In the years following the Great Leap Forward in the 1960s, China’s elite rapidly opened up the countrys cultural sphere to outsiders, and this included the Chinese acrobat movement, which grew in popularity during the 1960’s and 1970s.
Chinese acro-tourists had their first major international recognition in the 1970s, when they performed at the Beijing Olympics and were subsequently recognised by the International Olympic Committee (IOC).
The IPC subsequently awarded the Chinese Academy of Sciences’ Acrobatic Centre the prestigious “Chinacampus” award for their performances at the 1972 Beijing Olympics, and they were also awarded the prestigious Chia Pia Prize in 1997.
Chinese and American acrobaters have performed together in Taipei for the past 20 years, with performances by both performing artists and acrobates taking place at the Taipei Olympic and Paralympic Games, and the Beijing Games.
The Shanghai and Taipei acrobasts have been performing together for the last two years, and will be performing in the Taiwan and China Paralympics in 2017.
China’s acrobatically-oriented culture has been heavily influenced by the country’s political history and the culture of the “shanghaiists”, the elite cadres of the late Qing Dynasty (960-1912).
These groups, known as the “Shanghai” in China, were the first to have achieved the “Great Leap Forward” (GPL) in the late 19th century, the Chinese Communist Party (CCP) proclaimed in 1911.
This was a massive modernization and modernization of China’s economy that would transform the country into a nation with a rapidly growing middle class, an unprecedented development that would see China achieve world-leading economic growth, the opening of the vast new markets, and a growing middle-class.
The CCP was very concerned that the growing middle classes of the Qing Dynasty were not happy with the state of their countrys economy, and therefore sought to control the political and economic life of the country through the Cultural Revolution (CCR) and the Great Proletarian Cultural Revolution(GPCR).
The CCP attempted to control political life through propaganda and through its various propaganda organs.
The Chinese Communist Government (CCG) also sought to dominate the arts through the “Academy of Sciences”, which in turn sought to manipulate Chinese culture through the arts.
In this way, the CCP sought to establish a communist ideology and control the nation’s economy, through the consolidation of power in the party, and through the creation of an official cultural image of the CCP.
The “Shangri-La” or Shanghai acrobat group, which was founded in 1959, was the first group of Chinese acros to perform in the United States.
They were not a big group, but the group gained a lot of popularity and were able to perform and promote their art, and some of their performances have been published in the popular press.
In 1965, the group performed for the first time in New York City.
This group was later followed by the Taiwan-based Shanghai Acrobats, who performed for several years before disbanding in 1966.
The first “Shunryu” or Taiwanese acrobat performed in New Jersey in 1967.
The group was disbanded in 1968, but continued performing at Taipei’s Taipei Opera House until 1975.
In 1978, the Taiwanese-born Taiwanese acrobat “Taiwan” Tai Chi (Taiwan’s first “acrobat”) “Taiwak” (Taipei’s first black “acrobatic”) performed for a short time in Taiwan before returning to Taiwan in 1982.
He would perform until he died in 1998.
In 1979, the “Taikong” group of Taiwanese acros performed for some time before disbandment.
In the 1990s, the Taiwan-born “Taipan” Taiwanese acro “Tai” Taipan (Taiyuan) performed for most of his career before his death in 1998, and was one of the first “Taipei” acros in the US.
In 2006, the first Taiwanese-American group performed in the New York Times Book Review.
In 2010, the Taipang group of Taiwanese acros again performed at New York’s Lincoln Center Theatre, and in 2011, the Taiwak group of Taipans performed in Los Angeles’ Museum of Modern Art.
Taiwanese-American artist “Tai Wan” Taikong and his Taiwanese wife “Tai Yan” perform together in New Delhi in 2016.
Taikang’s family, who were originally from Taiwan, moved to the US in the early 1970s and settled in New Hampshire.
In 2007, Taikang was commissioned to create a portrait of himself in New England.
Taikongs family relocated to New York in 2007, and Taikwans son, Tai Yan, was commissioned in