The fifth international Chinese dance competition, officiated by overseas Chinese media, New Tang Dynasty television station (NTD Television), will be held on Aug. 18 in Hong Kong and Oct. 5 in New York.
Officials in Beijing are interfering with the competition again. The Political and Legislative Affairs Committee (PLAC) issued a confidential order requesting Chinese dancing communities to boycott the competition, and banning all Chinese dancers from taking part in the competition.
In China, you have the freedom to jump down from a tall building or to jump into a river, but you can’t dance whenever or however you want to. Specifically, a dancer is not allowed to use his imagination to create a unique rhythm or style of dance. Instead, a dancer’s movements are restricted to the guidance of the party culture, since dance is regarded as a political tool. As for the pioneers and pursuers of the truth, in some way, they dance while being handcuffed.
Chinese people historically sing and dance very well. Chinese dance has a long history, thousands of years old. Chinese dance’s profound and culturally rich movements are found in the classical dances, which are the focal point of this competition.
So why did the Chinese regime ban Chinese dancers from participating in NTD Television’s international Chinese dance competition? What does the Chinese regime fear? Are they fearful of authentic arts promoting truthfulness, kindness, and beauty standing in stark contrast to their forgery, ugliness, and evil? Are they afraid the contestants will flee to places of freedom? Or maybe they are worried that public opinion will further turn against them.
The Chinese regime is acutely aware of one thing: The ages when people sang communist songs and only danced political group dances are fading away, while independent dancers are embracing the original authentic culture.
Totalitarianism is the archenemy to freedom; yet, freedom can never be chained. During the 1960s and 70s, Rudolf Nureyev, a dancer from the Soviet Union, defected to France for freedom of the arts. He broke the chains of totalitarian imprisonment and became a beacon of hope to all other dancers.
In China, there was a similar example in the 80s when The Peasant Prince, Li Cunxin, was training at the Houston Ballet. After three days, he decided to defect to freedom by staying in the United States permanently. His defection led to him being held captive in the Chinese Embassy. Later, Li was released after then-Vice President George H.W. Bush stepped in. After that, Li Cunxin danced with the Houston Ballet and the Australian Ballet.
For anyone who loves dancing, dancing for your entire life is a possibility. However, for a professional dancer, artistic life is rather short. An international Chinese dance competition that allows you to showcase your talent and broaden your horizons is such a rare opportunity.
How many times can a person gamble in life? Naturally, for any dancer living under the communist rule, one gamble is a dual effort—once for freedom to dance and once for freedom to live.
Read original Chinese article.
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