At last year's Lotus Awards, China's biennial National Dance
Competition held in southwest China's
Yunnan Province, the Chinese Dancers Association had planned to
present the Recognition of Lifetime Achievement to Dai Ailian (Tai
Ai-Lien) for her pioneering work in Chinese dance.
Because Dai was ill in bed in Beijing, the association decided
to hold a ceremony for her in the capital before her 90th birthday
in May this year.
But that was not to be.
Dai, the Trinidad-born Chinese ballerina who had devoted all her
life to Chinese dance and was dubbed "Mother of Chinese Dance,"
died of illness last Thursday in Beijing.
Hundreds, if not thousands of people from the dance circle who
could not attend the lifetime award ceremony, will pay their last
respects to the legendary ballerina tomorrow morning at the
Babaoshan Revolutionary Cemetery in western Beijing.
The Chinese Dancers' Association will also hold a memorial forum
tomorrow afternoon to remember the unique dancer who got early
ballet training in London and moved back to China when the "War of
Resistance Against Japanese Aggression" broke out in the late
1930s. She helped start the Ballet Academy in China and spent all
her life as the bridge between China and the world dance
circle.
Her overseas friends could also honour her contribution to
popularizing ballet in China by a visit to the British Royal Dance
Academy in London where a bust of her is on display.
Deep impressions
"If, say, Wu Xiaobang is the 'Father of Chinese Contemporary
Dance,' Dai fully deserves the title 'Mother of Chinese Ballet and
Modern Dance'," comments Feng Shuangbai, vice chairman of the
Chinese Dancers' Association.
"She is very innocent, clean in mind and straightforward."
Some 30 years ago when he first saw "The Lotus," one of Dai's
signature works choreographed in the 1950s, he could not understand
why it was acclaimed, Feng told China Daily.
"The group dance features simple movements and does not boast
difficult techniques. I thought it was because Dai had enjoyed a
high reputation, so people love her dance blindly," Feng said. "But
as I grew older and saw more and more works and gradually knew more
about Dai, I realized that the simple but graceful movements of
'lotus' well reflect her pure inner heart."
Some five years ago, when Feng served as the director of the
Dance Research Institute of China Arts Academy, the then
85-year-old Dai asked to give lectures at the institute. Feng
supposed the elderly woman would talk about Chinese dance history
or the history of ballet. However, Dai said she wanted to criticize
China's current dance education system.
"She said Chinese dance schools over-stress the techniques
training, pay too much attention to the students' body movements,
but neglect cultivating the artistic sense how to read the music
and how to portray a character. So most dancers could challenge
very difficult movements, but their dances have no soul," Feng
recalled.
Dai did give a few lectures to the students to explain her view
of dance training, but her soft voice to a small group of listeners
"failed to wake up the majority who are in the wrong direction." It
is a shame, said Feng.
When Dai herself taught students, she not only demonstrated the
movements, but emphasized the artistry and character portrayal.
Feng Ying, ballet master and deputy president of the National
Ballet of China, is one of the fortunate ones who received training
from Dai.
Feng recalled how the class benefited her most when Dai helped
her to rehearse Act II of "Swan Lake" in 1988.
Feng started to perform the white swan in 1979 and had danced
the ballet for nearly 10 years. She was already a veteran ballerina
in 1988 and had her own feelings about the character.
That afternoon, Dai watched her rehearsals, nodding from time to
time with great satisfaction. But when the Act II started and the
white swan turned into the pretty girl and saw the prince at first
sight, Dai stopped Feng and went up to her.
"She told me to hold my breath and use eyes to express the
complicated feelings of the white swan at that very moment. When I
slowly moved on the tiptoes and had my back to the audience, the
audience should sense my feelings from the slight shaking of the
back," recalled Feng, who is now in her mid-40s.
"It is really hard to perform, but I admitted Dai's
interpretation of those movements are much better than what I did
before," said Feng, one of Dai's favourite students in the 1970s
and 1980s.
Though Dai could not demonstrate for young dancers often because
of her age, she was never far away from Chinese dance. She liked to
attend the premiere of new repertoires and after the show, she
would go backstage to talk to the dancers and give them her
suggestions.
Last May, a few days after her 89th birthday, she also managed
to go to the National Ballet of China to help the young dancers
rehearse "Giselle." Feng Shuangbai told China Daily that
in her later days, Dai often invited him to her house to discuss
the situation of Chinese dance.
"When we talked at her home, she liked smoking," he recalled.
"Speaking in her not-so-accurate Chinese, narrowing her eyes into a
smile behind the spiralling smoke, she looked like a noble, wise
and mysterious goddess who was sent to spread dance in China."
Dai's sweet smile with narrowing eyes is always the general
impression in people's memory. People could easily figure out her
satisfaction and joy from her smile.
A life of vicissitudes
However, her life wasn't always so pleasant. On the contrary, she
suffered many losses from her youth. After gambling bankrupted her
father, in her teens, she went from a rich merchant's daughter to a
poor dance student who had to feed herself by doing temporary jobs.
When World War II started, she gave up her career in London and
came back to China to devote herself to the nation. Soon after her
marriage in 1940, she became infertile after an illness. She also
suffered greatly in the "cultural revolution" (1966-76) and
divorced twice.
How did Dai survive all these trials and pursue her love for
dance all her life?
In My Art and Life Dai Ailian's Autobiography,
published in 2003, the following words she repeated a lot in the
book best answers the question:
"You must love your country and love your culture.
"Only if you love what you do, you would not care how much you
suffer for it or how much you pay for it.
"What I have achieved is attributed to the support and help from
my teachers and friends.
"I am very lucky."
In 1916, Dai was born into an overseas Chinese family in
Trinidad. As Dai wrote in her autobiography, she was very naughty,
liked climbing trees, playing with boys and soccer, but she never
liked playing dolls like most girls. In middle school, she loved
sports and was good at running, table tennis and swimming.
Growing up on the Trinidad Island, Dai had four dreams. The
first was to become a singer. She then wanted to be a navy soldier
because there were many ships visiting the island, and she was
interested in the life of a sailor and very curious about the
world. Another dream was to be a musician because she started to
play piano at the age of 7. She even set her sights on becoming a
painter.
Although she began ballet lessons at the age of 5 and enjoyed
dancing for family members after dinner every day, she did not
think seriously about dancing until she was 14, when her mother
sent her to London. There she received ballet training by such
luminaries of ballet and modern dance as Anton Dolin, Dame Marie
Rambert, Rudolf Laban and Mary Wigman.
Her misfortunes came six years later. Her father gambled all the
money and could no longer support Dai and her sisters in London.
Dai's eldest sister had married in London, and her other sister
went back to Trinidad. But out of her love for dance, Dai chose to
stay. She did all sorts of jobs just to survive on her own and won
two scholarships to study at the Jooss-Leeder Dance School at
Dartington Hall.
At Jooss-Leeder Dance School, Dai met her long-time love, an
Austrian-British sculptor whom she never married but loved all her
life, accompanying him for a year in London.
Never learning to speak Chinese in Trinidad and knowing little
about Chinese culture, Dai envied those Chinese students in London
and made friends with them to learn Chinese. With a desire to
connect with her roots, she borrowed the English versions of
Chinese history books from the Great Britain Library.
Fascinated by the story of Yang Guifei, the favourite concubine
of Emperor Xuanzong in the Tang Dynasty (AD 618-907), she
choreographed a solo performance called "Yang Guifei" in 1936
according to the stories and her own imagination.
After Japan launched its aggressive war against China in 1937,
Dai took part in benefit performances organized by the China
Campaign Committee in London to raise funds for the Hong Kong-based
China Defence League, headed by Soong Ching Ling, wife of Sun
Yat-sen.
Then came a turning point in the dancer's life.
By chance, Dai read Edgar Snow's Red Star over China,
which made her decide to return to China.
With the help of Soong, Dai arrived in Hong Kong in 1940 and
soon fell in love with the noted painter Ye Qianyu,
In the following years, Dai choreographed, performed and taught
dance in China. She was named principal when the Beijing Dancing
School was first set up in 1954.
Nation's own style
Trained in classical Western ballet, Dai showed great interest in
Chinese folk dances, especially the ethnic dances. Soon after she
returned to China, she travelled many times to see the minorities
in southwest China's Yunnan,
Guizhou,
Guangxi and
Sichuan to learn the folk dances from the ethnic people. In
1993, 77-year-old Dai also visited Yunnan to learn the Pumi ethnic
dances.
During an interview with China Daily in 1982, Dai said:
"For many of our minority people, dancing has always been part of
their life, with men and women, old and young, all taking
part."
In her autobiography, she stressed: "A nation's ballet company
should have the repertoires of her own characteristics. We learned
from Russian school in the 1950s and later drew nutrition from
other schools, but the final goal is that China should establish
our own style."
Her trade mark works include "Lotus," "Flying Apsaras," "Longing
for Home," "The Mute Carries the Cripple," "Tibetan Spring," "Anhui
Folk Dance" and "Sale." All of them are fruits of careful studies
of Chinese dances. Although classical and some folk dances were
restricted in China during the "Cultural Revolution," Dai remained
influential in Chinese and international dance circles after China
opened up to the world and began its economic reform process in the
1980s.
She has introduced a number of noted dancers such as Rudof
Nureyev and Margot Fonteyn to teach in China and tried her best to
promote Chinese dancers to the world.
In 1982, she was elected vice-chairman of the International
Council for Dance of UNESCO, the United Nations' cultural and
educational organ.
Dai led a single life after divorcing her second husband in
1967. When the China Daily reporter asked if she felt
lonely sometimes in 1982, her answer was: "Life is interesting with
its ups and downs. I am always occupied no time to feel
lonely."
In devoting most of her 90 years to her love of dance and her
roots, she will be most remembered not only for her soul-stirring
performances, but also for paving the way for Chinese
ballerinas.
(China Daily February 16, 2006)
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