Bridget Lu

Bok Choy

Having no previous experience with public performance or the lion dance, research was conducted through visits to Toronto lion dance schools, conversations with local elders and queer lion dance performers, and public interventions from grocery stores to Chinatown to Yonge-Dundas square. As a second-generation Chinese Canadian, the process of research, construction, and performance allowed me to reconnect with culture and community on a deeper level. Changes from the typical, male-dominated lion were made during the construction, creating space for myself and my communities in an iconic and historically unchanging cultural practice. These include removing the beard, adapting the costume for narrower shoulders, sewing a skirt instead of pants, and using colours and motifs with personal significance. Additionally, contemporary and locally sourced materials such as duct tape, paper towel, and PVC pipes were used instead of traditional wood and bamboo. Finally, the open mesh side of the lion speaks to dichotomies and hybrid identities: in the aspect of performance, the identity of the performer is always visible, allowing a simultaneous empowerment and vulnerability in the presence of the lion.