CHINA> Profiles
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CHINA> Profiles
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Disabled artists aspire to global fame
(Xinhua)
Updated: 2008-09-20 11:05 DISABLED BUT PROFESSIONAL
Huang was recruited by the troupe in 2001 when he took part in a national arts contest for the disabled and won a prize. Before that, his inspiring story had drawn media attention and aroused the interest of a local official in charge of cultural affairs. He later choreographed a dance for him to showcase the armless man's special talent. Like Huang, most of the troupe's members were picked from special schools or national art competitions, or recommended by local disabled people's federations, Tai said. They were selected according to their artistic talent or enthusiasm despite few having received professional training before, she said. "After they entered the troupe, we found good college tutors and famed artists to teach them. We must ensure a sound, professional foundation for our art." HARD-WON PROFESSIONALISM At first, the troupe was just a provisional organization after its 1987 founding when more than 30 disabled teenagers were allowed to take part in the First China Art Festival in Beijing. Their performance moved a large audience and the troupe was formed. "Authorities of the CDPF fought for that opportunity at the festival," the troupe official recalled. "They thought those children needed a stage. Many of them loved singing and dancing and could do it well despite disabilities." However, in the first 14 years, the troupe only existed when big activities were held; members were temporarily called up from schools and other places to enhance several programs. "The troupe was totally at an amateur level at the time, kind of self-entertaining," the official said. A turning point emerged in 2001 when the troupe was invited by the CASI Foundation for Children to perform in six US states. Officials deemed it necessary to put on a professional show and started to formalize its organization, training and choreographing the members collectively. "It was a huge success and gave us enormous confidence," said the official. "We realized we were not only the same as other people, but we could also become artists." The troupe decided to reject government funding and sell tickets for a living in 2002, eager to prove their artistic value and to get more money for innovation and improvement. They persevered through tough times when nobody would watch their shows, even when tickets were offered free. "Some companies said they would rather give us money than take our tickets, as they thought performances by disabled persons would just make people sad," the official sad. Their reputation, however, was gradually built as the troupe's name was passed by word of mouth. "We expanded the market step by step. We put in a lot of efforts in advertisements too." In 2004, the troupe put on a memorable dance performance in the eight-minute Beijing segment of the Athens Paralympic closing ceremony. It featured 21 deaf artists in ornate golden costumes moving their arms in breathtaking synchronicity in tribute to an eastern Bodhisattva of compassion, guided by sign-language teachers. It was a pivotal moment for the troupe. The show overwhelmed millions at home and abroad and gave a boost to national pride as the Greek media commented the program rescued the whole ceremony. Video clips of their performance were posted on YouTube. "Impressive, I never knew disabled people and performing arts work together," was one comment in English on the website. "Who would have guessed the best dance performance I've ever seen would be done by deaf dancers," said another. With success, the troupe's pockets swelled to the point where it had enough money to set up a 1 million US dollar charity fund last year. "I feel more valued here and I earn much more than I did back home," Huang said. The official said there used to be dissent over whether it was necessary for the group to achieve a professional standard, as some argued the fact that the disabled could perform would be enough to attract attention, the official said. "The authorities finally reached this conclusion: the sympathy for disabilities is temporary, but the power of art is eternal."
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