Performing Communities 4: Short Essays on Community, Diversity, Inclusion, and the Performing Arts

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Beijing, 1790 Beijing in 1790 was at the top of its game. The city stood at the center of one of the largest multi-ethnic empires ever gathered together. Its Qing dynasty rulers collected wealth from and exerted control over vast territories including much of today’s Chinese mainland, plus Taiwan, Outer Manchuria, Mongolia and Central Asia. The empire’s population was as diverse as its geographic reach was expansive. A Manchu elite successfully incorporated Han Chinese, Mongols and other groups into a comprehensive governing system. The current Qianlong Emperor spoke Manchu, Chinese, Mongolian, Tibetan, Chagati (modern Uyghur) and Tangut. His court’s diplomatic relations extended beyond Asia to include European powers. As capital of the highly centralized Qing dynasty and Ming dynasty before, Beijing had enjoyed imperial status for more than three-and-a-half centuries. Vast wealth and power came together around its more than one million residents. Representatives from across the empire converged on the capital in 1790 to

celebrate the Qianlong Emperor’s eightieth birthday. These festivities would mark what proved to be a highpoint in the dynasty’s eventual more than two-and-a-half century rule. The Emperor would remain officially in power for another five years before turning the throne over to his son, who ruled in name only until his father died in 1799. The spiral of imperial decline that lay ahead was unknown to those reveling in their good fortune at being alive at the center of one of history’s largest and wealthiest empires during a period of unusual stability and success. Pilgrims came from across the empire to pay tribute, bringing local and regional ensembles of entertainers with them to delight the Emperor. Troupes of musicians, singers, mimes, dancers, acrobats and musicians had wandered across China since before time has been measured. Localized traditions took shape combining with local folk traditions. Han opera already had developed a number of regional styles, as had distinct regional puppet and acrobatic traditions.


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