The Chinese opera, "Wu Chia P'o" (Enduring Love), is filled with scenes of Wang Pao-ch'uan going in and out of her cave dwelling as she waits eighteen years for the return of her husband. When leaving the cave she would let her sleeves hang down and carry a basket in her left hand. Her right hand would wave back and forth as her sleeve followed in a wave-like motion. At the same time she would turn towards the small entrance of her cave dwelling, put her left foot forward, and gracefully stoop down with her left hand behind her back and her right hand just above her forehead so as not to bump her head on the doorway. She would lower her body and then step out and stand up, letting her long sleeves hang down. Just seeing the woman going in and out ot her dwelling is beautiful in itself, but of course if it were not for the sleeves, much of the effect would be lost.

With a few exceptions, shui hsiu, or "water sleeves," appear in almost all Chinese opera. The sleeves are "white and extend at least two inches beyond the index finger, while those used during dance training are usually about two feet long. The length of the sleeves in Chinese opera varies according to the role. Liang Hsiu-chuan, an instructor in the Department of Opera at Chinese Culture University recalls seeing Chen Yen-ch'iu wearing five-and-one-half-foot sleeves in a performance of Tung Wu Erh Ch'iao (Two Beauties in Tungwu) in Peking.

The sleeves are known as "water sleeves" since their movement resembles the flow of water. In ancient times common people would add an extra piece of cloth to their sleeve in order to prevent it from getting dirty. It was usually dark in color. Later it became something more of an accessory, and people became more and more particular about the quality of the material used. It was not until the sleeves were used in traditional opera that they were changed to white. Li Tien-k'uei, a professor at National Taiwan University who has studied Chinese opera for quite some time, says, "From many wall paintings and carvings we can see that even before the Han dynasty (206 B.C.-219 A.D.), there was a dance performed with a kerchief. The idea of water sleeve dancing which appeared in the Sung (960-1279) and the Yuan (1277-1367) probably stemmed from there."

Water sleeves are also a unique stage property of local operas in China, whether it is Peking Opera, Shaohsing opera, or the popular folk melody which originated from Huang Mei; sleeves have been used to exaggerate feelings and increase the effect of movements.

Water sleeve movements of local opera vary slightly from area to area. For example, in the Shaohsing opera entitled Hsin P'an Fu So Fu held in March at the National Theater Hall, the leading female role displayed the technique of water sleeve dancing. In the scene where she has a quarrel with her father, she uses several sleeve movements to express her feeling of anger.

Li Tien-k'uei feels that no matter if it's a motion of tossing one's hair back, waving a plume fan, or the flow of water sleeves, they are all an extension of the body used in the art of performing. Take water sleeves for example; the extent of expression that can be conveyed by an actor's hand movement is limited. After adding the sleeves, not only is the meaning of the opera deepened, but also it can make the graceful and tender figure more noticeable and give the viewer a strong and sharp sensation.

If a sense of despair is to be expressed, then both sleeves are lifted high into the air at the same time. To express sorrow the sleeves can be drawn close to the eyes in a gentle manner as if wiping away tears. A look of shame or embarrassment may be achieved by lifting one sleeve and covering the face. Satisfaction can be conveyed by swinging both sleeves back and forth while letting out a big laugh. All of these actions are similar to those in our own lives, but with the addition of the sleeves these actions are given new depth and beauty.

Generally speaking, the major types of characters in Chinese opera--the youth roles, female roles, painted-face roles, and clownish roles--all have sleeve scenes, the busiest part being when the ching i,--usually a faithful wife role--performs a dance with water sleeves. The reason for this is the accessories of ching i emphasize virtue and moderation. Dressed in a simple manner, she's far from a carefree and vivacious female role. Also, there are many emotional scenes by the leading female role, so water sleeves gradually became a tool to help convey these ideas.

The famous Ha Yuan-chang, actor of the aged male role says, "With a few exceptions water sleeves in various roles are based on a few basic principles. There are different styles such as the water sleeve movements found in the martial roles clearly have to be somewhat harder than those used in the civilian role."

Artist Wang Lan, who paints characters from Chinese opera, says that the biggest difference between Chinese opera and Western opera is the music used. In Chinese opera the music must follow the movements of the actor.

Water sleeves are also used in modern dance. In performances by the Cloudgate Dance Ensemble there are many instances of water sleeves from Chinese opera mixed with Western ballet. Lin Huai-min, creator of the Cloudgate Dance Ensemble, says that water sleeves in Chinese opera are like a Chinese calligraphy brush; they can convey a sense of moving clouds and water, making the expression more forceful.

The expression "One who has long sleeves dances best," meaning one will succeed much easier if he has something to rely upon, when used to describe a person, may have either a good or bad connotation. But when it's used to describe someone in the operatic circle, especially modern dancers, it's meant as one of the highest compliments. 

[Picture Caption]

Water sleeves are an important prop in Chinese opera. With them tenderness, anger, grief, and fury can be emphasized even more and the actions made more beautiful.

They are called water sleeves because when they are swayed back and forth they resemble waves of water or drifting clouds.

The young man's role in Chinese opera also calls for water sleeves. He usually shakes his sleeves more forcefully than the leading female character does.

Water sleeves are an important prop in Chinese opera. With them tenderness, anger, grief, and fury can be emphasized even more and the actions made more beautiful.

Water sleeves are an important prop in Chinese opera. With them tenderness, anger, grief, and fury can be emphasized even more and the actions made more beautiful.

Water sleeves are an important prop in Chinese opera. With them tenderness, anger, grief, and fury can be emphasized even more and the actions made more beautiful.

They are called water sleeves because when they are swayed back and forth they resemble waves of water or drifting clouds.

The young man's role in Chinese opera also calls for water sleeves. He usually shakes his sleeves more forcefully than the leading female character does.