Huang Pei-hua and Tsai Ming-yuan in Cloud Gate Dance Theatre's Rice.
Photograph: Liu Chen-hsiang
Cloud Gate Dance Theatre of Taiwan, Concept and Choreography by Lin Hwai-Min.
September 19th 2015 at 7.30 in the evening, I watched a contemporary performance entitled RICE by Lin Hwai-Min and was performed by Cloud Gates Dance Theatre of Taiwan. Lim Hwai-Min has received various awards both local and international since 1973 till today including the eminent International Movimentos Dance Prizes (Germany) and Samuel H. Scripps/American Dance Festival. As the founder of Cloud Gates Dance Theatre of Taiwan 1973 and Cloud Gate 2 in 1999, Lin Hwai-Min has also received honorary doctorates from six Universities in Taiwan and Hong Kong.
The inspiration of RICE came from the landscapes and story of Chihshang in the East Rift Valley of Taiwan. Previously tainted by the use of chemical fertilizer, this farming village has now regained its title as the land of the Emperor’s Rice by adopting organic farming and has exported its rice to European countries. Awed by the immense waves of grain rolling across expansive fields of rice, and inspired by the environmentally-conscious farmers, Lin took the dancers to Chihshang, where they joined the farmers in harvesting the rice. The movements are inspired by the sunlight, wind, water, and fire. He attempts to tell the story of the land while contemplating the devastation of the earth. Lin also uses cinematography that devoured 2 years to complete the overall. As a result, it was evident that the cinematography being showcased was absolutely effective and captivating. The production RICE had been staged for the very first time in year 2013 in Taiwan commemorating the 40th anniversary of Cloud Gates Dance Theatre.
The position where I was seated watching the performance was most strategic which was on the mezzanine level seat E16 together with my friend. During the time of waiting for the show to start, I recurrently whispered to my friend that I have high expectation towards the performance because the name Lin Hwai-Min is often heard of and learnt by me since ASWARA (Malaysia) until New York City. The overflowing audience manifested that he is extremely likeable and known by all levels of society be it artists or common people. Time passed by remarkably fast and I looked at my watch showing 7.40pm yet the performance has not even begun. They began at 7.45pm. As the curtain was drawn a light from the side was being projected and there appeared a dancer walking on stage from the side corner. The dancer did a movement that has the elements of Chinese dance and ended with stamping of the feet following the musical rhythm of Hakka community. The movement was continuously performed for several times and finishing it off with a stomp every time the movement phrase ended. A few seconds interval, one dancer emerged until as many as 7 dancers faded the stage. They used the same movement whilst stamping their feet. To me, it is an initial or opening of one thousand and one excitation of wanting to know what comes next. The movement began to expand until it transformed into a movement which was virtuosic with the floor-pattern and stage command in a complete manner. This part was performed for 5 to10 minutes. Nonetheless what I could see from here is that there exists something extraordinary that Lin was trying to reach out to the audience by using and merging the Chinese traditional dance and Western contemporary moves.
It is undeniable that he is exceptionally reputable in the contemporary dance world ever since 1973, during the period of turbulence between China and Taiwan. Lin Hwai-Min was very well-known amongst the community in Taiwan because he is one of the genuine children of Taiwan whom started modern dance there and moreover at that point of time the existence of Lin in the contemporary dance arts indutry in Taiwan was much needed as a Choreographer with the capability of making the country proud in general. Nevertheless, all the popularity and expertise ought to be exhibited in his choreography, however following my opinion, RICE is a local production specifically for the local (Taiwan) and explicitly for a certain period of time. Every choreographer should adopt a time evolution suitable to the definition of contemporary which is “present”. Yes he has produced an engaging and a valuable choreography, however is his each and every choreography credible and valid for every era? Each choreographer should observe his work from the content perspective, what was it presented for, why, what is he trying to convey so on and so forth. In Europe as an example, most of the contemporary dance artists generate conceptual and abstract ideas in their choreography, yet what is un-doubtable although the piece is conceptual and abstract it needs to have a journey, not necessarily the audience has to understand but more or less the message that is desired to be delivered can be comprehended and felt by the audience.
Back to RICE, not all of the contents in the choreography is not excellent, but there exist moments which I can say is exceptional and have their own identity. RICE is divided into 3 parts as what I have stated above whereby Lin follows a process of how RICE was evolved into and the process of food chain and working on it. The second part in this choreography is showcasing all of the male dancers that possess techniques and dance qualities of the highest level. Lin uses a long “Rotan” to replace or symbolizing the paddy stem. I do not have any problem with the concept attempted to be delivered but to me the movement vocabulary which was used did not captivate me enough as an audience. Yes, the ideology amalgamating the elements of traditional and contemporary is a magnificent idea and exotic in the eyes of the artists and community in New York as well as in Taiwan possibly, yet the integration ought to be more fluid and sinuous, not merely a+b = ab. In fusing both these forms of dance, the choreographer needs to understand as to why it is appropriate to be fused and what makes it interesting if merged. Should the marrying of traditional and contemporary be based on appearing it to be exoticism, meaning it is still at the level which is ineffective. The cross-breeding of both these forms should be seen as one new revolution in the contemporary world, hence the birth of hybridity. Perhaps what is attempted to be delivered by Lin in this choreography is more towards experimental, or lacking of idea? I don’t know, but obviously he looks like lost in translation. Perhaps, the average society and artists whom are more senior and wise may say that the choreography RICE has a class of its own. Yes, I agree but is it valid for now? Rice is the staple food for Asian society particularly East Asia in which the idea is effective as it is close to the society, but how to make it engaging, he has to be more sensitive towards the choreography. Imagery yes tip top, cinematography yes tip top, dancers yes tip top, however how about choreography? Is it interesting or effectual for the public? Probably yes but for me it is still in the time period of 1999 the zone whereby Cloud Gate 2 was formed. After the show has ended, on average the audience whom attended praised and applauded the credibility and dance structure which was executed by Lin, one compliment after another, and I myself feel that Lin is a highly acclaimed choreographer amongst the Asian community in particular and America in general. 3 nights of performance by Cloud Gates Dance Theatre, all of them full-housed. Therefore is this critic merely a nature of condemn? Entirely up to the reader.
As what I have mentioned earlier in this write up that it is not all that I am criticizing, however there are some parts to me that have the potential to become even greater, especially the first section. The pull factor for the audience to watch and know deeper about this choreographer does exist, yet it does not extend a long duration . In 1969, Lin left for the United States on a scholarship to study journalism at the University of Missouri. At Missouri, he received a fellowship to the University of Iowa’s International Writing Program to study under renowned poet, Paul Engle. At the university, he participated actively in theatre and fine arts. He also attended a Modern Dance course by Marcia Thayer. Lin would later on refer his strong passion and dedication to the art of dance as an important influence. It is from this increased involvement in dance and fine art that he sharpened his interest and enrolled in a summer course at Martha Graham Center of Contemporary Dance in New York, where he would later on spent most of his time upon receiving his Master's degree from Iowa to hone his artistic skills and knowledge. In 1970s Lin Hwai-Min returned to Taiwan. He started writing and choreographing as well as teaching at the National Chengchi University and the Chinese Cultural University. In 1983, he created the Department of Dance at Taipei National University of the Arts and since 2000, he has been serving as the Artistic Director of the Novel Dance Series for the Novel Hall dance venue in Taipei.
Through all the background and experiences that he had, I expected nothing less from him. Not all his choreographies are disappointing, but this is just my view of his choreography. RICE was acknowledged and received as early as its dancework presentation in year 2013 and successfully received a phenomenal review from New York Times. Once again I must say that perhaps at that moment in time the choreography was still fresh and adjacent to the society. After all this is merely a personal opinion that is possibly good or not. Every choreographer has to review the past as reference, and create a present choreography for the future. Therefore, I as a choreographer, we or him as well as whoever must ensure what is the essence they are trying to convey in their choreography? What is the main issue to make as the front cover of their choreography? Yet the RICE performance by Cloud Gates Dance Theatre was a show that could be said to be a league of its own. Applaud be given to Lim Hwai-Min due to his dedication in dance arts arena and his contributions for 42 years. When can we ever get to witness a contemporary dance Asia pioneer who is superbly renowned as him? Perhaps in 10 years more? Maybe 20 years ? Or probably this is the last. We shall see...
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