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          Home / Culture / Music and Theater

          Acrobats inject life into folk art

          By Zhu Lixin in Hefei | China Daily | Updated: 2017-12-04 07:20
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          In Shanghai, Yin Bo also attended years of horse-riding courses, which later allowed him to develop programs combining his equestrian and acrobatic skills.

          In 1978, when China's reform and opening-up began, Yin Yanchun established his own troupe in Linquan and achieved "huge success".

          "Local people at that time had few options for entertainment, but watching acrobatics shows, which were cheap, was really exciting," he said.

          His troupe just needed to pitch a tent in a city square or village and people would flock to it, he added.

          This business model came under threat in around 2000, when China's urban administration authorities started to curb street tents amid public security concerns and in a bid to tidy up city centers.

          Yin Yanchun said the best troupes were mostly State-owned, while his was one of the best private ones.

          The father and son are both members of the China Acrobats Association, whose members are mostly from State-owned troupes.

          "We were the only two members from private troupes," he said.

          The Yins' troupe moved to Guangzhou in 1996, as they thought they would do better business in the metropolis. Many other troupes also left Linquan.

          Around 2000, the troupe started to shift to performing at corporate and government events. "Companies and governments held gala shows and we were invited to perform," Yin Bo said.

          Government engagements increased steadily until 2012, when the Communist Party of China released an "eight-point" rule on austerity as part of efforts to clamp down on corruption.

          "Local governments don't tend to hold gala shows and festivals, which were once a popular part of official investment and tourism strategies," Yin Bo said.

          Today, most of the troupe's business comes from real estate developers, although it still relies on local governments, which are attaching increasing importance to protecting local culture and folk arts.

          "The governments fund us and send us to perform for local people in public and free shows instead of exclusive ones," said Yin Bo, whose weeklong performance in Linquan ended last month.

           

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