Review
Christopher Coleman
Qomolangma
Epical Tibetan Music and Dance
Hong Kong Cultural Centre Grand Theatre, November 7-9
China has forcibly declared itself the protector of Tibetan culture, and productions like Qomolangma are the sad result. That culture has been decimated where it has been seen as a threat to governmental authority. What is left is an officially authorised but pale reflection of past glories.
Billed as "Epical (sic) Tibetan Music and Dance", the four-act event is an unfortunate propaganda vehicle bearing little resemblance to authentic indigenous culture. While certain well-known Tibetan artefacts such as the 3-meter long horn, the conch trumpet, and the bone flute make an appearance, Western pop music influences are at least equally pervasive.
Synthesisers and electric bass are not instruments native to Tibet, and their inclusion dilutes the integrity of the whole. The final act, which supposedly represents the folk culture of the high plains, contains vocals more reminiscent of Enya than of Buddhist monks. Qomolangma is more variety show than ritual; more new-age froth than ancient wisdom.
If such a show were presented with passion and virtuosity it would at least have entertainment value for those unconcerned with the political sensibilities involved. But many of Qomolangma’s performers seemed tired and lacked enthusiasm. Hong Kong has often seen shows with better dancing and better folk drumming; there is no novelty value here for local audiences.
Most troublesome of Qomolangma’s many flaws, however, is the obvious propaganda aspect of the second act, Even Rocks Can Sing. Following an introductory processional, the marriage of a Tibetan Prince and a Han Princess is depicted through dance. The marriage is an historical fact; but the message "Only when we throw ourselves into the big family of our motherland/Would we the Tibetans enjoy peace, happiness and prosperity." is so heavy-handed and obvious that it would be laughable were it not for the suffering of the Tibetans. Qomolangma does not represent Tibet as it is, but how it may become. As such, it is less a celebration than a travesty.
The review of Qomolangma was rather drastically edited from the orginal, above. I was told that my political comments were inappropriate to a music review. Although I argued that not only did music not exist in a political vacuum, but that the content of Qomolangma in terms of programme notes and sung texts as much as symbolism justified the inclusion of those political comments, the editor disagreed. The article as published in the paper appears below. Note the removal of terms such as "propaganda", and the change of the quotation from the programme. Although this change was likely accidental, it was done by someone who had not, in fact, seen the production and makes the text less objectionable by recognizing the duality of Han and Tibetan people. Such was clearly not the intent of the actual production.
New-age froth offered as culture
Review
Christopher Coleman
Qomolangma Epical Tibetan Music and Dance
Hong Kong Cultural Centre Grand Theatre, November 7-9
For a production that declares itself to showcase the diversity and glory of Tibetan culture, Qomolangma produces sad results. It is, at best, a pale reflection of past glories.
Billed as Epical Tibetan Music and Dance, the four-act show bears little resemblance to authentic indigenous culture. While certain well-known Tibetan artefacts such as the 3 meter long horn, the conch trumpet, and the bone flute make an appearance, Western pop music influences are equally pervasive.
Synthesisers and electric bass are not instruments native to Tibet, and their inclusion dilutes the integrity of the whole production. The final act, which supposedly represents the folk culture of the high plains, contains vocals more reminiscent of Enya than of Buddhist monks.
Qomolangma is more variety show than ritual; more new-age froth than ancient wisdom. If it had been presented with passion and virtuosity it would at least have entertainment value but many of Qomolangma’s performers seemed tired and lacked enthusiasm. Hong Kong has often seen shows with better dancing and better folk drumming; there is no novelty value here for local audiences.
Most troublesome of Qomolangma’s many flaws, however, is the questionable content of the second act, in which, the marriage of a Tibetan Prince and a Han Princess is depicted.
While the marriage is an historical fact; the message it projects--according to programme notes which say "only when we throw ourselves into the big family of our motherland would we the Tibetans enjoy peace and prosperity, happiness and prosperity for both parties" --is so heavy-handed one wonders if there are other inclinations than artistic ones.
published in the South China Morning Post, December 8, 2001; page 7
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