Posts Tagged → tradition
Shen Yun thumbs up review
Somewhere in the time frame of 1971 to 1974, a troupe of Chinese acrobats and dancers put on an incredible performance at Penn State University’s Recreation Hall. Despite having been a wee lad up in the bleachers that evening, I can still now recall moments of their performance with shocking clarity, such were the amazing skill and feats of strength they brought to the American public.
Lots of male and especially female displays of traditional weapons mastery – spears, swords, knives – whose choreography defies even an aged and highly skeptical intellect decades later, as well as incredible and frankly unbelievable balancing + acrobatic + martial arts acts with tea cups and people, bending iron bars that the audience members were invited to try etc etc.
And now looking back, I realize that those early 1970s Chinese performers must have been the last of their kind, or maybe they were exiles, such was the crushing tyranny of Mao’s “Cultural Revolution” aimed at stamping out through murder, torture, and literal destruction of every single thing that had made China China for the past five thousand years. In any event, in Rec Hall that night I had witnessed history.
Well, fast forward about fifty years, and into the intervening gap steps Shen Yun, a modern show about “China Before Communism.” That is, before all that Mao Cultural Revolution communist crap that has destroyed one of the world’s great nations and culture. Begun in 2006, Shen Yun performances have been evolving and growing for the past sixteen years, and now boasts eight geographically dispersed troupes regularly impressing audiences around America. The Princess of Patience and I saw one such troupe in Pittsburgh, PA, this past Sunday, at the historic and beautiful Benedum Theater.
Looky here, I am no theater or musical show kind of guy. So don’t go on reading further here and expecting to encounter the usual aphorisms and adjectives “professional” art and theater critics regularly provide through their Pez dispensers.
What you are about to read is my own unvarnished layman perspective, as told from the guy who almost always falls asleep as soon as the lights go out and the curtain rises, and who is then awakened either by the sharp elbows of the theater goer to my left or by the Princess of Patience to my right. Apparently I think I am not snoring when I sleep in a theater, but in fact I do snore.
Apparently one play was stopped mid-scene while an actor asked someone to stop me from snoring, such was the distraction. What can I say, few theater performances are memorable to me. Men singing…bad. Men dancing in tights and playing dress-up…really bad. Theater and especially musicals and most especially opera are all a refined form of torture. If a play is any good, it will become a movie, which I might see and during which I probably will not fall asleep. My highly educated and experienced opinion here.
But, such is my love for the Princess of Patience, that I bought tickets and took her to see this updated version of whatever it was I had been mesmerized by fifty years ago.
To its credit, Shen Yun kept me awake. We can joke, but that is actually an achievement.
Shen Yun’s scenes or performances are relatively brief, each probably five to seven minutes long, and also varied. That constant change helps keep the audience’s attention focused. The subjects are about traditional Chinese culture, love, war, good vs. evil, history, spirituality, chivalry, family, and the performers wear culturally appropriate dress in each scene. They also have an act about forced organ harvesting, the current real-time inhumane insane crazy can’t believe this is happening actual action of murdering political prisoners and transferring their healthy organs to the unhealthy bodies of Chinese citizens who are “more equal”* than the 99.99% of the Chinese socioeconomically beneath them.
*(George Orwell, author of dystopian novel and a foreshadowing message about the present political situation in both China and America 1984, coined this phrase more equal than others in his other dystopian novel Animal Farm, where the political leader pigs betray the farm animals’ revolution against the humans and go on to corrupt the original commandment that all animals are equal in order to keep their pig selves in unintended, constant, never-ending more equal than others tyrannical mastery over all the other animals)
Something I had not seen before is Shen Yun’s use of a digital screen as the stage backdrop, instead of the traditional painted screen that would form the background for the stage in each scene. Shen Yun uses different digital backdrops, often several different ones, in each scene. They are crisp, clear, and bright. They also allow for cartoon versions of the actors to soar through the air or run away over the horizon. Maybe this is old technology, but it is a first encounter for me, and I liked it.
Things I liked about Shen Yun: The amazing dance, ballet, tumbling, and acrobatic abilities of the professional actors, the incredibly tight and perfectly executed choreography, the superior talent of the live orchestra members, and the bright and flowing costumes that must be a real b#tch to move around in. I liked all the subject matters. The simpler weapons handling wasn’t intended to be anything like the old days, but it adds a nice change to each story and act. The pleasant combining of traditional Chinese music with a modern European/ Western orchestra is very cool.
Things I did not like about Shen Yun: About a third of the acts are repetitious, despite using different costumes and some different choreography, with the same sweeping “windmill” arm motions of the actors in each one. Consider that the one act that brought the loudest applause was about a traditional Tibetan dance, complete with very different moves and costumes. Another thing that irked me was how MC/Announcer Perry’s suit crotch was obviously rumpled. Probably because I am not a regular suit wearer, my eye was immediately drawn to this unprofessional and uncomfortable anomaly. Come on, Perry, your suit must be cleaned and pressed before each performance. Even a knuckle dragging lug like me knows this.
In conclusion, I spoke with half a dozen members of the audience both inside and outside the theater, and everyone liked it. Some appreciated the simple artistic expression, despite not synching with the political, religious, or cultural messages. Others really liked the occasional blips of overt religious messaging, which if I had to guess is some sort of Bhuddist messianism that most Christians can relate to in one way or another. One audience member I spoke with said that she is politically liberal, but that she was not bothered at all by the political or religious aspects of Shen Yun: “I don’t have to agree with it to enjoy it. This is just their own artistic expression and I am here to see it and enjoy it as it is,” she said to me.
Amen.
Thank You to PA Leadership Conference
A big Thank You to the Pennsylvania Leadership Conference organizers, its speakers and moderators, and the hundreds of attendees who are taking time out of their days, livelihoods, and family commitments to gather together and work on rebuilding American and Pennsylvanian liberties.
I got a lot out of it today. Big Thank You to PA state senator Mike Folmer, whose passionate advocacy for individual liberties inspires so many other citizens to work twice as hard. Even those who disagree with the traditionalist movement respect the commitment we have to protecting EVERYONE’S rights, the opposite of the Left, which is constantly undermining civil liberties.
The Mayans Were Wrong; William Penn Was Right
Today is both the 12-12-12 date that, according to the dyslexic Mayan Calendar, marks the end of the world, and it is also the anniversary of Pennsylvania’s official entry as a State into the United States.
Delaware beat Pennsylvania as the first state in the Union by a day or two, but nevertheless, the Keystone State is as old as America gets.
That day in 1787, who could have imagined that hand-held gadgets and computer screens would today dominate our materially wealthy society, not just injecting but wrapping citizens in their individual cocoon of fantasy and imagination as real as the reality around them? If personal accountability is at the heart of America’s political and entrepreneurial system, these little gaming gadgets are on the periphery, acting more like huge celestial bodies teasing apart the fabric of the universe through tremendous gravitational force than as some sort of glue holding it all together. Subterfuge and pretend have replaced face-to-face and voice contact between humans. Reality is nearly impossible to define.
When William Penn founded Penn’s Woods, Pennsylvania, he envisioned and then successfully implemented a society where individual liberty was the standard, not the rare exception. Hard work, risk taking, and some personal sacrifice could yield tremendous material benefits to those immigrants willing to undertake them. We proud Pennsylvanians now, his spiritual and physical heirs, try to carry on that tradition amidst a strange array of colliding beliefs, allegiances, and competing values. One such competitor are these little gadgets we all use. Yes, they add efficiency. No, they don’t necessarily add value or depth of understanding. It’s one of the reasons that I do not “friend” people who live near me on FaceBook; if you want to be my “friend,” call me, and let’s schedule some time together with a cold beer and some hot food. There is no substitute for face-to-face time with another person who you value.
Another competitor is the fractured belief system that many new Americans bring with them and that many young Americans now embrace. Young people tattooing their bodies with Japanese and Haida Indian religious symbols, to which they have no connection either ethnically or ideologically, is a substantive example. Another example is the actual widespread fear caused by the Mayan prediction that this day ends the world as we know it. If you are paying attention to the Mayans today, maybe you might consider that their cruel society died out long ago, victim to human sacrifice and poor ecological planning.
This casual rootlessness is not good for America, and it does not reflect the greatness we inherited from those brave founders who stood fast and strong in 1787, against a mighty international British empire that indeed could have ended the world as our founders knew it then and there.
Today, the world will not end. Rather, Pennsylvanians and other Americans will go about their business, quietly drawing on a ever diminishing bank account of sorts to carry us through to the next day, the next transaction, the next political race. Our traditional culture is a metaphorical bank account, a repository of the guiding values and achievements of our progenitors, the people who created the roads, bridges, schools, political infrastructure, and businesses which we now use and take for granted every day. Failing to make deposits into this bank account, and yet withdrawing from it daily, will lead the account to become overdrawn, to become empty, to go bankrupt, and to fail.
That, and not the Mayans, is the great threat staring us in the face now.