Text and images transcript of the video Yes, Russians did hack - part 3: Nutcracker Revolution by Rolf Witzsche 

Yes, Russians did hack - part 3: Nutcracker Revolution

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Yes... the Russians did hack

Swan Lake and The Nutcracker

- a video in 8-parts

Freedom to Love (1)

Promise of Swan Lake (2)

Nutcracker Revolution (3)

In an Ice Planet World (4)

2016 G20 2017 Incomparable (5)

Civilization Is Freedom (6)

I Can! (7)

Princes who are Free (8)

Part 3 - Nutcracker Revolution

Seven months after the U.S. election, nine months after the G20 hosting in China, and a full year after the Palmyra historic liberation concert, another great cultural event was staged in Beijing China as the closing gala for the Belt and Road Forum, a political and economic forum for expanding the win-win platform for economic cooperation across Eurasia, Africa, and beyond that the world.

The closing gala event was convened in the National Center for the Performing Arts in Beijing, a place barely sufficient for the Belt and Road Forum's closing gala event.

Invited as an honoured guest for the Belt and Road Forum, President Putin attended the gala performance, alongside of President Xi Jengping, the President of China.

This time a large theater was required to enable the heads of state and numerous high-level delegates who had participated in the Belt and Road forum, to attend the closing cultural event.

The event opened with a tapestry of Chinese traditional culture.

The tapestry of this culture is as wide as is China itself.

It speaks of a colorful past that China is known for, throughout much of the world.

The performance also highlighted China's blending with the colors of modern art, and the culture of modern times.

Among the modern works, a modern ballet performance was staged, of a dance from Peter Tchaikovsky's Nutcracker ballet. The dance of the flowers in the land of the Sugar Plumb Fairy was performed. The Nutcracker Ballet presents a significant story, especially for modern time. Let me tell you about it.

Let me tell you the nutcracker story as I saw it performed by the Mariinsky Theater Company of St. Petersburg,

The performance was conducted, of course, by its internationally known musical director Valery Gergiev, the same conductor who conducted the Palmyra concert.

Valery Gergiev had conducted Mariinsky Theater Symphony Orchestra among the ruins of Palmyra to celebrate the liberation of Palmyra from terrorist forces, and in memorial of the fallen victims.

The Nutcracker Story is situated in the icy landscape of Winter, at Christmas time.

The house is decorated with Christmas ornaments. The Children, a boy, Fritz, and a girl, Clara, anxiously await friends an family to arrive.

Among the arrivals is a mysterious guest, the girl's Godfather Drosselmeyer, a toy maker and magician.

Clara receives a gift from Drosselmeyer. The gift is a nutcracker doll.

Clara adores it. She dances with it.

As Fritz tries to snatch it from her. The toy is broken.

It comes apart in two halves,.

Of course, Drosselmeyer 'heals' the injured nutcracker.

Joyous again, they dance with it. And to keep the nutcracker safe, she takes him to bed with her.

Clara dreams that at the stroke of midnight, the house and the tree is getting larger, or she smaller. Coming out of nowhere large mice invade the house.

The mice are led by the fierce Mouse King.

Toy soldiers arrive to battle the mice. Led by the Nutcracker, who is now alive.

 Clara makes a desperate move to save the soldiers and her Nutcracker from defeat - she throws her slipper at the Mouse King. She hits him directly in the head! The Nutcracker is thereby able to overcome the stunned Mouse King and claims victory.

Clara falls in love even more, with the Nutcracker.

By the magic of Drosselmeyer, the Nutcracker is transformed into a handsome prince.

Happy together, they begin a magical journey.

Their magical journey takes them through a snow forest where they are treated to the dance of the snowflakes.

On their way they come into the land of the Sugar Plum Fairy. There they are treated like royalty and entertained with lively dancing.

And exotic dancing it is, that they are treated to.

They are entertained with Chinese dancing.

And they are entertained with dances from foreign lands.

They are even entertained with dances by children.

The festivities become evermore grandiose as the celebration continues. They become treated to the lavish dance of the flowers.

And so, the dancing is unfolding in a very grand style, and is getting grander.

The festivity becomes more magical by the minute.

It becomes magical beyond imagination, as if there is no limit possible.

Clara may even see herself and her prince in the dancing.

She sees herself as a part of it to the fullest extend.

She sees herself happy beyond dreams.

But the dream does end for Clara, as even the grandest of the dreams should. And this is important for us too. The important thing is what we make of the dreams we all have of a grander world. Do we see the dreams as landscapes of the impossible, or do we see them as visions of potentials that can be developed and be realized in the real world, setting up a kind of tall standard for one to live up to.

When Clara awakes, her grandiose dream ends. She finds herself as a child again with her Nutcracker doll in her arms. She dances with him joyously.

It is interesting to note that this ending departs from the traditional endings for the ballet..

In traditional endings, Clara and her prince depart from the Sugar Plum land in a magic sleigh, with a fantastic farewell cheering them on, towards evermore dreams without end.

 But not so in the St. Petersburg ending by the Mariinsky Theater. In this rendering the dream ends abruptly. Clara knows that it was but a dream. But she may see the end of the dream not as a sad return to the real world. She finds herself enriched. She may see the dream as a vision for a potential that exists in the real world, for her to create, and with it to create a bright future. She dances with this vision of something profound. No sadness mars her face.

The portion of the ballet that was chosen to be performed at the Belt and Road gala event in China was the dance of the flowers.

It was danced in a Chinese setting with a unique Chinese style.

The political message for presenting the dance seems to be that dreams can come true when one takes the dream past the fairy tale landscape and consciously takes them as images of what can come true in the real world, by the transforming of the world into a place beyond dreams.

In a sense the Belt and Road gala was a medley of theatrical wonders.

The dazzling performances were not unlike the exotic dances in the ballet in the land of the Sugar Plumb Fairy.

Right at the beginning the gala opened with a festive display of historic Chinese culture.

The performances also included song, performed in grand classical style.

The human voice has always been the messenger from the heart that the musical instruments merely support.

The human voice had been given a prominent place at the Belt and Road cultural gala event.

The gala also presented a rare treat of historic Chinese musical instruments being performed.

These instrumental performances where not unlike in their exotic character to the exotic dances in the Nutcracker Ballet.

Instruments were performed that are rarely seen, or even known to exist.

And there were drums played, exotic drums.

And exotic percussion instruments, all staged on a boat, of course, as the Belt and Road concept includes a maritime component.

With the drums being played, the sea is on fire with the sunset.

The sea becomes dark as the night rolls in. And the night does roll in.

A unique part of the gala is the dance that one might call the dance of the long night of the Ice Planet Earth.

Is it a dance of despair or hope or determination? The Ice Age transition is in progress. The fringe effects are becoming felt evermore, toward the big phase shift that promises to radically alter the world. Will we acknowledge the astrophysical principle and evidences that speak of the near ice age, or will we blind ourselves to them?

Will we face the future? When the phase shift to the return to the Ice Age Glaciation happens, much of the planet becomes covered in ice.

Will we lay ourselves down to die?

Or will we look the future into the face and live?

We have the power to choose to live. But will we use it?

Will we run away from it?

Or will we look into its face and prepare ourselves for what we cannot avoid?

Will we dance with the power we have to transform our world?

These are questions the performance might inspire for which answers need to be found. The performance does not tell the attendees how to think. The interpretation thus raises its own questions.

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Published by Cygni Communications Ltd. North Vancouver, BC, Canada - (C) in public domain - producer Rolf A. F. Witzsche