Superimposed Mechanism

China has gotten away from the world,while the world is never break apart China.As the modernism is coming,various arts in China begin thriving,which is blaring in the cracks between East and West,tradition and modernism.Modern scholars in China deepen into areas of Chinese literature arts to exploit the direction of national rejuvenation.How can we do? It must be done to through the ocean of our culture with a huge visage,and claim a bright future of China with confidence to our nationality.Wu Xiao-bang,as a member of the modern tide and social system,is a pioneer to modern dancing arts in China.From 1929 to 1936,he studied technics and theories of modern dance and ballet in Japan,following Japanese dancers TAKADA Seiko,EGUTI Takaya and MIYA Misako,which promoted the development of New Dance Movement in the New Culture Movement of China,and rejuvenated the arts of modern dancing arts in the war.In general,our attentions are focusing on the achievements,of Wu Xiao-bang and New Dance,which are already getting lost of the time.In other words,we are always focusing on their achievements made in their career peak.The period that the revolution is on its blooming is the time that is easy to be accepted,because the revolution is always emerge in the front of the thinking and perception of survival conditions.However,the success of the revolution should not be concealed by its internal surging forces.Therefore,this paper manages to go upstream from a more diverse and complex perspective to study the causes and driving forces of Wu Xiao-bang and his New Dance Movement obstruction and motivation,and to explore deep-seated problems hidden under the operating mechanisms and to restore the original total context where it occurs.Based on this approach,this paper focuses on collecting and integrating information about the early activities of Wu Xiao-bang’s New Dance Movement.The method of Empirical History,Comparative History,Social History and Cultural History were taken as the main research methods,and time and region were used as two clues to respectively analyze Wu Xiao-bang’s New Dance Movement from the periods of 1)the New Art in the world in the early 20 th century;2)the New Dance in East Asia in the early 20 th century;3)the New Culture in China in the early 20 th century;4)the war in China in the 1930 s and 1940s;and 5)the peace in China after 1950 s and then got five evolutionary mechanisms: The Margin of Paradox,The Anxiety of Tolerance,The Network of Nutrition,The Impulse of the Body and The Consturaction of Ration.The idea is held that the overlap of mechanism facilitated the evolution of Wu Xiao-bang’s New Dance Movement.By combing the concept of modernity,the first chapter of this paper analyzes the logical paradox in modernity,that is,the paradox between Cultural Modernity and Non-cultural Modernity.Taking German Expressionist Dance,or say New Dance as an example,this paper also analyzes several sets of paradoxes implied in modern dance at the beginning of the century e.g.1)the paradox of Order and Impulse of liberation;2)the paradox of Inclusiveness and Exclusivity of Culture;3)the paradox of Expression and Expression system.It is the margin of paradox that makes modern dance that originated in the western world spread and be accepted in the eastern countries.Similarly,due to the margin of paradox,coupled with the exploration of New Dance by Japan and South Korea and Wu Xiao-bang’s New Dance Movement,the modern gene of New Dance has been successfully developed in Chinese art gardens,so as to make a contextualization was processed to adapted to the national conditions of the country.Through putting forward the problem of East Asian Modernity and simply combing its theoretical issues,this paper insists on a point of view in the second chapter,that is,Non-cultural Modernity,which has been dominant for a long time,can no longer cover up the whole face of modernity.Moreover,more attention should be paid to the discussion of Cultural Modernity.From the perspective of Modernity of Culture,this chapter manages the occurrence and development of New Dance Movement in Japan.On the basis of the above research,this chapter discusses the two acceptable responses to western modernity contained in the New Dance Movement in the East Asian world: 1)the Response of Obedience;2)the Response of Rebellion.It is this tension of obedience and rebellion that constitutes the integrity and legitimacy of the modernity of the East Asian New Dance itself.It is this kind of crisis consciousness and anxiety experience that gives birth to the unique temperament of New Dance Movement in Japan,China and other places.After managing the context and connotation of the May 4th New Culture Movement,the third chapter describes and analyzes Wu Xiao-bang’s early dance practice in detail by studying the first-hand materials preserved in the newspapers and periodicals of the Republic of China.On the basis of this research,this chapter insists that the May 4th New Culture Movement is the turning point of Chinese society,and all levels of society were crashed on the occasion,which provides complex and comprehensive nutrients for Wu Xiao-bang’s New Dance Movement.In this analysis,1)Nationalism;2)Popular Culture;3)Advanced Arts are the focus of this chapter,which are intertwined with each other,forming the nutritional network of Wu Xiao-bang’s New Dance Movement in that time.In the fourth chapter,the author first manages the clues of Wu Xiao-bang’s dance activities during the War of Resistance against Japan,including Pioneer Drama Troupe,Sino-French Drama School,Xin’an Tour Group and Chongqing New Dance and Performance Club and so on.On the basis of this study,this chapter discusses the promotion effect of Wu Xiao-bang’s New Dance Movement in this period from two aspects,e.g.body narrative and national imagination.During this period,Wu Xiao-bang’s New Dance Movement entered a preliminary stage of maturity;its maturity lies in the "body".If body narrative were taken,then "body" will become the subject;and if national imagination were taken,then "body" will become a viewing object condensing subject’s visions.After the physical impulses of the War of Resistance against Japan and the War of Liberation faded,Wu Xiao-bang’s "New Dance Movement" moved towards rational construction in peaceful time.In the fifth chapter,the author first sorts out the development of Wu Xiao-bang’s "New Dance" in a period after the founding of the people’s Republic of China,including "Dance Class","Dance Research Committee","Tianma","Dance Research" and so on.The author believes that at this stage,the greatest contribution of Wu Xiao-bang’s New Dance Movement lies in the rational construction of his complete discipline.From the perspective of cultural exploration,Wu Xiao-bang’s New Dance Movement consciously returned to Chinese cultural identity in this period.From the point of view of system construction,New Dance Movement justified Chinese dance as an independent art,and a complete subject system was gradually established.Through analyzing the evolution process of Wu Xiao-bang’s New Dance Movement and interpreting its mechanism,this paper puts forward an expect of surmounting history and culture,making a hope and reflection of surmounting history and culture.This paper holds that all "new" cannot be eternal,because as time goes by,"new" will not be new forever.Wu Xiao-bang’s New Dance Movement has aroused our thinking on what kind of nourishment we can provide.This paper refers to this expectation with surmounting,hoping that after a detailed explanation of Wu Xiao-bang’s New Dance Movement,the theory can be used as a reference to put forward the development strategy of how Chinese dance art to surmount the limits of history and culture.