FORMER Tibetan serfs and slaves are taking part in the current national minorities' amateur stage arts festival in Peking. They put on one of the most moving performances already seen. It is not only in the words and subject-matter, but in the lilt of their songs and rhythm of their dances that they tell you a new day has dawned. Near crushed by the savage oppression and exploitation in feudal Tibet, they were ragged and emaciated only five years ago.　Today, fit and healthy, they hold their heads high- builders and artists of socialism.

Their songs and dances are often couched in traditional forms, but the content, and especially the freeness of spirit characterizing every item, are completely new. Serfs and slaves in old Tibet could not even call their bodies their own, much less did they have the right to vote.　 These thoughts crowd in on audiences as they watch the song and dialogue Choosing Our Candidate.　A group of young men dressed in holiday best meets a group of young women, both on their way to choose their candidate for township people's deputy. They fall into an argument; each tries to convince the other side its candidate is best.　After quick repartee in song and recitative, the girls finally convince the men that Nima is the one to vote for, because

". . . to make a pillar one chooses sandalwood;

For a people's deputy one wants the best.

Nima was a slave; her roots are right,

She works and studies day and night.

Her mind is sharp; her eyes are clear,

She'll　lead　us　 forward, never fear. . . ."

Tibet's former serfs and slaves have taken their government into their own hands; as this act shows, they know how to manage their affairs.

"For the first time . . ." is a phrase constantly used in Tibet.　 Sodnam Wanggyal takes this as the title of his song in which he enumerates dozens of changes in his life and in the life and work of his people. Every word and note of this old ex-serf rings with the conviction that those changes cannot be better.

The changes he sings of and other changes--new joys of the people, youths training as militia cavalrymen, building up new homes--are illustrated in many dances. Harvest Dance and other dances of labour are done with delightful directness of feeling.　 Emancipated Tibet has gathered in six rich harvests in as many years. And the consciousness of that is reflected in the brisk tap dance steps of the young farmers wielding their sickles, or the driver who joins them cracking his whip from an imaginary cart.

Items often express a pervasive sentiment: love for the Communist Party and Chairman Mao.　A Hata for Chairman Mao, the opening dance, the songs of gifted soprano and ex-serf girl Yangshi and many others are about this. The Tibetans sing of Peking as "the Golden Mountain," and they brought to it the greetings of all Tibet.　When they left Lhasa in October, it gave them a memorable send-off.　Almost the whole city poured into the streets, making music, handing them hat as of white silk and giving them messages to take to the capital.　 The father of one of the young men in the delegation gave him a coat he had kept for almost six years - a "Liberation Coat" he called it, the first good coat he'd ever owned, given to him during the democratic reforms. He deemed it only fitting that his son should wear it to Peking.　These scenes were obviously fresh in the minds of the performers when they appeared on the Peking stage.

Artistically, the Tibetan festival offerings are of a high level. The women wear their lovely national costumes: a bodice with flowing sleeves, a gown over it, and a brilliant apron of many colours. Their favourite dance movement is a rhythmic waving of their long sleeves, and of the men, vigorous body movements and stamping steps.　Their songs are melodious, in the high, spiralling tones which come from life out in the open. Instrumental playing, singing, dancing and acting are often combined in the same act.

The group of 36 are peasants, herdsmen and handicraftsmen from various parts of Tibet. They include Labour　Models　and　Communist Youth League secretaries, as well as a district women's association chairman of the Monba nationality from the Himalayas.　One can see that singing and dancing are part of their daily life, born out of an urge to express themselves artistically and politically and to inspire others with the spirit of socialism.　 This makes for a complete lack of self-consciousness and great spontaneity. Excellent for mass propaganda, their numbers are short, usually requiring only a few people, and they make do with practically no props.

These artists of the working people play a big role in everyday life in Tibet. That region today has 10.000 such amateurs in 500 troupes, all formed since 1959.

(This article appears on page 30, 51, 1964)