Opening performance

《Opening Performance- As Four Step》

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Classic Reappear

Origin from the concept of Paiwanese traditional dance steps. Not to description stories but to bring up the aesthetics notion of modern Paiwan dance. Though the pure body to interpretation the aboriginal culture development and to show clearly the unique contemporary body symbol of Paiwan.

What is “As Four Step”?
Choreographer, BARU MADILJIN, uses the simplest dance step to show up the reality, touches the past memories, when preparing to farewell by waving hands but to step back and to gather again. “As Four Step”, seems nothing, seems déjà-vu, seems has danced but actually didn’t dance before, seems under the foot, seems messy but pass through by the lightness movement without regrets.

According to Artistic Director LJUZEM MADILJIM, the four-step-dance only can be seen in the important festival of Paiwan, but their latest dance work “As Four Step” is origin from lives and breaths. There are many codes and much more symbols in the piece, such as: the audiences will hear the dancers repeat four numbers: 1, 2, 3 and 4 in Paiwanese language and learn it easily.

Dance out the mood, between the illusion and the reality, the Paiwanese four-step-dance is the “As Four Step.”

Choreographer Profile

Baru Madiljin graduated from the School of Dance of Taipei National University of the Arts. Though had lived in urban communities for ten years, Baru Madiljin did not lose the nutrients he once acquired from his mother land; he communicates his inner self to the public with his body, providing a dialogue between traditional and modern concepts through body language.
He was praised by the British Internet magazine Spiked with “the choreography was strong…” while Kelly Apter from The Scotsman newspaper described his work as “Deeply touching… The passion is palpable.”
In 2009, Baru Madiljin returned to his hometown, Sandimen in Pingtung, to join his sister in the work of passing on the indigenous culture and arts. He became the Choreographer and Dance Director of Tjimur Dance Theatre, and presented 2009 Kurakuraw – Yearning for the Feather, 2010 Mananigai – Warrior, 2011 Kavaluan – Longing for the Lily, 2012 Kavulungan – the Living Forest, 2013 Kurakuraw – Dance of the Glass Beads, 2013 Gaze of the Kavaluan, 2013 Umaq – Slate House, 2014 Qai~I – the Sigh of Memory, 2015 As Four Step, 2016 2 Gather (co-production with Black Grace, New Zealand), 2017 Varhung-Heart to Heart, 2018 Calisi-The Wedding on The Hillside and 2020 ai~sa sa from 2009 through 2018. His works were often praised by and nominated for the Taishin Arts Award.
Baru Madiljin attempts to reconstruct the public’s impression on dance forms and music aesthetics. His works fully showcase his creative energy and innovations through integrating and interweaving various art forms; he also interprets indigenous arts with different perspectives and diverse concepts.

Production Team
Artistic Director ｜Ljuzem Madiljin
Choreographer｜Baru Madiljin
Performer｜Ching-Hao Yang, Ljaucu Dapukarac, Tzu-En Meng, Shiung, and Sheng-Hsiang Chiang
Costume Designer｜Baru Madiljin
Technical Director and Lighting Design｜Yu-Cheng Lin
Stage Manger ｜Yin-Ping Li
Costume Producer｜Shatao Lazurite Studio
Make-up Designer｜Jyun-Guang Pan
Graphic Design｜Jhao-Lun Huang
Photographer｜Jhao-Lun Huang (Pingtung), Sandy Ouyang (Taipei)
Video Filming｜Zhi-Ming Yang
Company Manger ｜Shu-Ting Chiu
International Affairs Coordinator｜ Pei-Yi Ke

Events
2017 Invited to perform in Odoru, Akita, Japan
2017 Selected to perform in Festival off d’Avignon, France
2016 Invited to perform in Cervantes International Art Festival, Mexico
2016 Invited to perform in Festival Internacional Julio Torri, Mexico
2015 Nominated for the 14th Taishin Arts Award.
Premiere in 2015

Reviews
“This work not only inheritted the traditional etiquette and custom from the ancient times, but also continued the spirit of Martha Graham. The endless changes based on the abstract concepts led the audience into wonderland.”
- Le Figaro / Ariane Bavellier

“'As Four Step' deconstructed and reconstructed the traditional four-step dance of the Paiwan people, delivering the cultural codes of the Paiwan people through pure and full physical rhythm. This dance work was rhythmical. The music used covered electronic music and ancient tunes of the indigenous people. The audience was amazed by the power an depth of this work.”
- The Newtalk / He-Rong Chiu

“This is a successful and fascinating piece with a clear structure. It led everyone in the audience to an unknown universe and left them some unforgettable sensual experiences. Finally, with the recognition of the judges, it totally conquerred the audience, achieving a complete success.”
- The Provences Herald

“This kind of traditional dance had to be completely deconstructed, reconstructed, and then combined in a smoother form. Visually, it completely blended into the modernity, creating the charming harmony. With the electronic music and the steady and powerful lighting effects, Baru Madiljin found a perfect balance between the ancient tradition and the modernity.”
- théâtres.com / Audrey Jean

“They lived in a tribe and learned to sing traditional songs. Their bodies caught a certain rhythm. And their limbs showed the audience the tribal views on the hills and by the rivers.”
- CNA News / Yi-Hsuan, Tseng

“From the viewpoints of philosophy and aesthetics, the performance team ‘s work was based on the Paiwan culture. They did not aim to preserve and pass on hundreds of years of affections. Instead, they followed the trend and went beyond the tradition. This creation was a kind of integration. It was not out of reason, but passion. It was passion that fueled their energy and made this performance so beautiful.”
- théâtrorama / Henri Guette

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Organizer/ Tjimur Dance Theatre
Supervisors/ Ministry of Culture
Sponsor/
National Culture Arts Foundation
Indigenous Peoples Cultural Foundation
Pintung Culture Foundation
Office of Maolin National Scenic Area Management
Sandimen Townshop Office
Pintung County Government
Co-organizer/
IMCCI at Taipei National University of the Arts X USR Hi-Five Plus: 從北投平埔族群到屏東原住民的國際藝術對話