Each year, Angela Xiao’s family returns to the theater. Her mother, Ms. Fang, attends whenever she can, watching from her seat as her daughter moves between leading and supporting roles with Shen Yun Performing Arts. Over time, what has stayed with her is not any single performance, but a steadiness that has gradually taken hold in her daughter both on the stage and beyond.
Her grandfather puts it simply: watching her on stage makes him proud.
Sixteen years have passed since Xiao left Vancouver for New York to study at Fei Tian Academy of the Arts. At the time, she was still a child, the youngest in her class. The decision to go, her mother recalled, was her own.
From an early age, she was drawn to traditional Chinese culture. Born into a family that practices Falun Gong, a spiritual discipline banned in China, she moved to Canada at age four. Community parades and cultural performances filled her early years, gradually shaping her interests. Her grandfather remembers telling her stories rooted in traditional values; by four, she could already read Zhuan Falun, the practice’s foundational text, and recite poems from the collection Hong Yin. Her mother believes this upbringing fostered an early independence, allowing her to choose a boarding school far from home while others her age struggled to leave.
When she entered Fei Tian in 2008, she adjusted quickly with help from teachers and classmates. Years of touring followed, taking her across Europe, the Americas, and Asia. Performing in major theaters broadened both her stage experience and her worldview.
The art of looking inward
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Xiao rarely spoke about the physical demands of touring. Instead, she shared how meaningful it felt to present traditional culture to global audiences. On stage, she described a direct connection with the audience that carried her forward even through the fatigue of long tours.
One piece in particular stayed with her family: Xiu Chun Mei, a fan dance evoking the resilience of plum blossoms. From the audience, her mother saw both strength and restraint — an image that lingered long after the curtain fell. As her career progressed, she took on complex roles like Lady Mi from the Three Kingdoms period, expressing the multifaceted character of the tragic heroine.
With leading roles came immense pressure. At first, the fear of making a visible mistake was constant. Over time, however, her approach shifted. She began to treat each performance as part of a longer process of “looking inward.” After each show, the dancers reflect together, focusing not on blaming others but on examining what they can improve within themselves.
Daily life at Fei Tian follows a strict routine where phone use is limited and schedules are tightly managed. For her family, this environment brought reassurance, helping students stay focused in a world of distractions.
Behind the scenes, the support extended beyond artistic training. Teachers accompanied her to medical appointments, including vision and dental care. When injuries occurred, professional arrangements were made for her recovery.
The financial side brought significant relief as well. Tuition, housing, meals, costumes, and travel were covered throughout her years of study and performance, with stipends provided during touring periods. According to her mother, this comprehensive support significantly reduced the burden on the family and allowed them to maintain their long-term commitment to her path.
Outside of her professional life, Xiao remains closely connected to home. During tours, she often returns with thoughtful gifts — a pearl necklace for her mother, silk scarves for her grandmother. Her mother has watched her become more disciplined, thoughtful, and attentive to those around her.
Looking ahead, Xiao plans to continue performing while studying management and analytical subjects online. Her family speaks of Fei Tian and Shen Yun with deep gratitude — not just for the world-class training, but for the environment that shaped who she is today.
By Xiao Ran, Vision Times
