- from http://www.shenyunperformingarts.org/tickets/list

As a folk art, it has been handed down from the hands of women of the minority Miao ethnic group.

The artists are the common people of the red sect of Miao people. It is so named because of their red attire. They moved from Jiangxi Province to Guizhou hundreds of years ago.

Embroidery of the red Miao people dates back to ancient times.

[Ma Xiaofei, Scholar]:
“All our culture, customs and embroidery art are handed down orally from generation to generation as we have no written words. All these are reflected in the embroidery.”

The patterns on the embroidery costumes are simple and elegant, mainly composed of three colors: red, yellow and black. Star, moon and sun patterns all come from nature or local legends.

The process of making an embroidery costume is very complicated. It goes through weaving, wax coating, cross-stitching, pattern drawing, dyeing, de-waxing, bleaching and washing, all by hand. (NTD News)

Zither playing aspires to artistic conception –appreciating the inner meaning rather than stopping at mere technical perfection. It transcends the boundaries of music, embodying the harmony between mankind and nature, the cosmic concept of the relationship between Heaven and man, and ideas of life and morality. Therefore it becomes a tool for cultivating one’s moral character, enlightening to higher truths, and edifying people. Scholars spoke of the Virtue of the zither or the Tao of the zither. In Cai Yong’s “Zither Manual,” he says: “In ancient times, Fuxi made the zither to restrain oneself from becoming deviant and to guard against the development of lust, so that one can cultivate rationally and return to one’s original true self.” In Yueji, an ancient musical record, it was noted: “The virtuous is nature’s most upright, and the musician is the virtuous’ most magnificent.” Virtue is man’s innate nature, and music is the sublimation of virtue. Music in a high realm is an expression of Heavenly Principles.

While people enjoy music, they are morally inspired and elevated to another philosophical plane.

In ancient times, the zither was an indispensable musical instrument a gentleman had to learn and cultivate with. The musician had to play with an upright mind and righteous thoughts in order to reach harmony of body and soul. In history, many famous zither players were of noble character, virtuous and incorruptible. They often displayed dignified decorum, and played the zither with respect in an exquisitely scenic environment. Their minds were serene, enabling them to reach harmony with nature and enlighten to a higher truth, just as Jikang described in a poem:

“My eyes gaze at the returning swans,

My fingers strum the five strings.

I lift and lower my head in contentment,

My mind detached, saunters into the void!”

Even in a rowdy setting, one can maintain a calm mind, playing the zither unperturbed. As Tao Yuanming (220A.D.-589A.D.) described:

“Building a thatched hut amidst the rambunctious surroundings,

As if neither noisy carriages or horses are nearby.

How sir, do you manage?

If the mind is far away, the locale will naturally be out-of-the-way.”

The mind is central for playing the zither. An upright mind produces upright music. An elevated mind produces music with deeper meanings, which in turn touches the hearts of listeners, affecting them, and enabling them to understand and resonate with the moral content of the music, and the player’s disposition and breadth of mind. Such is the nature of the arts. (The Epochtimes)

Related:
-  Ancient Chinese Zither (GuQin) Struggles to Survive- Less Than 2,000 People Play in China

Alongside ballet, classical Chinese dance is one of the most comprehensive dance systems in the world.

Classical Chinese dance has a long history of thousands of years, passed down continuously within the imperial palace and ancient Chinese theater and opera. Soaking up profound wisdom from every era and dynasty, it has become a complete system of dance embodying traditional aesthetic principles with its unique dance movements, rhythms, and inner meaning.

Dance is one part of human culture. Classical Chinese dance is grounded in 5,000 years of divinely inspired culture, and is a dance art form built upon a deep foundation of traditional aesthetics. Classical Chinese dance is rich with expressive power. Through expression of bearing and form, beautiful dance movements bring out the inner meaning of intrinsic thoughts and feelings, reflecting the peculiarities of human nature, the standard for human conduct, moral concepts, mental state, one’s value system, and so on.

Classical Chinese dance is a culture left to us by the ancients who came before us, its beauty should be riches shared by all of humanity, its purity should not be contaminated. Shen Yun Performing Arts’ dance style is built upon classical Chinese dance as a foundation, while also maintaining a number of ethnic and folk dances. This combination embodies Chinese people’s estheticism and ethnic character.

Classical Chinese dance is composed of three main parts: bearing, form, and technical skill. Other than complete training in the fundamentals, it also entails systematic training in movements and postures, as well as very difficult jumping and tumbling techniques. And so, alongside ballet, classical Chinese dance is one of the most comprehensive dance systems in the world. (- Source: shenyunperformingarts.org)

Mulan was an actual person. Her last name was Hua. She was born in a small rural village in northern China, and purportedly lived from 581 to 618 AD during the Sui Dynasty, though other records place her between 386 and 534 AD, during the Northern Wei Dynasty. While the dates may be disputed, her story is unequivocal.

Mulan’s father was a soldier and raised Mulan like a boy. She not only learned weaving and embroidery from her mother, but also practiced martial arts, equitation, archery, and fencing with her father. In her spare time she liked to read her father’s manuals on military strategy.

In those times, the northern nomadic tribes often harassed the mainland south, pillaging and killing anyone who got in their way, even women and children. Therefore the emperor sent out a decree to form an army and draft recruits from all over the land to put down the hostilities along the northern borders. According to the decree, all male adults were to register, and that included Mulan’s elderly, ailing father.

As Mulan thought of her father going to war, she knew he would likely die, and die in vain. But if he refused to go, he would be branded as being unpatriotic. Mulan’s brother was still too young to enlist, so Mulan made up her mind to disguise herself as a man, and take her father’s place in the army.

At first, Mulan’s parents were against her plan, but Mulan persisted. National interests were at stake, and loyalty to the country was considered a higher order of filial piety.

When Mulan set off on horseback to the frontier, her family sent her off at the outskirts of their village. In order to not have her true identity discovered, Mulan had to be very careful at all times. She made sure she was never left behind by her troop during the day, and at night she slept with her clothes on. Mulan trained very hard, forgoing all her feminine qualities and needs, so that no one would question her gender. For 12 years Mulan served in the army and received numerous honors.

After the war was ended, the emperor wanted to award her an official position, but she declined and asked for a good horse instead as she wished to return home to her family. Her wish was granted, and the emperor also sent an envoy to escort her home.

Her parents were overjoyed to learn of their daughter’s return and went beyond their township to welcome her home. But when they saw an awe-inspiring general riding toward them, they didn’t recognize their own, long awaited daughter.

Mulan’s brother prepared a grand feast in her honor, and after she had cleaned herself up and changed into her female attire, it was her escorts’ turn to be stunned, for the unassailable warrior, who had fought side by side with them for 12 years, turned out to be a woman. (Source: The Epochtimes)

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Shen Yun features hundreds of colorful costumes, Digital animated backdrops, and  One-of-a-kind orchestra. In the two and half hour performance, audiences travel from the Himalayas to tropical lake-filled regions; from the legends of the culture’s creation over 5,000 years ago through to the story in modern China today; from the highest heavens down to the dusty plateaus of the Middle Kingdom.

The performance by Shen Yun is a presentation of traditional Chinese culture as it once was: a study in grace, wisdom, and the virtues distilled from the five millennia of Chinese civilization.

VENUE

Queen Elizabeth Theatre
600 Hamilton St., Downtown Vancouver
Vancouver, BC V6B 1A1
Canada

SHOW TIME(S)

Fri February 3, 2012  7:30pm
Sat February 4, 2012  2:00pm
Sat February 4, 2012  7:30pm
Sun February 5, 2012 2:00 PM

TICKET PRICES:
$170, $150, $120, $100, $90, $60 (Canadian Dollars)

3D SEATING CHART
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BOOK TICKETS ONLINE (Official)
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BOOK TICKETS BY PHONE
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VIDEO HIGHLIGHT:
http://www.shenyunperformingarts.org/videos

SHEN YUN 2012 VANCOUVER:

http://www.shenyunperformingarts.org/shenyun2012/city/vancouver

OFFICIAL WEBSITE:

http://www.shenyunperformingarts.org/

Character: Yao

The character 藥 (yào) in Chinese refers to a medicine or drug. According to mythology, Shénnóng the “divine farmer”, sampled hundreds of herbs to test their medicinal value. After this, herbs 草 (căo) were thought able to heal. 藥 therefore contains the shortened version of this character, 艹, which means herbs. Shénnóng is said to have taught the Chinese their agricultural practices.

The lower half of the character is 樂 (pronounced either lè or yuè) means, on the one hand, “elation” and “happiness”, on the other hand “music.” In Chinese medicine therefore, besides the extraction of medicine from medicinal herbs, targeted application of music also played a crucial role.

According to Chinese mythology, Huangdi, the Yellow Emperor, was once challenged to a fight by his adversary Chiyou. Following a dream, the Yellow Emperor eventually used cow-skin drums to conquer his foe and his iron and bronze artillery. Not only did the soldiers of Chiyou pass out by the dozens and die, but the Emperor’s army were themselves close to death. Finally, Huangdi’s music master used a special bow to create lovely music which reached the Emperor’s warriors, and they were given new energy to live.

Since then, Chinese medicine was also characterized by this understanding. The use of music as remedy also shows in 白 (bái), which is in the center of 藥. Though 白 usually means “white,” in this case it refers to a plectrum (like a pick), used to strike or play stringed instruments.(Epochtimes)

All the officials responded, “Your majesty’s virtue is as great as heaven and earth, and it would be difficult to cover it clearly in a few words.”

The Emperor went on and said, “It is not like that. There are five reasons why I am able to accomplish what I have accomplished. First, since ancient times, emperors usually were jealous of those whose abilities surpassed that of themselves; I, on the other hand, value other people’s strong points as I value my own.

Second, no one is perfect, so I often disregard people’s inadequacies but make use of their strengths.

Third, when others encountered talented and virtuous people, they wanted to own them, and they would abandon the incompetents, wishing they could push them into the abyss. When I see talents I respect them, and when I see incompetents, I have pity on them. This way, both the talented and the incompetent have their proper places.

Fourth, emperors by and large did not like people who were upright and straight shooters. They either did harm to them on the sly or castigated them openly. No dynasty was an exception. But since I took office, the imperial court has been jam-packed with upright officials, and nobody has been chastised.

Fifth, since ancient times, emperors have valued the central plains of China highly while discounting the Rong and Di nationalities, but only I have treated them equally. Therefore, they come to rely on me as they would on their parents. The above five reasons are why I can accomplish what I have accomplished today.”

Source: Zizhi Tongjian (Comprehensive Mirror for Aid in Government), volume 198, Tang Dynasty, record 14. (The Epochtimes)