Atlanta Chinese Dance Company

presented

Ming, Gu, Xian

***click above for program synopsis***

 on

Saturday, September 11, 2004 at 7:30 PM

Sunday, September 12, 2004 at 3:00 PM

at

The Performing Arts Center at Gwinnett Center

Duluth, Georgia

Staged and Directed by:

Hwee-Eng Y. Lee

Guest Artists:
Ray Garcia
Tara Lee (Atlanta Ballet)
Tian Shuai (Atlanta Ballet)
Tamila (Atlanta Ballet)

***click on a dance to see its description***
MING: Chinese Folk Dance	GU: Chinese Classical Dance
Village Girls and the Monkeys Pull the Carrot! Xinjiang Dance: Picking Grapes The Little Pepper Girl Peacock Dance Boat Lovers Rice Harvest Northeast Fan Dance Zhuang Dance Tibet Dance Dai Dance Red Ribbon Dance	Introduction Dunhuang Dance: Flying Celestials Dance of the Lotus Dunhuang Pipa and Drum Ode to Mulan Sword Dance   XIAN: Chinese Contemporary Dance Yellow River Piano Concerto Prelude: The Song of the Yellow River Boatmen Ode to the Yellow River The Yellow River in Wrath  Defend the Yellow River

MING: CHINESE FOLK ("MING JIAN") DANCE
Chinese folk dance evoled from the movements of the common people.  The dances reflect the lifestyles of the villagers, ranging from work to social life to their interaction with nature.  Classified by geographic location, the scope of Chinese folk dance encompasses many different ethnicities in China, including the Hang majority and the fifty-six minority ethnic groups in China, most notably the Zhuang, Dai, Xinjiang, and Tibetan minorities.  The "Ming" section revolves around the famous Chinese folktale "Pull the Carrot."  Two village girls plant a carrot that has grown so big that they don't know what to do with it.  With a group effort, however, they eventually pull the carrot out of the ground.  Proud of their efforts, they invite their neighbors of different ethnicities to join in their celebration.

THE VILLAGE GIRLS AND THE MONKEYS
Two girls carry hats and fans from their house to sell.  As they leave, they water the carrot in their garden.  All of the sudden, they encounter a group of monkeys.  The monkeys rob them of all of their goods, which naturally makes the girls angry, but the clever girls think of a way to take back their hats and fans.  Year 2004 was the Chinese lunar new year of the monkey.

Choreography: Hwee-Eng Y. Lee

Village Girls: Kateri Goodwin and Anna Meyer (Saturday), Tiffany Liu and Christie Sui (Sunday)
Monkeys: Sophie Archer, Emily Backer, Mei-Jing Bernard, Laura Brockmann, Marjorie Peace Huan Chamberlain, Christy Chang, Claire Chang, Molly Herman-Gallow, Kate Zahniser-Word

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PULL THE CARROT!

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XINJIANG DANCE: PICKING GRAPES
Xinjiang, located in the northwestern part of China, is the home of the Uighur (or "wei wu er") ethnic group.  The province is renowned for its fruit and produce, including grapes and melons.  This dance depicts a group of young ladies picking grapes.  The interesting wrist and neck movements are the main characteristics of this style.

Choreography: Hejireheman
Dancers: Grace Liang (lead), Yolanda Campbell, San Tso Hsieh, Tzu-Wei Hsu, Jane Lee, Emily Pau, Angela Wang, Mei-Yuan Wang

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THE LITTLE PEPPER GIRL

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PEACOCK DANCE

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BOAT LOVERS

Choreography: He Dabing
Boatman: Ray Garcia (Guest Artist)
His Girlfriend: Hoyi Chan

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RICE HARVEST

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NORTHEAST FAN DANCE
This dance is a type of Yang Ge from northeastern China.  Yang Ge is the traditional folk art of the Han people.  Even though styles of Yang Ge differ by geographic location, they mostly express the feeling of joy.  The fan and the scarf are two of the most popular props used in Yang Ge.

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ZHUANG DANCE
The Zhuang minority is the largest minority ethnic group in China.  Unique to this minority ethnicity is their distinctive hat.  Their dance styles include swinging movements and covering the mouth with the hand.

Choreography: Wang Hanxiong and Huang Xiuhong (Guangxi Song and Dance Ensemble)
Dancers: Joy Shieh (lead), Hoyi Chan, Queena Kou, Eugenie Ooi, Amanda Phingbodhipakkiya, Tiffany Soo, Emily Sun, Joann Wang, Penny Wang

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TIBET DANCE
Most Tibetans live in the western part of China in places like Tibet, Qinghai, Yunnan, Gansu, and Sichuan.  Their clothing typically includes a multi-colored apron and long sleeves.  They sometimes wear only one sleeve, as the weather can change rapidly in a single day.  This dance depicts the energetic spirit of the Tibetans.

Choreography: Xian Arts School
Dancers: Yolanda Campbell, Nancy Chen, Ava Chun, Debbie Ellis, Ludmilla Harker, Jully Lai, Agate Lip, Holly Lyu, Iyabo Shabazz, Pai Tsai, Shu-Fen Yang, Yinghui Zhong

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DAI DANCE
The Dai minority people live in a tropical climate, and they often wear a hat in their daily lives.  Such hats have become an important prop in Dai folk dance.  The lead dancers carry an instrument called the "hulusi," which originated from the Dai culture.

Hulusi Dancers: San Tso Hsieh, Queena Kou, Emily Pau, Emily Sun
Hat Dancers: Grace Ho, April Huang, Deanna Joe, Dana Lee, Eugenie Ooi, Catherine Stoddard, Melissa Ting, Ginger Tsai, Emily Wang, Lacey Wen, Kimberly Wu, Cindy Ye

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RED RIBBON DANCE

Traditionally, red is the symbol of happiness.  For centuries, the Chinese have taken great pride in producing beautiful silk ribbons.  Ribbon dancing originated from Chinese opera and has been preserved since the Han dynasty (206 BC-24 AD).  It has since become a Han ethnic tradition, commonly performed at celebrations such as Chinese New Year.  Here the girls celebrate their success with the huge carrot by inviting their friends of different ethnicities to take part in the festivities.

Choreography: Hwee-Eng Y. Lee

Dancers: Amelia Brockmann, Vera Chang, Kateri Goodwin, Madeleine Morgan Lan Harris, Tiffany Liu, Leslie Lue, Anna Meyer, Christie Sui

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GU: CHINESE CLASSICAL ("GU DIAN") DANCE
Chinese classical dance celebrates the beauty of the classical Chinese lady as represented by mural painters and poets of the Tang Dynasty (618-907 AD).  As three girls embark on a journey into the caves of the Gansu province, they come across the ancient mural paintings of Dunhuang.  As the ladies in the painting come alive in their minds, the stage is transformed into a heavenly setting with flying celestials surrounding them from all sides.  The glorious female warrior Mulan shows another side of the classical Chinese lady.

INTRODUCTION
Three young girls walk into a cave in the Gansu province.  To their surprise, they see mural paintings depicting Buddha statues with many hands.

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DUNHUANG DANCE: FLYING CELESTIALS
Dunhuang music and dance developed during the Tang dynasty, one of the richest periods in Chinese Arts history.  The classical Dunhuang dance style developed during the introduction of Buddhism into China and shows an Indian influence.  This Dunhuang style dance is an excerpt from the dance drama Along the Silk Road.  It depicts fairies flying in the heavens, watching the people on the earth below.

Staged after Gansu Song and Dance Troupe's Along the Silk Road by Hwee-Eng Y. Lee
Dancers: Hoyi Chan, Queena Kou, Amy Liu, Eugenie Ooi, Amanda Phingbodhipakkiya, Joy Shieh, Tiffany Soo, Emily Sun, Joann Wang, Penny Wang

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DANCE OF THE LOTUS
Also of the Dunhuang style, this dance is another excerpt from Along the Silk Road.  The lotus represents purity and is highly associated with Buddhism.  This dance depicts the lotus fairies dancing in heaven

Staged after Gansu Song and Dance Troupe's Along the Silk Road by Hwee-Eng Y. Lee
Dancers: Catherine Chu (lead), Karen Ho, Stephanie Hu, Allison Kwan, Lindsey Lue, Julia Shyu, Tanya Su, Alice Yee, Amy Yee

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DUNHUANG PIPA AND DRUM

This dance introduces two popular instruments of Dunhuang--the pipa, a Chinese stringed instrument, and the drum.  The pipa dancers uses the style called "fantanpipa," literally translated as "playing the pipa backwards."  This dance was typically performed in the palace for the emperor.

Choreography: Chinese Central Music and Dance Ensemble
Pipa Dancer: Eugenie Ooi
Drum Dancers: Grace Ho, April Huang, Deanna Joe, Dana Lee, Catherine Stoddard, Melissa Ting, Ginger Tsai, Emily Wang, Kimberly Wu, Cindy Ye

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ODE TO MULAN
The well-known story of Mulan tells of a young girl who went to war in place of her father.  This dance uses the recitation of the famous poem "Ode of Mulan" in conjunction with background music.  The story of Mulan as it is told today comes directly from the words of this poem.  Using classical Chinese dance technique combined with wushu (Chinese martial arts), this dance characterizes both Mulan's feminine and masculine sides.

Click here for the words of "Ode of Mulan"

Choreography: Shanghai Dance Schools
Dancer: Kerry Lee

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SWORD DANCE

Military sword technique gradually developed into a form of dance.  During the Tan dynasty, sword dancing was already quite advanced in the palace.  Movements in sword dancing are forceful yet elegant.  The solo dancer uses a sleeve in one hand and the sword in the other, which enhances the beauty and difficulty of the dance.

Choreography: Hwee-Eng Y. Lee
Solo Dancer: Mei-Yuan Wang
Group Dancers: San Tso Hsieh, Jane Lee, Grace Liang, Emily Pau, Angela Wang

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XIAN: CHINESE CONTEMPORARY ("XIAN DAI") DANCE
Yellow River Piano Concerto
Chinese contemporary dance is a fusion of traditional Chinese dance and modern dance.  Set to the well-known "Yellow River Piano Concerto," this section symbolizes the meeting between Chinese and western cultures in both music and dance.  The music was arranged for piano and orchestra after the longer "Yellow River Cantata" by Xian Xinghai, who wrote the work as an act of patriotism during the Sino-Japanese War.  Each movement represents a different aspect of the struggle of mankind with the horrendous flooding of the Yellow River (or "Huang He" in Chinese), known by the Chinese people both as a symbol of the continuity of Chinese civilization and as China's sorrow.  The ACDC's "Yellow River Piano Concerto" is an expanded version of the piece by the same name presented as a part of In Search of the Imperial Palace in May 2003.  It features props used in Chinese dance, including ribbons, fans, scarves, sleeves, and umbrellas.
 

PRELUDE: THE SONG OF THE YELLOW RIVER BOATMEN

The first movement depicts the courage of the Yellow River boatmen who struggle against the river.  The work songs of the boatmen show the strong-willed fighting spirit of the Chinese people.  The slower section shows the boatmen's optimistic view of their grueling struggle.  Shortly after, the mood reverts to tension.

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ODE TO THE YELLOW RIVER
Starting with the cello's opening, the music of the second movement depicts the achievements of China's long history and its gorgeous landscape.  Its praises the traditions of the Chinese people who have lived on the banks of the Yellow River for thousands of years.

Choreography: Zhang Yujun and Shen Peiyi (Beijing Dance Academy)

 

Pas de deux: Tara Lee (Guest Artist, Atlanta Ballet) and Tamila (Guest Artist, Atlanta Ballet)
Group dancers: Hoyi Chan, San Tso Hsieh, Tzu-Wei Hsu, Queena Kou, Jane Lee, Grace Liang, Amy Liu, Eugenie Ooi, Emily Pau, Amanda Phingbodhipakkiya, Joy Shieh, Tiffany Soo, Emily Sun, Angela Wang, Joann Wang, Mei-Yuan Wang, Penny Wang

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THE YELLOW RIVER IN WRATH
The third movement opens with a Chinese flute solo of the Northern Shanxi style.  With the deep chord of the piano, the ladies on the banks of the Yellow River are drowned by gigantic waves, represented by the umbrellas.  The solo dancer represents the spirit of the countless Chinese people who have drowned in the river.  At the end, the spirit foresees a bright future for the next generation of young Chinese people.  Although individuals may die, the fighting spirit of the Chinese people lives on.

Choreography: Hwee-Eng Y. Lee and Kerry Lee
Solo Dancer: Kerry Lee
Sleeve Dancers: Hoyi Chan, Queena Kou, Amy Liu, Eugenie Ooi, Amanda Phingbodhipakkiya, Joy Shieh, Tiffany Soo, Emily Sun, Joann Wang, Penny Wang
Umbrella Dancers: Grace Ho, April Huang, Deanna Joe, Dana Lee, Catherine Stoddard, Melissa Ting, Ginger Tsai, Angela Wang, Emily Wang, Lacey Wen, Kimberly Wu, Cindy Ye

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DEFEND THE YELLOW RIVER
The fourth and final movement depicts the patriotism of the Chinese people.  The leading motif "Defend the Yellow River" continues throughout the piece as a symbol of the people's march to battle.  Some sections symbolize the war horses.  The triumphant climax praises the victories of the Chinese people.  This dance was originally choreographed for Beijing Dance Academy without the use of any props.

Choreography after Zhang Yujun and Shen Peiyi (Beijing Dance Academy) by Hwee-Eng Y. Lee

Lead Dancers: Kerry Lee, Amanda Phingbodhipakkiya, Tian Shuai (Guest Artist, Atlanta Ballet)

Red Ribbon Dancers: Hoyi Chan, Susan Chung, Queena Kou, Eugenie Ooi, Joy Shieh, Tiffany Soo, Emily Sun, Joann Wang, Penny Wang, Grace Yen
Orange Fan Dancers: San Tso Hsieh, Tzu-Wei Hsu, Jane Lee, Grace Liang, Amy Liu, Emily Pau, Natalie Perkins, Nicole Tocci, Angela Wang, Mei-Yuan Wang

Yellow Scarf Dancers: Nancy Chen, Grace Ho, April Huang, Deanna Joe, Dana Lee, Catherine Stoddard, Melissa Ting, Ginger Tsai, Emily Wang, Lacey Wen, Kimberly Wu, Cindy Ye

Additional Finale Dancers: Tara Lee (Guest Artist, Atlanta Ballet), Tamila (Guest Artist, Atlanta Ballet)

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 Final Bow

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