Great Barrington — On November 8, at 7 p.m., the Mahaiwe Performing Arts Center in Great Barrington will host Silkroad’s updated “American Railroad” program, a project that revisits the history of the Transcontinental Railroad through a multicultural musical lens. Led by pipa player Wu Man, one of Silkroad’s founding members, the eight-person ensemble will explore the experiences of Indigenous people, African Americans, and immigrant laborers—particularly those from Chinese, Irish, and Japanese communities—whose work and lives shaped the railroad’s construction yet rarely appear in mainstream narratives.
The program blends original compositions with traditional influences, using an unusual mix of instruments including Chinese pipa and suona; Japanese flutes and percussion; Indian tabla; and European accordion, guitar, violin, and bass. Rather than presenting a conventional historical account, the performance aims to consider the cultural exchange, displacement, and labor struggles tied to railroad expansion. The “American Railroad” initiative has also extended beyond the concert stage into podcasts, educational materials, and public media projects.
The lineup of musicians for the November 8 performance is as follows:
- Wu Man — pipa
- Niwel Tsumbu — guitar
- Shawn Conley — Bass
- Sandeep Das — Tabla
- Kaoru Watanabe — Japanese flutes and percussion
- Michi Wiancko — violin
- Guo Yazhi — Chinese winds, Chinese percussion
- Francesco Turrisi — accordion, frame drums
Silkroad, formerly known as the Silk Road Project, is a nonprofit organization founded in 1998 by cellist Yo-Yo Ma to foster cross-cultural artistic collaboration and exchange. Initially inspired by the diverse traditions along the historical Eurasian Silk Road, the organization now supports a range of artistic, cultural, and educational programs that connect people and ideas globally. Often described as a platform linking musicians, composers, artists, and audiences worldwide, Silkroad emphasizes multicultural creativity. In July 2020, Grammy-winning musician Rhiannon Giddens succeeded Yo-Yo Ma as the ensemble’s artistic director, continuing its mission of boundary-crossing artistic engagement.
I spoke with Wu Man, one of Silkroad’s founding members, via Zoom. Our conversation has been edited for clarity and length.
How does this program challenge or expand mainstream understandings of American identity?
When audiences see us onstage, they will see musicians from many cultures, backgrounds, and traditions—and that in itself is American. We may come from different heritages, but we are all here, sharing our music and our stories. That diversity is American culture. It is what makes this country what it is.
How do you ensure each musician’s cultural tradition is honored authentically?
Authenticity is essential to us. For example, I will perform traditional Chinese music—a true, pure Chinese duet with our suona master. Our tabla player will bring his tradition and lead us in an Indian piece. We want audiences to hear original sounds and understand where they come from.
But we also come together to create something new. Tradition grows when it interacts with others. That’s central to Silkroad’s mission: artists from different backgrounds working together to explore, evolve, and imagine the future of our traditions—especially for younger generations.
As a Chinese-born musician, how do you personally connect with the Chinese railroad workers’ stories?
Chinese laborers played a major role in building the American railroad system. When I visited museums in San Francisco and Sacramento, I saw photographs and archives that documented their contributions. It reminded me that this is part of my history too—my ancestors’ history—and we shouldn’t forget it.
Musically, I want to honor what those workers brought with them: Cantonese opera, folk melodies, and other traditions that came to the U.S. and became part of American culture. Sharing that heritage onstage is very meaningful to me.
This tour includes original works. Is there a piece you’re especially excited to present?
Of course—my own piece! [Laughs.] It’s called ‘Two Chinese Paintings.’
Is everything fully composed, or is there improvisation?
We use a mix. Some pieces are fully composed, while others include improvisation. For example, I have a piece where we improvise within a traditional melody. Another work on the program, by Kaoru Watanabe, is fully composed. That blend—structure and spontaneity—is part of what makes this ensemble exciting.
How do you hope audiences will connect with this program—emotionally, musically, or historically?
When I visited railroad history museums, I felt deeply connected to the stories—and reminded of the importance of remembering. At this performance, you will learn, you will hear something new, and you will open your ears, eyes, and mind. This music represents human creativity and cultural treasure from around the world. In a concert like this, you might feel joy, sadness, excitement—all kinds of emotions. And hopefully, you’ll also reflect on history, on humanity, and on our shared world.
I hope audiences will walk away from this performance having experienced not only the music, but also the history and the diversity that shaped this country. This is a story about America—who built it, and who we are together.
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Hear Silkroad Ensemble at 7 p.m. on Saturday, November 8, at the Mahaiwe Performing Arts Center, 14 Castle Street, Great Barrington, MA 01230. Tickets are available here.
