The Avatar of Mountain Nymph 山鬼

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I made a dance-drama MTV in partnership with a local green screen video production house using a 2,400 year-old ancient lyrics/poem, set in the ancient mountains of China that inspired Mount Hallelujah in Avatar. I thought of giving more historical and contextual understanding to this extremely ancient poem-song.

We generally assume that poems and lyrics to be two separate literary artforms, one being more ancient than the other. For the Chinese, poems and lyrics existed as one, just as music and dance. So when we look at ancient poetry today, it must be remembered that it used to be also sung with music and dance.

Shan Gui (The Mountain Nymph) was originally a dance-drama of the ancient Shamanistic Chu Chinese society. One of the most important part of the video was to capture the Priestess as a dancer in the mystic mountains.

I’ve made the MTV public on Youtube and you can watch it here (and come back for more contextual explanation):

The Mountain Nymph meant a lot of things to different people who interpreted this ancient song-poetry of 2,400 years ago by the famous Chinese poet Qu Yuan (whom we remember fondly for the dragon boat festival). Some saw her as the lovesick mountain spirit, others saw her as the elaborately dressed priestess who was sent into the depth of the mountain to welcome the actual mountain spirit. She was also referred to as the Nymph of Mount Wu (I did an article earlier with Sailor Venus crossing over as Nymph of Mount Wu), who was known for her ephemeral beauty. In a sense, the Priestess was the avatar of the mountain goddess/nymph.

I used Hmong silver hair accessories because it is also a large part of the Chu Chinese culture. In the video, I also added a pair of deer antler-looking head pieces because deer was also a greatly worshipped/admired animal in the very ancient past.

The Song-poem was part of a compilation titled The Ning Songs, and nobody can summarise it better than Princeton University Art Museum:

The Nine Songs is a set of eleven poems from the anthology The Songs of Chu, which is traditionally attributed to Qu Yuan (about 343–278 B.C.).

The poetry, which may represent ancient shamanistic dramas, consists of lyrics meant to be performed.

By the time Wang Chong transcribed The Nine Songs in the sixteenth century, the words and content of the poems could still be read and spoken, but the accompanying sounds and actions had long been forgotten.

Involving spirit journeys and the invocation of divine beings, one passage reads:

The singing begins softly to a slow, solemn measure:
Then, as pipes and zithers join in, the singing grows shriller.
Now the priestesses come, splendid in their gorgeous apparel,
And all the hall is filled with a penetrating fragrance.
The five sounds mingle in a rich harmony;
And the god is merry and takes his pleasure.(trans. David Hawkes)

Princeton University Art Museum

In Chinese traditions, they believed that there were 3 floating mystical mountains where the deities/gods/goddesses live.

You probably heard a lot about Taoism and Buddhism in China in my previous articles, but Shamanism is rarely discussed. This is partly because the Chinese identity is an extremely complex one which is not confined to the Han-Chinese culture, but also many other ethnic and cultural identities. The Chu culture of the central-southern area of China (Hunan, Hubei today) for example, had its very unique cultural identity and practised Shamanism extensively even during a period when the Han Chinese were more focused on Taoism.

Thus, you saw the mention of priestess. Most ancient civilisations saw women as having a special power to connect with the occult, the Chinese in their most ancient religion and beliefs had that too. Thus it was the priestess who would be decked in elaborate dresses, to perform rituals to welcome the various spirits of nature to descend onto her, possess her body for the duration to complete the blessing to mortals.

I picked a top blouse with a crane motif because cranes traditionally was also associated with longevity and immortality. Although that is more Taoist.

The Story of the Mountain Nymph/Spirit has been interpreted by many to have several symbolic meanings beyond the apparent love story of a mountain spirit waiting and longing for her lover, her inner dialogues and her changing emotions with the unpredictability of the weather in the mountain.

I added a musician in the video to kind of also reference another ancient Chinese story between two musicians who were soulmates.

It was also believed by some scholars that it was a metaphorical description of the ritual in which the priestess, magnificently dressed, went into the mountain to receive the mountain god/goddess in a joyous mood, only to lose her way in the wilderness. Filled with frustration, she lamented that she would not be able to bring blessings/longevity to her people, and sought comfort in the longevity herbs in the depth of the mountain. Before long, she became flustered and panicked that she might never get to receive the mountain god/goddess and lamented on her failed mission.

I also picked a outer blouse that is embroidered with flowers and vines, because the lyrics of the poem-song mentioned that the Priestess/Mountain Nymph was clad in them. Of course we can’t do an Eve of ancient China, because Chinese are always properly dressed in our artworks. It is a mark of respect for oneself and for your guests/people you meet.

I’ve translated the poem with help from my friend and online resources, and here’s the lyrics/poem with their translations and general interpretation of each stanza:

First Stanza of the poem takes a macro view of the mountains and zooming into the priestess/mountain nymph who coyly speaks about her beauty.

若有人兮山之阿，被薜荔兮带女萝。

Someone is there, in the mountain valley.

Adorned in vines, clasped by ivy.

既含睇兮又宜笑，子慕予兮善窈窕。

With adoring gaze and a gentle smile, she teased

“Does my beauty enrapture you?”

Then it zooms out again to describe the out-of-this-world beauty, imbued with nature. Really Pocahontas-like.

乘赤豹兮从文狸，辛夷车兮结桂旗。

She rides a red panther with trailing lynxes.

Her chariot of magnolia arrayed with banners of cassia.

被石兰兮带杜衡，折芳馨兮遗所思。

Her cloak made of orchids and her girdle of azalea.

Plucking a bloom to prepare for her groom.

The Priestess/Mountain Nymph finally arrived, but she was alone because she was late for her date. She explained why she was held back—She couldn’t tell night from day and had no idea of time, and the road was difficult to travel so she took some time as well.

余处幽篁兮终不见天，路险难兮独后来。

Deep in the bamboo grove I dwell,

The sky obscured.

The road hither is steep and dangerous,

I arrive alone and late.

So she is all alone now, and she stands atop of the mountain hoping to find her lover (or the priestess hope to find the mountain spirit), and also hope to be spotted as well but there were only the clouds beneath.

表独立兮山之上，云容容兮而在下。

Alone I stand now, atop of the mountain.

While the clouds tumble and gather beneath.

And then it starts to storm, and day is as dark as the night.

杳冥冥兮羌昼晦，东风飘兮神灵雨。

All gloomy and dark is the day,

The east wind brought the god-send rain.

She is hoping for her lover/the Mountain Nymph to stay with her and forget about going back, because she is not going to stay this beautiful forever. So carpe diem!

留灵修兮憺忘归，岁既晏兮孰华予？

Cajoling you to stay a while longer,

Time is running out with my fading beauty.

That failed, so meanwhile she was just passing time, waiting for the mountain nymph/her lover to return

While she is in the wilderness, she was gathering the longevity herb. It was a rather tough condition, definitely we romanticised her environment.

采三秀兮於山间，石磊磊兮葛曼曼。

I hunt for the longevity herb immured in impenetrable wilderness,

The rocks are craggy and the vines tangled. 

怨公子兮怅忘归，君思我兮不得闲。

She then comes up with all kinds of self-consoling excuses for the missing lover/mountain nymph. Maybe he’s busy? Even though she kind of gets frustrated and blames him for not returning.

I blame you for my sorrow. Have you forgotten to return?

Or do you miss me too, but you are entangled elsewhere

The poem then zooms out again, and looks at the Priestess/Mountain Nymph all by herself, beautifully sweet but alone.

山中人兮芳杜若，饮石泉兮廕松柏。

Deep in the mountain

she is

sweet as the perennial flower.

From the rocky spring

She drinks

Shaded by pines and firs.

君思我兮然疑作。

You long for me, yet you hesitate.

And zooms into her first person narration wondering if the lover/mountain nymph will ever turn up. She is still full of anticipation and hope even though the condition is extremely harsh and she is in extreme isolation. Eventually she relented and accepted her loneliness.

雷填填兮雨冥冥，猨啾啾兮又夜鸣。

The gibbons mourn and howl through the night,

The wind whistles and the trees are bare.

风飒飒兮木萧萧，思公子兮徒离忧。

I long so for you, yet I sorrow in vain.

I have always loved the song Shan Gui (Mountain Nymph) which is a modern composition by a Chinese singer-songwriter Winky诗 using the lyrics of Quyuan some 2,400 years ago. It was a hauntingly enchanting song which I had no way of understanding simply by listening due to the ancient language used. But I have always wanted to know more and do something like a Music Video to complement it.

Fast forward a few years, I received a cold call from the founder Spring Forest Studio, a local video production company specialising in 3D virtual set filming and green screen technology video production. And I started my artistic conceptualisation and creation of the entire project from identification of the virtual background of the mountains of Zhangjiajie (which inspired the floating world of Avatar), and incorporating the many possible layers of meanings of this ancient poem into the music video with help from my fellow Hanfugirls (Vocalist Vivien Lai, Dancer Li Ruimin and Guzheng Player Jiang Xinheng) who are incredibly talented and genuinely passionate about the project. All of these are done with zero monetary exchange and budget, which meant that it is truly a work of pure love.

Tang courtesans唐妓—Trendsetters? Influencers? Celebrities? Nah. They’re just Women of Taste.

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Entertainers, prostitutes, muse—these are a few of the terms widely used by academics and general public alike to describe female performers in ancient China. The Chinese term for performing artists evolved from a unisex word (伎jì) referring to male and female performers, into a word dedicated to female entertainers (妓jì) in the Tang dynasty (around 7-9th century) likely due to the wild popularity and prestige of being a female performer (also Courtesan) during that period. Thereafter, due to changing value and political systems, the nature of the profession evolved and these women of spiritual pleasure were objectified into women of carnal pleasures.

It’s interesting to note that in the ancient worlds across the world, there are Courtesans of similar natures. They were usually one of the most educated and artistically accomplished women in society, and they produced and inspired great artistic legacies. We see it in the Mesopotamian culture (West Asia i.e. Iran, Iraq, Syria), the Ancient Greek culture, Indian culture as well as Japanese, Korean and Chinese culture. There’s a wonderful book that I highly recommend everyone to read if you are interested in this topic—“Freewomen, Patriarchal Authority, and the Accusation of Prostitution” by Stephanie Lynn Budin.

Scene extracted from Yanzilou: Forgotten Tales (2021)

For the purpose of this article, I shall touch on the extravagant lifestyles that top courtesans enjoyed, and their role in leading the fashion of their times.

Now in case you think that all these women are sex slaves, you couldn’t be more wrong. They were slaves, yes, but not for sex.

There were courtesans, and there were Courtesans.

While Entertainment Houses weren’t exactly the epitome of female liberty and empowerment, they certainly offered these talented women a break from life as a traditional good wife.

FASHION TREND SETTERS

Gold and Silk

Scene extracted from Yanzilou: Forgotten Tales (2021)

Good wives had to adhere to strict rules on dressing—they have to dress in according to the rule book based on their husbands’ title and social status, courtesans were exempted from any rules. In fact, even though gold and silk were only accessible and permitted to be worn by the elites, Courtesans were decked in them in the comfort their entertainment houses because the realm of the Entertainment House was theirs.

And so, they were at the forefront of fashion styles. This continues to hold true until now, where public performers and celebrities were leaders of sartorial styles because they were bold enough to embody it. In fact, their very existence and popularity kind of depends on it. And you can try to spot the many different styles of Tang Dynasty dresses which you probably would never realised was iconic of the period if you just watched period dramas—most period dramas aren’t very period accurate.

Disclaimer: We actually incorporated Tang dresses worn by women across different periods of the dynasty, spanning 300-400 years so you could see the diversity in sartorial choices. Be it of Hu/western influence, or Han Chinese influence. So it was not specific to one particular time period in Tang.

Purple Brows

How Murex Snail looks like although mostly it could also be normal shell colour based on what I saw instead of purple.

Naturally, make-up was a large part of the fashion trends. Starting from the brow, the Tang period women were known for having extremely bold make-up (think Mulan except more tastefully done). There was mention of a compilation of 10 different brow styles of the period, but unfortunately the actual record was missing. The Courtesans, were the main drivers of this change and they were given a special title— the Ambassador of Brows!

If you actually do catch Yanzilou: Forgotten Tales, do look out for Mamapan and her brows in the early stage and you might just spot a tinge of purple. This was an actual pigment that would’ve been used during ancient China to showcase your wealth and connections.

Purple as we all know, is a colour of royalty in the West, and it was actually frowned upon by Confucius as an inferior colour since he saw it as an ‘impure’ colour unlike red, white, black, yellow and green/blue (yes he’s an CYMK fan). But during the Tang Dynasty, purple became extremely popular that the highest level of honour was to be wearing a purple gown in the imperial court, and to be bestowed one by the emperor. Purple brow pigment was also extremely precious. They came from a Mediterranean Sea snail—the Murex snail and the intense and deep purple produced was called the Tyrian purple. Of course, due to different oxidisation process, it might turn blue as well.

Screencap of the “Tyrian purple brow kit” in the Legend of Zhenhuan. Such a far cry from the actual image above right? And the box they used, was a fake carved lacquerware, it’s made of resin and costs 1/10th the price of a real one. I can just see through its fairness despite the low resolution!
The real carved lacquer made by craftsmen, we have in a couple in Yanzilou and you would get to see it in the film experience too.
We will make sure you see it because carved lacquerware started in Tang!

The last I checked, Tyrian purple in today’s market would’ve cost you 300USD/gram from a private seller (before shipping). I don’t think it is commercially available on a large scale since the production is extremely limited. But just imagine in those days, with shipping, it would’ve cost you a bomb. That’s why Tyrian purple brow make-up kit appeared in the Legend of Zhenhuan—it was a tribute item from “Persia”. Only the emperor’s favourite concubine would have access to it.

Don’t ask us how Yanzilou got hold of it. It’s a secret we’ll never tell. 😉

On a side note, I heard from a weaver that there are some places in Southeast Asia that produces similar style of purple dye with some sea snail or creatures. That’s quite an interesting thing to explore further!

Scene extracted from Yanzilou: Forgotten Tales (2021)

ARTS CRITIQUE

Arbiter of Taste & Sophistry

When it comes to the arts, we have to admit that taste is subjective and there’s technically no absolute judgement of good and bad art unless you are an ancient Chinese, of course. In which case, it is always literati-lead. So you see a rejection of life-like painting style in Chinese arts, because the literati found it too literal and lacking in imagination and spirit.

And guess who has got them wrapped around their fingers?

*takes a bow*

We often assume that the Chinese Imperial Exam System was probably one of the most meritocratic inventions of the ancient Chinese and that it had been meritocratic from the start. But back in the Tang Dynasty, it wasn’t so exactly. For one, only the rich could afford to study since cost of paper was extremely high. For two, Tang Dynasty exam submissions were not anonymous. So if you have some kind of reputation, or connections, the examiners could very well choose you over someone unknown.

That’s the plight of many scholars and the only way out, was to have their poems and writings known by the influential officials in the capital.

And the most effective way, is not to cold call. But to go through the Courtesans who would have access to the most powerful men in the country since all state banquets and important events would require their attendance. They in fact, would be invited to the private events as well, to host the sessions.

Scene extracted from Yanzilou: Forgotten Tales (2021)

So there were the courtesans, and there were the Courtesans, and there were the Duzhis who were the most highly regarded Courtesans (like Head Courtesans). The Duzhi’s talents were so highly regarded that they would host drinking and poetry sessions with these influential and highly educated patrons, and be the judge of the merits of the poetry. If you were of a lower level official, I suppose Courtesans would be good enough as well!

So just imagine, these Duzhi or Courtesans started praising a random scholar’s poem, or compose a song and used the scholar’s poems as lyrics… It would’ve been the most effective advertisement/product placement!

Most literature and history text books wouldn’t point this out, but it is precisely because of the courtesan culture, of them singing poems as lyrics, that in the dynasty after Tang (the Song Dynasty), the Song Lyrics became an important for of literary arts.

So how did we get from there, to prostitutes?

It’s the same old story in every civilisation, every culture. Like witches being hunted for their knowledge and associated power. I mean, there’s definitely nothing more badass and threatening than women with a great deal of knowledge, free from the traditional rules of a ‘good woman’, and knows all the secrets of influential men.

Just in case you are not on Facebook or Instagram, and have missed out on the announcement of the upcoming virtual interactive film experience, here’s a sneak peek of it! I realised that not many people can imagine what the experience would be like, and at this point, I can only say that you can choose who you meet in Yanzilou, the premium Entertainment House of the 8th century Tang China, and we have as many as 6,464 possible paths so different people would definitely experience Yanzilou very differently. Just like how it would’ve been in real life.

I will leave the trailer below, and if you’re interested to get a ticket, Early Birds/Black Friday sale is on until end of the month! It’s 25% off the regular ticket ($24) and 40% off the Late Bloomer tickets ($30).

It’s only running from 16 Dec to 31 Dec online, and you will receive informations in due course about how to experience this wherever you are, at your own time, with a cup of good wine/tea in a dark room with a pair of kicks earphones/speakers!

So join us on this time travelling experience this Christmas!

This Intl Women’s Day weekend, Hanfugirls celebrate Chinese femininity

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In case you’ve yet to catch the latest interview that the Hanfugirls Collective has done with the South Morning China Post (SCMP)

We’re not weak, we’re Wonder Women: real Chinese femininity celebrated by group fighting traditional stereotypes through ancient dress and customs

I’m shamelessly linking it above and below before we go into what we have prepared for you this International Women’s Day!

This International Women’s Day, we’ve prepared a range of experiences and learning opportunities to satisfy both our thirst for knowledge and our penchant for vanity.

We will kickstart the weekend with a full day of activities focusing on the concept of Chinese femininity (not the way you probably assumed for it to be), epitomised by the Chinese courtesans who are really more of the predecessors of Geishas than what conventionally we would think of as prostitutes.

Of course, since I’ve said in the news report that the world has no lack of pretty girls, we need more empowered women, I can’t possibly offer photoshoot opportunities/packages that are not historically-accurate (means the airy-fairy-goddess kind one would see on TV). Think of it as an experiential learning opportunity rather than a simple glamour shoot opportunity. As part of our fundraising efforts for the performance, I’m partnering Dressed Up Dreams Photo Studio for the Tang courtesan dress-up experience. I will focus on the styling, and Sharon my counterpart will focus on the photos.

7 MARCH 2020

To the ancient Chinese, music and dance were referred to by the same word yuè 乐, and entertainers both male and female would be referred to as jì 伎. Over time, jì came to be identified with female entertainers, then courtesans, and eventually, prostitutes.

History has always been told from a man’s perspective, of their conquests, victories and achievements. This International Women’s Day, we are telling the stories and artistic legacies of women from the ancient past starting from music and dance.

Workshop & Lecture: Ancient Chinese performing arts and its evolution in history
$20/person
7 Mar (Sat) | 2pm–3.30pm
Speakers: Elizabeth Chan & Cen Hai Shan*

Music and dance have been an integral part of human life throughout history in every culture. Each culture has its unique aesthetic sensibilities which is usually a culmination of beliefs, lifestyle factors and these in turn shape its art forms. It is a continual evolution brought about with the exchange of ideas and people with the opening up of trade routes and human migration. Come and learn more about the evolution of Chinese classical music and dance through the ages, and how foreign influences have contributed to the arts we now know today. Do dress in comfortable attire as you will have the chance to learn and experiment with a few dance movements in this interactive session. 

Origins of the Geisha: Women and Art in Tang China

Part I: Encountering Tang courtesans in early Yanzilou
$40/person (limited to 10 guests who will stay on for the lecture)
7 Mar (Sat) | 7pm–9pm

Poets and scholars feverishly penned poems to catch her eye, while noblemen gifted her with mansions in exchange for an evening of entertainment. The Tang courtesan accepts no ordinary patrons – only those who value her art above the banal things in life. Tonight, the courtesans of Yanzilou will host ten guests fortunate enough to catch their fancy – you may indulge in conversation with them about the fascinating culture of Tang, and take in the sights and sounds of a regular evening in the courtesan house.

Part II: Origins of the Geisha: Women and Art in Tang China (Lecture)
$20/person
Speaker: Mamapan (Hanfugirl)
7 Mar (Sat) | 8pm–9pm

Modern literature, pop culture and even academics often dismiss the courtesans of ancient China as just prostitutes, without exploring their artistic achievements and legacies in a historical narrative dominated by male scholars, literatis, and historians. On the other hand, the Japanese Geishas who were very much influenced by the ancient Chinese courtesans traditions, have been hailed as keepers of Japanese artistic traditions, admired and respected by foreigners and Japanese alike. This lecture will unveil the forgotten origins of geishas in the form of Tang dynasty courtesans, who held contradictory identities of both superstar celebrities and slaves, occupying the liminal space between a muse and a slave, and who were indispensable in the proliferation and popularisation of Tang dynasty literature and arts. You will also see how female entertainers, then as now, were also subjected to objectification and exploitation of their talent, and how history is always repeating itself.

8 MARCH 2020

So this is the moment many of you have been waiting for! Photoshoots! I don’t typically do photoshoots for the public because of my schedule and need for me-time. But I was relieved to find a partner in Sharon who would be doing the photos while I just focus on the styling (yay to no more sleepless nights of photo-editing!). Whenever there’s a query/request for photoshoots, I would also typically refer people to Sharon since she does it professionally for a living.

For this collaboration, you will be transformed into a Tang courtesan and have a taste of what life was like through her eyes. It would also be a once-a-lifetime chance for you to get any shoot of yourself done in our beautifully decorated to Tang style space!

As playing the role of a famous courtesan is no easy feat, come with an open mind, an appreciation for alternative beauty ideals, and an inquisitive spirit in order to get the most out of the session!

Packages start from $588 for an hour’s shoot between 1pm–6pm, and you can top up another $100 for a pure silk dress which was recreated to be as authentic as possible based on Tang artefacts and paintings.

If you were to engage me beyond this opportunity, it would cost you a lot more, so do grab this chance!

More details available HERE.

*ABOUT THE SPEAKERS

Elizabeth Chan

Elizabeth Chan, or 美锜, is a Chinese dance practitioner-researcher. She graduated from the University of Roehampton (London) with an MA in Dance Studies in 2016 and prior to that, from the Hong Kong Academy for Performing Arts with a BFA in Dance (majoring in Chinese dance) in 2013. She worked in Hong Kong for two years, with Hong Kong Disneyland and as a freelance dance artist. Most recently she is based in Singapore, studying her PhD at the National University of Singapore, as well as working with local artists and fellow Chinese dance practitioners on varied contemporary, intercultural and traditional topics. Her own research is focused on the multiple past and present positions of Chinese dance in the world.

Cen Haishan

Haishan is a Guzheng teacher and performer. She graduated from the China Conservatory of Music with a B.A. in Music Performance. She has played for TV broadcast both in China and Singapore. Haishan has performed with key arts groups both as a soloist and ensemble player with the  Singapore Chinese Orchestra, City Chinese Orchestra, DingYi Music Company, Teng Company. She was featured in MediaCorp Channel 5 documentary, The Big Unknown I & II in 2005-2006. Her other identities include being a certified Yoga and Taijigong instructor.

Hanfugirls have a Home! (For Now!)

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I apologise profusely for MIA the past few months. Truth is, unbeknownst to most, Hanfugirls has finally gotten a physical space (albeit temporarily for now) so we could conduct more activities, workshops, lectures and we are also gearing up for an immersive performance later this year!

January is a non-event month because everyone’s still getting over Christmas and New Year and trying to stay afloat for Chinese New Year. So our public lectures and programmes from fashion to food, entertainment to arts and literature in ancient China (especially the Tang dynasty) would kick off mid Feb!

Thanks to the generous support of the National Arts Council, we managed to secure a physical space at the Stamford Arts Centre for a temporary residency programme! So let’s do it the typical Hanfugirl style, work hard, play hard and feast on~!

The space is totally immersive, and decorated in the style of the Tang dynasty China where cultures from Persia, China and India mixed to create this extremely vibrant and dynamic golden era in world cultural history (imho anyway). We’ve packed lots of easter eggs related to history and artefacts in this space too!

A quick overview of the lectures and workshop lined up for February alone:

Talk: Reimagining China through Fashion

Workshop & Lecture: Reliving the ancient Silk Road through Chinese textiles

Talk: Medieval China’s Tang dynasty courtesans, performing arts and women

Talk: How pop culture (mis)represents traditional Chinese garments and artforms

Talk: Food and Feasting in medieval China (Tang dynasty)

And it’s just from 15 to 28 Feb!

When I started planning and researching on this huge research-performance-education project based on medieval Chinese artforms, folk art, cultural practices and fashion, I wasn’t aware that the Stamford Arts Centre with its Japanese-inspired aesthetics would be such a perfect place for what I am about to do. You see, the Japanese adored Tang dynasty and absorbed all its aesthetics and cultural practices with such fervour back in the 8th-10th century that you can still find very obvious traits of Tang Chinese in their aesthetics today.

Central Asian incense ball with many Indian and Central Asian influenced vessels against a red-and-white Tang Chinese architectural archetype.

Imagine you are invited into an entertainment house, hosted by the courtesans of ancient China (said to be Geisha and Gisaeng’s predecessors from a thousand years ago). The artforms, music, dance, feasts and drinks and entertainment (masked or shadow puppetry) they indulge in with their visitors and patrons is a treasure trove of fascinating encounters.

Of course, you can’t experience them from the public lectures and workshops just yet, because we’re gearing up for a fully immersive Night of Feasts and ancient Artforms second half of the year where only a handful of “patrons” would get to spend 3 different evenings with our courtesans–each night with a different theme and narrative.

I shall stop before giving too much away. The fun part is always the wait isn’t it? 🙂

And here’s a little sneak peek of the space and two of our characters in the upcoming show!