dynasty (1368-1644). We were told that they were brought to Africa by Zheng's fleet. Although no longer intact, they are considered to be some of the museum's greatest treasures. The African people regard Zheng as an envoy of peace and culture from China, and the porcelain pieces as exemplars of long-standing friendship and cultural exchanges between China and Africa.

Cultural exchanges have to be two-way for the purpose of interaction and renewal. Of course there are clashes and even conflicts, but the final goals should be cultural diversity, development, and prosperity. Cultural diversity and cultural exchanges are two concurrent trends, involving interaction and fusion. Clashes are inevitable yet necessary, for they can give birth to inspiration and cultural innovation.

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