The way to evaluate the success of an arts festival is to consider if the event provides the audience with a diverse selection of events, according to Zhang Yu, president of China Arts and Entertainment Group. That's also the core idea behind the annual Meet in Beijing Arts Festival, which is presented by Zhang's company every April and May. "It should be an event celebrated and anticipated by the audience every year," Zhang says. Meet in Beijing Arts Festival, now in its 14th year, will continue to present a range of dance, music, drama and art.
Shakespeare's Hamlet, foot-binding in feudal society and a doll maker from a Chinese fairy tale will all be interpreted in dances by three young choreographers from the National Ballet of China during its annual workshop.
In 1982, the National Art Museum of China received a collection of 41 paintings from the family of late Taichung-born painter and educator Wang Yuezhi (1894-1937).
Zhu Xinjian (1953-2014) said he once decorated his scrapbook with a painting by Qi Baishi (1864-1957), which he cut out from newspapers, together with a photo of naked women. By doing so, he wished to use the free, lofty brushwork of Chinese painting, which ancient literati employed to portray landscape and aloofness, to express lust as a fundamental desire of mankind that earlier painters normally shunned.
Chinese President Xi Jinping's recent visit to Germany highlighted a long relationship that is in full flower this spring with a series of cultural exchanges.
Hong Kong director Ann Hui's new film The Golden Era, featuring a stellar-studded cast spearheaded by Tang Wei, will premiere on Oct 1.
Li Dun certainly has perseverance. Ever since he watched West End musicals in London in 1988, such as Cats and Les Miserables, he has been striving to make original musicals in China. The former owner of several nightclubs in Shenzhen in the early 1980s, Li also invested his own money into his musical career from Shenzhen to Beijing and Shanghai.
In the Kazakh language, baerluke means abundant, rich and having all that's needed.
As an Asian journalist working in a Chinese newsroom, I am often left in limbo, not quite fitting into the American/Australian/British expatriate crowd, and not quite part of the Chinese editors' clique. It is a voluntary isolation that allows me an objective view of the changes that seem to have taken place overnight in the last five years.
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