(X-posted to IG) // At Lijiang Studio for January, invited by HeJixing and Mucongpei- to make a book documenting Qilin Dance process/design, via #drawings- an accompaniment to HJX’s film(s). Here are images of first draft, unedited. Questions in mind as we move forward:
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Who “invented” Qilin Dance, why and when? How did the Naxi alter a Han performance to fit their needs?
What does Qilin look like in different regions? How can similar props be built in areas without bamboo? What if props are made of twigs, or plastic? Should we prioritize revival in places with bamboo? (What are Mongolian/ Nepalese/Tibetan Tsam/Cham masks made of?)
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Can/does Qilin exist in America, and if so, where/how? “Can Qilin Dance be performed for Christmas, or in a Christian context? What if Santa replace the God of Longevity? What if Baby Jesus replaces Baby Yak?” (<- HJX’s questions) What would Christ think about that?
What is the urban/suburban equivalent of “harvest,” if not capital gain? What does it mean to summon Qilin? What are the consequences of assuming the Qilin-master role? Can the role be performed by a woman? Should we burn props and costumes after performance? Who owns the rights to this ritual, and/or documentation? What does that entail, depending on the nation?
How do we form kinder contracts while avoiding/ mitigating the risk of exploitation?
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Thanks to @moon.mansion, @antocolo, @goathistory, Petra, HeJixing, Mucongpei, He Family, Jixiang Village, and our extended Lashihai communities for coming together at this nexus
