To last three decades as an independent dance company is an impressive achievement; to grow and flourish even more. Toronto’s Little Pear Garden Dance Company is celebrating its 30th anniversary with a triple bill of performances.
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 traditional and contemporary Chinese dance.
We spoke with Emily Cheung, artistic director, 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 not only lasted, but grew during that period?
Little Pear Garden Dance Company, founded by William Lau and given to me 18 years ago, has grown and developed for various reasons. A key part of our continued success is a dedication to innovation and constant engagement. I firmly believe in the idea of balancing hard work with the pleasure of creating, following the principle of “work hard, play hard”. Importantly, our achievements are not individual; they come from the combined efforts of our team.
Our continued growth is also driven by our commitment to delivering high quality performance. In addition to performances, we actively add to life through various activities such as workshops, educational programs, presentations and speeches. Involving audiences of all levels, from beginners to seasoned professionals, we aim to spark a love of dance in young minds and nurture the next generation of artists.
We expand our horizons by hosting international artists in Canada, promoting cultural exchange and sharing diverse artistic visions. Likewise, we collaborate with artists around the world, 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 continue to grow and inspire.
After three decades, it seems that the organization has already included at least two generations of dancers and the public. Have you had a steady interest over the years, or has it increased in recent times?
Over the past thirty years, the organization has seen the involvement of many generations of dancers and the public. Initially, the attention was harsh, especially since many associated Little Pear Garden Dance Company with the Beijing opera under the leadership of William Lau. However, through persistent efforts and various platforms, from outdoor park shows to prestigious MainStage productions, we have built a reputation for delivering quality works and maintaining strong ethical standards.
Despite the initial challenges, interest in our company has grown continuously over time. The pandemic has brought its own difficulties, but we have remained strong, working continuously to promote our work. As a result, we not only maintain our audience, but also expand, gaining interest from other provinces and even around the world.
Is there a specific principle or mandate that guided your choices as artistic director?
For sure. As the artistic director, I follow a core principle centered on embracing cultural diversity and understanding the historical contexts and habits of different art forms. I firmly believe that genuine appreciation of any cultural art requires a thorough understanding of its heritage and traditions. By exploring different cultural expressions, we discover 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. It encourages our dancers to embrace a variety of aesthetics, exposing them to different cultural influences. Flashing versatility and adaptability, our dancers become valuable assets, skilled in a range of techniques and able to manage various movement styles seamlessly. This approach reflects the practices of many ballet companies, where dancers are instructed to master a wide range of styles and techniques.
In summary, by promoting cultural appreciation and diversity in our artistic activities, we contribute to bridging cultural gaps and building a more interconnected global community.
How are Chinese Classical Dance and Chinese Contemporary Dance related to each other?
Chinese Classical Dance and Chinese Contemporary Dance share a deep relationship rooted in theory and philosophy, similar to traditional Chinese arts such as calligraphy and Tai Chi. Both explore the space between movements for meaning, echoing calligraphy’s emphasis on the spaces of the brush stroke and Tai Chi’s flow of energy in circular movements.
Blending classic 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 forms of dance honors cultural heritage and fosters innovation and dialogue, uniting past and present in a dynamic artistic journey.
What do you look for in a collaborative project?
In a collaborative project, the aim is to support emerging talents, recognizing their untapped potential. Instead of looking for partners with similar strengths, I value those who offer different perspectives and skills, I believe that this diversity enhances the creative process and leads to a more impactful result.
Collaboration, as a journey of discovery, fascinates me as I delve into the mind of my collaborator and observe their choices. Honesty and mutual respect are essential in this shared endeavor as we strive to express ourselves authentically on stage. For me, collaboration is like 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 premiered?
The captivating production “9 Tailed Fox” is the collaborative creation of three talented Chinese Canadian women. Written by Diana Tsocomposed of Alice Hoand choreographed by Emily Cheung (myself), this piece is inspired by East Asian legends, which bring mythical creatures to life. Diana intricately weaves three stories revolving around encounters with the mystical 9 Tailed Fox.
Alice Ho, a world-renowned composer with whom I have had the privilege of collaborating for decades, lends her expertise to infuse the production with haunting melodies and rhythmic vitality.
To me there are three exceptional dancers: Sarah Diorio, Alex Herreraand Falcony Patino Cruz, whose invaluable feedback shaped the creation of memorable moments on stage. Together, we choreographed two of the three stories planned for the premiere.
In addition, the production features the remarkable opera singer Vania Chanenriching the theatrical experience.
The first story follows a scholar who ventures into a haunted house, encountering spirit foxes that turn into humans. After realizing they were being watched, the foxes hit the scholar with the drink to erase their memories. Ultimately, the encounter culminates in a wedding, with the bride leaving the scholar a flower as a symbol of their connection, leaving him to wake up to a reality tinged with enchantment.
In the second story, two sprite fox brothers navigate a forest encounter with a hunter. In a show of bravery, one fox sacrifices itself to protect another, leading to a transformative journey of love and sacrifice. Their bond is sealed by an accidental breaking of a 5,000-year-old orb, ensuring their eternal connection as male and female.
Through these tales, “9 Tailed Fox” unfolds as a fascinating exploration of love, sacrifice, and the enduring power of myth.
- You will find more information about the show, and tickets, [HERE].
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