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\n'},{title:"Highlighted",content:'
Highlighted Taiwanese Dance Films
\n\nTaiwan
\n\nYU Yen-fang, 2021, Museum of Human Emotions—Do You Dance?
\n\nThe project originates from the cooperation between Weiwuying and young European choreographer network, Aerowaves in 2017, and launched the "Museum of Human E-motions" project across Europe and Asia supported by Creative Europe and Dancing Museums. For the residency, the artist YU Yen-fang continued with the extensive research from her working partner, HSU Honk-kai, on the late singer FENG Fei-fei. This time she focused on the connection between dance movements and the body. She took a deep dive into the bustling culture of live performances during the 70s and 80s in Taiwan while also reflecting on her childhood memories, educational experience, and her identity in the context of the body.
\n\n© Photo|林峻永
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Taiwan
\n\nLIU Yen-cheng, 2020, Museum of Human Emotions 2.0—Retrospection —Anonymous No. 2
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The project originates from the cooperation between Weiwuying and young European choreographer network, Aerowaves in 2017, and launched the "Museum of Human E-motions" project across Europe and Asia supported by Creative Europe and Dancing Museums. Choreographer LIU Yen-Cheng shared an online presentation, Anonymous No.2, at the end of the project. A year later, Yen-Cheng looked back to the time by making a film. He said, As we stand at this point of 2022 and look back upon what has happened so far, we may learn more about the possibilities that await us in the future.
\n\n© Photo|帽子
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Taiwan
\n\nShimmering Production, 2022, Hand in Hand, We Dance
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Southern wind in the mountain arouses yueqin's melodies and tones,
\n\nsouthern wind from the sea touches the skin of the bodies;
\n\nimmersed in the melodies of folk songs, on this peninsula in spring,
\n\nwe hold each other's hands and dance together.
\n\n© 半島歌謠祭 Photo|邱家驊
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Taiwan
\n\nMaurice LAI , 2022, Bolero in Kaohsiung
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Weiwuying's very first artist-in-residence, CHOU Shu-yi, initiated the "Dance-Travel Project" ten years ago, having travelled to 14 cities and given 60 performances in open spaces without sets and lighting. With the support of Weiwuying, CHOU restarted this project. He recruited freelance dancers and dance students of Zuoying High School to perform together across Kaohsiung, bringing performing arts out of the theatre and into the city.
\n\n© Photo|陳長志
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Taiwan
\n\nTIEN Hsiao-tzu, 2021, Lucid Dream in 14 minutes
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Lucid Dream in 14 minutes is part of creation 14 that was commissioned by Esplanade – Theatres on the Bay (Singapore) , co-produced by National Theater & Concert Hall, as well as co-present by National Taichung Theater and 5 others theaters in 2021. Taiwan's production was organized by KingKongWave. It is a response to the incessant conversations between the self and its surroundings. The performer roams the vast, empty space between the audience and stage, while the cameras break down the stream of consciousness. These fragmented memories are pieced together, but the linearity of time has lost its meaning.
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Taiwan
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HORSE, 2022, FreeSteps: The Beauty of Meeting a Centennial / Linnei Zhoushui Power Plant
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It is a collaboration between HORSE and Taiwan Power Company on reconnecting body images to historical buildings. This video was filmed by diretor CHEN Kuan-yu and choreograher SU wei-chia in Linnei Zhoushui Power Plant, which was built during the period of Japanese rule to supply the electricity that the Chianan Irrigation Association needed to build the Wushantou Dam. In 2004, the plant was registered as a heritage site by the Yunlin County Government; it is the only run-of-river hydroelectric power plant located on a flat plain in Yunlin, Chiayi, and Tainan, and one of the few field-based power plants in Taiwan.
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Taiwan
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Maurice LAI X Baru MADILJIN bulabulay mun?
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Tjimur Dance Theatre's bulabulay mun? was adopted from Southern Paiwan's ancient song "e ne lja sinvaudjan a nia qati". With 500 days of planning and production, this movie marks the first Taiwanese dance film based on forgotten stories of war through performances by professional dancers and local residents.
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Taiwan
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YEH Ming-hwa, 2021, SHE O.S.
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YEH Ming-hwa revisits female dance icons, such as Margot FONTEYN (1919–1991), Nellie YU (1889–1973), and LO Man-Fei (1955-2006), in parallel to her reflections as a dancer and choreographer growing up in Taiwan.
\n\n© Photo|陳宥中
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Shortlisted Dance Films
\n\nSingapore
\n\nChen Jiexiao, 2021, Amaranthine
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From observations of daily life in Guangzhou, to chilling conciliation with the untold sacrificial stories beneath gentrification.
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India
\n\nSagarika DEBNATH &Prakriti SHARDA, 2020, Dotted Bodies
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What happens when an enthusiastic philosophy major and a bored motion graphic designer meet? An accidental film.
\n\nPrakriti Sharda aspires to become an art director, while Sagarika Debnath dreams of making films. They spend their evenings at a tiny coffee shop, debating over films, music and zines and what started out as a dissertation, evolved into a study of memories and movement.
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Taiwan
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Les Petites Choses Production, 2021, FIGHTERS
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Drawn from Romance of Three Kingdoms, this stylishly buoyant show by Yang Nai-Hsuan 's Les Petites Choses Production is fierce fun for all ages. Introduced by a welcoming narrator, five godly characters spring vividly to life from page to stage. The game cast's energising fusion of hip-hop and contemporary dance is further enlivened by a folk-techno soundtrack.
\n\n© Photo|劉璧慈
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Serbia
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Marko PEJOVIĆ, 2019, Glance
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GLANCE is a short, inclusive dance film produced by the Group "Let's…". The film was co-created by dancers (without disabilities, deaf and blind people, and wheelchair users), choreographer and director. It is conceptually set as four intertwined dance lines: an intimate self-reflected glance, a glance (from another perspective) of one's own helpless parts, a glance of one's capacity to transcend the set frames, and togetherness.
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Greece
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Stella MASTOROSTERIOU, 2018, I DON'T SEE DEER
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I DON'T SEE DEER is a choreographic study of the interrelations between the body and urban space. Creating ephemeral site-specific images that play with the boundary between the familiar and the unfamiliar, it attempts to highlight an alternative journey in the urban space, discovering more playful ways of being in/thinking about the city.
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Malaysia
\n\nLOW Pey sien, 2022, Movement: We Are Bodies (Part 1)
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A reflective journey with Malaysian movement artist, Loke Soh Kim on body movement, memory and labour while weaving through the routine of everyday life.
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South Korea
\n\nTrust Dance Theatre, 2021, Order In Chaos
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There is chaos within the rules, and within rules there is chaos. Chaos is the rule that we cannot comprehend. Why is there disorder in this world? Perhaps, the disorder is a multidimensional disorder. Under the same sky, we embark on a journey, each of us carrying our bags. Nobody knows where the destination is. We just enjoy it when we can. We express what we feel, and we journey on, within chaos.
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Netherlands
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Karel van LAERE, 2014, SLow
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SLow is a performance that shows the defenceless human body surrounded by machines, systems, etc.
\n\nKarel noticed that Taiwanese people live by strict rules which can not be easily put aside. Slowly but imperturbably, the boy in the video follows his own path. Using an invisible electric tackle, he drags himself in an even tempo through the Taiwanese urban landscape. He marks an entertaining and wondrous contrast between the defenceless human body and the hectic world surrounding it.
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Russia Federation
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Dina VERYUTINA, 2022, The Fog
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He and she are waiting for the fog.
\n\nTo wrap on fog like in a blanket and let everything fade away!
\n\nBut both believe that when the fog comes down, everything will change!
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Hong Kong
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Jeremy Chi-hang AU, 2022, Tramways
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In early 2022, Hong Kong had been shaken by the demonic virus. The once energetic city became pale. The juxtaposition of memories and the then present portrayed a very striking contrast. The lost souls, personified by the performer, meander along the tramways across the city from east to west.
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\n'},{title:"Special Mention",content:'
Shortlisted Dance Films- Special Mention
\n\nUkraine
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Anton OVCHINNIKOV, 2022, Monochrome
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There's a feeling, of all that is really "mine," I have only my body left. Sometimes strong, but more often weak and vulnerable. Let the body tell you what your heart feels.
\n\nOn the evening of February 24, when Russia began its invasion of Ukraine, I left Kyiv and went into forced isolation in Morozyvka. In April, the Ukrainian Army drove out Russian troops, and it became quiet. I decided to film improvisations, looking at my bodily transformations.
\n\nHalftones disappeared; people were divided into "friends" and "foes". I felt it was important to capture this moment. That's how the movie came out.
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\n'},{title:"Dance Sound",content:'
Dance Sound Exhibition
\n\nLIM Giong
\n\nLIM Giong is a musician who mainly writes scores for feature films and documentaries. He also composes for short films, commercials, dance performances, light art installations, and VR experiences. LIM enjoys collaborating with artists from different disciplines. Recently, he has been experimenting with abstract electronic sound and ambient music.
\n\n© Photo|林韶安
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Cloud Gate Dance Theatre of Taiwan, 2016, 13 Tongues
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© 雲門舞集《十三聲》|編舞 鄭宗龍|Photo 劉振祥
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WANG Yujun
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WANG Yujun composes music for dance, theatre, visual art and fiction/non-fiction film. She is also a singer-songwriter who is keen to combine poetry and literature into her works for portraying soundscapes in between. She takes the everyday happenings as points of inspiration, internalizing these moments into the expressions of her music. Recently she is interested to experiment the dialogue between sound and body, social phenomena and human rights. Music to her is to explore what is yet to be known in the linear time, and simultaneously, a call to the lineage of being. Using poetry and sound as the carrier of intercultural dialogue, it is Wang's yearning that she first becomes a listener to the other and a listener to the world above all of her musical pursuits.
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CHOU Shu-yi, 2018-2020, Break&Break!
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Soundtrack: Break&Break!
\n\n\tConcept of Composition: Starting from within, a spiritual resistance and a deep concern for nature are transformed into the momentum that sustains music, giving the body the intellectual support to produce sound in a vast space.
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The Human Expression Dance Company, 2020-2021, Pán
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© Photo|Bernie Ng
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CHOU Shu-yi X CHENG Chih-chung, 2020, The Center
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LEE Shih-yang
\n\nLEE Shih-yang is a musician known for his live performances where he creates improvisational pieces on the spot. Improvisation can undoubtedly brighten up a concert, but it may also bring its fair share of risks and uncertainties. LEE enjoys co-creating music with his collaborators and bouncing musical ideas off of each other, and he believes that improvisation is the ultimate way of the creation and exploration of self as it faithfully reflects the player's state of mind.
\n\n© Photo|陳藝堂
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HORSE, 2012, 2 Men
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T.T.C.Dance Body Platform, 2015, Persistence of Memory (Cabinet 2)
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HSU Yen-ting
\n\nHSU Yen-ting's works often reflect the relationships between sound and the environment, individual/collective memories, or inner emotions. Interweaving field recordings, electronic music, and sounds of objects, her explorations tend to oscillate between documentary and fictional, narrative and imaginative qualities.
\n\n© 臺灣當代文化實驗場
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T.T.C.Dance X CHEN Yi-en, 2018, No Returning Back
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© Photo|曾景輝
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Anarchy Dance Theatre X TUNG I-feng, 2019, Time Within Us
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Soundtrack: Reliance, Monster
\n\n\tConcept of Composition: Music is created to weave different rhythms of life and music, expressing the subjective and objective differences of time and the memory of the flow of time.
\n\t© Photo|何肇昇
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SHENG
\n\nSHENG was born in Taipei, Taiwan. He is a sound artist, sound designer and music producer crossing between experimental sound/film/theatre. Currently, he combines granular synthesis, Foley, ambient sound, field recording, test tones, and traditional instruments, attempting to create an electronic sound of future Taiwan.
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YEH Ming-hwa, 2015, Nordic
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© Photo|李欣哲
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YEH Ming-hwa, 2018, 17 Years Cicada
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LIN Ting-syu, 2020, Deluge
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© Photo|陳十
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LIN Ting-syu, 2022, Voyage through Mountains and Seas
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© Photo|吳柏源
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