Mr. Bergeron noted that amid the unity of the dancers, their individuality also comes through.
“In some dancers, I see some differences in the way they express, in the way they use their eyes, in the way they move,” he said.
He highlighted the traditional Mongolian Bowl Dance in which female dancers skillfully balance bowls on their heads in a dance of welcome.
“The three main dancers at the front were not balancing the bowl the same way, were not using their hands exactly the same way,” Mr. Bergeron said.
“They expressed some openness in some cases—in some cases their hands were more closed—and that was interesting to see how they expressed the same dance and the same movement a little bit different.”
He enjoyed the choreography overall, praising the large-scale dances and the coordination among the dancers, and giving another example of a dance that stood out for him, When Shaolin Monks Protected the Emperor, which showcased young Buddhist monks honing their fighting skills.
“I find it really nice, really interesting,” Mr. Bergeron said, noting that “I’m thinking about the one with monks, for example, fighting, which were presenting various aspects of their life.”
Reporting by Crystal Yin and Cindy Chan.
New York-based Shen Yun Performing Arts has three touring companies that perform simultaneously around the world. Shen Yun’s New York Company will play five shows in Montreal Jan. 3-6 and one show in Quebec City Jan. 8 before going on to Kitchener-Waterloo, Hamilton, and Toronto in its tour of eastern Canada.
For more information, visit ShenYunPerformingArts.org
The Epoch Times publishes in 35 countries and in 20 languages. Subscribe to our e-newsletter.
