Minority Dances

Ritual dances were still very important in the lives of the people I met during my journey, and they were eager to share their culture with others. In 2002 I was fortunate to have the help of Ms. Ge Shurong 葛树荣, deputy director of Minority Research, whom Zhang Jigang had contacted to take me to see Minority dances as part of my Chinese dance project. While the first performance was clearly a commercial production, not dance as it would be done in rural villages, there was much more in store for me. Ms. Ge took me to several Tibetan villages including Dali 大理, Zhongdian 中甸, Wujingsiang 五境乡, Nixi 尼西村 and others in Yunnan Province over the course of a week, traveling up through the steep mountains to reach the secluded communities. At Wujingsiang 五境乡, Tibetan farmers—encouraged by governmental documentation efforts—walked 3 ½ hours from their homes in the mountains to perform for us so I could videotape their dances. The steep mountains and buildings perched precariously on the slopes formed a dramatic backdrop for the dances. The performance took place outside an elementary school, and the students also danced for us. After the performance, all the VIPs, guests, and teachers posed for a photo. Along with the other guests, including Ms. Ge, I was given a white blessing scarf to wear around my neck. I found myself crying, so overcome by the warmth and generosity of these people. Some of the teachers were also given scarves, most likely for coaching the children’s dance. On the far right side of the group photo you can see a few of the children getting into the picture. The boy in yellow was one of the best young dancers that day! Who knows, maybe dance became his life’s pathway.

 


I was struck by how many people felt an urgent need to share their culture, and by their ready response to outsiders who were interested in their lives and art. This eager welcome was on full display at another Tibetan village in Yunnan Province when I visited at the height of the summer, and the visit proved to be most memorable. These rural farmers normally only dance in the winter, when they have no crops to tend, so they only had heavy winter costumes—fur hats included. Yet they were so eager for me to record their dances that they were willing to wear their winter costumes as they dance over and over again until we had enough footage. I was so very touched, and amazed, at their stamina. (My camera was threatening to melt!) The colorful clothing also held special cultural significance, and the dancers were pleased when Ms. Ge asked to try on a costume.



Not all of the performances were outdoors. In one village, the dances took place in the living room of a farmer’s house.



At another village the dancers wore different, but equally colorful costumes.


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