Depression, also known as major depressive disorder (MDD), is a serious mood disorder that affects how a person thinks, feels, and functions in daily life. Unlike occasional sadness, depression is persistent and can lead to emotional, physical, and cognitive challenges, impacting work, relationships, and overall well-being. Symptoms include persistent feelings of hopelessness, loss of interest in activities, changes in sleep and appetite, and difficulty concentrating. While the exact causes vary, depression can be linked to genetics, brain chemistry, stress, and environmental factors. Effective treatments, such as therapy, medication, and lifestyle changes, can help individuals manage and recover from depression.
Key Facts About Depression:
Prevalence: Over 17 million adults in the U.S. experience depression annually.
Symptoms: Persistent sadness, fatigue, irritability, loss of interest, and difficulty concentrating.
Types: Includes seasonal affective disorder (SAD), postpartum depression, and atypical depression.
Treatment Options: Therapy (CBT, interpersonal therapy), medications (SSRIs, SNRIs), and alternative treatments like transcranial magnetic stimulation (TMS).
Depression is a challenging condition, but with the right support and treatment, recovery is possible. If you or someone you know is struggling, reaching out for help is a crucial first step. Whether through therapy, medication, lifestyle changes, or support groups, there are many ways to manage depression and improve well-being. Remember, you are not alone—help is available, and healing is within reach.
Cultural intelligence (CQ) is a key factor in leadership success, often surpassing IQ, emotional intelligence (EQ), or lived experience in diverse and complex environments. CQ is more than just understanding different cultures—it is a structured form of intelligence made up of four key components: CQ Drive (motivation), CQ Knowledge (understanding cultural differences), CQ Strategy (planning and adapting), and CQ Action (effective behavior). Leaders who develop these skills are better equipped to navigate cultural complexities, build inclusive teams, and make informed decisions in global or diverse settings.
Key Aspects of Cultural Intelligence:
CQ Drive: Motivation, curiosity, and confidence in engaging with diverse cultures.
CQ Knowledge: Understanding cultural norms, values, and leadership expectations across cultures.
CQ Strategy: Planning and adapting based on cultural awareness and situational factors.
CQ Action: Adjusting behavior to communicate and lead effectively in different cultural contexts.
Developing cultural intelligence is essential for leaders aiming to create inclusive and high-performing teams. By identifying areas for improvement—whether boosting motivation, enhancing knowledge, or refining adaptability—leaders can foster stronger relationships and drive success in today’s globalized world.
A new Canadian study published in JAMA Network Open highlights a troubling connection between cannabis use disorder and an elevated risk of premature death within five years. With marijuana use rising globally and daily consumption surpassing alcohol in Canada and the U.S., researchers stress the need to recognize cannabis use disorder as a significant public health issue. Dr. Daniel Myran, the study’s lead author and Canada Research Chair of Social Accountability at the University of Ottawa, emphasized that despite the increasing prevalence and potency of marijuana products, little is known about its long-term risks. This finding is especially concerning among young people, as cannabis legalization and commercial marketing continue to expand.
Key Factors
Large Study Population – The study analyzed data from 11.6 million people in Ontario over a median period of five years (2006–2021), covering individuals aged 15 to 105 years.
Increased Risk of Premature Death – Those who required hospital-based care for cannabis use disorder were at six times the risk of death within five years compared to people of the same age in the general population.
Major Causes of Death – After accounting for co-morbid health conditions, individuals with cannabis use disorder still faced nearly three times the risk of death from suicide, trauma, drug poisoning, and lung cancer.
Comparison with Alcohol Use Disorder – While alcohol use disorder posed a higher risk of death, the difference in mortality risk between cannabis and alcohol use disorders was not substantial.
Public Perception vs. Reality – Many do not perceive cannabis to have serious health risks, despite the evidence showing significant health dangers associated with cannabis use disorder.
Need for Public Health Intervention – Addressing this issue requires greater efforts in prevention, treatment, and support services for individuals struggling with cannabis addiction.
The findings of this study underscore the urgent need to re-evaluate public perceptions of cannabis use disorder and its associated risks. While many view cannabis as relatively harmless, the increased likelihood of premature death—especially from suicide, trauma, drug poisoning, and lung cancer—reveals the serious health consequences of heavy use. The comparison with alcohol use disorder further highlights the need for greater awareness, prevention, and accessible treatment options. As cannabis consumption continues to rise globally, public health efforts must prioritize education, early intervention, and support systems to mitigate the risks and protect vulnerable individuals.
In ancient times the soft, earthy, delicate silken sound of the gayageum (Korean Zither) echoed across Korea. It accompanied singers, dancers and drummers in their artistic collaborations, and now today this ancient Korean instrument has found its way west. The Gayageum has a long history in Korea, once was an instrument played for royal palace celebrations. Scholars believe the gayageum was inspired by the guzheng, which is an ancient instrument from China. In the 19th century the sanjo gayageum was born, Sanjo means “scattered melodies”, which has moments of improvisation and fast tempo. During this time new works were written for the sanjo gayageum which has become the most standard version of the instrument today. The sweet honey like sound of the instrument comes from its silk strings, and the traditional paulownia wood body of the instrument.
Over the course of its long history, construction and the composition of many folk pieces, the gayageum has made its way into the western music world. Dazzling audiences with its rich sound, the gayageum has become a famed instrument across the world. One remarkable aspect of the Korean gayageum is its ability to fuse harmoniously with different instruments, creating an atmosphere of old and new. Contemporary Gayageum performers have gone viral on social media platforms for their new, exciting and innovative works on the gayageum. One of these creative masters is Koreas own, Luna Lee. Check out the groundbreaking work Luna is creating in this video.
With the global appreciation of gayageum music, new collaborations are taking place. These collaborations are paving grounds for future artists and creatives, and also building a cultural base for world music enthusiasts to enjoy today. Many people across the world have taken up learning the gaygeum, and in doing so, also learning new ways of expression for themselves. This global cultural exchange fosters a deep profound appreciation for gayageum, and its relevance in todays contemporary world. The art of gayageum represents a rich and ancient lineage, a balance of harmony and innovation, as well as the timelessness and elegance of Korean tradition.
The Shamisen is a traditional Japanese 3 stringed instrument, shamisen meaning ” three strings” in Japanese. This lute like instrument has its origins in China where it is named sanxian, also meaning ” 3 strings” in Chinese. Both Shamisen and Sanxian were instruments used by common folk, and the history of the pieces played on these instruments reflects its evolution through the centuries. The Shamisens construction varies, usually changing depending on musical genre. Shamisen used in Kabuki are usually called Nagauta Shamisen, and shamisen from the northern Tsugaru peninsula is called Tsugaru Shamisen. Nagauta Shamisen music is very elegant, with unique tone bends and ornamentations that highlights this musical genres flavors. Tsugaru folk music is a bit more intense, fast in tempo and incredibly complex, exciting and very bright to the listeners ears. Below are some videos of Shamisen in all its glory:
Here is a video of Nagauta shamisen
Here is a video of Tsugaru shamisen
This traditional Japanese instrument has gracefully found its way into the modern world, captivating the global audience and leaving music enthusiasts in awe. With only 3 strings, a pick ( bachi) and a sound chamber, this instruments simple construction reflects its long history. Although this instrument is steeped in tradition it has become popular in many contemporary pieces and genres, highlighting its versatility. In the hands of skilled innovative musicians the shamisens voice carries the voice and soul of ancient Japan into contemporary musical genres.
The Yoshida Brothers have become masters of both traditional and contemporary music taking the world by surprise with their virtuosity. Here they have transformed shamisen music, bridging east and west.
Music is a language, and the shamisen in modern music is creating new possibilities for cross cultural musical conversation. This cross cultural conversation enlightens us, teaching music enthusiasts the many unique ways of expressions across the globe. As Japans national instrument, the shamisen will add a new flavor to the global palette for many generations to come.
” The only way to make sense out of change is to plunge into it, move with it, and join the dance.”
~Alan watts
The power of art is incredible, it has a remarkable way of calming the mind and the body, bringing out emotions, and telling stories. Art is a strong framework of challenging social, cultural and political norms, inspiring dialogue and creating empathy among people. Art has the ability to transcend language barriers, igniting emotions and reaching deep into the hearts of many across diverse backgrounds. Artistic expression challenges oppression, and promotes equality, giving a voice to many. Art is a dance, and it is a brush on paper, it a bringing together of communities, and a questioning of the current state of affairs. Art is the power to transform the world.
The unique multifaceted ways in which an artist can bring to life a dream, a vision, or a sound or emotion shows the power of art. When used to promote change, art can be the healing and peace that we need. Through sharing our stories we learn more about each other, and in doing so we unite. We can form strong, safe, culturally diverse communities that promote and value culture, traditions, and education. There’s no doubt that art has the ability to make change. Art can also be a great form of relaxation, taking the mind away from depressive thoughts and instead focusing on hope, creativity, and the moment. Many who struggle with isolation can find peace and comfort in creating art, and collaborating with other artists on projects.
Art has no walls, no borders, the language of art is universal. Many BIPOC artists have created masterpieces that did not get the same respect as western white artists. We are moving into an era of ending racism, ending hate, building stronger communities and our modern art reflects that. BIPOC artists have laid down a foundation, a great and colorful path for creatives today and of the future to build and add on to, this road of art is the birth of peace.
Everyone the world over loves those little yummy meat and veggie filled pouches of goodness better known in China as Jiaozi (饺子),and when panfried to golden perfection they capture both the culinary highlights of steamed and fried flavors, and are known as potstickers, Guotie or (锅贴). The savory and delicate flavor of these dumplings compliments just about any dish, goes with any meal, or sometimes a nice cold beverage.
Its said that the history of jiaozi dates back to at least the Han dynasty AD 25–220 by Zhang Zhongjing who practiced Chinese traditional medicine. Wrapping jiaozi has been a long tradition of China and many other Asian countries. Jiaozi are a common food during the Lunar New Year, they are said to bring luck, wealth and prosperity to anyone who eats them. Many Chinese families will get together and wrap dumplings, chat, and wish each other a happy new year. Dumplings symbolize togetherness, and have such a great importance in Chinese culture.
Photo:In north China, folded jiaozi are placed on bi (箅), in case the stuffing will make the shape saggy. Bi is made by dried sorghum stems, and it also gives Jiaozi a mark at the bottom. wikipedia
There are many ways in which these yummy flavor filled pouches can be prepared and enjoyed. They can be served with a variety of sauces, but sometimes best enjoyed with a dipping sauce made from soy sauce, sesame seed oil, and vinegar. Some of the ways in which they are prepared are by:
Boiled- Shuijiao 水饺
Steamed- Zhengjiao 蒸饺
Panfried- Jianjiao 煎饺
Deep-fried- Zhajiao 炸饺
Soup- Tangjiao 汤饺
If you haven’t tried jiaozi before you are missing out! You can find them easily at your local Asian restaurants. You can also find some amazing recipes that vary depending on region in China and country in Asia, with such a wide variety of ways to make jiaozi you won’t be dissatisfied on your dumpling search! For the best and most authentic dumplings join your Chinese friends for Chinese New Year, there will probably be some homemade dumplings at the New Years party!
Many people the world over have seen Bonsai, maybe on movies such as Karate Kid, or at their local conservatories. Maybe even some people have friends, or relatives who raise the tree’s, or they have seen Bonsai in a garden center. These stunted trees have a very long history that goes back thousands of years to ancient China and Japan.
The word Bonsai derived from the Chinese word Penzai (盆栽) which means potted plant. During the Tang Dynasty Penzai was at its stylistic height. The stunted trees were favored by Buddhist monks, scholars and royalty. The trees were planted in shallow trays and decorated scholars rooms, temples and courtyards. It was common to display your tree for guests, especially if it were of flowering or fruiting variety. Bonsai were sometimes put on both sides of Buddhist statues as well. These little trees were found in nature by scholars who enjoyed the beauty of what nature can create. These scholars would travel risking their lives many times, to collect trees from the wild which had great potential to become a piece of living art. These wild pieces of art are extremely rare, they are rare because of the conditions needed to create them. Hundreds of years of wind cutting the tree back, storms, lack of nutrition in mountain soil, and roots restricted by rock can sculpt a tree into a beautiful piece of art that scholars prized and named literati.
Japanese scholars and Buddhist monks fell in love with the Chinese Penzai and brought them back to Japan where they were then pronounced as Bonsai (盆栽). Over many years the Japanese refined the art form and were inspired by the nature and organic perfection of pine trees. In 1950 John Naka (better known as the father of American Bonsai by Bonsai enthusiasts) and his friends established the California Bonsai society, which became an important vehicle for the birth of Bonsai in the United States. Master Naka was known for his work with forest plantings and conifers, and he used mostly native variety of trees in his projects. In 1976 Japan gifted 53 Bonsai to the United States which then eventually led to the founding of the National Bonsai and Penjing Museum in Washington D.C.
Photo: Asian Media Access
These little trees depict natural scenes, forests, and can even look like distant mountains with rivers and fog when created and maintained by a professional Bonsai artist. Have a look at the photo below, notice the illusion of distance in the planting. Such small trees can have a big artistic impact on the viewer.
Photo: Asian Media Access
The Chinese are famous for their masterful rock and tree plantings. The plantings range in size from less than a foot to well over 4 feet. One can say that it was the scholars visions of China’s great mountains that led to this style of this art today. In Japan the rock plantings are also popular, at one point they were much smaller than the Chinese plantings however Bonsai expert Masahiko Kimura totally went bold and created large masterful rock and tree plantings.
Photo: Alejandro Sartori
Photo: Alejandro Sartori
Today we are so lucky to be able to witness this incredible art of sculpting beauty with living wood. We can see the vision of the Bonsai or Penzai artist, we can see the distant mountains, forests and streams through their eye. If we can silence our inner-selves and allow the magnificent beauty of these trees to speak, we will be able to appreciate and be moved by these living works of art.
Heavenly music is interpreted differently by everyone.
Chinese proverb
Any music student, regardless of skill, will most likely have to learn western music theory. What is music theory?, well, Wikipedia says “Music theory is the study of the practices and possibilities of music.”~ Wikipedia. Across the globe civilizations have been playing some form of music for quite a long time. Music has been a part of human evolution since the start, was it called music at that time? probably not. But, this does not mean that humans did not relax to the sounds of song, instrument, or percussion. Music can be found in every culture, sometimes it takes form in ceremonies, or it may have been enjoyed for leisure, whatever the case we can say for certain that music does exist in all cultures.
As an African American Guzheng performer, instructor and composer I often meet many musicians, some who are quite skilled in their music, and very knowledgeable in music theory. My training on the Guzheng was quite traditional, I did not learn Western music theory (which is forced on every musician today), I learned Chinese music theory. China has a very long musical tradition which has been documented and practiced for thousands of years. For example, the Guzheng 古筝 has existed for around 2500 years, the Guqin or 古琴 around three thousand years old, and the bronze bells 编钟 around 3,600 years old, and the Se or 瑟 of the Zhou dynasty 1045–771 BC. The list of ancient instruments in China is long, and notations for these instruments have been documented. Unlike the Western European music theory which uses a staff and dots to read, the Chinese developed an ancient thousands of years old numeric musical notation called Gong Che or 工尺 which is still used among the very small group of traditional musicians today. With modern westernization, traditional arts are transforming, some traditions are also dying. We must think about the importance of cultural arts, and not allow the modern world to kill what has held nations together, influenced identity, and promoted the respect of nature.
Here are some pictures of traditional Chinese instruments of the past that still exist today:
The original uploader was Zzjgbc at Chinese Wikipedia. – Transferred from zh.wikipedia to Commons. From the Tomb of Marquis Yi of Zeng, dated 433 BC, during the interregnum between the Spring and Autumn Period and Warring States Period of ancient China.
The original uploader was CharlieHuang at English Wikipedia. – Transferred from en.wikipedia to Commons by Shizhao using CommonsHelper.”Jiuxiao Huanpei” 《九霄環佩/九霄环佩》, the famous Tang Dynasty qin in the Fuxi form by qin maker Lei Wei. Image from a photograph from a friend in China.
A comparative table of Gongche notation and other notations, from a book published in Kyoto in 1909. In Japan, Gongche notation became widespread to a certain extent.
Yale University Art Museum – https://artgallery.yale.edu/collections/objects/92412. A Se (Chinese zither) from the 5th-3rd century BC with four pegs. Red and dark lacquer with carved textures. The strings have decayed.
Many Western European musicians do not consider Chinese music real music, some have even considered Chinese instruments quite easy to learn because of the Wu Yin 五音 or Pentatonic scale consisting of 5 notes. Some of the musicians I spoke to even went as far as saying that Chinese music lacks harmony and so on. These enthusiasts and musicians lack knowledge, and are ignorant to the facts, and ignorant to what it takes to be able to even create a beautiful sound on an instrument. Piano is made easier with keys, but when playing masterfully on an instrument like Er Hu 二胡 (Chinese fiddle), it can take years and years to master the techniques of just 2 strings. The Guzheng 古筝 is also incredibly difficult to master, it can take years to refine the many very complicated techniques on the instrument. If Music theory is the study of practices and possibilities of music, we should also include the practices and possibilities of non European music.
Photo: Yulin Cave 10, Western Xia, (1036-1227 C.E.), Wikimedia ( Apsara plays the zheng)
Going to temple every week was always quite exciting. The bells, the incense, the chanting and the strong community all together brought an incredibly warm and spiritual experience. I’ve always thought of ordaining as a buddhist monk, but the opportunities to ordain are not easy to come by. To ordain as a monk takes commitment, devotion and hard work, and is certainly not an easy life. There are many paths into a deeper stricter practice, the practice of studying buddhist literature, the practice of studying ones mind, studying ceremonies etc. These different practices can take us deeper into our spiritual journey. For me, learning the guzheng has brought me closer to my spiritual journey, in a very interesting way it has also brought me closer to my ancestors as well, and the same is true for my buddhist practice. Each time I give an offering I think of my ancestors and relatives, the world and everything and everyone. Giving offerings with a pure heart, with ones mind on those who experienced injustices can be a powerful way of healing from the generational traumas of slavery and white supremacy.
After nearly 10 years of inquiring to the abbots, monks, nuns and the Buddhist community about ordination, I was finally accepted into 4 monasteries. It was super exciting, I felt happy and peaceful however still a part of my heart was telling me to stay in Minnesota. I had an opportunity to study with a high ranking Lama in a Tibetan monastery, a couple of Zen masters in Vietnam and also with the monks in California and Kentucky. Through the intense studying, reciting scriptures and meditation, I’ve found even more of myself and what I needed for my practice in this lifetime, and that was mostly solitude. Without leaving behind my faithfulness to the Buddhist monastic tradition, I decided that I needed to meditate and practice in such a way that I can also benefit the Black community in the present moment and in the future. Talking with others about the black buddhist experience is always interesting, many people do not believe we actually exist, or they think its a “trendy phase”. No, we do exist, and our experiences, and perspectives are also valid. We exist in every lineage, in every language, in the north, in the east, south and west. However small the percentage of black Buddhist practitioners may be we will still hold together through love and the black buddhist experience. No matter the distance, or distance in time, it is our hearts and the goals we have that will bring us together in a community of love.
Through this journey into stillness I have understood silence, and it was in this silence that I realized music is also quite sacred, and the Guzheng is just that. Focused, with a heart of love, if your art calls to you, listen. Art is what brings all walks of life together, it is healing, it is emotion, it is history and it is the key that unlocks many gaps, distance, borders and barriers. I hope my new original compositions that are in the works bring a moment of stillness, peace and beauty to anyone who listens. I hope that these compositions will also build a strong basis of material for the African American Guzheng musicians of the future. The world may not see you yet, but I, Jarrelle Barton do.
