{"id":66,"date":"2011-04-27T16:37:06","date_gmt":"2011-04-27T16:37:06","guid":{"rendered":"http:\/\/www.artsjournal.com\/texas\/?p=66"},"modified":"2011-04-28T01:05:17","modified_gmt":"2011-04-28T01:05:17","slug":"one-tibetan-thing-reproduced","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/texas\/2011\/04\/one-tibetan-thing-reproduced\/","title":{"rendered":"One Tibetan Thing, Reproduced"},"content":{"rendered":"<p>Seven years ago in Toronto, at a Kalachakra initiation given by H.H. The 14<sup>th<\/sup> Dalai Lama, I saw secular Tibetan dancing for the first time. Of course, I saw much devotional&#8221; dancing there as well, if that&#8217;s the right term.\u00a0\u00a0<\/p>\n<p>The preparations for this important Buddhist ritual require at least a week of\u00a0effort from hundreds of people. In addition to creating an intricate sand mandala, the lamas perform Dance of the Earth, which pacifies invading spirits and helps\u00a0establish a proper mindset for participants. It is epic, filled with many symbolic gestures, difficult for an American to decipher or even to discern. The lamas need considerable strength to finish, and often they are exhausted when it&#8217;s over.<\/p>\n<p>In Toronto, the local Tibetan community wanted to offer His Holiness a secular dance as well,\u00a0as another way of expressing gratitude. As the lamas continued with the ritual dance, a long\u00a0serpentine\u00a0procession\u00a0of Tibetans (men and women in separate lines) surrounded the sacred space, chanting another melody and wearing traditional silk brocade outfits. They were loud, clapping, very cheerful, some with drums. It was fascinating to see these two dances collide, with none of the participants on either side minding one bit. Some Westerners regard dancing solely as an entertainment, but Kalachakra is not entertainment, it is ritual. I never forgot this incident, so spontaneous and so reminiscent of Cage and Cunningham&#8217;s parallel pursuits. The two musical events running simultaneously were like an Ives symphony. Seven years later, I can still hear them in my head.\u00a0<\/p>\n<p>Over the years, Buddhism\u00a0has taken me on some fascinating ancillary paths. For several years I\u00a0studied the dharma art practices of Ch\u00c3\u00b6gyam Trungpa Rinpoche, a Tibetan lama\u00a0who came to the West in the early 1960s. In writings he lamented what he felt was the absence of secular art forms in traditional Tibetan culture. Trungpa\u00a0became quite taken with Japanese Zen&#8221; art, often promoting the study of ikebana, calligraphy, and archery at the numerous meditation centers he founded around the world. His experience as a young man with traditional lama dancing contributed to his later development of something he called Maitri Space Awareness,&#8221; as well as\u00a0the founding of his own performance ensemble, Mudra Theater Group. As I understand him, Trungpa toggled between Buddhism and secularity in his theater exercises and dance. His work could be seen as a first-step synthesis of Tibetan traditions and Western theatrical modernity.<\/p>\n<figure id=\"attachment_67\" aria-describedby=\"caption-attachment-67\" style=\"width: 196px\" class=\"wp-caption aligncenter\"><a href=\"http:\/\/www.artsjournal.com\/texas\/wp-content\/uploads\/2011\/04\/Sang-Jijia.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-67\" title=\"Sang Jijia\" src=\"http:\/\/www.artsjournal.com\/texas\/wp-content\/uploads\/2011\/04\/Sang-Jijia-196x300.jpg\" alt=\"\" width=\"196\" height=\"300\" srcset=\"https:\/\/www.artsjournal.com\/texas\/wp-content\/uploads\/2011\/04\/Sang-Jijia-196x300.jpg 196w, https:\/\/www.artsjournal.com\/texas\/wp-content\/uploads\/2011\/04\/Sang-Jijia.jpg 320w\" sizes=\"auto, (max-width: 196px) 100vw, 196px\" \/><\/a><figcaption id=\"caption-attachment-67\" class=\"wp-caption-text\">Tibetan choreographer Sang Jijia in traditional outfit<\/figcaption><\/figure>\n<p>This past weekend, Houston&#8217;s celebrated Dance Salad Festival featured the work of Sang Jijia, a Tibetan choreographer who appears to be in his mid-30s. Tall and handsome, his long hair tied back, he looked contemporary and mysterious at the festival, differently than he does in\u00a0the picture above.\u00a0This is the first time I&#8217;ve seen\u00a0a young Tibetan choreographer who isn&#8217;t working overtly within Buddhist tradition. Well, at least it doesn&#8217;t appear that way. The Buddhist mindset flavors his work even if\u00a0it isn&#8217;t immediately evident.<\/p>\n<p>Sang Jijia&#8217;s dances have intriguing up-to-date names, such as <em>Happening Continuous <\/em>and <em>365 Ways of Doing and Undoing Orientalism<\/em>. For his 2007 solo <em>Snow<\/em>, he even had a score by Flemish Belgian composer Wim Mertens.<\/p>\n<p><a href=\"http:\/\/www.artsjournal.com\/texas\/wp-content\/uploads\/2011\/04\/Standing-Before-Darkness.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-68\" title=\"Standing Before Darkness\" src=\"http:\/\/www.artsjournal.com\/texas\/wp-content\/uploads\/2011\/04\/Standing-Before-Darkness.jpg\" alt=\"\" width=\"300\" height=\"282\" \/><\/a>In Houston, Beijing Lei Dong Tian Xia Modern Dance Company offered his stunning <em>Standing Before Darkness<\/em>, a large ensemble\u00a0piece with a\u00a0sampled electronic score by Dickson Lee and \u00a0featuring a\u00a0stage strewn with\u00a0white plastic chairs. In my review of the performance for <em>Houston Chronicle <\/em>(see sidebar), I compared Sang Jijia&#8217;s choreography to that of Forsythe&#8217;s, in particular his <em>One Flat Thing, Reproduced<\/em>. This is always\u00a0the problem for critics, though. We love to\u00a0discover an\u00a0influence and then we love to show how clever we are for making\u00a0the connection.<\/p>\n<p>These two dances are related because they are both abstract spectacles, and because they share\u00a0the kind of\u00a0similarly emphatic, &#8220;crazy&#8221; modern style often associated\u00a0with Forsythe.\u00a0I watched\u00a0Jijia&#8217;s dance three nights in a row, with increasing interest.\u00a0A few days later, I&#8217;m wondering about the artistic children of Forsythe. So many of them have made\u00a0impressive careers on their own,\u00a0employing\u00a0his far-reaching strategies but within\u00a0their own\u00a0original\u00a0aesthetic. Crystal Pite, whose\u00a0choreography was just presented in Houston by Cedar Lake Contemporary Ballet, is a good example.\u00a0Helen Pickett is yet another. Jijia\u00a0certainly belongs to\u00a0this prestigious group, and his Tibetan heritage and association with contemporary Chinese companies (he danced from 1993 to 1998 with Guangdong Modern Dance Company) make him unlike any Western choreographer. \u00a0\u00a0<\/p>\n<p>This draws us to the question of masters. For years following Balanchine&#8217;s death, I listened to dance critics speculate about who would follow in his path. What we&#8217;ve had is really more like a series of cheap imitations and no true successor. What about the living? Forsythe&#8217;s collaboration with\u00a0Dutch composer Thom Willems has been, in my estimation, as important as that of Balanchine\u00a0and Stravinsky. It&#8217;s not discussed much in America, since we haven&#8217;t seen very much of their work staged here.\u00a0 And if anyone has created a situation in which choreographers flourish and develop, it\u00a0is\u00a0Forsythe.<\/p>\n<p>Another thing I heard for years: New York is no longer the center of international contemporary dance.\u00a0American dance critics have\u00a0been looking to London, Paris, Brussels, Berlin, Wuppertal and other European cities for\u00a0at least two decades to learn\u00a0about the newest of the new. We might want to consider Beijing, however. The Buddhist maxim, &#8220;everything changes,&#8221; is apt.<\/p>\n<p>Last year during an informal teaching\u00a0in Dallas, Tibetan Lama Dudjom Dorjee\u00a0said to\u00a0his students, &#8220;you clean your house, you clean your clothes, why don&#8217;t you clean your mind?&#8221; Sang Jijia&#8217;s choreography appears to be an attempt to clean the mind-of the viewer, the dancer,\u00a0even the choreographer. In this way, it is Buddhist work.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Seven years ago in Toronto, at a Kalachakra initiation given by H.H. The 14th Dalai Lama, I saw secular Tibetan dancing for the first time. Of course, I saw much devotional&#8221; dancing there as well, if that&#8217;s the right term.\u00a0\u00a0 The preparations for this important Buddhist ritual require at least a week of\u00a0effort from hundreds [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":68,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[13],"tags":[28,29,27,30],"class_list":["post-66","post","type-post","status-publish","format-standard","has-post-thumbnail","category-texas","tag-beijing-dance-ldtx","tag-chogyam-trungpa","tag-sang-jijia","tag-tibetan-dance","entry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>One Tibetan Thing, Reproduced - Texas, a Concept<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.artsjournal.com\/texas\/2011\/04\/one-tibetan-thing-reproduced\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"One Tibetan Thing, Reproduced - Texas, a Concept\" \/>\n<meta property=\"og:description\" content=\"Seven years ago in Toronto, at a Kalachakra initiation given by H.H. 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