Editor’s note: Emily Wilcox is a professor of Chinese studies in the Department of Modern Languages and Literatures at William & Mary in the United States and recipient of the John Simon Guggenheim Memorial Foundation Fellowship in Dance Studies in 2024. Her 2018 book, “Revolutionary Bodies,” traces the evolution of concert dance in China from the 1930s to the present. As the first English-language history of Chinese dance based on primary sources, “Revolutionary Bodies” won the 2019 de la Torre Bueno Prize from the Dance Studies Association. Last year, Fudan University Press published the book’s Chinese translation.

Recently, Wilcox was interviewed by the Shanghai Review of Books during a research trip to Beijing, a portion of which is reproduced here.

Shanghai Review of Books: You titled your book on the history of contemporary Chinese dance “Revolutionary Bodies.” Can you explain the relationship between “revolution” and “bodies” in this context? Why is “bodies” plural?

Wilcox: The book primarily covers a period starting with the cultural movement initiated in Yan’an in the early 1940s and extending through the post-1949 socialist state-building era. This period, characterized as “revolutionary,” saw leftist political ideals become the dominant ideological framework in society. My interest lies in understanding why a dance phenomenon deeply rooted in national cultural identity emerged during this time. In a socialist state, the construction of China’s national culture emphasized common people and political equality across classes, genders, and ethnicities while critiquing the Western-centric capitalist order and Cold War dynamics. My central question is how these political agendas manifested in the physical expressive form of dance and how revolutionary ideals shaped national dance forms.

The plural “bodies” underscores the diversity within contemporary Chinese dance. This diversity encompasses different regions and ethnicities within Chinese dance itself, which has different forms such as classical, ethnic, and folk dance. It also refers to debates between different viewpoints, such as those between Chinese dance and ballet or between figures like Dai Ailian and Wu Xiaobang. Essentially, each era produces various forms or expressions of the human body that can symbolize revolutionary culture and national culture, with new revolutionary bodies constantly emerging within the historical landscape.

Shanghai Review of Books: You define the genres of Chinese dance through three commitments: kinesthetic nationalism, ethnic and spatial inclusiveness, and dynamic inheritance, highlighting the connection between this dance form and the idea of the nation-state. However, you also highlight the international origins of Chinese dance, noting significant contributions from “ethnic minorities, foreign refugees, non-Chinese speakers, and people from non-Chinese backgrounds” to the early formation and establishment of Chinese dance. The five “founders of Chinese dance” you introduced — Dai Ailian, Wu Xiaobang, Qemberxanim, Liang Lun, and Choi Seung-hee — had substantial international experiences. How do you view the relationship between nationalism and cosmopolitanism here?

Wilcox: Although the dancers I consider the founders of Chinese dance all had multicultural backgrounds, I think most of them cannot simply be classified as cosmopolitans. Dai, for instance, lived in Trinidad and later moved to London at 15, experiences that shaped her critical perspective on Western dance forms. Her personal experience with racial hierarchies in ballet and Western modern dance allowed her to envision a future for Chinese dance distinct from Western dance forms with new movement languages and aesthetic concepts to express herself. Hence, the emergence of Chinese ethnic dance, represented by Dai, was fundamentally based on a critique of a certain version of cosmopolitanism. Similarly, Qemberxanim, born in Kashgar and trained in dance in the former Soviet Union, had a cross-cultural background but was clearly not a cosmopolitan.

Among all these individuals, I think Wu Xiaobang best fits the traditional definition of a cosmopolitan. Early in his career, Wu hoped to introduce Western concert dance to China, believing that traditional Chinese theater was unsuitable for contemporary society and that new forms of dance were needed to align with modern people’s lives. His perspective shifted over time, and he began to appreciate the incorporation of Chinese opera and regional performance elements, such as those seen in the 1950 premiere of the six-act musical drama “Braving Wind and Waves to Liberate Hainan.”

Ultimately, the founders of Chinese dance recognized the limitations of universalist culture and began valuing their own national and cultural symbols more. They believed that the dance forms already practiced in China were valuable and worth developing. Despite the modern association of Chinese dance with national identity, its history is fundamentally transnational and transcultural. These cross-cultural factors ultimately led to its embrace of national identity. Tracing these histories helps us move beyond nation-state-centric research approaches.

Shanghai Review of Books: Your book “Revolutionary Bodies” explores international dance exchanges during the “17 years” period (1949–1966), including Chinese dancers participating in dance competitions at the World Festival of Youth and Students and Chinese dance troupes creating works with international themes. After publishing this book, you also wrote two papers that contributed to “Inter-Asia” dance studies. Why has “Inter-Asia” become a focus for you?

Wilcox: “Inter-Asia” is a concept I’ve been contemplating for some time. Traditional cross-cultural studies often compare China with the West, neglecting interactions between China and other Asian countries. Decentering the West is a theme throughout my dance research, which is why I’m particularly interested in phenomena like the Bandung Conference and the African-Asian-Latin American solidarity movement. “Inter-Asia” contrasts with “Asia,” which often reflects a colonial discourse and historical construct. “Inter-Asia” focuses on the inter-referential relationships between Asian countries and actors with shared historical experiences. The “Inter-Asia” perspective embodies the Bandung approach, emphasizing research methodologies that avoid centering the West or assuming that dialogue with the West is necessary when conducting cross-cultural studies. Although Asia has been deeply influenced by imperialism and colonialism, and the West was involved in the transnational flows of many art forms, we cannot let this overshadow the cross-cultural exchanges occurring within Asia itself. For instance, Wu Xiaobang’s study of German modern dance in Tokyo Highlights Japan’s role as an intermediary between China and the West.

I believe the center of 20th-century dance history does not need to be centered in New York. It is often claimed that the history of 20th-century dance is the history of modern dance, whose pioneers — such as Isadora Duncan and Martha Graham — were American. While this perspective is understandable in an American context, it begs the question of why other countries also revere New York. We can reframe the history of 20th-century dance by placing African, Asian, Latin American, and socialist countries at the forefront. In my upcoming book, “Performing Solidarities: Dancing the World in Mao’s China, 1949–1976,” I will examine the interactions between socialist China and the international community from a dance perspective and explore how these interactions relate to concepts such as internationalism, Cold War politics, Afro-Asianism, the Third World, and post-colonialism. For example, the premiere of the first ballet adaptation of “The White-Haired Girl” by Japan’s Matsuyama Ballet in 1955 is a fascinating story. People today might be surprised that the earliest ballet adaptation of this Chinese communist opera appeared in the Capitalist Bloc. Such stories challenge the notion of two distinct hemispheres during the Cold War and recognize that the two were not entirely separate.

There is a common stereotype that China was closed and isolated before the “reform and opening-up” period. My research aims to challenge this notion. Particularly during the “17 years” period, cultural exchanges between China and other countries were quite rich. Dance troupes from Japan, Democratic People’s Republic of Korea, South Asia, Southeast Asia, Latin America, Europe, Africa, and the Middle East frequently visited China, and Chinese dancers also toured abroad, performing African, Asian, and Latin American dances. The Oriental Song and Dance Ensemble, established in 1962, was a key player in this cultural exchange. Many dance exchange projects in the 1950s and 1960s allowed Chinese dancers to learn neighboring countries’ dance styles in relatively authentic environments rather than through exaggerated and stereotypical imitations. This exchange fostered mutual understanding and changed the cultural prejudices of Chinese dancers, constituting a form of dance diplomacy rooted in genuine engagement rather than self-promotion. Additionally, performances in China at the time depicted international events like the American civil rights movement, the Vietnam War, and the Congo Crisis, using dance to imagine the world beyond China.

Shanghai Review of Books: Many of the dances you analyze in your book were filmed. How do you view the relationship between dance and film? This year, you co-edited a book titled “Teaching Film from the People’s Republic of China.” Can you tell us a little more about this book? How do you think the shift of dance performance from film to television talent shows and short videos viewed on mobile phones will affect Chinese dance?

Wilcox: Dance and film have a very close relationship, with film being an important medium for recording dance. I often analyze dances recorded in films and interpret the meanings of dance within specific historical and social contexts through the lens of a film’s narrative. For instance, in my article on breakdancing, I closely examined the film “Rock Youth.” Chinese cinema is rich in dance, and I’ve considered writing a book focused specifically on this topic in the future. It is common for stage dances to undergo stylistic changes when adapted for film.

The three editors of “Teaching Film” are all researchers of PRC culture. The book was conceived to address a tangible problem: How can films from post-1949 Chinese mainland be taught to undergraduate students in North America and other English-speaking regions? We invited scholars from various disciplines — including anthropology, communication studies, ethnomusicology, film studies, history, literature, linguistics, sociology, theater, and urban geography — to contribute to this conversation about which films reveal or conceal aspects of Chinese history and society and demonstrate how studying films from the PRC can introduce students to larger issues of historical consciousness and media representation. We aim to help students recognize that film is an art form and a product of the imagination rather than a straightforward reflection of real Chinese society. When discussing China in the 1950s and 1960s in class, we remind students not to rely on the portrayals of historical culture conveyed by contemporary films like “To Live” and “Farewell My Concubine”; instead, we advocate viewing films produced during the period under study. We hope that students gradually develop a critical perspective and reassess their assumptions.

Television talent shows and short videos have introduced new platforms that have changed the aesthetics of Chinese dance in our era and cultivated a younger audience. In my book, I highlight the example of Gülmire Mehmet, a Uyghur dancer who won the annual championship in Zhejiang STV’s dance program “So You Think You Can Dance (China).” Although Gülmire retains the performance traditions and movement styles established by predecessors like Qemberxanim, her movements are larger, faster, more precise, and more explosive — perfectly suited to the pace of contemporary television performances and the preferences of live audiences. I believe these platforms will not replace theater viewing but will instead serve as an extension, bringing more people into theaters.

Shanghai Review of Books: Your main approach in “Revolutionary Bodies” is to conduct case studies around classic works, and you also include responses from contemporary critics. Do you think it is possible for dance research to involve minor or grassroots dancers, or the reception by general audiences?

Wilcox: Besides theater performances, Chinese dance in this era is also associated with a range of social venues and activities, such as commercial performances in theme parks and tourist attractions, square dancing, student extracurricular activities, corporate events, weddings and funerals, and festive performances. However, this book focuses primarily on theater and the activities of artists in dance academies and troupes. My aim is for this first book on Chinese dance to highlight professional dance works and treat Chinese dance as an art form to place it in a position where it can engage in equal dialogue with other global concert dance styles. When people study ballet, modern dance, or Indian dance, they first discuss professionalism and artistry; the same should apply to Chinese dance. This book chronicles the professional development of Chinese dance. While the book cites a wealth of contemporary dance reviews, studying the reception of historical audiences is challenging. If I can find such materials in the future, I would be eager to pursue such research. In fact, I have also touched on the promotion and popularization of dance, including some of the dance manuals from that period.

Reported by Ding Xiongfei.

A version of this article originally appeared in The Paper. It has been translated and edited for brevity and clarity, and is republished here with permission.

Translator: Carrie Davies; contributions: Wang Juyi; editors: Xue Ni and Elise Mak.

(Header image: A poster for the 1964 ballet “The Red Detachment of Women.” From Douban)