From a phone call to an international exchange initiative sprouted amid the pandemic.
Back in mid-2020 when the pandemic hit the world, a phone call from Norman checking in to see if I was interested in continuing the exchanges between Taiwan and Canada in TPAM this February through online communication. I said yes right away. As Taiwanese, it’s been my belief that we should participate as much as possible whenever there is an opportunity for exchange, especially given the geographical and geopolitical situation in Taiwan. Later, both of us started asking the artists who participated in TPAM at that time if they were willing to engage in online exchanges. Big thanks to the immediate yes from WuKang, Pinwen, and Fangas, without knowing what it could turn into or what it could achieve (after all, Taiwan was quite lucky at that time, and our work was unusually busy compared to the rest of the world). Just like that, we began to have online conversations roughly once a month, which continued for three years. I myself was actually surprised that, after each meeting, everyone was keen for the next one and would take out their phone calendars and confirm the time of the next meeting. This level of sincerity and willingness over such a long period of time, is not something that happens in all online exchanges during epidemics.
After nearly a year of online conversations, as the world gradually explored the possibility of coexisting with the virus, and as we became more and more familiar with each other, we began discussing how this exchange could move forward a bit more. Each side also sought out different resources and jointly tried to move this project forward step by step. Looking back now, this project was indeed developed from the pandemic setting, allowing it with more flexibility and organic process. This was also my first experience as an independent producer not primarily focused on production and performance, participating in the project alongside artists from Taiwan and Canada in almost parallel roles. From discussing the possible structure and schedule of the project, to budget consolidation, both sides continued to work collaboratively. For me, through the practice of shared thinking and collaboration, I was able to observe and understand the different cultures and contexts between the two, and how each artist responded and developed in their own way. I was able to look up from the continuous cycle of production and performance, to rethink the possibilities of different development models and working relationships based on existing exchange experiences.
Two Weeks of Creative Residency: Seeing the World from Each Other’s Perspective
In the latter half of 2022, as borders gradually reopened, the idea of physical visits began to emerge. We deliberated on where we each wished to take the other in our respective locations. What were the most crucial places for each of us to experience or acquaint ourselves with? What resources were needed to achieve our mutual goals? How could the subsequent outcomes and experiences of this project be shared publicly? Thus, we proposed a goal of two weeks for reciprocal visits, with each side planning the itinerary for the other. Through the collective perspectives of one another, we immersed ourselves in each other’s physical places and spaces.
As Michael’s new and exciting role as the Artistic Director of the SummerWorks which held annually in August, and the alignment of both parties’ schedules (though coordinating schedules for seven individuals over two weeks was no small feat), it was swiftly decided that the Taiwanese contingent would visit Toronto in August, while the Canadian team would visit Taiwan at the end of October and early November (coinciding with the We Islands Dance Festival). When I received the meticulously planned itinerary devised by Andrea, Heidi, and Michael, I was truly amazed. They demonstrate such great administrative capacity as artists. They listed and made contact with a great number of institutions, professionals, while integrating performances and events happening around the same time in the schedule. Heidi’s beautifully crafted Excel spreadsheets and the meticulously detailed itinerary were commendable. Moreover, they endeavored to accompany and participate in on-site discussions at each visit. Drawing from my past experiences in international meetings and visiting trips, I knew that visiting over 20 institutions and engaging in in-depth discussions with key people within two weeks would have been impossible without their networks and endorsements. Aside from the itinerary, they also took great care of our accommodations and transportation arrangements. Due to post-pandemic inflation, accommodation costs in Toronto had skyrocketed. Andrea arranged for us to stay at her friends’ houses, and Heidi was also having us all in her house for the last two days, allowing us to experience the local housing and hospitality. We appreciate it so much that people generously offered their home for us to stay without even knowing us in the first place. And this is reaffirming the trust and goodwill cultivated through this project.
Given the great and incomparable Canadian itinerary, when it came to planning the Taiwan itinerary, Wu Kang, Pinwen, Fangas, and I were going to give our best – Five cities within fourteen days(crazy!) – Taichung, Taitung, Kaohsiung, Chiayi, and Taipei. With venues, artists and curators, dance education institutions, indigenous groups and tribes, workshops and performances all included in the schedule, we fully utilize Taiwan’s rapid mobility. Of course, we still have so much to show the Canadians that we just couldn’t fit everything in the schedule therefore we will have the next visit. Personally, my own journey in Taiwan was immensely rewarding. Without this project, I would have been engulfed in the busyness of production and performance as in previous years, with few opportunities to revisit different parts of Taiwan. Even for those I already knew, hearing them recount their history and current experiences provided me new and deeper insights and understanding.
Toronto Impressions, and thoughts on the project
My impression of Toronto is its diversity deeply rooted in daily life. The folks, the food, gender identity, conversation topics, and small grocery stores in most neighborhoods with relatively low number of chain stores (except for licensed liquor stores). It’s so seamlessly integrated into the city that, if one is not paying attention, you might initially find this big city somewhat uneventful. However, upon closer observation, you’ll notice the city’s fusion of cultures and perspectives, coupled with a genuine curiosity and willingness to share and discuss. There’s a focus on community-based activities, such as site-specific dance performances in parks (Dusk Dances), performances in front of people’s houses (Porch View Dances), and the performances like Love In, where performers and audience members alike are in the LGBTQ community. The sense of community and mutual support in each neighborhood and community is impressive, and it was reflected in the performances we attended at the SummerWorks Festival.
What struck me most about SummerWorks was its inclusivity. Eighty percent of the performances had live sign language interpretation, and there was even a play called Lady M (an adaptation of Macbeth) where the leading actress was Deaf. Most of the lines were transcended into rhythmic and choreographic-like sign language expressions, making it visually intricate and understandable even for audience members like myself. There was also a high proportion of Deaf audience members, and the post-show discussions and responses outside the venue were lively. The festival’s opening and closing ceremonies, as well as key events, also had at least two sign language interpreters providing simultaneous translation.
After this exceptional experience of reciprocal visits, we asked ourselves can and will this experience be replicated? We all agree that with different people and contexts involved in the future, the experience will inevitably be different. Therefore, documenting and sharing this experience will be meaningful for the project moving forward.
I’d like to share my observations in three topics: “Creative Residency,” “Working Spaces,” and “Relationships between Artists and Producers.”