Tran Le Van: Chinese art monument reveals its true face behind the halo

The Chinese cultural world is truly shaken by the news that veteran artist Chen Liyun - once known as the "queen of folk arts" of the Ningxia autonomous region - has been arrested on charges of embezzlement and bribery.

According to news site 163, the Dawukou District Procuratorate of Shizhushan City officially approved the arrest warrant after receiving the investigation file from the City Supervisory Commission.

This news not only shook the art world, but also became a ho.t topic on all Chinese social media platforms. From a respected cultural icon, Tran Le Van has now become the center of a scandalous corruption case. This has not only fueled public outrage, but also raised a series of questions about the corruption in the seemingly clean art management system.

A talent known as "the pride of Ningxia"

Born in May 1968 in Yinchuan City, the capital of Ningxia Autonomous Region, Chen Liyun is a Hui ethnic minority, one of the ethnic minorities that have made important contributions to China's cultural life. She was trained from a young ag.e in a traditional artistic environment, and soon showed outstanding qualities in the field of folk dance.

Not only stopping at performing techniques, Tran Le Van is also highly appreciated for her ability to express and convey cultural messages through each dance move. She is praised by the media as the person "carrying the soul of national dance". Her soft but intense dance moves have moved and made millions of audiences proud.

In her career of more than 30 years, she has won many prestigious awards such as:

Outstanding Actor Awar.d: at the National Ethnic Minority Arts Festival, a rare playground that brings together the quintessence of traditional art from all regions.

Third Prize Peacock Cup: one of the most prestigious awards in China's professional dance world.

Silver Medal of the Lotus Awar.d: a national art awar.d for outstanding stage works, with two memorable performances: Cau Ky Hong Willow and A Sac Luong Muc.

Not only an artist, Tran Le Van is also an influential manager in the local cultural industry. She has held the positions of Vice President of the Ningxia Dance Artists Association, Director of the Song and Dance Theater, and later Deputy General Director of the Ningxia Art Group, the most powerful art unit in the region.

Shocking fall: From the peak of fame to the circle of law

In December 2024, when the news of her suspension to serve an internal investigation was leaked, public opinion began to stir. However, no one expected the incident to be so serious that it turned into a criminal investigation.

According to the authorities, Tran Le Van was accuse.d of abusing her position and power to embezzl.e assets, accept bribes, collude in approving art projects, spend the budget in a non-transparent manner, and recruit personnel with signs of personal gain. Her actions lasted for many years, and were said to have taken place in a sophisticated manner under the guise of art activities and cultural sponsorship.

The Shizhushan City Supervisory Committee conducted a thorough investigation, collected sufficient evidence, and then transferred the case to the Procuratorate to initiate criminal proceedings. On the day the arrest warrant was approved, many people who had worked closely with her were shocked: "It is unbelievable that someone like Ms. Tran would go down that path."

Not just one person: the art "boss" was also arrested

What is more worrying is that Tran Le Van’s case is not an isolated one. Just a month earlier, another high-profile figure, Mr. Pham Tan Quoc, former Party Secretary and General Director of Ninh Ha Art Group, was also arrested for the same crime: embezzlement and bribery.

Pham Tan Quoc was not only Tran Le Van's superior, but also had great influence on the policies of budget allocation, sponsorship of performance programs, personnel training and event organization in the Ningxia cultural industry. The two had worked closely together on a series of "national-level" art projects and now both were on the list of people being prosecuted.

The arrest of two heads of a large art agency has raised public suspicions about a long-standing organized corruption network, with overlapping relationships and cleverly hidden group interests.

A number of artists and cultural managers in Ningxia spoke out after the incident. One person shared: "We have admired Ms. Tran for decades. Hearing the news now makes my heart ache."

Many people feel betrayed. Because Tran Le Van is not only a talented artist, but was once praised as an "exemplary party member" and "excellent cadre of national culture". Now, that title is just a shadow, buried under the indictment.

The Chinese internet exploded with debate, with millions of comments. Some said that "reputation does not guarantee character," while others expressed regret: "If she had not been involved in corruption, she could have been recorded in the history of national culture."

The case of Tran Le Van and Pham Tan Quoc may be just the tip of the iceberg. It shows the systematic corruption among a group of cultural officials who take advantage of their fame and power for personal gain.

However, there is still a positive side to the misfortune. Many people believe that this is an opportunity to "clean up" the cultural industry, creating the premise for a transparent, fair and community-oriented art system, not personal interests.

Experts assert that if the authorities handle the case resolutely, transparently and in accordance with the law, the incident could become a milestone and a stern warning to those who still intend to abus.e their positions in the cultural industry.

Tran Le Van was once a model of effort and talent in the world of traditional arts. But her fall is also a reminder that fame, talent, or status cannot be a "shield" before the law.

China’s art world faces a daunting challenge: restoring public trust while also building a more transparent and healthy cultural ecosystem. And doing so must begin with honesty, responsibility, and justice from both artists and curators.

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