Interview with Xie Xin, "Sister Lang": Chinese choreographers and directors who are favored by the Paris Opera House have gained popularity | Life | Xie Xin
Due to the variety show "Riding the Wind 2023", dancer Xie Xin has once again gained popularity.
I remember the first time I interviewed her was 8 years ago, when she was just 30 years old. After dancing in dance troupes in Guangdong, Shanghai, and Beijing for 10 years, she founded the Xie Xin Dance Theater in Shanghai and won two choreography awards in Italy and Germany. In a crowded and noisy caf é, she told me that she was walking with unprecedented determination on the path she had chosen for herself.
Not long ago, the Xie Xin Dance Theatre completed 15 "One Pie, One Nap" tours in Spain, Switzerland, Luxembourg, and France, and completed the European premiere of "Quiet Rise" at the Darmstadt State Theatre in Germany. This year, Xie Xin will also be invited to create innovative works for the Venice Biennale and the Paris Opera House. A modern dancer from China, walking step by step towards the world.
Provided by respondents on the European tour
During the recording of "Riding the Wind 2023", Xie Xin returned to Shanghai and performed two performances of "Quiet Rise" at the Shanghai International Dance Center. We also went to Songjiang to see how she and the dancers rehearsed, and spent an interesting afternoon with her 64 year old mother and 4-year-old daughter.
Xie Xin provided by interviewees in "Chengfeng 2023"
Drive for an hour and arrive at the park where Xie Xin Dance Theater is located. At first, I thought I was looking for the wrong place because there were repair shops around and rows of cars were parked for repair. Xie Xin's husband Liu He came to pick us up, saying that the dance troupe had borrowed the rehearsal hall of the community cultural center at the beginning of its establishment, and later landed here, also because they saw the rent as cheap.
As soon as you join the dance troupe, there is a unique world. The two rehearsal halls are spacious and transparent, with walls and floors painted clean white. Next to it is a cozy and comfortable living space, with a kitchen and a large island platform where everyone can sit together and eat. The refrigerator door is covered with Polaroid photos, documenting the moments of performances around the world, with many young smiling faces. Opening the refrigerator door, I found a pile of chili sauce and mixed rice sauce, very down-to-earth.
On the wall opposite the refrigerator, there is a chalkboard filled with writing, which is the schedule of the dance troupe.
Before 2019, Xie Xin Dance Theater had already made a name for itself overseas and became a frequent visitor to major art festivals, with approximately 50 international tours per year. After three years of hibernation, everything has returned to normal, with even more performance invitations and work commissions than before. On September 21st, her new work "Horizon" created for the Paris Opera House will hold its world premiere in Paris, with 18 consecutive performances. This will be the first Chinese female choreographer commissioned by the Paris Opera House in its history.
Xie Xin's daughter Yahe was also in the rehearsal hall, wearing a new dress and tiptoeing to dance freely to the music.
The artistic life of female dancers is very short, and the arrival of a child often means that her career is pressed with a pause button, or even a stop button. But Xie Xin, the "Great Demon King", was still dancing on stage at 8 months of pregnancy. After giving birth, she quickly recovered 8 abdominal muscles and won the championship of "Dance Storm 2" two years later.
She has a terrifying tenacity on her body. Over the past three years, when the theater came to a halt, she and her dance troupe were also struggling to move forward step by step. She said that the more you are in a difficult situation, the more you need to search for new possibilities and find a new path.
Part 1: Art and Market, Can We Achieve a Balance
Xie Xin: A few days ago, I slept for four or five hours every day because sometimes the program would be recorded until three or four in the morning. I came back yesterday morning to catch up, rehearsed in the afternoon, played with my child for two hours in the evening, and then attended a two-hour vocal class.
Xie Xin: Last year, I had to go to Germany to create a project for the Hesse State Theatre, and the other party waited for me for two years. At that moment, I couldn't allow myself to leave the other party behind. But there aren't many schedule collisions this year, so we can balance them.
The original intention of going to this program is to show the audience the diverse appearance of dancers in today's era. Not a beautiful dancing machine, but one with a mind and wisdom that can turn one's own feelings in life into the reason and way of dancing.
During the recording process, I saw these 30+, 40+, and 50+"sisters", and saw their fragile, insecure, and anxious faces in life. However, everyone was striving towards a broader future, and I often had a feeling of tears in my eyes.
Xie Xin provided by interviewees in "Chengfeng 2023"
Xie Xin: When you don't have to speculate about how you are seen and considered under the lens, you become very simple. For example, when I go out to practice singing at night, you will find that there is a camera facing you, one after another, and there is also one inside the glass. At this point, if you focus on your own song and don't think about these shots, don't think about yourself participating in a competition, it will be much easier. As for how the director will present you on the screen in the later stage, you cannot control it, and those who see it will have their own interpretations.
Xie Xin: If it weren't for Dance Storm, without a larger platform and a wider audience to get to know you, there wouldn't have been so many people buying tickets to enter the theater and experience it offline. So you must go to a larger platform, but not deliberately cater or flatter, completely unnecessary, you just need to show your most authentic appearance. I think when people believe in something, they will shine. I have always believed that on the stage of variety shows, being true to oneself is enough, because there will really be audiences who will recognize dance, the resilience and creativity of a dancer because of you.
When I participated in "Riding the Wind 2023", I knew with great certainty that Xie Xin would never become a "female artist". Becoming a "female artist" means that many people are paying attention to your needs every day, and you need to spend a lot of time putting on makeup and embellishing yourself in front of the camera. Although here, I see a world adorned with golden borders, I know that there is a place in my heart that I want to go even more. I know what my most authentic self is and how the theater ignites my life.
I don't need to emphasize how important art is. Everyone's life has its own direction, but when I open my eyes, my experiences, and see the channels connecting different worlds, I actually want to focus more on the path of art, which gives me greater breakthroughs and more possibilities.
Purity is the most important thing, only you can maximize the value of your purity.
Xie Xin and the dancers are rehearsing
Xie Xin: This is something that I was born with, and I have always believed that it will bring me a lot of wonderful energy and support. Including my family's support and trust in me, you can understand that this trust is not because you can bring them much benefits, but because they truly see your love and attachment to this matter in your heart, so they will support you to complete the places you may have never imagined you could go to in the future.
It's like when we see those international conventions on the blackboard today, Xie Xin, who was a small dancer 10 or 20 years ago, can imagine every day like this. But when you experience things in the world, even if you have been to the stage of "Sister Lang" and seen the dividends of traffic, you can still go back to the rehearsal hall, know how much time it takes to hone a work, how many people around you need unconditional trust and support for this matter, and still believe more in the beauty of this matter. I think two things, or two groups of people, will open up their world to you.
The walls of Xie Xin's dance theater are full of schedules
Xie Xin: Horizon. I want to use the image of "horizon" to discuss the relationship between virtual and real. Is there really a horizon? You can see the towering line in the distance and the skyline of urban buildings, which seems to be the boundary between virtual and real. Just like the world we are in, is there also a distinction between reality and virtuality? Just like matter and spirit, they make up a complete world.
From "A Bite and a Bite" to "Timeless", from "Quietly Resurrected" to "Horizon", each of my works attempts to present something inexplicable. I want to find a way and a way to use my body to make these feelings flow, create a connection with the audience, and create a universal, primitive resonance of life for all humanity.
Respondents of "Quiet Land Recovery" provided
Xie Xin: Sometimes, after seeing a live or promotional video of my work, they appreciate the body movement style and expression of my work. Sometimes when I see myself working in the rehearsal hall, I appreciate my focus and dedication. Sometimes, after my first collaboration, the creative process is very enjoyable and the work has a good reputation. I immediately initiate the next new commission. Thus, constant butterfly effects and chain reactions occur.
My husband Liu He said that I am a very lucky person, but he also told me: if you don't have a real and persistent core, you won't be so lucky all the time, and you won't feel like everything is just right and must hit you. You need to maintain your simplicity and authenticity, cherish and embrace those around you who love and believe in you.
Part 2: Creation and Life, How to Inspire Each Other
Xie Xin: Maybe people think Xie Xin is very disciplined, but in fact, what I care most about during this process is whether I took good care of the growth of another life and my own life during pregnancy and childbirth. Because during this period, her and my growth were intertwined.
I returned to the rehearsal hall 14 days after giving birth because the dance troupe had a very important performance, and I didn't have a second option to present the work in the best possible way. Of course, I must take responsibility for my own body, and if any problems arise, I must take responsibility for them myself.
I accepted a commission from Hesse State Theatre before I became pregnant. So, 40 days after production, I must wean myself, even if it will be very painful and difficult during this process. At night, my chest will swell like two stones pressing against me, and I can only rely on strong willpower to support myself.
My abdominal muscles are not meant to tell others that I'm back, but rather during my recovery process, my work, appointments, and tours abroad have naturally led me to a good working state. So for me, this is something driven by passion.
In fact, there are no right or wrong paths, no good or bad choices. The problem is, this is my choice, so I have to take responsibility for my own choice and have no doubt about it.
Xie Xin and the dancers are rehearsing
Xie Xin: When I was in my twenties, I felt that having children would divide a woman's life into two completely different stages. Living for oneself in the first half, enjoying oneself freely; In the latter half, let go of oneself, take responsibility, and be dragged away by children for a lot of time and energy. But now I realize that when I'm working, it seems like I can completely forget that I have children.
She followed us on a tour, and I think it might be an interesting experience for her, so I decided to take her there. In this process, I hope to broaden her horizons. When I rehearse for European dance troupes, I see many people who look different from us and speak different things. She can understand that the world is not centered around her, but is very open. I really hope to take good care of my job, and I also hope to bring her growth and broaden her horizons in my work.
Provided by respondents on the European tour
Xie Xin: Is it like dancing in the rehearsal hall today? I can organize and post videos of her dancing. She is really a child who finds a lot of happiness in dancing. The dancers around me often lead her and dance with her. So when she was lifted up, she really had a feeling of flying, you know? She is not nervous at all and enjoys it very much. She saw that there were many slides and rotations in my works for foreign dance troupes, and she would keep letting the performers of the troupe slide and rotate with her. She would keep repeating and be very happy.
So sometimes I feel that Yahe is a very happy child.
Xie Xin and her daughter
Xie Xin: For example, we will invent a new language. It may seem meaningless and talk nonsense, but in reality, there is energy, intonation, and emotion inside. I want her to know that there is no right language, and many expressions are actually a form of energy delivery. Dancing is the same. Before she learns how to work hard, the world is completely open, allowing you to express your inner feelings through art.
Xie Xin: I also received a lot of love when I was a child, and I feel like I am also a child who grew up in love. My parents gave me the right to choose for myself. Whether it's my professional direction or where I live and experience emotions.
In fact, their separation is also making choices for their lives. I completely understand. However, these choices may have had some impact on me at the time and I need to face them myself. I am in my thirties now, and I feel like I can heal myself. I feel like I am someone who can balance my inner self, but it's only when I realize that there are some unforgettable scenes and feelings of being burned during my growth that I realize I have truly been hurt, and I must face those memories.
Xie Xin's mother and daughter
Xie Xin: I started learning dance at the age of 12 and stayed at school. Since childhood, I have been a sensible child in the eyes of adults. Just as their emotions reached a certain stage, the many scenes and problems that occurred between them required me to bear and grow on my own during those two to three years. I think this is closely related to a certain sensitivity that I will have when I grow up. My brain helps me remember the emotions and feelings at that time.
I have a friend who said I am very strange because many of my works have a very big theme, but when the audience is watching, they seem to be moved by certain images, energy, and feelings. He said that I can transform my life experience very clearly and accurately into physical movements, even some minor details, so that when the audience sees it, they will search for the feelings they have experienced, and then be struck, resonating.
Xie Xin: For example, some of the fragility felt by their parents, the true voices they have never let go of or expressed, can have a space to release. I don't need him to apologize to me. Men may be more fragile inside, but that vulnerability should have a chance to be revealed.
In one's lifetime, one will inevitably encounter many different relationships, each of which is like a refracting surface. When you meet someone, you will also see yourself react in this way, seeing every wonderful moment intersect with every moment you turn and leave.
There is also a section in the work that expresses admiration for mothers and women. I would describe that scene as a pair of 80 year old breasts, the kind of energy that is being pulled upwards by gravity, very powerless, but inside there is also a female resilience, an inner upward force and the constant pulling of time.
During rehearsal, I asked the dancers, do you still remember the youngest appearance of Mom in your memory? What is she like now? It's like seeing the radius of life of a woman you are most familiar with and deeply in love with, from the way she first bloomed to the way her life carried us to this moment. And when I see my daughter growing from the seed of life to today, see her trend towards the future, see my mother's white hair and all her emotional experiences, and then see myself at this moment. The process of a woman's life unfolds before my eyes, and I experience it with love.
