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Staging Tianxia, Figure 4.2

A working metagraph loosely demonstrates the intertextual relations between the staged Dunhuang expressive arts, with the Dunhuang bihua yuewu genre at its core, and the various fields of dances from China that became key components in Chinese dance formed during the founding years of the People’s Republic of China. © Lanlan Kuang, 2024.

Use the checkboxes below the diagram to toggle numbered layers on and off.

1. Chinese Han ethnic group folk dance and staged art

2. Elements from imported, localized, and established expressive arts forms from Asia including but not limited to classical dance and theatres from India, Korea, and Japan

3. Performing arts and staged scenes from other archeological and heritage sites along the Silk Road in the form of mural or cultural relics, such as but not limited to sculptures or decorative patterns on artifacts, such as those from the Kizil Caves in Xinjiang’s Aksu Prefecture and those from the Longmen Caves in Luoyang, Henan Province

4. Contemporarily created and staged Dunhuang bihua yuewu (mural, music, and dance)

5. Performing arts images and staged scenes in the UNESCO Dunhuang Mogao grottoes in the form of either mural contents or cultural relics, such as sculptures or decorative patterns on artifacts

6. Contemporarily created and staged Dunhuang expressive arts including but not limited to Silk Road-themed dramas

7. Traditional Chinese dramas

8. Chinese dance since 1949

9. Traditional dance and staged arts of non-Han ethnic groups

10. Elements from non-Asia regions including but not limited to classical ballet, modern dance and other staged art forms

Lanlan Kuang's Official Page

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About
Multimedia Components for Staging Tianxia: Dunhuang Expressive Arts and China’s New Cosmopolitan Heritage (Indiana University Press, 2024)
Audio Sample for Music and Consciousness 2 (Oxford University Press, 2019)
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