From 12 to 16 August 2024, the Edinburgh Arts Fringe, one of the world’s most prestigious arts festivals, presented HUXI, an extraordinary dance piece from China that captivated both audiences and critics alike. Directed by renowned artist Zhibo Zhao and choreographed by Jiaolong Ma, the performance 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 versatility of the performance was demonstrated in two different settings: the intimate paradise at Augustines Theatre and the vibrant streets of Edinburgh.

In Paradise at the Augustines Theatre, HUXI unfolds as a meditative journey. Xi Chen’s portrayal of Qi was praised by critics for its precision and fluidity, with one dance critic noting, “Xi’s movements seemed to embody the essence of breath, creating a visual narrative that was as powerful as it was subtle.” The minimalist set and dim lighting further emphasized each of her gestures, allowing the audience to connect deeply with the performance on both an emotional and spiritual level.

In the streets of Edinburgh, HUXI truly transformed into a living, breathing work of art. Amid the energy and chaos of the festival, Xi Chen led her fellow dancers in a performance that maintained its intimacy and philosophical depth despite the dynamic setting. Her calm, graceful movements were a striking contrast to the bustling streets of the festival, creating a powerful visual and emotional juxtaposition. Dressed in a flowing white robe, Xi seemed to stop time around her, inviting passersby to engage in the dance in their own way. Audience members were reportedly “mesmerized” by her ability to maintain focus and elegance in such a demanding environment, further cementing her reputation as a masterful performer.

Traditionally known for her use of bright colors and layered imagery, 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 experience the purity of her movements, unencumbered by external embellishments. Through her breath and movements, Xi Chen conveyed a deep sense of artistic expression that resonated with the audience. One spectator commented, “Chen’s performance was a revelation – an intimate dialogue between dancer and spectator, stripped down to everything but the essentials.”

Zhibo Zhao and Jiaolong Ma, both with extensive experience in dance education and teaching at the Beijing Dance Academy, brought a depth to the performance that went beyond pure aesthetics. Their experience in teaching and choreographing for diverse audiences enabled them to create a piece that was not only artistically innovative but also accessible to a wider audience. This pedagogical influence enabled the complex philosophical themes of HUXI-like for example Qi and the balance of yin and yang – with clarity and emotional resonance. Xi Chen, the principal dancer, benefited from this sensitive guidance, which helped her embody these complex ideas in a way that was both deeply expressive and universally understandable. The synergy between Chen’s artistry and the directors’ pedagogical expertise resulted in a performance that was layered yet accessible, exploring the philosophical themes of HUXI accessible to a diverse audience.

HUXI created a unique space within the Edinburgh Arts Fringe that offered moments of calm and introspection amidst the usual noise and excitement of the festival. The street performances in particular went beyond mere choreography; they became a kind of silent dialogue with the city and its people. By removing the physical barriers of the theatre, the directors enabled HUXI to breathe more freely and make the performance accessible to everyone, regardless of whether they had originally planned to attend.

The rhythm of breathing, which was the focus of the performance, became a shared experience as even the ambient sounds of the city seemed to be synchronized with the dancers’ movements. This interplay between the performers and the environment added complexity to the piece and underlined Xi Chen’s role as the leading artist in the performance. As this critic aptly summarized, “Xi Chen’s performance in HUXI was not just a dance – it was an invitation to pause, reflect and breathe and offered a deep encounter with art in its purest form.”

Whether in the silence of paradise in Augustines or amidst the energy of the festival streets, HUXI invited the audience to engage deeply with the performance, which will undoubtedly continue to influence discussions about the evolving role of Chinese dance in the global contemporary performance landscape.