A recent article "Body worn out by the environment: Taiwanese dancers' career dilemma outside of the Cloud Gate Dance Theater" by the key review network caused some waves in the stratosphere of my theater. With a sensational title, this op-ed by Cai Chunyu paints a difficult image of Taiwanese dancers and how difficult it is to support yourself as a dancer in Taiwan. The author of this article should be a theater fanatic who loves performing arts, but some issues are really superficial, and they give people the feeling of seeing flowers in a fog. Some people around me have been living in the dance circle for many years, and I feel in this article. Friends who are "endorsed" can't help but feel injustice for themselves. u9yfgf44akcek6e6owuamdn2ha4y9c Photo Credit: Courtesy of Cloud Gate Dance Group The most controversial thing is the title. Of course, Cloud Gate and Wugou are two of the best dance brands in Taiwan and internationally renowned. But what's the reason for putting them alone in the title? It means that only these two groups can support the live dancers. If the dancers can't join these two groups, they have to sell red bean cakes?
Cloud Gate is not the only dance troupe that employs full-time dancers. For example, it was founded in 1989 by Ping Heng, a National Literature and Art Award winner. The Dance Space Dance Troupe with a history of more than 30 years is also an established dance troupe with a considerable scale and history in China. The Century Contemporary Dance Company founded by Yao Shufen, winner of the National Literature and Art Award ; the Scorpion Dance Theatre founded by three male dancers including Chen Wukang, Su Weijia and Zhou Shuyi; Hidden in Wedding Photo Editing Pingtung Sandimen, the main body of work is the Paiwan culture. The Moorish dance set has full-time dancers. As a person who doesn't pay much attention to the dance circle, I can talk about a few examples. I think there are actually more cases. It is true that many performance teams do not have full-time actors, dancers, or performers (or a certain percentage of full-time and external performers), but this can only be said to be due to differences in operating methods and physical attributes, and cannot be completely based on this.
Determine whether a performance team is operating well or badly. Of course, in terms of art forms such as opera or dance with complex performance procedures and high independence, it is indeed an ideal situation to have a group of fixed performers, choreographers and creators working together for a long time. But whether there are full-time performers is one of the important indicators for the operation mode of the performance team, but it is not the whole. As mentioned in the previous paragraph, I am not a person who walks and dances in the dance circle. I am not able to discuss or dialectically the plight of some dance workers mentioned in this submission. However, some of the issues related to art and literature practitioners touched by this submission, as well as some of the blind spots derived from them, are indeed worthy of our review. If we can leave some clues for discussion after the dispute subsides, I think it would be a good result.