See You
This is one of the finest, most beautifully crafted contemporary dance works I have seen in some time, and realised by very fine performers. I know this is quite the statement, but I stand by it. Dance choreography does not need to possess a fixed narrative or even restrict itself to a single storyline. Moments of connection (both dancer to dancer, and dancer/s to audience) plus creative physical and theatrical imagery can inspire thoughtful or emotional responses in an audience that leave a lasting impression of greatness. Of course, supremely high quality technique also has a place but not as an end in itself; technical excellence needs to be a dependable and exemplary medium upon which expression rests. Led by choreographer Lai Hung-Chung, Hung Dance from Taiwan consummately melds all of these components in See You (再見).
The theatrical elements of this work also combine perfectly to enhance the choreography, moods, and performative elements. Intensely beautiful, evocative lighting by Tsai Chao-Yu complements each ‘chapter’ of the choreography, including a kinetic spotlight that both follows and frames the dancers who face upstage as they tread a simple floor pattern. Costuming from Hsu Chia-Wei is styled in neutrals, whites, and greys but upon closer inspection, each outfit for the nine dancers is individualised through style, texture, embroidery, or panelling. Contributed by Yang Yu-The, the sound score too is a cohesive element within the whole. Beginning with drone sounds reminiscent of Tibetan chants, the accompaniment builds to provide a layered, sometimes unsettling backdrop for the choreography, pierced by moments of silence or frantically rhythmic beats.
The choreography itself is a movement language that I am sure will evolve further to be even more distinctive and recognisably connected to Hung Dance as was William Forsythe’s work during his tenure with the Frankfurt Ballet. With influences from classical, contemporary, and tai chi vocabularies, the movement is elemental, idiosyncratic and absorbing. The craft of Lai Hung-Chung’s choreography is impeccable: multiple facings, dynamic use of levels, breathtaking duet and floor work, and organic group movement with the feel of contact improvisation. Within seemingly random and sometimes intentionally monstrous, contorted larger group movement sequences, moments of startling and beautiful unison and duet work would appear. Additionally, the connection of the dancers to the work and their intense focus was riveting. Indeed, their focus was at times choreographed to ‘look’ and ‘see’ each other, the audience, or into the distance whether those foci might be tempting, threatening, or curious.
The title See You seems to translate to ‘good bye’ when read from the characters and at times, there seemed to be moments of farewell or departure, by choice or by force. However, ‘seeing’ seemed to be a feature of the work with the dancers perceiving each other at close quarters or being drawn toward some spectacle invisible to us. The (unintentional?) double entendre seemed to fit the intensity of the performers’ gazes as the choreography developed. So many thematic suggestions were palpable to me: mortality, connection, the quandary of being human in all its diversity and complexity, and the sad fact of disconnection or alienation in some societies.
The nine dancers (Cheng I-Han, Huang Yu-Hsuan, Yang Ya-Ching, Lee Kuan-Ling, Lu Ying-Chieh, Kuo Chueh-Kai, Wu Shin-Jie, Chen Chi-Hsun, Ho Tzu-Wen) were uniformly excellent technicians as well as artistically impressive. Their connectedness as an ensemble was exemplary and inspiring and throughout, there was not one moment where their commitment to the work and its full expression waivered. Physically, these performers are remarkable in their execution, extension, flexibility, and fluidity as the choreographic demands required.
As fortunate as we in Adelaide were to see them during the 2023 Fringe, the work of Hung Dance belongs in a mainstage Festival. I hope to see them in Australia again soon.
Lisa Lanzi
Photographer: LIU Ren-haur
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