The performance itself was deeply inspiring. The troupe has done well to present some of the old face of China – or, at least, what a US person is likely to see as ancient Chinese arts. In the character performances, the stage theatrics were very good at conveying emotional dialogue. The performance was an exercise in portraying human majesty. For those who follow politics, it’s worth noting that the troupe is Falun Gong / Dafa. My memory is that about 1/3 of the performances were Dafa, which accurate or not will say something for the emphasis that was created on Falun Gong messages. Free expression is to be lauded, and I only wish they would have developed the message with more range, rather than reiterating the same thing across solos and dance. It draws to light the degree of persecution that the Chinese government is capable, and the fervor that is generated by it.
The costuming was one the the things to which I paid the most attention. The dress did much, in symbolism, movement, and aesthetic. The following notes are follow in series with the performance held in Tempe, AZ. Without the ability to have any images to associate with the text, we’ll all have to do our best……!
The opening act had dancers with closed-sleeved garments. The closed sleeved were in part a practical invention to offer protection to the emperor, since martial attacks would be inhibited. In a way this felt like a form of veneration to the audience, being the opening act. I noted that a masterfully-executed dance could conceal a hidden sword within the flowing sleeve. It would be quite difficult, but not inconceivable.
Behind the actors, in all performances, was a video projection for a backdrop. This worked well in the production, as it allowed for very elaborate control of the set without the production cost of physical stage-pieces. One video had a streaming collage of human figures, perhaps Buddhas and Quan Yins, which took the appearance of a river of souls… which had a striking effect. In some of the acts, figures on the video would swoop to the bottom of the screen – the stage floor – and then an dancer would jump up from behind a stage article, meshing the video and live performance in a very satisfying manner.
Mens attire included a layering of sash, kilt, skirt, and pants. Shoulder wraps were decorated at edge. The Yellow Emperor’s attire included and additional belt of fine embroidery, along with other legendary attire. Pennants held aloft behind him were edged in fur.
For the Udumbara flower, ladies tunics and pants were gradiented in color. The Udumbara flower, a symbol in classical Buddhism, was conveyed as a symbol of prophesy. One of the striking things to me is the way in which ‘the arrival of prophesy’ is conveyed in every lifetime. It is oft used as a pageantry and instrument of the state (even autonomous and un-landed states) to inspire its people to their achievable heights. Whereas they prophetic story is itself rooted in timelessness, it’s arrival can be individual or cultural. Indeed, the cultural arrival may be not more than emergence from the aggregate of personal arrival. All prophesy then may act in a manner evocative, at very least, of the entangled, multiple, and fractional models present in physics and consciousness. Where exists, and how large, is the tribe whose members live now the same prophesy?
A dance-line with oscillating movement had its ‘rolling’ double around the middle of the line before the wave traveled to the end. Men pants were tied / wrapped at shins, like the finishing to high shoes or boots…. somewhat pirate-like. Shoes revealed their ability to move quickly and strongly.
The Yi dance was like rainbows opening and closing. Slow daintiness, then blooms springing open. Done all by women, and transmitting an essential side of the feminine aura.
There was an act portraying an ancient character with a magic fan. The fan was scraggly, and not pretty. Notably, the prince had ‘rabbit ears’ that we composed from feathers (red), and he was garmented in blue and red. Lady headdress was dangling balls and elaborate knotwork, like Masha’s at BM 2008. The fan-wielding legend rides away on a cloud at the end.
Another act had mens pants tied above knee, to accent the pant looseness at calf. Hair was in topknot above a headband. Belt with tassels and kilt.
The fan dance was like a divine fluid of color and motion…. that I can eat. Ladies wore dancing aprons – a nice touch on the domestic erotic. Their fans opened to full circles – like bloom…. and shield of enticement.
The first act to demonstrate openly that the troupe is falungong told the story of a family hurt by a punk gang outfitted in communist sickle & hammer vests. Qian Yin and Buddhas arrive in salvation and rebirth. The Qian Yin ladies’ shawl hangs at half-way at the back, as angel, one loop over shoulder down the arm. It brings to mind a language of the shawl (unless there is a better name for this long strip of fabric). What difference does the swoop at half-back mean compared with a swoop down to the waist, or just across the shoulders?
The erhu solo reminds me what that life lived in China had in part so-loved…. Only the briefest pursing of lips, once, hinted that every piece was not the musician’s favorite! 
Male drummers – their bracers hold and accent loose sleeves evocative of a dress shirt. Top knots and headbands again. They also wore breastplates, which dovetailed with the purpose of holding the drums. In Mesopotamian cultures, breastplates were adorned with magical amulets, and were a kind of technology unto themselves. The association of the two, magical and drum-related, both hold the evocation of a ‘suit’ for some technology. I can’t imagine now a way to make a breastplate work in any general public scenario – it’s just too non-standard. One military can get close, with their pins, and even then draw unusual attention in public. But given something ceremonial or otherwise given to the ritual expression, I see a way to wear it.
For the Phoenix dance, ladies dress were decorated near the edge with weighted petals that encouraged folding and effects of motion. It was something like a the way a fan folds, but with the increased range of the skirted pleats. It would be stunning on an open, flowing lady’s sleeve. The procession line of dancers composed the phoenix tail, and was sharp pageantry.
The story of the Monkey King told that he came from the stone that is the essence of heaven and earth. He wore a beret with a slightly-pronounced & decorated band plus a pin. The sage wore a flower-like crown with tassels that included fabric-like ‘ears’ that hung down. He wore mala beads and robes with several sewn-in bands at the level of the thighs and otherwise… almost evoking the lok of an iron-strapped trunk. Wise man, bearded, had a necklace of huge beads and winged headband.
The Mongolian chopstick dance was probably my personal favorite. Tablewear – was taken up an aesthetic level, and was made seductive. Love it. Wing embroidery on dresses, which below the waist were cut in long sections, and those sections layered like flower petals, but with square cut corners. Feathered headband. All in white and gold, creating a skyward ideal. The bundles of chopsticks click-click-click-click off the body, silk napkin tied-with streaming along, as the the ladies twist back and forth, kneeling-to-standing-to-kneeling, in a dance that had the distinct sense that it could be done in a kitchen or dining room….. Snap of chopsticks like the ruffle of wing feathers.
The legend of Mulan – not told in he Disney style. The Imperial scroll with decree was nice accent; presenting the Word to someone on a brightly dyed fabric of gold and held by finial-ended bars will really put someone into the mood. The movements of her father were as to cradle her head, when right is given to her. Upon Mulan’s return ladies were out again with Shields of Spring.
Another act had billowing sleeves that were gossamer enough to move with slightest breeze and movement made. The best justice to do to the description is to watch the scene in Dune were the Reverend Mother leaves the emperor’s chamber upon the arrival of the Guild navigator.
Tibetan men wore a good mix of silver and brown, with fur. Multiple bead colors mixed with turquoise, and were the same color as headbands with knot and hangs/drops of the material. Again, the long sleeves, too long for hand exposure, spoke of Peace. We should all realistically remember that non-violent revolution is revolution none-the-less.
A spiritual performance included video of many layers of counter rotating rings of Chinese characters, that evoked the image of a fung shui compass taken to divine levels. Men had ‘riding crops’ ending in large white horsehair plumes, that I would have been best worn at the belt when not dancing.
…. and outside at the gift shop, ‘music bags’: tiny purse-like little decorated pouches with music boxes inside. Lovely little things!
