Costume Androgyny and Bifolio-ed Assertions: Brush vs Sword (Huang Doudou, II)

“Painting by Wushu brush” – the Martial Artiste Stages the Ribbon-sleeve Dance


The dancer-choreographer here in focus – Huang Doudou – consistently tells his press following that he is building a “modern dance” for China, albeit not “simply” modern: rather one that conflates such (non?) modern traditions as gymnastics, swordplay, even calligraphy. A dance of multiple elements (duo yuanhua). Meaning I suppose not a simple replication of the “masters”: 皮娜·鲍什(Pina Bausch),莫里斯·贝嘉(Maurice Bejart),罗兰·佩蒂(RolandPetit),and 莫斯·肯宁汉(MerceCunningham) – who taught a a previous generation – but an experimental melange. A nightmare of course for the outsider to parse, since there is no discernable model or goal. What does he really “see” as modern (ist?)

5 thoughts on “Costume Androgyny and Bifolio-ed Assertions: Brush vs Sword (Huang Doudou, II)

    • Hi Isabel: Thanks for the boost. and the emblem (though I don’t understand what it means to others…) Can you explain what you mean by “submit that you (I) made some days ago”. I’d be delighted to respond if you can tell me what point(s) you liked/

    • I think that Chinese culture these days is demoralized, for men in particular, and perhaps for middle class adults in general.
      If you want to pursue this, write me directly at and I will list out some essays etc that deal with this.

      The “Chess” tableau was meant to place men back into parity with women as dancers/athletes, but it obviously didn’t succeed. Similarly, the attempt to revive the cult of “Qinshihuang di” as a crstallizing of creative YANG obviously failed.

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