The Essence of Classical Chinese Dance

By Zhang Tianliang, Special to The Epoch Times, Jul 26, 2007-Flash back to 1300 years ago. Emperor Zhong Zong ¹ of the Tang Dynasty (618-907 AD) is hosting a feast on January 30, in the year 707, at the Kunming Pool. With all officials of the royal court present, he asks the officials and literary scholars to each write a poem about the occasion, and to present the best poem to him.

The Emperor had a colorful tower built, and invites Shangguan Wan’er, a beauty known for her literary accomplishments, to select the best poem. Two famous poets of the time, Shen Quanqi and Song Zhiwen, are both present.

Ms. Shangguan wore a phoenix-shaped hairpin and an embroidered dress in a light fabric. She sat on the tower and her long sleeves hung down. The court assistants presented the poems. Ms. Shangguan read them and made comments on each. Those that did not meet her standards were thrown to the ground.

The officials looked up at her. As each piece drifted down from the tower, it was picked up to see who the author was. Shen Quanqi and Song Zhiwen, however, did not retrieve any pages, as each believed that his was the best. Shen said, “You and I have been rivals for a long time. This time, whoever wins should be considered the better poet. That will settle our dispute once and for all.” Song smiled and agreed.

Soon, Ms. Shangguan let go of another poem. It was Shen’s. She wrote her comments after the poem, “It looks like Shen and Song’s poems were comparable. However, the last two lines of Shen’s poem showed that he was at his wit’s end, yet Song’s poem had new ideas, as though a flock of birds just took to the sky. That’s why I thought Song’s poem was better.”

The officials read the two poems. They were well-written, with exquisite phrasing. However, Shen’s poem ended with, “This humble servant employs failed material.” while Song’s last two lines read, “No need to worry that the bright moon will fade; the pearl of the night is soon to arrive.” They all agreed with Ms. Shangguan’s comments.

Chinese culture focuses on the atmosphere. This permeates the areas of calligraphy, painting, chess, music, poetry, martial arts, and dance. Shen’s poem compared himself with “failed material,” and ended on a sad note. Song’s poem, on the other hand, introduced a new element with the arrival of the “pearl” after the moon went down. This showed his superior ability to add a new, higher meaning.

The NTDTV International Chinese Classical Dance Competition held earlier this month included many talented people with outstanding techniques. But in terms of the inner meanings of their movements, Ren Fengwu (Michelle Ren) was clearly the best.

Ms. Ren’s dance was based on the concept of a pure lotus flower in the Buddha’s pond. Her clothing was also white, symbolizing the sacredness and purity of the lotus. Her dance not only showed the realm of lotus flowers, but also reminded us of the solemnity and holiness of the Buddha’s Paradise. As the lotus flower fluttered in the breeze, we could hear the music of a different world and almost smell its fragrance. It brought peace of mind to the audience and won their respect. On subject selection alone, Ren was one step above the others.

Her perfect forms demonstrated her deep understanding of the theme. Her movements were soft and fluid, yet every form was defined and refreshing. Strength was shown in the silkiness of her moves. The transitions between positions were natural and smooth. She held a very steady standing leg stretch (please refer to this link for the movement (please visit Youmaker.com to see video of this movement ), and then immediately executed a back flip with her hands supporting her on the ground.

This movement showed people sudden but inspiring change. When she danced, although the movements were dramatic, they made the audience feel calm. Her facial expression was peaceful and unaffected, as though she was not in a dance competition or pleasing the judges, but was only interpreting her understanding of lotus flowers through mature skills.

Even after she finished dancing, the energy and feelings from the dance were still in the air. The spirit of the dance was truly beyond the form.

Besides subject selection, Chinese culture also places importance on subtlety. Legend has it that Emperor Gao Zu ² of the Han Dynasty (206 BC–220 AD) initially didn’t have faith in Han Xin’s ³ ability to lead an army. The Emperor gave Han a very small piece of fabric and told him that he could lead as many soldiers as he could draw on the fabric. Instead of drawing soldiers, Han drew a running horse; the back half was hidden behind a wall, so only the first half was shown. One could see that the hands of the person riding the horse were holding a banner for a battle, even though the person himself could not be seen. Although Han had not drawn one complete person, the battle banner inferred that there were thousands of troops behind the rider.

During the Song Dynasty (960–1279 AD), Emperor Hui Zong ⁴ held an examination for the Royal Art Academy. The test was to draw an ancient temple hidden deep in a mountain. The top prize went to a painting that showed layers upon layers of mountains. A monk was at the foot of the mountain, drawing water from a creek. Although the artist did not actually show an ancient temple, everyone could tell that the temple would naturally be found deep in the mountains.

The same principle applies to Chinese Classical Dance. If the movements are too similar to martial arts, ballet, or gymnastics, if they are too hard or too soft, or if the transition between the quiet and dramatic was too obvious, then the dance lacks the required subtlety.

Chinese culture has always encompassed many areas. When a person handwrites a character, or even makes one move, others can obtain all kinds of important information about this person. This is of course even truer in a classical art form such as dance. A dancer will reach a plateau if she is able to improve technical skills but lacks a deep understanding of the Chinese culture. If a dancer lacks personal cultivation and understanding, she will be unable to successfully portray characters from the Heavens or those who have good moral qualities, such as loyalty and chastity.

Although techniques in dance are important, improvement in one’s morality is what truly resonates with the kind nature of those in the audience. The journey of moral improvement is endless. The Tao School believes that “everyone can become wise emperors,” and the Buddha School believes that everyone can cultivate to become a buddha. This means everyone has the potential to be enlightened, just as every dancer is able to reach that high realm. However, the process is one of arduous cultivation. This is the same process that established the essence of Confucianism, Buddhism, and Taoism, the foundations of the 5,000-year culture of the Chinese nation.

The process is an endless road, one that must be traveled by those who seek the highest realm in Chinese Classical Dance.

[1] Emperor Zhongzong, Tang Dynasty
[2] Emperor Gaozu, Han Dynasty
[3] General Han Xin
[4] Emperor Huizong, Song Dynasty

- Original report from the Epochtimes 

Review: Enlightening and Resplendent, NTDTV’s Chinese New Year Spectacular

by Jennifer Wesnousky, Explore Dance, February 16, 2007-

China’s Tang Dynasty between 618 and 906 A.D., explains the program for the NEW TANG DYNASTY TELEVISION’S CHINESE NEW YEAR SPECTACULAR, “is often called the highest point in Chinese history. Morality and education were highly valued and society was in harmony with nature.” Formed and named for this period by Chinese people living in the United States, the goal of New Tang Dynasty Television is to utilize American free speech to educate other Chinese people about world affairs in an environment free of the historic Chinese government restrictions. Its CHINESE NEW YEAR SPECTACULAR, performed at Radio City Music Hall between February 14 and 17, 2006, paid additional tribute to the prosperous period, showcasing a mélange of traditional Chinese song and dance to the educational delight of folks from every ethnicity.

The SPECTACULAR was a spectacle from its very first moment. The curtains opened to a smoke-filled stage across which the scurrying dancers, dressed as angels, appeared to float. A screen in back of the swarm of performers projected what appeared to be genuine Chinese landscapes, which changed from scene to scene. Following the first piece and throughout the performance, a charming Chinese narrator and her male, American counterpart shed some bilingual light regarding many of the production’s depictions.

Representing different historical periods and traditions, the SPECTACULAR presented an array of diverse and delightful dances. The young performers in “Rainbows” burst in carrying mystery props that appeared like bouquets of flowers, releasing them to reveal beautiful, brightly colored garlands similar to those used in rhythmic gymnastics. With tiny steps and little body movement, the number’s focus was on musically moving the ribbons midair, sometimes creating creative shapes in the midst of spins or leaps. “Dai Ethnic Dance” featured tiny, beautiful young females whose slow motion, sensual movement and shimmying shoulders in front of a projection of a river and palm trees evoked a comparison with the Hawaiian hula. Another standout dance piece featured a barrage of male dancers in fur-lined headpieces, made to represent herders on the Mongolian plains. Their masculine dance was filled with flowing arms, jerky shoulder movements and Russian-esque toe-touches, cartwheels and airborne barrel turns.

Many of the SPECTACULAR’s dance numbers included eye-pleasing formations, flowing arms, small, scampering steps and serene, seemingly divinely inspired faces. The use of props additionally characterized several of the compositions. In addition to the “Rainbows” ribbons, the companies incorporated bright orange, parasol-shaped cloths twirling rapidly on their fingertips, flower-shaped candleholders held precariously like trays atop the dancers’ hands and, in “Victory Drums,” a plethora of drums and drumsticks meant, according to Chinese folklore to “ward off evil” as well as “bring in a happy and bright New Year.”

The show also incorporated a live orchestra as well as an assortment of vocal talent including piano-accompanied sopranos, a tenor and a contralto who displayed her incredible vocal range. While all of the performance’s vocal numbers were sung in their native dialects, their projected transcriptions and English subtitles across the performance backdrop revealed their themes, dealing often with historical movements and their devoted disciples.

Whether outfitting the singers or dancers, each and every SPECTACULAR costume was just that, incorporating a brightly colored, beautiful range of fabrics as well as intricate headpieces. Silks and chiffons abounded on outfits including dresses, skirts, pants and robes with sashes with extreme attention to detail on accessories from jeweled tiaras to flowers, bows and even butterflies.

For an hour and a half on February 16, 2007, various aspects of Chinese culture became accessible to such diverse audience members as Chinese and other Americans, including teachers and school children from a multitude of backgrounds who may otherwise never have been exposed. Through the meticulous portrayal of Chinese song, dance and instrumentation by a team of over two-hundred talented performers, the NEW TANG DYNASTY TELEVISION’s CHINESE NEW YEAR SPECTACULAR left its audience with the tranquil sensation of having witnessed something both enlightening and resplendent.

- original from Explore Dance

Plum Blossoms, First of Four Noblemen, in Chinese Arts

By Tony Dai, to NTDTV-

Plum blossom, orchid, bamboo, and chrysanthemum were adored by the ancient Chinese literati and artisans, and referred to as the “Four Noblemen.” This was because they were used to portray noble characteristics, such as pureness, humbleness, and uprightness.

The first “nobleman” is plum blossom which begins blooming in the harshness of winter and continues into early spring.  It is seen as bringing vigor and vitality to the world.

The dance “Plum Blossom” in the 2006 Chinese New Year Global Gala truly brought the spirit of this flower to the stage.  The performance captured the essential nature of plum blossoms, “a fragrance coming from the bitterness and coldness they experience.”

The dance themes included: blossoming, braving snow, and heralding the arrival of the spring. Gracefully movements were used by the dancers to depict the peaceful blossoming of plum flowers in the cold winter. Suddenly, a thunderstorm appeared blowing fierce cold winds. The heart of the story is displayed as the dancers represented the inner strength and unyielding courage of plum blossoms. Then, the storm stopped and the sunshine finally burst forth.  After experiencing the ordeal, the plum blossoms became even more beautiful.

The beauty of plum blossoms are not just due to their color or that it is the only flower blossoming in the winter. It is also because each gentle petal has grown through the cruelty of the winter storm, and represents the essence of the process of growth.

In the traditional Chinese style of writing, the character for plum blossom was endowed with unique inner meanings and expressed the virtues of courage, strength, and taking fame and wealth lightly. It is said that an artist who creates a fine portrait of plum blossoms should have the noble characters of plum blossoms.  So, when painting this flower an artist strives to express their unyielding courage and noble character. Many painters in China love to draw plum blossoms, but not everyone of them does it well.

Shi Zhongren, a monk during the Song Dynasty, was well known for his plum blossoms paintings on thin silk using black ink. It is believed that the reason he painted plum blossom well was because he was a cultivator with a noble personality.

The master of painting this flower was Wang Mian, an artist in the Yuan Dynasty.  Wang stated that paintings were poems with no words, and poems were paintings with words. Different from Shi’s style with a few branches and plum flowers, Wang’s paintings contained many branches and plum flowers, expressing uprightness and enthusiasm.

Other artists in the Ming and Qing Dynasties were also famous for their paintings of plum blossoms. Their painting styles may vary considerably, but they shared one similarity  noble characters.

[- Author Tony Dai is an art collector, critic, and writer.]

China: “Shenzhou” - “The Divine Land”

Names tell a tale, they say.  Of the many names for China over the centuries, one stands out for all that it promises to tell: “Shenzhou” - “The Divine Land.”

Stretching across the canvas of Chinese history is a profound inclination, apparent in fields as diverse as urban planning and internal medicine, towards a world beyond, to a greater higher presence.

The very earliest works of Chinese art, drawn with remarkble care, depict godly figures and acts of veneration. In the earliest dynastic times, rulers considered heaven’s will fundamental to the well-being and integrity of the state.

The earliest extant Chinese writing, carved into tortoise shells, was solely devoted to discerning the will of a greater spiritual power. Entire cities were laid out so as to align with a higher, invisible order.

Chinese fiction and the novel, meanwhile, were born of Buddhist moral tales. Chinese metallurgy was interfused with, and often driven by, Daoist visions of alchemically transmuting the body into divine substance.

In almost every facet of China’s traditional culture can be found a wish to align human activity and thought with that of a greater spiritual presence or order, called variously “Dao” (the way), “Fa” (the law), “Tian” (heaven), “Shen” (god), or “Li” (principle).

This applied to carpentry and architecture, the martial arts, poetry and painting, astronomy, acupuncture, the festival calendar, and even military strategy, to name a few.

Hardly any aspect of China’s classical culture can be understood absent this. For this is the cultural legacy of “Shenzhou” - China - “The Divine Land.”

( From: NTDTV website,  The Divine Land )

Related:
-  The Mystery of Chinese Culture & Art

The Mystery of Chinese Culture & Art

The following story can help to shed some light on the mystery:

Once there was an art dealer who had a painting that depicted a young farm boy leading a horse across a bridge. The boy was facing the horse, his body leaning back, and he looked like he was exerting great effort.

One day a buyer came in and had to have this painting. However, he didn’t have enough money on him to buy this rather expensive artwork right away. So he asked the dealer to hold the painting for him while he went home to get the funds.

As the seller took the painting down, he noticed it was missing the rope the boy should have been using to lead the horse. Without much thought, he picked up an ink brush and added a rope to fix this apparent flaw in the painting.

When the buyer came back and saw the new rope, he was terribly upset. He told the dealer: “I was only willing to spend so much on this painting because of the rope that wasn’t seen but could still be felt!” 

Asian-themed performances like NTDTV’s Holiday Wonders or the Chinese New Year Spectacular offer an entirely new experience for many Westerners, partly because they are so different from the more typical, narrative-driven, performing art forms. They ask something different from the audience – a slight shift in expectations, a shift in sensibility.

The appreciation for what is implied rather than what is in plain sight sets Asian art apart from Western art. Traditional Chinese dance, for example, is less precise and strict in form than its Western counterpart, ballet. It is because it attempts to evoke a different sort of feeling. Like a glass of claret with its subtle undertones, this kind of dance leaves room for the imagination while leaving a lasting impression.

The more something is described in a concrete way, the smaller the range it covers. For example, the phrase “hot water” describes not only water but its temperature, so although “hot water” is more specific than “water,” it precludes “warm water,” “cold water,” and other kinds of water and is therefore more limited. Perhaps this is why so much of Chinese art seems to speak in generalities. Ink landscape paintings with their broad brush strokes and wide swaths intentionally left blank are particularly hard for the Western eye to grasp. These paintings can often seem vague and unclear, but to the discerning viewer, each brush stroke speaks volumes.

The same holds for the Chinese language — known for being extraordinarily concise and yet also rich and descriptive precisely because it is so succinct. Indeed, many Chinese words and proverbs contain concepts that could take paragraphs to explain in another language.

The NTDTV holiday shows seem to have struck a balance between the more refined traditional dance forms and the simple pleasures of rousing music, impressive large scale dances with dozens of dancers moving in synch, and, of course, gorgeous costumes and backdrops.

The shows offer enough new flavors to be intriguing without being overly foreign. The more subtle elements may be lost on many in the audience, but their presence nonetheless enriches the entire performance for everyone.

Ultimately, stories of grace and virtue told through song and dance will speak to us all forever. ( Original from NTDTV website )

Story, Meaning and Tradition of the Chinese New Year

Year- “Nian”,  name of a strange beast

Passing of Nian- “Guo Nina”

Celebraing the Chinese New Year- Celebraing the Passing of the strange beast Nian

In ancient China there was a strange beast called “nian” with a long head and sharp horn and it was extremely fierce. “Nian” dwelled deep in the sea the whole year, but on every New Year’s Eve it would climb onto the shore to devour livestock and harm humans. Because of it, on every New Year’s Eve, all the villagers would take their old and young deep into the mountains to hide from harm from “nian.”

On New Year’s eve one year, as the people were all busy collecting their possessions in preparation for their retreat to the mountains, a grey haired man appeared in the village. He asked an old woman to allow him to stay in her home for just one night and assured her that he would certainly chase away the beast. No one believed him. The old woman urged him to go to the mountains with the other people to hide. The old man steadfastly refused. Seeing that he could not be persuaded, the villagers departed without him.

When the beast arrived at the village to wreck havoc as usual, it was met with a sudden sound of exploding firecrackers. “Nian” was shivering all over and dared not proceed any further as it was most frightened by red color, flames, and explosive sounds. At that moment the large door opened wide and the old man, wearing red clothes, laughed heartily. “Nian” was startled. It turned pale, turned tail and fled!

On the next day, as the people returned from deep in the mountains, they found the village intact and safe. They suddenly realized what had happened. The old man was a deity who had come to help the people drive away the beast “nian”. They also found the three precious items that the old man had brought to chase the beast away. From then on, on every New Year’s eve, every family would hang up red banners, set off fire crackers, and light their lamps the whole night through, awaiting the New Year. The custom spread far and wide and became a grand traditional celebration of the “passing of nian” (”nian” in Chinese means “year”) for the Chinese people.

Chinese people refer to the period of time from the twenty-third day to the thirtieth day of the twelfth lunar month right before the Chinese New Year as the “small nian”. Every family is supposed to clean their surroundings in preparation to receive the New Year.

Besides cleaning the surroundings, each Chinese family is also supposed to make the New Year’s purchases for the upcoming festival, including chickens, ducks, fish and meat, fruits, and sweets. Every family also prepares presents to bring along when they visit their friends and relatives. They also buy new clothes for the children.

In the evening of New Year’s Eve, the whole family gathers together. In Northern China, dumplings are eaten. The Chinese word for dumpling, “jiao” and the Chinese word for “together” are homophonic (same sounding), so the dumplings symbolize the family being all together and happy. At the same time, “jiao” also means the coming of the New Year. In Southern China, people eat the sweet New Year cake (made from glutinous rice flour), which symbolizes sweet life and making advancement during the New Year (in Chinese, the Chinese word for “cake” and “making advancement” have the same “gao” sound). At the stroke of twelve at midnight, every family starts lighting firecrackers!

On the first day of the New Year, people wear their new clothes and wish their elders a happy New Year. When the children wish the elders a happy New Year, they receive some money for the New Year. On the second and third days, people visit their friends and relatives to wish them a happy New Year.

The streets during the New Year period in China are generally thronged with people. At some places there are special events such as lion dances, dragon dances, flower markets, and temple fairs.

After the fifteenth day of the first lunar month, which is the day of the Lantern Festival, the Chinese New Year celebrations are considered to be over.