Jiang Nan was born in Quanzhou, a city in Fujian, in the south of China, a land of «mountains and water» called...«Jiang Nan».
She grows up to the sound of rehearsals by the local revolutionary opera troupe where her parents dance and sing then the municipal theater is her regular playground. She starts to learn an instrument ; the 21-string guzheng zither.
After a few years of home leaning, she integrates school classes with flexible hours intended for future professional musicians and dancers. Next, she goes in the prestigious and demanding Shanghai Conservatory, then, finally, the musicology section of Xiamen University.
Graduated and became a professor at the Institute of Performing Arts in Xiamen, the young virtuoso performs regularly on stage in China and Taiwan, alone or in a small group. She wins a few medals during interpretation competitions. She will be the soloist when the Xiamen Philharmonic Orchestra performs a concerto for guzheng written by He Zhanhao, a famous author of several pieces which everyone in China knows how to whistle the first bars. On that day, the composer himself was conducting the orchestra.
For more than ten years, Jiang Nan is in France where she gives numerous concerts as a soloist or in group : Théâtre du Capitole (Toulouse), Institut du Monde Arabe (Paris), Fez International Festival (Morocco), Festival Arabesque (Montpellier), Rio Loco Festival! (Toulouse)...
This new land also corresponded to another way of making music. Over the course of encounters where baroque music, tango, flamenco, oriental maqâm, traditional Turkish or Balkan music stumbled upon her art. Jiang Nan has embarked on a singular musical journey which, alongside her tradition to which she remains leaning, has become her main direction.
Yungchen Lhamo, Wang Xinxin, Les Passions, Walid Ben, Selim, Thomas Roussel, Serge Lopez, Clozee or Lakhdar Hanou... there were many lasting and ephemeral collaborations. Mirages of southern sounds, Tenza, Ensemble Suonatori, Ne fût-ce qu’en Chine or Orient Express, shows and creations too. Whether she composes, arranges, sings, improvises or performs, whether her sound universe is that of the Far East or the West, whether she plays alone or in ensemble, Jiang Nan’s art always has this striking expressive force, this power of breath and this purity of the line which are her signature.