EsplanadePresents

Huayi Chinese Festival of Arts

7 & 8 Feb 2017, Tue & Wed, 8pm | Esplanade Theatre2017年2月7与8日，星期二与三，晚上8时 ｜滨海艺术中心剧院

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A Triple Bill

(Taiwan 台湾)

About Esplanade – Theatres on the Bay

Board Members

1 Esplanade Drive, Singapore 038981 Tel: 6828 8222 Fax: 6337 3633Customer Service Hotline: 6828 8377 SISTIC Hotline: 6348 5555

Esplanade is a proud member of

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All rights reserved.UEN: 199205206G Information correct at time of print.Please note that photographs and videos of patrons may be taken at this event for use in our archival and publicity material.

Esplanade’s Community Programmes are supported by Tote Board Family, comprising Tote Board, Singapore Pools and Singapore Turf Club.

Mr Lee Tzu Yang (Chairman) Mr Benson Puah (Chief Executive Officer)Mrs Rosa DanielDr Jennifer LeeMrs Christine Ong

Mr Ramlee Bin Buang

Ms Saw Phaik Hwa

Mr Kenny Powar

Mrs Mildred Tan-Sim Beng MeiDr Ming TanMrs Valarie WilsonMr Yap Chee MengMr Andre Yeap

Esplanade is Singapore’s national performing arts centre and one of the busiest arts centres in the world. Since its opening in 2002, the centre has presented more than 34,000 performances, drawing an audience of 24 million patrons and 88 million visitors. This architectural icon, with its distinctive twin shells, houses world-class performance spaces complemented by a comprehensive range of professional support services. Its two main venues are the 1,600-seat Concert Hall and a Theatre with a capacity of 2,000. In March 2014, Esplanade’s Concert Hall was listed as one of the “world’s 15 most beautiful concert halls” by Hamburg-based building data company Emporis.

Esplanade’s vision is to be a performing arts centre for everyone and it seeks to enrich the lives of its community through the arts. The centre’s programming is guided by its mission – to entertain, engage, educate and inspire. Its year-long arts calendar of about 3,000 performances presented by Esplanade, its collaboration partners and hirers cater to diverse audiences in Singapore and span different cultures, languages and genres including dance, music, theatre, visual arts and more. More than 70% of the shows that take place each year at the centre are non-ticketed.

Esplanade regularly presents world-renowned companies and artists that attract international attention and add to Singapore’s cultural vibrancy. The centre is also a popular performance home for arts groups and commercial presenters who hire its venues to stage a wide range of programmes. These carefully curated presentations complement Esplanade’s own diverse offerings for audiences.

Esplanade works in close partnership with local, regional and international artists to develop artistic capabilities, push artistic boundaries and engage audiences. The centre supports the creation of artistic content and develops technical capabilities for the industry nationally.

Esplanade – Theatres on the Bay is operated by The Esplanade Co Ltd (TECL), which is a not-for-pro�t organisation, a registered Charity and an Institution of a Public Character. In September 2016, The Charity Council awarded TECL the Charity Transparency Award and the Special Commendation Award – Clarity of Strategy.

Visit www.esplanade.com for more information.

Dear friends of Huayi,

Thank you for joining us at Huayi – Chinese Festival of Arts presented by Esplanade – Theatres on the Bay. We hope you have a great time at Esplanade and that your choice to spend Chinese New Year here will bring memorable times for you and your family and friends. The company of loved ones fills this season with meaning, and we are happy to have all of you here sharing in the festive spirit with us.

I always look forward to Chinese New Year. When I was a kid growing up, besides enjoying collecting angpaos, feasting and wearing new clothes, I would spend a lot of time playing with my cousins. As we got older, we started what would become a yearly tradition for us—watching the latest Chinese blockbuster such as one of Stephen Chow’s movies or the Wong Fei Hung series at the Pavilion Cinema in Tampines. The cinema is long gone, but our tradition lives on.

I found out about Huayi in the early 2000s. I remember, back then, I called all my cousins and got them to come with me to check out the free programmes at the festival. That was my first experience of Huayi. Now I have come full circle, becoming part of a passionate team that aims to make Huayi a great experience for all who come to Esplanade, whether at a ticketed or a free programme. We truly believe that the arts can inspire and bring joy to people. It is a belief shared by the outstanding artists at Huayi who have dedicated their lives to doing just that through their art.

Now, every time Chinese New Year comes around, my family, including my cousins, as well as my friends know that I will jio (Hokkien for “invite”) them to come to Huayi. This has become a new tradition for us! Even as I work during the festival this year, I hope to squeeze in some time as an audience member too, so that I can enjoy the programmes together with my wife and daughter. In time, I hope that this becomes a family tradition too for my daughter to enjoy Huayi with her cousins!

The Huayi team sincerely thanks all of you, as well as all the artists who are spending their Chinese New Year here, for being with us in this time of celebration and inspiration. May the Year of the Fire Rooster bring abundant blessings and good health to us all!

Yours sincerely, Delvin Lee Huayi – Chinese Festival of ArtsProducer

P.S. Do you have any special memories of Chinese New Year at Huayi? We’d love to hear what they are! Share your memories with us at our Facebook Page at www.facebook.com/huayifestival.

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FESTIVAL MESSAGE

Cloud Gate 2 was founded in 1999 by Lin Hwai-min with the hope that young dancers could inherit the initial motivation behind the founding of the now-famous Cloud Gate Dance Theatre — that is bringing performing arts and raising awareness of dance art to the various strata of the society in Taiwan’s cities, towns, schools and grassroots communities. In addition to this wonderful task of promoting dance art, our late founding Artistic Director Lo Man-fei also sought to provide a platform for young, passionate dancers to freely create and perform in this dance company. Seventeen years on, we are still holding true to these twin missions. Carrying only a portable sound system and in a 12-seater minibus, we have trundled down highways and rickety trails, conducting introductory talks about ballet, taichi and martial arts in school playgrounds next to fishing villages, danced with the villagers at community centres under the starlight, and talked about the creative journey choreographers go through, the concepts and emotions they wish to convey through the dance language to teenagers and college students in auditoriums.

The young dancers and choreographers in Cloud Gate 2 have thus grown up and lived in such diverse performance spaces. From time to time, we also showcase their works on the international stage in London, New York, Beijing and Hong Kong, so that more people will get to know these choreographers and performers from this island, Taiwan, through their dance. We are honoured to have this opportunity to share three of the works of Cloud Gate 2—Wicked Fish, Wall and Beckoning—with our friends in Singapore during the Chinese New Year this year. It is our sincere hope that, as the house light dims and the stage lights are lit, you and I and the performers onstage will share a time of honest encounters, through the works and every breath we take, as we learn more about, communicate and commune with one another within the vaunted spaces of the Esplanade.

Cheng Tsung-lung on the winter solstice of 21 Dec 2016

ARTISTIC DIRECTOR’S

MESSAGE

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WICKED FISH

“Wicked Fish features more complex choreography and a series of fast-paced, exciting, fluid sequences with multiple twisting and turning lifts, all of which were made to look completely effortless.” – Dance Europe

“The program opens with a bang. Huang Yi’s Wicked Fish is a spinning machine of a dance, matching the relentless intensity, the dissonant stabs and smears of Iannis Xenaxis’s Shaar with near-continual motion. Swirling and swarming, darting onstage and off, the ensemble does resemble schools of fish, distressed if not wicked. Within the crowd surges, brief duets and trios keep winding and unwinding in feats of gyroscopic partnering. The piece is pushy but effective.” – The New York Times

“In the piece Wicked Fish, choreographed and danced by Huang Yi, men and women became a swirling school of fish in a current. Set to music by Iannis Xenaxis, hunched over dancers darted and in and out of inky shadows. In between waves, they broke into twos and threes and spiraled over shoulders as if caught in pounding whitewater. The thrill of the dance was the perpetual motion of bodies, which was a defining introduction to these excellent artists.” – SanDiego.com

Choreography Huang YiMusic Shaar by Iannis XenakisLighting Design Lee Chien-changCostume Design Liu Hsiao-lanDuration 13 minutesCast Chan Hing-chung, Chang Chin, Chen Yi-en, Hsu Chih-hen, Huang Yung-huai, Lee Yin-ying, Liao Chin-ting, Lu Tien-juei, Luo Sih-wei, Su I-chieh, Tsou Ying-lin, Wu Jui-ying

Under a stream of light, dancers mimic a shoal of fish moving with ease. Puzzle-like choreography competes with Iannis Xenakis’s complex score. Wicked Fish tricks your eyes and gives new definition to human contact.

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“The Wall definitely grows on you.” – Dance Europe

“With Cheng Tsung-lung’s The Wall, the evening closes on a stronger note. Dancers in black march the perimeter of the stage. Riding the pulse of Michael Gordon’s Weather One, they break into shifting formations of striking complexity. More impressive is the way that, as the cast gradually exchanges black attire for whites and grays, Mr. Cheng introduces other, contrasting movement vocabularies, sinuous and balletic. The marching returns, like a regression, but not before we get flashes of solo virtuosity absent elsewhere on the program. Here the performers demonstrate how they can make the inside of a dance phrase exciting.” – The New York Times

“The program ended with the climatic The Wall, a beautiful march of a dance by Cheng Tsung-lung. Fueled by Michael Gordon’s Weather One, dancers marched in grid patterns that were remarkably complex and visually satisfying. If that weren’t enough, the troupe magically changed from dark costumes to light, and deftly shifted into a seamless ballet forms and excellent solos that were over in a flash.” – SanDiego.com

Choreography Cheng Tsung-lungMusic Weather One by Michael GordonLighting Design Lee Chien-changCostume Design Lin Bin-haoDuration 22 minutesCast Chan Hing-chung, Chang Chin, Chen Yi-en, Hsu Chih-hen, Huang Yung-hua, Lee Yin-ying, Liao Chin-ting, Lin I-hsuan, Luo Sih-wei, Su I-chieh, Tsou Ying-lin, Wu Jui-ying

The wall can be protection. The wall can be segregation. It can be as tangible and as concrete as stones; at the same time, as invisible as one built in one’s mind. Heavy beats of Michael Gordon’s music and the contrast of light and shadow reveal the dramatic nature of the dance.

THE WALL

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BECKONINGChoreography Cheng Tsung-lungMusic Composition Chung Cheng-da, Quiet QuartetMusic Arrangement Blaire KoMusic Post-production Jamie Hsu, Blaire Ko StudioLighting Design Shen Po-hungStage Design He Jia-singCostume Design Lin Bin-haoDuration 40 minutesCast Chan Hing-chung, Chen Yi-en, Hsu Chih-hen, Lee Yin-ying, Liao Chin-ting, Lin I-hsuan, Luo Sih-wei, Su I-chieh, Tsou Ying-lin, Wu Jui-ying

“Cheng has created a perfect melding of Taiwanese culture and Western contemporary dance, each equally balanced against the other.” – Taipei Times

“Fascinating.” – Danceviewtimes

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“People can often turn into another identity in one instant. And I am fascinated by how these changes take place on their bodies, expressions and tones.” – Cheng Tsung-lung Distilling movements subtly from Taiwanese street-dancing ritual of Ba Jia Jiang (the ”Eight Infernal Generals”), Cheng has created a mysterious zigzag of body language that gives this abstract work a playful and yet poetic quality.

In Joseph Campbell’s The Power of Myth, a western sociologist asked a Shinto priest: “I don’t get your ideology. I don’t get your theology.” The Shinto priest gave deep thought and answered politely: “We do not have ideology. We do not have theology. We dance.”

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Cloud Gate 2 was formed in 1999 by Lin Hwai-min, Founder and Artistic Director of Cloud Gate Dance Theatre of Taiwan, with the late Lo Man-fei, a choreographer and former Cloud Gate dancer, as its Artistic Director. After Lo’s passing in 2006, Lin acted as the company’s director for eight years until Cheng Tsung-lung took the post in 2014.

Unlike most junior companies, Cloud Gate 2 does not prepare dancers for Cloud Gate Dance Theatre of Taiwan, nor does it perform Lin Hwai-min’s choreographies. It showcases talented young dancers in original works by innovative young choreographers. The company’s annual season, Spring Riot, is one of the most anticipated art events in Taiwan.

The company’s current repertoire consists of works by Cheng Tsung-lung, Bulareyaung Pagarlava, who has been twice commissioned to create works for the Martha Graham Dance Company, award-winning Huang Yi, as well as Wu Kuo-chu, the late Artistic Director of the Tanztheater at Staastheater Kassel.

In addition to its concert performances, Cloud Gate 2 also reaches out to tens of thousands of people by holding free outdoor performances, and through residency programmes on campuses and grassroots communities in Taiwan.

Cloud Gate 2 made its first international tour in 2012 to the U.S., Germany and China, receiving high acclaim. Reviewing its New York debut at the Joyce Theater, The New York Times said, “Talent and skill require little translation… Cloud Gate 2 has those virtues, it’s only right that they should be shared with the rest of the world.”

ABOUT

CLOUD GATE 2

“Talent and skill require little translation… Cloud Gate 2 has those virtues, it’s only right that they should be shared with the rest of the world.” – The New York Times

“A youthful and vibrant company.” – Dance Europe

“This is a company that you will enjoy, fall in love with, and want to see again.” – Ballet-Dance Magazine

“A troupe of unusually polished and expressive young dancers.” – Oberon’s Grove

“The ensemble exhibits potent technique, guts and believability.” – Infinite Body

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A writer-turned choreographer, Lin Hwai-min often draws inspiration from Asian cultures and aesthetics to create works with contemporary resonance. He founded Cloud Gate Dance Theatre of Taiwan in 1973 and Cloud Gate 2 in 1999.

In 2013, he received the prestigious Samuel H. Scripps/American Dance Festival Award for Lifetime Achievement. Previous awardees include Martha Graham, Merce Cunningham, Pina Bausch and William Forsythe. Lin is the first recipient based in Asia.

Among other honours received by Lin Hwai-min are honorary doctorates from six universities in Taiwan and Hong Kong, the John D. Rockefeller 3rd Award, the Distinguished Artist Award from the International Society for the Performing Arts (ISPA), the Chevalier of the Order of Arts and Letters from the French Ministry of Culture, and a Lifetime Achievement Award from the International Movimentos Festival, Germany. He has also been celebrated by Time magazine as one of Asia’s Heroes.

Invited by the Rolex Mentor and Protégé Arts Initiative, Lin Hwai-min is the mentor of dance for 2012-2013.

Cloud Gate 2 FounderLIN HWAI-MIN

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A renowned dancer, choreographer and dance educator in Asia, Lo held a BA in English Literature from National Taiwan University and a MA in Dance from New York University. As a young talent, Lo began her professional career in 1974 with the Neo-Classic Dance Company in Taiwan, continuing her training at the Martha Graham School of Contemporary Dance, the Alvin Ailey School of American Dance, and the José Limón Dance School in New York. While in New York, she took part in various theatrical works, including the Broadway musical The King and I, starring Yul Bryner.

Lo had worked with many professional companies, including Cloud Gate Dance Theatre of Taiwan, and performed extensively in Asia, Europe and the United States. She was very often assigned solo and leading roles, including Aureole by Paul Taylor, Frida by Helen Lai, Requiem by Lin Hwai-min, and many others. She was best noted for her solo performance in Requiem, a work Lin Hwai-min choreographed for her, in which she maintained a spin for more than 10 minutes.

Aside from her career as professional dancer, Lo had also devoted to dance education. In 1985, she began teaching at the Dance Department at the Taipei National University of the Arts, Taiwan, was appointed the chairperson of the Dance Department in 1992, and designated as the director of Graduate School of Dance in 1994. In the same year, she and three other former leading dancers of the Cloud Gate Dance Theatre of Taiwan co-founded Taipei Crossover Dance Company. In 1999, she was appointed as the Artistic Director of Cloud Gate 2.

Acclaimed by her great dedication to the arts field, Lo received the Wu San-lien Award of Literature and Arts from Wu San-lien Awards Foundation in 1999, and National Award for the Arts from National Culture and Arts Foundation in 2000.

Lo was diagnosed with lung cancer in 2001, but remained passionately committed to her dance performances, choreography and teaching. After a five-year battle, she passed away in March 2006, at the age of 51.

In remembrance of Lo, Lo Man-fei Dance Fund was founded to cultivate promising choreographers and young dancers.

LO MAN-FEI (1955–2006)

Cloud Gate 2 Founding Artistic Director

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Cheng Tsung-lung’s family owns a slipper factory. Hawking slippers on the sidewalks was part of his childhood and adolescent life. The dynamics of street life and pedestrian behaviour later became the source of inspiration for his choreography.

After graduating from the Dance Department of Taipei National University of the Arts, Cheng performed internationally with Cloud Gate Dance Theatre of Taiwan from 2002 to 2004. He served as the Resident Choreographer for Cloud Gate 2 from 2006 to 2010.

He is the winner of the No Ballet International Choreography Competition, Germany (2006), the Premio Roma Danza International Choreography Competition in Italy, the 16th MASDANZA Choreography Competition in Spain (2011), and the Taishin Arts Award (2012)—the most prestigious arts prize in Taiwan. Cheng was honored as “Artist of 2011” by the Performing Arts Reviews, Taiwan, and awarded the Performing Arts Fellowship by the Asian Cultural Council to spend ten months in New York in 2012.

Cheng has choreographed and restaged works for Transitions Dance Company at the Laban Centre, London; Expressions Dance Company, Brisbane, Australia; the Hong Kong Academy for Performing Arts; and Focus Dance Company, Taiwan. His productions with Cloud Gate 2 include: A Dignified Joke, Change, The Wall, Happiness and Music, Crack, Blue Hour, Dorian Gray, and Beckoning.

In 2016, his work 13 Tongues, commissioned by Taiwan International Festival of Arts (TIFA), was premiered by Cloud Gate 2 at the National Theater, the National Performing Arts Center in Taipei, Taiwan.

CHENG TSUNG-LUNGCloud Gate 2 Artistic Director / Choreographer, The Wall & Beckoning

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CHEN QIU-YINCloud Gate 2 Associate Artistic Director

Chen joined Cloud Gate Dance Theatre of Taiwan after graduating from Taipei National University of the Arts in 1991. Receiving the Performing Arts Fellowship from the Asian Cultural Council in 1993 and J.S. Seidman Theatre Scholarship and Awards in 1994, Chen has participated in the performances of Mary Anthony Dance Theatre and Elisa Monte Dance Company during her stay in the US. She returned to Taiwan after earning her MFA degree in Dance from New York University. Chen’s experience in dance performance have enhanced her ability to act as a liaison between choreographers and young dancers. She has served as the rehearsal director of Cloud Gate 2 since 1999, and was appointed the Associate Artistic Director in 2014.

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Watching his parents teach tango at their ballroom dance school was one of Huang Yi’s earliest memories from childhood. His formal dance training started at age 10; by 19 he tried his hand at choreography. Huang Yi holds a master’s degree from Graduate School of Dance, Taipei National University of the Arts.

In 2005, Messed premiered at the American Dance Festival. Spin, a multimedia work, was presented at both the Enghien-Les Bains Centre des Arts, France and Taiwan Museum of Fine Arts in 2006. Its sequel, Spin 2010, was a critical success at the National Theater in Taipei. While Whisper won him the second place at the Cross Connection Ballet 3rd Copenhagen International Choreography Competition in 2010, his Symphony Project I Violin and Huang Yi & KUKA received the Digital Art Performance Award first prize from Digital Art Festival Taipei in 2010 and 2012 respectively. Huang Yi was named one of Dance Magazine’s “25 to Watch” in 2011. Invited by Nimbus Dance Works for its 2013 New York season, his work Shadow of Sound had its world premiere in New York City.

Huang Yi’s award winning work Huang Yi & KUKA was invited by Ars Electronica Festival—the internationally renowned unique platform for digital art and media culture—to open 2013 Festival and to present at the Ars Electronica Gala—considered an evening with the crème de la crème of the digital arts—on the same stage with the prize winners of the 2013 Prix Ars Electronica.

Since 2008, Huang Yi has produced several works for Cloud Gate 2, including Body • Sound, Wicked Fish, Ta-Ta for Now, Red, Floating Domain, Lost for Word, and Light.

HUANG YICloud Gate 2 Choreographer, Wicked Fish

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CLOUD GATE CULTURE AND ARTS FOUNDATIONHonorary Chairman Lee Yuan-tsehChairperson Shen Hsueh-yungBoard of Directors Cheng Tsung-lung, Hong Min-ho, Rock Hsu, Barry Lam, Lin Hwai-min, Stan Shih, Tsai Hong-tu, F. C. Tseng, Wang Chi-mei, Kate Huei-wen Wen, Wing Hung Wong, Diane YingExecutive Director Yeh Wen-wen

CLOUD GATE 2Founder Lin Hwai-minFounding Artistic Director Lo Man-feiArtistic Director Cheng Tsung-lungAssociate Artistic Director Chen Chiu-yin (Qiu-yin)Music Consultant Liang Chun-meiInternal Martial Arts Masters Adam Chi Hsu, Tang Hung-chi, Chen Chun-lungChi Kung Master Lee Kuo-weiModern Dance Teachers Huang Hsu-huei, Ku Ming-shen, Huang Pei-hua Ballet Teachers Wu Ching-yin, Lin Li-chuanRehearsal Director Yang Ling-kaiRehearsal Assistants Luo Sih-wei, Lee Yin-Ying Piano Accompanists Kuo Tsung-han, Yen Ting-ju, Holy Chang, Wu Chia-chingDancers Chan Hing-chung Chang Chin Chen Li-ya Chen Yi-en Hsu Chih-hen Huang Yung-huai Lee Tzu-chun Lee Yin-ying Liao Chin-ting Lin I-hsuan Lu Tien-Juei Luo Sih-wei Su I-chieh Tsou Ying-lin Wu Jui-ying Yang Ling-kai Yeh Po-shengApprentice Huang Po-kai

ADMINISTRATIVE STAFF ON TOUR

Director of International Programs Joanna J.H. Wang Project Manager Yeh Chia-hui (Salina)International Project Coordinator Chuang Ting-chi

TECHNICAL STAFF ON TOUR

Project Production Manager Chen WeiStage Manager Wei Fang-yunLighting Supervisors Lin Szu-chenStage Supervisor Yang Chao-chuanWardrobe Mistress Lin Yen-jung

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Supporter

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Yang Ling-kai杨淩凯

Su I-chieh苏怡洁

Lin I-hsuan林宜萱

Luo Sih-wei骆思维

Wu Jui-ying吴睿颖

Chan Hing-chung陈庆翀

Lee Yin-ying李尹樱

CLOUDGATE 2

云门２

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Hsu Chih-hen许志恒

Lu Tien-Juei吕天瑞

Chang Chin张勤

Tsou Ying-lin邹莹霖

Chen Yi-en陈逸恩

Huang Yung-huai黄咏怀

Liao Chin-ting廖锦婷

DANCERS舞者

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亲爱的华艺节朋友： 衷心感谢大家出席华艺节，很高兴大家选择来到滨海艺术中心与我们共享春节的喜乐。能在节庆里同家人朋友聚集同欢总是幸福的美事，希望大家在这里享受到美好的时光。

对于农历新年，我总是引颈期盼。我记得我还是个小孩时，除了开心收到长辈们给的红包、大快朵颐新年大餐、穿新衣服外，我有很多时间是跟我的表兄弟姐妹们一起玩乐。慢慢长大后，我们开始到淡滨尼当时的东艺戏院看贺岁电影，不是周星驰，就是黄飞鸿电影系列。虽然东艺已不复存在了，但过年相约看电影的习惯依然。 到了2000年初我发现有华艺节，我记得那时我召集我的表兄弟姐妹跟我一起到滨海艺术中心观看免费节目。那是我的华艺节初体验。今天，我没料到自己成了华艺节幕后团队的一员，同个个满腔热忱的队友同心协力地把好节目带给大家。不管是免费节目活动，还是售票节目，我们期待您都能满载而归。我们相信，艺术能启迪人心，带给人欢乐。这样的信念，也是把生命奉献给艺术，用生命启迪人心的优秀艺术家们一路来的坚持。

如今，每逢农历新年的脚步近了，我的家人，包括我的表兄弟姐妹们，还有朋友们都知道我会召集他们来参与华艺节的活动。这，也已成了我们在农历新年必做的事儿。尽管我在节庆期间同样要工作，我也希望能挪出一些时间来做一名观众，这样我就可以同我的太太和女儿一起观赏演出和参与活动。希望有那么一天，相约在华艺节也能成为我女儿长大后同她的亲人朋友一起欢度新年的节目！ 华艺节制作团队诚挚地感谢大家的莅临与支持，感谢所有参与演出的艺术家们，在这段期间与我们一同过新年，同启新希望。

愿 新春愉快 祝福满满 健康快乐！

李国铭华艺节节目监制

附注：在华艺节度过农历新年的朋友，可有怎么样的回忆？欢迎您到华艺节的脸书（www.facebook.com/huayifestival）上与大家分享。

华艺节监制的话

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云门２创立于1999年，创办人林怀民老师希望这群年轻人接续云门舞集创团的初衷，在台湾的城市、乡镇、学校、部落，跳舞、表演，让广大社会里不同环境的朋友能有机会接触表演艺术、认识舞蹈。已故创团艺术总监罗曼菲老师除了接下这传递美好的任务之外，更希望提供舞台，让更多热爱舞蹈的年轻朋友们在这个舞团里天马行空的创作和表演。

17年过去了，我们依然守护着这两个初衷，一台手拉音响、一辆12人座小巴士，穿梭在高速公路、乡间小道，在渔村旁的学校操场介绍芭蕾、太极、武术，在晚间的社区活动中心和民众牵手跳舞，在青少年、大学生集会的礼堂讲解编舞家们创作的心境、透过舞蹈语言想表达的概念与情感。云门２的年轻人在这些不同的舞台成长、生活。偶而，我们也把这些作品带到国际的舞台上，在伦敦、纽约、北京、香港，让更多的朋友透过舞蹈认识这群在岛屿成长的编舞家和表演者。

2017年的春节，我们很荣幸有这个机会和新加坡的朋友分享云门２的三个作品，《流鱼》、《牆》、《来》。期待在观众席灯光渐暗之后，舞台的灯亮起来的同时，你与我和舞台上的表演者，能够真实的相遇，透过作品、透过身体的呼吸，在滨海艺术中心的空间里，认识彼此，在作品中沟通、交流。

郑宗龙 2016年12月21日冬至

艺术总监的话

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《流鱼》编舞 黄翊音乐 扬那斯‧桑纳奇斯（Iannis Xenakis）Shaar灯光设计 李建常服装设计 刘晓岚时长 13分钟舞者 骆思维、李尹樱、苏怡洁、吴睿颖、 陈庆翀、许志恒、廖锦婷、邹莹霖、 陈逸恩、黄咏淮、吕天瑞、张 勤　 快速度的群舞交织穿梭流动，呈现科技世代非物理性的视觉与直观，不断挑战、堆叠、纠缠的网状思考。“充满新意，令人耳目一新。”（《PAR表演艺术杂志》）

舞者如鱼群般在舞台上旋转盘绕，快速凝聚又发散。在翻腾的群舞中，短暂出现的双人与三人舞缠绕转动，展现如回转仪般的高超技艺。这个作品灼灼逼人，效果十足。－《纽约时报》

以快速、令人兴奋且流畅的多重旋扭和抬举动作形成复杂的编舞，但看起来却丝毫不费吹灰之力。－欧洲《舞蹈杂志》

舞评报道

编舞 郑宗龙音乐 迈克尔‧戈登 (Michael Gordon) Weather One灯光设计 李建常服装设计 刘晓岚时长 22分钟舞者 骆思维、李尹樱、苏怡洁、吴睿颖、 陈庆翀、林宜萱、许志恒、廖锦婷、 邹莹霖、陈逸恩、黄咏淮、张 勤

无止境的行进队伍不断拆解，重整，在作曲家迈克尔‧戈登无止无休，赶尽杀绝的弦乐中累积了撼人的重量，直到那“墙明确地在你心中滋长。”( 欧洲《舞蹈杂志》)

《墙》

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一支极具重量感的舞蹈，大胆地运用舞台的裸墙创造强烈的视觉空间，和舞者列队般的行进方式，形成《墙》在真实与虚拟的对比…在饱满的节奏与光影的变化中，感觉心墙的时而巨大，时而渺小。－《PAR表演艺术杂志》

舞评报道

《来》

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舞评报道

编舞 郑宗龙音乐创作暨制作 钟成达、静谧时光音乐编曲 柯智豪音乐后制 许智敏、柯智豪音乐工作室灯光设计 沈柏宏舞台美术设计 何佳兴服装设计 林秉豪时长 40分钟舞者 骆思维、李尹樱、苏怡洁、吴睿颖、陈庆翀、 林宜萱、许志恒、廖锦婷、邹莹霖、陈逸恩

《来》，从传统民间信仰入手，文化背景影响了动作源头，童年时期的郑宗龙着迷民间信仰中雕像的手式与姿态、神明绕境祈福中各式阵头、偶戏的动态神情，然而这个舞，却不是谈及信仰，不是角色扮演，而是更纯粹的用肢体动作来演绎与整理这些记忆里的文化。 在约瑟夫‧坎贝尔（Joseph Campbell）的《神话》这本书里面，有一段故事是这样的：美国学者问日本神道教的神职人员：你们的神学，你们的意识型态是什么？日本人回答：我们没有神学。我们“跳舞”。

台湾在地文化与西方当代舞蹈平衡且和谐的完美结合 －英文《台北时报》

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享誉国际编舞家林怀民，在1999年创立云门２，邀请罗曼菲出任创团艺术总监。2006年，罗曼菲病逝后，林怀民续任总监之职。2014年，郑宗龙出任艺术总监。

云门２是云门舞集的兄弟团，以培育编舞家、舞者及培养多元观众为目标。邀请黎海宁、古名伸、伍国柱、布拉瑞扬、郑宗龙、黄翊等多位杰出编舞家为舞团编作，累积出风格迥异的丰富舞码，展现出年轻舞者多元活泼的肢体能力。云门２每年定期的新作发表《春斗》，已成为台湾观众年年期待的舞蹈风景。

云门２也以讲座结合演出的有机形式，深入乡镇、校园推广舞蹈艺术。学校、医院、地震水灾重建区、部落广场，都是云门２的舞台。

2000年起，云门２规划艺术驻校短期艺术课程，进驻大学。透过艺术讲座、舞蹈课程及示范演出，让大学生亲身体验舞蹈的乐趣。2001年起，在国泰金控支持下，每年透过国泰艺术节──云门２校园小区巡演走进各级学校演出，许多青年学子生命中第一次与舞蹈接触的经验，就是来自云门２。

2007年起，云门２推出艺术驻县／驻市活动。让舞团进驻当地两周，走访山地、渔村、乡镇、校园，举办各式免费艺文活动。从三岁到九十九岁的民众都能体验生活律动的快乐，落实艺术与生活的连结。十多年来深入乡里，勤演不辍，云门２赢得城乡观众的热爱。

2011年，云门２首度海外巡演，以“生猛新鲜的魅力”席卷香港。云门２已三度应邀赴中国大陆巡演，并于北京国际舞蹈节、上海国际艺术节演出，深受年轻观众的喜爱。2012年，舞团首次美国巡演，受到观众热烈激赏。纽约乔伊斯剧院演出一票难求，唯有加卖站票。舞评赞誉“精炼、淋漓尽致”、“技巧高超，胆识过人”。《纽约时报》称：“才华洋溢，技术超群……云门２的卓越应与世界分享！”美国《芭蕾舞蹈》杂志也写道：“这是一个你会欣赏，会爱上，会想一看再看的舞团。”2013年，舞团再度应纽约乔伊斯剧院邀请，演出《在路上》。2016下半年，舞团应美国纽约秋季舞蹈节之邀，在纽约城市中心演出《来》，并首赴英伦在沙德勒之井剧院演出《流鱼》、《墙》和《来》。

2016年，台北两厅院委托制作郑宗龙作品《十三声》，于台湾国际艺术节首演，广受观众及舞评热烈回响，吸引许多国际艺术节及剧院的目光并纷纷提出邀约。因为《十三声》，舞评赞誉“…云门２成了新的云门２…成为真正从台湾长成、台到骨子里的云门２。”

简介

云门２

才华洋溢，技术超群…云门２的卓越应与世界分享！－《纽约时报》

生气勃勃的舞团！－欧洲《舞蹈杂志》

一个你会欣赏，会爱上，会想一看再看的舞团。－美国《芭蕾舞蹈》杂志

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林怀民原是一位著名的小说家，留美期间开始正式习舞，1973年创立云门舞集。1983年创办台北艺术学院（今台北艺术大学）舞蹈系。1999年创立云门２。

他经常从亚洲传统文化与美学汲取灵感，编创充满当代意识的舞作，是国际推崇的编舞家。

2013年，林怀民继马莎‧葛兰姆、莫斯‧康宁汉、碧娜‧鲍许之后，获颁有“现代舞诺贝尔奖”美誉的美国舞蹈节终身成就奖。同年，联合国教科文组织的国际剧场机构邀请他在巴黎举办的“国际舞蹈日”庆祝活动中，代表全球舞蹈人士发表舞蹈日献词。

林怀民也获颁包括台湾和香港六所大学的荣誉博士，以及菲律宾麦格塞塞奖、美国洛克斐勒三世奖、法国文学艺术骑士勋章、德国舞动国际舞蹈大奖的终身成就奖、国际表演艺术协会卓越艺术家奖，以及台湾行政院文化奖和蔡万才台湾贡献奖，并获选《时代杂志》亚洲英雄人物。

云门２创办人

林怀民

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罗曼菲是台湾知名舞者、编舞家和舞蹈教育工作者。活跃于演出、创作、教学及制作行政各个领域，杰出的表现，获艺文界高度肯定，获颁吴三连艺术奖和国艺会“文艺奖”，并以精湛的舞技，开朗的个性，成为台湾社会亮丽的舞者形象。1999年，应林怀民之邀，出任云门２创团艺术总监。

1985年起执教于台北艺术大学舞蹈系，后任舞蹈系主任、研究所所长，创办该校舞蹈系七年一贯制。任教20年间，为台湾培育无数新生代演出与创作人才。曼菲惜才爱才，新生代编舞家布拉瑞扬、伍国柱、郑宗龙、黄翊都在她的鼓励与支持下得到发表作品与成长的机会。

1989年，林怀民为她编作独舞《挽歌》，以高难度长时间的旋转，撼人的张力，感动无数观众，为美国《纽约时报》誉为“壮丽大气的演出”。1994年，她与云门第一代舞者共创台北越界舞团，编舞演出《心之安放》、《天国出走》、《蚀》、《芦苇地带》、《沉香屑》等多出舞作，在海内外备受好评。

2001年罗曼菲罹患癌症。抗癌五年期间仍坚持对舞蹈的热爱，上台演出、编舞和教学，同时继续关爱后进。2006年病逝后，家人与亲友成立罗曼菲舞蹈奖助金，鼓励有才华的年轻舞者与舞蹈创作者。

罗曼菲的舞姿铜像，如今旋舞在她的故乡宜兰的公园里，常年吸引许多她的仰慕者，成为新生代舞者永恒的启发。

罗曼菲

云门２创团艺术总监(1955–2006)

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生于台北万华的郑宗龙，从小就跟着家人四处摆摊、卖拖鞋；街头活力和人生百态成为他日后创作的泉源。

台北艺术大学舞蹈系毕业，曾任云门舞集舞者。2002年开始创作。作品已在欧美亚澳舞台演出，屡屡获奖。2006年，郑宗龙首次应罗曼菲的邀请，为云门２编创《庄严的笑话》，其后担任云门２驻团编舞家、助理艺术总监，陆续为舞团编作《变》、《墙》、《裂》、《乐》、《一个蓝色的地方》等作品。2014年，从林怀民手中接下艺术总监的重任，编创《杜连魁》、《来》及《十三声》。

云门之外，郑宗龙应邀担任2010年台湾建国百年“跨年庆典”的执行导演；来年应国际电影导演蔡明亮之邀，跨界为独角戏《只有你》编排舞蹈。2011年获《PAR表演艺术杂志》选为年度人物，2012年获亚洲文化协会奖助，前往纽约研习。

2012年，他的《墙》于纽约演出。《纽约时报》如此评说：“《墙》为整晚节目划上一个强烈的句号。…郑宗龙导入截然不同的动作语汇，轻盈巧转，如芭蕾般优雅…舞者将舞句的内涵，舞得淋漓尽致，令人激动。”

双人舞作品《狄德贝许》，获2006年德国 No Ballet 当代编舞比赛铜牌奖。作品《在路上》获2011年西班牙MASDANZA编舞大赛首奖和罗马编舞大赛最佳团队，并获得台新艺术奖年度表演艺术奖。由国际策展人所组成的台新奖评审团表示：“《在路上》是当代编舞的绝佳范本…郑宗龙的编舞技术成熟，融合东西方传统，发展出丰富新颖的语汇，淋漓表达艺术理念。郑宗龙是国际舞蹈界新鲜而独特的声音。”

2016年，台北两厅院台湾国际艺术节委托郑宗龙创作的《十三声》，广受观众及舞评热烈回响：“挖掘台湾古老的文化记忆，特别是那些通俗的，充满温度的，却又在时代洪流中逐渐凋零的。这场说唱，不只是土地庶民鲜明的色彩，更是与外来文化和现代撞击后点燃起的新火花…无疑为现今逐渐火热的台湾在地认同，留下一抹鲜明的时代印记”。

郑宗龙

云门２艺术总监暨《墙》与《来》编舞家

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曾为云门舞集舞者。1999年兼任云门２排练指导，2000年起，正式转任此职。2014年受邀担任助理艺术总监。

她在舞台上的出色表演，备受瞩目与肯定，多次获奖。就读台北艺术学院舞蹈系时，即获选全台湾戏剧院明日之星，以及青春之星艺术奖学金。1991年毕业后即加入云门舞集。

1992年获台湾文建会海外留学奖学金赴美，1993年获亚洲文化协会舞蹈奖学金，1994年获席德门剧院舞蹈优异奖。曾参加谭盾的歌剧《马可波罗》德国香港巡演，参与爱莉萨‧蒙特（Elisa Monte）、玛丽‧安东尼（Mary Anthony）、萝伦‧玛可杜塔（Loren MacDougall）等舞团的演出，担任编舞家爱莉萨‧蒙特为艾文‧艾利舞团编舞的排练助理。取得纽约大学舞蹈系硕士后返台，客席任教于台北艺术学院舞蹈系，随后返回云门舞集。曾演出云门舞集的重要角色有《白蛇传》中的青蛇、《九歌》中的女巫，以及《流浪者之歌》、《水月》、《我的乡愁，我的歌》、《家族合唱》，还有黎海宁的《女娲的故事》等重要作品。丰富多元的演出经验，让她成为年轻舞者与编舞家之间的桥梁。

在云门期间，秋吟也与其他艺术家合作。2005年赴香港与当地艺术家合作《同床异梦》，2007及2008年，应作曲家金希文之邀合作《溺水的舞者》及《爱与死》的演出。2009年两度担任台北音乐厅主办快乐宝贝起步《奏》系列演出《快乐森林》及《圣诞礼物的秘密》的导演，深获好评。

陈秋吟

云门２助理艺术总监

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台湾嘉义人，从小在父母开设的舞蹈教室看他们教探戈，也跟着从事广告设计的父亲习画。舞蹈、摄影、录像、装置艺术，都是他创作的领域。

黄翊毕业于台北艺术大学舞蹈创作研究所，大学时代的编作就引起许多舞蹈前辈的注目。林怀民曾赞叹黄翊是天分绝佳的“可怕的孩子”。舞评家也表示：“这个和任天堂一起长大的编舞家，眼球速度决定了思考的速度，令人拍案激赏。”

2005年，他在美国舞蹈艺术节首次发表的舞作Messed被誉为“最佳舞作”。2011年，《低语》获丹麦国际编舞大赛第二名，也被美国舞蹈杂志选为25位最受瞩目舞蹈家之一。

黄翊擅长将层次丰富的影像与细腻的肢体结合，“在影像 和 舞 蹈 的 穿 梭 中 展 示 出 深 不 可 测 的 底 蕴 和 舞 蹈潜力”；并经常与音乐家合作，参与舞蹈的音乐创作。舞蹈影像作品《转─Spin》应邀于法国安恒湖艺术中心国际数位艺术节、台湾美术馆演出，结合装置展览、纪录片展示的演出获得热烈回响。《机械提琴——交响乐计划之一》获台北数位艺术节数位艺术表演奖首奖，2012年又以《黄翊与库卡》再度获颁首奖，作品应邀于奥地利林兹科技艺术节演出。2013年获亚洲文化协会奖助金，前往纽约研习，并于纽约3LD艺术村担任驻村艺术家，编创《地平面以下》。2015年在纽约3LD艺术与科技中心发表新版《黄翊与库卡》，《纽约时报》推崇为当周必看艺文节目之一，并吸引国际表演艺术及科技艺术界重要人士前往欣赏。

《流鱼》之外，黄翊也为云门２编作《身‧音》、Ta-Ta for Now、《红》、《浮动的房间》、《机械提琴——交响乐计划之一》、《无声雨》和《光》。

黄翊

《流鱼》编舞家

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财团法人云门文化艺术基金会

荣誉董事长 李远哲董事长 申学庸董事 汪其楣　林百里　林怀民　洪敏弘　施振荣　殷允芃 许胜雄　黄永洪　曾繁城　蔡宏图　温慧玟　郑宗龙　(依姓氏序)

执行总监 叶芠芠

云门２

创办人暨艺术总监 林怀民创团艺术总监 罗曼菲艺术总监 郑宗龙助理艺术总监 陈秋吟音乐顾问　　　　　　 梁春美内家拳教师　　　　　 徐 纪　唐鸿志　陈骏巃

现代舞教师　　　　　 黄旭徽　古名伸　黄佩华芭蕾教师　　　　　　 吴青㖗 林立川排练指导 杨淩凯排练助理 骆思维　李尹樱钢琴伴奏　　　　　　 郭宗翰　阎亭如　张圣洁　吴佳锦

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实习舞者 黄柏凯

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“全新的体验，完美无暇的夜晚，让我们久久难以忘怀。”– 滨海艺术中心音乐会参与者的感言

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Huayi – Chinese Festival of Arts 2017 is made possible with the generous support of:

华艺节2017谨此感谢以下赞助商的慷慨赞助：

Hong Leong Foundation Kwan Im Thong Hood Cho Temple

Bowen Enterprises Pte LtdBerries World of Learning School

Supporting Sponsors赞助商

Product of Viz Branz Pte. Ltd.

Arts Partner艺术推广伙伴

Lianhe Zaobao

Official Newspaper指定宣传报章

Special thanks to Mr David Liao for his generous donation to the festival