From August 12th to 16th, 2024, the Edinburgh Arts Fringe, one of the world’s most prestigious arts festivals, showcased HUXI, an extraordinary dance piece from China that captivated both audiences and critics alike. Directed by the renowned artist Zhibo Zhao and choreographed by Jiaolong Ma, the performance was featured dance artist Xi Chen as the lead dancer. Xi Chen’s interpretation brought to life the deep philosophical concepts of Qi (the vital life force) and the balance of Yin and Yang through the expressive medium of modern dance, leaving an indelible mark on the festival.
HUXI is a meditation on the relationship between breath and existence, conveyed through the language of dance. The performance’s versatility was showcased in two different settings: the intimate Paradise in Augustines Theatre and the vibrant streets of Edinburgh.
At Paradise in Augustines Theatre, HUXI unfolded as a meditative journey. Xi Chen’s portrayal of Qi was lauded by critics for its precision and fluidity, with a dance reviewer noting, “Xi’s movements seemed to embody the very essence of breath, creating a visual narrative that was as powerful as it was subtle.” The minimalist stage design and subdued lighting further emphasized her every gesture, allowing the audience to connect deeply with the performance on both emotional and spiritual levels.
In the streets of Edinburgh, HUXI truly transformed into a living, breathing artwork. Amid the festival’s energy and chaos, Xi Chen led her fellow dancers in a performance that retained its intimacy and philosophical depth despite the dynamic environment. Her calm, graceful movements provided a striking contrast to the bustling festival streets, creating a powerful visual and emotional juxtaposition. Dressed in a flowing white robe, Xi seemed to pause time around her, inviting passersby to engage with the dance on their own terms. Audience members were reportedly “mesmerized” by her ability to maintain focus and elegance in such a challenging setting, further solidifying her reputation as a masterful performer.
Traditionally known for her use of vibrant colors and layered visuals, Xi Chen’s collaboration with Zhao and Ma brought a new, minimalist approach to her performance in HUXI. The stripped-down black-and-white simplicity allowed the audience to witness the purity of her movement, unencumbered by external embellishments. Through her breath and movement, Xi Chen conveyed a profound sense of artistic expression that resonated deeply with the audience, with one attendee commenting, “Chen’s performance was a revelation—an intimate dialogue between the dancer and the viewer, stripped of all but the essentials.”
Zhibo Zhao and Jiaolong Ma, both with extensive backgrounds in dance education and teaching at the Beijing Dance Academy, infused the performance with a depth that transcended mere aesthetics. Their experience in teaching and choreographing for diverse audiences enabled them to craft a piece that was not only artistically innovative but also accessible to a broader range of viewers. This educational influence allowed the complex philosophical themes of HUXI—such as Qi and the balance of Yin and Yang—to be communicated with clarity and emotional resonance. Xi Chen, as the lead dancer, benefited from this thoughtful guidance, which helped her embody these intricate ideas in a way that was both deeply expressive and universally understood. The synergy between Chen’s artistry and the directors’ educational expertise resulted in a performance that was richly layered yet approachable, making the philosophical themes of HUXI accessible to a diverse audience.
HUXI carved out a unique space within the Edinburgh Arts Fringe, offering moments of calm and introspection amid the festival’s usual noise and excitement. The street performances, in particular, transcended mere choreography; they became a form of silent dialogue with the city and its people. By removing the physical barriers of the theatre, the directors allowed HUXI to breathe more freely, making the performance accessible to all, regardless of whether they had initially planned to attend.
The rhythm of breath central to the performance became a shared experience, as even the ambient noise of the city seemed to sync with the dancers’ movements. This interplay between the performers and the environment added complexity to the piece, further highlighting Xi Chen’s role as a leading artist in the performance. As that critic aptly summarized, “Xi Chen’s performance in HUXI was not just a dance—it was an invitation to pause, to reflect, and to breathe, offering a profound encounter with art in its purest form.”
Whether experienced in the hushed confines of Paradise in Augustines or amidst the energy of the festival streets, HUXI invited audiences to engage deeply with the performance, one that will undoubtedly continue to influence discussions on the evolving role of Chinese dance in the global contemporary performance landscape.
