Chapter 130: Pioneering a New School of Thought

Although Li Lekang’s Flying Apsaras performance has yet to receive a confirmed date, American fans are already preparing as though they were about to celebrate a holiday by fighting for tickets. Videos of the performance, whose popularity had faded somewhat recently, have once again surged into public view.

YouTube now boasts more professional commentators discussing it. Though the creator is a foreigner, he has clearly done his homework. He analyzes the elements of the costumes, interprets the cultural background, and can even say a few words about Loulan.

Such knowledge is unnecessary for Chinese viewers, but for foreign fans, it provides an excellent supplement to the background of the Flying Apsaras, helping them immerse themselves more deeply in the song and dance.

Li Lekang deliberately watched the video and left a message praising the creator’s work.

As expected, his comment was showered with likes by netizens.

Even the uploader excitedly replied beneath it, asking when Li Lekang’s performance would take place.

What this scene truly revealed was the essence of cultural dissemination: first, you have to attract people. Only when something strikes them as dazzling and extraordinary will they willingly study and learn more about it.

To put it bluntly, Black Myth: Wukong has sparked far greater interest among foreigners in the stories of the Journey to the West than the dry and tedious Confucius Institutes ever have.

Li Lekang wanted to achieve much the same thing. He had no intention of reciting lessons from a textbook. He simply wanted to showcase the most distinctive and brilliant aspects of the culture, leaving audiences astonished and filled with admiration.

Once their interest was piqued, the stories and history behind it would naturally remain in their memories.

The recent surge in Google searches for “Dunhuang Flying Apsaras” said it all. Countless fans had already begun studying in advance, unwilling to miss any of the highlights simply because they were unfamiliar with the background.

The relevant Wikipedia entries were also expanding, with no shortage of contributions from Chinese enthusiasts. They described the poetic scene in detail in English and added numerous illustrations, allowing more interested viewers to experience its charm.

All of this was thanks to Li Lekang. Through his exquisite performance, he had won over audiences and inspired more people to learn about the rich stories behind it, broadening their horizons regarding the arts of China.

Li Lekang had become an outstanding contributor in the eyes of the cultural and tourism authorities. Dunhuang’s official administration even appointed him its cultural ambassador, granting him free admission to the scenic area whenever he visited in the future.

The Flying Apsaras video was also incorporated into the local art museum’s collection and screened as a work of video art. Naturally, Li Lekang received a respectable copyright fee for it.

The several female dancers who had performed alongside him became famous as well. The performance greatly expanded their recognition and successfully brought them into the spotlight.

As traditional Chinese clothing and Chinese-style aesthetics gradually gained popularity among young people, the graceful Dunhuang costumes they wore became an object of imitation for countless young women. Online shopping platforms had already begun releasing new versions at remarkable speed.

This helped promote the diversification of traditional Chinese clothing. It no longer had to consist solely of loose, elaborate jackets and skirts. It could also take the form of desert fairies with exposed shoulders and bare midriffs—and on women with good figures, the latter style looked even more striking.

The rise of Dunhuang Flying Apsaras attire was not initiated by Li Lekang, but its sudden explosion in popularity and the fervent public demand for it were unquestionably due above all to him.

Even in terms of artistic achievement, Li Lekang lived up to the title of master. Through this performance, he had created a school of performance with a distinctly personal style: magical art.

By skillfully blending magic with local cultural customs, he gave traditional artistic performance wings of imagination and infused it with a wholly new vitality.

It was said that some art universities were even considering offering it as an elective course, hoping to give traditional art a new lease on life. Li Lekang might even become a specially appointed professor.

The domestic media did not overlook him either. China Central Television enthusiastically sent him an invitation for an interview. For a media organization of that stature, Li Lekang naturally would not be absent; the invitation itself was recognition of his artistic achievements.

And so, Li Lekang accepted the interview at the Ritz-Carlton Hotel.

On camera, he appeared young, handsome, and full of confidence. While others his age might still be lost in the hazy innocence of youth, he had already created one achievement after another. He had staged a performance that drew an audience of eighty thousand, and his broadcasts had attracted more than twenty million viewers.

If his earlier accomplishments had confined him to the realm of a “pop star,” then the Flying Apsaras magic performance he had personally designed had carried him into the temple of art. He was no longer merely a star of popularity and traffic.

Before the cameras, Li Lekang spoke at length about his understanding of art and culture, the original concept behind his creation, and, of course, his gratitude for the tremendous support provided by the Youth Dance Troupe.

When the reporter asked about his future plans, Li Lekang revealed, “In fact, the idea of combining magic with art is something I’ve had for a long time. I’ve also seen the enthusiastic response from the audience, so in my future plans, I hope to showcase more humanistic art and integrate it into exquisite magic performances.”

China Central Television was usually known for its solemnity, but it unexpectedly adopted a playful tone. “On behalf of all the viewers eagerly awaiting your next performance, may I ask where you plan to go next?”

Li Lekang smiled at that. “That hasn’t been decided yet, but I’d like to take the team to see more of the world. China has an immensely rich history and culture, so there are plenty of subjects we can draw from.”

“Actually, I’m not limiting myself to Asia. I’ve also thought about going to Africa, to explore the civilization and customs of ancient Egypt, and to Europe, to revisit the Renaissance or the era when magic and alchemy were at the height of their fascination. I hope to bring historical legends to life in a lively and engaging way.”

The reporter listened with solemn admiration. “I believe this will be a journey where magic and art come together. I’m already looking forward to your next performance!”

The authorities were practically demanding an update.

Li Lekang could only smile at the camera and promise that he would do his best to prepare it soon and would not disappoint everyone.

The interview ended on such a pleasant note.

After it was broadcast, even more organizations took the initiative to contact the team.

For instance, tourism officials expressed their willingness to help. If there were locations capable of supporting the production, the team could contact them for assistance.

Though the statement was brief, it was essentially an official VIP pass.

Everyone had witnessed the excitement Li Lekang had generated, and in China today, cultural promotion was also an expression of confidence in a strong nation.

Unfortunately, opportunities of this kind were rare, and people capable of creating such an impact were few and far between. Chinese kung fu culture had once spread throughout the world, but as the older generation withdrew from the stage, it gradually fell into decline.

From the authorities’ perspective, a single performance by Li Lekang had prompted the entire world to begin pondering Eastern culture. What an extraordinary feat that was.

Therefore, when dealing with an international superstar of such remarkable influence, they were willing to open every possible door in this field.

In the past, if a production involved filming at certain attractions or locations, the team might have needed to spend one or two weeks completing the required procedures. Now, it might take no more than a single phone call.

Recommendations for various sites of cultural significance and scenic areas were also sent to Judy’s email.

It would take her more than a little while to read through them all.

But when it came to understanding Chinese culture, Judy was, after all, a foreigner. How could she comprehend it as deeply as Li Lekang, a Chinese traveler from another world? He had already decided where he wanted to go next.

He would go to Mount Lao, a place overflowing with legends of alchemists, sorcerers, and strange supernatural tales—and also one of the great centers where Taoist culture had flourished.

After indulging in the thrill of becoming a flying fairy from the Western Regions, Li Lekang now wanted to return eastward and perform a dazzling portrayal of the Taoist immortals native to China.