When Chinese immigrants first arrived in the United States, a great conflict began: a conflict between cultures. Whenever distinct groups come into contact, there is a mixing of traditions, languages, and ideas. If they meet on equal terms, such as friendly nations that share a border, there may be an exchange of ideas and traditions that benefits both. But when one group outnumbers the other, when language barriers and cultural understandings separate them, when homogeneity is the expectation, a different situation emerges: a struggle for each culture to preserve itself.
Chinese in the US have dealt with this problem by congregating into ethnic neighborhoods within the greater community, called Chinatowns. In New York, the Lower Manhattan Chinatown has proved to be one of the most persistent ethnic communities. There ethnic Chinese live and work in an environment that is uniquely distinct from the rest of the city: names in various Chinese languages mark storefronts, open air fish markets display their wares, and many people go about their day without needing a word of English. If you visit a park in Chinatown, you may stumble upon dancers practicing the Dragon Dance for the Lunar New Year.
The original Chinese immigrants secluded themselves thoroughly in their lower Manhattan enclave, both to avoid persecution and to be near people they could communicate with and relate to. This resulted in a distinct separation between the cultural institutions of Chinatown and the rest of Manhattan. As detailed in Jen Zagelbaum’s paper, members of the Chinatown community set up institutions like the Chinese Consolidated Benevolent Association in place of the city-wide government. However, it often took a long time for more specialized institutions to appear.
Since then, more institutions have opened their doors to serve the needs of the community. This has been especially important in the second half of the 20th century, when the population of Chinatown swelled immensely. One such institution is the Chen Dance Center, founded in 1980. The center proved to be an important addition to the community, adding value in several different ways.
Most obviously, the center provided an artistic outlet which had previously been lacking. Dian Dong, assistant director at the center, remembers that before the founding of the center, the neighborhood had been very lacking in arts-focused institutions, particularly dance. There had been few outlets for artistic expression, particularly for children. Because of the pressure for the children of Chinese immigrants to perform academically, and in many cases to be the first in their family to attend college, a low-stress outlet which still represents Chinese cultural heritage is a valuable institution for many members of the community.
Of course, the dance center provides more to the community than an outlet for hard-working students. The non-profit organization is a true community asset which tries to meet the needs of Chinatown residents however it can. In a very pragmatic manner, the center first added value to the community when installed itself in its present location on Mulberry street, filling an abandoned building and refurbishing the location. The center strives to beautify the community with its gardens, providing a small oasis of leaves and petals amid the otherwise business-oriented neighborhood. Before beginning my interview, I helped H. T. Chen water the plants that surround the locale. Chen, who gives his name to both the Chen Dance Center and the H. T. Chen & Dancers dance group, tells me he plants two new flowers each year, starting nine years ago.
Chen explained that the center uses modern dance techniques to interpret traditional Chinese art forms. In this way the dance center is truly a child of the Lower Manhattan Chinatown: it represents a unique mixture of Chinese and American culture. Bridging the cultural gap, this valuable institution represents a significant step as solution to the issues resulting from Chinatown’s unique heritage.
