More than just Cloud Gate #2 – 2026

Taiwan’s Island Culture—Bodies and Identities in Constant Motion

By Cheng-Ting Chen

Prologue

Contemporary dance in Taiwan is currently undergoing a period of transformation, marked by a significant generational shift and a reshaping of the landscape. For a long time, the international community’s perception of Taiwanese dance was focused on the “Cloud Gate Dance Theatre” and its body language, which is characterized by Eastern poetry. Today’s dance scene, however, is far more expansive and brimming with vibrant diversity. The island’s physical culture comprises many historical layers: from the culture of the indigenous peoples who once settled the Pacific from Taiwan, to the religious plays and opera troupes introduced by Chinese immigrants in the 18th and 19th centuries, to the introduction of modern dance during the Japanese colonial period (1895–1945). 

After World War II, the U.S.-supported cultural and artistic system introduced a strong influence from American modern dance techniques, while European humanism and its research methods also gained prominence. Recent developments have included, among other things, media experiments with contemporary digital technology and the spontaneous energy of community dance projects. This is a centuries-long “process of translation” in which different ethnic groups and cultures have intertwined. In Taiwan, dance and the performing arts are not only forms of artistic expression but have also, for half a century, served as an important vehicle for the search for cultural identity—amid geopolitical anxieties and within a complex colonial historical context. 

1. The Subversion and Transmission of “Role Models”: From National Consciousness to the Reexamination of Individual History in the Dance Scene 

The professionalization of Taiwanese dance began in the 1970s. At that time, a state of emergency—imposed in 1949 by the dictatorial Kuomintang Party—was still in effect. In 1973, Lin Hwai-min founded the first professional dance company, “Cloud Gate Dance Theatre,” introduced the American Graham technique, and elevated dance from popular entertainment to a “serious art” imbued with sacredness and national self-confidence. The premiere of the then-masterpiece “Legacy (Xin chuan 薪傳)” in 1978 coincided with the historic moment when diplomatic relations between Taiwan and the U.S. were severed, creating a deep connection between dance and the nation’s fate. At the same time, the pioneer Tsai Jui-yueh had already sown the seeds of modern dance during politically difficult times. Her “Dance Research Institute” became a sanctuary for the free body and avant-garde art. Liu Feng-shueh and her “Neo-Classic Dance Company,” on the other hand, dedicated themselves to the reconstruction and academic study of Tang Dynasty dance and, through literary research and Laban notation, laid a strong foundation for Taiwanese dance history. 

With the lifting of martial law in 1987, the body was freed from the burden of the “national narrative.” As part of the off-theater movement of the 1990s, artists such as Wang Molin, Chou Yi-chang, and Chen Chieh-jen proclaimed that artistic bodily actions should intervene in history, public space, and social issues in order to rebel against authorities and institutions. In 1992, Ku Ming-shen introduced “Contact Improvisation,” which broke down the hierarchical authority in choreography and emphasized equality as well as direct sensory dialogue among the dancers. Furthermore, the “Legend Lin Dance Theatre,” founded by Lin Lee-chen, developed a highly ritualized “aesthetic of emptiness and slowness” and, together with groups such as “Tai Gu Tales Dance Theatre” and “U Theatre,” created a unique Eastern physical aesthetic as well as a transnational perspective on collaboration. Ping Heng founded the dance company “Dance Forum Taipei” in 1989 and has long promoted international exchange and touring performances; to this day, she remains a key driving force behind the training and promotion of modern dance.  

With Lin Hwai-min’s handover of the “Cloud Gate Dance Theatre” to Cheng Tsung-lung in late 2019 and the death of Liu Feng-shueh in 2023, Taiwan’s dance scene entered a phase of realignment. A new generation of artists is focusing more on the visual interpretation of contemporary urban moods and interpersonal relationships. Their work often prioritizes a sense of “authentic” presence over perfect stage aesthetics. 

This is also reflected in the professionalization of indigenous dance in Taiwan over the past few decades. The indigenous population accounts for approximately 2.7% of Taiwan’s total population and maintains a rich cultural heritage that is gaining increasing recognition. Moving away from the early tourist-oriented label of “mountain song and mountain dance,” a distinct aesthetic and contemporary presence has developed within Taiwan’s dance scene. The “Formosa Aboriginal Singing and Dance Troupe,” founded in 1991, marked a milestone in the revitalization of indigenous music and dance. The most representative contemporary development is the return of choreographer Bulareyaung Pagarlava to his hometown of Taitung, where he guides the dancers to rediscover their authentic physical presence through work within the tribe. In addition, the dance company “Tjimur Dance Theatre” reinterprets Paiwan culture in a contemporary way, while Watan Tusi of “TAI Body Theatre” has developed his own “footnote system” to reconstruct the ethnic group’s bodily history. The transformation of indigenous dance also carries the significance of “spatial archaeology”: by re-exploring the history of the land and the body, this is not merely an aesthetic representation but a self-assured statement of autonomy that places indigenous aesthetics at the center of the discourse on Taiwanese identity. 

Most of the ensembles and groups mentioned operate in Taiwan as independent, self-governing organizations, similar to the “independent scene” in Germany. This includes ensembles of all sizes and organizational structures, ranging from groups with their own theaters—such as the Cloud Gate Dance Theater—to small groups working in the classical, contemporary, and indigenous genres. State-organized ensembles, such as the dance companies affiliated with state and municipal theaters in Germany, do not exist in Taiwan. 

2. Institutional Change: From the “Great Temple” to “Three Houses and an Orchestra as a Legal Entity” 

Over the past decade, the performing arts in Taiwan have also undergone profound institutional transformations. For a long time, the theater scene was dominated solely by the two major national theaters in Taipei (National Theater & Concert Hall), built in 1987 as a massive “double temple” on a prominent square in Taipei. With the establishment of the “National Performing Arts Center (NPAC) Management Corporation” in 2014, a national structure was created that now encompasses several theaters: the National Theater in Taipei, the new National Taichung Theater (NTT), the new National Kaohsiung Center for the Arts (Weiwuying), and the National Symphony Orchestra (NSO).

This reform granted the major national theaters professional autonomy and flexibility in staffing, transforming them from mere “rental agencies” for venues into “production centers” that actively participate in the creative development of artistic works, transnational co-productions, and the provision of resources. However, due to structural constraints, they tend to focus on large-scale, entertaining productions, as their auditoriums—with 1,500 to 2,000 seats—are significantly larger than those of most German theaters. In contrast, their small “experimental stages” are highly competitive. This also applies to the few other larger institutions that can co-produce or host guest performances: the Taipei Performing Arts Center (TPAC), a municipally funded venue, as well as a small number of festivals such as the “Iron Rose Arts Festival” in Taoyuan, “Want to Dance,” and the “Tainan Arts Festival.” 

There is a significant gap in Taiwan, particularly for progressive contemporary dance and performance art, which rarely have the opportunity to work on such large stages. There are very few smaller private theaters, such as the long-established Guling Street Avant-Garde Theater in Taipei. As a result, groups working in this field still mostly stage their productions on their own in the numerous, well-equipped rental theaters available. To do so, they handle the entire process themselves—from marketing and ticketing to production management and technical implementation—with the help of specialized freelance technical and production teams. This system guarantees a certain degree of independence and visibility even outside the strictly curated programs of the few national theaters and festivals. At the same time, the financial pressure is enormous; even state-funded ensembles must perform very frequently just to make a living from their work. 

Beyond the major venues, larger institutions serve as platforms that facilitate international networking and support local artists, such as through the Taipei Performing Arts Center’s “The Asia Discovers Asia Meeting for Contemporary Performance” (ADAM) or Weiwuying’s “Taiwan Dance Platform.” In addition, several private initiatives are working to establish specialized, appropriately sized venues for the contemporary dance scene. For example, the “Tanzhaus Taipei” initiative, led by the aforementioned pioneer Ku Ming-shen, is working on plans to convert the historic Zhongshan Hall in Taipei from a concert hall into a venue for contemporary dance.

3. A multifaceted network of resources: The symbiotic system comprising the Ministry of Culture, the National Arts Council, and local governments 

Government authorities in Taiwan do not limit themselves to awarding grants; they also actively serve as a platform for facilitating connections, albeit with a specific focus on external and international engagement. Cultural policy is one of the few areas in which Taiwan can engage internationally, and the government specifically uses artistic productions as ambassadors. Each year, the Ministry of Culture (MOC) selects outstanding ensembles and supports their participation in “Taiwan Season” as part of France’s “Festival OFF d’Avignon” and the UK’s “Edinburgh Festival Fringe.” The “Taiwan Brand Teams” program, also administered by the Ministry of Culture, is regarded as the “national arts team” and provides long-term, stable funding for established, internationally active groups, which thus become flagship representatives of Taiwan’s cultural strength. The National Culture and Arts Foundation (NCAF), on the other hand, offers highly specialized funding mechanisms. The “TAIWAN TOP Performing Arts Groups” program focuses on supporting the annual operations of established ensembles, while the “International Cultural Exchange” grants—awarded six times a year—help artists stay connected to the international stage at any time thanks to their flexibility and adaptability.  

Local authorities, on the other hand, focus on strengthening local ties. The “Support for Outstanding Performing Arts Groups” program promotes regional artistic vitality and offers projects to repurpose unused spaces, such as the “Art Resonance Space” in Taipei, to provide concrete solutions to the most pressing problems faced by artists in the performing arts—namely, the lack of rehearsal, office, and storage spaces. Even though there are still many unresolved issues at the implementation level, many artists and groups are nevertheless benefiting from the continuous flow of public funding. 

This government support helps Taiwanese artists establish themselves in the global art market despite a lack of resources. In recent years, there has been an increased focus on connections within Asia (particularly in Southeast Asia). Transnational curatorial and collaborative projects deepen the dialogue on body language among various Asian cultures and countries.

Private initiatives complement these government programs and platforms. For example, the “Grassroots Platform” creates a more flexible and decentralized production model by promoting local art and operating independent spaces. “Dance Park (DPK),” founded by choreographer Tung I-fen, offers independent dancers a space that is not tied to a single dance company and whose purpose is not only the production of works but also to facilitate artistic practice, discourse, and the collective exchange of ideas. The “Want to Dance Festival,” initiated by “Shinehouse Theatre,” breaks down the boundaries of the theater and transforms the streets and historic sites of Wanhua’s Old Town into a stage. It attracts curators from both Taiwan and abroad and serves as a major independent dance platform in northern Taiwan.

In the south, the “Southern Jump Open Space,” founded by artist Chou Shu-yi, demonstrates how managing a space can support independent artists. It fills the gap outside of official venues—which are small and lack a selection process—and enables artists to maintain a space in a heavily gentrified city where they can be creative, conduct research, and work during the early stages of development. The “Primal Chaos – Dance x Sounds” project, long supported by “HORSE,” serves as a curatorial model for cross-genre improvisation. Through the serendipitous encounter between “body” and “sound,” it transforms the rehearsal space into a public space for dialogue.  

These spaces, spontaneously organized by civil society, have a subtle relationship with state-run venues—one that is both complementary and competitive. They offer an environment that is more accessible and experimental than that of large-scale productions, and they provide artists with the resilience and adaptability needed to continuously deepen, through open dialogue, the connection between bodily aesthetics, society, and the local context. 

Epilogue – A Physical Dialogue with the Future: Resilience and Structural Challenges

This system, centered on “projects” and “platforms,” has endowed the performing arts in Taiwan with tremendous resilience. Artists are not tied to fixed theater companies; they can work flexibly across genres and respond quickly to social issues or changes brought about by digital technologies, thereby developing a unique creative dynamic. However, this system also presents challenges.  

Fierce competition and the “project-based compensation” model have given rise to the so-called “subsidy bug”: Many ensembles are forced into a vicious cycle of constantly producing new works in order to maintain their eligibility for funding. In addition, most Taiwanese dancers are “freelancers” who, on average, must change their work environment every two months. While this “nomadic lifestyle” preserves their freedom, it also means that the development of technical and material resources is easily disrupted.  

This reality of the dance world also reflects the gap between education and the market, as well as the discrepancy between academic study and professional practice. Since the professional dance training system in Taiwan did not emerge until the 1970s and there is a lack of medium- to large-sized dance companies that could support dancers’ continued training, only 5.3% of professional dancers are still working in their field—dance—five years after graduation.  

In summary, state-run venues operated as public institutions offer stable infrastructure and curatorial perspectives and, together with the flexible funding mechanisms of the National Arts Council and the Ministry of Culture, have created a production network with international connections. This represents a transformative journey from the “temple of art” era toward a “participatory society.” Although challenges regarding market size and the long-term retention of talent remain, the question of how to create time and space for respite, creative reflection, and dialogue within an efficiency-driven system has now become a central issue that urgently needs to be discussed in Taiwan’s performing arts community. 

The greatest strength of contemporary Taiwanese dance lies in its “hybridity,” which arises from the interplay of diverse cultures. It is not only a graceful physical performance but also a profound response by this island nation to geopolitical developments, the process of democratization, and the memory of its origins. From the aesthetic masterpieces of the Lin Hwai-min era to the decentralized physical experiments of the present, Taiwanese dance establishes, through a fluid and open dialogue, a stance that is not subject to any authority or mainstream influence. 

Biography

Cheng-Ting Chen is originally from Taiwan and lives in Berlin. As a former long-standing Germany correspondent for PAR Performing Arts Magazine (Taiwan), she builds bridges between European and Asian performance discourses as an author and translator. In her artistic practice, she works as a scenographer and dramaturg on the performative spatial staging of intercultural identities.