Who Is Mao's Last Dancer

Transformation of Jiang Ji-li Money. Friends. Brains. Ji-li had everything, until the Cultural Revolution. In the beginning, Ji-li loved Mao and also loved his ideas for China because he said if they destroyed all of the four olds, then China would reach its full potential.

Red Scarf Girl is a story of Jiang’s personal experience from the Chinese Cultural Revolution, and how it affected her and her family. Ji-Li Jiang is just a school-girl in the beginning of the book. One day, Jiang is asked to audition for a Liberation Army dance team. She is very excited about this, but then is told by her parents she cannot audition because she would not pass the background check. In the Chinese Cultural Revolution Mao wanted to get rid of the “four olds” of China.

It came to dominate my understanding of the discussion on the social and historical scene and to restrict my ability to participate in that discussion.(444) If we go back and use the reference again of the electronic tool we can see the struggle of being at home and communicating with her family and having an influence of capitalistic viewpoints and living the life of a capitalist, then immediately having to communicate in a different language at school and being surrounded by socialistic views and living the life of a socialist. Her thoughts were constantly flip-flopping and this became very frustrating for her. If we bring all these struggles into one main purpose, Min-Zhan Lu’s mother falls into silence two months before her death and Min-Zhan Lu attempts to “fill up that silence with words that I have since come to by reflecting on my earlier experience as a student in China.(437) The struggles that she faced growing up in China as a student and her past experiences have really helped her overcome life obstacles and develop her as a better reader and writer.

One day when the Liberation Army Dancer visited, Ji-Li told her dad that evening, “I [am] an Outstanding Student, an Excellent Young Pioneer, and even the da-dui-zhang, the student chairman of the whole school” (20). Explaining she was knowledgeable, through examples of her success, meant she knew that her political background would not get in her way of participating in the Cultural Revolution. A few years later, during the Cultural Revolution, Ji- Li was in junior high,

Many people face some kind of adversity in their lives, but only few are recognized to the same extent as Adeline’s experiences in the autobiography ‘Chinese Cinderella’, written by Ms. Adeline Yen Mah. ‘Chinese Cinderella’ suggests that mental strength is what is needed to overcome all forms of adversity in life. This essay will discuss the ways in which that Adeline uses intellectual power to overcome the difficulties in her life, the outcomes she achieved and the messages she portrays. The ways that Adeline uses mental strength to overcome adversity occurs through many different events in her childhood.

Tan expresses the life experiences of Chinese immigrants to the United States and attempts to depict the relationship of a mother and daughter through her significant piece of writing ‘The Joy Club’. Therefore, all these authors somehow portrayed their early struggles and their view point towards life from their literary

As many Chinese-Americans grew up in the 1960’s, one women described it best in her multiple literary works. Bestselling, Chinse-American writer, Amy Tan in her autobiographic essay, “Fish Cheeks”, illustrates her humiliating experience at a Christmas Eve dinner at the age of fourteen. Tan’s purpose is to interpret the idea of how her mother cared for Tan deeply and wanted her to be proud of her Chinese heritage and family. She adopts a nostalgic tone in order to engage relatable thoughts and feelings in her adult readers. Even decades after the essay had been written, readers can still relate to the embarrassing situation that Tan had to face.

Risk taking is an essential aspect of reaching one’s desires and dreams, especially when it comes to crossing boundaries. These risks, physical or metaphorical, will require the individual to step out of their comfort zone and summon the courage to test the extend of their limits, in order to grow and embrace the changes during the process. While these risks are worthy one must accept the inevitability of losing a part of their identity. Examples of risk taking include; stepping into the unknown, searching for freedom, and breaking traditions. All of these decisions include the possibility of successes and failures as explored in both the texts Mao’s last dancer and VillaWood Mums.

Though ballet wasn’t originally intended for women, it was inevitable that the female race would rise above and eventually dominate this powerful yet delicate art. Femininity in ballet developed considerably after the reign of men in this art form during the 15th and 16th centuries, when men in mask and costume portrayed women in productions, and King Louis XIV’s elaborate productions starring himself in the 17th century. The Romantic Era ushered in a real exploration into the roles of gender, and ballets became a woman’s forte, full of love, sexuality, and femininity. During the early days of dance in ancient times of primitive civilizations such as the Aztecs and Maya, gender roles were not important to society.

Dai Sijie is the Chinese author, who opposites side of the government of China during the Cultural Revolution, which is his childhood that he has to go to be re-educated by poor peasants. The setting of this book, Balzac and the Little Chinese Seamstress, is the re-education at that time, and the main characters of this book, Luo and Ma, are re-educated students like Sijie. He uses these literary elements to reveal political or social issues about the social class by the education difference, the area of living, and desire to read. In the Sijie’s book, the characters’ traits are used to explore the education difference because the villagers, who live in the Phoenix of Mountain, learn how they survive by farming and mining rather than reading and writing.

Balzac and the Little Chinese Seamstress, written by Dai Sijie, is set in 1971 during the China’s Cultural Revolution. The book starts with two boys, unnamed narrator and his friend Luo being sent from their hometown Chengdu to a small village in Phoenix Mountain to be “re-educated”. The book continues with them skillfully living through the harsh village life with their talent of storytelling and their western knowledge gained from books. Throughout the novel Balzac and the Little Chinese Seamstress, Dai Sijie illustrates different types of literature and how it transforms the character’s life, action and their personalities in both good and bad way. This book is one unique novel about two boys and one little girl’s transformation by the magical

The novel Balzac and the Little Chinese Seamstress is a novel by Dai Sijie set during the Cultural Revolution in China which lasted from 1966 until 1976. Even though the author’s main focus is not opposing Mao’s rule, acts of oppression and the strict control practiced by the government can often be observed in the book. The author focuses on the process of re-education which includes sending urban youth to rural areas. Sijie depicts the mental and physical development of two boys who are being re-educated on the Phoenix Mountain of the Sky. The novel Balzac and the Little Chinese Seamstress challenges the concept of re-education and the aspects of the Chinese government by contrasting the Communist ideology to the dynamic character of the narrator, by using symbolism to complement the transformation of the major characters and by including the picaresque story of the Little Seamstress narrated by herself.

Chapter three describes China under Japanese rule between 1938-1945 and it contains many subtle descriptions of Chinese oppression. Chang describes the hard work that her mother did in a factory. The experience “The girls were terrified. The combination of nervousness, cold, hunger, and fatigue led to many accidents. Over half of my mother’s fellow pupils suffered injuries.”

The most influential Chinese poets, Du Fu, grew up motherless. Although he didn’t have a complete family, but he used this as the motivation in his poem. He had provided creditable poems by his early teens that had been widely spread through the nation. However, during his later years, he was suffering from illness, and financial problems that he needed to face by himself. Arthur Cooper, interested in Chinese Culture and history, translated Night Thoughts Afloat.

Mambo Girl (1957), a movie musical, follows Kailing, a talented young woman widely admired for her singing and dancing capabilities, as she searches for acceptance after learning the truth about her background. Shall We Dansu? (1996) follows Mr. Sugiyama, a Japanese accountant who goes on a secretive and intimate journey into the world of ballroom dance. Both Mambo Girl and Shall We Dansu? emphasize the close relationship between intimacy and Latin dance by linking Kailing and Mr. Sugiyama’s manners of dancing Latin to the emotional connection each has with other characters.