Los Angeles, California – August 24, 2026 – Recently, the “Shan Haizimen de Ge” public welfare project has attracted public attention for its long‑term commitment to rural children’s music education. Focusing on ethnic‑minority children’s choirs in mountain villages, the project has expanded to 20 rural primary schools and supported over 700 children through its original “Three‑Stage, Six‑Competency” teaching framework, systematic music classes, choir training, and stage practice. By using singing as a path of aesthetic education, the team helps children in remote mountain areas develop confidence, express themselves, and gain opportunities to be seen by the outside world. The project has gradually formed a public welfare model that integrates rural education, children’s growth, ethnic music, and youth social responsibility.
In terms of teaching‑system innovation, the project has built a comprehensive music aesthetic‑education system tailored to the vocal features and musical aptitude of rural ethnic‑minority children. It has established a Mountain‑Children Alliance, bringing together music experts, university music‑major teachers and student volunteers, front‑line school teachers, as well as music‑loving members of the public. Diversified teaching methods including hands‑on singing coaching, group chorus and one‑on‑one volunteer guidance are adopted. Local‑material teaching aids such as bamboo‑tube maracas and wooden rhythm clappers are created to enliven classroom lessons with folk‑song‑oriented regular courses. Currently, more than 80 percent of enrolled students voluntarily participate in music activities. In partner schools, the availability of music lessons has risen from 37% to 92%, while the pitch‑accuracy pass rate among students has increased from 63% to 81%.
When it comes to practice‑mode construction, the team has opened up a complete growth path from classroom to stage. After four years of steady public‑welfare work, young choir members have progressed from mountainside classrooms to provincial, national and international venues. They have performed on high‑profile stages including the CCTV Spring Festival Gala and the Belt and Road Forum for International Cooperation, and completed cross‑border artistic exchanges by cooperating with world‑renowned musician Howard Goodall on adapted folk pieces. More than 70 participants have won awards at art competitions at various levels, and some students have been admitted to specialized music colleges for vocal music and music‑education studies. The project has also received 46 thank‑you letters from parents, schools and industry institutions, gaining wide recognition for its educational outcomes.
In expanding brand influence, “Shan Haizimen de Ge” fuels the living inheritance and international outreach of traditional ethnic‑minority music. Online content related to the initiative has earned a total view count of over 250 million, with coverage from more than 180 Chinese and international mainstream media outlets. Beyond bridging the aesthetic‑education resource gap in mountainous regions and fostering children’s self‑identity, the project breathes new vitality into intangible cultural heritage and helps distinctive ethnic‑minority children’s voices reach global audiences.
Looking ahead, the project team intends to roll out its proven music‑training system across ethnic‑minority villages in central and western China. By coordinating resources from universities, local primary schools and community volunteers, it will build an integrated operation system covering classroom teaching, stage performance and brand promotion. The team aims to develop a well‑known public‑welfare brand for rural aesthetic education, support the musical dreams of ethnic‑minority youngsters, and carry China’s traditional children’s folk songs onto broader international stages.
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To view the original version on ABNewswire visit: “Shan Haizimen de Ge”: The Heavenly Echo of China’s Rural Ethnic Minority Children’s Choirs
