Taiwan Today

This "passage" almost seems to be a narrative poem. In fact, each line is the name of a dance presented by the Cloud Gate Dance Ensemble early this summer.

Our regular readers may be prompted to ask: "Not the Cloud Gate again?" But yes, only this time as a new entity - without the guidance of "doorman" Lin Hwai-min.

Four months after completion of its European performance tour, the Cloud Gate has staged a major exhibition on the heels of Lin Hwai-min's solo production. After ten years of public performances al home and abroad, the maturity of Cloud Gate's dancers and direction is reflected in its mastery of the elements of dance production - choreography, composition, staging, spatial design.

Lin once commented that the "Cloud Gate dancers should be able to act on their own. My temporary departure from the group will help them develop their own styles." The seven new dances bear witness to Lin's words. In the past, the group's repertoire interpreted Lin's own world. The seven new dances recount the dancers' own life experiences - some are lyrical, some are narrative, some speak out on their living environments, some display a beautiful vista.

Though the four-day booking failed to draw full-house audiences at Sun Yat-sen Memorial Hall, and the applause might not have been as enthusiastic as of yore, there is no denying that the performance displayed rich content.

Instead of "teaching through dance" and placing special emphasis on "Chinese flavor," Cloud Gate concentrated on colorful display, a flexing of sensitive tentacles and maintenance of a pleasant atmosphere.

It was a scorchingly hot afternoon in early summer. This reporter was visiting the dancers during rehearsal at Memorial Hall. Besides the dancers and several workers, the hall was empty. A beautiful melody filled the emptiness; a male dancer practiced down stage in skin-light leotards. It was the melody for "When the West Wind Passes by," the first number of the early summer performance.

"I graduated from the dance department of the National Taiwan Academy of Arts. I joined Cloud Gate even before my graduation," said petite dancer Wu Su-chun. “'When the West Wind Passes by “ is the only piece on the program in which a male dancer plays the leading role. The Cloud Gate now has only three male dancers. Yeh Tai-chu, the fallen leaf, is my husband.

"This is meant only to be a lyrical piece. I was, of course, inspired by Lo Ta-yu's beautiful song “When the West Wind Passes by ."

"It is my impression that Lin Hwai- min's creations always contain a story. 'The Legend of the White Snake,' and 'Cold Food' are but two examples.

Do you think it is better to tell or not to tell a story in a dance?"

"Well, either way will do. A dancer may resort to all kinds of methods to speak his mind. But, I only want to create an atmosphere, a mood."

"Do you think, then, it is easier to cooperate on choreography with your husband?"

"Sure. Partly because I know what he can do and he knows very well how to interpret my ideas. We can exchange opinions constantly. Do you know ... he majored in sports at National Taiwan Normal University, and is currently teaching at a junior high school. I met him before we joined the Cloud Gate, and dancing together led us to marriage. At present, there are two couples in the ensemble."

"How long did it take you to compose this number?"

"Not very long. I spent most of the time looking for appropriate music. It took shape in my mind a long time ago. Since all of us dancers have worked together for so long, we easily communicate. We know each other's merits and demerits."

"Is it better for a composer not to dance his own creation?"

"If choreographers also dance on stage, they won't be able to view the presentation objectively. That is why most choreographers don't want to perform their own works. Not infrequently your ideal is too distant from the stage performance."

"Any special reason for this performance?

"In general, we stage a major performance once a year. The box office revenue is one of our financial resources. The government helps with subsidies."

"Does your husband create any dances?"

"Since he also teaches school, he doesn't have that much time. The rest of us are all full-time professional dancers."

At this juncture, the dance ended. Yeh Tai-chu stepped down from the stage and asked the limited audience: "What do you think about it?" One of the dancers said jokingly: "No good. You rate an NG." The rest responded with loud applause. You could feel that this was really a big family.

"Do you have any financial difficulties? "

"Not really. We don't ask for high living standards. We are content to do the work we love. It may sound foolish to some people, but even if we could find high-paid but dull work, we would not change."

"Do you notice any difference now that your teacher, Lin Hwai-min, is on leave from the ensemble?"

"No. We've worked together for a long time. We know his expectations and how to live up to them."

"What would you say is the precondition for a good choreographer?"

"He must want to be in touch with music, literature and art. Of course, he must be able to choose the melody that enhances his dance."

"What did you think about Lin's solo?"

"I loved it. Not because he is my teacher. I respect his spirit and his new concept. He makes the audience deliberate. It was a watershed in his own career. In the past, he tended to tell a story or teach a lesson in each performance. His own dances take a different slant."

"How long have you been in the Cloud Gate? How many works have you created?"

"I joined the Cloud Gate nine years ago. 'Since Pan Ku Created the World,' 'Golden Silk Shoe,' 'A Shoulder Pole,' and 'Pack Off a Captive' are my creations. Each has different characteristics. For instance, the 'Shoulder Pole' smacks of folklore while 'Golden Silk Shoe', the story of a Tang emperor, is more poetic, historic."

"Do you have a special costume designer?"

"No. Each choreographer designs the costumes."

"Do you think there is an age limit for dancers?"

"No. Well, less than for other professions. Actually, each age group has its merits. When you are young, you are soft and flexible. Since more mature dancers have had more life experiences, it is possible that a young dancer may develop better technique, but not as penetrating interpretations. Sad to say, when you are better at interpreting your dance, you are no longer young.

"A dancer, whatever the age, must always stay in good shape. He mustn't be overweight; his figure is part of the dance itself. It is quite difficult to maintain stamina and a trim figure all at the same time."

"No wonder Lin Hwai-min's mother told him to stop performing and do some thing serious."

"Yes. It can be difficult to dance in middle age, but not to work as a composer or teacher. Still, many of the world's leading dancers are in their 40s, and some young dancers are forced to quit because they fail to practice every day. For me, it is no problem. We practice at least eight hours a day; though that is no guarantee that we will make progress, it is certain that you will lag behind if you stop practicing.

"It may seem very easy for the dancers. But dancing for only several minutes on stage demands unceasing practice. Each dance is the child of dozens of years of work."

"What is your motive, choosing dancing as your career? And what do you think is the Cloud Gate’s greatest achievement?"

"When I was a little girl, mother wanted me to learn dancing to improve my physical condition. But at that time, the overall ambience was very conservative. Parents were reluctant to see their children choose the stage as a career. This is the greatest achievement of the Cloud Gate - now I can tell everybody, loud and clear, that I am a dancer. At that time-no way! It was not a 'decent' job. People would stare at you with fishy eyes. Without the Cloud Gate, the situation would not have changed."

"Do you think that a female dancer is under more restrictions than her male counterparts?

"Not really. However, I don't deny that I first went into each new stage marriage, pregnancy - not without some fear. In the end, marriage helped me and my husband to cooperate better on stage. Now I have two children, but nothing seems to have changed. All our female dancers did their best and over came difficulties. For instance, when I first got pregnant, I feared I would be disfigured. In the end, nothing has changed. My two kids enrich my life. If a dancer leaves her career, no one is to blame but herself.

"To be frank with you, the shortage of male dancers is one of the most pressing problems we face. Now Cloud Gate only has seven leading female dancers and three males. We do need new blood. We have failed to make any breakthroughs in this area, however, because the younger people have their own set of social values. For one thing, they think more about material rewards. When we first took the plunge, all we thought of was to dance - and - dance. Now we have started on a project to systematically draw new blood. In this way, I believe, we will be able to raise our standards and make progress rapidly. We don't want new dancers who want to join us for fun. While we don't need them to make the sacrifices we did, we feel they must put a lot of heart and muscle into it. This can' be applied in any field. A good housewife also needs wholehearted dedication."

"Once I paid a visit to artist Cheng Shan-hsi, who said that Lin Hwai-min had just visited him. Cheng told Lin that to be a painter is much easier, because the painter doesn't have to risk the direct response of his audience. What do you think about it?"

"Yes. Though the programs are the same on different nights, the individual audience response decides the 'success' of each stage performance. Though the audience is seated in the dark, we can feel if they are communicating with us-if they love us.

"Most of our audiences are sophisticated-college students and above. Now we are staging island-wide tours, and our audiences come from all walks of life- grass-roots levels, old and young. The interest and attention of local folk is even more encouraging than the applause of an audience at Memorial Hall. You feel some distance from the audience in the Hall. It seems that even the applause is regular, and that they dare not laugh too much if a scene is humorous, comic. It's a different story in the villages. They are not limited by formality-are freer to express their feelings. We get excited along with them. I hope we will be able to spread the art of the dance to every cranny and corner of the island."

The rehearsal of Lin Hsiu-wei's "Brand New World" ended. Though it had been performed before, Lin had given it a new interpretation.

Wu Su-chun introduced me to Lo Man-fei, choreographer of "Between the Two." She is the only member of the dance group that has not received formal academic dance training.

"I majored in foreign literature at National Taiwan University, but I learned dancing as a child. I joined the dance club at the university and attended Liu Feng-hsueh's dance workshop before and after my graduation."

She decided to join the Cloud Gate after three years at Liu Feng-hsueh's dance workshop.

"I choreographed 'Between the Two,' because I came across the beautiful music. In my mind, this is a romantic, then faded, love affair. The structure is the feeling between men and women. There are two couples on stage - one of them is the imagination, the dream of the female dancer in the other couple. For her, it is a romantic recollection of the past sweetness of love. But after a long time together, her partner is no longer the tender companion he was before. Love has faded."

Lo is the freshest Cloud Gate veteran. Though she abandoned her college major for a dance career, she says of her studies, "It was a rich and colorful part of my life. Even as a choreographer-dancer, I still maintain my other interests."

The number that triggered the warmest response was Cheng Su-chi's "Marriage and Pregnancy." She studied dance under Lin Hwai-min even before she joined the Cloud Gate. Her husband works at an advertising company. Though a veteran member of the troupe, she still takes notes on each performance.

"What was your motive in creating this number? What do you want to tell your audience?"

"When I first gave birth to my baby, I felt it so strange and such a wonder to see her move, cry and smile. Every stage of the baby is a great miracle to me. During our trip to Europe, I missed her badly. For this performance, a friend suggested I find my material in my daughter.

"From the beginning, I didn't intend a beautifully interesting dance. I wanted to present my own experiences in two stages-the unification in the womb, and the pregnant woman's painful but sacred mood.

"I chose chiming musical instruments - finding the right music was one of the problems I faced. Another problem - my work is always too long. But I had great fun with the experience. By the way, the Cloud Gate now has five mothers. They easily interpret my feelings in this dance."

"Do you feel any inconvenience, or helplessness, in the absence of Lin Hwai-min?"

"No. It's about time we did some thing on our own. I did ask for his opinion in the beginning, because I had two ideas in mind."

Suddenly, the hall was pierced by a strung-out pounding sound. A group of dancers in blue, skin-tight costumes marked with large round dots, rolled onto the stage. They signified spermatozoa in the womb.

The next on stage rehearsal was Kuo Mei-hsiang's "An Auspicious Day," a very popular piece. When asked why the "auspicious day" was begun with a funeral procession, Kuo said:

"In beginning, I wanted only to study all the possibilities of movement. I tried to forget all my academic training and to find a new dance language. I wanted to use two entirely different movement sequences in a dance composition. The gestures of members of the wedding procession look to me like those in a puppet show; the funeral procession is characterized by more fluent movement.

"To merge these two styles, I thought of a bridge to connect them: In general, Chinese people are superstitious. They select auspicious days for weddings or funeral services. It is very possible for the processions to run into each other.

"I felt that there were no limits in choreographing this work. The matchmaker can also be a bearer of a sedan chair, or a traffic policeman. The red rope can serve as the marriage tie, or as a restriction on the couple. Since the moment of their marriage, the couple has been entangled."

The music and the costumes seemed comic and smacked strongly of folklore. Kuo expounded: "Basically, I wanted to create the effect of a puppet show. There fore, I prohibited facial expressions. To create a humorous effect, I dolled up the bridegroom in a Chinese classical costume, in front only-it is western style in back. I wanted to try for the possibility of a new horizon in local dance. The movements, gestures, make-up, music and costumes create a pleasant mood.

"It may have some folkloric flavor, but I wanted the contrary. I wanted to create an advant-garde effect. See, now the bride and bridegroom are tangled up. They can't get away from each other. Now both the marriage and funeral processions use the same gestures. They are worshipping, one asking heavenly blessings, the other asking that the ancestors rest in peace. It is a contrast. Lin Ke-wei's talented music fits the needs of my dance."

Kuo burst into laughter when she saw one of the dancers in the funeral procession, in confusion, wrongly join the wedding troupe. "I didn't know it would be this funny! - You may notice that in the end, the funeral goers are happy and the wedding party rather sad, as a result of their influences on each other."

Like Wu Su-chun, Kuo was sent to learn dancing as a child. Her later training at Chinese Culture University finally brought her to the Cloud Gate. "I learned ballet, martial arts for Peking opera and other things. I don't know if I will always stay with the Cloud Gate, but I know my life is fated to have some relationship with dancing."

"Ups and Downs" was choreographed by Ho Huei-cheng, a contrasting personality to Kuo Mei-hsiang - humble, self-critical, solemn. She said that she gave her dance the new name, instead of "Three Generations," because she feared she would be driven into a narrow corner.

"I wanted to tell the audience about the changes in women's roles in Chinese society - a rotation from kitchen to outer society-but to note that they still preserve the ethics of Chinese women.

"I know the audience may have some difficulty in communicating with me. I fashioned this dance according to my impressions of my grandmother and mother and myself. The audience's images of their mothers may be quite different. My mother went through the hardships of Japanese occupation of the island. For those who came from the mainland, their mothers may have suffered the hardships of refugees.

"The central figure is mother - she is literally standing in the center of the stage. She is a tragic figure. When young, she had to obey her elders' instructions. When her children grew up, it was in another world and society. They had their own work and views. They felt no reluctance over conflict with their mothers. In a way, my mother has become universal, not unique to me.

"In my mind, the image of grandmother is not clear, but she is downright traditional. The younger generation is strongly social. The most pitiful is mother's generation. They do not have their own characters. Now, mothers have to listen to their children's words. Grandmother never received much education, but she taught her children according to her strict, golden rules.

"You can see that the lighting effect on grandmother's generation is vague and gray, seemingly far-off. The image of mother is cast in many shadows, from both the older and younger generations, a reflection of her heart. She can't even drive them away, because she was taught...brought up that way."

The music is monotonous; said Ho: "I was sure that if the audience loved my work, they couldn't fall asleep. See, the mother stands as fast as a rock."

"Any special reason to choose any particular dancer for a part?”

"For instance, the role of the grand mother requires a low gravity. A good dancer must be able to attract audience attention even if she is only walking on the stage. Actually, walking is much more difficult than dancing. I chose Kuo Mei-hsiang to dance the role of mother because her physical condition is perhaps the best at present. Kuo first told me that she had a difficult time accepting my idea, because she can't picture her mother like that. But yesterday she told me that when her mother went to see her perform, she understood what I wanted to say.

"I chose Lin Shiu-wei to dance the youngest generation because her gestures are clear cut, nimble. She is sharp. She dances in almost every number because she is physically strong. I admit that I lag behind her."

Ho pointed out that her dance number is especially difficult for the dancers because the music was not selected to serve as guidance for the dance tempos. The dancers have to cooperate closely because no musical cues are given. "For me, this is a challenge. It is normally easy to follow dance music, but very difficult in this case. The audience may find it objectionable, too. But I do hope they accept it. I may accompany it with different music in the future."

She kept noting that her work was not quite a success. "I don't know why I always detest my work after it is finished. I always swear that I will try something easier next time. But the results are still the same. No melody, but I have a lot to say. I always live in a dilemma.

"Even the dancers complain that they are tortured to death. They have to count one-two-three-four all the way through, because there is no musical accompaniment. The dancers are clever enough to keep on dancing and cover small mistakes. But, even the costumes are not pleasant to the eyes. The lighting is designed to make up for the shortcomings-a faded color in the first stage, blue in the second, pink in the third. This helps the garment colors change from time to time."

She suddenly said: "I want to walk a different road from Lin Hwai-min. I know very well that I can never outdo him, I lag behind him in practically every respect. His knowledge of literature, music, art and dancing are so rich, no one can outdo him. I could never present the 'Legend of the While Snake' as beautifully as he did, So I am always looking for a new way,"

"Do you think Cloud Gate dancers may influence each other?"

"Not exactly, because each has his or her own concepts. Take me for instance. I can never create something like Kuo Mei-hsiang's 'Auspicious Day.' And my interpretation of 'pregnancy' would not be as painful and sacred as that of Cheng Su-chi. But we still exchange views frequently, especially as between choreographer and dancer. Communication is important."

The last piece was Du Pi-tou's "Golden Voyage." The stage was suddenly face-lifted, flaunting gorgeously bright colors, Ho said: The audience finds it much easier to accept this type of dance."

Du said that, for her, it was dance for its own sake. "The music is so rich, you feel it as a colorful world. The costumes and stage lighting combine to add even more color. Don't you think it has the flavor of a frontier region on the mainland'! People in frontier areas lend to be influenced by neighboring countries. That is why, as you said, it looks Arabic, In my mind, they love gorgeous, bright colors - ruby reds, sky blues and violet purples, and grass green, Sometimes, women in Thailand, Malaysia, Indonesia and other areas in Southeast Asia and along the borders wear bright colored scarf.

"l must admit that my costume design has some drawbacks, The pant skirt is not sewn together, but wrapped around the legs, When the dancers perspire, the cloth sticks to them. The dancers have tumbled several times,"

Notwithstanding doubts and errors, the Cloud Gale troupe is embarked with great excitement on its voyage to new horizons. Its members not only have confidence in the directions they have taken, but an exuberant certainty that they will enjoy the trip and, at the same time, contribute to their country's artistic achievement along the way. -By Emily Huang