Between dancing, singing and face-changing performances, Confucius Institute invites students into the world of Chinese culture.
During the opening of the Confucius Institute’s Chinese New Year event, the buzz of excitement was tangible in the University’s famous cloisters.
Falling on a different date each year, 17 February marked the beginning of 2026 in the Lunar calendar and the year of the Fire Horse, which symbolises independence, ambition and unstoppable energy. Typically celebrated over 15 days and centred around themes of prosperity, family and good luck, the Chinese New Year is honoured with vibrant large festivals, family events and the cleansing of homes to remove bad spirits.Â
At the cloisters, the vitality of Chinese New Year was embodied by the opening lion dance. The cultural tradition featured highly skilled dancers performing to ward off evil spirits and misfortune, ushering in wisdom and blessings. The crowd then moved to Bute Hall, where the main events of the night took place. A rich lineup of guests and UofG students delivered 10 breathtaking performances that spanned across theatre, music, opera and dance, showcasing the best of Chinese culture. For some, this was a taste of home; for others, it was an introduction to a long-standing culture, steeped in history, art and beautiful customs.
The night began with guest performer Qioa Dan’s rendition of the Chinese Opera water sleeve dance. The ethereal technique involves the delicate balance of skill and art that Chinese dance is known for. Extended sleeves are used to convey nuanced feelings without ever uttering a word. Its refined choreography set the bar for the rest of the night, which each student continued to raise.
It was then the turn of the University’s own Li Liangwei, who presented traditional songs like ‘As You Wish’ and ‘The Song of Chile Grasslands’. Messages of love, legacy and longing echoed through the gothic architecture of Bute Hall, both songs gentle in melody but poignant in meaning. Despite not being able to understand the language myself, the depth of emotions was unmistakable.
The night featured several performances that combined both old and new. This included singer Honor McCardie’s version of Les Misérables ‘On My Own’, Weizhen Liao’s Baden Jazz Suite guitar solo, and Li Bufan’s song, ‘What A Day’. Xu Zhouxing even played the Pipa, a traditional Chinese string instrument, behind her back. It was these interpretations that brought the culture into a new light, once again reminding us of the strength found in collaboration.
Needless to say, the duets of the night were truly remarkable. The first pairing featured Wei Zhiqin and Liu Yinghan’s Pipa and Violin ensemble of ‘Jasmine Flower’ and ‘Spring Festival Overture’. ‘Jasmine Flower’ is considered one of the most distinguished folk songs in China, with its soft, ethereal melodies reflecting the dignity of Chinese aesthetics and the bloom of the Jasmine flower symbolising purity and virtue. In contrast, ‘Spring Festival Overture’ is a spirited piece full of zest, emblematic of a true Chinese New Year. As the notes of the overture danced around the hall, it was easy to envision yourself standing amidst a bustling crowd as they welcomed in the fresh energy of the coming year.
Later, Wei Zhiqin returned with Yu Lu to perform ‘Harvest Song of the Fishermen’, which was written in the 70s. Inspired by Li Zili’s visit to the fishing areas of Guangdong, the song conveys both the hardship and the glory of a fisherman’s life. Its dynamic melodies reflect the periods of uncertainty and hard labour at sea before pivoting to the upbeat and joyous feelings of returning to land following a bountiful harvest.
Ji Linna’s uplifting folk dance, ‘Blossom upon my robe’, was another visually stunning performance. As with much of Chinese culture, this dance draws on parallels in nature; the elegant movements are symbolic of the graceful cherry blossom coming into bloom, the petals of which also adorn the performer’s robe. This showcase of heritage was truly captivating as it spoke to the undeniable beauty of Chinese culture.
Saving the best for last, Qioa Dan returned to close the night with her spectacular Sichuan Opera face-changing performance. The unique art blends skill and drama to deliver an enthralling presentation of Chinese history. The performance features a mask which mysteriously changes colour, each colour symbolising a human trait, such as white for deceit or red for loyalty.
It is thanks to the Confucius Institute’s talented students and guests who delivered equally magical performances that this mesmerising display of Chinese culture was available for all. Events such as this allow individuals to truly gain a sense of admiration for a place and its History. It leaves them with a newfound understanding and appreciation of a culture once unknown to them – something the world today could do with a little more.
