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December 2016 CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Contemporary Chinese Performance Artist Yang Liping’s Regional Transculturalism A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Theatre By Gaoyingshan Feng December 2016 Copyright by Gaoyingshan Feng 2016 ii The Master’s thesis of Gaoyingshan Feng is approved: ______________________________ __________ Professor Kari Hayter Date ______________________________ __________ Professor J’aime Morrison Date ______________________________ __________ Professor Ah-jeong Kim, Chair Date California State University, Northridge iii Acknowledgements Since the first day I enrolled in the Theatre Department, I have spent 700 days and nights studying and working with the help of professors of the Department, and now is the moment to give thanks. My greatest gratitude goes to my advisor, friend and mentor Professor Ah-Jeong Kim for her meticulous guidance and unwavering encouragement through my years at California State University, Northridge. In addition, I thank Professor Kari Hayter and Professor J’aime Morrison for their support, inspiration and guidance. I thank Lauren W. Deutsch, producer/director of Pacific Rim Arts, a cross- cultural arts consultancy bridging traditional and contemporary arts, provided valuable academic editorial support on this thesis. www.pacificrimarts.org It is a great journey to study theatre courses at California State University Northridge. I would like to take this opportunity to express my earnest gratitude to my thesis committee professors for their unconditional dedication and support. This thesis would not have been possible without their help. Last, but definitely not least, I deeply thank my parents and friends who offered trust, encouragement, devotion and support through the hard yet hopeful times. iv Table of Contents Copyright Page ii Signature Page iii Acknowledgement iv Abstract vi Introduction 1 Chapter 1: Life and Background of Yang Liping As a Woman and a Minority 16 Chapter 2: Dynamic Yunnan from an Intercultural Viewpoint 39 Chapter 3: Multiculturalism to Transculturation: From the Perspective of Dynamic 64 Yunnan Conclusion 75 Works Cited 78 Appendix 82 v Abstract Contemporary Performance Artist Yang Liping’s Regional Transculturalism by Gaoyingshan Feng Master of Arts in Theatre This thesis explores a contemporary Chinese performance artist, Yang Liping’s work, including her dance theatre as well as native and folk musical dance dramas. Yang Liping is an intercultural and multicultural phenomenon in China, distinguished from her contemporaries in her modern use of both China’s native and folk songs and dances, specifically indigenous to Yunnan province. Her performance art blends Chinese folk and popular music and dance in which native tradition and contemporary culture, native art and modern stage art coalesce. Musical dance drama Dynamic Yunnan reproduces China’s native music and dance on the stage. This thesis argues for Yang Liping as a representative figure in leading the discovery, conservation, and development of native music and dance of Chinese minorities, specifically of Yunnan region. An in-depth analysis of her representative dance pieces and especially her Dynamic Yunnan elucidates the significant achievement of Yang Liping in the larger context of globalization. vi Introduction Yang Liping (b. 1958) is a contemporary Chinese leading dancer, choreographer, director, and star of Dynamic Yunnan, an original large-scale music-dance drama. In 2003, Yang Liping composed, choreographed, directed, produced and starred in Dynamic Yunnan making a significant contribution to the development of contemporary Chinese performance art. The 100- minute-long Dynamic Yunnan incorporated music and dance traditions of Yi, Dai, Tibetan and Wa people. Yi, Dai, Tibetan and Wa people are ethnic minorities of the Yunnan Province in the People’s Republic of China. These Chinese ethnic minorities are distinguished from each other based on language (dialects), customs, and religion. After its 2003 debut on the stage of Yunnan Auditorium, Dynamic Yunnan became a representative piece about the ethnic minorities in the Yunnan region. Spurred by the enthusiastic response from the live audiences, the Dynamic Yunnan has been made available to a wider Chinese audience through television, film theatres where DVD version was played. Dynamic Yunnan helped made Yang Liping a household name in China. Dubbed as a “Peacock Princess,” she became an international star. Dynamic Yunnan is said to have depicted the romantic past of the human struggles against nature since ancient times (Chen, Jingdong). It showed the context, vision and meaning of life during the process of human evolution. In the fast-changing world economy and culture impacted by mass communication, ethnic minorities’ customs and traditions are considered endangered and their art, music, and dance possibly face a threat of extinction. In this context, folk music and dance forms as contained in the new and innovative Dynamic Yunnan have cultural significance beyond the aesthetic and economic values. 1 Yang Liping is a member of the Bai ethnic minority from Dali Bai Autonomous Prefecture of Yunnan Province. Raised by her mother, Yang Liping grew up in a divorced family with two little sisters and a younger brother. Her childhood memories are mostly related to poverty. But she remained positive toward life. Her love of art and dance kept her positive attitude against adversity. She discovers dancing central to her identity and life (Yu, Ping). It is important to note that Yang Liping never received formal training in dance, music, or drama. In 1971, she joined the Song and Dance Ensemble Performance Troupe of Xishuangbanna Dai Autonomous Prefecture of Yunnan Province. This dance troupe was incorporated on November 1, 1954, it mainly engaged in the Dai theater, folk music and dance. Yang Liping was inspired of creating Dai dance while working with this dance troupe. And in 1980, she transferred to China Ethnic Song and Dance Ensemble, this performance group is based in Beijing, it is the only national-level performance group representing China's ethnic minorities. It was founded in September 1952 by Premier Zhou Enlai. Today, with over 300 members representing 36 ethnic groups, it has performed in over 70 countries and gives over 100 performances each year.(Yin, Jianhong) In 1986, she achieved fame for choreographing and performing in the dance piece Spirit of the Peacock, and by 1988 she was rated as one of the top 10 “Newsmakers of the Year” by Beijing Daily. In 1989 a video The Dance Art of Yang Liping was produced, making her dance work widely available to the general public. The Spirit of the Peacock was a 7-minute-long dance drama, which made Yang Liping’s name synonymous with the “Peacock Princess.” She exquisitely depicted three stages of movements of a peacock “standing against the wind,” “jumping and spinning,” and “spreading wings to fly” in every detail, but Yang’s performance was much more than physical resemblance to the movements of the bird. The dancer embodied the soul and the body of the “peacock” through her meticulous choreography and execution of 2 her dance movements idiosyncratic to Yang Liping as the “sorceress of dance” or “goddess of dance” (www.chinaculture.org.) Over the years, she has visited many countries for cultural exchanges and hosted dancing events in the Philippines, Singapore, Russia, the United States, Canada, Taiwan, Japan and other countries and regions. Yang Liping also wrote, directed and starred in the film Sun Bird, which won the Grand Prix des Amériques at the Montreal World Film Festival. In 1992, she became the first dancer from People’s Republic of China to perform in Taiwan. People’s Republic of China (PRC, aka “Mainland China”) and Republic of China (ROC, aka “Taiwan”) are one country. However, after World War II, PRC and Taiwan severed all economic or cultural exchanges with each other due to ideological differences. Economic and cultural exchanges between PRC and Taiwan did not resume until the late 1990s. Yang visited Taiwan during the time of political tension as both PRC and Taiwan did not recognize any ties with each other. It is significant that Yang Liping visited Taiwan to become a sensation to be dubbed as “Goddess of Dance” by her audiences in Taiwan. As a woman and an ethnic minority, Yang Liping helped open the doors to the hearts of the people in Taiwan with her dance drama. Culture and arts often accomplish when politics falter. In 1994, her solo dance, Spirit of the Peacock, won the Gold Award of 20th Century from China’s National Classic Dance Work (Yang, Jing). In 2016, Yang Liping holds the positions of Vice Chairman of the 10th Chinese Dancers Association, National Class-A Actor and member of the Committee of Experts of Chinese National Folk Dance Examination, and for which she receives “special government allowance” issued by the State Council (Ethnic Dance History in Yunnan). Yang Liping’s success is a feat for all women performers. Throughout the history of China and the world, women have always played secondary roles, and there are only a handful of respected female theatre-dance masters such as Martha Graham. Yang Liping is to be counted among those few for her indomitable spirit 3 and her accomplishments, especially considering the context of patriarchal Chinese society. Yang Liping’s incorporation of traditional and native arts of singing and dancing from minorities in Yunnan needs intercultural investigation. Her intercultural effort to rediscover dance and songs of ethnic minorities in China and recreate her innovative dance drama such as Dynamic Yunnan is specifically a successful example of an intercultural practice. Yang Liping’s performance art has been shaped by her life experiences as a woman and as a minority from the region of Yunnan, and a dancer. Her dancing style and artistic expressions draw from her experiences of the deep forests of Yunnan and everyday life of the people whose survival depends on the land. Yang believes that nature is the embodiment of ultimate beauty.
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