Wu Yufei and a contingent of humanoid robots built by Unitree have advanced to the grand final of America’s Got Talent, combining contemporary choreography and traditional Chinese ink painting artistry on the international stage, voi.id reported.
The 27-year-old dancer from Sichuan, China, first captured the attention of the show’s judges and audience during initial casting rounds. Alongside the Unitree machines executing synchronized steps and backflips to musical rhythms, the performances quickly expanded in scope.
During the quarterfinals on September 8, the routine escalated in complexity. Wu and the robots integrated combat maneuvers, executing high kicks alongside human backup dancers. The spectacle prompted judge Howie Mandel to compare the staging to a kung fu version of the Will Smith sci-fi film I, Robot, predicting the routine would become the most viral moment of the season. Fellow judge Sofia Vergara subsequently hit the Golden Buzzer, advancing Wu’s troupe directly to the September 22 grand final.
Merging Robotics With Traditional Water Sleeve Techniques
For the final performance, the troupe incorporated water sleeve dancing—a classical technique utilizing long, flowing fabric extensions designed to visualize movement through fluid air patterns. Choreographer Fang Zhenghua, based in Chengdu, selected the traditional discipline to introduce international audiences to facets of Chinese culture distinct from martial arts.
Fang stated that robots are not only the result of technological progress, but can also become creative partners on stage and new ways of expressing art.
Previous iterations of Fang’s stage productions have integrated regional elements such as Sichuan opera face-changing, traditional musical compositions like A Hundred Birds Paying Homage to the Phoenix, and narratives drawn from the historical Romance of the Three Kingdoms.
Personal Symbolism and International Connections Behind the Routine
Personal heritage also influenced the staging. When Wu stepped onto the final stage, he wore a jade pendant featuring a miniature Sanxingdui mask—an artifact referencing the ancient Shu civilization dating back 3,000 to 4,500 years in Sichuan. Describing the artifact as a personal talisman, Wu noted that the symbol connected her performance back to her hometown roots.
Beyond the technical demands of sharing a stage with advanced hardware, Wu noted that the international tour fostered cross-cultural friendships. Throughout four separate visits to the United States, she collaborated with local dancers on street-dance videos spanning the East and West coasts.
The appearance coincides with a broader wave of Chinese performing arts exhibitions across the United States. Earlier in the season, cultural events included a Black Myth: Wukong concert in Los Angeles, a dedicated Chinese art week at Lincoln Center, and theatrical stagings of Dream of the Red Chamber in New York.
