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Han-Tang Zhongguo Gudianwu and the Problem of Chineseness in Contemporary Chinese Dance: Sixty Years of Creation and Controversy

Han-Tang Zhongguo Gudianwu and the Problem of Chineseness in Contemporary Chinese Dance: Sixty... Abstract: In 1979, after twenty-one years of political reeducation, Chinese classical dance professor Sun Ying (孙颖, 1929-2009) returned to the Beijing Dance Academy to instigate reform in the field of Zhongguo gudianwu , the official national dance form of the People's Republic of China. In creating the Han-Tang style of Zhongguo gudianwu , Sun challenged accepted notions of Chineseness within the field, especially the idea that Chinese indigenous theater, or xiqu , should serve as the primary foundation for a distinctively Chinese national body aesthetic. While Sun's alternative vision of Chineseness produced extensive controversy, this controversy is not antithetical to the historical aims and assumptions of Zhongguo gudianwu . Since the founding of the field in the early 1950s, practitioners of Zhongguo gudianwu have treated Chineseness as a subject for creative invention, interpretation, and debate; therefore, Sun's work is not a post-Mao phenomenon but rather an extension of the art and politics of the Mao period. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Han-Tang Zhongguo Gudianwu and the Problem of Chineseness in Contemporary Chinese Dance: Sixty Years of Creation and Controversy

Asian Theatre Journal , Volume 29 (1) – Jul 11, 2012

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 The University of Hawai'i Press.
ISSN
1527-2109
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Abstract

Abstract: In 1979, after twenty-one years of political reeducation, Chinese classical dance professor Sun Ying (孙颖, 1929-2009) returned to the Beijing Dance Academy to instigate reform in the field of Zhongguo gudianwu , the official national dance form of the People's Republic of China. In creating the Han-Tang style of Zhongguo gudianwu , Sun challenged accepted notions of Chineseness within the field, especially the idea that Chinese indigenous theater, or xiqu , should serve as the primary foundation for a distinctively Chinese national body aesthetic. While Sun's alternative vision of Chineseness produced extensive controversy, this controversy is not antithetical to the historical aims and assumptions of Zhongguo gudianwu . Since the founding of the field in the early 1950s, practitioners of Zhongguo gudianwu have treated Chineseness as a subject for creative invention, interpretation, and debate; therefore, Sun's work is not a post-Mao phenomenon but rather an extension of the art and politics of the Mao period.

Journal

Asian Theatre JournalUniversity of Hawai'I Press

Published: Jul 11, 2012

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