A Chinese amateur music program has achieved global reach, with an adapted song surpassing 2 billion streams worldwide. The milestone was announced at the finals of the "C-Wave Global Music Co-creation Plan · Joy Resonance of Nanyang" held in Kuala Lumpur, Malaysia, where Indonesian singer Kezia Kaithlyn won the grand prize for "Aku Masih Memikirkanmu," an Indonesian-language adaptation of the Chinese song "Later I Met Him." The achievement underscores the growing international appeal of Chinese-language music and the effectiveness of people-to-people cultural exchange initiatives.
Hosted by China's Guangdong Radio and Television, the project is open worldwide with no restrictions on nationality or age, featuring three tracks: original creation, adaptation, and AI co-creation. Within just 30 days of launch, it received over 5,000 submissions from around the world, with musicians from more than half of APEC member economies participating. The finals brought together 300 guests, with 68 local media outlets including Radio Televisyen Malaysia covering the event. A Malaysian member of parliament said music can dissolve differences and expressed hope the event becomes a regular fixture. A local tourism and culture official described the project as building a bridge for Asia-Pacific youth exchange under the framework of APEC's China year. Scholars from multiple countries also recognized Chinese-language music's value in connecting hearts across regions.
The program's significance lies in its ability to use music as a vehicle for civilizational dialogue, conveying an open and inclusive Chinese culture to the world. Experts on international affairs and China studies, the president of the UNESCO Culture Without Borders association, and Chinese-language schools worldwide have followed it closely. Overseas reach has totaled 300 million, with 137 domestic and international platforms simultaneously promoting it. As reported by Media OutReach Newswire, the initiative helps ordinary amateurs reach the international stage, demonstrating how cultural exchange can foster mutual understanding and cooperation across borders.
The implications of this announcement extend beyond the music industry. By providing a platform for amateur musicians from diverse backgrounds to share their interpretations of Chinese-language music, the program fosters cross-cultural collaboration and challenges stereotypes. The overwhelming response—over 5,000 submissions in just 30 days—indicates a strong global appetite for such initiatives. Moreover, the involvement of APEC member economies suggests that cultural diplomacy is increasingly recognized as a vital component of international relations. As the program continues to gain traction, it may inspire similar efforts in other regions, further amplifying the reach and impact of Chinese culture worldwide.
Kezia Kaithlyn hopes her adaptation will help Southeast Asian listeners understand the emotional core of Chinese-language music—a vivid embodiment of the global co-creation initiative. Her success story serves as a testament to the power of music to transcend linguistic and cultural barriers, and it highlights the potential for amateur artists to achieve global recognition through platforms that prioritize creativity and collaboration over commercial interests.
