Friday, April 23, 2010

Ballet, tap dancing and theatrical magic April 24 at bergenPAC

The critics are raving about this show! "Compelling mystery and emotional depth." "A significant addition to NJB's repertoire." "Very sharp and up to date." "The dancers look terrific."

Recently voted New Jersey’s Favorite Dance Company, New Jersey Ballet returns to bergenPAC on Saturday, April 24, with an evening of new ballets introduced this season.

Top Hat Medley features the historic pairing of New Jersey Ballet's dancers with members of the New Jersey Tap Dance Ensemble in a jazzy, high energy ballroom piece. Top Hat Medley was co-choreographed by The Tap Ensemble director Deborah Mitchell and Broadway dancer/choreographer James Kinney, to excerpts from Top Hat, White Tie and Tails, I Could Have Danced All Night and Begin the Beguine.

Also on the program, Kinney's own piece, March, follows six couples through an everyday day in New York. This high-spirited jazz piece explores how people meet, come together and move apart and ends with a high-stepping walk in Central Park. One critic raved, “Very sharp and up to date.”

The third featured work, The Three Riddles of Turandot, is a neoclassical ballet that takes the audience back to Ancient China where the princess Turandot will not marry any man who cannot solve her three riddles. Created by celebrated Chinese-American choreographer Nai-Ni Chen – whose company is headquartered in nearby Fort Lee -- and set to Puccini’s famous score, the tale is deftly told in dance and pantomime. Critics applaud, “a ballet of compelling mystery and emotional depth” and “sumptuously theatrical.”

Performance tickets are $50, $40, $30, $20. 201-227-1030 or www.bergenpac.org.

Wednesday, April 21, 2010

Exciting dance performance to showcase at HLSCC

H. Lavity Stoutt Community College’s Performing Arts Series will feature the exciting Chinese dance group, Nai-Ni Chen, as part of its next concert to be held on Saturday, April 24 at the Paraquita Bay Auditorium.

The group’s performances fuse the dynamic freedom of American modern dance with the grace and splendour of Asian art, and its productions take the audience beyond cultural boundaries to where tradition meets innovation and freedom arises from discipline.

Nai-Ni-Chen performs “like endlessly proliferating forces of cosmic energy,” says the New York Times.

As choreographer and dancer herself, Nai-Ni Chen is an artist whose work defies categorisation, as she is continually working on new ideas from influences around the world.

Her mesmerizing and dramatic contemporary choreography has gained increasing recognition among domestic and international presenters and festivals.

Recently, the company was honoured by a distinctive grant award from both the President’s Committee on Arts and Humanities, and the Department of State to represent the United States in a seven-city tour of Mexico.

It also has the unique honor of having received more than 12 awards from the National Endowment for the Arts, and numerous Citations of Excellence and grants from the New Jersey State Council on the Arts.

In the First China International Dance Festival, the China Dance Association presented to the company its most prestigious honour for companies not based in China, the Golden Lotus Award.

To date, the company has mounted 20 national tours and seven tours abroad.

The performance at HLSCC will feature 11 members of the company. The group will also perform in a Student Outreach Show on Friday, April 23 at the College Auditorium from 10:30 to 11:30 a.m. Admission is by pre-registration only.

The College’s Performing Arts Series this season has featured a wider variety of artists, including gospel, opera, soca, reggae, classic, jazz and now dance performances.

Tickets for Saturday night’s dance show are $30 in advance, or $35 at the door, and are available at LIME, HLSCC Bookstore, Road Town Bakery, Umi Fashions and Sunny Caribbee. HLSCC faculty and staff tickets are $20, and College and secondary school students, $10. Primary school students admitted free.

LIME and FirstBank Virgin Islands are platinum sponsors of the College’s Performing Arts Series, while several other local companies have also supported financially.

For more information and registration for the outreach show, please call Coordinator of the Performing Arts Series, Linette Baa, 852-7223.

Click here for more information

Monday, March 29, 2010

Nai-Ni Chen Dancers Shine

Civic Music brings stellar group to Burlington

By BOB SAAR
for The Hawk Eye
3/27/2010


Perhaps the brightest facet of Civic Music flashes when it brings cultural presentations down to our side of the river. The Nai-Ni Chen Dance Company proved that last night at Burlington's Memorial Auditorium.

Nai-Ni Chen Dance is a blend of modern jazz and traditional Asian dance and art, and as such conjures multiple images.

Poetry in far motion is too trite. Nai-Ni Chen Dance tells stories without words.

The New York Times called them a "blossom of color, energy and motion."

Burlington has witnessed a number of Broadway musicals, replete with song and hoofing in the vein of American culture; the best of these in recent years was "Chicago" in 2008.

Compare the choreography and dancing of Nai-Ni Chen Dance with "Chicago" and this is the result: Exotic not erotic. Sensual not sexual. Precious not precision.

A hallmark of any truly creative artist is the abandonment of self before self-serving perfection takes over, and the eight Nai-Ni Chen Dance members are, without question, world-class interpretive dancers who interpret with their souls.

The troupe presented last night's largish audience with humans who danced like tigers, like serpents, like birds and horses and fishes and wraiths and even children. No one really knew exactly what was the symbolism of each dance, but everyone knew that life was the celebration.

Brilliant choreography brilliantly executed.

The Nai-Ni Chen Dance Company is art in the truest sense.

Jung Hm Jo of Korea estimated the dancers practice and rehearse "five hours every day." Their fluid and fluent bodies support that idea: The four men and four women have taut, lithe and sinewy physiques, not the Schwarzeneggerian beefcake that so many American dancers attain with too much weight training.

Ethereal at times, street raw at others, the dances were all, with a few exceptions, interpretive jazz, blending African, Asian, Native American, Middle Eastern and Latin moves with music that reflected all of those origins as well.

One curious moment occurred when the singers on the accompanying prerecorded soundtrack sounded like Yoko Ono had joined the band.

"Love Song of Xishuangbanna" is a stylized celebration from the Dai people of southwest China, portraying two young lovers. "Peacock Dance," a solo presentation by Min Zhou of China, is another Dai dance; Min played the role of the sacred peacock with perfection.

Chien-Hao Chang of Taiwan is in America for the first time, and he found Iowa to be as exciting as New York, where, he said, "there are a lot of dancers and choreographers."

The troupe heads for the Virgin Islands for its next show, and Burlington awaits Civic Music's season closer, cowboy music legends Riders in the Sky Thursday, April 29.

Friday, March 12, 2010

New Jersey ballet kicks up its heels for gala

By Robert Johnson/The Star-Ledger

March 12, 2010, 5:30AM

New Jersey Ballet has planned a colorful, theatrical event for patrons who attend the company’s annual gala benefit Saturday at Prudential Hall in Newark.

In addition to classical showpieces — sunny and vibrant pas de deux from “Le Corsaire” and “The Flames of Paris” — the Livingston-based troupe will reprise “The Three Riddles of Turandot,” a darkly romantic gloss on Puccini’s opera by contemporary choreographer Nai-Ni Chen. The commissioned piece received its premiere in January.

James Kinney’s “March,” from last year, adds an upbeat note of musical theater dancing; and Saturday’s performance will have more than touch of pizzazz, as the New Jersey Tap Ensemble, another beloved local institution, teams up with the ballet dancers in “Top Hat Medley,” the rousing finale.

“We want you to be jumping out of your seats,” says New Jersey Ballet artistic director Carolyn Clark.

The “Le Corsaire” pas de deux will introduce Newark audiences to Kuei-Hsien Chu, a former dancer with the English National Ballet who makes the latest addition to New Jersey Ballet’s international roster of dance artists. Chu will partner ballerina Mari Sugawa, while company principals Kotoe Kojima-Noa and Albert Davydov will be featured in “The Flames of Paris.”

Michelle DeFremery, the company’s resident bombshell, will lead the company in “March.” In this atmospheric dance in several scenes, we follow the heroine as she makes her way through a big city. Using gestures and groupings rather than props to convey his dramatic ideas, Kinney describes a series of cityscapes, starting with the morning rush-hour on a Manhattan subway platform, passing down streets crowded with tourists and strolling languidly through Central Park.

“Turandot” is considerably less carefree. In this fantastic tale set in China’s Middle Kingdom, choreographer Chen dramatizes the life-and-death choices that the ballet’s questing hero, Calaf, must make, as he guesses the answers to three riddles posed by Princess Turandot. The prize for answering all the riddles correctly is Turandot’s hand in marriage, but execution is the penalty for failure. The piece is replete with “emotion and drama,” Clark says.

Kerry Mara Cox and Andre Luis Teixeira are the protagonists in this luxurious cat-and-mouse game. As Turandot, Cox threads her way menacingly on pointe through ensembles in which the movement of swaths of fabric complements the dancers’ energy.

Intricate rhythms are the key to “Top Hat Medley,” jointly choreographed by Kinney and New Jersey Tap Ensemble artistic director Deborah Mitchell. This sampler, dressed with piano-key elegance in tuxedos and black-and-white gowns, will feature such outstanding tap artists as Karen Callaway Williams.

According to New Jersey Ballet’s associate director, Paul H. McRae, the company’s recent collaborations with other prominent dance groups in New Jersey are part of a “cross-marketing” strategy to broaden audiences. Says Clark, “We thought that if we collaborated with different groups, it would introduce ballet to other audiences, and get them to realize that there’s more to ballet than just ‘Swan Lake.’”

The New Jersey Ballet Gala

Where: Prudential Hall, New Jersey Performing Arts Center, One Center Street, Newark

When: 7 p.m. Saturday

How Much: Performance-only tickets are $30-$50. Patron tickets —which include cocktails — are $300. Silver Patrons, $750, also get dinner after the show. Call (973) 597-9600, or visit njballet.org.

Nai-Ni Chen Dance Company brings the global language of dance to the stage

Daily Sundial

March 10, 2010

By Stephanie Bermudez

Nai-Ni Chen Dance Company, which is one of the few Asian American professional dance companies in the USA, will be performing at the Plaza del Sol Performance Hall on Tuesday, March 16 at 8 p.m.

“The dances of Nai-Ni Chen fuse the dynamic freedom of American modern dance with the grace and splendor of Asian art,” said Pamela Bock director of marketing and strategic communications of the Valley Performing Arts Center. “ … Celebrating the diversity of ideas shaped by the immigrant experience, the Nai-Ni Chen Dance Company bridges the gap of understanding between East and West.”

Bock said recently the Company was honored by a distinctive grant award from both the President’s Committee on Arts and Humanities and the Department of State to represent the United States.

Choreographer and dancer Nai-Ni Chen is an artist whose work defies categorization, as she is continually working on new ideas from influences around the world.

“Her mesmerizing and dramatic contemporary choreography has gained increasing recognition among domestic and international presenters and festivals,” Bock said.

The dance company will be performing “Song of Phoenix,” which features original choreography of Nai-Ni Chen.

“The phoenix, known in both eastern and western cultures as an awe-inspiring creature of death- defying strength and majesty, represents the power and mystery of the feminine for the East and renewal for the West,” Bock said.

According to Bock, it brings together a seamless blend of ancient rituals and modern concepts in a unique repertoire.

“Gliding across the stage with color, lyricism and a subtle whisper of Chinese tradition … Nai-Ni Chen wishes to bring the audience on a flight through space and time to a place where tradition meets innovation and freedom arises from discipline,” Bock said.

Lena Ho, 26, says she has heard a lot of good things about the dance company and looks forward to seeing the performance. “I really enjoy watching live performances, especially from such talented artists,” said the creative writing major. “Being an Asian American myself, I’m excited to see what talent Nai-Ni Chen will bring to CSUN.”

Ho said she has already bought her ticket and plans to attend the performance with her boyfriend. “I try and take advantage of CSUN’s low ticket prices since I am about to graduate and won’t get the same discounts anymore,” Ho said.

Kathy Anthony, managing director of the performance hall believes the company will be a real treat for those who attend. “The Nai-Ni Chen Dance Company is a visual treat,” said Anthony. “Their costumes and movement fuse two cultures beautifully in dance, and they have done this for many, many successful years,” Anthony said.

The Nai-Ni Chen Dance Company will be performing 8p.m, Mar.16, in the Plaza del Sol Performance Hall. For more information about the performance or to purchase tickets online visit www.arts.valleyperformingartscenter.org.

Wednesday, March 10, 2010

The Roar of the New Year at Sacred Heart

By Colin Gustafson, STAFF WRITER - Greenwich Time

Published: 09:54 p.m., Monday, March 1, 2010
On any other day, Convent of the Sacred Heart students would have erupted in chants of "Go! Go! Go!" as soon as Roary the Tiger sauntered into the school assembly hall.

On Monday, however, the same cheer for the school's 10-year-old tiger mascot came in Mandarin Chinese: "Jia You! Jia You! Jia You!"

Students showed their school spirit with multicultural flair Monday morning, celebrating both the 10th anniversary of their mascot's creation and the Feb. 14 start of the Chinese New Year of the Tiger.

The celebration featured an assembly of traditional Chinese folk dances by Fort Lee. N.J.-based Nai-Ni Chen Dance Company, complete with from fan- and ribbon-dance routines, and acrobatic displays of martial arts and spear twirling.

Students were later treated to a lunch of authentic Chinese cuisine with fortune cookies for dessert.

The language lessons did not end with the chanting. At the start of the assembly for middle school students, Head of School Pam Hayes welcomed students with greetings of "Happy New Year" in English, Cantonese ("gung hay fat choy") and Mandarin ("xing nian kwai le").

"I'm very pleased with Ms. Hayes' pronunciation," Sacred Heart Mandarin instructorJoanne Wu Havemeyer later joked.

Students also learned more about their favorite tiger.

Joined at the front of the assembly hall by Roary, Sacred Heart senior Paige Terry later recounted the story of how the school's mascot came to be 10 years ago. Formerly without a mascot, the school polled students in 2000 about their preference for a mascot, giving a tiger, a dragon and a "green storm" as options. The votes came back overwhelmingly in favor of a tiger.

Later, in 2006, they gave their tiger the proper name "Roary" after a similar poll that posed "Stripe" and "Grite" as other options. Since then, Roary has inspired the names of four middle school athletic teams: the Cubs, Tigers, Paws and Stripes.

"The tiger symbolizes intelligence, natural leadership, courage, selflessness and takes on the role of protector," Paige said during the assembly, as Roary mimed each trait.

Students said they enjoyed having the opportunity to learn more about Chinese culture.

"I really enjoyed the vibrant colors and the energy the dancers brought to the stage," said seventh-grader Sloane Ruffa, 13.


Photos: Bob Luckey / Greenwich Time

Monday, March 08, 2010

Review: Nai-Ni Chen Dance Company

Jan 31st, 2010

By Jasmina Wellinghoff
Special to the Express-News

The Nai-Ni Chen Dance Company which appeared at the Carver Community Cultural Center Saturday night, is easily one of the most interesting dance groups we have seen in a long while.

Led by Taiwan-born Nai-Ni Chen, the New Jersey-based company cast a spell over the audience by weaving a tapestry of elegant dances set to unusual, goose-bump inducing musical scores. With a background in both Chinese traditional styles and modern dance, Chen blends the two genres in her choreography in a most auspicious manner. She also knows how to use props to add both visual and narrative dimensions to her work.

The evening opened with "Bamboo Prayer," featuring five white-clad women -- including Chen -- holding bamboo sticks at least twice their height. At first the women crouched while holding the poles pointing upward. Then the dance unfolded with dignified poise as they proceeded to create images of work and rituals with their bodies and their sticks. The latter were thrust out and bounced off the floor in unison, crossed in the air, arranged in patterns on the ground for the women to step in and out of, held between toes and pulled back and forth between pairs of dancers like stretchy cloth. Eventually, the dancers gathered in a circle, their poles held at an angle in front of them, crossing each other and thumping the floor.

The program notes said that that the bamboo used was rattan, which is known for its flexibility. Evidently, the choreographer was making a statement about the nature of women who may bend, work and suffer but do not break.

Another strong group piece in Act I was "The Way of Five - Fire," which refers to fire as one of the five elements of creation according to ancient Chinese thinking. (The others are wood, water, metal and earth.) With dancers wearing red outfits, the piece built up gradually like fire would, from crisp sparks to wild flames. The props were fans held by both men and women but these fans were no dainty feminine accessories. Brandished like weapons and forcefully snapped shut and boldly redeployed, they conveyed aggression or might. The feeling of gathering force -- or maybe passion -- was underscored by the overall choreography, which included strong elements of martial arts. The audience loved it.

The most traditionally Chinese number was "Passage to the Silk River," a solo by Chen. She appeared on stage, a small figure in white, wearing "water sleeves," which are very long, loose silk sleeves that hang way down over the hands. With exquisite art movements, she brought them to life and made them dance with her, undulating like waves, twirling like whirlpools or trailing behind like quiet streams.

In Act II, however, the most memorable number was a very different piece, "Dancing with the Yak," set to a Tibetan folk song and choreographed by Shu Ze-Hong. Featuring striking folk costumes, the dance opened with two men (Chien-Hao Chang and Wei Yao) bent and arranged so that their bodies and costumes created a shape of a yak, while a young woman (Min Zhou) stood right behind them. The lights were low; it could have been early morning in the mountains. Then the guys rearranged themselves, raising their opposite arms to look like horns, and she hopped on the back of the "yak." They cavorted together, the men often stepping about in imitation of the animal's gait, and all three dancing with long sleeves similar to the water sleeves, which is apparently a Tibetan tradition as well. At the end, they settled down sweetly together for the night.

Two other dances -- "Incense" in Act I and "Raindrops" in Act II -- were complex and appealing but both went on for too long without offering either narrative or aesthetic reasons for their length.

However, the finale "Mirage," though also longish, did accomplish its apparent mission of conveying a sense of journey through harsh, desert landscapes when people see dancing mirages on the far horizon. Here, there were elements of Indian dance in the head movements and the barefoot stamping of the ground. As the journey abruptly dissolved, the mesmerized audience might have felt that they, too, had seen a mirage, a gorgeous mirage of chiseled dancing bodies.

With the exception of the Tibetan piece and the Peking Opera-styled "Passage to the Silk River, the dances were set to original scores that can best be described as richly textured. Gongs, bells, whispers, howls, chanting, murky crowd noises, drumming of all shades, echoes, meditative sounds and more complemented rather than accompanied the dancing.

Besides the dancers already mentioned, the cast included Julie Judlova, Kerry Lee, Chu-Ying Ku, Chun-Yu Lin, Nijawwon Matthews and Jung Hm Jo.

Friday, March 05, 2010

Center for Refugees brings dance troupe to annual fundraiser

By LISA KAPPS

Observer-Dispatch

Posted Mar 04, 2010 @ 07:00 AM

Area residents can experience a variety of cultures when they get their “Passport to the World” Friday, March 5, at the Mohawk Valley Resource Center for Refugees’ annual fundraiser. The event begins at 6 p.m. on the Mohawk Valley Community College campus.

Now in its seventh year, Passport features an ethnic food reception and cultural entertainment, said Alison Swartz, coordinator of public relations and events.
As part of Passport, the Refugee Center has partnered with MVCC to bring the Nai-Ni Chen Dance Company for a performance at 8 p.m.
“The Nai-Ni Chen Dance Company is one of the few Asian-American dance companies that are in the United States,” Swartz said. “Their specialty is a mix of traditional and contemporary dance. What’s unique about them is they’ve got these costumes and these props that they incorporate in their dances.”
“It’s really a way for people to g

et out and enjoy a different culture through dance,” said Shelly Callahan, director of programs and services for the center.
The evening also will include a silent auction featuring items provided by locally owned, international businesses, including baskets made by refugees and gift certificates to stores and restaurants owned by refugees.
All proceeds from the event support the programs and services of the MVRCR, which include resettlement services for refugees, health and family services, and multicultural services, including education, training and outreach.
Tickets are $50 and are available by contacting Swartz at 738-1083, ext. 127 or by e-mailing alisons@mvrcr.org.


.

Wednesday, March 03, 2010

Nai-Ni Chen Dance Company at Mohawk Valley Community College

On Friday, March 5, MVCC presents PASSPORT TO THE WORLD PERFORMANCE: Nai-Ni Chen Dance Company, at 8 p.m. in the MVCC Theater, Information Technology Building on the Utica campus. Admission is $5 general, $2 with college ID, free with MVCC ID. In partnership with Munson-Williams-Proctor Arts Institute and the MV Resource Center for Refugees.

Location Information:
Utica Campus - Information Technology Building
1101 Sherman Drive
Utica, NY 13501
Phone: 315.792.5400
Room: MVCC Theater

Contact Information:
Name: William Dustin
Phone: 315.731.5722
Email: wdustin@mvcc.edu

Monday, March 01, 2010

Nai-Ni Chen Dance Company at Mohawk Valley Community College

On Friday, March 5, MVCC presents PASSPORT TO THE WORLD PERFORMANCE: Nai-Ni Chen Dance Company, at 8 p.m. in the MVCC Theater, Information Technology Building on the Utica campus. Admission is $5 general, $2 with college ID, free with MVCC ID. In partnership with Munson-Williams-Proctor Arts Institute and the MV Resource Center for Refugees.

Location Information:
Utica Campus - Information Technology Building
1101 Sherman Drive
Utica, NY 13501
Phone: 315.792.5400
Room: MVCC Theater

Contact Information:
Name: William Dustin
Phone: 315.731.5722
Email: wdustin@mvcc.edu

Friday, February 12, 2010

New Jersey celebrates the Chinese Year of the Tiger

Program at NJPAC just a few miles from original 1871 observance in Belleville

BY JOE TYRRELL
NEWJERSEYNEWSROOM.COM
New Jerseyans can publicly welcome the New Year – 4708, for those keeping count – this weekend at the New Jersey Performing Arts Center in Newark.

With 2 p.m. performances Saturday and Sunday of a "Year of the Tiger" program, the Nai-Ni Chen Dance Company of Fort Lee will complete a 12-year cycle of dances based on the Chinese zodiac.

It's not just the coincidence with St. Valentine's Day that makes this annual celebration special, according to Andrew Chiang, the company's executive director. The Tiger is "a great year: vitality, strength and honesty," he said. "We need a good boost."

The location is also significant, because NJPAC is just downstream from the site of the first public celebration on Chinese New Year in New Jersey, the Passaic Steam Laundry in Belleville.

Taiwan native Chen is well known in the dance world, and her 22-year-old company tours extensively. It will perform the new program at multiple locations around New York.

"But it's much more special at NJPAC," where the performances will be the centerpiece of a larger cultural celebration, Chiang said.

Festivities include separate entrance parent-child workshops at 12:30 p.m. to make colorful masks for the colorful "Lion Dance;" masters of paper folding and paper cutouts who will demonstrate their works; handicrafts by other artisans, sounds by The Chinese Music Ensemble of New York; the country's oldest and largest Chinese orchestra, plus the option of feasting at Chinatown Restaurant in Harrison.

"As Chinese-Americans, not only do we carry the tradition, but we came here to develop new things," Chiang said.

In all, it promises to be somewhat more elaborate that the 1871 observance by laundrymen in Belleville. The 68 workers had only been in town a few months, traveling by train from San Francisco to the rural station called Santiago Park, then riding wagons the last six miles to their new dormitory home, fenced in at the Passaic Steam Laundry.

The business belonged to a retired sea captain, James Hervey, and was already successful. But not successful enough, for Hervey's employees were strangely ungrateful.

It seemed to the captain that his laundresses, mostly Irish immigrants, were lucky to be here. After all, one of the first major laws adopted by the new American republic had been the Naturalization Act of 1790, which offered a route to citizenship only to "free, white persons." The Irish barely met the criteria.

When his recalcitrant workers staged a work stoppage for higher wages, Hervey followed the "let's you and him fight" style of management. Looking across the continent for replacements, he dispatched a foreman and assistant to San Francisco, even providing money to hire an interpreter, Charley Ming.

Frustrated gold miner Wah Lee had established a "wash-house establishment" in the California city in 1851. Its success was a cultural accident.

Whatever piety, intrepidity and technology Europeans carried with them to the New World, they did not bring strong traditions of personal cleanliness. In Anglo-Saxon society, washing was women's work. That was a problem in the mining boomtowns, where the very few women tended to be otherwise engaged. Lee recognized he could build a service industry without irritating whites.

Chinese immigration never amounted to more than 4 percent of the nation's total. But no sooner had Chinese crews driven the final spikes for continental railroads than the unlucky, unskilled or just plain shiftless began heading west in record numbers.

Whites certainly didn't expect to arrive at the Pacific to find Asians holding jobs. Over the coming decades, racism grew into a wave of ethnic clearances from California to British Columbia. One businessman advised his son to "go back to China when you make your money ... if you stay here, the white man will kill you."

Back in mid-century China, though, the British fought two wars to force their surplus opium into the country. Much of central China fell to the vast insurgent armies of the Taiping Rebellion, in what some historians consider the bloodiest human conflict until World War II.

(As a young man, the Taiping leader, Hong Xiuquan, had been exposed to Christian missionaries, which led to the revelation that he was Jesus' younger brother. Also, that he should free China from the Manchu demons of the Qing dynasty.)

In sum, New Jersey never looked so good.

The Belleville laundrymen scarcely had been in their new quarters for 12 hours when reporters from Newark and New York arrived to peer at the wondrous heathens. Hervey reassured the New York World that the newcomers were segregated from his remaining female employees, even while at work.

A few months later in 1871, the reporters were back at the "scrupulously clean" dormitory to observe the New Year goings-on. The Newark Advertiser seemed particularly puzzled by the amount of tea, music, banging gongs and divinations, but all agreed that the decorations were colorful, representations of deities artful, and the men helpful.

"There can nowhere be ... a busier, more orderly group of workmen," said Scribner's Monthly.

New Yorkers worried about an inundation "of painted and pig-tailed Mongolians residing here, will be surprised to learn how few the number really is and how largely they have conformed themselves to the manners and customs of those about them," said the Tribune.

Indeed, shortly after their arrival, some of the men had turned up at local churches and Sunday schools.

After news of a mutually incited riot that left French nuns and officials dead, as well as Chinese, Hervey got death threats and a crowd demanded he fire the workers. But others in Belleville, including returned missionaries, rallied to their support and the furor ended.

When one of the men died of pneumonia, the Newark Advertiser covered the funeral, finding "genuine sadness." It reported, "death raises the same feelings in the heart of the heathen as in the Christian."

That wasn't the feeling in much of America. To "preserve Anglo-Saxon civilization without contamination or adulteration," in the words of one senator, Congress passed the Chinese Exclusion Act in 1882, denying entry, re-entry or naturalization to any person of Chinese descent. The U.S. Supreme Court repeatedly upheld the law, and the number of Chinese in America fell 30 percent over two decades.

But at the Passaic Steam Laundry, the genie was already out of the bottle. Over the years, many of the men and their relatives had left the company to start their own ventures. Ong Yung, the brother of one, is credited with opening the first Chinese laundry in Manhattan off Chatham Square.

On Feb. 8, 1883, the New York Times reported on Manhattan's New Year celebrations, led by the community's patriarchs, "the laundry owners." But devout Chinese were headed for Belleville, and "the only Chinese joss-house or place of worship in the vicinity of this city."

The newspaper found "the shrine was fantastically decorated with cut-paper ornamentation, containing grotesque figures of Chinese men, women and animals." Throughout the day, worshippers of "devout face and humble mien" attended ceremonies supplemented with food, music and firecrackers.

For information on this weekends performances and mask workshops at NJPAC, visit njpac.org or call (888) 466-5722. For more information, other performances or the banquet, contact the dance company at nainichen.org or (800) 650-0246.

Joe Tyrrell may be reached at jtyrrell@newjerseynewsroom.com

Nai-Ni Chen Dance Company rings in Chinese New Year

By Robert Johnson/The Star-Ledger

February 11, 2010, 6:46PM

Dancers Noibis Licea, Chun-Yu Lin and Julie Judlova of the Nai-Ni Chen Dance Company.

Nai-Ni Chen Dance Company
Where: Victoria Theater, New Jersey Performing Arts Center, One Center Street, Newark
When: Saturday Feb, 13 and Sunday.
2 p.m.
How much: Performance tickets are $20, $22. Call (888) 466-5722 or visit njpac.org.For banquet tickets and information, call (800) 650-0246.

Chinese New Year is a time for feasting. Yet even before waiters parade to the table carrying mounds of steaming delicacies, the Nai-Ni Chen Dance Company will offer dance fans a banquet of movement, color and light.

The company’s beloved "Chinese New Year Celebration" returns to the New Jersey Performing Arts Center, in Newark, this weekend, and Chen describes the spectacle as a "visual feast" that is every bit as satisfying — and less fattening — than the 12-course meal offered as an option to hungry viewers after the show.

Chen is a contemporary choreographer based in Fort Lee, and she has lived in the United States for many years. So while her program features traditional music and dance, including the indispensable good-luck opening "Double Lions Welcoming the Spring," this frisky program also features Chen’s original dance creations.

Even the folk dances have been enriched by the dancers’ Westernized approach.

In addition to a reprise of Chen’s mysterious and darkly glinting piece "Mirage," the company will present the premiere of "Earth," the latest in a series of Chen dances subtitled "The Way of Five," and inspired by Chinese alchemy. Chen says she has choreographed weighted movement, and layered ensembles for this piece, which is set to a commissioned electronic score by Rutgers composer Gerald Chenoweth.

The coming year is the Year of the Tiger in China’s lunar calendar, where every year is associated with a different animal rotating in a 12-year cycle. "The tiger is a very strong and powerful animal," Chen says, explaining why her new work, "Earth," focuses on images of deep-seated strength and balance. While both the tiger and the earth are dynamic
entities, Chen says that they radiate peace and harmony. So in contrast to other works in the "Way of Five" series, the new piece ends serenely as couples come together. "I encouraged the dancers to be very sincere, and to feel each other’s energy," Chen says, adding, "They feel a real connection."

Two new folk dances have been added to the program. As its title suggests, the "Love Song of Xishuangbana" is a duet for lovers who find themselves in an amorous paradise also suitable for Valentine’s Day. Here the dancers’ flexed wrists and gracefully curved bodies reflect the influence of the Southeast Asian dance styles.

"Young Ge," the second new dance, is a rousing group number usually performed in the fields, when farmers gather in the harvest. A specialist, professor Wei Chen of Sichuan University, has staged both folk numbers, but Nai-Ni Chen says that she also asked her dancers to participate by contributing ideas. The freedom to improvise with the folk dance steps, Western-style, Chen says, has given these dances a special beauty.

The "Chinese New Year Celebration" will also feature a musical interlude, in which the Chinese Music Ensemble of New York plays traditional instruments like the stringed "Erhu," the dulcimer-like "Yangquin" and the high-pitched, double-reed horn known as the "Souna."

"It’s all very celebratory," Chen says, "So I think the audience will enjoy it."

Robert Johnson may be reached at rjohnson@starledger.com.

See the lion dance

Millstone Examiner - February 10, 2010

MILLSTONE — Just in time for the Chinese New Year, the Millstone Township Performing Arts Center (MPAC) will present “Dragon’s Tale.”

“Dragon’s Tale” consists of a series of dances inspired by Chinese festivals and rituals. In addition to traditional dance steps, the program at 3 p.m. on Feb. 28 features martial arts, acrobatics and audience participation. The show will be performed by the Nai-Ni Chen Dance Company.

A New Jersey resident, Nai-Ni Chen was one of the most renowned Chinese classical dancers in the Republic of China. Chen founded her own company in 1988. Since then, she has created a wide-ranging repertory that includes dances that originated thousands of years ago and abstract, modern creations.

Tickets for “Dragon’s Tale” cost $20 for adults and $15 for seniors and for children under 12.

MPAC will continue its season lineup with a presentation of “I Love You, You’re Perfect, Now Change” at 8 p.m. on March 13. Tickets cost $45 for orchestra seats and $40 for all other reserved seats. Seniors get $5 off the ticket price for this performance.

Call the box office at 732-446-8480 today or e-mail MPAC@millstone.k12.nj.us for tickets and more information.

Monday, February 08, 2010

12-course feasts at Harrison restaurant to follow next weekend's Chinese New Year dance shows at NJPAC

Saturday, February 06, 2010
By SARAH RAHMAN
STAFF WRITER - THE JERSEY JOURNAL

The internationally renowned Nai-Ni Chen Dance Company will be in Newark next Saturday and Sunday to kick off the Chinese New Year - the Year of the Tiger.

Among the attendees at the New Jersey Performing Arts Center will be Jersey City residents Julia and Jordan Allen, adopted sisters from China who were brought here, 14 and nine years ago respectively, by their mother and grandmother, Robin and Eileen Allen.

"Each year we try to do something different for the new year," said Robin Allen, a Corbin Avenue resident.

"I've taken them over to New York before for the celebration, although they are a little terrified of the firecrackers."

Allen added that the three plan to make a trip back to China in 2011 to celebrate Jordan's 10-year anniversary of being adopted, but in the meantime are "really looking forward to the Feb. 14th performance."

Following the performances at NJPAC, a 12-course New Year's feast will be offered on both nights at Chinatown Restaurant in Harrison, beginning at 4 p.m.

The five-star, award-winning chef, Chef Ni, is scheduled to create dishes not available on the regular menu at the 218 Harrison Ave. restaurant.

The dance program at NJPAC will feature traditional favorites like the Lion Dance, as well as new Chinese dances by guest choreographers Wei Chen, Min Zhou and Wei Yao.

Choreographer Nai-Ni Chen is a native of Taiwan who attended the Chinese Cultural University at age 14 for eight years of intensive training in Peking Opera, martial arts, music, ballet and modern dance. She was a part of a Chinese performing arts tour that brought Chinese culture and dance to 17 countries, including a one-month engagement at the Minskoff Theatre on Broadway.

She formed her company in 1988, and has performed at major art centers in 35 states. Since 1997, the company has been a resident company at the Harlem School of the Arts and receives support from the Lower Manhattan Cultural Council.

Tickets for the 2 p.m. shows are available. For the performance and banquet afterwards, costs are $75 for adults, $25 for children and $650 for a table of 10. Tickets are $22 for adults and $12 for children for the performance only.

For more information, call (800) 650-0246 or visit nainichen.org/tiger.

Friday, February 05, 2010

Nai-Ni Chen Dance Company on SundayArts

The Nai-Ni Chen Dance Company will be on SundayArts this Sunday, February 7, 2010 at noon on THIRTEEN and 3pm on WLIW.
SundayArts Programming for 2/7/2010 – A thirty second promo for the SundayArts programming to air February 7, 2010.

Monday, February 01, 2010

Opening Doors with New and Old

Published: January 29, 2010

EXPRESSION THROUGH MOVEMENT Members of the Nai-Ni Chen Dance Company rehearsing at the Harlem School of the Arts for performances Feb. 13 and 14 in Newark. Photo: Fred R. Conrad/The New York Times



THE dancer and choreographer Nai-Ni Chen tossed around terms like “movement vocabulary” at a recent rehearsal in Harlem for her company’s coming performances at the New Jersey Performing Arts Center in Newark. And it was easy getting her to talk about the importance of educating audiences through modern works as notable for their boldness as their beauty. But ultimately, Ms. Chen wants the performances of her troupe, the Nai-Ni Chen Dance Company, founded in Fort Lee in 1988, to be accessible.

Ms. Chen, 50, said that incorporating both modern and traditional dance “opens the door for a lot of people.”

“It lets them get interested,” she said.

Her company will present Chinese New Year shows on Feb. 13 and 14 at the performing arts center, as it has done for many years. Earlier in the week it will offer performances for school groups.

“There is so much treasure to be found in traditional dance,” Ms. Chen said. “Even though my company is modern, it would be stupid of me not to make use of that treasure.”

So Ms. Chen’s audiences generally see a mélange of dances: some modern, some traditional and some hybrids. In the performances at the arts center, for example, the company will wear traditional Chinese costumes and perform the familiar ribbon and lion dances to music played on Chinese instruments. But at some point during the 100-minute program the dancers will change into less vibrant costumes for “Earth,” a modern collaboration between Ms. Chen and Gerald Chenoweth, a composer and composition professor at the Mason Gross School fo the Arts at Rutgers University.

“Earth” is part of a five-piece cycle Ms. Chen began working on three years ago. (She has already explored water, for which Mr. Chenoweth also composed music, and fire; next she plans to tackle metal and wood.)

“Earth” has special significance this year, she said, alluding to the Chinese calendar. “This is the Year of the Tiger, and tigers are a very strong, earthy animal.”

Mr. Chenoweth, of Princeton, created the music for “Earth” on his computer, a process that he said afforded certain advantages. “Nai-Ni’s choreography will expand in certain areas or contract in others — she’ll say, ‘I need 45 seconds here’ — and the editing is very easy,” he said.

The music, which will be played from a CD for the Newark shows but may later be expanded to include a live percussionist, is “almost entirely percussion, a lot of gongs and cymbals,” said Mr. Chenoweth, 66. “It doesn’t sound like traditional Chinese music, though I’ve used some of the instruments.”

In the group’s recent rehearsal at the Harlem School of the Arts, eight of the troupe’s 10 members practiced a traditional Chinese folk dance. Four women whirled sequined scarlet scarves and bright pink silk fans while their male counterparts leapt athletically around and between them.

“They need the practice for this one,” Ms. Chen explained, as recorded music played and a coach shouted cues. “A lot of them didn’t major in traditional dance in college.”

Neither did Ms. Chen. She started dancing as a 4-year-old in Taiwan, and later trained there in ballet and folk dance before attending a performance arts school whose curriculum included modern dance, jazz and Chinese martial arts. While enrolled there, she joined the Cloud Gate Dance Theater of Taiwan, spending three years with the company. In 1982, she enrolled at New York University.

“After I came to the States I was more focused on curating dance,” she said. “My major was not just performance. It was education and choreography.”

Ms. Chen said that after N.Y.U. she thought, “I love to perform, but would that satisfy me as an artist, just doing the work of Western culture?”

Eventually she concluded that “my thirst for expressing myself, both East and West, could only happen through creating my own company.”

Four of Ms. Chen’s dancers are based near her home in Fort Lee, where she lives with her husband, Andy Chiang, the company’s executive director, and their daughter, Sylvia, 14. The rest live mainly in New York, and their backgrounds are varied. “One is from China, one is from Taiwan, one is from South Korea, one is from upstate New York,” Ms. Chen said.

What they share is respect for the many forms of expression through movement.

“This is my first season, and I knew nothing about Chinese before I started,” said Nijawwon Matthews, 23, of Fort Lee, who is black. “I’ve danced with a lot of companies, but this was a brand-new experience for me.

“One thing I’ve learned is that Chinese dance comes from a let-go place,” he said during a break in rehearsal. “You have to be incredibly detailed and athletic, but it also takes you to a place in your imagination. It’s made me humble. I’ve learned to be humble.”

The Nai-Ni Chen Dance Company will perform at the Victoria Theater in the New Jersey Performing Arts Center, 1 Center Street, Newark, on Feb. 13 and 14 at 2 p.m. njpac.org or (888) 466-5722.

Friday, January 29, 2010

Video from this morning's Great Day San Antonio

This morning, Nai-Ni Chen appeared with a couple dancers for a brief interview and demonstration on Great Day San Antonio to promote the company's upcoming performances in San Antonio. Click on this link to watch: http://www.kens5.com/great-day-sa/Nai-Ni-Chen-83037342.html.

Nai-Ni Chen Dance Co. merge East, West

By Jasmina Wellinghoff - Special to the Express-News

San Antonio, TX

In Western cultures, the phoenix is a symbol of rebirth. In Chinese tradition, the mythical bird represents grace and the power of women.

For Taiwanese choreographer Nai-Ni Chen, it is also “a voice” that travels through time and space to connect past and present, East and West. Since she came to this country in 1988, Chen has strived to give visual shape to that voice by blending Eastern and Western concepts in her critically acclaimed original choreography.

Thanks to the Carver Community Cultural Center, Chen and her New Jersey-based company will offer San Antonians a glimpse of their hybrid dance style Saturday with “Song of the Phoenix.”

“‘The Phoenix' is a good, symbolic title for me,” Chen said by phone from her home. “For one thing, I am a woman choreographer and my work reflects my own experience. Then, the phoenix is a timeless, mythical animal that's always changing — like my work.

“I do respect and love (Chinese) traditional forms and that's why I always go back to them for inspiration, but then I create new works from a modern-dance perspective. Modern dance gives you more freedom to create,” she said.

The catchy title is actually an umbrella name for seven pieces, six of which are Chen's creations. Many include props and costumes of distinctly Asian origin, such as huge, undulating ribbons, long bamboo sticks, fans and, in one case, “water sleeves.”

The latter will be worn by Chen herself in “Passage to the Silk River,” a piece that reflects her Peking Opera artistic heritage. No actual water is involved — the dancer manipulates very long silk sleeves to conjure up river flow. Musical accompaniment will be provided by theguquing, one of the oldest instruments known to mankind.

Other dances draw inspiration from regions of China, such as the all-female number “Bamboo Prayer” (central China); “Mirage” (the Uighur region of Western China) and “Dancing With a Yak” — the sole piece that was not choreographed by Chen — which “connects you to the Himalayan mountain setting.”

“I like to take the audience on a journey,” said Chen.


Nai-Ni Chen Dance Company

  • What: The company performs “Song of the Phoenix.”
  • Where: Carver Community Cultural Center, 226 N. Hackberry St.
  • When: 8 p.m. Saturday
  • Tickets: $31 at Ticketmaster outlets and the Carver box office
  • Family program: A Passport to Culture Family Day program celebrating Chinese New Year will be presented at 10 a.m. Saturday. $11. Reservations, (210) 207-2719.