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)
