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     Have you ever tasted or perhaps heard of sugar painting? As fewer people choose to make this kind of painting, the traditional Chinese folk craft might have become a ____(distance)memory in some ways.____, a 38-year old craftsman, Li Jianzhong, is committed to____(keep)the art of sugar painting alive.

     Li worked as a miner for more than ten years. After ____mine closed down, Li turned to housing decoration, until he ____(force) to give that up due to a finger injury. Earlier this year, he discovered sugar painting, something he really had an interest in and a strong desire to learn.

     Since there was no sugar painting craftsman in his village, he studied by ____(he) through large quantities of videos and information on the internet. Li loved painting when he was young, and he found it easy____(learn) the skill in sugar painting. He soon mastered the skill and could make a ____(vary) of sugar paintings. A sugar painting is made with melted brown or white sugar. Craftsmen ____(normal) paint animals and flowers on a stone board with the syrup(糖浆). When the sugar cools down, ____appears is a piece of sugar art.

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distant,However,keeping,the,was forced,himself,to learn,variety,normally,what

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    Some of the world's most famous musicians recently gathered in Paris and New Orleans to celebrate the first annual International Jazz Day. UNESCO( United Nations Educational, Scientific and Cultural Organization) recently set April 30 as a day to raise awareness of jazz music, its significance, and its potential as a unifying(联合) voice across cultures.

    Despite the celebrations, though, in the U.S. the jazz audience continues to shrink and grow older, and the music has failed to connect with younger generations.

    It's Jason Moran's job to help change that. As the Kennedy Center's artistic adviser for jazz, Moran hopes to widen the audience for jazz, make the music more accessible, and preserve its history and culture.

    "Jazz seems like it's not really a part of the American appetite," Moran tells National Public Radio's reporter Neal Conan. "What I'm hoping to accomplish is that my generation and younger start to reconsider and understand that jazz is not black and write anymore. It's actually color, and it's actually digital."

    Moran says one of the problems with jazz today is that the entertainment aspect of the music has been lost. "The music can't be presented today the way it was in 1908 or 1958. It has to continue to move, because the way the world works is not the same," says Moran.

    Last year, Moran worked on a project that arranged Fats Waller's music for a dance party, "just to kind of put it back in the mind that Waller is dance music as much as it is concert music," says Moran. "For me, it's the recontextualization. In music, where does the emotion(情感) lie? Are we, as humans, gaining any insight(感悟) on how talk about ourselves and how something as abstract as a Charlie Parker record gets us into a dialogue about our emotions and our thoughts? Sometimes we lose sight that the music has a wider context," says Moran, "so I want to continue those dialogues. Those are the things I want to foster."