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Chinese Ethnic Cultural Gathering China is home to 56
ethnic groups – each with its own distinct folk customs, language,
clothing, and dance.
“Chinese Ethnic Cultural Gathering”
celebrates China’s diversity and unity through folk dances from the
Han majority and Mongolian, Tibetan, Dai, Miao, Manchu, and Uyghur
ethnic minorities.
1.
Han The
Han ethnic majority accounts for 92% of China’s overall population
of 1.3 billion people and 20% of the entire global human population.
While they can be found in almost every part of China, they
live primarily in close proximity to the Yellow River (“Huang He”),
Yangtze River (“Chang Jiang”), Pearl River (“Zhu Jiang”), and
Songliao Plain.
“Yangge” (or “rice sprout song” in Chinese) is one of the most
representative folk arts among the Han people.
Traditionally, villagers come together to dance “yangge”
during celebration such as Chinese New Year.
They express feelings of happiness through warm and energetic
movements. Silk fans
and scarves are two of the most popular props for “yangge.”
The intricate way of opening and closing the fan is a
distinctive quality of this piece.
Choreographer:
Yu Zizhong
Dancers:
Tia Bi, Laura Brockmann, Carolyn Butler, Freda Chen, Irene Chien,
Briana Floyd, Emma Gough, Lacey Krakowiak, Li Li, Genevieve Xiao Fei
MacDonald, Alice Y. McCurley, Tiffany H. Morgan, Nia Nguyen, Emily
Pau, Anna Rappaport, Emily Yuan Reittinger, Catherine Stoddard
Kimberly Wu, Emily Ye, Nora Yunfan Zhang
2.
Mongolian
Mongols, who are the ninth largest ethnic minority in China with a
population of 5.9 million, live a nomadic lifestyle on the vast
grasslands of the Inner Mongolia Autonomous Region of China.
Their dance style expresses their unconstrained character,
brave hearts, and worship of legendary heroes.
Nicknamed “the race on horseback,” Mongols love horses and
geese. As a result,
they have developed a range of gestures to imitate these animals in
their dancing. Repeated
shoulder shrugging is also a distinctive characteristic of Mongolian
dance. Mongolian
chopsticks dances are usually performed as entertainment during
celebratory banquets.
The dancer creates body percussion phrases using chopsticks to hit
their arms, hands, shoulders, back, waist, legs, and the floor.
Choreographer:
Beijing Dance Academy
Dancer:
Tanya Su (Saturday), Janie Wu
(Sunday)
3.
Dai The
Dai people, who are the eighteenth largest ethnic minority in China
with a population of 1.3 million, are one of several ethnic groups
who live in the Xishuangbanna Dai Autonomous Prefecture and the
Dehong Dai and Jingpo Autonomous Prefecture in the southern part of
the Yunnan province in southwest China.
To the Dai people, the “holy bird” peacock is a symbol of
happiness and auspiciousness. Hence, the peacock dance has become
the most famous traditional folk dance of the Dai people. Originally
performed by unskilled male dancers at festivals, the peacock dance
has since been widely interpreted by choreographers throughout
Chinese dance history.
Bouncy knees, angular arms, and hyper-extended fingers are defining
characteristics of Dai dance.
Choreographer:
Tian Lou
Dancer:
Queena Kou
4.
Tibetan
Tibetans, who are the eight largest ethnic minority in China with a
population of 6.2 million, live primarily in the Tibetan Plateau
(“qing zang gao yuan”) north of the Himalayas, which is sometimes
called “the roof of the world.”
Many Tibetans also live in India, Nepal, and Bhutan.
Dancing is an integral aspect of Tibetan culture.
There is a saying in Tibet that is “Tibetans who can walk can
dance.” Tibetan dance
is most well-known for its long sleeve-swinging and rhythmic foot
stomps.
Choreographer:
Guangdong Dance School
Dancers:
Emily Backer and Mei-Jing
Bernard
5.
Miao The
Miao people, who are the fifth largest ethnic minority in China with
a population of 9.4 million, live primarily in southern China in
Guizhou, Hunan, Yunnan, Sichuan, Guangxi, Hainan, Guangdong, and
Hubei. Many Miao have
migrated out of China into Southeast Asia.
Miao costumes typically include embroidered pleated skirts
and silver jewelry. The
jewelry symbolizes prosperity and happiness and is believed to have
the power to ward off evil.
Free swinging hands and hips are characteristics of Miao
dance.
Choreographer:
Zhang Yaozhong
Dancer:
Kate Zahniser-Word
(Saturday), Madeleine Morgan Lan Harris (Sunday)
6.
Manchu The
Manchu people, who are the third largest ethnic minority in China
with a population of 10.4 million, live primarily in northeastern
China in Liaoning, Hebei, Heilongjiang, Jilin, Inner Mongolia, and
Beijing. They ruled
China during the Qing Dynasty (1644-1912), the last of China’s
dynastic cycle. The
exquisite costumes for this piece, fashioned after royalty in the
Imperial Palace, include elaborate headdresses and “flower bowl”
platform shoes. The
poised, elegant imperial princesses take small steps and swing their
arms gently to keep steady.
Choreographer:
Ma Jingxing, Sun Qi, Liu
Yongxin, and Liu Mengjun
Dancers:
Jessica Kouch,
Lulu Pearce, Grace Winogradsky, Alice Yee, Amy Yee
7.
Uyghur The
Uyghur people, who are the fourth largest ethnic minority in China
with a population of 10 million, live primarily in the Xinjiang
Autonomous Region in northwest China.
Because of their close proximity to the Middle East, most
Uyghurs are followers of Islam.
Uyghurs love to sing and dance.
Because Xinjiang is renowned for its fruit and produce,
Uyghur dance often includes movements inspired by young ladies
picking grapes.
Intricate neck and wrist movements are distinct characteristics of
their dance style.
Turns are another important part of Uyghur dance.
Dancers typically turn very rapidly and come to an abrupt
stop, like a soaring eagle that stops suddenly.
Choreographer:
Secondary School of Beijing
Dance Academy
Dancers:
Kateri Goodwin (Saturday),
Sophie Archer (Sunday)
8.
Finale This
dance brings together seven of China’s 56 ethnic groups in an
exciting finale, showcasing the diversity and colorfulness of
Chinese folk dance.
Choreographer:
Yu Zizhong (Han), Hwee-Eng Y.
Lee and Kerry Lee (Minorities)
Han Dancers:
Tia Bi, Laura Brockmann,
Carolyn Butler, Freda Chen, Irene Chien, Briana Floyd, Emma Gough,
Lacey Krakowiak, Li Li, Genevieve Xiao Fei MacDonald, Alice Y.
McCurley, Tiffany H. Morgan, Nia Nguyen, Emily Pau, Anna Rappaport,
Emily Yuan Reittinger, Catherine Stoddard Kimberly Wu, Emily Ye,
Nora Yunfan Zhang
Minority Dancers:
Sophie Archer, Emily Backer, Mei-Jing Bernard, Kateri Goodwin,
Madeleine Morgan Lan Harris, Queena Kou, Jessica Kouch, Lulu Pearce,
Tanya Su, Grace Winogradsky, Janie Wu, Alice Yee, Amy Yee, Kate
Zahniser-Word
Welcome Remarks by Elizabeth Wang
Xiamen Wedding
Based on Chinese opera,
Xiamen Wedding illustrates key
elements of a Han traditional wedding in the city of Xiamen in the
Fujian province in southern China.
9.
Matchmakers In
ancient times, marriages were arranged by matchmakers (or “mei po,”
literally “matchmaking old woman”).
These women would discuss possibilities of marriage
separately with the boy’s and girl’s families.
If neither family objected to the proposal, the “meipo” would
match the birth dates of the couple to predict their future.
If the result was positive, they would proceed with wedding
arrangements. “Meipo”
typically dressed in colorful clothing with exaggerated make-up.
Most importantly, they had a large mole above the mouth
(ideally on the right side).
It was believed people with moles over their mouths were
great talkers who could talk black into white and make great lawyers
– or matchmakers.
Choreographer:
Xiamen Gezai Opera
Dancers:
Anna Rappaport and Emily Ye
10.
Xiamen Bride
Chinese wedding traditions vary from region to region and even
village to village, but wedding ceremonies always begin with the
groom meeting the bride in her home.
Prior to his arrival, the bride would be helped by older
respectable women who dressed her hair as a married woman.
For the Han people, red (symbolic of joy) is featured
prominently in the clothing and other ritual objects pertaining to
the wedding.
Choreographer:
Xiamen Gezai Opera
Bride:
Catherine Stoddard
Groom:
Bryan Yang
Dancers:
Nancy Chen and Shu Wu (Leads), Carolyn Butler, Yifang Chang, Freda
Chen, Julia Collier, Debbie Ellis, Agate Lip, Angela Liu, Ying Zhao
11.
Wedding Celebration
Traditionally, the bride journeyed to the groom’s house in a sedan
chair. All of the
household, and perhaps the entire village, would be waiting to
receive her.
Firecrackers (represented by handkerchiefs in this dance) and loud
instruments such as suonas and drums were used to scare off evil
spirits. In this dance,
the big head dolls (big-head masks with smiling faces, believed to
bring a good harvest and ward off ghosts) pretend to be the bride
and groom in the bridal chamber.
Traditionally, the bride’s face was covered by a red
handkerchief until the groom removed it in the bridal chamber.
That was his first opportunity ever to see the bride’s face!
Choreographer:
Hwee-Eng Y. Lee and Kerry Lee
Bride:
Catherine Stoddard
Groom:
Bryan Yang
Big Head Dolls:
Sarah Anne Marie Goodwin and
Mia Mercaldo
Suona and Ribbon Dancers:
Olivia Chan, Sylvia Chan,
Hope Collier, Leila Elble, Rebbecca Gipson, Danica Huang, Daphne
Huang, Grace Marriott, AnnElise Pearce, Samantha Quan, Joanna Speck,
Jeannette Tsai
Handkerchief Dancers:
Yi-Shan Bernard,
Mia I-Wah Chan, Sarah Anne Marie Goodwin, Camille Gough, Hilary
Hsieh, Mia Mercaldo, Isabella Pu, Yannie Tan, Jessie Wong, Jessica
Ye, Karrie Zhao
Drum Dancers:
Dinna Kanita Dewi, Christabel
Flagg, Alice Howting, Emma McHale, Anna McKenney, Iris X. McKenney,
Joline Speck, Summer Sun, Kara Thurston, Ashley Wang Pause – 5 Minutes
Contemporary Chinese Folk Dance
12.
Flying Horses Based
on folk dance of the Mongolian ethnic minority and their love for
horses, this innovative piece provides Chinese dancers with a rare
opportunity to dance with their hair down as a symbol for horses’
flying manes. While
traditional Mongolian dance pieces often depict riders on horseback,
the dancers in this exciting contemporary Chinese dance piece
portray the role of the high-flying, galloping horses themselves.
Choreographer:
Secondary School of Inner
Mongolia University College of Arts
Dancers:
Sophie Archer, Emily Backer,
Carolyn Butler, Kateri Goodwin, Madeleine Morgan Lan Harris, Queena
Kou, Jessica Kouch, Lulu Pearce, Tanya Su, Grace Winogradsky, Janie
Wu, Alice Yee, Amy Yee, Kate Zahniser-Word
Intermission – 15 Minutes
Chinese Painting in Motion
Inspired by the Chinese
paintings of Kuansoi (Christine) Kou, Atlanta Chinese Dance
Company’s original Chinese dance production Chinese Painting in
Motion brings to life a traditional Chinese painting exhibit of
lucky goldfish, blooming peonies, willowy bamboo, and more through
the story of a fictional Chinese painter who toils from obscurity to
fame.
13.
Fan as a Paintbrush This
classical Chinese dance piece utilizes a silk fan as a paintbrush to
depict a Chinese painter (“The Painter”) in action.
Slowly developing from stillness to motion, The Painter’s
movements symbolize a transition from “xingshu” (a semicursive
script in Chinese calligraphy) to “kuangcao” (wild cursive, in which
the characters are often illegible).
The piece demonstrates the energy and spirit of classical
Chinese dance technique and the harmonious coordination between the
dancer’s body and fan.
Known for its unique combination of classical Chinese dance,
painting, and music, this piece is the first of its kind to showcase
the stronger side of classical Chinese women.
Choreographer:
Tong
Ruirui
The Painter:
Kerry Lee
14.
Protect the Little Frogs This
dance depicts a little girl who loves to catch frogs.
After she is bitten by mosquitoes and the frogs eat the
mosquitoes off of her body, she realizes that frogs are good for the
ecosystem and should not be killed.
She lets the frogs go and they dance together happily ever
after.
Choreographer:
Gao Defeng
Girl:
Emma McHale (Saturday), Alice
Howting (Sunday)
Little Frogs:
Olivia Chan, Sylvia Chan,
Hope Collier, Leila Elble, Rebbecca Gipson, Danica Huang, Daphne
Huang, Jaela Huang, Grace Marriott, Yveliz Ortiz-Dennis, AnnElise
Pearce, Samantha Quan, Joanna Speck, Jeannette Tsai, Georgeann
Wandurraga, Paulina Yang
15.
Moonlight Over the Spring
River The
choreography of this well-known classical Chinese dance was designed
to accompany a classical tune of the same name.
It creates a serene picture of ancient Chinese ladies who are
dancing under the moonlight, expressing their yearning with the
gracious movements of the feather fans.
Choreographer:
Li Chenglian (Solo), Hwee-Eng Y. Lee and Kerry Lee (Group)
Zither (Live Music):
Shu-Fang Chen (Guest Artist)
Solo Dancer:
Janie Wu (Saturday), Tanya Su (Sunday)
Group Dancers:
Yifang Chang, Freda Chen, Nancy Chen, Julia Collier, Debbie Ellis,
Agate Lip, Angela Liu, Shu Wu, Ying Zhao
The Painter:
Kerry Lee
16.
The Fisherman and the Fish The
Chinese words for “fish,” “surplus,” and “jade” are homonymic words
(all sound “yu”), so fish represent affluence and abundance in
traditional Chinese culture.
There is a popular Chinese New Year greeting “nian nian you
yu,” which means “abundance through the year.”
Chinese painters often draw fish as carp or goldfish, because
the words “carp” and “benefit” are homonymic and the word “gold”
represents wealth. This
dance depicts the playful interaction between a fisherman and a
school of little goldfish.
Choreographer:
Liu Yingzi and Sun Ningling
Fisherman:
Andrew Ellis
Fish:
Dinna Kanita Dewi, Christabel Flagg, Alice Howting, Emma McHale,
Anna McKenney, Iris X. McKenney, Joline Speck, Summer Sun, Kara
Thurston, Ashley Wang
17.
Love Songs of the Sixth
Dalai Lama Most
Tibetans practice Tibetan Buddhism, which is the inspiration for
this dance. The old
lady spins a prayer wheel, which contains a paper roll in which
Buddhist texts are printed.
It is believed that praying is done automatically when the
prayer wheel is set in motion.
The music for this dance is based on the sixth Dalai Lama’s
love songs, which are said to be among the loveliest in Tibetan
literature. Also known
as Tsangyang Gyatso, the sixth Dalai Lama’s reign was from 1697 to
1706.
Choreographer:
Miao Qing and Fan Siyuan
Old
Lady:
Shelavon Vanzant
Dancers:
Lacey Krakowiak and Laura
Brockmann (Leads), Mei-Jing Bernard, Tia Bi, Irene Chien, Briana
Floyd, Emma Gough, Li Li, Alice Y. McCurley, Emily Pau, Catherine
Stoddard, Kimberly Wu, Nora Yunfan Zhang
18.
An
Artist’s Struggle This
piece depicts The Painter’s internal struggle.
Deeply unsatisfied with her own work, she contemplates
quitting but finds her passion for her art too intense to overcome.
Suddenly, she has a light bulb moment and paints a beautiful
image that will later be known as her masterpiece.
Choreographer:
Hwee-Eng Y. Lee and Kerry Lee
The Painter:
Kerry Lee
19.
Whisper of Spring This
classical Chinese dance piece depicts a beautiful day in early
spring. With fields of
green everywhere, buds are sprouting, symbolizing the innocence of
young ladies and their hope for a great future.
The playful sounds of raindrops make the blooming peonies
appear even more beautiful.
Traditionally, Chinese peony paintings have the meaning of
wealth and distinction.
They are often used to as a symbol to bless people with a good life,
as it is the flower of riches and honor.
Choreographer:
Zhang Rui, Ding Lili, and Liu
Yang
Dancers:
Sophie Archer, Emily Backer,
Kateri Goodwin, Madeleine Morgan Lan Harris, Queena Kou, Jessica
Kouch, Lulu Pearce, Tanya Su, Grace Winogradsky, Janie Wu, Alice
Yee, Amy Yee, Kate Zahniser-Word
20.
Kung Fu
Chinese martial arts, popular known in the United States as “kung
fu” has been developed over thousands of years in China. The term
“kung fu” was derived from the Chinese words “gong fu,” which means
accomplishment or skill, and can be used in contexts unrelated to
martial arts. This
dance, featuring two weapons iron fan and staff, combines Chinese
dance and Chinese martial arts.
Choreographer:
Hwee-Eng Y. Lee and Kerry Lee
Lead Dancers:
Andrew Ellis and Anna
Rappaport
Group Dancers:
Yi-Shan Bernard,
Tia Bi, Laura Brockmann (Sunday), Carolyn Butler, Mia I-Wah
Chan, Freda Chen, Sarah Anne Marie Goodwin, Camille Gough, Emma
Gough (Saturday), Hilary Hsieh, Genevieve Xiao Fei MacDonald, Mia
Mercaldo, Tiffany H. Morgan, Nia Nguyen, Isabella Pu, Emily Yuan
Reittinger, Yannie Tan, Jessie Wong, Emily Ye, Jessica Ye, Karrie
Zhao
21.
Bamboo Ballet The
mystique and beauty of bamboo is one of the most common themes in
Chinese painting.
Bamboo is a Chinese symbol for longevity because of its durability,
strength, flexibility, and resilience.
It survives in the harshest
conditions, and seems to endure through all the brutalities mother
nature can dish out – still standing tall, and staying green
year-round.
Choreographer:
Fei Bo
Dancers:
Yoomi Kim and Brandon Nguyen
(Guest Artists, Atlanta Ballet)
22.
The Golden Age The
final piece of Chinese
Painting in Motion celebrates “the golden age” of The Painter’s
career. Years of
hard work and perseverance finally pays off as The Painter’s work is
admired by adoring fans and regarded as among the greatest of all
time.
Choreographer:
Feng Ye and Li Li
The Painter:
Kerry Lee
Dancers:
Sophie Archer, Emily Backer, Mei-Jing Bernard, Laura Brockmann,
Irene Chien, Briana Floyd, Kateri Goodwin, Emma Gough, Madeleine
Morgan Lan Harris, Queena Kou, Jessica Kouch, Lacey Krakowiak, Li
Li, Alice Y. McCurley, Emily Pau, Lulu Pearce, Catherine Stoddard,
Tanya Su, Grace Winogradsky, Janie Wu, Kimberly Wu, Alice Yee, Amy
Yee, Kate Zahniser-Word, Nora Yunfan Zhang |
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