An iconic billboard in the quintessential boom city of Shenzhen features Deng’s famous statement that China's “basic line will not waver for 100 years.” If Deng was right, we are less than one-third of the way into the era of “reform and opening.” But four challenges identified by Premier Wen Jiabao in 2010, that growth becomes “unbalanced, unstable, uncoordinated, or unsustainable,” threaten the boom. The key to balance lies in increasing the consumer share of GDP, allowing China to create a modern consumer economy. Stability will depend on the government's ability to address grievances as the gap between winners and losers widens. Coordination is the great test facing the ruling Communist Party, of whether it can manage the politics of growth without fundamental changes to the system. Sustainability is an issue that has global implications, as citizens of a warming planet watch anxiously to see if China is successful in greening the boom. The fifth great challenge, left out by Premier Wen, may be the external one: whether the world is successful in making room for China.
Chen Ailian, virtuoso dancer and choreographer, was born in 1939 in Shanghai. She graduated from Beijing Dance School and went on to teach at the Beijing College of Dancing, Nan Kai University, and Hainan University. As a performer, she held the position of chief dancer and actress at the China Opera and Dancing House as well as chief dancer of the Chinese Artistic delegation to over a dozen countries.
Chen is also the founder and Head of the Chen Ailian Artistic Troupe, which is the first non-governmental performing organization in China, and has served as a member of the Executive Committee of the Chinese Dancers' Association.
So these thirty years were thirty years of growth. How should I put it? In the first few years, the country suddenly opened up, reform and opening presented us a great opportunity. We just came back to the stage after the Cultural Revolution, after ten years' suppression, our artistic energy erupted at once. That was an extremely flourishing period. So looking back at the thirty years since reform and opening, this thirty year road is like the career of a dancer. Like I said before, a thirty-year-old dancer is one who begins to know how to dance. A young dancer is pretty, with a long neck, a precious face, and elongated arms posing like this, but I'm already putting my feelings into the pose, the pose looks beautiful. But there's no personality or substance. It is only when you reach a certain age, when you have some life experience, can you transform every movement beyond standard poses that others taught you. Now you are mastering the art. You are mature now. So one starts to know how to dance when one reaches thirty.
So I think of this thirty-years of reform and opening as a process. It started with an eruption of energy, and there was some confusion along the way. Sometimes we were sidetracked, for example, thinking too much about money and forgetting about art, and the market was not regulated, or the market was not regulated, and other problems, all affected our creations. Later, people realized the problems and started to reflect on them. They began to look back, and returned to the path of finding true art, true self, true artistic style, true individual expression. In the end, what is dance? In this process of searching, one becoming a mature dancer. I think this thirty years is really worth going through.
As to the next thirty years, I think because we have the past thirty years, now we matured into adults. Chinese people have a saying, at 30 I know where I stand, at 40 I have no more doubts, at 50 I know life’s purpose. So for Chinese people, after this thirty years we've just learned to stand on our feet. It is only a beginning. Our 40s, 50s and 60s should be our golden age. Of course, when people mature, they do wonderful things.
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