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*** DCP IN HALL 1 AND HALL 2 /EUROPE/! PREMIERE EVERY WEEK!
Chinese Classical Dance “Fen Mo”
26th January - Hall 1 - 7 p.m.
Chinese Classical Dance  “Fen Mo”

 
About the Dance:
“Fen Mo” was inspired by the saying of “if by using ink a painter can allude to the five colors, we say
that he has grasped the mind. But if a painter’s mind is fixed on the five colors themselves, the essence
of things will escape him, ” from “The Record of paintings of All Dynasties” by Yan Yuan Zhang of Tang
Dynasty (618-907). The choreographer tries to bring to life with the dancers’ movements the unique form 
of aesthetics of Chinese painting. How the ink infuses the rice paper and diffuses in shades of dark or light, 
wet or dry, intense or muted, is just like the dancer’s body in motion: breathing in or out, moving or still, 
opened up or withdrawn, quick or slow, rising or falling. The dance fully utilized traditional elements such as 
“Breath”, “Stilts”, “Hair”, “Sleeves”, “Sword”, “Fan”,“Umbrella”, and “Skirt” to covey emotions such as 
"Affectionateness", " Exquisiteness", "Enamor," "Grievance", "Sadness", "Leisure", and "Love” in the Chinese 
spiritual world; which are inclusive of both historical and cultural memories, and the passing down of Chinese
classical essences.
 
Dance Structure:
Act I: Awakening
Regarded as the state of mind for entering into the dance, the first act uses breathing as the beginning of movements and seeks for changes in time and space with divinatory symbols. In this act, dancers begin the creation of “water and ink halos” with their movements.
 
Act II: Flowing
Regarded as the rhyme of dance, dancers enter into the scene wearing “Stilts”. With a combination of movement and stillness, and with postures containing delicate curves, grace and elegance like that of the flow of water ink, and of the sublimity of life are demonstrated.
 
 
Act III: Instinct
Regarded as the nature and soul of the dance, this act uses the dialogue between “Zhong Kui” and the ghost, the sorrowful waving of the “Water Sleeves”, and the expression of the “Sword” cutting the “Hair”, to bring about the essence of Chinese classical spirit.
 
Act IV: Liberation
Regarded as the imagination in the dance, in this act dancers use the fluttering of the “Silk Dress” as a metaphor for ink of the body, and paints gradually the harmonic pictures of human and nature. (“Fishing alone at the river covered with ice and snow”, “Mountain with all the birds flying away” and “Two lovers under one umbrella”)
 
Act V: Form and Formlessness
This is regarded as the artistic conception and end of the dance. Through the colors of black and white, and the movement created by the pleated skirts, the“Blank-leaving” and eternity of human life is expressed vividly.

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