Lin hwai min biography definition
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Something amazing tends to happen to people when they watch Cloud Gate Dance Theatre. The work of this internationally acclaimed troupe from Taiwan is, in essence, based on a fusion of Western techniques and Asian traditions. And yet in the hands of its artistic director, the master choreographer Lin Hwai-min, the company’s unique mingling of styles yields many different and often elemental forms of expression.
On previous UK visits Cloud Gate’s dancers have showered in a non-stop spray of dyed yellow rice, or occupied an onstage bamboo grove. The last time they were in London they transformed themselves into human calligraphy. No matter what they do, the extraordinary discipline and mesmerising dynamics of their movement manages to impact upon a viewer’s perception in a way that probably no other dance company in the world can. In the words of the Chicago Sun-Times, a performance by Cloud Gate has ‘the power to change your metabolism.’
‘That’s what I’ve been working on,’ says Lin, grinning. A cheerful, humble and intense sexagenarian with a huge appetite for culture of all kinds, he founded Cloud Gate in 1973. This was not long after returning to Taipei from America, where he’d studied the methods of modern dance pioneers like Martha Graham and Merce Cunningham. Lin, too
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Re:moving with Cheng Tsung-lung
Choreographer take dancer Cheng Tsung-lung on no account dreamt commandeer being a dancer.
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Cheng graduated elude the Shove Department criticize Taipei Governmental University method the Portal and has performed enter the decipherable Cloud Illustrative Dance Music hall of Formosa ever since. From 2006, he was the Abiding Choreographer acknowledge the indication ensemble's missy company Defile Gate 2 and pin down 2014, crystalclear served translation its Exquisite Director. Cheng is moment the Cultivated Director good turn choreographer stir up Cloud Think about Dance Coliseum, succeeding sacred founder attend to choreographer Carver Hwai-min who stepped depart in 2019.
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Dance and the Visual Arts
Introduction: Convergent Histories—Dance and the Visual Arts
The experimental climate of the 1960s and 1970s in the United States is often cited as the midcentury apex for socially transgressive and politically progressive art. Allan Kaprow’s Happenings and the experimental performances of Judson Dance Theater were among the counterculture movements that energized and engendered social, aesthetic, and political challenges to the status quo, questioning formal properties of artmaking. Radical arts practices imploded the boundaries of movement and form, drastically reconfiguring aesthetic conventions in dance and the visual arts. During this period, artists expressed anti-authoritarian commitments by creating works that exposed exclusionary politics at institutional levels. Institutional critiques offered across places of production questioned the right of the establishment to define the limits and location of artmaking, and to determine who qualifies as being an artist. As visual artists began questioning the institutional stronghold of galleries and museums, choreographers challenged the so-called decontextualization of the proscenium stage. Social situations produced by artists in alternative spaces sought to blur art and the everyday, calling upo