Go Paiwan
2020
Choreographer|Wen-Chung LIN
2020
Choreographer|Wen-Chung LIN
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Wen-Chung, Ljuzem, and Baru have one thing in common. That is they are all the second generation of a dance family. Over the years, they have always carried traditional burdens that can’t be shrugged off while putting their efforts in innovation. These burdens of happiness are also their most valuable assets. About 40 years ago, WenChung’s mother Ms. Li-Hua Tsai worked with Ljuzem, and Baru’s father Mr. Ying-Jie Liao. They were appointed by the Ministry of Foreign Affairs and the Council for Cultural Affairs back then to build an indigenous dance performance team to perform in Europe and the US. They were an important driving force of the theatrization of indigenous dances in Taiwan.
Years later, the brother-sister duo Ljuzem, and Baru invited WenChung, who had been teaching in pineapple fields and hadn’t had any new work released in Taiwan, to partner with Tjimur Dance Theatre as the dance company’s first resident creator. Then he gradually brewed and developed a brand new dance piece titled “Go Paiwan!”, which reflected his feelings, As implied by the title, “Go Paiwan!” is a piece about visiting a tribe, as well as a brand new contemporary Paiwan dance and music piece trying to “remove” the stereotypes of indigenous dances. It is a dance program designed for domestic or foreign experimental or specific spaces. WenChung wanted to show people Paiwan dances that are close to real life and without fancy dresses and romanticization. He also proposed issues such as “the identification/definition of traditional dances”, “the distances to and attitudes toward appreciating other cultures”, and “the relationship between indigenous dances and the society/regime” for discussions. This is consistent with what he always says to dancers during rehearsals, “you have to be with the audience!” “Go Paiwan!” is an approachable contemporary Paiwan dance piece, as well as an interactive piece completed by the performers and the audience together. We sincerely hope that after watching this piece, you will feel being closer to the Paiwan culture with a more intimate relationship. This is the most important purpose of creating this piece. |
Event
2022 invited to perform in Taiwan Dance Platform organized by National Kaohsiung Centre for the Arts, Taiwan
2022 invited to perform in Internationale Tanzmesse NRW 22, Germany
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2021 invited to perform in Asia-Pacific Tradtional Arts Festival, Taiwan
2022 invited to perform in Pan-Austro-Nesian Arts Festival, Taiwan
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Premiere in 2020
2022 invited to perform in Internationale Tanzmesse NRW 22, Germany
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2021 invited to perform in Asia-Pacific Tradtional Arts Festival, Taiwan
2022 invited to perform in Pan-Austro-Nesian Arts Festival, Taiwan
-
Premiere in 2020
Reviews
The dancers entered the scene while singing. The tracks of their body movements were influenced by the rhythms of their breathing while singing. Their voices were the music. The individual and group body developments of the performers follow the sound line with sounds such as chirping and ballad singing. The dancers’ bodies move with these breathes, inviting the audience to join them through contact improvisation, starting from a single touch to touching their heads, feet, and torsos and hugging, to inter-winning sing their body weights, to full-body limb contact. The audience listened to the rhythms of the sound waves of the dancers’ singing through crouching down and climbing up, lifting their own torsos, swaying in the rhythms, holding hands while moving, and holding their arms high. In the interactions between the ancient ballads and the surroundings, they seemed to be re-recognizing each other and the world through dancing in pairs in a way of contact improvisation.
- I-Wen Chang/ Performance Art Reviews
- I-Wen Chang/ Performance Art Reviews
Besides being a watchable, danceable, followable, and participatable piece, “Go Paiwan!” is also a response to the audience-performer relationship through the process of enjoying a dance performance and a body space for contemporary indigenous creation.
- Chih-Hsiang Yang/ Performance Art Reviews
- Chih-Hsiang Yang/ Performance Art Reviews
All the melodies used in “Go Paiwan!” are ancient Paiwan melodies. However, they were not selected based on any text. WenChung wanted to fill the dance with “the flow of sound waves”, thus he created the dance with just the bodies and the sounds. Perhaps this is what he meant by “de- symbolization”.
- Hui-Ling Chi/ Performance Art Reviews
- Hui-Ling Chi/ Performance Art Reviews
Production Team
Founder and Artistic Director|Ljuzem Madiljin
Dance Director|Baru Madiljin
Risident Chreographor|Wen-Chung Lin
Performers|Ching-Hao Yang, Ljaucu Tapurakac, Tzu-En Meng, Sheng-Hsiang Chiang
Technical Coordinator and Lighting Designer|I-Shun Lee
Portrait Photographer|Chang-Chih Chen
Main Visual Designer|Wen-De Chen
Company Manager|Shu-Ting Chiu
International Affairs Coordinator|Pei-Yi Ke
Dance Director|Baru Madiljin
Risident Chreographor|Wen-Chung Lin
Performers|Ching-Hao Yang, Ljaucu Tapurakac, Tzu-En Meng, Sheng-Hsiang Chiang
Technical Coordinator and Lighting Designer|I-Shun Lee
Portrait Photographer|Chang-Chih Chen
Main Visual Designer|Wen-De Chen
Company Manager|Shu-Ting Chiu
International Affairs Coordinator|Pei-Yi Ke