"Artistic creations cannot be simply based on imagination. Only when I arrived there and immersed myself completely in the tranquil nature, did I start to truly feel its mysterious and sacred aura, and feel the vastness of nature, the smallness of human beings and the value of life," Luo says.
This is not the first time he has worked with Tong on stage productions. They cooperated in the creation of Soaring Wings: Journey of the Crested Ibis, also an eco-themed dance drama, but according to Tong, the two works have marked differences.
"For the previous production, we were reducing the content. We wanted to highlight the harm done by human activities and modern industrialization to the fragile species of crested ibis," Tong says. "But for Follow the Mother River, we are constantly enriching the content. We have so much that we want to present, including the local culture, folk customs, the circle of life and the development of history."
Another difference, according to Luo, is that Soaring Wings was a story largely taking place in ancient times, while the story of Follow the Mother River happens in the modern era. He also expresses a wish to collaborate with Tong again in producing a futuristic eco-themed stage work, perhaps pertaining to ecology and artificial intelligence.
The choreography of Follow the Mother River incorporates a lot of folk dance styles and local cultural elements, including a bonfire dance of the Tibetan ethnic group. When the protagonist is invited by Tashi into the tribe, the locals dance around a bonfire to show their warm welcome.
Another notable dance scene is one adapted from, and which elaborates upon, a painting on an ancient ceramic bowl. The Neolithic artifact unearthed in Qinghai province has upon it a drawing of people joining hands in a dance, providing a glimpse into the lifestyle of its ancient owners.
"The image implies that human beings from an early era sought a harmonious relationship with one another, and this is a profound message from the production," playwright and critic Ouyang Yibing said on a forum hosted during the performances.
"Another significant message comes from the snow leopard scenes, where we see it running through its natural environment without restraint, exhibiting vivaciousness, freedom and an ultimate beauty. Everyone likes the character. It shows that all creatures, humans and animals alike, are living in one world, and all have the right to live."
During the forum, experts stated the significance and relevance of producing works centered on ecological preservation, and commended the production on its depiction of Qinghai's cultural elements.
Feng Shuangbai, president of the China Dancers Association, comments that the production breaks through the established methods of producing stage works with realistic themes. Despite its ecological theme, which is relevant for modern society, the production manages to present the animals and the historical culture.
"One aspect that moved me is that the dance drama also presents the relationship among different ethnic groups, including the Tibetan, Tujia and Salar. So, apart from showing the relationship between humans and nature, it also presents cultural pluralism," Feng says.
