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Balance of Grace and Strength: Chinese Folk Dancing in South Louisiana By Guiyuan Wang (王桂园) Folk Dances of China / Chinese Folk Dancers in South Louisiana
The Special Meanings Difficulties never reduce the dancers’ passion for dancing. Traditional dances, along with many other Chinese cultural forms, bear special meaning for overseas Chinese people. When immigrants are away their homeland, they often cherish their traditions because they are expressions which give them a sense of belonging and link them to their roots. Parents do not want the younger generation to lose their native cultures. Trying to keep children in contact with Chinese cultures has become a tradition in many Chinese immigrant families. Ling Yu (于玲)’s daughter Tong-tong is the best youth dancer of the Academy of Chinese Studies in New Orleans. Tong-tong is her parents’ nickname for her and her real name is Junru Yan (闫俊如). She performed a solo dance for the 2009 Asian Heritage Festival in New Orleans on May 9. Ling hopes that the efforts of her and her husband can be turned into profound memories for their daughter and she can hand down the traditions to the next generation.
Folk dancing is a cure for nostalgia. The older that Chinese immigrants get and the longer that they have been overseas, the more they want to embrace Chinese traditions. Hsiaopo Cheng (陈晓波) has been here for 28 years, longer than the time she had been in China. To her it is wonderful to experience other parts of the world and learn different things. But the more she does so, the more she wants something familiar, something she grew up with. When Hsiaopo was still a young college student in Beijing, she was picked to learn folk dances, just for the sake of performances. She almost did not want to do it because she felt that it was a “waste” of time. Jenny Hsia Chen (夏自珍) explains how she feels about doing Chinese dance in Louisiana: Like her, many Chinese folk dancers in Louisiana, including myself, were never, or not to this degree, involved in folk dancing back home. But now in the U.S., we value every performance as an opportunity to contribute to the understanding and appreciation of Chinese cultures. The applause from the audience makes us proud. At the same time, it also reminds us of the responsibility of representing Chinese cultures. Although what we do is a small part, we think people are getting more familiar with true Chinese cultures. For the dancers, it feels good to repay people who offer their appreciation and support. It also provides the Chinese community an opportunity to give back to the community where we live in. This is especially true now, since China is going through rapid development and receiving great attention. People want to know more about China, such as the economic development and the ways Chinese people educate children about traditional Chinese values and cultures. The performances of the dancers certainly cater to people’s curiosity and craving for Chinese cultures. We are glad to see that Chinese folk dances are becoming more widely known, and that more people understand the cultural diversity of China. Along with the Chinese language and traditional holidays, Chinese cultures and arts have attracted many non-Chinese children in Louisiana. Parents realize that China is going to be more influential in the world and it is promising for their children to learn Chinese language and cultures. In New Orleans, non-Chinese children take classes of Chinese language and dances from the Academy of Chinese Studies and participate in the performance as well. Junru Yan (闫俊如) (Tong-tong) has a good friend in her middle school, with whom she often shares Chinese snacks and traditional stories. She also shows Chinese folk dances to her. She became so fascinated that she has become a student of the Academy of Chinese Studies. In their middle school, Tong-tong also presents Chinese dances and songs, and shares Chinese food during the tea hours after curriculum time. In Baton Rouge, non-Chinese children participate in the children dance performances. Communication among people from different cultures is the basis of understanding. Many long-term Chinese immigrants feel that how American people think about Chinese immigrants has changed. Hsiaopo Cheng (陈晓波) recalls that, decades ago, the image of early Chinese immigrants was that they were simply blue collars who worked hard, ate different food, and spoke an elusive language. Now American people have more comprehensive knowledge about China and Chinese cultures, and a better understanding of the personalities of Chinese immigrants. Many dancers think that Chinese Americans as a whole have gained more respect and higher social status. The change cannot happen without these immigrants’ own efforts and the growing influence and strength of China. But without doubt, the increasing communication between Chinese Americans and other groups is also indispensable. The efforts of Chinese folk dancers contribute to this improved communication. Conclusion Every cultural form is special in its own way, but as far as maintaining Chinese cultures, folk dancing may be one of the best. It is truly connected with the Chinese cultural roots and has powerful expressive forces beyond national and cultural boundaries. The dances show the diversity of Chinese cultures. Every performance is a package of the traditional music, clothing, life style, customs, aesthetics, and symbols of a people in their regional, social, and natural settings. Because of the lack of resources, it is not easy to do Chinese folk dances in south Louisiana. The problems of costumes and stage props, and time and space still limit the productivity of the dancers. Besides the group efforts of overcoming the difficulties, extraordinarily dedicated team leaders and supportive families and friends are critical. When I did my interviews at the Academy of Chinese Studies in New Orleans, everyone spoke highly of the principal, Rongyi Zhou (周荣懿), and other school officials for their persevering spirit and tireless hard work. Baton Rouge dancers, including myself, cannot be more grateful to Xiaomei Seal (黄小梅) and her husband Ben, both passionate and charismatic. Xiaomei never hesitates to use her connections in China and personal resources to equip the Sunshine Dance Group, and her husband Ben Seal is a great supporter by donating costumes, making stage props, and giving suggestions. The willpower of the dancers to keep going originated from the understanding of how important it is to preserve our heritage, especially overseas. Bearing much more meaning than in the mother country, folk classical dances and ethnic dances have become essential parts of the Chinese communities in South Louisiana. For the dancers, practicing folk dances is a great way to express their Chinese identity. For the Chinese audience, enjoying familiar folk dances is a cure for nostalgia in their life away from the homeland. Successful performances of Chinese dances would not happen without support from the local communities. As descendants of early immigrants, many Louisianans sympathize with the dancers and understand the need for treasuring cultural heritage. Many people, especially children, are curious about China and want to learn more Chinese cultures. The dancers are encouraged and moved by the audience who truly appreciate and enjoy the dances, and are proud to be cultural messengers in the global village. Along with many other traditions and arts from all over the world, Chinese folk dances are playing and will continue to play a role in improving communication and understanding among the people in Louisiana.
Guiyuan Wang (王桂园) is a cultural anthropologist and archaeologist with Coastal Environments, Inc. and member of the Baton Rouge Chinese Sunshine Dance Group. She did this research as part of the New Populations Project in 2009. |
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