A dance in the mists of time: Youth Ballet Ensemble Taiwan in Metaphor

Shuiyuan Theater, Taipei
March 31, 2023

Founded just eighteen months ago by artistic director, Chiu Li Yi (邱瓈誼), long involved in classical ballet education in Taiwan, the Youth Ballet Ensemble Taiwan (YBET, 臺灣優勢力芭蕾舞團) seeks to raise the quality and visibility of ballet in the country, platform for ballet training and performance along the way.

This year, the company invited contemporary Taiwanese choreographer, Chien Hua-bao (簡華葆) to choreograph a new 60-minute work. His Metaphor (影曦嶽) is a fine work, finely danced, that fuses Eastern Lao-Zhuang philosophy with a European contemporary ballet aesthetic. Out and out classical definitely not, but it is very much ballet of the 21st-century.

Visually, it is insanely appealing. It is gorgeously lit by Zheng You (鄭悠). There are occasional, brief, brighter moments, but Metaphor is a dance in the shadows. Most of the time, darkness fills the stripped-back stage, the dancers appearing and disappearing into the gloom. Indeed, it sometimes feels like they could be mist themselves, or perhaps will-o’-the-wisps.

The English title is a recognition of the arbitrariness of language. In Chinese, a single character can be used as a metaphor for the whole raft of things but, to quote Chien, “All meanings include the metaphor that everything in the world is mutual. These include the universe and stars, the sun and the moon, objects and shadows, action and silence, inhalation and exhalation, appearance and its implication,” all of which was more than visible in the work.

It’s atmospheric from the off. Ominous music is full of heartbeat-like pulses and throbbing. When Antonio Vivaldi’s Salve Regina kicks in, the dancers appear. In their grey tops and trousers, they match the mood perfectly. Other music comes from Frédéric Chopin, Ezio Bosso, Orlando Gibbons, Ludovico Einaudi, Philip Glass, Giovanni Battista Pergolesi and Max Richter. Add in the sound of firewood, a gong, a bowl and cicadas and you have quite a mix, but it’s all beautifully and seamlessly edited together.

Dancers appear and disappear throughout. Mysterious figures, there is a sense that they are journeying through the mists of time. That feeling also comes in part from Chien’s use of upright slow, purposeful walking as a recurring motif, but also of an intriguing sort of spidery crawl on hands and feet but facing upwards. When the dancers stand motionless for a moment, it’s like looking at a landscape of ancient statues.

Yet, while the work may be shadowy and misty, it is far from gloomy in outlook. There is an overwhelming sense of purpose, of strength and toughness.

Elsewhere, arms also frequently frame the head and the body in a sort of very rounded third position. Although the contemporary aesthetic very much rules, one does sense that underpinning everything is a solid, more classical training. And classical positions do occasionally put in an appearance. One duet is full of arabesques. But always, always, everything is allowed to take its time. Little is done at speed.

Group sections, in which the synchronicity was outstanding, are punctuated by fluid solos and duets during which the other dancers often just stand, ghostly figures watching silently.

Chien’s choreography is almost all gender neutral, the exception coming for the only mixed duet between Lai Yu-guang (賴宇廣), the sole male in the ensemble, and Chen Hsuan-ling (陳宣伶). It stands out and is all too brief. It also includes the only time there is any physical partnering, and even that is fairly minimal, which is slightly disappointing given how good the couple are.

A few brighter moments come towards the end, one as light appears to flood in through a window, painting shadows of its frame on the floor. But even here, Metaphor never loses sight of its theme or mood. The closing stages also features the best solo, for Ho Ting-I (何亭儀), which just oozes feeling and inner strength.

This was a truly grabbing performance by a clearly talented ensemble who all danced with incredible commitment and grace. It was all very, very impressive in performance and choreography. It should be noted that the dancers are significantly older than is the norm in a youth company in Europe, however. Pretty much all have significant experience including time at university.

Youth Ballet Ensemble Taiwan’s aims are laudable. But not so easy to achieve in a place where classical ballet has always struggled for a solid professional, performance foothold. Many other small and not-so-small ensembles have come and gone. But the talent is undoubtedly there, and YBET deserve all the support they can get.