Review: Cloud Gate Dance Theatre of Taiwan, IDFB, Birmingham Hippodrome, May 2016

One of the most intriguing items on the programme of the International Dance Festival Birmingham 2016 is the Cloud Gate Dance Theatre of Taiwan with Songs of the Wanderers. Founded in 1973 by choreographer Lin Hwai-Win, Cloud Gate was the very first contemporary dance company in the greater Chinese-speaking community. Trained in meditation, ancient breathing exercises, internal martial arts, modern dance, ballet and calligraphy, Cloud Gate has created a discipline that is entirely their own; far removed from the classical traditions of Western dance.

The imagery of Songs of the Wanderers is astounding from the outset. A monk stands still in a downstage corner, a constant stream of golden rice raining down onto his shaved head. His complete and utter stillness is bewildering to a Western audience, and his presence remains a reassuring anchor throughout the entire performance.

The dancers enter the stage, crossing the dessert of golden rice as a ragged procession of pilgrims, propped up on jagged staves. Moving in deliberate slow motion, yet at a constant, smooth and steady speed, the discipline and control of every dancer is absolute. Without warning, this slow pace is broken by individual dancers; they drop to their knees, fingers twitching in keening, yearning gestures and bring handfuls of rice lovingly up to their face. This connection to the rice, the earth, evokes a powerful and haunting image of home and displacement.

Moments of more codified dance practise arise during duets between male and female members of the company. Again, their strength and disciple is hugely impressive, without a single misplaced step or strained, twitching muscle. The relationship between masculine and feminine ebbs and flows, until the women are carried off, shouldered like a hunting prize, hands fluttering as though in protest.

Shimmering sheets of rice fall to the stage in a dazzling curtain, and the mood becomes much more joyous and celebratory. Dancers spin uncontrollably, leap gracefully into the air (the most dynamic movement in the entire piece) and flick rice into the air in graceful arcs, where it explodes and disperses like a firework.

Songs of the Wanderers has a truly beautiful Asian aesthetic which encourages the audience, perhaps for the first time in years, to truly appreciate stillness and simplicity, with calm reverence. However, Cloud Gate resonates far beyond the realms of traditional Asian art. Starkly side lit, these passionate dancers could be refugees or lovers, fighters or worshippers from any time or place.

Cloud Gate Dance Theatre has taken ancient spiritual rites and turned them into magical dance theatre that surely touches the soul of every audience member. The characteristic slow motion movement is so intensely absorbing that you become hooked on watching individual dancers, and are constantly surprised by new shapes and patterns that have formed without you even noticing. The golden rice, raining down on the stage, blurs the outlines of the dancers and turns them into fantastical, spiritual beings. After the curtain call, we remain, mesmerised by the slow raking of the rice into an eternal spiral. Songs of the Wanderers has come full cycle and the end becomes a new beginning.

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