BY WENDY ZHANG
Editor’s note: This review discusses elements of the narrative explained in the program notes.
The Legend of Dunhuang
Presented by the Gansu Dance Troupe, Ausfeng, and China Arts and Entertainment Group
Darling Harbour Theatre, ICC Sydney, 5 October
The Legend of Dunhuang was a celebration of Chinese culture through a visual feast of traditional and contemporary Chinese dances, dazzling costumes, and Dunhuang Buddhist art. The fabulous and energetic dancers in their exquisite and colourful costumes kept me engaged throughout the two-hour show.
The show opened with a group of dancers dressed in golden and white costumes performing the famous Thousand-hand Bodhisattva Dance, as they stood against the backdrop of the beautiful Dunhuang frescoes and a shower of flowers. The dancers appeared in one straight line, facing the audience, extending their hands out in different angles so that it looked like one dancer with many hands. The amazing choreography and stage design inspired me to dream of Dunhuang – a city in north-western Gansu province of China that I’ve never been to before. It was a stop on the ancient Silk Road trading route, at which the Mogao Caves also housed thousands of Buddhist statues and artworks.
The program accompanying this production shared useful detail about the narrative that accompanied the performance. The story really began with the Persian merchant Yunus, who became lost in a dust storm in the Gobi Desert – dancers wearing all black, symbolising the dust storm, circled and danced around the dying merchant. He was luckily found and saved by the painter Shenbi Zhang and his young daughter Yingniang. However, soon after that Yingniang was taken by a group of bandits and was separated from her father.
The next scene was the Dunhaung Market – one of my favourite scenes as it depicted a busy Chinese market full of happenings: there was a busker performing traditional Chinese acrobatics, and several young kids doing somersaults one after the other. The marketgoers in traditional Tang dynasty costumes of vibrant colours watched when Yingniang appeared and performed a solo dance (she was now a dancer in a performance troupe). Donning a red dress, she performed an elegant dance – but I noticed a sense of sadness within (probably because, as the story revealed, she hadn’t seen her father for many years). Yunus spotted her from the market and paid money to release her from the troupe, after which time she was reunited with her father, as we learnt through the program notes.
Scene three was at the Mogao Caves, where Shenbi painted frescoes on the walls as her daughter danced. The background of this scene was a display of Buddha images of various sizes and shapes; and a real Buddha statue about two meters tall stood at the side of the stage. I was impressed by the use of a real Buddha statue to enhance the scene. Yingniang was clearly in a happy mood as she danced to the beats of the music holding a pipa (a traditional Chinese musical instrument with four strings) in a free-flowing style. She then performed the reverse pipa dance as she held the pipa at the back of her body with one hand; with the other hand trying to reach and play the instrument. This inspired her father Shenbi to paint this scene onto the wall, which the show portrayed as a legendary piece of Dunhuang art.
Unfortunately, their happiness didn’t last long as the major of the city wanted Yingniang to become his courtesan. Shenbi Zhang tried to save Yingniang by sending her to Persia with Yunus, though he received punishment from the major who ordered him to paint the Mogao Caves forever.
The next scene was at a Persian garden, as a group of Persian boys in white costumes danced to the beats of the Persian music, each holding a pair of blue sticks with bells. They showed their power in this energetic dance. Then, a group of Persian girls in aqua-green dresses entered the stage and started dancing, each holding a matching green vase. I was stunned by the detail and vibrant colour of the costumes, especially the matching bells, scarves, and vases the dancers also held. At the end of the scene, Yunus, now a diplomat to the Tang emperor, decided to bring Yingniang back to her homeland.
The next scene changed back to Mogao Caves, as Shenbi was still trapped in there, surrounded by his own paintings (acted out by real dancers in golden costumes). He had a dream where he was reunited with his daughter as she danced with two pieces of coloured long silks (another traditional Chinese dance) while he played pipa for her. It was a splendid, sad, and surreal performance. Suddenly, the string of the pipa broke off, and he was awake. Scared something would happen, he rushed to the Yangguan Pass, and witnessed the Persian troupe approaching when a group of bandits (arranged by the mayor) attacked. The head of the bandits had a long fight with Yunus, Yingniang and Shenbi, and Shenbi was killed when he tried to save Yunus by lighting the beacon fire. It was a mournful ending – he was finally reunited with his daughter just before he died, kneeling in the red desert sea, pointing to the sky as if questioning his own departure.
The last scene was at the Emperor’s palace in Dunhuang, where representatives from 27 countries gathered around to celebrate the trading of the Silk Road. Diplomats wearing Japanese, Mongolian, Korean, and Persian costumes all gathered around the Emperor and Empress of Tang. A group of Indian dancers first performed a belly dance to the sound of Indian music. Then a group of girls wearing red long dresses and dotted silk capes in the traditional Tang style performed a splendid Tang dance before Yingniang appeared, as she acted out the crime of the mayor in her dance. The Emperor punished the mayor and eliminated him from the Silk Road. Yingniang performed a happy dance as she finally brought justice to her late father, and protected the friendship between China and other countries along the Silk Road.
The Legend of Dunghuang exceeded my expectations on every level – from the energetic dancers and choreography inspired by the Dunhuang art, to the amazing details and vibrant colours of the costumes. It was a spectacular show that should be seen and promoted to more locals in Australia as it was an excellent platform to understand and appreciate Chinese Dunhuang culture and art.
Images courtesy Ausfeng Event Productions.
