Shadows and memories in Reflection of Mind by Water Reflection Dance Ensemble

New Taipei City Arts Center, Banqiao, Taiwan
October 21, 2017

David Mead

Before choreographer and founder of Water Reflection Dance Ensemble (水影舞集) Tan Hui-chen’s (譚惠貞) father died, he wrote her a letter, with instructions that it was not opened until year 100 in the Chinese calendar (2011). Her Reflection of Mind (影子般的思緒) is inspired by her thoughts and memories of him.

Apart from the fact time dilutes them, memories are complex things, of course, and through its four sections, each of four scenes, Reflection of Mind comes across as more a rewoven and recombined collage of them. The choreography itself is far from edgy, you might even call it ‘middle of the road’ (as indeed is the music), but each part is neatly done. Don’t go looking for an end-to-end narrative, because while every scene stands well on its own, the recollections are fragmentary.

The programme note makes comment about Tan’s father being a shadow accompanying her through life, and shadows are a feature throughout the work as she weaves splinters and slivers of moods and memories into her dance. She plays the central figure, a sort of narrator who links each part together. A particularly strong image appears in the second half when we return several times to see her alone in a square of light, as if in a room, alone in one sense but appearing in conversation, maybe with her memories, maybe with her departed father, in another.

The dancers embody her lingering memories as they shift in and out of the shadows created by Xu Ji-xiong’s (徐吉雄) lighting. Right from the opening section that sees the dancers in four strips of light like sun streaming in through tall windows, it’s excellent. I particularly liked the use of a long-slung lamp at one point.

Thoughts and memories come and go, just as in real life they leap around and flit in and out of one’s mind. Faster sections alternate with slower ones, nothing lasting for too long.

When they appeared at the Edinburgh Fringe with NuShu (女書) in 2016, Water Reflection Dance Ensemble garnered as many positive comments about the dancers as the choreography, and it is they who really make Reflection of Mind a pleasure to watch.

Their control and command are impressive enough, but what really stands out is the smooth, effortless partnering; the men solid and strong, the women with the confidence and skill to leap into their partners’ arms without jumping into the floor first. Best of the duets was one in which Wang Ruo-chen (王若蓁) almost seemed to float in the air as she was held by Shi Yu-ze (施豫澤) and wound around his body.

There’s a lot in Reflections of Mind, indeed, years of memories. Just occasionally, perhaps, Tan tries to do too much. For me, one striking solo by her is diminished somewhat by the unnecessary presence of a backing group, for example, but, all round, it makes for a very pleasing evening.