FEB-MAY 201236

contemporary I dance in the city

In many of my encounters with overseas Chinese – I am, for one, a Singaporean-Chinese – I have been constantly asked this question, “Do you think we should still stick to our Chinese roots?”

Culturally, it is meaningless for overseas Chinese to lay claims on Chinese-ness in a “China” sense. Spiritually there is a need to hold on the aesthetics and the way of life of a Chinese body. For me, a Chinese body is what I have. It comes with the cultural upbringing, spiritual nurturing, and aesthetical formation. None of that is related to China.

Hence my gripe towards Han Fong Dance Troupe’s direction in presenting Chinese dances with an aim to evoke rhapsodies over Chinese poetry. I feel there is a problem when overseas-Chinese bodies perform Chinese dance of a specifi c cultural construct, i.e. the “China” way.

This artistic direction will only result in nostalgia and sentimentality – a certain kind of longing for the specifi c Chinese cultural construct. This not only perpetuates a single kind of Chinese nostalgia, it is also an impediment to Chinese creativity in dance being brought to another brand new level – a creativity of an overseas-Chinese sense, unique and anchored in the roots of the Malaysian-Chinese culture.

Hence, besides appreciating the carps swimming in the rivers of Jiang Nan, how would this dance piece contribute to the understanding of the Chinese

contemporary I dance in the city

Chinese Or Overseas Chinese? RICHARD CHUA follows Han Fong Dance Troupe’s tracing of the Chinese soul in the evocative Poetic Rhapsody. PHOTOGRAPHS: COURTESY OF HAN FONG DANCE TROUPE

aesthetics in the fl ow and motion of fi shes, on the lines and curves of their swimming paths? Would the use of the remnant sounds in the Chinese musical instrument Gu Qin contribute to audience members’ capacity to see the fi shes in action? From the rather disorganised group dance segments in the choreography, it seems that this Chinese essence has not been given much thought.

Similarly, in Ripples, Hong Kong Academy of Performing Arts graduate Jansen Goi does not seem to have held on to the energies emanating from the concentric circular motions of ripples in the river. The rather limited creative philosophy (shown at the beginning of the dance piece) clearly highlighted this limitation. The water in the gutters dropping into a puddle of water is – to say the least – un-poetic. As much as he is a rather adroit performer in presenting the fi ner details of ripples, there is really nothing much to observe beyond the fact that it was just different forms of ripples in a pool of water. The dancer also did not give his full in the dance piece. He was

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hesitant in executing his routines in many segments in the choreography.

Longing was perhaps one of the more interesting pieces in the evening’s repertoire. The 80s-inspired Chinese karaoke music and television-style of Chinese singing made the struggle of the protagonists more poignant and effective. What I specifi cally liked about the dance was its ability to tone-switch, in an instant, from sadness to the pursuit of happiness in Chinese-ness. The attempt at pursuing happiness was a successful one, for the 80s-inspired music brought back nostalgia of growing up during those times. The waking up scene, likened to the experience Du Li Niang of The Peony Pavilion, seemed apt, for the protagonist’s attempt in reclaiming her own sentiments was – to say the very least – heart-wrenching.

The second half of the dance performance refl ected the different perspectives of the Chinese bodies in the cultural construct. In Bound Feet, the feminist trope of suffering women in feudal times was apparent. Chinese music was played in epic style, highlighting the oppression women have experienced during those times. The use of the red sash was also apt, riveting in its execution. Also successfully done was the nostalgic renditions of the music used in Hong Kong director Zhang Wan Ting’s The Soong Dynasty. It brought about the grandeur of the Chinese court dance-like effect, typically reminiscent of courtly music.

Shadow play was also put to good use in Home. It had the potential of opening up a new interpretation and aesthetics in the South-east Asian Chinese dance. It was more effective than the multimedia projection of the Chinese ink spreading thin in water in the piece Dark Plum Blossoms. The Chinese aesthetics of ink was fully explored here. Unfortunately, it was done too excessively with dancers doing their own routines, independent from the moment the Chinese ink was attempting to build-up.

As the evening progressed, audiences were being brought back to their roots in exploring the beauty of nature. In Retreat at Xu Inn and Songs of the Wanderers, the choreographers’ attempt to bring the warmth and love of living in nature and maternal love in its basic essence was mildly effective. The over-use of Chinese elements in these dances seemed to be the contributing factor to the stasis. However, Chinese aesthetics was interpreted to its best in The Spirits’ Lament.

The worst of the lot in the evening’s performance was perhaps Florid Sleeves. The Shakespearean-inspired Romeo and Juliet-like drama of a young couple in love teetered on becoming a lesbian love affair. Jansen Goi – in his attempt to showcase his dance techniques – was not able to fully embody the

masculinity required in the dance piece. With a slightly better female co-dancer (Claire Lai) dancing alongside him, his aura of femininity seemed to get a better side of him, resulting in great choreography imbalance.

In conclusion, I would like to revisit the question that has prompted my refl ection on the probable culture of overseas Chinese. Would there be a truly overseas Chinese sensibility without another culture? The answer has yet to be discovered. However, with the spirit of Chinese creativity strong within the Malaysian-Chinese community, there will be new discoveries. The spirit of Chinese creativity that was inherent in Justin Wong’s choreography for Court Ladies – exploring the endless possibilities of re-interpreting the Chinese woman – should be preserved for future Chinese dance practitioners. JD

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