Gerri Jergensen
HUM 3401
Presentation/ Paper
April 18, 2013
Chinese Acrobatics
Tradition
Acrobatics is a pearl in the treasure house of the traditional Chinese performing arts. Chinese acrobatics has a long and rich heritage. The acrobatic art has been existent in China for more than two thousand years. As early as the Warring States Period (475-221 BC), the rudiments of acrobatics existed. By the time of the Han Dynasty (221 BC-220 AD), the acrobatic art or "Hundred Plays" further developed both in content and variety. In the Tang Dynasty, the number of acrobats greatly increased and their performing skills improved a great deal.
The acrobatic art has been existent in China for more than two thousand years. In the long course of development, the Chinese acrobatic art has formed its own style. The ancient acrobatics stemmed from the people's life and had a close link with their life and productive labor. Instruments of labor like tridents, wicker rings and articles of daily use such as tables, chairs, jars, plates and bowls were used in their performances.
As early as the Warring States Period (475-221 BC), there appeared rudiments of acrobatics. By the time of the Han Dynasty (221 BC-220 AD), the acrobatic art or "Hundred Plays" further
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developed both in contents and varieties (Frame). There were superb performances with music accompaniment on the acrobatic stage about two thousand years ago.
In the Tang Dynasty, the number of acrobats greatly increased and their performing skills much improved. Progress in Chinese acrobatics was very great during the Tang Dynasty, between the 7th and 10th centuries, when performances were often held at the imperial court, a tang mural in the Dunhuang Grottoes, An outing by the lady of Song, shows acrobatics, dancing, singing, and horsemanship.
At present, there are over 120 acrobatic troupes above the county level. More than 12,000 people are involved in performing. Chinese acrobatics has won acclaim and praise from audiences both at home and abroad, and Chinese acrobats won many gold medals in World Acrobatic Festivals in recent years. Cycling with Bowl Piling, Lion Dance and Vocal imitation are the most famous programs.
Chinese Acrobatics is one of the oldest performing arts. Its history can be traced back to Neolithic times. It is believed that acrobatics grew out of labor and self-defense skills, which people practiced and demonstrated during their leisure time. The early performance is "walking on three-meter-high stilts while juggling seven gaggers". Then it developed into an entire art form.
Acrobatic art has its own peculiarity. As the performance itself is very depictive, it has high requirements and interdependent to light effects, costumes or clothing and music. The theme music perfectly coincided with the performance, which could make the atmosphere even livelier.
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A successful acrobatic performance also requires appropriate clothing. Costumes further enhance the beauty of the performance and increase its visual effects.
Before attempting to describe Chinese Acrobatics (and one may well question whether the practice of acrobatics in China differs from the practice of acrobatics elsewhere, in the same way that Chinese Cuisine differs from the cuisine of, say, France), it would be helpful to first define what is meant by the term "acrobatics". Most sources that describe Chinese Acrobatics seem to equate it with circus or theatrical performances, i.e., confusing it with its applications, while even a dictionary definition can sound either somewhat circular or simply inadequate (a dictionary might define acrobatics as the activity of an acrobat, while it defines an acrobat as someone who performs acrobatics, and it is not much more helpful if the definition rests on the term "gymnastics", since this term is also often defined in a similar, circular fashion, and often any definition of the term seems to leave out the concept of motion entirely).
A reasonable, if somewhat long, definition of the term "acrobatics" would therefore seem to be the following:
"The performance of physical feats such as leaping, hopping, swinging, twisting, tumbling, cartwheeling and somersaulting, and even cycling, roller skating, walking or standing, the latter perhaps on only one foot, where these require complete poise, such as in connection with tightrope performances, involving balance and the precise control of movement." And of course, activity of this nature (and the above is not intended to be an exhaustive list!), especially where it requires superb balance and the precise control of movement, requires as well great physical strength that rests on specific exercises and practice, practice, practice!
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With this definition in place, it will be easier to distinguish the discipline of acrobatics, as it is – and has traditionally been – practiced in China, from the Chinese art forms in which it often lays a major role, and to describe the elements on which the discipline of Chinese Acrobatics rests.
The Two Pillars of Chinese Acrobatics
It focuses especially on the waist and legs, since strong abdominal muscles is the key to all precisely controlled movement involving the bending, twisting, etc., of the torso – especially where this takes place in slow motion, as it were – while strong legs are essential for maintaining perfect balance when standing still (e.g. on a tightrope), perhaps encumbered with additional weight, or while engaged in movement, whether supporting additional weight or not.
It emphasizes the controlled strength and harmonious coordination of the various component parts of the body while maintaining infinite muscular flexibility, so as to achieve fluid, agile movement that exudes power under perfect control. It achieves this through conventional and martial arts exercises that relate to Qigong, or slow, deliberate and graceful movement, combined with proper breathing techniques, that are designed to harness the "qi", or the body's life force.
These two simple elements constitute the pillars on which Chinese Acrobatics is founded. Note that the primary emphasis in Chinese Acrobatics is on the lower torso, i.e., on the abdomen and downward, not on the upper torso, which, in Chinese Acrobatics, is somewhat downplayed. This is no doubt owing to the primary applications, or art forms, in which Chinese Acrobatics plays a major role, which conveniently leads us to that final subject.
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The Applications (Art Forms) Of Chinese Acrobatics
Chinese Acrobatics has its origins in Chinese Folk Dance, and, indeed, Chinese Folk Dance remains one of its main applications to this day. For example, the Dragon Dance employs dancers who are also acrobats, as acrobatic movement is required in order to bring the mock dragon to life, but acrobatics also plays a role in many other Chinese Folk Dances. In addition, just as the Chinese Folk Dance also transitioned to the Chinese Theatre, Chinese Acrobatics has also transitioned to the Chinese Theatre.
Many theatre performances during China's Imperial period involved roles that required an acrobat, and some plays involved segments consisting of solo performances by acrobats – usually to the accompaniment of music – such as between-act solo performances while the set was being re-arranged. This eventually led to local performances that involved more or less pure acrobatic displays rather than song & dance numbers, drama, etc. Or, after the "highbrow" play had been performed, which required a certain level of respectful decorum on the part of the audience, a rowdy troupe of acrobats might take the stage as the alcoholic beverages began to flow, ordinary folk found their tongues and the noise level rose accordingly.
Acrobatic "theatre" performances of the type just mentioned had the air of a circus performance, where the acrobats performed all manner of leaps, hops and somersaults, or stood atop one another while the acrobat on top might have performed a juggling act, etc. What we think of as circus today was in fact born out of such performances.
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Balancing act
Chinese acrobats embrace innovation to stay ahead in overseas markets, not only are acrobats masters of agility and grace, but also ambassadors of a rich culture and tradition. They are also one of the top foreign exchange earners for China in the performing arts category. With their unique blend of physical strength and quick and nimble actions, Chinese acrobats have often captivated audiences across the globe with their electrifying performances. With such a rich legacy, one would have expected the sector to be brimming with confidence. But, sadly that has not been the case. With the home market fast drying up, the acrobats are now turning to new pastures across the seas for survival.
"The best markets for Chinese acrobats are in Europe and the United States," says Li Jin, the director of world tour management at the China Performing Arts Agency Productions Ltd (CPAAP). "Acrobatics accounts for more than 90 percent of the foreign exchange earnings from commercial performances in overseas markets," says Li. CPAAP is a Beijing-based company that specializes in producing shows and managing tours across the globe. Under its aegis, the CPAAP introduced over 30 acrobatics troupes and some 400 performers in the overseas markets last year, accounting for nearly 60 percent of the commercial acrobatics performances registered under the Ministry of Culture.
Balancing act
Liu Feng'en, vice-president of Wuqiao Acrobatics Art School, says the rigorous and strenuous training from childhood has honed the skills of Chinese acrobats. Most of the revenue for Chinese acrobats, however, comes from the European markets. That to some extent also
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highlights the popularity of the art form in Europe. "Chinese acrobatics is immensely popular in Europe," says Shi Jinliang, director of the Wuqiao Acrobatic World Performing Art Troupe (WPAT).
The WPAT has over 200 performers under its wings and clocked revenue of more than 4 million yuan (434,400 euros) last year from the overseas markets, compared with 2 million yuan from the domestic market.
Shi says that most of the troupe's performances are now in Europe. "In 2010, we sent out several small groups to France, England and Germany respectively and they stayed there for more than six months," says Shi. He adds that the number of acrobats performing in Europe goes up substantially during Christmas time, with the duration of the performance extending to over 40 days.
The Chinese acrobats are not known just for their performances. They have also picked up several prestigious awards along the way. That includes the prize awarded by the French President at the Paris Tomorrow International Acrobatics Festival and the Golden Clown Award at the Monte-Carlo International Circus Festival.
Despite the popularity and fame, most of the troupes pay hardly any attention to marketing. In most cases, the promotional activities are confined to just the website. "We do not have any specific marketing strategies. Normally we leave our contact information on the website and wait for our clients or agents to contact us. It is quite common among Chinese troupes," says Xin Weimin, director of Wuqiao Acrobatic Troupe (WAT).
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There are other ways, too, in which local troupes attempt to get more contracts. "Acrobatics competitions and festivals, both national and international ones, are excellent platforms to display our talent. Most of the troupes bring their best program to attract foreign clients. Winning the prize in the festival will also increase the reputation of the troupe and translate into more contract wins," says Xin.
Li, however, believes that the acrobats should not rely only on reputation, but also use the services of a professional agent. "In a mature market, the production and promotion should be divided. A professional agent is of great use during negotiations and promotions with foreign clients/circuses and will also help in getting better remuneration," she says.
What makes that point more compelling is the fact that most of the Chinese acrobats often end up as performers in foreign circuses and very few have solo performances. "In the international market, Chinese acrobatics troupes are just employees of well-known circuses," says Li. She says that two business models exist for Chinese acrobats in the world market. They can either be part of the independent world tours organized by Chinese companies or join foreign circuses as performers. But unfortunately it is the latter that has been more popular with the performers.
"Last year we only promoted three troupes for independent world tours," says Li. "Since Chinese acrobatics troupes are not familiar with the complicated laws and regulations and business operations in foreign countries, it would be much safer and more convenient for them to join big circuses as they have a better understanding of the local market and are managed more professionally." She says big circuses like the Cirque du Soleil from Canada, often take the help of Chinese agents to contact local troupes and choose programs.
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"These big circuses are only organizers. They hire acrobatics troupes from different countries and then organize a world tour. What the Chinese acrobatics troupes contribute is only programs. These circuses would take care of the rest, including early promotion, organization, venue booking and ticket sales." Though the troupes are having considerable success in the overseas markets, the situation in the domestic market is not that promising.
"The domestic market is not as good as the 1980s. People have more entertainment options and they would prefer to spend 100 yuan on a movie or drama rather than on an acrobatics show," says Li. The shifting consumer preferences have also contributed to a stagnant market, she says. "Foreigners are still in the habit of seeing shows. That trend did not diminish even during the financial crisis. In the US, despite all the problems, people were willing to pay as much as $30 (21.32 euros) to see Chinese acrobats perform," says Li.
Most of the troupes have hardly any domestic performances and are mostly reliant on overseas business to make both ends meet. Higher pay and better working environment are other factors that make up the overseas dream for most of the troupes. Chinese acrobats embrace innovation to stay ahead in overseas markets. "In Europe, each Chinese acrobat could earn a monthly salary of $1,100, while in the US, the pay could reach $1,800 per person," says Shi. "Besides, acrobats can have the weekends off and also have legal rights as well as labor law protection," he says.
"In China, there are too many acrobatic troupes. The average monthly salary is only around 4,000 yuan if we conduct a commercial show. The highly competitive market has also led to many companies underselling their programs to secure more contract wins." Shi adds that acrobats rarely get free time off if they are performing in the domestic market.
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Liu Feng'en, vice-president of Wuqiao Acrobatic Art School, says that the popularity of Chinese acrobatics in the overseas market could be attributed to its own features. "Chinese acrobatics has always had its own characteristics," says Liu. "In terms of skills and techniques, there is no one to surpass Chinese acrobats. The rigorous and strenuous training from childhood has honed the skills of Chinese acrobats." While Chinese acrobats rely on skills and finesse to showcase their talent, their Western counterparts often depend on fancy and elaborate props. Yet another factor that sets Chinese acrobats apart from the rest of the pack is their ability to perform in huge numbers, often big groups of 20 to 30 performers.
"China is the only country that is good at large-scale performances. This is also the result of the unique management model in China," says Liu. He says that most Chinese troupes are private enterprises and have more performers available for large-scale performances. Foreign acrobatics troupes often apply patriarch-based management with fewer acrobats. "Their strengths are humorous acts and comedies, which are often presented as solo shows," he says.
The financial crisis in Europe and the US has also to some extent affected the fortunes of Chinese acrobats. "Overseas revenue has fallen by 5 to 10 percent every year since 2008," says Xin. WAT was set up in the 1950s, and currently employs 51 performers. Last year it posted revenue of 20 million yuan, 70 percent of which came from overseas markets. Xin says despite the economic crisis, foreign circuses would continue to strike deals with Chinese acrobatics troupes, but at lower costs.
"Originally we would send out 30 performers for a show. But now in order to cut the expenses and salaries, the circuses have asked us to trim the staff to 25, while the salary is the same," he
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says. Xin says that despite the blips, the overseas market would continue to be the mainstay for troupes. "Unlike the Peking Opera, acrobatics is a pure body language without any boundaries. It is something that everybody can understand. Challenging the human limits is always an attractive proposition for overseas viewers. Audiences like to see what they cannot do. So it still has a great potential in the world market," he says.
But in an attempt to diversify further, the troupes are now focusing more on program packaging.
"Acrobatic programs are just like garments in the fashion industry. Customers would lose interest if we put on the same show all the time. That is why we have to constantly upgrade our programs according to international market trends," Xin says. This year, Xin says they would invest 3 to 4 million yuan in program packaging. "We will use various technologies, including stage design and lighting to present better visual effects, so as to make our programs more exciting and attractive and also to win more contracts," he says.
However, some experts are concerned about the negative influences of excessive packaging. Yang Shuangyin, head of Cultural Relics Administrative Institute in Wuqiao County, says that program packaging itself is a dilemma. "On the one hand, packaging may make programs much fancier; but it may also reduce the weight of acrobatic skills and techniques in the show." He emphasizes that the packaging should be moderate, lest the show's intrinsic charm remains hidden. "Shocking, dangerous, extraordinary and wonderful performances are the four essential elements for acrobatics. Without them, acrobatics would be just like normal dancing."
Li, however, remains upbeat on overseas prospects. He says that will send 36 troupes overseas this year. "There are some big circuses, like Cirque du Soleil in Canada and Ringling Brothers
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and Barnum and Bailey Circus in the US who pay great attention to Chinese acrobatics. Every year they arrange one or two world tours and Chinese acrobatics are an integral part of these performances." Together with the growing market demand, the requirement for better programs is also getting higher year by year.
Li says the requirement of acrobatics has evolved from pure demonstration of physical skill and techniques to better stage presentation skills and more artistic performances. "Foreign audiences have a higher expectation for Chinese acrobatics programs these days. Traditional programs do not satisfy them anymore. Consequently, big circuses have been asking for some tailored programs that are more spectacular, exciting and special," she says. Li says that for a better development in the world market, besides program packaging, the development of acrobats should not be neglected.
"Though acrobatics takes the lead in all the Chinese art forms in terms of self-development, there is still a huge gap compared with the international level. Chinese acrobats should pay more attention to acting and stage presentation skills, and make programs more touching and beautiful."
They perform incredible stunts that leave the audience gasping and cheering for more. It's a spectacle that easily beats the circus. There is no competition or scoring, but acrobats must rely on the competence of their partners and train constantly, so as to not injure themselves or worse. And in China, the motherland of acrobatics, the performers are the best in the world. It's considered both an art form and a sport and it has a long and rich heritage in China. It's been around in this country for more than 2,000 years and the ancient form was based thematically on
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the life experiences and work of the people. Instruments of their professions, like tables, chairs, jars and bowls were used as props for the performances.
Acrobatics is both an art form and a sport and it has a long and rich heritage in China. In old China, acrobatics was popular but never performed in theatres because it was looked down upon by the upper classes. Today, things are very different. There are over 120 acrobatic troupes here and more than 12,000 people involved in performances. Chinese acrobatic troupes have toured a hundred different countries and are employed en masse by huge productions like Cirque du Soleil.
Today, athleticism reigns. It requires extraordinary balance ability, agility and coordination. And Chinese performers start honing their skills at a very young age. Chinese acrobats are trained from a very young age, while acrobats from other countries only start when they are 15 or 16. So their skills are better.
Modern-day Chinese acrobats still appear in theatre roles, such as in Peking Opera (Beijing Opera) performances, where they are also indispensable, but they appear mostly in Chinese Folk Dances – during the various annual festivals such as the Chinese Lunar New Year celebrations (aka Spring Festival) – and in circuses, where they entertain with a broad range of acts, from the performance of magic (i.e., sleight of hand, etc.) to clowning to juggling to special acts involving stacks of plates, bowls, glasses, etc., being placed – sometimes tossed! – On the acrobat's head, while the acrobat – who may or may not be on horseback, or mounted on an elephant – deftly maintains perfect balance.
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In recent years, Chinese acrobatic performers have won many prizes in international competitions, and China has recently been honored with the distinction of being the country with the 'World's Best Acrobatic Performances'. In fact, Chinese circus is as popular, if not more popular, outside China as it is inside the country, so the demand for ever new circus acts means that Chinese Acrobatics will no doubt continue to enjoy a prosperous future.
Besides these wonderful performances, you can also enjoy the plates spinning, leg and foot juggle, rolling cups & contortion, poles climb, bungee jump, rolling hoops dives, trapeze, bicycle feasts, and so many more. Watching a Chinese Acrobatics performance, strongly impacts you both mentally and physically. You will truly have an unforgettable experience of your life.
Modern Times
Since the middle of this century, great efforts to foster and develop national arts and acrobatics have gained a new life. All provinces, municipalities, and autonomous regions have set up their own acrobatic troupes. The veteran performers have better opportunities to display their skill. The acrobats in modern China have set up a designing and directing system aimed at creating graceful stage images, harmonious musical accompaniment, and good supporting effects of costumes, props, and lighting in order to bring about a fully developed stage art.
The present status of Chinese acrobatics reflects the industry, resourcefulness, and un-daunting courage of the Chinese people. In the past forty years and more, many Chinese acrobatic troupes have toured more than one hundred countries and regions of the world and promoted friendship and cultural exchanges. At present, there are over 120 acrobatic troupes above the county level, and more than 12,000 people are involved in performing.
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WORKS CITED
Frame, Ed, and Jennifer Taylor. Asian Reader. 3rd ed. Mason, OH: Thompson South-Western,
2006. Print.
Gu, Ming Dong “Aesthetic Suggestiveness in Chinese Thought: A Symphony of Metaphysics
and Aesthetics” Philosophy East and West Vol 53(2003) 490-513. Jstor. Web.
Hong, Z. "Acrobatics or Circus? - Also on the Overseas Marketing of Chinese Acrobatics." Chinese Science
and Technology Periodical Database (2012): Web. 2013.
Inada, Kenneth K. "A Theory of Oriental Aesthetics." Philosophy East and West Vol.47 (1997):
117-31. Jstor. Web. 03 March. 2013.
Xun, Lu. Lovell, Julia. "Village Opera." The Real Story of Ah-Q and Other Tales of China: The Complete
Fiction of Lu Xun .Penguin Classics, (2009) p148-161: Kindle.
WEBSITES
A Chinese Acrobatic Show Dlights the Olympic Crowds; CRIENGLISH.com
http://english.cri.cn/4026/2008/07/23/1721s384506.htm
Chinese acrobatics gain global clout; By CCTV reporter Liu Wenwen
http://english.cntv.cn/program/cultureexpress/20130123/102186.shtml
Videos that will be used in final presentation:
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• You tube video Sky High Balance Poles
http://www.jokeroo.com/videos/cool/chinese-acrobats-on-russian-pole.html
• CIRQUE DU SOLEIL; YOYO girls DIABOLOS http://www.youtube.com/watch?v=UDNGeyuRxDY
• Tumbling; http://english.cntv.cn/program/cultureexpress/20120828/106974.shtml
ICARIAN Foot Juggling
• Dralion; http://www.newsok.com/article/3737194
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