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New flower in ancient area which deliver the national emotion in modern language

Decoding from female view and restructure the wild dance vocabularies

 

Tibetan and Inner Mongolian Choreographers bring three pieces on the same stage

Horse shot, horsewhip, Tibetan opera and masks forming typical cultural symbols

 

Confrontation and reconciliation, you can check the complicated nature of kinship in “Xilin River”

“ZUN MO” shows the splendid beauty of women between chaos and simplicity

 

Introduction

“Xilin River • ZUN MO” are formed by three small pieces, “Xilin River” choreographed by the Mongolian Sharina and “ZUN MO” choreographed by the Tibetans Suolang Zhuoma, KelsangDolker and Degyi Yangzom. The performance is showing the ancient soul of dance from the snowland and grassland by contemporary dance. It crosses thousands of years and comes to us with a modern style. The white horsewhip, as well as the masks from tibetan opera, as a symbol of Mongolian and Tibetan culture, get new art life power on the stage and inspire the audiences.

The choreographers of two pieces are all women and share the same identity and female views. It is different from usual powerful Mongolian and Tibet dances, with unique anima and creativity and life experiences.

“Xilin River”

Xilin River is a river in my mother's hometown. When my mother was young, she liked playing by the river the most. She could catch butterflies all day long. Later, my mother married to the city where I was born, where there is no grassland and no river. After my grandfather passed away, I once accompanied my mother back home to see the dried up river. My mother had a riding whip, which was made for her by my grandfather. I haven't seen this horse whip, but since I was born, I have felt it all the time.

 

“ZUN MO”

ZUN MO（Zunmo is a Tibetan translation of queen )

Ajram is the main art of traditional tibetan opera. It uses the special expressions such as realism and reproduction, freehand brushwork and performance, to make its unique special tradition of narration.Queen rig ngan, Dundrup pal mo and Hajiangzunmo are the villains in the operas Sujinima, King Nuosangfa and Zhuowasangmu. In the operas they are the evils, the ghosts, the most dangerous women in the world; while from the humanity view, their anger, jealousy and rage are all because of their love. In this piece, we mainly describe the characters and natures of these women from humanity view personally. The whole piece expresses the understanding of love through contemporary dance; they have the purity in their girls period then they fall in love, which bring them jealousy and anger, even to death. It shows their yearning and helplessness. We use the music style such as Ajram, traditional music and electronic music, to let the audience feel the humanity in Queen rigngan, Dundrup pal mo and Hajiangzunmo.

 

Highlight of the performance

 

Deliver the national emotion in modern language

Tibet and Inner Mongolia are the mysterious snowland and grassland in people’s mind. Long history accumulates extensive and profound Tibetan and Inner Mongolian cultures which are not familiar to us due to the languages and area barriers.

When the dancers of young generations look back to these ancient cultures from modern and new views, their dance pieces are not simple repeating of the past any more. Though borrowing plenty of the elements in traditional dances, they add their own notes and make new pieces with both ancient and modern echo. These two pieces are all performed in contemporary dance.

 

Various cultural symbols tell common emotions and meanings

The various cultural symbols in these two pieces recall the common dream for true beauty in minds of people from different culture backgrounds and show the common emotions and meanings.

In “Xilin River”, the daughter doesn’t understand her mother until she looses the horsewhip and look back to her mother. The horsewhip becomes a symbol of kinship between mother and daughter, as well as a specific expression of the conflicts in minds; the tibetan opera and masks in “ZUN MO”, like the facial makeup in Peking opera, appear as signifying images and drive the audiences with sensory sympathy.

 

The common creation and decoding from female view

As minorities, the four choreographers share deep cultural heritage in their blood while they all choose to show it with modern pieces. They touch the life from a softer and more delicate female view, and bring the restless vitality in their pieces.

The mother in “Xilin River” hasn’t been trained with professional dance techniques before. These unsophisticated dancers step on the stage and bring us back to their snowland and grassland with their untrained body languages. In “ZUN MO”, three female dancers dance together and make plait with their bodies; they insert the female emotion in the moves, bringing the audiences into the female world in this ancient story.

Creative staff

 

Xilin River

Choreographer: Sharina

Dancer: Haiyan, Sharina

Lighting Design: Liu Yilan

 

ZUN MO

Choreographer and dancer: SuolangZhuoma, Kelsang Dolker, Degyi Yangzom

Musician (music producer): Tenzin Dolkar, WANG Wenying

Audio recorder: Tenzin Yeshi

Lighting Design: Liu Yilan

 

YOUTH INCUBATION PLATFORM

Shanghai International Dance Center Theater Youth Incubation Platform (hereinafter referred to as "youth incubation platform") is platform for young dance artists in China who have room for growth and development to communicate and display, sponsored and established by the Shanghai International Dance Center Theater. It provides creative resources, funding, publicity and exchange and learning opportunities for outstanding young dancers, promoting development and catalyzing innovation. It provides a new window for Chinese original dance works to go out of the country and into the world.

 

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