Most Chinese people who I have talked to about magic in China today mention two things: the classic Chinese art of "Bian Lian" (Face Changing) and Taiwanese magician Liu Qian who was seen on television in virtually every home in China during his appearances on the variety show fof the CCTV 2009 Spring Festival Gala. These two images, burning brightly in the collective consciousness, reflect two aspects of the Chinese mindset concerning magic--and almost all other tings as well: (1) a pride in the traditions and long history of China and (2) a strong drive to develop and be internationally competitive.
Some of the ancient traditions and classic Chinese performances can still be seen today in the streets and public parks. Acrobatics and juggling are the most common, but novelty acts such as sword swallowing and fire breathing can still be seen as well. In one of these outdoor shows— which included all kinds of acts, including a midget singer and a magic act--I once saw a man swallow and regurgitate large steel balls, the largest having about a three-inch diameter. It’s common to see street vendors pitching the Chinese rings, and I once bought a set of four at the Great Wall from an older woman who was wiling to teach me her favorite moves.
The famous Face Changing feat is a surviving relic of ancient culture. It can be seen in the movie King of Masks, which tells the story of the last years of a performer of the Bian Lian. In this classic feat the performer’s face seems painted with various colors—just as in the regular Chinese operas—but with waves of the hand and slight turns of the head, the face or mask changes many times at an impossible rate. Even today the secret of Bian Lian is closely guarded and passed along from mentor to apprentice. The story is told of one famous Chinese movie star who asked a master to teach him the feat but was refused three times.
Just as the word “magic” in English carries several meanings, so does the Chinese word for magic “Mo Shu.” People closely relate the concept of magic to “Za Ji,” which means feats of great skill like wire walking or juggling as well as to “Wu Shu” which signifies powers attributed to witch doctors or Kung Fu masters. Many ancient superstitions and folk practices continue today, for example, home builders who consult experts in “Feng Shui” to find the correct location and position for a house. Fortune tellers commonly set up shop along modern city streets, and Chinese people are probably more likely than westerners to believe in psychic powers or get protection from evil spirits.
Performance magic seems to date back at least 2,000 years to the Han dynasty with reports of Chinese and Roman magicians doing feats in the street and at national ceremonies. Those traditional shows included sword swallowing and something translated as the “Spread of Fish and Dragons.” In the Tang Dynasty, one popular feat was the “Into-the-Pot Dance,” in which performers would dig into a large clay jar from one side and climb out on the other. In the more recent Qing Dynasty, China began to absorb European and Japanese styles of magic as delegations came to perform. Cultural exchange in magic continues today as China both imitates foreign forms of magic and at the same time preserves traditional customs.
During my ten years serving as a foreign expert in China, I have found the people to have an even greater interest in magic than many Americans. There seem to be some cultural differences as Chinese audiences are more prone to grab props and interrogate the performer--less likely to suspend disbelief and just enjoy the show—than American audiences. The traditional convention that the magician must prove his impossible claims is still very much alive—as is the high excitement and great enjoyment of magical entertainment.
While the Chinese man in the street may not be aware that Beijing hosted magicians from around the world in the 2009 FISM convention and competition, almost everyone remembers David Copperfield for walking through the Great Wall of China and appearing in Beijing. And the performance by Liu Qian on CCTV during the 2009 Spring festival seems to have started a sensation or “magic fire” of curiosity and interest. There are a growing number of magic TV shows, magic clubs, and classes. One of my students wrote, “In a flash, it seems everyone can perform one or two magics.” A middle school teacher told me how one day she had trouble getting her students to pay attention because they were all trying to practice a trick with rubber bands taught by Li Qian on CCTV. A survey by Beijing’s China Youth Daily found that 90% of those polled want to learn magic tricks.
Perhaps the party line on magic is well expressed by one famous magician in China, Qin Mingxiao, who says the development of magic in China is closely tied to the progress of China’s economy, culture, and technology. Some people have expressed a concern that the level of magic in China is not high, that most people in China just learn a little magic for fun or learn one act well for a competition, and so they only know a few tricks or only know their own act. Most practitioners do not study magic deeply or understand it comprehensively. And so, as in other fields, there is from within a challenge for China to achieve "long-term development" in magic.
Some of the ancient traditions and classic Chinese performances can still be seen today in the streets and public parks. Acrobatics and juggling are the most common, but novelty acts such as sword swallowing and fire breathing can still be seen as well. In one of these outdoor shows— which included all kinds of acts, including a midget singer and a magic act--I once saw a man swallow and regurgitate large steel balls, the largest having about a three-inch diameter. It’s common to see street vendors pitching the Chinese rings, and I once bought a set of four at the Great Wall from an older woman who was wiling to teach me her favorite moves.
The famous Face Changing feat is a surviving relic of ancient culture. It can be seen in the movie King of Masks, which tells the story of the last years of a performer of the Bian Lian. In this classic feat the performer’s face seems painted with various colors—just as in the regular Chinese operas—but with waves of the hand and slight turns of the head, the face or mask changes many times at an impossible rate. Even today the secret of Bian Lian is closely guarded and passed along from mentor to apprentice. The story is told of one famous Chinese movie star who asked a master to teach him the feat but was refused three times.
Just as the word “magic” in English carries several meanings, so does the Chinese word for magic “Mo Shu.” People closely relate the concept of magic to “Za Ji,” which means feats of great skill like wire walking or juggling as well as to “Wu Shu” which signifies powers attributed to witch doctors or Kung Fu masters. Many ancient superstitions and folk practices continue today, for example, home builders who consult experts in “Feng Shui” to find the correct location and position for a house. Fortune tellers commonly set up shop along modern city streets, and Chinese people are probably more likely than westerners to believe in psychic powers or get protection from evil spirits.
Performance magic seems to date back at least 2,000 years to the Han dynasty with reports of Chinese and Roman magicians doing feats in the street and at national ceremonies. Those traditional shows included sword swallowing and something translated as the “Spread of Fish and Dragons.” In the Tang Dynasty, one popular feat was the “Into-the-Pot Dance,” in which performers would dig into a large clay jar from one side and climb out on the other. In the more recent Qing Dynasty, China began to absorb European and Japanese styles of magic as delegations came to perform. Cultural exchange in magic continues today as China both imitates foreign forms of magic and at the same time preserves traditional customs.
During my ten years serving as a foreign expert in China, I have found the people to have an even greater interest in magic than many Americans. There seem to be some cultural differences as Chinese audiences are more prone to grab props and interrogate the performer--less likely to suspend disbelief and just enjoy the show—than American audiences. The traditional convention that the magician must prove his impossible claims is still very much alive—as is the high excitement and great enjoyment of magical entertainment.
While the Chinese man in the street may not be aware that Beijing hosted magicians from around the world in the 2009 FISM convention and competition, almost everyone remembers David Copperfield for walking through the Great Wall of China and appearing in Beijing. And the performance by Liu Qian on CCTV during the 2009 Spring festival seems to have started a sensation or “magic fire” of curiosity and interest. There are a growing number of magic TV shows, magic clubs, and classes. One of my students wrote, “In a flash, it seems everyone can perform one or two magics.” A middle school teacher told me how one day she had trouble getting her students to pay attention because they were all trying to practice a trick with rubber bands taught by Li Qian on CCTV. A survey by Beijing’s China Youth Daily found that 90% of those polled want to learn magic tricks.
Perhaps the party line on magic is well expressed by one famous magician in China, Qin Mingxiao, who says the development of magic in China is closely tied to the progress of China’s economy, culture, and technology. Some people have expressed a concern that the level of magic in China is not high, that most people in China just learn a little magic for fun or learn one act well for a competition, and so they only know a few tricks or only know their own act. Most practitioners do not study magic deeply or understand it comprehensively. And so, as in other fields, there is from within a challenge for China to achieve "long-term development" in magic.