At a suburban arts centre in Urumqi, the capital of Xinjiang Uyghur Autonomous Region, a distinctive mix of Irish and Uyghur tunes fills the air. Here, a troupe of young dancers, ranging from the ages of eight to 16, passionately engage in Irish dance, performing for audiences across China. None of these dancers have ever visited Ireland, yet their knowledge of the nation’s music and dance rivals that of the locals.
Yusupjan Kiyum, a former child star renowned across the nation for his singing and dancing skills, directs the RG Tap Dance Company. It’s the only establishment of its kind in Xinjiang that teaches Irish dancing. Despite his training rooted in Uyghur traditional dance, Irish dance captivated him, following a Michael Flatley performance on the Riverdance he watched at 20.
The rhythm and style of Irish dance enticed Yusupjan so intensely that he taught himself. His sole guidance was a tutorial video from a lead Riverdance performer. “The Irish dance rhythm aligns closely with our local music, making it not only intriguing but also quite effortless for us to choreograph our own steps,” he asserts.
The majority of dancers, including Yusupjan himself, belong to the Uyghur ethnic group, which predominantly practices Islam. However, diverse ethnicities like Han Chinese and Kazakhs can be found amongst his students. The classes predominantly occur in the Uyghur language and while they sometimes dance to local Xinjiang music, most of their work is to Irish jigs and reels.
Yusupjan feels a profound connection with this form of expression, jokingly referring to himself as an ‘Irishman in Xinjiang’.
In both of these locations, the primary attribute of the inhabitants is their love for dancing and their penchant for an upbeat, slightly eccentric demeanour. My experiences at Irish festivals have shown me this, where everyone participates in the joyous dancing, irrespective of their ability to do so. The vibe of happiness and merriment is universal in such settings.
Ever since Riverdance’s debut performance in Beijing’s Tiananmen Square, in the Great Hall of the People in 2003, it has been a huge hit in China. It was the first western show to grace this stage. The show has continually gone back to China and this year performed in seven Chinese cities to celebrate its 25th anniversary.
While Yusupjan may not have visited Ireland, he crossed paths with Flatley, thanks to his victory in a Beijing contest two decades ago and more recently encountered some of the Riverdance performers in Shenzhen. His troupe has competed in various parts of China and has usually emerged victorious. However, he does express concerns about the judges’ standards.
According to him, the individuals who organise current Irish dance competitions typically lack a solid understanding of its guidelines. They often incorporate elements of other dance styles, for instance, Flamenco. If the judges find a performance appealing, they approve it, without considering the participants’ skill levels or age. It doesn’t matter whether the competitors are professional or amateur dancers, young or old, as long as they take part in the competition, the organisers deem it appropriate.
Despite Irish dance competitions being held in cities like Beijing, Shanghai, and Wenzhou, Xinjiang has yet to play host to such an event. Yusupjan, however, is keen to organise one in Xinjiang.
When the school holidays roll around, Yusupjan takes his troupe on tour, with a stopover in Shanghai planned for later in the month. He joins his wife in designing the costumes, music, and lighting, but finding a suitable floor at novel venues always presents a challenge.
According to him, the unique requirements of Irish dance aren’t often taken into account. Unlike other dance types that can be performed on any surface, Irish dance necessitates a wooden floor. The reason being the audible sound it creates during a performance.
The educational institution relies solely on the financial contributions from the fees of the aspiring dancers for its operations. However, every time they present their performances outside in Xinjiang, audiences ensure the venues reach full capacity. Yusupjan also nurtures two additional dreams – to showcase his talent in Ireland and to create a dance spectacle akin to the famous Riverdance.
“My ultimate desire is to integrate some contemporary tunes and blend Irish folk music with our own indigenous melody,” he articulated.