Metropolitan Hall, Taipei
April 6, 2025
The final university performance of the season saw the Hwa Kang Dance Troupe (華岡舞團) of the Chinese Culture University (中國文化大學) present The Island’s Tapestry (境‧流聲). As the title suggests, the programme of seven short works was inspired by Taiwan’s diverse cultures and landscapes. In pieces that drew on modern dance and ballet, contemporary dance, martial arts and folk customs, and in the choreographers’ choice of music, it very much lived up to its promise.
Things got off to a vibrant start with Dance from the soul (陣魂舞影) by Shih Cheng-liang (施政良). Welcome to a Taiwan temple fair! After an opening solo danced while holding incense sticks, the officials and generals appear. In their highly decorated red and gold costumes, also with splashes of blue here and there, and in choreography that fuses martial arts and dance, they move vigorously as they ward off evil spirits and pray for blessings.
The highlights come in intensely colourful, swirling and stirring flag dances, the performers weaving patterns while waving large banners decorated with dragons, all symbolising auspiciousness and good fortune.
(pictured here in a studio rehearsal)
Photo courtesy Hwa Kang Dance Troupe
A total change of mood came with The Way (途) by Ho Yu-wen (何郁玟), a rather beautiful reflection on the idea that, no matter where you are, your homeland will always remain deeply imprinted on your heart, the memories of it a source of strength.
Contemporary ballet in style, it featured a super duet between Huang Zhi-de (黃智德) and Mo Qi-bi (莫騏碧). The partnering was excellent, the lifts made to look easy, always a good sign. Huang was strong and considerate, just as he was last year, Mo light and trusting. But best of all, it was so full of feeling. I just wish it had been longer, and that they had the stage to themselves rather than sharing it with the unnecessary backing ‘chorus.’
Super live music too in the shape of Alarms by Bryce Dessner arranged by Luo Ya-chi (羅雅綺), who also performed on piano, with Sun Hsiao-mei (孫小媚) on cello.
The Sounds of Memory (音‧洄身) by Lin Yuh-ching (林郁晶) considers how the passage of time refines the music of life in the memory. Danced largely to a selection of Taiwanese folk songs arranged by Lee Chia-ying (李佳盈), the choreography for just five dancers often hints at children’s games, hopscotch in particular.
(pictured here in a studio rehearsal
Photo courtesy Hwa Kang Dance Troupe
The audience was taken to the interval by Morning Breeze (曉風含露) by Yen Tsui-chen (顏翠珍). Modern, but with more than a hint of classical ballet about it, it was full of lovely, constantly changing patterning. Light and joyous too, especially the last section to the folk melody ‘Plum Blossom Country’ (桃花鄉).
Unlike the weekend’s wet weather, a dance for twelve women, Dreams (攬夢) by Su Chia-hsien (蘇家賢) had a very Spring feel to it, in costume, movement and lighting. With its folk-based choreography, it was like a watercolour painting come to life. The giant, floaty pale yellow and white fans used in later sections really did look like giant pear blossom.
Glimpses of Island Dreams (島夢拾影) by Su An-li (蘇安莉) brought high-tempo out-and-out contemporary choreography to the stage in complex piece well matched by composer Su Yin-sheng’s (蘇胤勝) music. The dancers, in striking black trousers and bright red tops, performed with all the necessary high energy and precision that was called for.
(pictured here in a studio rehearsal)
Photo courtesy Hwa Kang Dance Troupe
The Amis are the largest indigenous ethnic group in Taiwan, found mainly in the east coast counties of Hualien and Taitung, and the Hengchun Peninsula in Pingtung. I find it difficult to quite explain why, but I have always found their dance reaches right to the soul. Maybe it’s something to do with the rhythms and movement, although I suspect it’s something deeper. Whatever, it never fails to hit me in the right spot. Basket of the Tide (潮‧簍) by Chen Bai-he (陳柏赫) by was no different.
Accompanied by wonderful live music (percussion and bells) and singing from an upstage ensemble, it opened with the sound of waves and the large cast carrying traditional narrow-necked Amis baskets made from plaited bamboo, used to hold small fish and shrimp.
As the music flowed easily, the choreography drew heavily on gesture and traditional dance formations, often holding hands and in a line or circle. For me, more than anything else on the programme, even the opening piece, it spoke loudly of Taiwan, and was a grand way to round-off the evening.