To last three decades as an independent dance company is an impressive accomplishment; to grow and flourish even more so. Toronto’s Little Pear Garden Dance Company is celebrating their 30th anniversary with a triple bill of performance on May 3.
Founded in 1994 as a Peking Opera collective by William Lau, Little Pear Garden has evolved into a respected professional dance company in the fields of both traditional and contemporary Chinese dance.
Current artistic director, Emily Cheung earned a B.F.A., B. Ed., and M.A. from York University, with a specialization in Dance, and went on to train extensively in China, Hong Kong, and across North America. We spoke with Emily about the company’s longevity and the 30th anniversary show.
The Q&A
To last 30 years is a remarkable achievement for a dance company. Why do you think it has not only endured, but grown during that period?
Little Pear Garden Dance Company, founded by William Lau and given to me 18 years ago, has grown and expanded due to various reasons. A key part of our ongoing success is a dedication to constant innovation and involvement. I strongly believe in the idea of balancing hard work with the enjoyment of creating, following the principle of “work hard, play hard”. Importantly, our accomplishments are not individual; they come from the combined efforts of our team.
Our continued growth is also driven by our commitment to delivering top-quality performances. Apart from performances, we actively enhance lives through various activities such as workshops, educational programs, presentations, and talks. By involving audiences of all levels, from beginners to experienced professionals, we aim to spark a love for dance in young minds and nurture the next generation of artists.
We broaden our horizons by hosting international artists in Canada, promoting cultural exchange and sharing different artistic views. Similarly, we collaborate with artists worldwide, inviting them to join us on stage, share their knowledge through classes and workshops, and enrich our creative environment.
In summary, our journey is marked by unwavering passion and continuous effort as we keep growing and inspiring.
From Moon Goddess, a performance in February 2024:
After three decades, it seems like the organization has already encompassed at least two generations of both dancers and audiences. Have you experienced a steady interest over the years, or has it increased in recent times?
Over the last thirty years, the organization has seen the involvement of multiple generations of dancers and audiences. Initially, getting attention was tough, especially since many associated Little Pear Garden Dance Company with Peking opera under William Lau’s leadership. However, through persistent efforts and various platforms, from outdoor park shows to prestigious MainStage productions, we’ve built a reputation for delivering quality works and upholding strong ethical standards.
Despite the initial challenges, interest in our company has grown steadily over time. The pandemic brought its own difficulties, but we stayed strong, continuously working to promote our work. As a result, we’ve not only kept our audience but also expanded, gaining interest from other provinces and even globally.
Is there a specific principle or mandate that has guided your choices as artistic director?
Certainly. As the artistic director, I follow a core principle centred on embracing cultural diversity and understanding the historical and customary contexts of various art forms. I strongly believe that genuine appreciation of any cultural art requires a thorough understanding of its heritage and traditions. By exploring diverse cultural expressions, we uncover both similarities and differences, promoting a deeper understanding and connection between communities.
This principle not only influences my artistic decisions but also forms the foundation of our company’s values. I encourage our dancers to embrace a variety of aesthetics, exposing them to different cultural influences. By fostering versatility and adaptability, our dancers become valuable assets, skilled in a range of techniques and able to handle various movement styles seamlessly. This approach reflects the practices of many ballet companies, where dancers are urged to master a broad range of styles and techniques.
In summary, by promoting cultural appreciation and diversity in our artistic pursuits, we contribute to bridging cultural gaps and building a more interconnected global community.
How do Chinese Classical dance and Chinese Contemporary Dance relate to each other?
Chinese Classical dance and Chinese Contemporary Dance share a deep relationship rooted in theory and philosophy, akin to traditional Chinese arts like calligraphy and Tai Chi. They both explore the space between movements for meaning, echoing calligraphy’s focus on brush stroke gaps and Tai Chi’s energy flow in circular motions.
By blending classical and contemporary elements, artists can reinterpret Asian legends with modern perspectives, empowering traditionally passive characters like women and adding complexity to traditionally evil figures like demons. Ultimately, this connection between the two dance forms honours cultural heritage while fostering innovation and dialogue, bridging the past and present in a dynamic artistic journey.
What do you look for in a collaborative project?
In a collaborative project, I aim to support emerging talents, acknowledging their untapped potential. Instead of seeking partners with similar strengths, I value those who offer diverse perspectives and skills, believing that this diversity enhances the creative process and leads to a more impactful result.
Collaboration, like a journey of discovery, fascinates me as I delve into my collaborator’s mindset and observe their choices. Honesty and mutual respect are essential in this shared effort as we strive to express ourselves authentically on stage. To me, collaboration resembles painting on a blank canvas, where each contributor adds their unique touch, and the contrast between them creates a vibrant and dynamic composition.
Can you tell us about the new piece that will be premiering?
The captivating production “9 Tailed Fox” is the collaborative creation of three talented Chinese Canadian women. Penned by Diana Tso, composed by Alice Ho, and choreographed by Emily Cheung (myself), this piece draws inspiration from East Asian legends, bringing mythical creatures to life. Diana intricately weaves three tales revolving around encounters with the mystical 9 Tailed Fox.
Alice Ho, a globally renowned composer with whom I’ve had the privilege of collaborating for decades, lends her expertise to infuse the production with haunting melodies and rhythmic vibrancy.
Joining me are three exceptional dancers: Sarah Di Iorio, Alexander Herrera, and Falciony Patino Cruz, whose invaluable feedback shapes the creation of memorable moments on stage. Together, we’ve choreographed two out of the three stories slated for premiere.
Additionally, the production features the remarkable opera singer Vania Chan, enriching the theatrical experience.
The first story follows a scholar who ventures into a haunted house, encountering spiritual foxes that transform into humans. Upon realizing they’ve been observed, the foxes ply the scholar with drink to erase his memories. Ultimately, the encounter culminates in a wedding, with the bride leaving the scholar a flower as a token of their connection, leaving him to awaken to a reality tinged with enchantment.
In the second tale, two sprite brother foxes navigate a forest encounter with a hunter. In a display of bravery, one fox sacrifices himself to protect the other, leading to a transformative journey of love and sacrifice. Their bond is sealed by an accidental breaking of a 5000-year-old orb, ensuring their eternal connection as male and female.
Through these tales, “9 Tailed Fox” unfolds as a mesmerizing exploration of love, sacrifice, and the enduring power of myth.
- You’ll find more information about the performance on May 3 in Toronto, and tickets, [HERE].
Are you looking to promote an event? Have a news tip? Need to know the best events happening this weekend? Send us a note.
#LUDWIGVAN
Get the daily arts news straight to your inbox.
Sign up for the Ludwig Van Toronto e-Blast! — local classical music and opera news straight to your inbox HERE.
- PREVIEW | Kitchener’s Open Ears Festival Offers Innovative Performances And Interactive Experiences - May 7, 2024
- PREVIEW | Ottawa Chamberfest Celebrates 30 Years In 2024 With Diverse Line-Up - May 6, 2024
- PREVIEW | Upper Canada Choristers Celebrate 30th Anniversary With World Premieres, New Beginnings - May 3, 2024
