ATLANTA CHINESE DANCE COMPANY: 21st ANNIVERSARY
GALA
Hwee-Eng Y. Lee, Artistic Director
Kerry Lee, Associate Director
1.
21st ANNIVERSARY CELEBRATION
“Yangge” (or “rice sprout song” in Chinese) is one of the most
representative folk arts among the Han ethnic majority in China. Different
regions of China, each with its own unique lifestyle and customs, have distinct
styles of “yangge,” such as “dongbei yangge” (from northeast China), “hua gu”
(“flower drum” from the Anhui province), “hua deng” (“flower lantern” from the
Yunnan province), and “cai cha” (“tea-leaf picking” from the Fujian province).
Through warm and energetic movements, they all express feelings of happiness.
Traditionally, villagers come together to dance “yangge” during celebrations
such as Chinese New Year. This “dongbei yangge” dance utilizes silk fans and
handkerchiefs, two of the most popular props for “yangge,” to celebrate the
Atlanta Chinese Dance Company’s twenty-first anniversary.
Choreographer:
Hwee-Eng Y. Lee and Kerry Lee
Fan Dancers: Yi-Shan Bernard, Mia I-Wah Chan, Sarah Anne
Marie Goodwin, Camille Gough, Hilary Hsieh, Mia Mercaldo, Isabella Pu, Yannie
Tan, Jessie Wong, Jessica Ye
Handkerchief Dancers: Sophie Archer, Emily Backer, Marjorie
Peace Huan Chamberlain, Kateri Goodwin, Madeleine Morgan Lan Harris, Jessica
Kouch, Tanya Su, Grace Winogradsky, Janie Wu, Alice Yee, Amy Yee, Kate Zahniser-Word
Welcome Remarks by Michael
Wang
Chinese Translation by Li Li
PANDA ESCAPE
Introduction by Natalie Hubbard Perkins (ACDC Alumna – 1992-2004)
Panda Escape is an original Chinese dance drama about a panda who dreams of escaping from an American zoo to China to seek an adventure in his motherland. As Papa Panda journeys through China he encounters various aspects of Chinese history and culture, such as a Chinese opera troupe (which he briefly joins, much to the amusement of local children), Dunhuang grottoes with mural paintings of beautiful ladies from over 2,000 years ago, and the Sichuan province, home to over 80% of pandas.
ACDC’s 21st Anniversary Gala marks the premiere of ACDC’s original Chinese dance drama Panda Escape.
2.
PANDA ESCAPE
The giant panda is an endangered species native of Sichuan, China. They
are affectionately known as China’s national treasure and are beloved around the
world for their adorable nature. This dance depicts a group of pandas who
reside in an American zoo. While the baby pandas happily play and eat bamboo,
Papa Panda dreams of escaping to China for an adventure in his homeland. Papa
Panda’s movements are inspired by wushu (or Chinese martial arts).
Choreographer: Hwee-Eng Y. Lee and Kerry Lee
Papa Panda: Andrew Ellis
Baby Pandas: Li Jia Chang, Li Yah Chang, Hope Collier,
Leila Elble, Amanda Hallo, Grace Marriott, Joanna Speck, Summer Sun
3. WATCHING
CHINESE OPERA ON THE STREET
This dance depicts a group of children watching a Chinese opera performance
on the street in front of their grandmother’s house. They have a great time
imitating the Chinese opera movements of the street performers. However, the
show is too long for their young age and they struggle to stay awake.
Choreographer: Huang Xiufang and Mu Qing
Dancers: Dinna Kanita Dewi, Christabel Flagg, Mary
Katherine Lu Jia Iner, Cecilia Guterman, Alice Howting, Emma McHale, Anna
McKenney, Iris X. McKenney, Talia Ossip, Joline Speck, Kara Thurston, Ashley
Wang, Karrie Zhao
4. CHINESE
OPERA GIRLS
Chinese opera is one of the oldest dramatic art forms in the world. It
combines music, art, literature and movement into one performance on the stage.
This dance depicts a playful group of children practicing Chinese opera
technique. The elaborate headdresses with two long pheasant feathers signify
the social status of their role as generals. The girls are interrupted by Papa
Panda, who joins in the fun.
Choreographer: Li Jian and Liu Meng
Papa Panda: Andrew Ellis
Dancers: Tia Bi, June WeiChun Brenner, Carolyn Butler,
Freda Chen, Katherine Do, Evonne Iau, Genevieve Xiao Fei MacDonald, Tiffany H.
Morgan, Nia Nguyen, Anna Rappaport, Emily Yuan Reittinger, Emily Ye
5. DUNHUANG
PIPA DANCE
Dunhuang music and dance developed during the Tang dynasty, one of the richest
periods in Chinese art history. The dance style shows an Indian influence, due
to the introduction of Buddhism from India to China. Dunhuang dance poses are
inspired by images of dancers on mural paintings in the caves of Dunhuang in the
Gansu province. The ladies are often depicted playing the pipa, a four-stringed
plucked instrument also known as the Chinese lute. The signature movement of
the piece is called “fantanpipa,” or literally “playing the pipa backwards.”
Choreographer: Zhang Fang
Dancers: Kateri Goodwin, Madeleine Morgan Lan
Harris, Janie Wu
6. TIBETAN
DANCE: “NEW BOOTS”
The Tibetan minority, the tenth largest ethnic group in China, live
primarily in the Tibetan Plateau (“qing zang gao yuan”) north of the Himalayas,
which is sometimes called “the roof of the world.” Dancing is an integral aspect
of Tibetan culture. There is a saying in Tibet that is “Tibetans who can walk
can dance.” Tibetan dance is most well-known for its long sleeve-swinging and
rhythmic foot stomps. This dance depicts a group of Tibetan children dancing
happily with their new boots. It is in the “guo zhuang” style of Tibetan dance,
which includes “zhou wu” (walking dance) and “zhuan wu” (turning dance).
Choreographer: Liu Yingzi and Ju Bo
Dancers: Yi-Shan Bernard, Mia I-Wah Chan, Sarah Anne Marie
Goodwin, Camille Gough, Hilary Hsieh, Mia Mercaldo, Isabella Pu, Yannie Tan,
Jessie Wong, Jessica Ye
7. DAI
DANCE: “DAI GIRL”
The Dai people, who have a population of about 1.2 million, live primarily
in the Xishuangbanna Dai Autonomous Prefecture and the Dehong Dai and Jingpo
Autonomous Prefecture in the southern part of the Yunnan province in southwest
China. Dai dance enjoys a diverse range of styles, all of which express harmony
with dense bamboo forests and wild animals such as peacocks, fish, and
elephants. Bouncy knees, angular arms, and hyperextended fingers are defining
characteristics of Dai dance. Movements range from quick and agile, to elegant
and sensual. This dance depicts the beauty and delicacy of a Dai young lady.
Choreographer: Beijing Dance Academy
Dancer: Kerry Lee
8. UYGHUR
DANCE: “HARVEST SEASON”
The Uyghur people, the fifth largest ethnic minority in China, live
primarily in the Xinjiang Autonomous Region in northwest China. Because of their
close proximity to the Middle East, most Uyghurs are followers of Islam.
Intricate neck and wrist movements are distinct characteristics of their dance
style. Xinjiang is renowned for its fruit and produce, such as grapes and
melons. This dance depicts a group of young ladies harvest grapes. They offer
their newly harvested grapes to Papa Panda, who approves of their sweet taste.
Choreographer: Xie Ke and Wu Maier
Dancers: Sophie Archer, Emily Backer, Marjorie Peace Huan
Chamberlain, Kateri Goodwin, Madeleine Morgan Lan Harris, Jessica Kouch, Tanya
Su, Grace Winogradsky, Janie Wu, Alice Yee, Amy Yee, Kate Zahniser-Word
9.
MONGOLIAN DANCE: “TENGGELITALA”
Mongols, who are the eighth largest ethnic minority in China, live a nomadic
lifestyle on the vast grasslands of the Inner Mongolia Autonomous Region of
China. Their dance style expresses their unconstrained character, brave hearts,
and worship of legendary heroes. Nicknamed “the race on horseback,” Mongols
love horses and geese. As a result, they have developed a range of gestures to
imitate these animals in their dancing. Repeated shoulder shrugging and
squatting stances, which are connected with their nomadic lifestyle, are also
characteristics of Mongolian dance. The title of this dance “Tenggelitala”
means “heavenly grassland” in Mongolian. It is also the name of a popular
tourist spot with grasslands and volcanoes. The white scarf in the dance is
called “hada,” which is customarily presented by Mongolians and Tibetans as a
gift to honorable guests. The “hada” represents purity, loyalty, and respect.
Choreographer: Gu Li
Papa Panda: Andrew Ellis
Dancers: Tia Bi, June WeiChun Brenner, Carolyn Butler,
Freda Chen, Dinna Kanita Dewi , Katherine Do, Christabel Flagg, Cecilia Guterman,
Alice Howting, Evonne Iau, Mary Katherine Lu Jia Iner, Genevieve Xiao Fei
MacDonald, Emma McHale, Anna McKenney, Iris X. McKenney, Tiffany H. Morgan, Nia
Nguyen, Talia Ossip, Emily Yuan Reittinger, Anna Rappaport, Joline Speck, Kara
Thurston, Ashley Wang, Emily Ye, Karrie Zhao
10. YI DANCE:
“BELL SONG”
The Yi ethnic minority, China’s seventh largest ethnic minority, reside
mostly in southwest China in provinces such as Sichuan, Yunnan, and Guangxi.
Their ancestors can be traced back to the Qiang people in northwest China. They
have since migrated south and joined the local southwest aborigines to form the
Yi ethnic group as it is known today. Due to the vastness of the regions they
inhabit, Yi dress and adornment varies greatly and has over 400 different
styles. They often wear black, as they believe the color is noble and
beautiful. Yi people love to dance. Their dance style is influenced by their
respect for nature.
Choreographer: Wang Jinsong
Dancers: Mei-Jing Bernard, Laura Brockmann, Irene
Chien, Kateri Goodwin, Emma Gough, Queena Kou, Lacey Krakowiak, Li Li, Alice Y.
McCurley, Emily Pau, Ji Yun (Emily) Sun, Xueli Xiao, Kimberly Wu, Nora Yunfan
Zhang
11. PANDA
AWAKENS
It is the next morning, and Papa Panda is awakened by the baby pandas at the
zoo. He is confused, realizing that his adventure was just a dream.
Nevertheless, he excitedly tells the baby pandas about all of the sights he saw
in China.
Choreographer: Hwee-Eng Y. Lee and Kerry Lee
Papa Panda: Andrew Ellis
Baby Pandas: Li Jia Chang, Li Yah Chang, Hope Collier,
Leila Elble, Amanda Hallo, Grace Marriott, Joanna Speck, Summer Sun
Intermission – 15 Minutes
BACK TO THE ROOTS
Introduction by Eugenie Ooi Miller (ACDC Alumna – 1998-2009)
Back to the Roots is the story of a tender mother-daughter relationship between an immigrant Chinese mother and her Chinese-American daughter. When this mother emigrated from China to America, she left everything behind—everything except her toy drum, her newborn daughter, and memories of her motherland. Lost in a new country amongst predominantly non-Chinese residents, she hoped to pass on her roots—her Chinese heritage—to her American bred daughter with a Chinese face. Back to the Roots explores this mother-daughter relationship through three main developmental stages of the daughter—childhood, adolescence, and adulthood. Through the daughter’s joys and sorrows we take you back to the roots of a Chinese American girl, ultimately concluding with her personal visit to her motherland, where she finally appreciates her late mother’s gift to her as a young child—her toy drum from China.
ACDC’s Back to the Roots was premiered as an original full-evening production on April 1-2, 2006 at the Performing Arts Center at Gwinnett Center.
12. EXPECTING
This folk dance piece of the Han ethnic majority depicts a young lady who is
pregnant with her first child. She is restless, anxiously counting down the
days as she laughs to herself about the thought of being a mother. The dancer
utilizes the fan as a metaphor for both the child and for the clothes she is
sewing for her child. This dance is in the style of "yangge," which originated
from the movements of farmers.
Choreographer: Beijing Dance Academy
Mother: Queena Kou (Saturday), Tanya Su (Sunday)
13. FROM CHINA
TO AMERICA
Shortly after the baby was born, the mother immigrates to America, leaving
everything behind except her newborn daughter, her toy drum, and her precious
memories from China. As she travels, she is confused, wondering where her new
life will take her.
Choreographer: Hwee-Eng Y. Lee
Mother: Queena Kou
14. A GLIMPSE OF MOTHER’S PAST
The daughter is now a young child, and the mother begins to
pass on her Chinese heritage to her daughter in America. She gives her daughter
her toy drum, her only materialistic possesion from her motherland. The
daughter happily plays with her new toy as she listens to her mother's stories
of China.
Choreographer: Hwee-Eng Y. Lee
Mother: Irene Chien (Saturday), Queena Kou (Sunday)
Daughter: Alice Howting (Saturday), Emma McHale (Sunday)
Mother in Flashback: Sarah Anne Marie Goodwin (Saturday),
Mia Mercaldo (Sunday)
15. REBELLION
Now that the daughter is a teenager, she longs to fit in with
her American counterparts. Trading her traditional Chinese outfit for her
latest fashions and her mother's stories for American hip hop music, the girl
renounces her Chinese heritage as an oddity that she wishes to shut out of her
mind. She kicks the toy drum in anger.
Choreographer: Hwee-Eng Y. Lee
Mother: Irene Chien (Saturday), Queena Kou (Sunday)
Daughter: Anna Rappaport
16. IN MOURNING
Just as the daughter begins to mature, her mother passes away,
leaving the daughter pondering everything her mother taught her about China.
She goes back to the drum, the symbol of her mother's love and only connection
to her homeland. Determined to seek the answers to all of the questions she
never bothered to ask and to fully understand everything the drum embodies, she
vows to travel to China to see firsthand what her mother spent a lifetime trying
to teach her. This dance incorporates contemporary dance with Chinese dance to
reflect the daughter's influences from both western and eastern cultures.
Choreographer: Hwee-Eng Y. Lee and Kerry Lee
Daughter: Kerry Lee
Mother in Flashback: Irene Chien (Saturday), Queena Kou
(Sunday)
Daughter in Flashback: Anna Rappaport
17. CYMBAL DANCE
Cymbals are percussion instruments that Chinese dancers have
used traditionally for celebration dances. Carefully coordinating the cymbal
with the music strengthens the spirit of the celebration.
Choreographer: Hwee-Eng Y. Lee
Lead Dancer: Madeleine Morgan Lan Harris
Group Dancers: Carolyn Butler, Nancy Chen, Julia Collier,
Debbie Ellis, Ludmilla Harker, Agate Lip, Angela Liu, Genevieve Xiao Fei
MacDonald, Shu Wu, Shu-Min Yen
18. RED DRUM
"Red Drum" depicts peasants who have worked on China's yellow
land for generations. While they are very poor, they believe that as long as
they have a plot of yellow earth, they can continue to live on in happiness. By
endless drum sounds, they show their love for their yellow land, their strong
desire for life, and their hopes for the future. The daughter joins these
Chinese villagers as she finally comes to terms with where she came from--where
her roots were planted more than 5,000 years ago.
Choreographer: Hwee-Eng Y. Lee and Kerry Lee after Wang Hong
Daughter: Kerry Lee
Dancers: Mei-Jing Bernard, Laura Brockmann, Irene
Chien, Kateri Goodwin, Emma Gough, Queena Kou, Lacey Krakowiak, Li
Li, Alice Y. McCurley, Emily Pau, Ji Yun (Emily) Sun, Xueli Xiao, Kimberly Wu,
Emily Ye, Nora Yunfan Zhang
YELLOW RIVER PIANO CONCERTO
Introduction by Amanda Phingbodhipakkiya (ACDC Alumna – 2003-2006)
Based on award-winning choreography from Beijing Dance Academy in China and the renowned musical composition by the same name, Yellow River Piano Concerto combines traditional Chinese dance and music with modern influences. Arranged for piano and orchestra after the "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). The river is known by the Chinese people both as a symbol of continuity of Chinese civilization and as China’s sorrow.
ACDC premiered the fourth movement of Yellow River Piano Concerto as a part of the original full-evening production In Search of the Imperial Palace on May 25-26, 2003 at the Performing Arts Center at Gwinnett Center. The full work received its ACDC premiere as a part of the original full-evening production Ming, Gu, Xian on September 11-12, 2004 at the Performing Arts Center at Gwinnett Center.
19. PRELUDE: 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.
Choreographer: Yao Yong and Zhang Yujun
Dancers: Sophie Archer, Kateri Goodwin, Janie Wu, and Kate
Zahniser-Word with Emily Backer, Marjorie Peace Huan Chamberlain, Madeleine
Morgan Lan Harris, Jessica Kouch, Tanya Su, Grace Winogradsky, Alice Yee, Amy
Yee
20. 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.
Choreographer: Yao Yong and Zhang Yujun
Lead Dancers: Peng-Yu Chen and Jared Tan (Guest Artists,
Atlanta Ballet)
Group Dancers: Sophie Archer, Emily Backer, Marjorie Peace
Huan Chamberlain, Kateri Goodwin, Madeleine Morgan Lan Harris, Jessica Kouch,
Tanya Su, Grace Winogradsky, Janie Wu, Alice Yee, Amy Yee, Kate Zahniser-Word
21. 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.
Choreographer: Hwee-Eng Y. Lee and Kerry Lee
Lead Dancer: Kerry Lee
Sleeve Dancers: Laura Brockmann, Irene Chien, Queena Kou,
Lacey Krakowiak, Li Li, Emily Pau, Ji Yun (Emily) Sun, Xueli Xiao, Kimberly Wu,
Nora Yunfan Zhang
Umbrella Dancers: Emily Backer, Carolyn Butler, Nancy Chen,
Julia Collier, Ludmilla Harker, Haocheng Liao, Agate Lip, Angela Liu, Genevieve
Xiao Fei MacDonald, Shu-Min Yen
22. 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.
Choreographer: Hwee-Eng Y. Lee after Yao Yong and Zhang Yujun
Lead Male Dancer: Jared Tan (Guest Artist, Atlanta Ballet)
Lead Female Dancers: Sophie Archer, Emily Backer, Kateri
Goodwin, Madeleine Morgan Lan Harris, Janie Wu, and Kate Zahniser-Word with Peng-Yu
Chen (Guest Artist, Atlanta Ballet) and Kerry Lee
Ribbon Dancers: Mei-Jing Bernard, Laura Brockmann, Marjorie
Peace Huan Chamberlain, Jessica Kouch, Tanya Su, Grace Winogradsky, Alice Yee,
Amy Yee
Fan Dancers: Irene Chien, Emma Gough, Queena Kou, Lacey
Krakowiak, Li Li, Emily Pau, Ji Yun (Emily) Sun, Xueli Xiao, Kimberly Wu, Nora
Yunfan Zhang
This program is supported in part by:
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