On September 13, the 11th NTD International Classical Chinese Dance Competition entered the semi-final stage, showcasing the talents of 73 participants who poured their hearts into their performances. The dancers exhibited graceful and powerful movements, seamlessly weaving through a gamut of emotions on stage, captivating the audience with every gesture and pose, leaving a lasting impression.
After a round of fierce competition, a total of 50 dancers from the categories of junior men, junior women, senior men, and senior women successfully advanced to the finals.
From the spirited and elegant poet Li Bai to the profound and melancholic poet Du Fu, from the determined warrior Goujian to the strategic genius Cao Cao, from the loyal patriot Yue Fei to the brave warrior Mulan, and to the sensitive and skillful dancer Wang Zhaojun, each performance vividly brought to life historical figures and classic stories from Chinese culture, showcasing the profound spiritual essence of Chinese civilization through expressive choreography.
Also highlighted on stage was the long-lost technique in classical Chinese dance known as “carrying hands with body and hips with legs,” which served as a critical technical benchmark in the competition. Many participants expressed that this technique not only enhanced the fluidity and naturalness of their movements but also helped them convey their inner emotions and messages authentically to the audience.
Audience members shared that they were moved to tears by the performances, feeling as if their souls had been cleansed. The dancers not only showcased their technical prowess but also conveyed sincere and virtuous virtues through their artistry, emphasizing the competition as a guardian and transmitter of traditional culture and spiritual values.
In the artistic realm of classical Chinese dance, “carrying hands with body and hips with legs” is regarded as the highest realm of orthodox classical Chinese dance techniques. This technique, passed down by Shen Yun Artistic Director D.F., represents a precious essence once lost but now rediscovered and continuously explored by many dance performers.
Participant Zhang Yiyuan from the senior men’s division shared that through the technique of “carrying hands with body and hips with legs,” the dance becomes more majestic, allowing for a meaningful expression of the art form. He explained, “Viewed from a holistic perspective, this technique elongates and smoothens the dance movements, making them appear more natural and graceful. When the audience perceives movements driven by the entire body rather than isolated limbs, the expressive power and fluency become more pronounced.”
He emphasized that this technique enables dancers to convey messages clearly, showcasing emotions and thoughts to the audience, thereby enriching the significance and beauty of the dance.
Participant Huang Linjie confessed that one of her goals in this competition was to break through in mastering the “carrying hands with body and hips with legs” technique. She explained, “Visually, this technique enhances the impact of dance movements. For the audience, it enhances the expressiveness of the dance, while for dancers, it eases the expression of movements, achieving a greater effect with less effort.”
Taiwanese participant Hsu Zhihan noted the mastery of the technique among fellow competitors and how it contributed to a fluid and coordinated presentation. She remarked, “When power emanates from within, the hands naturally draw the longest and most beautiful arcs.”
Participant Huang Minghui also emphasized the integration of “carrying hands with body and hips with legs” with the dancer’s inner aura. She stated that whether portraying the gentle and graceful demeanor of a woman or the grand and dynamic movements, the technique embodied a sense of inner aura, exuding a charm that emanates from within.
She stressed that when dancers genuinely convey their thoughts to the audience, their movements naturally become more expansive and fluid, amplifying their emotional impact.
Participant Lin Yuzhen shared her profound experience of the competition, expressing how each performance of “carrying hands with body and hips with legs” resonated with a unique depth, emphasizing the concentrated power inherent in the movements.
Lin Yuzhen highlighted the essence of pure traditional Chinese dance beauty in expressing the cultural essence of purity, kindness, and beauty, which lays the foundation for achieving the highest realm of “carrying hands with body and hips with legs” in classical Chinese dance.
She emphasized that classical Chinese dance is an art form that concretely represents and interprets spiritual essence, embodying virtues such as warmth, kindness, respect, frugality, and humility cherished by ancient sages. Only by breaking free from external constraints can one unlock the power to touch people’s hearts.
The ongoing competition has deeply touched many spectators who expressed their emotions after watching the performances. IT analyst Sean Yang shared that he shed tears multiple times during the competition, describing the event as leaving him with a feeling of purification.
He was moved by the dedication and commitment shown by the dancers. He remarked, “I believe these dancers put their hearts into every movement and detail on stage, displaying such precision and solidity.”
What further touched him was the sincere and kind qualities exhibited by the dancers through classical Chinese dance. He stated, “They present their best selves to the audience, not just showcasing technical skills but also embodying the power of kindness.”
He believed that this “kind” energy, manifested through classical Chinese dance, was the most heartwarming aspect. He elaborated, “Each person showcases different qualities, but the common thread is purity and positivity, evoking a genuine sense of beauty.”
Sean lamented the scarcity of authentic traditional dances in today’s society and praised the classical Chinese dance displayed on the competition stage as true traditional artistic achievement. He highlighted, “These cultural elements have been lost to contemporary people, but here, I see them being preserved and passed down.”
He believed that outstanding dancers can achieve a state of unity with the Dao on stage, distinguishing classical Chinese dance from regular sports. “The human body is a microcosm, and when one assimilates with the Dao, they naturally radiate spirit, energy, and vitality. This energy emanates from within, transcending mere physical movements.”
He emphasized that the unity of body and spirit in dancers epitomizes the spirit of classical Chinese dance, and the audience’s ability to sense genuine and kind energy is a result of the dancers reaching this spiritual state in their performances. The more perfectly they express this art, the closer they come to the divine.
Regarding the significance of the competition, Sean believed that modern society lacks true art that carries and conveys traditional values. “Whether it’s classical Chinese dance or classical music like Bach’s, these art forms are gifts from the divine, serving as bridges to the divine.”
He concluded that the dance competition brought together enlightened individuals to jointly shoulder the responsibility of cultural inheritance by documenting precious traditional classics for future generations. Especially in an era of declining morality, reintroducing and cherishing such traditional values holds profound significance.