Chinese dancers dazzle international audiences with artistic charm

Nestled in the lush landscapes of Southwest China lies Yunnan province, a mosaic of ethnic diversity and the birthplace of a dance that has captivated the nation and the world beyond. It is here that the Dai ethnic group's peacock dance, a mesmerizing display of color and culture, took flight — and where the legendary 66-year-old dancer Yang Liping, affectionately dubbed the "Peacock Princess", first spread her wings.

Yang's journey began with the Xishuangbanna Song and Dance Ensemble, where at the tender age of 13, she embarked on a career that would see her become an ambassador of Chinese dance. Inspired by the stunning green peacocks native to China, Yang crafted a dance that reflected her deep appreciation for nature and beauty, a sentiment that resonates with people worldwide.

Green peacocks are the sole indigenous peacock species in China. Unlike the more common blue peacocks found in India and Pakistan, they are smaller but no less captivating. When they fan their tail, sunlight radiates through the feathers.

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Yang would often conceal herself behind a Bodhi tree to observe these peacocks closely; how they walked and ruffled their feathers. She noted the crisp sound their feet made upon landing, akin to stepping on braziers.

"Peacocks symbolize humanity's deep yearning and reverence for beauty and nature," Yang said. "I simply present these sentiments through my dance."

Wings of change

The trajectory of Chinese dance, much like the peacock's majestic plumage, has been expansive and vibrant, especially since the reforms of 1978. Yang's performance at the 1990 Beijing Asian Games marked a pivotal moment, showcasing the fusion of traditional Chinese dance with contemporary flair. Her influence has spread through the dance community, inspiring productions like Dynamic Yunnan and Under Siege that have captivated audiences in over 50 countries.

"As a Chinese dancer, I am very proud of being able to present Chinese culture to the world through my art," said Yang, balancing conviction with humility.

Amid the lush greenery of Yunnan and the ethereal mists of Shaanxi, a bird once on the brink of oblivion has taken to the skies — not just in the wild, but on the world stage of performing arts. The crested ibis, a symbol of fortune that once faced extinction, has been given a new lease of life, both in its natural habitat and in the realm of cultural expression.

In the quiet corners of Yangxian county, Shaanxi province, what seemed like the final chapter for the crested ibis was being rewritten. Seven surviving birds, discovered by vigilant Chinese scientists, became the seed of hope for a species that had vanished elsewhere due to over-hunting and pesticide use. From these fragile beginnings, a conservation triumph emerged, and the crested ibis began its steady return from the shadows of extinction.

Shanghai Dance Theatre, recognizing the profound narrative woven into the ibis' resurgence, brought its tale to life through the dance drama Soaring Wings: Journey of the Crested Ibis. Premiering in 2014 with Zhu Jiejing as the lead, the production earned accolades as the Eastern counterpart to Swan Lake, masterfully blending the grace of ballet with the essence of Chinese dance.

Yet, the path to reviving such an obscure avian character was not without its challenges. Zhu Jiejing, whose own dance aspirations were once stirred by childhood dreams of beautiful dresses, ventured to the crested ibis' ancestral grounds in Sado, Japan.

There, she observed the minutiae of their existence, from their drinking rituals to their foraging habits. Zhu's dedication to her art was clear: to dance like the ibis was to understand its very soul. "It's not about imitation; you have to dance with your heart," she said.

Zhu's journey with dance, a testament to resilience and passion, had led her from being a young hopeful at the Shanghai Dance School to the distinguished principal dancer she is today. The rigors of training, once a stark contrast to her initial vision of dance, had become the foundation of her artistic integrity.

In 2015, Zhu and the Soaring Wings troupe embarked on an exhaustive two-month tour across Japan, performing 57 times in 64 days. "It takes a lot of confidence to conduct such a large-scale commercial tour of a Chinese dance drama overseas," Zhu said.

As the drama unfolded, the auditorium descended into an intense silence — so profound that one could hear a pin drop. To Zhu's amazement, the silence was shattered by a thunderous eruption of applause at the conclusion of the show.

"The audience's applause was so overwhelming that it felt like a tidal wave crashing onto the stage," recalled Zhu. "I realized that the audience was showering us with their utmost approval."

The profound adoration and support from the Japanese audience uplifted the performers' spirits. The final performance even brought them a big surprise.

"After our last show, just when we believed everything had concluded flawlessly, the auditorium was suddenly illuminated; fireworks erupted and ribbons danced through the air, and our emotions soared beyond control," Zhu shared. "The audience unfurled a banner bearing the words 'Eternal Sino-Japanese Friendship' and 'Thank You'."

Over the past decade, Chinese dance has accelerated its global reach. From the Nasdaq screen in Times Square to the hallowed halls of the Kennedy Center in Washington DC and the Lincoln Center in New York, Chinese stories like The Peony Pavilion and The Red Detachment of Women have captured the imagination of audiences worldwide.

The journey continued in January 2018 when Soaring Wings brought its poetic interpretation of the crested ibis' flight to the Lincoln Center. Despite a historic "bomb cyclone" snowstorm and temperatures plunging to — 15 C, the theater, with nearly 2,000 seats, was filled.

Zhu, reflecting on these milestones, sees a bright future for Chinese dance on the international stage, saying, "Now, armed with confidence, the authentic artistic creations that we wholeheartedly support have received acclaim from the West."

Young power

In the tapestry of modern globalization, short-video platforms have emerged as vibrant threads weaving together the cultural exchanges of our time. It is through these digital stages that the allure of Chinese art and the burgeoning trend of "China chic" have pirouetted into the global spotlight.

Gen Z dancer Liu Yu rose to fame through his performances that incorporate traditional Chinese elements, which he showcased on a reality TV show where artists from various countries competed for idol status.

Back in 2021, as Liu graced the stage, greeting the audience with a traditional Chinese bow, a foreign contestant was visibly moved, exclaiming, "This is why I came to China — to embrace Chinese culture."

The audience applauded loudly after Liu's performance, with contestants from Japan and Russia imitating his bow in admiration of the Chinese performers on stage.

Even amid a constellation of dance champions and internet celebrities, Liu's embodiment of "Chinese style" secured him first place and a ticket to global stardom.

Fast forward to the present, and his influence resonates with fans across the world. In Foshan, Guangdong province, admirers from the United States and Vietnam donned hanfu — traditional Chinese attire — as a tribute to the culture that Liu champions. "Liu left me with a very positive impression of traditional Chinese culture and inspired me to consider wearing traditional Chinese attire," one of his fans said.

In a departure from the focus of "going global" in the past, Chinese dance has further transcended onto mainstream platforms. It has captivated a diverse global audience to experience the unique charm of Chinese culture.

"Nowadays, people start to categorize 'China-chic' across various domains. Whether in music, dance, fashion, or even everyday essentials, traces of 'China-chic' can be discerned," said Liu. "Young Chinese are growing more self-assured with their cultural heritage."

Rivers to the East

The profound emotional impact of Chinese culture on foreign audiences extends far beyond the confines of the dance stage.

Seven years ago, video blogger Li Ziqi gained global popularity on You-Tube with videos showcasing traditional Chinese culture and lifestyle, leading her to set a Guinness World Record for the most subscribers for a Chinese language channel. Despite a three-year hiatus, her fan base remains nearly 20 million strong.

Chinese stories and elements are also permeating Western media, with titles like Mulan, The Three-Body Problem, and dramas like Joy of Life and Love Between Fairy and Devil being featured on mainstream Western media platforms including Disney+ and Netflix.

In the gaming industry, Black Myth: Wukong, the first China-made 3A video game, has shattered records and ignited interest in the classic novel Journey to the West, with players seeking to understand its cultural references and mythology.

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"To understand the story, I searched for Journey to the West online and read it using translation software. I was deeply impressed by the story of the Women's Country," an Italian player commented. Many foreign players have posted interpretations, reactions and even "fan works" about the game on social media.

"I believe that 'China-chic' embodies much more than just a phrase. It represents the spirit of our nation. In a broader context, it signifies our values. It reflects the ideals we uphold, the traditions we cherish and the beliefs we stand by," said Zhu.

The narrative of sharing traditional Chinese culture with the world continues, promising an enduring journey of cultural exchange and enlightenment. As Yang said: "Our efforts to spread Chinese culture are like drops of water slowly coming together. While they may not appear grandiose at first glance, we have to do it, right?"

Contact the writers at idaxue@chinadailyhk.com