Dancer’s view of China — a tour of discovery

Press, 26 August 1980, Page 12

Dancer’s view of China — a tour of discovery

Ney> Zealand’s national ballet company had its first experience of overseas success- in Fiji this month. The Australian Ballet is a veteran, jet-setting company. The former New Zealand Ballet dancer, Fiona Tonkin, of Christchurch, relates the excitement of the company’s recent pioneering, two-week tour to China in these extracts from her diary, part 1.

In Peking, 8.30p.m.: Day one of the Australian Ballet’s two-week tour of China. “Very hot!” Former Christchurch dancer, Fiona Tonkin, this tour has a special dimension. Fiona is part-Chi-nese. Her diary reveals a rich mix of reactions — Western tourist, dedicated dancer, discoverer of cultural roots.

She writes feelingly of the honour bestowed on her by the Chinese officials and guides who offer a special warmth and respect for her Oriental heritage. Often a return visit with her family is recommended. The tour is hard-work-ing and hecF'. Hospitality ■ is generous, and the banquets endless. A sense of wonder is always evident in Fiona’s diary entrie, even when fatigue *ts in. The evening bus ride from a deserted Peking airport to their hotel takes about an hour. “I must say I found it truely amazing. Lots of Chinese

people were biking along the road. The bus would beep so loudly for them to move over but they would not shift an eye lid, they just kept on biking. The bus moved aside instead. Little communities of people were gathered on the roads, playing cards in the. light from the street lamps . . . boys and girls together, riding on the same bikes, meeting by a fence, or on a sidewalk . . . trees everywhere, bright, deep greens, and beautifully straight. They looked trimmed to perfection — exquisite.” In spite of the hour, workers are still busy on construction sites. The Peking hotel is a “huge complex, old and majestic.” The company is met by the Minister of Culture, who presents them all with a gift of 30 yuan —spending money. hi the spacious, turquoise coloured restaurant, the company has the first of. its “huge” suppers. They find their rooms huge too — a “very (under-lined) big” bedroom — which Fiona shares with another of the corp de ballet — bathroom, and lounge, complete •vith “lovely old English desk.” ‘Large fans, and flasks of water, greatly appreciated.” The daily hour-long bus ride from the hotel to the theatre provides time to, think and observe. “. . , hundreds of bikes.

... all these people wear-ing'their-set style, of dress ,-r- baggy trousers, cotton. shirts, and blouses, and black, flat shoes or sandals. , “I saw a couple of very old fadies whose feet had

obviously been bound. They walked slowly with their feet turned put. But, unlike ’dancers, they had to walk that way to balance the rest of -their bodies.” She sees only a few of

the traditional, tiny houses, and those due for demolition. “I’ve been told the occupants dread moving into the new apartment blocks (tall, but very plain) because they lose their gardens, but I see they compensate by filling all their veranda space with pot plants. , , “The ■ Chinese people here don’t have much , in the way of material pos-

sessions and don’t appear to be wealthy, moneywise, but I’m very drawn to them because they are rich in communication and all those good, human qualities.” The workers’ morning rush hour seems very organised and purposeful to Fiona. She is taken by the “beautiful faces” of ; the many toddlers, clad in bright clothing. “It seemed strange to see the little children all dressed up in gorgeous, bright clothing while the adults wear dull colours (blue, grey, greens, and black.”

The youngsters are often accompanied by old people, and by their fathers. Fiona takes: a dancer’s delight in the Peking theatre rehearsal studio. “Perfect! Wooden, springy floor and huge mirrors.” From the start, the company is the centre of attraction: “All these Chinese camera men running around, people being interviewed left, right, and centre. The whole room was filled with excitement — I loved it.” The Chinese Vice Premier (Mr Li) leads the speeches at the company’s official, reception at the Peking People’s Palace. The whole place is so exquisite,'Fiona writes, that , she can hardly take her eyes off all the beautiful objects. As the tour goes on she will become accustomed to the “amazing” quantity and variety of courses in Chinese banquets.

Day three: Opening night in Peking. After a rousing reception for their opening performance in Peking, the official congratulations on a “wonderful perforniance” are generous. “I felt very honoured and very proud to be part of the Australian Ballet when I heard their speeches.”

The Minister of Culture (“who apparently never speaks any English!”) was even heard to exclaim: “Wonderful.”

Day five: A veiy special treat.

' “Today we saw the Peking Ballet School perform.. I thought they, were really quite stunning. All the students are taught in the Russian way. ' ■ - “As we arrived in the bus we saw all these heads peeping out of all the windows. Hundreds of pupils live at the school. Because tuition is in Russian, the .dancers do ballet, and school, work, full-time. “The school _ has 19 studies and a theatre of its own where lot of

demonstration perform’ ances are held. The successful students are able to go into either the Peking Traditional Dance Company, or the classical dance company.

“It is very good to know that all dancers learn the traditional dancing, in a sense it is like keeping the culture alive.

“The theatre was very big, and had all the facilities of a full-time theatre, including all the proper lighting equipment. “I was over-awed by the performances of the students. The technique was quite perfect. Even their faces were alive with presentation.” Several national dances are included' in the programme. The’ three children who dance the story of “The Tortoise and the; Flame,” are “like rays of the sun warming everyone’s hearts. They are astoundingly supple and superb actors.” “The 'Coppelia’ pas de deux was danced by two very strong dancers — very Russian. The girls were exquisite — strong, supple legs, and beautiful feet.

“The student who danced the dying swan was outstanding. She was perfect in every way. Her face showed so much ang’ uish and her arms were so ‘swan-like’ I dropped a tear or two. It was most memorable.”

“The Peking Ballet School... quite stunning”