The Taiwanese village of Bali rests on a quiet hillside near the famed Danshui River in Taipei County. The village's two-dozen locals surnamed Zhang produce completely organic vegetables from their backyard plots scattered around the hill.

The mirror panel hanging above the stage reflects dancers' movements towards the end of Moon Water, creating a illusionary mood.

Lin Hwai-min, art director and choreographer of Cloud Gate Dance Theater, Asia's leading contemporary dance troupe since 1973, joined the villagers in 1991, when the dance theater resumed its operation after a three-year suspension. Inside a seemingly shabby studio built with used shipping containers halfway through the hill, Lin sowed the seeds of his long-cherished dream - dancing by Chinese and for Chinese.

Over the years, the dream has proved to take root in the fertile land known previously only for bamboo and pomelo.

Lin's choreographies inspired by traditional Chinese culture have not only touched the hearts of Chinese-speaking communities, but also won standing ovations from Western audiences throughout the world.

In July, Lin will bring his dance theater to Beijing with two programs, Moon Water and Unforgettable Moments of Cloud Gate (Tale of the White Serpent, Requiem and four excerpts). The performance in Poly Theater on July 11 will be the first one in the city for Cloud Gate in 14 years since their 1993 visit.

Standing in front of the inconspicuous studio, which has been expanded into a two-storey container complex only recently, Lin, 60, wearing a waist support outside his black T-shirt, says proudly: "This is the dreamland!"

Originally an award-winning writer, Lin turned to contemporary dance to find outlets for what he said could not be put in words.

He set up Cloud Gate in 1973 on the second floor over a noodle shop, often receiving complaints from diners downstairs about the noise overhead.

Lin regarded the studio in Bali Village as a luxury. The 1,000-square-meter space gives birth to many of Lin's important works.

A pot of lotus sits under the eaves gallery, a reminder of Nine Songs, or Jiu Ge, Lin's 1993 interpretation of the 2,300-year-old poem by ancient Chinese statesman Qu Yuan. The great poet eulogized the perfect personality and high moral standard displayed by lotus flowers, a euphemism of himself. Lin placed pots of lotus on stage for the dance as a strong metaphor of "life and death".

Inside the sweltering studio, some of Lin's 25 dancers are practicing their routine training, which includes Tai Chi, meditation, martial arts, Peking Opera movements, calligraphy, as well as ballet. Dancers attend the training like regular office workers from 10 am to 6 pm when they are not touring.

"It helps them to focus on their bodies and breathing," Lin explained.

The training is Lin's way to develop movements of his own characteristics, which are constrained, philosophical, yet capable of explosive jumps and whirls, like Tai Chi movements.

"We don't try to defy gravity," Lin said in a Discovery Channel documentary about him. According to Lin, many gravity-defying Western movements do not suit Asian bodies. "I'm trying to find the choreographic vocabulary fit for us, yet equally expressive."

And according to world experts, he did it. Dance Europe remarked that his choreography "presents a distinct and mature Chinese choreographic language. The importance of this evolution in Asian dance is no less profound than the impact of Forsythe's Ballet Frankfurt on European classical ballet."

New York Times commended him as being successful "in fusing dance techniques and theatrical concepts from the East and the West."

Wild Cursive, inspired by Chinese calligraphy, is Lin Hwai-min's recent efforts to strip his pieces to essentials.

Despite the huge success overseas, Lin admits that he feels nervous about the upcoming tour to Beijing. "The performance in 1993 was a thrilling experience," Lin recalled. "But a lot of changes have taken place After all, we haven't returned for such a long time."

What Cloud Gate brought to the city that year was Legacy, a full-length work that depicts the perseverance of the earliest Chinese immigrants to Taiwan. One famous excerpt Crossing the Black Water depicts the turbulent journey taken by the Chinese immigrants who in the 17th century crossed the Black Water, now known as the Taiwan Straits.

But the dancers have confidence with Cloud Gate and their mentor.

"The enthusiasm from Beijing audiences caused goose bumps, and it's great," said Wang Chih-hao, while exchanging nods with his co-dancer Chou Chang-ning, who depicts the role of the white serpent.

"The Beijing experience that year is one of my fondest memories of touring," Chou said. "We are all looking forward to it."

(China Daily May 16, 2007)