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Beijing Contemporary Ballet dancers and the new generation of lightweight Shanxi rural rustic country musician, wearing old indigo robes, holding a hand with a wooden support from the mask – they shouted, blowing whistles, jumping, just as It is behind a translucent screen frolic shadow even.
This scene took place in the basement this winter Beijing Olympic Badminton Center, jingling ringtones, violent sound of cymbals and heavy drums filled the cavernous space has a high zenith.
The next day, on the second floor Chinese sailors club located in another corner of the city, some of the contemporary ballet dancers are a well-ventilated room and training high Yanjinzi their director together to prepare a New Year show. They do not care the cold air, with new age music recordings, doing warm-up exercises – aerobics, no less, sit-ups and cheerful dance moves; their heads decorated the wall of this slogan, “insists German art, respect for the audience. ”
On the same day, in a spacious old warehouse in the outskirts of the village of artists, and cultivate Tao Dance Theater of three female dancers being no music rehearsal, the dancers on the floor rolling, extending their left foot, and then tidy neatly with knee support to climb up. Their bodies as spring-like spin, do not pause to repeat the same action until edify think they did the right thing so far – his last year in five countries on three continents have been performed.
These sporadic screen display of modern dance in China has finally entered a period of vigorous development. And compared to other theater arts, modern dance over the years fall under the wind in performance opportunities, funding, media coverage and audience terms.
“The audience is increasing,” ping-pong party planned US Aung say, she is the Tao Dance Theater’s international expansion planners, “You can see more of the dancers remain in China. We in no hurry to rush overseas, you do not even You see people come back, found here and create opportunities. ”
In the Chinese context is the most unusual of these companies many of which are privately run unregistered companies, they are self-financing, it enjoyed a high independence. At least nominally government control most performing arts organizations and arts patron few business environment, they survived.
Chinese modern dance in the presence of a relatively short history. Dating back to 1895, the Qing Empire, the French minister’s daughter Yu Rong age under the tutelage of Isadora Duncan in Paris. When Yu Rong Ling back to China, the Empress Dowager Cixi appointed her female imperial officer, responsible for the court to introduce new dancers. But for most of the 20th century, the political environment is not conducive to modern dance. On the contrary, China to support dance, traditional opera and ballet are brought into the Soviet Union built a infrastructure.
American Dance Festival in 1986 in Guangzhou launched a modern dance training program in 1992, China’s first modern dance company – Guangdong Modern Dance Company – was founded. It is said that after high Yanjinzi quickly to keep a lot of people, from 2000 to 2006 represents the rapid development and growth of self-confidence.
“After that, probably starting in 2005, we have to speak for themselves,” she explains. “Now the Chinese modern dance has its own language of which is why so many international arts festival will invite us.”
The fact is the case in recent years, dance troupe from China has become a regular on the international art festival. Beijing Contemporary Ballet later this year in Spain, France, Denmark and Germany performances; high Yanjinzi two months, will serve as guest artist at Brown University; and Tao Dance Theater will be at Lincoln Center in New York, Poland Gdansk Arts Festival dance Festival and the new Taiwan stage.
Shanghai as the base of the end of February Venus Modern Dance in America for two months to complete, including the cities of the United States tour; and another company of Beijing – LDTX then in 2010 made a world tour; Guangdong modern dance Company also trained as a world-renowned Shen Wei this outstanding choreographer.
The troupe’s artistic language is often influenced by traditional Chinese culture. For example Wang Yuanyuan often find inspiration in Chinese literature, “Shan Hai Jing,” the creation based on Nobel Prize winner Gao Xingjian’s works – one pair of ancient Chinese myths and legends of the re-creation. The high Yanjinzi Zen will be as a source of choreography. Venus and the Beijing Modern Dance Modern Ballet have Ming Opera “Peony Pavilion” been interpreted. In fact, most modern dance is still representational, because Chinese audiences want to see the story, when performing “Shan Hai Jing”, when Beijing Contemporary Ballet performers even memorize the length or short lines.
“They ran an ancient Chinese aesthetics go,” Fang Mei Ang said. “Choreographer and artistic director who was interrupted in rebuilding period in the past.”
Mold is an exception to this trend, he said he avoided any influence from the past.
“Here, history was revised, but not really to be preserved,” he said. “I think the body will give you everything. It has all the possibilities. I just need to lead it out.”
But even Chinese Modern Dance Company has issued its own unique sound and has been welcomed abroad, in their own home but struggled on how to attract new audiences. Although the situation is improving, but overseas tour and participate in the international dance festival is still the mainstay of their existence, they use the income derived from them to support the country’s performance.
“Every time we played here are losing money because Chinese audiences do not buy a ticket,” said Gao Yan Jin son. “We’ve been here for sixteen years, and always rely on foreign performers to survive afloat.”
Fang Mei Ang pointed out some of the main problems faced by modern dance company: the lack of local dance; high performance rental; too little business arts sponsorship; unregistered dance companies can not apply for any government support; dance too much emphasis on skills and education machine learning; major televised dance show influenced many choreographers; lack dancing star (Venus is an exception); there is no funding for writers and studios.
Nevertheless, China still engaged in modern dance company to make their art in their homes to take root. Beijing Contemporary Ballet systematic efforts to attract a younger audience, the methods they have used in the university campus performances, reflecting the creation of their lives as well as dance and hip-hop artists from popular culture such cooperation.
Most contemporary dance artists in the government the current emphasis on cultural development showed a cautious but optimistic – it would be beneficial to them, even though they may be secondary.
“The timing is just right,” said Gao Yan Jin son. “Only show in order to survive to see the West is wrong. I think in 2012 in China to do more. When everyone is concerned about the culture, we should perform. Most Chinese viewers have never seen modern dance. we have a responsibility to let them see. “