National Ballet of China History

National Ballet of China

History of the National Ballet of China

One of the world's top 10 ballet companies, the National Ballet of China was founded on December 31,1959 (CCTV 2005, Orange County 2005) and has, in the past four decades, consisted of generations of striving and gifted artists. The dance company has turned out outstanding artistic achievements in Western and Chinese classical and contemporary ballet. It had rough and tough times too as when it was under-funded and its members became over-aged. Its only reward was art itself and its artists continued to devote themselves to their career to become the pioneer in China's unique ballet style.

It was first known as the Experimental Ballet Company of the Beijing Dance School, the "cradle of dance (Orange County)." From 1959 to 1963, Russian artists such as Pyotr Gusev placed it in their influence and assimilated Russian school training into the Chinese training program. From 1958 to 1960, a mix of Russian and Chinese artists successfully produced classical ballets, such as "Swan Lake," "Le Corsaire" and "Giselle." In the last ten years, the ballet company undertook reforms, especially in administration. Younger dancers have been recruited so that the average age is now 22. Almost all of them are graduates of the Beijing Dance Academy who have six to eight years of professional training. Its dancers are now internationally recognized for their excellent and solid training in classical ballet, an all-around artistic sensitivity and a delicate style. Many of them have achieved world-class status and won medals from international competitions in Varna, Moscow, Paris and Tokyo.A former dancer, Ms Zhao Ruheng took over in 1993 (Orange County, CCTV, Howard 2005).

The National Ballet Company's artistic mission consists of introducing to the Chinese audiences to Western classical ballets and contemporary ballet works and of exploring the unique and possible fusion of classical ballet and the Chinese culture (Orange County, CCTV 2005). It invites world-famous ballet masters to work with the troupe on a regular basis in order to train its dancers and rehearse new pieces. The ballet company has already toured more than 30 countries and regions in its pursuit of international communication. Its new international links have also brought it a range of problems. In the late 80s and the early 90s, some of the more talented left the group for abroad and left behind less experienced young dancers and aging veterans (CCTV 2005).

Among its recently produced successes are the Chinese version of "The Nutcracker," which presents a traditional Christmas ballet into a Chinese plot, which in turn, connects with the Chinese audience (CCTV 2005). One example is the "Raise the Red Lantern," a ballet rendition of Zhang Yimou's film and "Butterfly Lovers," a Chinese interpretation of the Romeo and Juliet tragedy. It has also experimented with different modern styles, such as "The Rite of Spring," "Serenade," "Concerto," and "The Last Four Songs." The ballet company derives its reputation and excellence also from its own orchestra, the national Ballet of China Symphony Orchestra. The orchestra consists of 60 classically trained musicians. It is the only orchestra in China, which specializes in ballet accompaniment. The ballet company's in-house home stage production should be credited for the creative and exemplary costumes, scenery, props, headdresses and ballet shoes of the performers (Orange County, Howard 2005).

In its 40-year history, the National Ballet of China has staged Chinese and Western classical and contemporary pieces, all of which have created strong and deep impact in the audiences that attended the performances (CCTV 2005). In particular, "Raise the Red Lantern" in 2003 was a breakthrough in merging pas de deux with Chinese elements, such as the Peking opera (Howard).

History of the Chinese Dance Form

The history of dance is as long as the 5,000-year-old colored pottery vessels discovered in Qinghai's Datong County, which showed three drawings of people dancing (Embassy of the People's Republic of China in the Republic of Finland 2004, WorkArtsWest 2005). Murals during the Han Dynasty give the same testimony, attaining new heights during the Tang Dynasty, as chronicled in the works of Prince Qin, "Storming the Enemy Line," and others. The Han Dynasty and 55 other ethnic groups have their respective, distinctive and rich dance traditions, which performed almost 1,000 folk dances throughout the country. Among the most well-known are the Hans' Yangge dance, Dragon dance, Lion dance and the colorful lantern dance. In The last dance, the dancers carry colorful lanterns. In the flower-drum dance, they performers used drums as they danced.

Most Chinese dances derived from "folks" or people who danced during celebrations in communities until the Han dynasty (WorkArtsWest 2005). In the Han era, a musical entertainment court would be established for the imperial court, documented and enhanced folk songs and dances. The political stability and economic prosperity that followed during the Tang dynasty allowed the growth and flourishing of poetry, music and dance between 618 and 907 AD. Dances in the Tang dynasty received past techniques from the Zhou, Qin, Han, Wei, Jin and Nanbei dynasties. Earlier in the rule of this dynasty, Buddhism was introduced in China and trade broadened. As a consequence, social relationships expanded rapidly and dances were influenced by folk dances from other countries, like India, Rome, Persia, Korea, Cambodia, Burma, Vietnam and other central Asian countries. It also merged with other fine art forms, such as painting, scenery, and colorful costumes, poetry, classical music and drama. These combinations peaked in the era and credited the Tang dynasty as the golden age for dance in ancient China (WorkArtsWest).

In the early 50s and mid-60s, Chinese choreographers created dance-dramas, deriving from the techniques of traditional operas and folk dances (Embassy of the People's Republic of China in the Republic of Finland 2005, WorkArtsWest 2005). Examples are "Stealing Magic Herbs," "Master Dongguo," "the Small Sword Society," "Luo Shgngjiao," "Liu Human," "Five Red Clouds," and "To the Tune of Die Lian Hua." These dance-dramas reached a height with more than 100 new productions. The ballet was first introduced in China in the 50s as traditional Russian and European ballets with some Western modern dance. Since 1979, Chinese ballet artists have been evolving their own genre from the literary works of Lu Xun's "New Year's Sacrifices," Ba Jin's "Family," Cao Yu's "Thunderstorm," and Guo Morou's "The Peacock's Courage." Chinese ballet dancers are viewed as having matured and achieved with the awards they have been received in international ballet competitions.