'For readers of Mao’s Last Dancer comes the inspiring true story of a world-famous acrobat who escaped communist China to begin a new life in Australia.
'Jingjing Xue was born in China in the 1950s, during one of the worst times in the reign of communist leader Mao Zedong, or Chairman Mao. Mao’s extreme five-year industrialisation plan – the Great Leap Forward – left much of the population starving, destitute and gripped with fear. Jingjing, abandoned to an orphanage as a young boy, was destined to a life of hardship before officials singled him out and enlisted him to train with the Shanghai Acrobatics School.
'This autobiography tells the moving story of his rise from poverty to become an admired performer in China and beyond – and of his extraordinary escape from Mao’s repressive regime to secure his freedom. Set in China from the early years of the communist era, through the turbulent period of the Cultural Revolution, and to a new life in Australia, this is a story of hope and perseverance, of overcoming adversity and of finding a place to belong.' (Publication summary)
'Well before ping-pong diplomacy in the early 1970s, there was acrobat diplomacy. As a result, many people around the world became familiar with Chinese acrobats, performers that did more than just walk a trapeze or juggle on stilts. Chinese acrobats brought circus performing to a new level, for instance by balancing multiple stacks of cups and saucers on the top of long sticks—often from two hands and a foot. In Jingjing Xue’s memoir, Shanghai Acrobat, the author not only tells of training with the Shanghai acrobats from a young age, but also shows how these troupes became the face of China, starting in developing countries and eventually reaching the west.' (Introduction)
'Well before ping-pong diplomacy in the early 1970s, there was acrobat diplomacy. As a result, many people around the world became familiar with Chinese acrobats, performers that did more than just walk a trapeze or juggle on stilts. Chinese acrobats brought circus performing to a new level, for instance by balancing multiple stacks of cups and saucers on the top of long sticks—often from two hands and a foot. In Jingjing Xue’s memoir, Shanghai Acrobat, the author not only tells of training with the Shanghai acrobats from a young age, but also shows how these troupes became the face of China, starting in developing countries and eventually reaching the west.' (Introduction)
