THE HAAG—On the evening of February 19, 2008, I was fortunate enough to have had the opportunity to see the Divine Performing Arts Chinese Spectacular at the World Forum Theater in Den Haag, Holland. Thunderous applause and enthusiastic praises, like "Wow!" and "Bravo!" accompanied the finale of almost every program.
A college professor from its dance school told me the costumes, the use of colors, the dancing, the backdrops and the music were all top-notch. Spectators appreciatively commented that what was conveyed about traditional Chinese culture and spiritual values purifies and inspires the spirit.
Another Chinese program, which was said to be free of charge, was held at the Lucent Theater at 8:00 p.m. on February 20, coinciding with the second evening of DPA's program. To compare the two Chinese performances, I decided to go to the Lucent Theater.
I received a program list in the hallway of the Lucent Theater. It said there would be songs such as "Kiss My Homeland," "The Five-Starred Red Flag," "On the Golden Mountain of Beijing" and "My Homeland and I." There would also be songs from Cultural Revolution "model operas" like "Shajiabang," and "The Legend of the Red Lantern."[1]
Pointing at the program, I asked a woman from China if she came here for these programs. She indicated that much to her surprise, the programs were very different from the traditional Chinese song and dance advertised in the pamphlet for the show. She said she decided to attend the performance because it was promoted as "The Oriental Divine Performing Arts." Having no interest in the actual content, she was in a dilemma as to whether or not to stay. She said it was frustrating and it dampened her spirits.
The performance was to begin at 8:00 p.m. according to the ticket. I entered the theater five minutes early only to find it noisy and chaotic. Groups of people were chatting, seeming to regard it as a social affair and not a formal presentation. Half of the seats were vacant. I waited for half an hour. Eventually the host walked onto the stage, but after the long delay many of us had become somewhat impatient.
I was completely appalled by what happened next. What followed were endless and prolonged statements by chairman of the chamber of commerce, a head of some association, the councilor of the Chinese embassy, and the director of a performing arts group. The head of the association said, "Officials from the Chinese embassy act as parents and patrons for Chinese living in the Netherlands," and "Overseas Chinese under the leadership of the Chinese embassy . . . ."
I was confused by such a ridiculous statement. Authorities in charge of Chinese living in the Netherlands should be the Dutch government. How could it be the Chinese embassy? Was Dutch nationality even a consideration for him? Each statement was followed by scattered applause from a few "faithful supporters." It reminded me of my political education classes back in China, or one of those routine business meetings which can be so boring and unproductive.
The performance eventually started at 8:55 p.m., the claimed "quintessence of Chinese culture" adorned with music. On the previous day I had witnessed the Divine Performing Arts Chinese Spectacular which, with such breathtaking beauty, seemed to transport me to a wonderful land. Compared to that experience, watching this show's programs filled with hatred and fighting was like a visit to hell.
It was already past 9:00 p.m. and finally the first song got underway, which was about a little cat. The main idea of the lyrics were, "There is a little cat at my home . . . ." I couldn't figure out for the life of me what message, if any, the song was trying to get across.
The thought of the following songs like "Kiss My Homeland," "The Five-Starred Red Flag," and "On the Golden Mountain of Beijing" gave me a terrible headache. I couldn't help but eagerly leave the theater.
Not far away was the World Forum Theater where the Divine Performing Arts Chinese Spectacular was reaching its climax. Standing at the entrance to the theater, I let myself fall in last night's memory and savored the delightful fragrance yielded by the show.
[1] The "Eight model operas" were the only operas and ballets that were permitted during the Cultural Revolution in China (1966-1976). Although they were limited in number, there were in fact more than eight. They all have communist or revolutionary themes. The three most popular are "The Legend of the Red Lantern," "Shajiabang" and "Strategically Taking the Tiger Mountain."
For information about upcoming Divine Performing Arts shows, please visit: www.DivinePerformingArts.org.
The Epoch Times is a proud sponsor of the Chinese Spectacular. For our complete coverage please visit: http://en.epochtimes.com/features/dpa2008/
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