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SHEN YUN China Before Communism

Shen Yun Performing Arts

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17 upcoming concerts

• Monday 22 April 2024

Ralston van der Schyff

The Harrods Tea Room , Shanghai, China

• Tuesday 23 April 2024

Dominic Miller

Jz Club , Shanghai, China

• Wednesday 24 April 2024
• Thursday 25 April 2024

Jade on 36 Bar , Shanghai, China

• Friday 26 April 2024
• Saturday 27 April 2024
• Sunday 28 April 2024
• Monday 29 April 2024
• Friday 03 May 2024

Yuyintang Park , Shanghai, China

• Monday 06 May 2024

Alessia Raisi

VAS LIVE , Shanghai, China

• Thursday 16 May 2024

Steve Barakatt

Shanghai Oriental Art Center Concert Hall , Shanghai, China

• Friday 17 May 2024

Gautier Capuçon, Shanghai Symphony Orchestra, and Yip Wing Sie

Shanghai, China

• Tuesday 11 June 2024

Shanghai, China , Shanghai, China

• Thursday 01 August 2024

Peter Somuah

Blue Note Shanghai , Shanghai, China

• Friday 02 August 2024
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Performances Apr 13 – Apr 14

Run Time: 2 hours, including intermission

Experience China before communism

The moment the curtain opens, you enter a wondrous dream. Shen Yun takes you on an extraordinary journey through China’s 5,000 years of divinely inspired culture. Exquisite beauty from the heavens, profound wisdom from dynasties past, timeless legends and ethnic traditions all spring to life through classical Chinese dance, enchanting live orchestral music, authentic costumes, and patented interactive backdrops. Revisit a time when scholars and artists sought harmony with the Tao, or the “Way” of the universe, and when divine beings walked upon the earth to inspire humanity.

Join us for a night filled with beauty and wisdom, courage and hope... it’s the experience of a lifetime! See Shen Yun—live   on stage.  

“A must-see!”  —Broadway World

“Indisputably a spectacle... jaw-dropping”  —Chicago Tribune

“ ***** I have reviewed about  4, 000 shows , and none can compare to what I saw tonight.”  —Richard Connema, theater critic

“I’ve never seen anything quite so beautifully choreographed in my entire life.”  —Shirley Ballas, Dancing with the Stars (UK), head judge “Magnificent… very enlightening!”  —Tony Robbins, motivational speaker

“There is a massive power in this that can embrace the world. It brings great hope… It is truly a touch of heaven.”   —Daniel Herman, former Minister of Culture of the Czech Republic

“I was uplifted, I was filled with hope… The world is a better place because of Shen Yun.”  – Richard Swett, former U.S. Congressman

“I encourage everyone to see it and all of us to learn from it.”  —Donna Karan, founder of DKNY 

“Go see it to believe it, because otherwise, you are going to miss the most important thing in your life.”  —Joe Heard, former white house photographer 

The world’s premier classical Chinese dance company, Shen Yun is bringing to life a lost culture through beautiful art.

Shen Yun is more than just a performance—it’s a revival of the beauty and goodness of China before communism. With stories and legends, vibrant costumes and backdrops, original music and a few fun surprises—it’s an experience that will delight your senses, inspire your heart, and just leave you feeling great.

Based in New York, Shen Yun draws top artists from around the world. Every year, Shen Yun produces an all-new performance and tours with it around the world.  

The Sound of Music International Tour Continues Throughout Asia

Broadway World reports:

Broadway International Group launched a multi-year international tour of Rodgers & Hammerstein’s The Sound of Music in Singapore this fall. This lavish and popular production of one of the world’s most beloved musicals of all time continues with multi-week stops throughout The Philippines , India , Malaysia , China , Hong Kong and Taiwan , with other additional countries to be announced.

The tour is led by Jill Christine-Wiley as Maria Rainer, Trevor Martin as Captain von Trapp, with Daniel Fullerton as Rolf, Lauren Kidwell as Mother Abbess, Joshua La Force as Max, Lauren O’Brien as Liesl, and Annie Sherman as Elsa. The company includes Alli Atkenson, Corey Bryant, Patrick Cogan, Julia Anne Cohen, Sydney DeMaria, Maddie Eaton, Keaton Eckhoff, Corey Greenan, Dayne Joyner, Cassi Mikat, Marissa O’Donnell, Caitlin Ort, Sabina Petra, Robert Rice, Julia Salatti, Cassidy Sledge and Sean Thompson.

Read more here!

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• ← Rodgers & Hammerstein
• Flower Drum Song
• Me and Juliet
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• The King and I
• The Sound of Music
• ← Rodgers & Hart
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• I Married an Angel
• I’d Rather Be Right
• On Your Toes
• The Boys from Syracuse
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• ← Other Rodgers Works
• Androcles and the Lion
• Do I Hear A Waltz?
• I Remember Mama
• ← Other Hammerstein Works
• Carmen Jones
• The Desert Song
• The New Moon

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The Philadelphia Orchestra returns to China for tour marking 50 years since its historic 1973 visit

Philadelphia Orchestra’s 73-year-old violinist Davyd Booth, left, is greeted by a representative of the Chinese People’s Association for Friendship with Foreign Countries Cultural Exchange Department in Beijing Capital International Airport on Tuesday, Nov. 7, 2023. Musicians from the Philadelphia Orchestra arrived in Beijing on Tuesday, launching a tour commemorating its historic performance in China half a century ago in signs of improving bilateral ties ahead of a highly anticipated meeting between President Joe Biden and Xi Jinping. (AP Photo/Ng Han Guan)

Philadelphia Orchestra’s 73-year-old violinist Davyd Booth, second left, waves as he walks ahead of our members upon arriving at the Beijing Capital International Airport on Tuesday, Nov. 7, 2023. Musicians from the Philadelphia Orchestra arrived in Beijing on Tuesday, launching a tour commemorating its historic performance in China half a century ago in signs of improving bilateral ties ahead of a highly anticipated meeting between President Joe Biden and Xi Jinping. (AP Photo/Ng Han Guan)

Philadelphia Orchestra’s 73-year-old violinist Davyd Booth, center, stands with Shari Bistransky, Counselor for Public Affairs of the United States Embassy to China, and other members for photos at the Beijing Capital International Airport on Tuesday, Nov. 7, 2023. Musicians from the Philadelphia Orchestra arrived in Beijing on Tuesday, launching a tour commemorating its historic performance in China half a century ago in signs of improving bilateral ties ahead of a highly anticipated meeting between President Joe Biden and Xi Jinping. (AP Photo/Ng Han Guan)

Philadelphia Orchestra’s 73-year-old violinist Davyd Booth, left, chats with Ryan Fleur, Executive Director with The Philadelphia Orchestra, at the Beijing Capital International Airport on Tuesday, Nov. 7, 2023. Musicians from the Philadelphia Orchestra arrived in Beijing on Tuesday, launching a tour commemorating its historic performance in China half a century ago in signs of improving bilateral ties ahead of a highly anticipated meeting between President Joe Biden and Xi Jinping. (AP Photo/Ng Han Guan)

Philadelphia Orchestra’s 73-year-old violinist Davyd Booth, left, is greeted by Shari Bistransky, Counselor for Public Affairs of the United States Embassy to China, at the Beijing Capital International Airport on Tuesday, Nov. 7, 2023. Musicians from the Philadelphia Orchestra arrived in Beijing on Tuesday, launching a tour commemorating its historic performance in China half a century ago in signs of improving bilateral ties ahead of a highly anticipated meeting between President Joe Biden and Xi Jinping. (AP Photo/Ng Han Guan)

Philadelphia Orchestra’s 73-year-old violinist Davyd Booth speaks upon arriving at the Beijing Capital International Airport on Tuesday, Nov. 7, 2023. Musicians from the Philadelphia Orchestra arrived in Beijing on Tuesday, launching a tour commemorating its historic performance in China half a century ago in signs of improving bilateral ties ahead of a highly anticipated meeting between President Joe Biden and Xi Jinping. (AP Photo/Ng Han Guan)

Philadelphia Orchestra’s 73-year-old violinist Davyd Booth, left is greeted by Shari Bistransky, Counselor for Public Affairs of the United States Embassy to China, at the Beijing Capital International Airport on Tuesday, Nov. 7, 2023. Musicians from the Philadelphia Orchestra arrived in Beijing on Tuesday, launching a tour commemorating its historic performance in China half a century ago in signs of improving bilateral ties ahead of a highly anticipated meeting between President Joe Biden and Xi Jinping. (AP Photo/Ng Han Guan)

Philadelphia Orchestra’s 73-year-old violinist Davyd Booth, left, stands next to Shari Bistransky, Counselor for Public Affairs of the United States Embassy to China, at the Beijing Capital International Airport on Tuesday, Nov. 7, 2023. Musicians from the Philadelphia Orchestra arrived in Beijing on Tuesday, launching a tour commemorating its historic performance in China half a century ago in signs of improving bilateral ties ahead of a highly anticipated meeting between President Joe Biden and Xi Jinping. (AP Photo/Ng Han Guan)

Philadelphia Orchestra’s 73-year-old violinist Davyd Booth, center, leads other members as they arrive at the Beijing Capital International Airport on Tuesday, Nov. 7, 2023. Musicians from the Philadelphia Orchestra arrived in Beijing on Tuesday, launching a tour commemorating its historic performance in China half a century ago in signs of improving bilateral ties ahead of a highly anticipated meeting between President Joe Biden and Xi Jinping. (AP Photo/Ng Han Guan)

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BEIJING (AP) — The Philadelphia Orchestra returned to Beijing on Tuesday for a tour that will mark 50 years since its historic performance in China, the latest sign of improving ties between the two countries ahead of a highly anticipated meeting between Presidents Joe Biden and Xi Jinping .

The orchestra first visited China in September 1973, marking a thaw in U.S.-China relations just as the two nations began normalizing ties after Richard Nixon became the first U.S. president to visit China’s mainland.

Ahead of the tour, the orchestra said 14 of its members will be traveling to China, including 73-year old Davyd Booth, a violinist who was on the orchestra’s first tour to the country half a century ago.

“This constant 50-year connection with China has been really very deep and very wonderful,” Booth on arriving at Beijing’s Capital International Airport.

The ensemble will be performing with the China National Symphony Orchestra at the National Centre for the Performing Arts, starting Friday. The musicians will also travel to the cities of Tianjin, Suzhou and Shanghai, and hold master classes and perform chamber music at schools and cultural venues.

The ensemble’s visit coincides with the American Ballet Theatre’s tour in China , which started in Shanghai last week. The cultural exchanges follow a series of high-level visits from the United States, including Secretary of State Antony Blinken, Treasury Secretary Janet Yellen and Commerce Secretary Gina Raimondo.

The U.S. and China have been slowly restoring contacts that were largely broken off over the past four years, both by the coronavirus pandemic that restricted travel and the growing animosity between the world’s two largest economies.

In recent weeks, Washington and Beijing have made overtures to each other as they prepare for a meeting between Biden and Xi at the Asia-Pacific Economic Cooperation summit in San Francisco next week.

Until now, the Philadelphia Orchestra had visited China 12 times, most recently in May 2019, before the pandemic.

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THE PHANTOM OF THE OPERA

Leading the cast of the China tour dates will be Jonathan Roxmouth as The Phantom. As part of the international tour, Jonathan made history as ...

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Music Markets • 19 min read

Music Market Focus: China (Part 2/2) Inside the Chinese Live Music Industry

By Dmitry Pastukhov

Published February 28, 2019

The portrait of Chinese concert-goer

Live performance venue landscape, 1. large-scale performances: concert halls and stadiums, 2. dance clubs, 3. livehouses, 4. music festivals, international artists performing in china, how the chinese government impacts the live market, visas and censorship., the future of international artists in china..

This article is the second chapter of our analysis of the Chinese music industry, dedicated to the country’s live performance market. In case you’ve missed the first part where we explore the recorded music landscape in China, you can catch it here . Also, if you are curious about the opportunities of the Chinese market, check out our local companies knowledge base , curated by industry insiders and for international music community. We want to thank Kyle Bagley , the CEO of the Shanghai-based music marketing company Groove Dynasty for consulting us on the Chinese market and sharing his first-hand insights into the local industry.

So, to pick up where we left off, the Chinese digital music services — while amassing vast user-bases — still fall short of a reliable source of income. The per-stream payouts in China are just 1/30rd of what Spotify pays the artists on an ad-supported. To talk about the value gap: while Tencent Music Entertainment reported an annual profit of $270 million , less than 6% of artists and musicians in China can afford food on the recording sales — so they naturally have to focus on other sources of income.

Of course, there are dozens of ways that artists can make money outside of streaming and music sales in general. You can get into content synch or brand partnerships — which is such a widespread practice amongst the Chinese stars, that back in 2015, the government amended its Advertising Law , to explicitly regulate the boundaries of celebrity-endorsement. However, much like on the western markets at the height of piracy, the backbone of the music economy in China are live performances. Accounting for 65% of the market, music shows are the primary source of income for local artists — and the key point of market-entry for international acts. That’s why we’ve decided to focus our second chapter on the concert business in China. So, here’s everything you need to know about live music market in China:

Perhaps the best place to start would be the basis of the live market. Who are the people, going out to the shows and buying tickets in China? Two key trends can summarize the current socio-economic landscape of China. Firstly, in the last 40 years, the urban population share grew from 19% to 58%. Secondly, there’s a massive uprise of the “new Chinese middle-class”: depending on the boundaries of the income band, different sources provide widely ranging estimation of middle-class population in China. Official government statistics quote 400 million figures , while PwC estimates the middle-class population at just 109 million . Regardless of the definition, though, the trend is clear: GDP per capita has multiplied by a factor of 30 in the course of the last 20 years.

GDP Per Capita in China, 1993-2017, Current $US Source: World Bank Group

Those two trends created a new generation of the Chinese consumer, or, as McKinsey puts it to avoid using the term “millennials”, the “post-90s” generation. The post-90s are the first generation that grew up in an age of relative wealth, exposure to western culture, and widespread adoption of digital technologies. Now, the post-90s are coming of age, and, by McKinsey projections, they will become the main driver of consumption in China for the next decade. Now, take this tech-savvy, globally connected generation raising into the buying power, and provide it the free, unlimited music access — and you’ll get the portrait of the modern Chinese concert-goer.

Free music access is known to drive ticket sales, especially for the independent artists out there. That is something that the music industry in the west experienced throughout the Napster-era: while the recording revenues were plummeting, consumers discovered new artists through the pirate services — the ones that they wouldn’t have discovered otherwise — and went out to buy tickets to their shows. This effect is recognized both by the academic papers and the industry professionals. Here’s how Tom Windish , one of the world’s most prominent booking agents, described that era in our recent interview : “All of a sudden, our artists’ music was available for free on the Internet. Everyone could go, download it, and then tell their friends — and, almost immediately, more people were buying tickets to see the shows.”

So, the post-90s grew up listening to music from all over the world, and now, they have the purchasing power to drive the demand for live performances of all shapes and sizes. However, is the industry ready to supply the new type of concert-goer? We have to keep in mind that the Chinese music industry as we know it was born about a decade ago — while most of the traditional markets have more than a hundred years behind their belt. So, while most concert halls across Europe were there 30 years ago, in China, the live infrastructure is still just fleshing out.

To simplify things a bit, let’s split up the live performance landscape into distinct parts. Based on the analysis of the live market, here are the four segments that we’ve identified, based on the scope and/or type of the performance space:

• Large-scale performances: concert halls and stadiums.
• Dance clubs
• Music festivals

In the following section, we will go through those segments one by one to highlight the main trends and assess the general direction of the live market.

Throughout the years, the Chinese government has made significant investments into the mass-entertainment spaces, from stadiums and multi-purpose arenas to state-owned theaters and concert halls . There’s no shortage of large performance spaces on the market, but they remain mainly reserved for the pop-genres , with a rare rock, hip-hop or EDM show thrown in the mix. Large-scale performances account for around 85% of the overall ticket sales, which shouldn’t come as a surprise — the 10% of top-grossing concerts will make up the lion’s share of the box office on every market.

The primary trend in the large-scale segment is its transition from offline performance and into an online space of live-streaming services of Tencent Music Entertainment and alike (which we’ve studied in detail in the first chapter). The number of large-scale concerts is in decline for the last three consecutive years, shrinking another 19% in 2018 . At the same time, that decrease hasn’t impacted the turnover of the segment. While there are fewer shows, the prominent Chinese artists fill the biggest stadiums — and the live-streams of those performances attract more and more viewers. In 2018, TFBOYS’ 5th-anniversary concert broke 2017’s records, gathering 450 million live views — while other major local artists, while nowhere near the TFBOYS’s scope, are crossing over the 100 million threshold.

This digitalization trend might receive an extra push in the coming years with the development of VR live streaming, which is a hot topic in Chinese tech . In that sense, the large-scale performance in China might be the first part of the global music industry to turn the live performance — which is the only part of the business that remains 99% “physical” — into the digital commodity.

The second part of the live landscape are the dance clubs, hosting electronic music shows. Underground scene aside, China has become a vast market for EDM in recent years, as the consumers have embraced the genre . Now, some of the biggest names in commercial electronic music treat China as their 3rd biggest market , following only the U.S. and Europe.

However, while other international, independent genres are taking over the first- and second-tier cities , the rise of dance music in China is the story of horizontal development. One of the primary shifts in dance music is the growing role of the rural part of the market. A couple of years ago, major EDM artists touring in China would only perform a couple of big festivals, and maybe do a solo-show in Beijing, Shanghai, Guangzhou and/or Shenzhen. Now, they can tour across the country, going into a lot of the smaller (keep in mind, that the third-tier city can still be up to 3 million in population), more distant cities across the country.

At the same time, an average dance club in a third-tier city in China would probably be very different from what you’d expect in Europe or the U.S. The dance clubs in China make most of the money on their VIP clientele, rather than an average concert-goer. So, instead of a packed dance floor, you are likely to see the venue packed with VIP tables — which means that the cap of the dance club might be much lower. That completely changes the approach to concert promotion and touring of electronic artists in China. When the venues are focused on the minor segment of high-spending clients, you don’t have to attract huge crowds — what you need is a small, but prosperous audience that will book out the VIP section.

Livehouses are diametrically opposite to the dance clubs and their VIP sections. The other side of small to mid-scale performance, Lifehouse is the most vibrant, rapidly developing sub-section of the live industry. In its core, Livehouse is a term used amongst the music professionals in Asia to describe small-scale to mid-scale venues, inspired by the western music clubs: no seats, direct stage access, open bar and so on. Falling anywhere from 100 to 3000 person cap, Livehouses host around 85% of all concerts in China, welcoming performances of all genres, from idol-pop to EDM, rap, rock and everything in between. The venue format became a staple of the independent and international music — Livehouse is both the most diverse and the most foreigner-friendly part of the live business. In 2017, international artists’ performances accounted for 32% of the Livehouse box office, compared to 11.8% average across the live industry.

Despite bringing only 2,5% of the ticket sales, Livehouse venues became one of the hottest topics amongst the music professionals in China — and here’s why. Livehouses showcase the gap between supply and demand on the market. The post-90s generation asks for a more westernized live experience, a wider range of international acts and independent local music, and Livehouses host performances that tick all of those boxes. However, if in neighboring Japan there are over 3000 such venues, in China there were only 300 Livehouses in operation in 2017. So, it’s a single venue per 4,73 million people.

While the lack of infrastructure holds back the revenue figures, the segment quickly evolves to fit the growing demand. Livehouse is the fastest developing part of the live business, growing 51% in 2017 alone. Music professionals across the industry recognize the huge potential of the Livehouse as the cluster and gathering point for the Chinese youth, as some of the biggest players on the market start to pour money into the sector. To list a couple examples, Modern Sky , the largest independent label in China, plans to launch 20 Liveouses by 2021, and NetEase, in line with the company’s positioning around independent and international music, has recently partnered with SME to “make Livehouse as common as karaoke” (which quite an ambition, given the fact that karaoke is a $13 billion industry in China).

Last, but not least, we have music festivals. As of 2017, festivals generated around   $90 million , accounting for 12% of the live market. However, despite the minor revenue share, festivals are a massive point of interest, both for local music professionals and their international partners. The festival market is still in the early stages of its development: while the total number of festivals grew 2,5 times from 2015 to 2017 (with trend flattening out in 2018), the market remains extremely volatile. Dozens, if not hundreds of local and international brands are entering the market each year, but few of them stick on the market. According to the Xiao Lujiao Think Tank, in 2018 the survival rate on the market was less than 50% (up from 39,3% in 2017) — which means that only one of two festivals hosted in 2017 made it to 2018.

Number of Music Festivals in China, 2011-2018 Source: 小鹿角智库

Right now, the music festivals are mostly focused around the more densely populated provinces along the Chinese coastline. Four out of five top sub-markets (namely Guangdong , Jiangsu and Shanghai , Sichuan and Zhejiang ) are located in the eastern part of the country, creating a very competitive market area. At the same time, the western part of the country and the third-tier cities represent untapped potential, seen by the experts as the primary source of the future growth of the festival business.

Among the international festival brands, the most notable are the local installments of ULTRA and EDC , cashing in on the explosion of EDM in China. For the home-bred festivals, on the other hand, the one brand you should know are the Strawberry Music Festivals. Organized by the country’s biggest independent label, Modern Sky , Strawberry Music Festival is a touring event, bringing a rotating selection of local and international artists to several locations each year. In 2019, for example, the festival will include six events across China . In a way, it has become the Coachella of China —  the name of the festival has become way bigger than any of the artists that take the stage, making Strawberry Music one of the leading tastemakers of the Chinese youth.

The music festivals, much like Livehouse performances are the primary entry point for most international artists (leaving the top-tier global acts out of scope) in China. However, touring the country is a complicated matter, with quite a bit of potential pitfalls to be aware of. In the next section, we will take a perspective of international artists performing in China, and share the primary concepts that you need to be aware of when planning your first Chinese tour.

While the share of international artists on the live market is still quite low, the roster of companies like SplitWorks showcases that there is value on the market already. On top of that, even if at this stage of the market’s development most artists probably won’t make much on their first tour, dedicating time and resources to the Chinese audiences can prove to be an extremely profitable long-term investment. Let’s not forget — we’re talking about the fastest growing music market in the world.

However, the market requires a unique approach, both in terms of promotion and tour management. It would probably make more sense to focus on the second part at the expense of the cheap advice of setting up your QQ, Weibo, and NetEase Cloud Music accounts. So, what do you need to know about China when planning your first tour there? The first, and probably the most important thing you always have to keep in mind are the Chinese officials. While the government plays a minor role in most of the local markets, the local regulations in China can cause quite a bit of trouble to someone who hasn’t had the first-hand experience with the market.    

While the local consumers are becoming more and more westernized, you have to remember that China is still an authoritarian, communist state. That means that the government is directly involved in all parts of public life, and the music market is not an exception. To put it in perspective, here’s a music video of our go-to Chinese boys-band TFBOYS performing “We Are the Future of Communism”, the Chinese anthem of Young Pioneers:

The government’s involvement in the music business, however, doesn’t end at engaging the top C-pop stars into the ideology promotion — and the live industry is the part of the music business where the influence of the state is most apparent. Don’t get we wrong, it’s not like the Chinese Ministry of Culture is running every show in China, but you should definitely be aware of the governmental structures if you want to get into the market.  

Every artist that want to tour in China has to get a performance permit (an approval letter from the Cultural Department), which means that the government can simply stop the artists from entering a country if it wants to. This context of performance censorship can be split into two distinct parts.

On one side, you’ve got huge international artists planning to perform in China — a kind of artists whose shows are likely to become national news. In that case, be sure that the Chinese officials will take a deep dive into the artist’s background, social media, press mentions, lyrics and affiliations, to see if the show and the artist’s image won’t go against the country’s ideology. Whether or not the artists get the permit will be a political decision, rather than a technical one, so you won’t find a defined set of rules that you have to follow to make sure that the artist’s performance will fly with the officials. In that sense, when it comes to the big acts, it is almost impossible to predict the ruling of the Chinse Ministry of Culture. Just to list a couple of examples:

• Maroon 5 , Lady Gaga and Selena Gomez are reportedly banned from performing in China due to their acquaintance with the Dalai Lama
• Katy Perry was refused a performance visa since she wore a sunflower dress at her performance in Taiwan (sunflowers are the symbol of Taiwanese anti-China movement )
• Justin Bieber was denied access into the country as the Chinese Ministry of Culture though that it’s “not suitable to bring in badly behaved entertainers”
• None of the major K-pop artists performed in China since 2016, when South Korea deployed the U.S. missile defence system

The list could go on — but you get the picture. The state-run censorship creates a considerable risk that stops a lot of the bigger acts from entering the market. What is the point of fitting a China on to your busy tour schedule if the gig might unexpectedly fall apart?

The photo of Selena Gomez with Dalai Lama that, reportedly, became the reason for her Ban in China

On the other side of this context are the artists of the smaller scope, that won’t make the headlines of Chinese newspapers — and thus won’t become a subject of big politics. In that case, the process of getting a performance permit is a bit more predictable. Every artist, applying for performance visa will have to submit their set-list, lyrics, audio-visual show material — virtually every piece of content that will be performed publicly — to the local Ministry of Culture department, and based on that information the officials will either allow or deny the entry into the country.

In most cases, getting a permit won’t be a problem for smaller artists — unless the act is particularly political, or the lyrics frequently reference drug use or other illegal activities. Be aware though, that the process of getting validation from the Ministry of Culture alone can take up to 6 weeks, and there still will be some degree of uncertainty, since no one can guarantee the final ruling.

The complications on the legal side are generally considered the biggest barrier for international music in China. Outside of the performance permit, there is also the question of shipping and local customs — the money and time that you need to spend to get the equipment in and out of China create a huge obstacle, especially for big-scale shows. The legal pitfalls create a very uncertain environment on the live market. The industry professionals working with international artists in China have been calling for reforms, that would create a more predictable and safe business environment — but, in fact, it is an open question if the Chinese officials actually want to create a more globally connected music market.

Perhaps the loudest news in the local music industry as of late was the announcement made by the Chinese tax office bureau in February 2019. According to the circular, from now on, every foreign band performing in China will have to pay a minimum of 20% tax on all ticket sales. That might not seem like a lot at first, but if you actually consider the cost structure of a live performance (the one that we’ve laid out in our Mechanics of Touring , for example), and then cut off the 20% on top — well, a lot of the shows won’t turn in a profit. That mainly affects the small scale, Livehouse-type performances, that were operating at a minor profit as it was. The new tax has sparked a discussion across the local industry, with some professional going as far as stating that the market is headed towards the future without foreghn artists , while others are pointing out that the reality is not that grim . From a more positive point of view, the international artists’ performances — given the fact that the government will ease on the legal barriers and facilitate touring for international acts — will be a question of scale and moving from the underground venues to the louder names and bigger concert-halls.

In sum, the Chinese music industry in general and the live music sub-market, in particular, are still a developing, rapidly changing environment. At this point, it’s hard to tell what direction it is going to take. The market is affected by several opposing trends: on the one hand, we see a rapid development of the LiveHouse and music festival scenes, creating a platform for international performances. On the other hand, governmental regulation and dominant streaming business models of Tencent seem to cultivate a more closed off market environment. So, will the market open up to international music or move towards a more isolated future? Will it centralize in favor of the first-tier acts, or become more diverse, following the tastes of the Chinese youth? All those are viable options — and only time will tell what direction the market will take. However, the Chinese music market, with its unique DSP landscape and volatile, yet promising live performance market, should surely become a point of interest for artists looking to expand their global presence.  

P.S.: If you find yourself curious about the opportunities of the Chinese music market, check out this list of local Chinese music companies — from festival promoters and booking agencies to record labels and online music media platforms. We've drafted this list specifically for international music communities looking into the Chinese market, based on our research as well as the opinions of industry insiders.

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Dmitry Pastukhov

Content creator for Soundcharts. Deciphering the music business so you don't have to.

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December 30, 2019 • 20 min read

March 6, 2022 • 4 min read

Second Stop of Global Tour! Ten-Show Run of Original Musical Masterpiece Scheduled in China's Chongqing

On the evening of November 3, a meet-and-greet event for the English original musical The Phantom of the Opera Sequel: Love Never Dies  was held at the Chongqing Grand Theatre. Four leading creators, Luke McCall (as the Phantom), Manon Taris (as Christine), Niall Sheehy (as Raoul), and Annabelle (resident director), shared the stories behind the scenes of the first-ever tour of Love Never Dies  in China with the audience. 

This musical is the first English original musical in four years to be showcased at the Chongqing Grand Theatre, following the success of Matilda the Musical  in 2019. It will have a ten-show run from November 5 to 12, making it the most frequently performed project since the theatre’s opening.

Luke McCall (as the Phantom) and Manon Taris (as Christine) shared the stories behind the scenes of the first-ever tour of Love Never Dies in China with the audience. (Photo/Chongqing Grande Theatre)

Manon Taris, who plays Christine Daaé, says that the character is more like a friend to her than an achievement or experience in her life. She says the character’s life experience is very similar to her own - living from her heart.

Taris  said that when she was 30 years old, she chose to leave her home country and go to another city, and now that she has come to China to play the role of Christine, she seems to be in a constant state of wandering between the choices and options in her life. Perhaps for a woman, the age of 30 should be the time to start a family. However, she still chose to dedicate herself to the arts, so she understands the inner level of the character of Christine, just as she went through the same uncertainty, to firmness, growth, and sublimation. These experiences make her and Christine have a deep resonance with each other.

Taris  says that whether it’s Christine in the story or herself dealing with her own life, they are not making choices but listening to her heart.

The Only One in Southwest China

The Phantom of the Opera , a global musical phenomenon created by Andrew Lloyd Webber, has captivated audiences for 37 years. In 2010, Webber’s meticulous follow-up, The Phantom of the Opera Sequel: Love Never Dies , debuted to a packed house in London’s West End. When it comes to the year 2023, this beloved romantic epic has been revived and reprised in China. The global premiere of the 2023 revival ended triumphantly on October 29, 2023, at Shanghai’s North Bund AIA Grand Theater, with 40,000 spectators across 38 performances.

Chongqing is the second destination on the musical's international tour and the sole venue for Southwest China. From November 5 to 12, locals have the exclusive chance to savor this original West End production without leaving their city. With a plot that is both grand and entrancing, a score that wields mysterious and poetic charm, and a narrative woven with threads of joy and sorrow, the musical is set to deliver an unprecedented theatrical experience to its Chongqing audience.

The Phantom of the Opera Sequel: Love Never Dies. (Photo/Chongqing Grande Theatre)

An International Masterpiece! Top-tier Team for a Stunning Stage

The production team reports that the original stage set, props, and costumes, shipped from the UK to China, are securely packed in 16 containers. These containers, weighing around 100 tons and valued over RMB 100 million, represent an international rarity in terms of scale. The show’s redesigned set pieces – including an elaborate stage, a vivacious circus troupe, a sparkling carousel, and a prism-lit jungle – elevate the musical’s grandeur to unprecedented levels. The performers, with their deep, elegant acts and stunning vocals, complement these visuals perfectly.

The cast is as diverse as it is dynamic, featuring muscular men, clowns, magicians, and glamorous ladies in distinctive attire. The audience is treated to a visual feast of extraordinary, exotic creatures and a succession of impressive, intricate mechanical devices. The musical score maintains Andrew Lloyd Webber’s delicate Phantom signature while boldly infusing elements of rock. This stylistic fusion allows for a more potent emotional expression through song, highlighting the unique charm of the Phantom series.

This spectacular new production promises to take its audience on an exhilarating roller coaster ride of suspense, insanity, and romance.

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A Musical Tour of China’s North and South

Dizi: Chan Chi Yuk, To Fung Lim

Wind and Percussion Ju-Da-Gang Set Tune of Shandong Compiled by Law Hang Leung Suona, Kaqiang & Kouxian Lead: Ma Wai Him

Jiangnan Sizhu Happy Time Compiled by Tong Leung-tak Small Ensemble　 The Quaint Sounds of Nanyin Orchestration and Instrumentation by Yuen Shi Chun, Lo Wai Leung and Wan Aiduan

Houguan Lead: Lo Wai Leung

Wind and Percussion Drunken Deliberation Li Bo

Suona Lead: Wu Chun Hei

Paigu Solo The Fishermen’s Triumphant Song Composed collectively by Zhejiang Song & Dance Troupe Arr. by Liu Wenjin Paigu: Chin Kwok Wai

Dizi Solo Galloping on the Grassland Lu Chunling Dizi: Chan Chi Yuk

Xylophone Solo Breakers Chan Man-daat Arr. by Lo Wai Leung Xylophone: Luk Kin Bun

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Ensemble Music from Peking Opera Gu Guanren

Ensemble The Bachelor Lui Man-shing Arr. by Lo Wai Leung

The concert runs approximately 65 minutes with a 15-minute intermission.

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As Leaders Meet, Musicians from Philadelphia Orchestra Tour China

The visit, commemorating the 50th anniversary of the orchestra’s pathbreaking 1973 visit to Beijing, drew praise from President Biden and President Xi Jinping of China.

By Javier C. Hernández

• Nov. 15, 2023

President Biden and China’s leader, Xi Jinping, face a host of thorny geopolitical issues as they meet Wednesday in San Francisco: trade, Taiwan and the war between Israel and Hamas.

But they have found some common ground in the cultural sphere. Both leaders have in recent days praised the visit by a delegation of Philadelphia Orchestra musicians to China.

The musicians arrived there last week to mark the 50th anniversary of the orchestra’s celebrated 1973 visit to Beijing, when it became the first American ensemble to perform in Communist-led China as the two countries worked to re-establish official ties.

Now, with the relationship between the United States and China at its lowest point in four decades, their leaders have highlighted the role of music in easing tensions.

Mr. Biden said in a recent letter to the orchestra that its visit this month could help “forge even closer cultural ties, forever symbolizing the power of connection and collaboration.”

Mr. Xi, in a letter released on Friday, said the Philadelphia Orchestra had long played a role in strengthening the connection between the two countries, describing its 1973 visit as an “ice-breaking trip.”

“Music has the power to transcend borders,” he wrote, “and culture can build bridges between hearts.”

Daniel R. Russel , a former senior American diplomat now at the Asia Society Policy Institute, said that cultural exchange could build connections between China and the United States and help “refute political caricatures” that citizens of each country may hold.

But there are limits, he said, given the heated rhetoric and the increasingly intense rivalry between Beijing and Washington over national security and economic issues.

“It’s a very slender thread to use to knit together such a huge gash in the relationship,” he said.

On Friday, a dozen musicians from the Philadelphia Orchestra joined their counterparts from the China National Symphony Orchestra for a concert at the National Center for the Performing Arts in Beijing. The program included Beethoven’s Fifth Symphony, Leonard Bernstein’s overture from “Candide,” and Chinese folk songs.

“It was an incredibly impactful moment,” said Matías Tarnopolsky, the orchestra’s president and chief executive. “It had the effect of focusing the attention on the arts and culture and on the beauty and the power of music to effect change.”

The visit by the Philadelphia musicians, who are also traveling to Shanghai, Suzhou and Tianjin, has received wide attention in China. Many news outlets have in recent days published nostalgia-filled stories about the 1973 visit, during which the Philadelphia Orchestra, led by Eugene Ormandy, performed inside a packed hall in Beijing, a year after President Richard M. Nixon’s historic visit.

At the time, China was in the final years of the Cultural Revolution, during which most traditional music, including Western classical music, was banned. Jiang Qing, Mao Zedong’s wife, made sure that the concert — which featured a favorite work, Beethoven’s Sixth Symphony (known as the “Pastoral”) — was broadcast across the country.

The orchestra has been all over Chinese state media in recent days. An article about Mr. Xi’s letter to the orchestra appeared on Saturday’s front page of People’s Daily, the main newspaper of the Chinese Communist Party, just under the announcement that Mr. Xi would meet Mr. Biden in San Francisco. China Central Television, the state broadcaster, aired interviews showing Philadelphia Orchestra staff members and musicians praising Mr. Xi’s letter.

The focus on the orchestra’s visit reflects the Chinese government’s recent efforts to shore up its global image by emphasizing more personal ties, said David Bandurski, co-director of the China Media Project, an independent research program based in the United States.

“Emphasizing people-to-people exchanges is a way to stress the positives from the standpoint of China’s leadership,” he said. “They harken back also to an earlier time when Ping-Pong was sufficient to get both sides back to the table.”

Javier C. Hernández is a culture reporter, covering the world of classical music and dance in New York City and beyond. He joined The Times in 2008 and previously worked as a correspondent in Beijing and New York. More about Javier C. Hernández

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CMS Returns to China For a Six-City Tour

November 29 – December 12, 2023

Hong Kong * Shenzhen * Shanghai Nanjing * Beijing * Tianjin

Master Classes Offered in Hong Kong, Shenzhen, Shanghai and Tianjin

New York, NY: November 10, 2023 — The Chamber Music Society of Lincoln Center (CMS), one of the largest and most influential chamber music organizations in the world, returns to China from November 29 to December 12, 2023, performing eight concerts in six cities, and conducting four master classes for conservatory students. The traveling ensemble is led by cellist David Finckel and pianist Wu Han, co-artistic directors of CMS, who are joined by four stellar artists from CMS’s international and intergenerational roster of preeminent chamber musicians: clarinetist Jose Franch-Ballester; violinists Chad Hoopes and Kristin Lee; violist Paul Neubauer. The tour in China is part of CMS’s robust program of touring concerts and residencies, which brings CMS musicians and the art of chamber music to cities and towns throughout North America and beyond. 

David Finckel and Wu Han said, “We are thrilled to be bringing the Chamber Music Society back to China , which we first visited in 2015. We believe in China ’s potential to become one of the world’s leading chamber music nations, and we hope to make chamber music a major part of that musical development.  We look forward to sharing performances at the highest level with our audiences and introducing them to a selection of beloved chamber music repertoire. Through a series of master classes with conservatory students, we aim to support and encourage China ’s most talented and committed young musicians to explore the art of chamber music; this is an art and a discipline that provides critical musical skills, like careful listening, cooperation, and sensitivity, to anyone pursuing a career in classical music.”

The programs to be presented in China feature music that spans four centuries, from a Beethoven trio written in 1793 to a 2020 work by Pierre Jalbert, along with compositions by Brahms, Dvořák, Debussy, Bruce Adolphe, Shostakovich, Weber and Fauré. Performances are presented by the Hong Kong Academy for the Performing Arts in Hong Kong (Nov 29 and Dec 1-2); School of Music of The Chinese University of Hong Kong in Shenzhen (Dec 5); Shanghai Oriental Art Center in Shanghai (Dec 7); Jiangsu Centre for the Performing Arts in Nanjing (Dec 8); National Centre for the Performing Arts in Beijing (Dec 9); and Tianjin Juilliard School in Tianjin (Dec 12). 

A complete schedule of concerts and repertoire can be found below. 

In addition to CMS’s performances, the organization will provide master classes at four conservatories in China : Hong Kong Academy for the Performing Arts; School of Music of The Chinese University of Hong Kong, Shenzhen; Shanghai Conservatory of Music; and Tianjin Juilliard School.  The CMS artists on the tour are all committed educators, with teaching posts at The Juilliard School and Mannes College in New York City, Stony Brook University on Long Island, the Meadows School of the Arts at Southern Methodist University in Dallas, TX, University of Cincinnati College-Conservatory of Music in Ohio and University of British Columbia in Canada.

CMS's longtime commitment to sharing chamber music among CMS and Chinese musicians, composers, and audiences is evident. CMS’s first tour of China , at the invitation of the Beijing Modern Music Festival, was in 2015, with subsequent visits in 2017, 2018 and 2019 to Shanghai, Beijing, Nanjing, and Hong Kong. CMS has also welcomed China ’s leaders to its home campus at Lincoln Center; in 2014, Chinese Vice Premier Liu Yandong visited Lincoln Center and CMS, and the following year, China ’s First Lady Peng Liyuan visited Lincoln Center and met with artistic director Wu Han. 

Throughout its programming CMS continues to include many pieces by Chinese composers, including Zhou Long, Chen Yi, Ye Xiaogang, Tan Dun, Bun-Ching Lam, and Dai Wei, among many others. CMS has also featured many Chinese artists, including Wu Qian, Wu Man, Zhang Meigui, Li-wei Qin, Angelo Xiang Yu, Sihao He and the Shanghai Quartet. In addition, Chinese alumni of the rigorous CMS Bowers Program—a highly competitive three-season residency in which participants perform, tour and teach alongside CMS artists—include Zhang Daxun, Lang Lang, Angelo Xiang Yu, Sihao He, and Lun Li. Through its collaboration with Tencent, which began in 2019, CMS has provided more than 100 programs for online video streaming in China , including concerts and educational materials. CMS is a member of Beijing Forum for Performing Arts initiated by National Centre for the Performing Arts  and has worked closely with Naxos China to distribute its audio materials and albums in China .

Chamber Music Society of Lincoln Center China Tour, November 29 – December 12, 2023 Tour Schedule

Wed, Nov 29 , 8:00 pm

Hong Kong Concert 1

Hong Kong Academy for the Performing Arts

https://www.hkapa.edu/event/lincoln-center-chamber-music-series

BEETHOVEN              Trio in E-flat major for Piano, Violin, and Cello, Op. 1, No. 1 (1793)

BRAHMS                    Trio in A minor for Clarinet, Cello, and Piano, Op. 114 (1891)

INTERMISSION           

DVOŘÁK                    Quartet in E-flat major for Piano, Violin, Viola, and Cello, Op. 87 (1889)

Wu Han, Piano; Jose Franch-Ballester, Clarinet; Chad Hoopes, Violin; Kristin Lee, Violin; Paul Neubauer, Viola; David Finckel, Cello

Fri, Dec 1, 8:00 pm

Hong Kong Concert 2                                   

DEBUSSY Sonata for Cello and Piano (1915)

ADOLPHE Couple for Cello and Piano (1998)

BRAHMS Sonata No. 1 in E minor for Cello and Piano, Op. 38 (1862-65)

INTERMISSION

JALBERT Selections from Ephemeral Objects for Cello and Piano (2020)

SHOSTAKOVICH Sonata in D minor for Cello and Piano, Op. 40 (1934)

Wu Han, Piano; David Finckel, Cello

Sat, Dec 2, 8:00 PM

Hong Kong Concert 3 Hong Kong Academy for the Performing Arts

BEETHOVEN Trio in D major for Piano, Violin, and Cello, Op. 70, No. 1

WEBER Quintet in B-flat major for Clarinet, Two Violins, Viola, and Cello, Op. 34

FAURÉ Quartet No. 1 in C minor for Piano, Violin, Viola, and Cello, Op. 15

Tues, Dec 5, 8:00 PM

Shenzhen Concert

Longgang Cultural Centre, Concert Hall

Thu, Dec 7, 7:30 PM

Shanghai Concert

Shanghai Oriental Art Center Concert Hall

http://www.shoac.com.cn/#/detail?projectId=907976914558623744

BEETHOVEN Trio in E-flat major for Piano, Violin, and Cello, Op. 1, No. 1 (1793)

DVOŘÁK Quartet No. 1 in C minor for Piano, Violin, Viola, and Cello, Op. 15

Fri, Dec 8, 7:30 PM

Nanjing Concert

Jiangsu Grand Theatre, Concert Hall

http://www.jsartcentre.org/new_ticket_del2.html?id=217961044

Sat, Dec 9, 7:30 PM

Beijing Concert

National Centre for the Performing Arts, Concert Hall

https://en.chncpa.org/whatson/zdyc/202309/t20230914_255864.shtml

Tues, Dec 12, 7:30 PM

Tianjin Concert                                             

Tianjin Juilliard School, Concert Hall

https://www.tianjinjuilliard.edu.cn/node/1642

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The Beauty of Divine Beings Dancing

The gong resounds, the curtain opens, and a heavenly scene is right before your eyes. Fairies emerge from a sea of billowing clouds. Mongolians ride on horseback across grasslands as vast as the sky. Classic stories of love and loss, of humor and heroic deeds, come to life. You will be amazed by how vibrant, exciting, and profound classical Chinese culture can be.

“An explosion of color and sound... Chinese culture in its fullest flower.” — Charlotte Observer

A Divine Culture—Lost

Through breathtaking dance and music, Shen Yun’s artists tell of a time when divine beings walked upon the earth, leaving behind a culture that inspired generations. Ancient Chinese wisdom, infused with Buddhist and Taoist spirituality and values, gave birth to everything from medical innovations to opera, dance, architecture, and even martial arts. But after decades of communist rule, much of this divinely inspired culture has been destroyed or forgotten.

5,000 Years of Civilization Reborn

Shen Yun is a brilliant artistic revival and celebration of China’s rich cultural heritage.

Each performance consists of about 20 pieces, quickly moving from one legend, region, or dynasty to the next. Themes range from the delicate elegance of Tang court ladies to the battlefield heroics of valiant generals, from the timeless philosophical works of Lao-Tzu to spectacular scenes of magical realms. Some pieces also touch upon the topic of today’s China, shedding light on the oppression many experience for their spiritual beliefs, such as Falun Dafa. These tales of courage are often what audience members find the most touching and uplifting.

Shen Yun’s works convey the extraordinary depth and breadth of genuine Chinese culture, and bring the magnificence of five thousand years of civilization back to life on stage.

A Global Sensation

Shen Yun tours to some 150 cities around the world each year. From Tokyo to Paris, Sydney to New York, Shen Yun’s live performances garner thunderous applause and accolades from full houses everywhere.

Some audience members drive hundreds of miles to see it. Others watch the same performance five or six times. Why? There are simply no words to describe it—you have to see it with your own eyes to find out.

Join us for the experience of a lifetime.

“Life affirming and life-changing… It’s an experience that will stay with you long after the final curtain.” — Stage Whispers

China has become one of the music industry’s most talked-about emerging markets — and for good reason.

The International Federation of the Phonographic Industry (IFPI) recently reported a 35% increase in profits from the nation’s recorded music sector just in the last year. A handful of household international artists like Steve Aoki are already making the majority of their cash in China. With a huge population and twice as many smartphone users as people in the States, China’s swelling demand for music and entertainment seems like a no brainer.

However, for musicians looking to make their mark in the Middle Kingdom, promoting music and touring in China is anything but.

Photo by Catherine Lee

China’s music landscape differs from the rest of the world more so than any other country, and a brief look at its musical history may just reveal why.

In 1949, Mao Zedong came to power and founded the People’s Republic of China, the single-party state controlled by the Communist Party of China, which is still in power today. During this time, Mao harnessed music as a mass media vehicle to implement his dramatic ideological changes across a nation in turmoil, resulting in genres like Patriotic Music (爱国歌曲) and Revolutionary Music (革命歌曲).

Many point to this as the birth of popular music in China, even though music distribution and content were agenda-driven and tightly controlled by the government. Even after the height of political music during the Cultural Revolution, the “popular music” that followed saw limited invention beyond nationalist messages or conservative love ballads. Music’s role in society and peoples’ fear of persecution were decades engrained, and the importation of Western music, often politically charged, was tightly controlled or forbidden altogether.

Then came the 80’s and 90’s.

Western music gradually crept into China by way of Dakou (打口), which were millions of unsold Western records and cassette tapes imported for disposal. They were sawed or cut as trash, but unbeknownst to the government, many were still circulated and treasured amongst Chinese youth hearing something new for the first time. It was not until Wham!’s 1985 performance at the People’s Gymnasium in Beijing that the Chinese government would reluctantly hold its first-ever Western pop concert.

Since then, many more overseas artists have played China, and each has been subject to the government’s review and approval.

东方红 “The East is Red” Smithsonian Folkways

打口 dakou tapes with slashes Radii China

Though the world’s popular music today may feel less politically charged than the past, understanding the historical context of music as a political vehicle in China helps to explain the country’s conservative approach. In the West, people endowed music with the power to be political, whereas in China, the government did.

Music has long been viewed as a means to move the masses and with that power, comes a responsibility to protect it.

1985 Wham! concert in China

Before an artist steps on stage, they must undergo a long and rigorous review process.

Immediate no-gos include critiques of the Chinese government or its territories and overt references to drugs, sex, or violence. One popular reason for rejection in the past has been vocalizing support of Tibetan independence or the Dalai Lama, which has kept China’s doors closed to the likes of Lady Gaga, Maroon 5, U2, Bon Jovi, and Oasis (who were famously rejected after the government discovered a band member’s participation in a small Tibet benefit concert ten years before).

In 2017, the Ministry of Culture squashed a Justin Bieber concert on the grounds of “bad behavior,” following his recent arrest for drunk driving, berating a portrait of former U.S. president Bill Clinton, and accounts of public urination. In 2018 citing similar “bad behavior,” China banned hip hop music and tattoos from national TV entirely. While artists aligned with either are often looked upon with greater scrutiny, enforcement of the ban has been inconsistent, and since then, many rappers such as Smokepurpp, Joey Bada$$, and Rae Sremmurd have played China scot-free.

Even if content censorship was straightforward, other requirements for a performance visa are ever-changing and may differ depending on the region, the artist’s country of origin, or even superfluous factors like time of year, current events, or other concerts happening at the same time. Working with a seasoned and reliable promoter or representative is a must for navigating the process, which is referred to as baopi (报批), meaning “report for approval.”

It’s typical for a festival promoter seeking to obtain an event permit to ask an independent American artist on the bill to provide:

• Setlist and .mp3 files (exactly as they will be performed on stage)
• Transcripts of all lyrics (including Mandarin language translations)
• Live performance video footage for each song 
• 3 music videos
• Biography (translated)
• Show/tour history for the last 2 years

After this information is sent to the Ministry of Culture, the government reviews and conducts its own additional research. This process can take anywhere from a few weeks to several months, and filing fees are not refundable for rejected applications. Artists and promoters must wait until approval is granted before announcing and promoting shows, which can sometimes fall within days of the performance.

The process, which seemed to only apply to large-scale performances, has been recently enforced on club and live-house shows with as little as 300 attendees. This can be a huge financial burden for independent artists or small-time promoters who face similar application fees but much smaller profit margins.

As recent as spring of 2019, an independent American artist playing 300-700 capacity rooms across China was asked to pay as much as 8,000 RMB (~$1,200 USD) in baopi fees for one show in a 500 capacity room in Beijing. Even with a sold-out show, earnings wouldn’t have been enough to cover application fees, let alone the promoter’s basic expenses. While many artists and promoters of smaller shows skip this process entirely, it’s becoming a risk that fewer are willing to take.

For Ross Miles, a Shanghai-based artist manager and booking agent at Scorched Asia , China’s complex artist performance permitting and visa process can feel like a “total disconnect between real life and policy.”

Scorched has a reputation for consistently doing business above the board, handling China booking for Princess Nokia, Mitski, and others. They’re also behind Concrete and Grass , an annual three-day festival with genre-crossing billing that has included everyone from Chinese pop superstars such as Li Jian (李健) to A$AP Ferg and Little Simz.

But constantly changing regulations can leave even the most seasoned industry leaders like Scorched puzzled as they wrestle with frequent “inconsistencies between Chinese consulates, embassies, and visa centers.” For example, some insist upon original documentation while others allow scans. Chasing down original signatures through international post may seem like a small annoyance but can cause serious setbacks amidst unpredictable timelines and fast-changing rules.

In China, working with an experienced promoter is a must for navigating the unexpected. Success stories still outnumber failures and by working with the right partners, international acts such as Chromeo, The Jesus & Mary Chain, Masego, and Lil Yachty have all packed out rooms across China in the last six months.

Today, the government still regulates China’s lean information diet; its internet censorship is one of the most extensive and complex in the world. Putting together a compelling local strategy in China is as important as it is challenging since most Western social media platforms and search engines are blocked in China. While many young people use virtual private networks (VPNs) to sidestep the government’s internet censorship, music distribution and promotion still happen predominantly on local platforms. 

charityssb of Shanghai collective Genome 6.66Mbp Photo by Catherine Lee

August Cohlmia, founder of Shanghai-based booking agency and artist management consultancy Alchemist Asia , has met both a fair share of challenges and successes looking after acts such as Ryan Hemsworth, Sevdaliza, and BADBADNOTGOOD in China.

For Cohlmia, it’s not the visa approval process but marketing and promotion that pose the greatest challenges.

“Though the landscape has become much more open for audiences in China to discover and connect with new artists, there still exists many factors and styles of marketing unique to China that an artist or their manager are not familiar with and may not be comfortable with at first,” explains Cohlmia. 

In other words, when in China, do as the Chinese do.

“While of course, it’s always the job of a booking agent to make sure an artist is represented according to their needs and how they want to be portrayed, we need to help them understand that China is still a very different market than what they’re used to. Participating in things like interviews with Chinese publications, streaming sessions, engaging with fans on Weibo (China’s equivalent of Twitter), collaborations with record labels, etc., can absolutely get an artist more attention ahead of their tours here and create a real conversation with a potentially huge fanbase.”

Arkham Shanghai

Photos by Marie Berger

Fortunately, most Western distributors and labels distribute directly to Chinese DSPs, but despite some similarities, these and other Chinese platforms differ too greatly to take the same approach as in the West.

For example, top streaming services QQ and Netease both have wildly popular built-in social timelines similar to a Facebook feed with commenting, sharing, and liking functions. High engagement on these timelines can vastly improve a track’s performance and spread its reach exactly where streams and discovery happen. Fan engagement on Chinese DSPs is even more powerful than platform-controlled playlists or banner features — one could even argue that music discovery in China is, ironically, more democratic than in the West.

Main China Social Media: WeChat, Weibo, TikTok

Main china dsps: qq, netease (网易), kugou (酷狗), kuwo (酷我), xiami (虾米), blocked in china: google, facebook, twitter, instagram, youtube.

That said, simply getting access to DSPs’ social features is an arduous process, especially for a non-Chinese speaker. This usually involves  contacting the platform directly, binding the account to a local phone number, submitting passport scans, and navigating the backend entirely in Chinese. As a result, many artists miss out on building a local presence that is key for their future in China.

The bright side is that for more resourceful artists who do make their way onto local platforms, there is a sincere appreciation from fans (and being a big fish in a small sea of international artists activated on local platforms presents its own opportunities). In one instance, Adam Miltenberger, a resourceful manager who formerly worked with alt-R&B artist JMSN, put out a call for help on Instagram after announcing a run of China dates in 2017. Fortunately, an eager young fan responded and helped him gain access to DSP’s timelines and navigate Weibo, which greatly helped to promote their tour.

Artist Kristen Ng Photo by Colin 四四

While at first glance, touring China may seem more trouble than it’s worth, there is a silver lining: a massive fanbase behind the firewall who simply can’t take their favorite international artists for granted.

On the industry side, passionate people behind the scenes keep things afloat, such as Kristen Ng, a Chengdu-based artist who goes by KAISHANDAO. As the founder of Chengdu culture blog Kiwese and an independent music promoter for NU Space , Ng sees such challenges as “just one side of the coin, one that is ignored or unknown to the vast majority of music punters.” Despite all the obstacles, the demand and support for independent music and culture events are growing as the underground scene continues to thrive in new and innovative ways.

When asked what keeps her going despite the newfound red tape, Ng’s answer is refreshingly optimistic.

“The spirit of change. The pooling together of can-do attitudes. The excitement and activity. The ups and downs. The push and pull. While certainly challenging, it’s never boring. This weekend alone [in Chengdu] there was a three-day outdoor ambient music festival , an experimental East Asian music collective , the reopening of an underground club with a headline from Ostgut Ton , and a return DJ set from techno producer Marco Shuttle . Not to mention parties of all genres scattered throughout the week, a BBQ at a tattoo studio, a live modular show, and everything in between. It’s non-stop and a thrill to be part of.”

There is an unspoken assumption within the Western music industry that modernization means Westernization. But a quick look at China’s past and present makes it clear that this may never be the case for the Middle Kingdom. In fact, China has become a key market, highly rewarding to those willing to put in the extra elbow grease to crack it.

Photo by Thanakrit Gu

Allyson Toy is a US/China-based music and media professional with over 12 years of experience in artist management, music touring, original content creation, marketing, and talent programming in both East and West. Toy has previously handled artist relations for Red Bull, 88rising and The FADER and worked in music touring at WME and CAA. She is passionate about helping friends and artists better understand China, DJing, discussing Asian American issues and overeating.

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How China’s Musicals Lost Their Groove

Written by Wu Changchang | 15th Nov 2021 | China , Essay , Musical Theatre

A stage photo of the musical "Santa Lucia" taken by Zheng Tianran, April 28, 2021. From @天然shadow on Weibo.

Chinese musical theater has largely abandoned high-concept shows in favor of shallow engagement with idol culture.

Where are all the Chinese musicals?

This question isn’t as low stakes as it may seem. China has a long history of musical theater, from lyric ci poetry to the mixed musical stylings of Yuan Dynasty drama, to say nothing of various regional operas. As China developed economically, melding these traditions with the business models and production techniques of Broadway or the West End should have been relatively straightforward. At least, that was the idea when the Shanghai Conservatory of Music added a musical theater department in 2002.

And yet, somewhere along the way, those plans went awry, as the country’s musical producers eschewed Western models in favor of a closer-to-home source of inspiration: South Korean idol culture.

Three years ago, Hunan TV debuted the reality singing competition “Super Vocal.” A kind of “X Factor” for aspiring musical theater stars, it featured a cast of 36, the top six of whom were guaranteed a place on an upcoming nationwide tour. But, unlike “X Factor,” “Super Vocal” wasn’t offering participants a chance to break into an already well-established industry. Instead, like so many other popular competition shows that came before it — including “ The Rap of China ” for hip-hop and “ Rock and Roast ” for stand-up comedy — the program played an outsized role in shaping Chinese audiences’ understanding of what musical theater is. The show boosted the medium’s popularity while also conditioning the public to expect a very particular kind of performance.

To understand how this has worked in practice, it helps to start with the show’s casting decisions. It was no accident that all 36 participants in “Super Vocal” were men. By casting a spotlight on male performers, “Super Vocal” exploited the country’s love affair with fresh-faced young male idols , turning them into the face of the musical theater industry. There was a twist, however. To differentiate the show from more superficial idol trainee competitions, the producers set three criteria for joining the cast: good looks, an advanced degree, and singing chops. The idea was to give the show a sense of exclusivity and good taste, allowing fans of “Super Vocal” to claim to be more cultivated than other idol-worshippers, even as they generally engaged in the same over-the-top practices that have become so widespread in Chinese fandom culture.

Baritone Liao Changyong (far left), a judge on the first season of the reality show “Super Vocal,” performs with cast members in Guangzhou, Guangdong province, 2019. From @湖南卫视声入人心 on Weibo

There’s no denying that the premiere of “Super Vocal” gave China’s musical industry a needed shot in the arm. But much of the growth over the past three years feels unsustainable. Take Shanghai, for example. Although the city is probably the center of the Chinese musical theatre industry, few local producers are willing to invest the time and money it takes to develop a world-class show. Instead, many outfits have opted for get-rich-quick shortcuts, copying “Super Vocal” and cobbling together low-budget remakes of Korean musicals with male-heavy or all-male casts. These are generally centered on everyday life, sprinkled through with a dash of human elements, and hastily given a Western-feeling title for greater cultural cachet.

For instance, the Shanghai-based production company Focustage staged performances of two Korean musicals, “Mia Famiglia” and “Santa Lucia.” Tickets sold out quickly, but fans weren’t drawn in by the show itself; rather, they were buying tickets just to witness the all-male cast perform homoeroticism. Like “Super Vocal,” these shows benefitted from the buzz generated by “shippers” of various actors or roles. For all its pretensions, musical theater’s embrace of idol culture has put it in the same position of reliance on danmei (“boys’ love”) culture as the online drama industry before it. The shows target predominantly female audiences with highly attractive male actors engaged in suggestive — and mostly performative — homosexual romance.

Focustage is hardly alone. The Shanghai Culture Square Theater used to devote itself to staging big-budget Western productions like the German-language musical “Elisabeth” and the French show “Mozart, l’opéra rock.” Now, unable to resist the financial lure of danmei, it is debuting the Korean musical “Fan Letter” at the end of this year. Centered on a love story that blooms between two men communicating via letters, the production is little more than a vehicle for cashing in on the danmei trend.

At issue isn’t necessarily the subject matter — musicals are one of the few forms of entertainment that have evaded increased government scrutiny of homoerotic content, at least so far — but the quality of the end product. Imagine the experience of a curious audience member stepping foot into a theater hall for the first time. Having shelled out for a show that costs far more than a movie ticket, they find themselves listening to mediocre music and a production aimed at selling homoeroticism to die-hard danmei fans. What are they going to think of musicals as a medium?

The heightened focus on homoeroticism has left female performers out in the cold. — Wu Changchang, associate professor

Within the industry, meanwhile, the heightened focus on homoeroticism has left female performers out in the cold. Since musical theater’s embrace of danmei, actresses have become little more than props for their male peers. As a result, companies no longer see any reason to create female-centered productions, worsening the industry’s sexist practices. Even Xu Lidong, a well-known Shanghainese musical performer, has struggled to find work. After a rare show last year in the southeastern city of Xiamen, she knelt in front of the audience and told them that it had been well over a year since her last booking.

Male performers, too, have struggled in this new environment. Like their peers in the idol industry, the most popular performers have found themselves juggling several shows at the same time, resulting in their tendency to blur their different characters together while performing onstage. Some perform twice a day until their exhaustion becomes impossible for fans to ignore. Unable to build any sort of theatrical reputation, the market for their skills revolves solely around their youthful bodies, looks, and energy — all of which are temporary. Once they’re gone, these actors will find themselves callously cast aside, just like their female counterparts.

Making this all the more disappointing is the fact that China’s musical industry is squandering a golden opportunity. Since the outbreak of the COVID-19 pandemic last year, international troupes have been unable to tour. Instead of taking that time to reflect and improve on their homegrown productions, theater companies have premiered a wave of derivative musicals that are centered on queer baiting rather than showcasing musical talent.

Sooner or later, the pandemic will end, the country will fully reopen, and sophisticated, well-made Western musicals will reappear in the country’s theaters. When that happens, what will local troupes have to offer? They may be about to learn that cheap thrills only get you so far.

Translator: Katherine Tse ; editors: Wu Haiyun and Kilian O’Donnell . 

This article was originally published by Sixth Tone on October 24, 2021, and has been reposted with permission. To read the original article, click here

This post was written by the author in their personal capacity.The opinions expressed in this article are the author’s own and do not reflect the view of The Theatre Times, their staff or collaborators.

This post was written by Wu Changchang .

The views expressed here belong to the author and do not necessarily reflect our views and opinions.

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Titanic The Musical

Published on Oct 3, 2023

Genre : Drama

Dates : November 2-6, 2023

Venue : Century Theatre

Prices : 180, 380, 580, 780, 880, 980

Features : The Tony Award-winning musical Titanic UK's 10th anniversary limited tour edition will be stage in the Beijing Century Theatre from November 2 to 6, 2023.

The performance is in English with Chinese subtitles

Brief introduction.

To celebrate the 10th anniversary of the London edition, the Tony Award-winning musical Titanic UK's 10th anniversary limited tour edition will be released on the Beijing Century Theatre from November 2 to 6, as the only stop in North China and the last stop of the China tour, The film Titanic will be performed for seven consecutive performances in Beijing.

Unlike the film, the musical Titanic is based on the real people of this legendary ship A heart-moving work. A tribute to the 1912 Titanic event, the Broadway musical composer Merry Iston and screenwriter Peter De Stone has revived the unsinkable " epic musical today, 111 years later.

Every name in the musical is the real name of the current passenger. The plot focuses on describing every big or small character in a historical event Fate and the story, through the plot and music, show the light of humanity in different classes of passengers in the face of tragedy brightness.

Molly Yeston is a famous musician on the world music stage and has won the highest awards in drama music, He won two Tony Awards; writing from three Tony Award winners and Best Original Screenplay at the 37th Academy Awards Playwrights Peter Stone; Tom Sutherland, artistic director of the Charing Cross, except the musical Titanic has also directed dozens of great musicals; such as lighting design, sound design, sets and kimono Installation design, all by the west End of London.

At the 51st Tony Awards, the musical Titanic will be the best musical, best screenplay, and best match Music, the best arrangement, the best stage design of the five awards. At the same time, he won the 1997 Drama Critics Award "Outstanding Arrangement Award" and 1997 Grammy Awards-Best Musical Album (nomination).

To celebrate the 10th anniversary of the London version, the musical Titanic has restarted production and launched a limited global tour. The tour features a rare cast of 25 actors, with 126 figures, including eight London leaders As a cast, 17 outstanding actors resident in London, his delicate and complicated costumes up to more than 600 pieces, while with the scene give an instrumental performance. High-level tour production, heart-shaking moving songs from different angles, multi-story lines, detailed capture of history, singing Song of the immortal life.

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‘Crazy Rich Asians’ Broadway Musical in the Works From Director Jon M. Chu

By Rebecca Rubin

Rebecca Rubin

Senior Film and Media Reporter

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Break out the dumpling wrappers and mahjong sets because “ Crazy Rich Asians ” is coming to Broadway .

The beloved romantic comedy is being developed as a Broadway musical by director Jon M. Chu , who helmed the 2018 film of the same name. Warner Bros. Theatre Ventures and the book’s author Kevin Kwan are backing the musical endeavor.

“Crazy Rich Asians” will mark the Broadway debut of Chu, who has become Hollywood’s go-to filmmaker to bring stage shows to the big screen. He’s currently working on Universal’s two-part “Wicked” adaptation and previously directed the cinematic version of Lin-Manuel Miranda’s “In the Heights.”

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The 2019 film, starring Constance Wu, Henry Golding and Michelle Yeoh, topped the box office for three weeks and eventually grossed $239 million globally. A sequel, based on the follow-up novel “China Rich Girlfriend,” has been in development for five years.

The musical adaptation will feature a book by Leah Nanako Winkler, music by Helen Park and lyrics by Amanda Green and Tat Tong. Additional details on its timeline for a pre-Broadway engagement will be announced shortly.

“Crazy Rich Asians” is one of several blockbusters — including “La La Land” and “The Devil Wears Prada” — that’s turning into a live musical. Stage versions of the 1985 sci-fi comedy “Back to the Future,” 2004’s romance drama “The Notebook” and 2011’s circus-inspired “Water for Elephants” are currently playing on Broadway.

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