Han-Tang Zhongguo Gudianwu and the Problem of Chineseness in Contemporary Chinese Dance: Sixty Years of Creation and Controversy
2012; University of Hawaii Press; Volume: 29; Issue: 1 Linguagem: Inglês
10.1353/atj.2012.0021
ISSN1527-2109
Autores Tópico(s)Chinese history and philosophy
ResumoIn 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.
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