Born and raised in Tongliang, China, I became increasingly aware of the state-driven revival of the local dragon dance over the past decade. Prompted by the incentives of boosting a cultural-tourist economy and reinforcing a dragon-centered collective identity, the local government has invested in reifying “dragon” throughout public infrastructures, educational programs, and recreational activities. 

Dazzled by the magnitude of reviving the once-banned dragon dance, I conducted two months of fieldwork. During this experience, I learned about the varied interests among craftspeople, performers, and audiences in adapting the ancient tradition of dragon dance to modern aspirations. However, these grassroots voices have been overwhelmed by state propaganda.

In the exhibition, “龙 拢 垄 Dragon Unmasked,” working with bamboo, plaster, and fabrics, I aim to bring 2D documentary into 3D forms so that the audience can feel, hear, and touch Tongliang locals’ voices in materializing their dragon imagination. Furthermore, I seek to unmask the invisible institutional forces that shape our cultural practice.