“Among all the performing art groups traveling overseas each year, acrobatics accounts for 80 percent, which is extraordinary high,” said Dai.

“There is hardly a performance that isn’t warmly received by overseas audiences, no matter in which part of the world,” said Chen Runhua, vice president of Beijing Acrobats Association. “Chinese acrobatics is playing a leading role in cultural exchange between China and other countries.”

But the situation is very different at home. No matter how acclaimed the performance, acrobatics is still facing low ticket sales.

A short-lived run of the acrobatic performance Splendid, performed by China National Acrobatic Troupe last summer at the Poly Theater in Beijing, is one example.

As one of the most elaborate and artistic Chinese acrobatic performance series, Splendid was composed of thirteen unique routines, with each winning golden medals internationally.

Combining Chinese acrobatics with other performance arts and media, the show also provided a spectacular array of traditional Chinese arts, including Chinese calligraphy, ink painting and classical dance.

Although lauded by critics, the opening performance sold a disappointing 30 tickets, a far cry from selling out the 1,200-capacity theater.

But Chinese acrobatics also has itself to blame for its cold domestic market. By placing too much emphasis on technically difficult moves, troupes are overlooking showmanship and captivating the audiences’ interest as a priority.

“As many come from poor families and devote themselves to acrobatics from a very young age in order to make a living, most performers did not have the opportunity to receive formal education. This is one of the reasons why there isn’t enough innovation within the art,” said Chen.

That is why the Beijing Acrobat Association is planning to raise more money for several selected acrobatic troupes.

“A scholarship fund is also being established, aiming to help provide education to young acrobats,” said Chen.

By Wu Ziru

Editor: Feng Hui