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BWW Reviews: BRIDGES - An Exploration of Chinese Culture Through interpretive Dance
By: Gail Lloyd Jul. 02, 2012
The pamphlet cover reads:
“Bridging cultural perspectives of our past,
present and future”.
The announcer echoes this sentiment at the prelude to act one:
“An Exploration of Chinese Culture through time and space.” He gives a brief history of Chinese folk dance, mentioning the late Professor Liu Youlan, an ethnic folk dance specialist of the Beijing Dance Academy in the 1930's. He speaks of Liu's vision, her hope that her contribution would build a bridge between eastern and western cultures.
The Phoenix Dance Chamber (http://hfcca.org/pdc.html) featured this evening was founded by Diane Letoto, and draws from Professor Youlan's genius.
This performance takes place at the "Pride of the Pacific" Hawaii Theatre in historic downtown Honolulu (http://www.hawaiitheatre.com/). How can I begin to describe the way this theater evokes the charm of another age ? You must come here to experience it, with it's rich red velvet curtains, ornate gold Bas-relief sculptures peeking from the tops of fluted columns, and ornate latticework; a perfect foil for the evening's entertainment.
Without much pomp or fanfare, the show begins, unfurling as crisply and brightly as handkerchiefs from a magician's sleeve.
Act One, Flower Mountain Festival: choreography, Leon Letoto
Dancers enter, bird like; the sound of glittering bangles on headdresses and chest ornaments mingling with the drumming of the solo accompanist. A huge drum in the foreground is a beautiful counterpoint to the swirling dancers, the percussionist beating on the skin and rim, creating a pattern for the dancers to play off of.
I seek patterns. I notice elements in the dance. Some moves are light and graceful like a simple ballet, and yet a folk style is interwoven in the movements, more indigenous, earthy. The announcer describes the intent of this traditional dance as “an attempt to attract the attention of future husbands”. The hand gestures are strange and pronounced, dynamic moves of hand and wrist. Dresses (pink and blue) are knee length and flared. Dancers: Valerie Au, Karen Chan, Jessica Cheng, Betsy Giguere, Mara Ho, Annemarie (Meinei) Lee, Victoria Lee, Jen Lum, Drummer: Leon Letoto
Act Two, Big Rain Drops: adapted choreography, Gina Ling
The next dance describes the monsoon season. Thunderstorms are commonplace in this region and are more fun than scary for the children. This is a gentle dance with young girls accented by luminous, pale green umbrellas and a violet backdrop. The music is traditional and interspersed with sounds of water and children's' laughing voices; the girls are sweetly hypnotic with their twirling umbrellas. Dancers:
Grace Brown, Juliana Chang, Avery Chung, Evonne Ho, Aimee-Louise (Lan Lan) Lee, Mei Wai Lee, ViAnna Lee
Act Three, Chopsticks: choreography, Liu Youlan
Mongolian Culture: Woman warriors in Gold and Pink stride onto the stage brandishing fans and scarves. The fans are more than ornaments, they are percussive instruments that, when closed, provide a delightful smacking sound when struck against arm or thigh, or a crisp fluttering (like birds swiftly taking wing) when opened; playing off the traditional reed instrument, and a flute sounding almost like a theramine.
As the tempo increases, I am suddenly reminded of Hawaiian bamboo instrument the Pu 'ili. Dancers: Valerie Au, Jessica Cheng, Betsy Giguere, Meimei Lee, Victoria Lee
Act Four, Spirit Blade of Heaven and Earth: choreography, Leon Letoto
The dance is announced as emphasizing Yin and Yang (earth: yin and sword: yang).
Featuring a solo swordsman; the choreography (kudos to Letoto !) is, hands down, the most dynamic of the night. The back drop is a wash of orange/red. The dancer, Devon Izumigawa, is just brilliant, and must be classically trained in ballet. The performance is very ballet inflected, with effortless strength and precision emphasized. The Shadows on the wall seem to take on a life of their own as he leaps across the stage. Light refracts off a very large, very sharp looking sword. A beautiful balance is struck between grace and masculinity. Dancer: Devon Izumigawa
Act Five, Happy Little Peacocks: choreography Gina Ling
This ethnic clan learned to dance by observing the Peacock, revered as a symbol of happiness and good fortune. The back drop has been changed to a bright robin's egg blue, and young girls in diaphanous dresses of pale aqua and yellow with glittering spangles flow on stage. It is a very delicate and gentle dance; flow, then pause, flow, then pause. Fluttering motions with fingers and dramatic fanning of skirts emulate the peacock's flamboyant tail. A contemplative treatise after the intensity of the sword dance.
These young women present such maturity and poise, brava !
Dancers: Juliana Cheng, Avery Chang, Lan Lan Lee, ViAnna Lee
Act Six, Dance of the Hunt: choreography, Liu Youlan
This performance depicts life on the Himalaya's slopes and the many diverse agrarian styles that make up Tibet culture. The back screen is a rich purple, two girls appear in long black skirts with flowing orange sleeves that sweep the ground. After some joyous steps, the girls are joined by four more in identical dress for more measured and fluid dance. Suddenly the tempo picks up and a fiery male dancer dressed similarly in blue and gold appears. He moves with acrobatic grace, and there is a wonderful play between the feminine energy of the women and his masculine energy. Again The Shadows on the back wall seem aware participants in the dance.... Finishing with a startling “shout out”, it is time for intermission.
Looking around the brightened auditorium, I note that the first floor section of the theater seemed well filled, perhaps seventy to eighty percent, predominantly with families from the Chinese community. I heard more Chinese spoken than English. It was nice to see a good showing of young people. Dancers: Valerie Au, Jessica Cheng, Betsy Giuere, Mara Ho, Devon Izumigawa, Meimei Lee, Victoria Lee
Act Seven, Spring: choreography Wang Mei
This number is a showcase for the very accomplished Phoenix Dance Chamber.
The troupe frequently tours throughout China and this dance was inspired by the traditional
dance of Yang Dong Province and represents the sprouting of new life after a long, cold winter. The curtains open to a deep indigo backdrop. Kneeling pale green figures wave delicate, frilled gold fans. They are fluttering as if in a warm breeze. A sweet, high-voiced singing sets the mood.
This dance has many of the classic moves that most westerners would associate with traditional Chinese dance. All is measured and precise. Handkerchiefs are held in the right hand. There is a moment where the movements of the dancers look like wind blowing across a field of flowers.
The soft sound of fans flapping open are significant. Then energy surges through the group and one imagines blossoms and seedlings freed from their branches, now riding the wind.
At this point I have become aware of just how important the role of ambient sound is in these dances. Whether feet are slippered or booted is important because the sound of the dancers feet hitting the floor is important; all sounds are important, and integral to the music.
The dancers slow, and finish with a mood of twilight. Dancers: Valerie Au, Karen Chan, Jessica Cheng, Betsy Giguere, Mara Ho, Ivy Hsu, Meimei Lee, Ching Jen Lum
Act 8, Piano Improvisation: Pianist Lee Pui Ming
Lee introduces the piece she is about to play, saying she likes to “explore where the known and the unknown meet”. She begins. Fingers barely touch the keys, bringing the sound of trickling water. The gentle motion of her hands with the music impels us... and we flow inward. Ming sits very still as if the piano were playing her.
Slowly, deepening into the lower notes, then reversing, swirling arpeggios back up the scale. Back and forth, we follow exploring, deconstructing, then rebuilding new structures of sound. From a place of stillness she builds, taking away, building again and again taking away... flow, flow, flow, compelling and gentle, inhale and exhale, push and pull; we follow.
Her sharp intake of breath signifies the end. We hold our breath, unsure for a few beats, then clap.
Now we are invited into a more measured, contemplative weave of sound.
A woman sits gazing out a city window, reflecting on her life. We gaze at her through the pane, seeing the reflection of sky scrapers play across her face. Was it all worth it ? She wonders, then turns away and quietly smiles.
The structure climbs higher and higher until we soar, structure no longer required, just keep a hold of the dream ! Surprisingly joy and passion arrive where at first there didn't seem a place, but again Ming assures us that there is plenty of space for whatever is needed within the sound.
Then she speaks. “It is beyond a treat to be here. The dances are so heartful, the dancers come from the heart. So great to be here on the beautiful island of Oahu. Not much to say, but to play for you ! She then asks us to "give form to enigma...".
Shocking us all, she begins scatting loudly, and we are flung into a smoky jazz bar on 52th Street. It's New York in the '50s, the Golden Age of Improvisation. She punches her piano seat, beating out a rhythm in time with her voice. Getting off her seat, she stalks around her piano slapping and punching it, whispering an incantation … exhorting it to move, MOVE, to breath, to prove it is ALIVE ! No longer a pianist, she is shaman moving forms and energy in the room, moving all of us out in The Shadows.
Frightening and powerful, Ming commands with a gesture that we must applaud this abomination brought to life. And through the roar of clapping and laughter she informs us, “My set is done.” With a another wave of her hand, she and her newly animated beast sink beneath the stage.
Act 9, Spirit of the Brush: choreography by Diane Letoto
This dance illustrates the bridge between classical dance and contemporary Chines music.
The theme is, “Never give up.”
A lone women in pale blue flowing gown gazes at a huge full moon to the left of the stage. The impossibly long sleeves of her gown are her accompaniment in the dance. They, at times, appear to be wings. There is a great deal of twirling, flowing movement. She concludes as she began, standing gazing at the moon. Dancer: Karen Chan
Act 10 Bridging; choreography by Sky Fung and Ivy Hsu
This final act represents Chinese people trying to forge an existence overseas. The curtains open to a pale blue backdrop. Female dancers in yellow hold enormous red fans. Ming` scats and accompanies on piano, and this piece feels triumphant and full of light. Fans held in the left hands, and handkerchiefs in the right.
A woman in a red “hoody”, black sweat pants and white sneakers leaps onto the stage and begins break dancing tre' Michael Jackson. The more traditional dancers seem appalled at first, but soon begin matching the rhythm of the urban dancer; a tricky transition, brilliantly and elegantly pulled off.
One lone dancer is sad that the others have moved away from the traditional dance, and they freeze as she breaks from the group and begins her own unique dance, not traditional, not modern, but some new evolution of movement. Dancers: Valerie Au, Jessica Cheng, Tiffanie Cheng, Mara Ho, Ivy Hsu, Victoria Lee
Piano and pianist rise to stage level in the spotlight, while all else grows dark. Then the stage brightens once again as troupe after troupe of dancers regain the stage and take a bow. The sword dancer, tiny “peacock” girls and “big raindrops” girls were very popular with the audience as they took the stage.
Luminaries in the community and choreographers appear last and are given leis.
A special thank you goes out
The MC gives a special “Mahalo,” to Hawaii Foundation for Chinese Culture and Arts
(http://hfcca.org/home.html), and everyone who supports Chinese culture and
the arts.
Websites for Phoenix Dance Chamber:
http://hfcca.org/pdc.html
http://www.facebook.com/pages/The-Phoenix-Dance-Chamber/112885258805223
Websites for Lee Pui Ming
http://leepuiming.ca/
en.wikipedia.org/wiki/Lee_Pui_Ming
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