In the wake of the outcries over Amy Chua’s memoir extolling her strict Chinese upbringing and China’s sabotaging the U.S. economy by undervaluing the yuan, witnessing the Chinese American Association of Minnesota (CAAM) Chinese Dance Theater’s presentation of China the Beautiful this past weekend was a welcome relief. Not only did these children and young adults ring in the Chinese new year of the rabbit with an infectious and charming blend of dance and song, they educated their audience about some of China’s ethnic and geographical features that make its culture beautiful and unique.
The program consisted of two 45 minute programs devoted to dances that represented four distinct geographical areas: Yunnan & Guizhou (Southwestern China), Fujian & Taiwan (Southeast China), the Delta of Yangtze, and Northeastern China. Whether they were imitating willow trees in the delta of the Yangtze or bamboo leaves swaying in the moonlight of the Chinese southwest, each dancer evoked the seamless harmony between nature and humanity that characterizes the essence of Chinese art.
Moreover, the varied and colorful costumes featured in each number reflected the range of subcultures and traditions that comprise Chinese culture. From the Han in the northeast to the Hakka in the southeast, each dance radiated the supple rhythms and joyous syncopations that mark each province’s music and dance.
Most of these performers were children, many as young as seven. Their occasional gaffes and intense concentration on the correct sequence of steps reflected their callowness and immaturity as dancers. They had neither the grace nor the precision demonstrated by the adult performers at the 2008 summer Olympics. Imperfections aside, their effort showed that the physical and mental challenges of such routines need not be reserved for people who have reached a certain age. The sense of accomplishment in mastering a challenging step or intricate routine can knowis no age or skill levels.
In their efforts to nurture, some American parents neglect to challenge their children. While these CAAM children were challenged, no Frankenmothers materialized in the O’Shaughnessy Auditorium lobby afterwards to hector them about their miscues or clumsiness. Instead, a sense of exhilaration in their performances and pride in the multi-faceted culture from which their dances originated suffused performers, parents, and audience alike.
And despite our two countries' economic and social differences, aren’t those reactions what any artistic discipline is supposed to instill?
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