Dance, movement and other arts in Shanghai- from Barbara

From what we have observed, the arts have an important role in the lives of people in Shanghai.  While  people seem to work intensly long and hard during the week, on the weekends many relax.  Recreation seems to often consist of gathering in one of Shanghai's many large parks to move, sing, play or paint together.  Sundays in particular are a delightful time to wander and see families enjoying nature and expression with music or movement, with what seems like a zillion other residents of the city.

I remember this from previous visits to other cities in China- parks seem to provide more than just green, quiet space, but also a place to nurture more aesthetic  practices.  Our first weekend, as we stumbled through a 'smallish' local park, we saw groups of older women dancing jazzy line dances together (I found out later that they are often called the 'dancing grannies' since the groups are often make up of  older women - with a few men), trying to do the steps on the edge of the group. These 'grannies' are a tough, no-nonsense group of women, survivors of the Great Famine and Cultural Revolution.  During weekdays they are often barreling down the streets or sidewalks like mini-mack trucks, depending on where the bikes and motorcycles are parked and where the trash piles are that day.  On weekdays walking feels like a competion for space.  Defering to let someone else through is never an option..or perhaps even a moral deficit.

Anyway on this weekend they danced line dances together and were a delight to see. Wearing colorful pants and tops, they moved in unison to western music, helping each other learn steps or arm movements together. Despite the unison movement, there is not alot of eye contact or interactions among the partiipants. Skill doesn't seem to matter either, only rhythmically moving with others. At the same park, and right next to these lovely grannies, was a group of older men practicing some type martial arts form, or playing Chinese cards or Go, and on the other side a changing group of musicians. (Older men entered and left this musical group of mainly wind and reed instruments, but they were always enthusiastically led by another man acting as a conductor. This man seemed to be transported by the sounds they were making as well as enjoying leading others in its creation.)

Our last Sunday in Shanghai, we made our way to Zhongshan Park, a larger park on the western side of the city to walk and enjoy the multitudes of Shanghaians out in what might have been the only blue-sky day of our visit. (Bruce says there were a few more clear days, but I was probably inside teaching.)  We walked and wandered through this large green park, each corner seemingly filled with a different group sharing together in a different art expression.  Near the entrance was a large group of men and women dancing a partnered-two step type dance (to Chinese sounding music). There seemed to be two 'teams' one wearing red shirts, sequins and hats and the other wearing dark green shirts. The groups danced side by side, each in their own space. Around the edges older women stood, watching and energetically tapping their toes to the rhythm.


Nearby a single man calmly did T'ai Chi with focused intensity, completely oblivious to the crowds moving by. Next to him groups of men and a few young women were practicing a more active martial arts form with lots of hand gestures, kicks and quick turns. Next to them was a group of young men moving as partners in a form that I had learned as 'push hands'. (Push hands is an improvised movement form with physical contact and circular movements. The point of the form is to stay centered and not lose your balance while trying to upset your partner.)  All of this happend next to walking paths as other people walked or ran by, and occasionally paused to observe the movement forms.

In another shaded location a woman sang, what sounded like an emotional operatic song into a microphone while being accompanied by several musicians playing traditional Chinese instruments. She was urged on by another woman who seemed to be inhaling the music and words of the song.

At another location, a huge group was dancing to a clapping line dance, hitting their knees, shoulders and hands together in rhythmic unison. The group was so large that it lined the walking path for yards.  People walking through this dancing gauntlet were also joining in with the rhythmic clapping as they moved through.



Further into the park, a large group of young and old practiced more T'ai Chi together, all wearing white or pastel colored 'pyjama' pants and tops. Their rhythmic movements were contrasted by others in a nearby large field who were playing football/soccer and flying huge fierce kites (right next to a sign saying "no kite flying"- in English!)

These collective practices seem to be reflected in my experience with my students in my classes. Whenever we moved together, I was struck by their enthusiasm and the deep pleasure they all seemed to feel moving expressively together. Unlike many of my students in the U.S., they move and interact in ways that reflect their inner experiences and also connect with each other.  I can't help but think that what I observed in my classes was nurtured by these other more pervasive cultural weekend practices. I also continue to appreciate the easy access to metaphor and beauty that are reflected in my students' words and responses.

Finally, there was a solitary man who painted water brush poems on the sidewalk (in Chinese and English), beautifully done.  People walked by, sometimes pausing to read what he wrote.  Later the poem would disappear, as the water evaporated in the warmth of the day. I have no idea if the poem was an original creation of the moment or a traditional one, but his intensity and focus was beautiful to feel.

Another few words about museums, of which there are many- usually filled with as many or more Chinese as foreigners. In addition to the normal art and cultural expressions museums (which are extensive and wonderful), we visited the Propaganda Poster Museum. A small hole-in-the-wall museum in the basement of an apartment complex (no photos were allowed, you will need to visit it yourself.) This museum contained old large political posters and what seemed to be a zillion 'Mao busts'. They also had early posters of 'Shanghai Calendar Girls' from the 1920's. It was interesting to contrast the very exoticized, pin-curled and made up women, lounging in semi-sexual positions (can you say 'Western sexualized gaze'?) to the clear-eyed, strong square-bodied women of the 'new Communist China dream' (1950's and 60's).  It was also fun to see posters of Communist officials; often there was the same poster that had been reprinted to eliminate or add in some official who was either newly in the ruling body or disgracefully kicked out.


Here's a final picture, of the romantic idealization of Chinese village peasant life. While I am not sure I would like to have been around for the horrors perpetrated by the Chinese Communist government, compared with the crowded, noisy, hectic street life that is Shanghai...the country looks pretty idyllic.
Bye for now; if you read this we would love to hear your thoughts.  Barbara