| 词条 | Dai Ailian |
| 释义 |
| name = Dai Ailian (戴爱莲) | image = File:Dai Ailian.jpg | alt = | caption = | full_name = | birth_name = | birth_date = {{birth date|1916|05|10}} | birth_place = Trinidad | death_date = {{death date and age|2006|2|9|1916|05|10}} | death_place = Beijing | nationality = Chinese Trinidadian | height = | occupation = Dancer, dance teacher, choreographer, company director | years_active = | current_group = | former_groups = | dances = | spouse = Ye Qianyu }}Dai Ailian ({{zh|s=戴爱莲|w=Tai Ai-lien}}; May 10, 1916 – February 9, 2006) was a Chinese dancer and an important figure in the modern history of dance in China. She was born in 1916 into an overseas Chinese family living in Trinidad.[1] Her years as a dance teacher and educator helped China build a generation of dancers,choreographers, and educators. She is known in China as the "Mother of Chinese Modern Dance".[2] Early lifeDai Ailian was born in Couva Trinidad to a 3rd generation Chinese family, whose origins were in Xinhui, Guangdong Province. Born Eileen Isaac she never knew her family's Chinese surname as her paternal grandfather was given the surname Isaac upon his arrival in Trinidad. She used the name Eileen Isaac until her move to England when her teacher Anton Dolin asked her for her Chinese surname. Her mother selected the surname Dai after her father's nickname Ah Dai [3]. Influenced by her mother, who loved music, even when she was very small she liked to dance. She began studying ballet in Trinidad from the age of 7. In 1931 at the age of 15, Dai Ailian moved to London to further her study of ballet under former Ballets Russes dancer Anton Dolin where she danced alongside Alicia Markova. 1930s London was a hub for major ballet talent and she also studied with Marie Rambert and Margaret Craske, the foremost discipline of Enrico Cecchetti.[4] Inspired by German expressionist modern dancers, she joined the classes of Lesley Burrows-Goossens, one of the few modern dancers teaching in London at the time. She went on to study modern dance at Jooss Modern Dance School on full scholarship after it relocated to London. There she learned the theory and techniques developed by Rudolf von Laban including Labanotation, which she was later enthusiastic in spreading in China.[4][1] When she left London at the end of 1939 for China she spoke no Chinese.[5] In this period, She choreographed a number of works, including a solo performance called Yang Guifei in 1936 based on her interpretation of the historical character. Founding of modern Chinese danceIn 1937, Dai took part in benefit performances organized by the China Campaign Committee in London to raise funds for the Hong Kong-based China Defense League, headed by Soong Ching-ling, wife of Sun Yat-sen. After reading Red Star Over China by Edgar Snow during the Japanese invasion of China, she travelled to Hong Kong with the help of Soong in 1940. She traveled to China to study the folk dances and operas and created pieces based on folk traditions such as The Drum of the Yao People. Dai choreographed, performed, and taught dance all over China. After the founding of the People's Republic of China in 1949, Dai Ailian was at the center of the push to create new dance institutions. In 1949 She was named deputy director of the Central Song and Dance Ensemble[5] and in 1954 was named principal of the new Beijing Dancing School.[6] Other posts include serving as the director and adviser of the Central Ballet Troupe, and vice-chairman of the Chinese Dancers' Association. This period also saw the broadening of her artistic path. In the early 1950s, she was involved in the creation and leading performance of the first ballet in China: Dove of Peace. She also created two dances with strong national flavor, Dance of Lotus Flowers (based on a Shaanxi folk dance) and Flying Apsaras (inspired by the Dunhuang murals), which were acclaimed both at home and abroad and won the gold prize at the World Youth Festival. By the 1990s, authoritative dance organizations designated these two dances as 20th century classics of Chinese dance. Her trademark works include Lotus, Flying Apsaras, Longing for Home, The Mute Carries the Cripple, Tibetan Spring, Anhui Folk Dance, and For Sale. All of them are fruits of her studies of Chinese dances. Although classical and some folk dances were restricted in China during the Cultural Revolution (1966–1976), Dai remained influential in Chinese and international dance circles after China opened up to the world and began its economic reform process in the 1980s. She introduced a number of noted dancers such as Rudolf Nureyev and Margot Fonteyn to teach in China and tried her best to promote Chinese dancers to the world. Dai also participated in many international activities beginning in the 1980s, including working as a judge at international dance competitions, leading Chinese dance delegations to international dance competitions, and attending international academic meetings on dance. In 1982, she was elected the vice-chairman of the International Council for Dance of UNESCO, the United Nations' cultural and educational organ, and attended the meeting of the council in Paris every year till her death on February 9, 2006. Personal lifeDai met her first husband, the painter Ye Qianyu, shortly after arriving in Hong Kong in 1940. They married in January 1941[4] in Chongqing, however they divorced in 1956, and she later remarried. In 1941 Dai underwent surgery in Hong Kong that left her sterile and unable to have children of her own[4]. Dai led a single life after divorcing her second husband in 1967. When a China Daily reporter asked if she felt lonely sometimes in 1982, her answer was: "Life is interesting with its ups and downs. I am always occupied, so I have no time to feel lonely." In devoting most of her 90 years to her love of dance and her roots, she will be most remembered not only for her soul-stirring performances, but also for paving the way for Chinese ballerinas. Choreographic Work[7]London 1935-1939
Prizes and Recognition[7]
References1. ^1 {{cite book |url=https://books.google.com/books?id=XOGdnCPJSOMC&pg=PA118&f=false#v=onepage&q&f=false |title=Biographical dictionary of Chinese women: The Twentieth Century, 1912-2000 |page= 118 |editors=Lily Xiao Hong Lee, A. D. Stefanowska, Sue Wiles |publisher=M E Sharpe Inc |year=2002 |isbn= 978-0765607980}} {{Authority control}}{{DEFAULTSORT:Ailian, Dai}}2. ^{{cite web |url=http://arts.cultural-china.com/features/Chinese_Modern_Dance/ |title=Chinese Modern Dance |work=Cultural China |deadurl=yes |archiveurl=https://web.archive.org/web/20131203002402/http://arts.cultural-china.com/features/Chinese_Modern_Dance/ |archivedate=2013-12-03 |df= }} 3. ^{{cite book |last1=Wilcox |first1=Emily |title=Revolutionary bodies : Chinese dance and the socialist legacy |isbn=9780520300576 |url=https://doi.org/10.1525/luminos.58}} 4. ^{{cite web |last1=Mahoney |first1=Billie |title=Dance On with Billie Mahoney, Dai Ailian |url=https://search.alexanderstreet.com/preview/work/bibliographic_entity%7Cvideo_work%7C609047 |website=Alexander Street |publisher=Dance On Video |accessdate=5 January 2019 |archivedate=1983 |format=Video}} 5. ^1 {{cite news |last1=Kisselgoff |first1=Anna |title=Dai Ailian, Vital Figure in Building Ballet in China, Dies at 89 |url=https://www.nytimes.com/2006/02/20/arts/dance/dai-ailian-vital-figure-in-building-ballet-in-china-dies-at-89.html |accessdate=5 January 2019 |work=The New York Times |date=20 February 2006}} 6. ^{{cite web|url=http://www.china.org.cn/english/NM-e/158762.htm |title=Dai Ailian, a Legendary Ballerina |publisher=China.org.cn |date= |accessdate=2012-02-03}} 7. ^1 2 3 4 {{Cite book|url=https://www.worldcat.org/oclc/212755515|title=The story of Dai Ailian : icon of Chinese folk dance, pioneer of Chinese ballet|last=Richard,|first=Glasstone,|isbn=9781852731182|location=Alton, Hampshire|oclc=212755515}} 4 : Chinese ballerinas|1916 births|2006 deaths|Trinidad and Tobago dancers |
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