Sole to Soul

Part of the Asia Base collective Taiwan based Takivan Damula Chyouji, Wei-Wei Wu, and Chi-An Chen seamlessly blend operatic tradition with contemporary dance. Sole to Soul examines the ‘cultural transition of Chinese women from tradition to modernity’ and how it shapes our relationships with ourselves and each other. Chen Chi-An’s intricate footwork is made all the more impressive by the knowledge that she is balancing on her toes for the entirety of the 30 minute performance.

With its origins in the Tang dynasty (618-907 CE) the custom of foot binding or ‘lotus feet’ lasted all the way into the early 20th century as a symbol of feminine beauty and social standing. Typically starting between the ages of 5-8 girls feet were tightly bound with cloth to force all but the big toe to fold under the soles and restrict further growth the aim being to have feet ‘no longer than 7.5-10cm (3-4”)’ when they were grown. This practice naturally affected a woman’s mobility and thus limited their role in wider society; a family who make their living working rice fields was far less likely to bind their daughters feet then a more affluent family with servants to perform menial tasks and so the practice became a symbol of class as well as beauty. Not to say that foot binding was limited to the upper classes, a family hoping to raise their daughters marriage prospects would almost certainly utilise foot binding in a bid to gain social mobility.

In Peking Operatic tradition today the affectation of these bound feet is achieved through specialised shoes called ‘qiao’. Qiao are one-size-fits-all shoes made from a wooden platform at an almost vertical angle wrapped in cloth that gets tied to the dancer’s feet, the platform serving to keep them walking on their toes while maintaining the illusion of having the coveted 3” ‘golden lotus’ feet. Sole to Soul utilises these shoes to great effect with the bright red silk and delicate embroidery on the ‘shoe’ portion standing out from the white cloth bindings and really drawing the audiences focus to the 3” ‘foot’ unmistakable.

Utilising intricate footwork made even more impressive by the use of qiao and playing with lighting and silence Chen Chi-An takes the audience on a journey from the societal role of women in the Ming dynasty as depicted in The Jade Bracelet through to the modern day, showcasing the tensions that arise in the struggle for women’s rights and how we relate to femininity today. The show starts with a hand-held touch illuminating and highlighting Takivan Damula Chuyouji's comfortably socked feet flexing and relaxing as he moves across the stage encroaching on Chen’s limited space and setting an extreme contrast to the qiao she wears that become the focal point of the performance. Drawing from The Jade Bracelet Sole to Soul moves from Chi-An ‘mending’ her shoes and taking pride in her ‘lotus feet’ to envying the freedom of movement represented by Chuyouji's unbound feet and the comfort offered by modern day shoes as they appear around her, struggling for her own freedom from the constraints of societal expectations as represented through her cloth bindings & qiao.

Thought provoking and inherently feminist Sole to Soul is a masterclass in fusing traditional techniques with contemporary dance practices filled to the brim with breathtaking choreography, stunning solos from Chi-An and tension filled partner work with Takivan Damula Chuyouji alongside Wu Wei-Wei's dramaturgy this small team of creatives have created a beautiful piece of dance theatre that explores the ‘shifting identity’ of women and femininity in China today. Chi-An’s central performance is an ode to the struggles of women everywhere and I guarantee you'll have never found shoes quite so ominous until the end of this piece.

Attended 12th August
Edinburgh FRINGE: Venue 9
the Space @ Niddry St

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Further Reading:
Foot-Binding - World History Encyclopedia
Why Footbinding Persisted in China for a Millennium
Foot Binding in China: A Tradition That Left Its Mark on History and Humanity
The Lotus Feet of Ancient China: Tradition, Femininity, and Deceptive Beauty
‘Lotus Feet’: the last women with bound feet - Fabio Nodari
In Peking Opera ~ Foot Binding ~~ “qiao(蹻)”
Cantonese Opera 360 - Qiao (Far Dan's high heels) 粵劇360 旦行蹻鞋的介紹
The Yeh Yu Chinese Opera Association of New York
THE PEKING OPERA on JSTOR

Choreographer:
Takivan Damula Chuyouji

Performer:
Chen Chi-An

Dramaturge:
Wu Wei-Wei

Traditional Opera Movement Instructor:
Chu An-Li

Music Design:
Vincent Juo

Costume Design:
Huang Chih-Yang

Soaking and cleaning
Toenail trimming or removal
Breaking and folding
Binding and wrapping
Securing and rebinding