JadeWalking: A Transcultural Tapestry of Movement and Memory

“Hong Kong has a pavilion every year at the Venice Biennale, and this year the theme was ‘Projecting Future Heritage,’” explains Kong, who performs as the central figure—the Warrior. “That immediately made me think: what can we say about our future, rooted in the richness of our past?”

The piece explores Hong Kong’s cultural identity while integrating international influences—from Mexican embroidery, Italian silks, and African prints, to Chinese opera and contemporary fashion technologies. The central metaphor of walking architecture is actualized through Barbata’s collaboration with the Brooklyn Jumbies and their famed use of stilts—bringing to life towering Jumbies, the spiritual guardians from Caribbean and West African traditions.

“This isn’t just about art—it’s about movement, identity, and cultural diplomacy,” says Kong. “It’s how we carry our histories forward, one step at a time.“

In the performance, Kong, dressed in a futuristic silhouette that nods to heritage, embodies a modern warrior: a fierce, elegant figure inspired by Chinese opera heroines and historical legends like the Yang Warriors and Empress Dugu. “These women fought to defend their homes and families. I wanted to embody bravery, grace, and the ability to build the future—not just inherit it,” Kong shares. “This warrior isn’t just inheriting tradition—she’s building what’s next.” The warrior hands out Bauhinia flowers, the emblem of Hong Kong, to passersby. It’s a gesture of connection—grace in action, culture made tangible.

Barbata adds: “In all of my interventions, there is always a female figure who leads. She opens the space, distributes blessings, and clears the path. Yvette’s warrior fulfills that role beautifully.”

The Jumbies following the warrior are not just dramatic visual elements—they’re spiritual protectors. “They bless the space and amplify the voice of the warrior,” Barbata explains. Covered in masks inspired by fencing gear and Chinese opera, they echo themes of resilience, migration, and unity.

“The Jumbies reach toward the sky—they see the future,” Barbata says. “The warrior walks the earth—she leads. Together, they represent vision and grounding, myth and motion.”

The synergy between these two forces forms the emotional heart of the performance. Kong and Barbata describe the staging as a ritual of coexistence—equal parts sacred, celebratory, and civic.

Behind the captivating visuals lies an intricate narrative woven through fabrics. Barbata, whose long-standing work with stilt dancers explores identity and spirituality, describes the wearable sculptures as “walking architecture.”

The garments worn in JadeWalking are as significant as the choreography. “Textiles travel,” notes Friedman. “Unlike architecture, they move with people, carrying culture and memory.” The outfits in JadeWalking are literally layered with heritage.

“These aren’t just clothes—they’re cultural vessels,” Barbata says. “Some silks come from Venice; others are screen-printed in Mexico and the United States. We use African prints, Hong Kong pleats, opera references. They’re stitched with stories.”

The collaboration between Kong and Barbata builds on Barbata’s previous work—including textiles commissioned by the Isabella Stewart Gardner Museum in Boston—layered here with new Hong Kong fabrics to reflect a dialogue between cities and traditions.

“There are even architectural references in the headpieces—nods to Hong Kong’s skyline and historic buildings,” Barbata reveals. “They become sculptures in motion, wearable monuments to the cultures they represent.”

Kong reflects, “Hong Kong is a dot on the map and a giant melting pot. We have people from Nigeria, Europe, America—all sharing space. This project speaks to that. It’s a remix of East and West, old and new.”

“Even the name, ‘JadeWalking,’ is a playful take on jaywalking,” she laughs. “Jade is a symbol of pride in Hong Kong. And we’re literally walking—on stilts—through public space with a purpose.”

While the Venice Biennale marked its premiere, JadeWalking is not a one-time event. The project is already scheduled to appear in Mexico City in 2026, as part of Barbata’s exhibition at Museo Tamayo, and at the National Games in the Greater Bay Area of China later this year.

Kong envisions even further expansion. “Maybe it becomes a series—JadeWalking Venice, JadeWalking Hong Kong, JadeWalking Mexico.” There’s even talk of turning JadeWalking into an interactive book, complete with illustrations, maps, and layered stories—a physical artifact to mirror the living, moving one.

Barbata agrees: “There’s something magical about the way this performance weaves together myth, fabric, history, and spirit. We’re creating living mythologies. These characters change with context, but always carry the same intention: unity, beauty, movement.”

The title JadeWalking carries layered meaning. “Jade is culturally important in Hong Kong. It symbolizes resilience and beauty. And then there’s a playful take on the idea of ‘jaywalking,’” Kong laughs, “we’re literally crossing streets on stilts. It’s bold, proud, and poetic.”

JadeWalking is a poignant reminder of the power of cultural collaboration and public performance. In a world often marked by division, it offers a vision of beauty, movement, and shared storytelling—one step, and one stitch, at a time.

“How do we promote the cultural assets of Hong Kong and celebrate other cultures, too?” Kong asks. “By walking forward together—by being jade walkers.”

JadeWalking is more than performance—it’s a cultural proposition. Through clothing, choreography, and community, it asks: What if our histories didn’t divide us, but dressed us? What if our cultures weren’t confined to museums, but walked the streets?

“Even before these cultures were in conversation, they were thinking similar things,” says Kong. “We can coexist beautifully—while honoring our differences.”