Living and Loving Art

Philippine Finance Secretary Cesar Purisima leads guests at opening of Chinese New Year prints exhibit at BenCab Museum

2012-01-23T01:18:00.000-08:00

By Nancy T. Lu

Guests at the opening of the exhibit “Chinese New Year Prints: A World of Good Wishes” at the BenCab Museum’s Print Gallery on Saturday, January 21, zeroed in on the colorful New Year pictures dedicated to their respective Chinese
zodiac signs.

Finance Secretary Cesar Purisima, who led the VIP guests among the 545 museum visitors on Saturday afternoon, was no exception. Accompanied by his art lover wife, who herself was born in the Year of the Rabbit, he lingered in front of Taiwanese artist Tsai Chun-yi’s “Propitious Mice Bring Treasures to the New Year.”

As explained to Purisima through a saying, where you find the mice, there you will come upon treasures. This particular auspicious picture, which shows three mice holding on to a pineapple ( a symbol of good fortune and prosperity), sums up the wish for the coming year to round off smoothly, reaping
satisfaction in terms of wealth and social status.

This was the first visit to the BenCab Museum in Metro Baguio for
51-year-old Purisima, the country's top finance official who was born
in the Year of the Rat.

National artist Ben Cabrera, who was born in the Year of the Horse,
gravitated towards Chen Chao-meng’s “A Fine Horse Ushers in Spring” during the picture-taking. The print has an auspicious dragon superimposed on a neighing black stallion.

In ancient times, the horse full of vigor and vitality found a match in
the spirited dragon. The pattern in the background resembles Chinese papercut. Chinese expressions like “Good Fortune as You Wish,” “Good Luck and Good Fortune,” “Wealth and Good Fortune” and “Happy New Year”on the print reflect everyone’s expectations and wishes for a better or even great coming year.

The guests consisting mainly of local artists and art lovers stayed on to
listen to a lecture on “Tradition and Innovation in Chinese New Year
Prints” by Nancy T. Lu. Pointed out during the presentation of 100
colorful New Year prints were the different interesting subjects and symbols
seen on the prints by the 15 contemporary Taiwanese artists on view at the Print Gallery of the museum.

The artists in Taiwan are encouraged by the Council for Cultural
Affairs to help keep alive the “nian hua” or New Year picture culture,
which has a history of hundreds of years.

All the 12 animal signs of the Chinese zodiac are represented in the
special show organized to greet the arrival of the Year of the Dragon.
The exhibit of the Chinese New Year prints at the BenCab Museum will run until February 10.

PHOTO CAPTIONS
Finance Secretary Cesar Purisima and his wife (4th and 3rd from right)
lead guests at the opening of the exhibit "Chinese New Year Prints: A
World of Good Wishes" at the BenCab Museum in Metro Baguio on
Saturday. Also seen in the picture are national artist Ben Cabrera,
extreme right, and Annie Sarthou of BenCab Museum, fourth from left.

National artist Ben Cabrera and Nancy T. Lu are shown at the opening
of the exhibit "Chinese New Year Prints: A World of Good Wishes" at
the BenCab Museum on Saturday, January 21.

Museum in central Taiwan hosting "Videonale" exhibition until February 26 next year

2011-12-25T03:55:00.001-08:00

By Nancy T. Lu

The moving image has become a mainstay of contemporary aesthetic expression. This explains the holding of the Videonale in Berlin, paving the way for the newly-opened exhibition “Videonale: Dialogue in Contemprary Video Art” at the Taiwan National Museum of Fine Arts in Taichung in central Taiwan.

Georg Elben, the man behind the Videonale in Berlin, and Wang Jun-jieh, famous Taiwanese new media artist, have joined hands to bring together 10 works from Germany, 10 from Taiwan and 33 from the rest of the world in an unprecedented exhibition of video art of such scale in Taiwan.

Forty-four works from 19 countries have come from participants of the 10th to 13th Videonale in Bonn. Nine Taiwanese artists have been invited to join and contribute to the diversity of the new media art show. Their political, social and media commentaries invite a look.

Museum visitors can expect the range: an hour-long film, a documentary, an experimental short, a concept video or a dramatic film. Each contemporary art production explores an issue.

Wang, a judge at the 13th Videonale in Bonn last year, waded through 2,000 entries. He saw how multimedia artists transcended stereotypes inWang, an invited judge at the 1 style and material use in their entries.

The ongoing exhibition of 53 works has required a bigger-than-ever area in size to mount. An entirely new space layout design featuring special seating arrangements has been introduced to create a new visual field and make possible a fresh new media experience. The museum under the leadership of director Huang Tsai-lang also has had to deal with the difficulty of bringing video to its premises. Artists after all are using new technologies all the time. Technicians have had to be brought in to properly put the exhibit in place.

Goethe Institute, the German Cultural Center, has supported the project at the museum. Epson has been the sponsor of the essential projectors. The exhibit, which opened on December 3, will run until February 26, 2012.

2011-12-25T03:47:00.001-08:00

Christo - Mr. Wrapper - seeking to suspend fabric panels over miles of Arkansas River

2011-10-27T23:06:00.000-07:00

By Nancy T. Lu
Christo, ever famous for his unique wrapping art, has spent more than half his lifetime trying to explain that he is more than just “Mr. Wrapper.”

What is the Bulgarian-born Christo wrapping next? This question inevitably pops up whenever Christo turns up in a city on any continent.

In progress right now is “Over the River,” his project for the Arkansas River in Colorado. This was started with his French wife and collaborator Jeanne-Claude in 1992. But she is no longer around to see to its completion with him. She passed away in November 2009.

The 76-year-old Christo, however, is determined to see through this project. His target exhibition time for “Over the River” is August 2014. After two weeks, it will become just another beautiful memory.

Christo has this idea of suspending luminous fabric panels 10 to 23 feet above the water along a 5.9-mile stretch of the Arkansas River. He has this mindset to hurdle the challenges of the bridges, rocks, trees and bushes along the river,

“Over the River” has triggered expected debates among residents and property owners in the area. But at least there is progress on this environmental art project. This month (October 2011), Christo received from the Colorado State Board of Land Commissioners the approval for two leases needed to execute the “Over the River” installation art and to generate income to develop a wildlife corridor to benefit schools and local bighorn sheep population. Christo, however, will still need to work on more permits to realize his Arkansas River project.

Christo’s reputation has been built over decades by a number of unforgettable projects which entailed covering buildings, a bridge or even islands. His art has called for long periods of preparation and realization. Over lunch during his second Taipei visit years ago, he spoke of a few projects still in the process of completion after 10 years or even longer. Included then were “The Umbrellas” - started in 1984 and realized in 1991 - covering about 12 miles in Japan and 16 miles in the United States - as well as the “Wrapped Reichstag” in Berlin - first proposed in 1972 and finally done in 1995.

Christo, whenever possible, tries to clarify to interested listeners that each project is not to be taken just at face value. He plays with an idea in different dimensions, including political. As an artist who was born and raised in a communist country, he can not deny the influence of his past.

The wrapping of the Reichstag in Berlin had been his obsession for 23 years, he said. Before the reunification of East and West Germany, he saw the significance of the former seat of the German Parliament in ideological, economic and political dimensions.

The building stood for years in an area under the jurisdiction of the American, French, British and Soviet forces in Berlin. Christo thought that the carrying out of his unique plan for the landmark was not likely to happen overnight. The creative process would be left hanging, he was aware. Thrice he was denied permission to realize his vision, according to Christo back in December 1988.

But Christo would keep trying even if it would mean that he would have to live dangerously. The artist gave the impression of thriving in a sense of insecurity. He and his wife found themselves writing to all the 662 members of the Parliament to explain the Reichstag project and to finally win their approval.

When Jeanne-Claude de Guillebon, was still around, Christo knew already how it was to live a life on an emotional rollercoaster. He first met her when he went to do a portrait of her mother in Paris.

According to his wife and manager, Christo for 25 years did not leave the home he first moved into when he arrived and settled down in New York in 1963. The big loft on the 5th floor of a building without elevator was his atelier. His home was on the 4th floor of the same address.

When Christo’s retrospective exhibition came to Taipei upon the invitation of the Taipei Fine Arts Museum, the collection consisted of 119 works on loan from the Rothschild Bank AG Zurich. Project models, drawings and study plans made up the greater part of the exhibition. Big photographs served as records of completed projects. There were three displays from Christo’s personal collection: “Wrapped Oil Barrels (1958-1959), “Wrapped Table and Wrapped Chair” and “Store Front (1964).”

Christo gets asked why he chooses to create art that is temporary. Islands covered with special fabrics are returned to their original state. The Pont Neuf, the oldest bridge in Paris, reverts to its undraped look. Christo smiled and acquiesced to the remark of his wife years ago: “His art lives. It lasts forever.”

Christo makes such an impact on his viewing public through his art so that the image of what they have seen remains imbedded in their minds long after traces have been removed.

At the same time, said Christo, the vulnerable character of his art is an essential part of his creative perception. The temporary existence of his works calls for them to be seen. Like a nomadic tribe which builds a village overnight and then pulls out just as quickly in a desert, Christo goes about his creative pursuits that are unique, sublime experiences.

“The Gates,” his project for New York’s Central Park, featured 11,000 saffron fabrics hanging from horizontal steel bars and flapping along 26 miles of park walkways in the autumn of 2005. New Yorkers experienced “The Gates” – art that was two decades in the making and involving 7,500 frames or structures in all – for 14 days.

Christo also pointed out that he has no recipe on art creation to share with the public. The reason that moves him to channel his creative energy into a project is “purely autobiographical.” Back in 1962, he found a way to block off Rue Visconti in Paris and called it “Iron Curtain – Wall of Oil Barrels.”

Christo is also particular about experimenting only with what has not been tried. After wrapping Pont Neuf in Paris, he has refused to wrap another bridge. Each project, finished or unfinished, must remain unique, according to him.

He also raised another point: his art can neither be bought nor commercialized. Each project is not just a painting or a sculpture. Christo also never accepted sponsors for his art projects. In short, he paid for his ideas’ implementation out of his own pocket. The plans and drawings were what he sold to collectors, notably banks and museums, to finance his art creation.

The monumental scale of this artist’s works makes him stand in a class all by himself. As he engages himself in a project, he is full of expectations. So are people whose lives he touches.

When Christo did “Running Fence” on private properties of 59 ranchers in an area north of San Francisco, California, he spent 11 months convincing the people concerned to allow him to make 165,000 yards of heavy woven white nylon fabric spread out across their lands.

A New York Times journalist one day asked one of the ranchers if he understood what “Running Fence” was all about. The fellow pointed to a painting of a sunset out on a bay on the wall and remarked: “Here everything is make-believe.” He next looked out his window and said: “Outside are the wind, the fence and real life.”

Those who have had the privilege to see his retrospective exhibition are more likely to understand that Christo is not going to just wrap a most readily recognized landmark upon his arrival in a city in any part of the world. He as an artist takes his time to realize an ambitious design and project.

The artist born Christo Javacheff began his career by wrapping smaller packages. He wrapped trees, a car and even a woman before tackling monumental projects like buildings, coastline and even islands. “The Umbrellas” was something else. He attempted to investigate the different behaviors of people under the umbrellas in Ibaraki Prefecture, Japan, and in Kern Counties, California, the United States.

Exciting ideas just keep flowing out of Christo’s mind. He gets all wrapped up in his creative thoughts until exhibition time before a watching world. The results are each time visually startling and unforgettable.

Crazy Horse de Paris founder Alain Bernardin for years sold dream that fired men’s imagination

2011-10-20T19:33:00.000-07:00

By Nancy T. Lu

Feminists during the heyday of Alain Bernardin were bound to protest his treatment of women but the Frenchman managed for years to round up some of the most attractive women of different nationalities to dance professionally every night in his highly erotic revue at the famous Crazy Horse in Paris.

Three of the 24 Paris-based regular Crazy Horse dancers visited Taipei once with Bernardin – Akky Masterpiece, Cynthia Sainte-Rose and Glory Coloratura. Bernardin compared them to “bêtes sauvages” (wild animals). “We try to tame them,” he said.

He was particular about the proportions of his dancers’ bodies. The length of the two arms combined should match that from the top of the head to the crotch. He revealed the rule of the tape he went by while actually measuring Cynthia Sainte-Rose, a Crazy Horse dancer who took a stage surname suggesting her naivete.

Alain Bernardin began girl watching when he was 14. He remained ever fascinated with the female body.

The body was not his only consideration in the selection of the girls. Bernardin liked them “ambitious and aggressive.” The Crazy Horse entertainers competed to be selected to do unforgettable solo acts that helped promote the Crazy Horse reputation.

With his often almost totally nude girls, Bernardin sold a dream that fired the imagination especially of full-blooded males from connected vaulted cellars at 12 Avenue George V off Avenue Champs-Elysees in the French capital. He started doing this in 1951, even insisting that he catered to the family.

Bernardin had his curvaceous dancers making an erotic show out of their bodies every night. Lights playfully cast patterns and designs on the nude surfaces of the dancing figures. Temperatures invariably shot up inside the cabaret as eyes perceived flashes of the female breasts, hips and buttocks.

International celebrities, by their own admission, dropped by for inspiration over the years. They included Madonna, Prince, sculptor Cesar, and Christo. Man Ray, Marcel Duchamp, Andy Warhol and Salvador Dali also used to be Crazy Horse regulars.

Bernardin baptized them all – about 300 girls – over the years. Some went on to become legends in the history of the Crazy Horse de Paris.

The stage names of the girls were indeed descriptive: Charly Commando, Smarty Canterbury, Funky Coconut, Barbara Cool, and Tally Yesterday, among others.

Polly Harper, an American who retired as dancer to work on Bernardin’s staff, used to be Polly Underground. This daughter of an American serviceman in Germany was discovered in a nightspot on Teutonic soil and invited to Paris. “I accepted the offer for I thought I could study French while working at the Crazy Horse,” she recalled.

Most girls joined Crazy Horse after graduating from high school. Akky Masterpiece, too tall to join an ordinary dance company, decided to work at the cabaret while still a second year law student. Cynthia Sainte-Rose shelved temporarily her pursuit of veterinary studies. Glory Coloratura viewed her Crazy Horse stint as a stepping stone to movie stardom.

Some of the girls had legendary romances, hooking millionaires or rather billionaires. Bernardin himself married former dancer Lova Moor. After Bernardin committed suicide by putting a bullet in his head in his office, Crazy Horse has been managed by his children.

Harper with her dancing job behind her shifted to the task of keeping the women performing at the Crazy Horse under discipline. “I have taxis waiting to take the girls safely home after the show every night,” she said. “They have to be protected in some cases from some customers.”

“The dancers range in age from 17 to 26,” revealed Harper. “Their height is between 168 centimeters to 176 centimeters. The average height is about 170 or 171 centimeters. The visual proportion is important.”

She continued: “They come with classical dance background. The newcomers must train for three weeks to two months.”

The dancers report at 8 p.m. and work until 1:30 a.m. The shows in the theater that seats 350 persons plus another 20 standing at the bar begin at 8:15 p.m. and 10:45 p.m. from Sunday to Friday. On Saturday, the performances open at 7:00 p.m., 9:30 p.m. and 11:45 p.m.. Admission price starts at 100 euro. Group rates are cheaper.

Partial changes are introduced in the program every three months. Each number usually has a theme. The dancers can affect the postures of animals behind bars in a zoo in one act. In the next sequence, only silhouettes of shapely women going through the motions of a shower are projected on the stage. Everything is orchestrated to titillate the imagination. Or so dictated Alain Bernardin, “le prince de l’imaginaire (prince of make-believe)."

Cliff Robertson missed collecting his Oscar for "Charly" in 1968 for he was on Mt. Makiling shooting "Too Late the Hero"

2011-09-17T00:20:00.000-07:00

By Nancy T. Lu

Hollywood actor Cliff Robertson passed away at age 88 in New York on Saturday, September 10.

Not a few people in the Philippines will still remember that he came to shoot “Too Late the Hero” in 1968. In fact, he missed the Academy Awards that year and failed to personally collect his first and only Oscar as best actor for his performance in “Charly” because he was not given permission to take a break and fly to Hollywood.

The good news about Cliff Robertson’s winning the Oscar that year reached him on Mount Makiling, where he was at that time busy shooting the war movie “Too Late the Hero” with Michael Caine. He shortly rushed back to Manila to attend the victory party organized in his honor at the Sheraton Hotel on April 15, 1968.

The actor with an impressive career first appeared in a television version of “Charly” and it was called “The Two Worlds of Charlie Gordon.” He played a mentally challenged man who underwent medical treatment and became a genius. Regression, however, set in and he returned to his former condition.

Robertson worried that the movie part would go to another actor. So he bought the movie rights of “Charly.” He tried for eight years to convince a studio to make the movie. Success did not come easy but it tasted really sweet when it finally did.

Italian tenor Salvatore Licitra remembered for bringing to Taipei a repertoire singers with less stamina shy away from

2011-09-06T20:23:00.000-07:00

By Nancy T. Lu

World-class tenor and operatic star Salvatore Licitra will no longer shine again on the stage. His beautiful voice is now just a memory to his many fans and followers. He is particularly remembered by the Taipei public for performing a repertoire singers with less stamina tend to shy away from. Licitra originally accepted the invitation to sing in a production of Verdi's "Aida" in Taipei this October.

Italian tenor Licitra replaced Luciano Pavarotti in “Tosca” at the Metropolitan Opera in New York on two hours’ notice on May 12, 2002, receiving critical acclaim for his performance. Life was not the same again after that fateful break.

Licitra made his first Taipei visit in 2004 not long after Pavarotti announced he was retiring from the opera stage. This was after Pavarotti performed one last time the role of Cavaradossi in the Puccini opera "Tosca".

The good-looking Licitra, a man with a passion for singing, admitted during one of his Taipei trips that he had this ambition to succeed Pavarotti as a recognized voice.

.”I met Pavarotti last summer,” the then 36-year-old Sicilian said seven years ago. “I watched him in ‘Tosca’ in Berlin. I went backstage afterwards and introduced myself.”

Aware that the young and very promising young tenor replaced him at the Met when he fell ill, Pavarotti told Licitra: “Many years ago, I was in the same situation like you.”

Pavarotti once filled in for Giuseppe di Stefano, a tenor who often sang with Maria Callas, in Puccini’s “La Boheme” and his career took off from there.

“I hope to make a good career,” said Licitra. “I am still working at it.”

Licitra cited his need to concentrate and to study a lot to arrive at his envisioned "big success." Tenors with glorious careers like Luciano Pavarotti and Placido Domingo were his role models.

The then rising star recognized as “the fourth tenor” after the Three Tenors in the opera world said seemingly with a premonition of a fairly short singing career that his big regret had been his wasting of seven years learning from two women, one a soprano and the other her teacher. He sought daily voice coaching from them.

“I joined seven competitions and lost all of them,” he said to point out the failures of his early mentors.

Licitra started singing quite late at age 19. He knew nothing about the opera until then. He could not even read scores. His mother heard him vocalizing one day and urged him to go and take singing lessons. At that time he was working as a graphic artist.

His career began turning around after he met Carlo Bergonzi in 1996. This tenor teacher told him: “You have to follow your voice and instinct. Forget about technique.”

“In two years,” recalled Licitra, “he let me start my career.”

Licitra began his career doing a repertoire which included Verdi’s “Il Trovatore” and ”La Forza del Destino.”

The Berne-born Italian considered himself to be “a lucky man” for being able to work immediately with maestro Riccardo Muti in five productions.

Bergonzi, a famous Verdi interpreter, prepared him for “Un Ballo in Maschera.”

“But I made my more profound study with Riccardo Muti,” said Licitra. “I learned from him that it is important to follow the score…what the composer writes. Composers are geniuses and I follow their suggestions.”

Licitra, who considered himself “basically an opera singer,” revealed: “In the future, I hope to sing in ‘Turandot.’”

When prevailed upon to give a sampling of his golden voice, Licitra sang “Nessun Dorma” from Puccini’s three-act opera.

Licitra had the reputation of a true spinto tenor with rare talent and unusually strong voice to inherit heavier roles like Cavaradossi in “Tosca.”

Licitra, whose leading fans included his proud mother and his then lawyer fiancée said to be willing to wait for him in Rome while he went places singing, commented in 2008 that he sang in “Duetto,” a crossover CD recording he did with Argentinian tenor Marcelo Alvarez for Sony Music in 2007, because he wanted to make young people interested in opera and not just pop music.

But the artist acclaimed for his appearances at the Met, La Scala and Arena of Verona, added: “Opera should be seen as a live spectacle in a theater.” In his opinion, a movie and a DVD or CD performance could not compare with what was shown live on the opera stage.

Asked how he took care of his voice, Licitra replied: “I go to the mountain to ski. I sleep. Or I go to the beach to swim.” He also loved blazing a trail on his motorcycle.

Licitra crashed his scooter into a wall in Modica, southern Sicily, on August 27. He was not wearing a helmet. Flown to a hospital in Catania, he remained in a coma until his death on September 5. Licitra was only 43. His family agreed to make his organs available for transplant, said a BBC news report.

Photo was taken by this writer during Licitra's visit to Taipei in 2004.

Dongsha Atoll in South China Sea: Protected for a better and beautiful tomorrow

2011-08-14T20:36:00.000-07:00

By Nancy T. Lu
Dongsha from the air is a stunning jewel rising from the blue and green waters of the South China Sea.

The coral reef enclosing a lagoon, a protected area known today as the Dongsha Marine National Park, holds promise of a perfect getaway from the stressful city life. White sandy beach, seen through the window of a plane moments before touchdown, stretches around a part of the tranquil island in the sun.

To visitors arriving in Dongsha for a very brief stay, the story about the coral spawning and bloom millions of years ago to create this wonderful natural habitat for flora and fauna fascinates. Time spent in Dongsha, in fact, is full of moments of reflection on what life is all about, what is absolutely necessary in life and what is superfluous.

Soft and hard corals of many shapes in the waters of the Dongsha Atoll, a breathtaking sight not open to tourism, remain colorful only for as long as their symbiotic relationship with the algae living within them remains in place. Coral branches washed ashore by the waves from time to time, in fact, show bleaching due to stress. Disease, excess shade, pollution, salinity changes (rain), and mainly the increased water temperature affect the beautiful coral colonies.

About 10 years ago, experienced Taiwanese diver Kuo Tao-jen went down to have a look and his heart broke to find whole dive areas covered with dead corals. Sea temperature anomalies brought on by El Nino in 1997-1998 had something to do with the demise of the reefs, he said. In August 2007, he returned to do more documentary filming for the Public Television Service Foundation and the Construction and Planning Agency under the Ministry of Interior of the Republic of China on Taiwan. He was very excited to see patches of recovering corals.

Coral reefs as learned from the books are the most productive natural communities on earth, found usually in clear and shallow waters. Dongsha's reefs, a good example, provide food and habitat for fish and other marine life, making each dive in the now restricted area a thrilling experience for researchers. Even the servicemen trained to dive have few opportunities to go into the water these days. Nature must be protected.

Diver Kuo likes to chase the creatures of the undersea fairy garden, seeking to interact in a friendly way with them. But farther out in the South China Sea, where the coral beds are the most beautiful, the approach of divers automatically sends the schools of fish fleeing in panic.

Unsustainable fishing practices in the past wiped out the bounty of the sea, ruining the ecosystem. The fishermen on boats from China, Vietnam, Hong Kong, and the Philippines in recent years resorted to the use of gill nets, long lines, purse seines, and even dynamite and cyanide to catch fish in the area along the sea and trade routes dating back to the Han Dynasty. They also dumped mercury batteries in the water.

Taiwan’s Coast Guard now sends out patrol boats to warn trespassers about their illegal fishing practices. The men in uniform are constantly amazed to see how ingenious albeit crude these fishermen could be in their deadly fishing devices.

The trauma inflicted on the marine life is long-lasting. According to Kuo, a Japanese research found that fish have long memories, in fact, as long as 50 years. Man, after destroying the ecological balance in nature, must now try to win back the trust of the creatures of the waters. It will definitely take time to befriend the fish again and erase the ugly memories.

Sea turtles used to crawl ashore after swimming a long distance to lay their eggs and then bury them in the sand. But Dongsha during the Japanese colonial days ceased to be a safe and suitable place for female turtles to leave their eggs.

Cuthbert Collingwood, a naturalist, wrote down his impressions of the Pratas Island (former name of Dongsha) after a one-day visit in 1866. He described seeing hundreds of birds on the horseshoe-shaped island. Returning researchers in recent years have not been able to spot and document such huge flocks of birds again.

Archaeological findings on the island have included buried feathers of birds and stony shells of sea reptiles. Records indicate Japanese interest in Dongsha from 1907 to 1909 mainly because of resources like the phosphorus mine and birds.

The phosphorus mineral on the island was traced to bird droppings. The feathered species, which were attracted to Dongsha by food, could not digest the phosphorus in the fish, which they caught and ate. Over time, the discharged droppings accumulated, creating a mine rich in phosphorus.

The birds themselves were coveted for their feathers, which found their way to the fashion capitals of the world like Paris.

The bird count on Dongsha island today has dropped sharply. The atoll, however, continues to be a stop along the route taken by the migratory birds such as swallows, egrets, and herons, among others, because the sea grass beds yield food season after season.

Strolls along the shoreline today lead to never-ending discoveries about the atoll's ecology. Changing tides expose the baby sharks combing the underwater sea grass beds for fish, easily spotted darting here and there. Powdery white sands, each grain a seashell, cover the beach that is a dream retreat for those who must earn a living in a city like Taipei. But resist any temptation to bring home white sands in bottles. It is forbidden.

Holes left gaping along the coast in the daytime mark out the presence of crustaceans and mollusks. Pulling out a peeping animal by force entails the risk of pain from the grip of pincers.

Return at night and catch countless hermit crabs having a party under the moonlight. They crawl all over the place with their salvaged empty seashells on their backs, searching for food. All that are left on the sandy shore the following morning are what seem like crisscrossing tank trails.

When on Dongsha island, race down a bike trail and even the entire airport runway at the end of the day to catch the dramatic sunset from a vantage point. The next morning, rise early from bed to chase the awe-inspiring glow of dawn from the seaside. White, puffy clouds constantly changing shape in the big, blue sky are mirrored like a painting on the calm lagoon in the early morning.

Breakfast with the servicemen includes bread baked in the kitchen on the island. In the morning, right after breakfast, men on duty at the Meteorological Station release a weather balloon to gauge the temperatures at different altitudes as well as the wind velocity.

The Uni-Air plane, which flies in about 56 passengers every Thursday, also regularly delivers food supplies like meat, fish, vegetables and fruits. Cargo comes in by sea, too, once a month.

A harbor capable of handling a ship with 20-ton cargo was a project earmarked for 2008, said Liu Kuo-lieh, the Dongsha commander and Coast Guard officer with strong engineering background.

"Typhoon Pearl's visit in 2006 proved so far to be my most unforgettable experience here in Dongsha," Liu said. " For 19 hours, the typhoon kept turning and swirling over the atoll, refusing to go away."

The typhoon brought heavy rains. The dike on one side of the island was destroyed, causing the water to rush in during high tide. The airport next to the lagoon remained under water for sometime. The debris left by the typhoon took a long time to clean up.

Fishermen in the vicinity at that time sought refuge in Dongsha's waters. An invitation for them to come ashore was turned down because they did not want to abandon their boats.

Dongsha, which is seeking listing as World Heritage Site, is indeed a beautiful atoll where the divine hand paints endlessly stretches of breathtaking natural shoreline and awe-inspiring blue or cloudy skies as far as the eyes can see. Explorations either on foot or on bike (no other transportation is allowed on the island) keep opening windows of surprises.

Memorable five-day Malaysian tour combines bits of history, culture, and even adventure

2011-08-13T00:17:00.000-07:00

By Nancy T. Lu

Malaysia, truly Asia in its offer of a blend of Malay, Chinese and Indian cultures, entices as a travel destination. It is indeed a land of many charms.

A tour package lasting five days and four nights worth considering kicks off with the Malaysian Airlines plane touching down in Kuala Lumpur. From the modern airport, the tour group is taken straight to Malacca. The ride requires about two hours.

Rambutan and mangosteen are tropical fruits worth tasting at the first stop. The lisuruly drive continues to the heart of the historical city on the West Coast of Peninsular Malaysia.

Malacca was once a powerful nerve center of trade between the East and the West. The trading of spice, gold, silk, tea, opium, tobacco and perfumes here led to the great interest of the Dutch, the Portuguese, and the British colonial powers in Malacca.

Vestiges of the Dutch period can be seen in the 17th century Stadhuys featuring the heavy wooden doors, the thick and red walls as well as the wrought-iron hinges. The Dutch governors of old used it as residence. The Malacca historical, ethnographic and literature museums are today housed in the Stadhuys.

At the main square near the Stadhuys is the 18th century Dutch Reformed Church called Christ Church. It replaced at one point St. Paul’s Church as principal place of worship. The red bricks were brought to Malaysia from Holland. The handmade pews inside have a history of 200 years.

From the Stadhuys, there are steps leading to the top of St. Paul’s Hill. Here can be found the ruins of St. Paul’s Church, originally intended by the Portuguese to be the leading Catholic church in the city. St. Francis Xavier, who visited this house of worship regularly, was buried here in 1553. But his remains were later moved to Goa, India.

The steps from St. Paul’s Church lead down to A’Famosa (Porta de Santiago) or what is left of the fortress built in 1511. Not far from here is the wooden replica of a 15th century Malacca sultan’s palace with the Cultural Museum.

Certainly not to be missed is a British villa, circa 1912, from where Malaysia’s first Prime Minister, Tunku Abdul Rahman, proclaimed the country’s independence. The museum building now houses the manuscripts, videotapes, films and slides depicting the events leading to independence in 1957. The Tunku is depicted inside the Malaysian Independence Memorial as waving while riding on a convertible after his arrival from negotiations in London, during a parade down the crowded street.

The Cheng Hoon Teng Temple, another sightseeing stop, is the oldest Chinese temple in Malaysia. It has a marker commemorating the first visit of Admiral Cheng Ho (Zheng He), the Ming Dynasty Emperor’s ambassador to Malacca.

Meanwhile the Sam Po Kong Temple is where Admiral Cheng Ho (Zheng He) is venerated. He was believed to have visited Malacca five times during his seven voyages. Legend has it that on one of his trips, his ship sprang a leak but a fish got stuck in the hole, preventing it from sinking. The temple built in 1795 was named after the fish.

A stay at the Legend Water Chalets in Port Dickson is unforgettable. Accommodation units on the beach are built right above the water. A guest enters his room through a huge bathroom. Floor openings covered with glass enable him to look at the water below.

A tourist bent on bringing back from Malaysia an unusual souvenir – not just batik clothes and pewter items – can try to earn a very special certificate from the Ostrich Farm in Port Dickson. The text on it reads: “The bearer of this award has been judged by our fun-loving trainers to be full of bravado, stuffed with fun and certainly a little crazy in even considering riding a big brainless ostrich.”

The fun visit to the Ostrich Farm in Port Dickson, Malacca, begins with the guide asking: “Have you ever thought of riding an ostrich? You can do it in Malaysia.”

The farm tour starts with a lengthy introduction of the feathered creature said to have a brain smaller than its pupil in size. The guide explains that the productive ostrich at 18 months begins to lay eggs, as many as 40 to 70 per year.

The feeding of the animals is encouraged at the farm. The friendly birds, in fact, rush to meet visitors at every turn, naughtily pecking the outsiders and even snatching their hats without warning.

Before a guided tour is over, everyone is herded around a pen. Two trainers hold back a hooded ostrich to enable an adventurous volunteer to climb the railings and get on the bird’s back. And then they are off for a walk inside the fenced area.

The rider holds tightly in his grip a silk cloth entwined around the neck of the ostrich to guard against sliding off the back of the animal. The fun ride is over in just a few minutes.

After a trip to the Ostrich Farm, it is time to head for an orchard for an introduction to Malaysia’s tropical fruits as well as herbs.

The Putrajaya, seat of the national government just outside Kuala Lumpur, calls for a visit, too. The Prime Minister’s Department or the Perdana Putra is viewed from a distance. Its Islamic-Mogul architecture stands out. Within sight is the impressive mosque with pink domes.

The modern city with parks, gardens and wetlands, has an area for visitors to learn about Malaysia’s diverse flora and fauna. Besides a stroll, the Putrajaya lake cruise is another option for tourists.

Kuala Lumpur, the capital, beckons with the 88-story Petronas Twin Towers. The buildings used as backdrop in the Hollywood film “The Entrapment” are connected by a bridge high above the ground.

The Istana Negara, the official residence of His Majesty, the King of Malaysia, is another tourist attraction. Traffic is usually heavy in this neighborhood. Guards appear on horseback. Motorcycle escorts are on standby, too.

The Dataran Merdeka (Merdeka Square) with the world’s tallest flagpole flying the Malaysian flag is where Malaysians gather every year to celebrate their independence. On August 31, 1957, the Union Jack was lowered for the last time at this historical place.

Near the Railway Station is the National Mosque built along modern lines. Modest dressing is emphasized especially for the non-Muslim women seeking to enter. A relaxing spa treatment at the Berjaya Times Square is arranged before the end of the short stay in Kuala Lumpur. Accommodation is at the Palace of Golden Horses, where some floors are often blocked off for use by state visitors.

The Genting Highlands, the popular playground in the sky, is 2,000 meters above sea level. Therefore, it stays pleasantly cool the whole year round. The cable car ride of about 20 minutes is said to be the longest in the world. The casino complex features indoor and outdoor theme parks to keep the entire family entertained. The resort is only an hour’s drive from Kuala Lumpur.

Before heading for the airport on the last day, the group makes a brief stop at the Batu Caves, famous for the annual Thaipusam Festival of the Hindu Indian community in late January or early February. Devotees to Lord Subramaniam on this occasion carry around kavadis with hooks or spikes extending to parts of their bodies. Climb 272 steps to reach the main cave decorated with Hindu shrines. Birds’ nest delight can be savored down below after the climb. Indian roti canai, a crispy food specialty, can also be tried.

The tour package covers a lot of ground at a leisurely pace. The Malaysian Airlines brings the happy tourist home after a truly relaxing holiday.

Memory of rustic pond of Liou Shaw-lu’s youth returns to inspire dance about earthly existence

2011-06-30T01:02:00.000-07:00

By Nancy T. Lu

“Suite 2011: That Time of the Pond” thrusts choreographer and dancer Liou Shaw-lu on a nostalgic return to his past. He takes off to the farm irrigation days of his youth and remembers how life in almost every farming family then revolved around the “po tang” (Hakka word for “pond”). Aquatic life thrived in the pond as did insects hovering over it. But above all, growth on the farmland depended on its water.

Liou in the newest choreography created for the Taipei Dance Circle revisits his days brimming with hope and promise first as a young man of great physical prowess and later as artist of studied grace.

Life as captured in dance idiom is beautiful. He ventures forth with creative energy, working closely with trained dancers to build an evolving kaleidoscope of oil-covered bodies on the stage. The oil-slicked stage floor he perceives as a silent pond surface that is virtually an empty slate for him to fill with dance imagery.

A year after being confronted with brain surgery and the question of his own mortality in real life, Liou experiences a burning passion for dance. To go on living, he must keep dancing. Otherwise life holds no meaning for this artistic director of the Taipei Dance Circle. He refuses to be permanently yanked off the dance stage.

Liou grapples with the challenge to stay in control of his dream and vision as dance artist. The dangerous balancing act in his dance production adds to the dazzle and excitement of a performance. Just like in an acrobatic show, heeding the call for caution helps. The dreamer simply remains ever undaunted by the risk of a wrong move.

Liou wants to tell his story through the dance. It is a tale of passion and will power. It is about his determination not to be forced to bow out of the limelight. It is about an undying inspiration to share beauty defined by lines, silhouettes and moves.

Life in the old countryside pond of his youth with Hakka roots gets snuffed out without warning. But the memory of it all endures to fire his imagination.

And so Liou makes his dancers weave in and out – in pairs, in foursome, or in a bigger group. They come together or break up to rhythmic beat of beautifully flowing music selected personally by Liou, Sometimes natural body sounds resulting from breathing and movement come into play to dictate the dance beat. The dancers even pile up occasionally. Balance and harmony emerge crucial in fleshing out a picture. Baby oil on the bodies of the dancers and on the stage floor eases the choreographed motions of the the dancers.

Liou shows a sentimental streak in his latest choreography. But at the end of the day, he also paints a dramatic profile in courage, addressing unmistakably the question of earthly existence.

The choreography does not come about easily. As usual, Liou agonizes over the work, polishing the dance again and again.

“Suite 2011: That Time of the Pond” will be staged at 7:30 p.m. on July 15 and 16 as well as at 2:30 p.m. on July 16 and 17 at the Experimental Theater of the National Theater in Taipei. Tickets cost NT$500.

Stumble upon colorful episodes in history on golden sands of Fulong in New Taipei City

2011-05-27T22:58:00.000-07:00

By Nancy T. Lu
Dream citadels of yore have risen this year on the golden sands of Fulong Beach about an hour and a half by train from Taipei, depicting fascinating episodes in world history.

Just like in a Hollywood movie, the story of the 300 Spartans dating back to 449-499 B.C. is being retold at the site of the 2011 Fulong International Sand Sculpture Festival.

Historical accounts told of how King Leonidas with only 300 brave Spartan warriors tried to exploit a narrow pass to gain advantage against the attacking Persian army. The Spartans locked shields and used long spears to deter the advance of the enemies for days.

Hannibal Barca led a massive army of Carthaginians in a surprise siege of a Roman stronghold during the Second Punic War (218B.C.-201 B.C.) in one of the most impressive and detailed sandy interpretations of history. War elephants figured like destructive army tanks on the move in those days. The pachyderms are shown taking a break from war duties though. The team behind the masterpiece on the theme of battle glory included the American Brian Turnbough, Portuguese Rodrigo Ferreira as well as Canadians Frederick Dobbs, Damon Langlois and Greg Jacklin.

History seems very much at the forefront of attention in a year devoted to the celebration of the founding centennial of the Republic of China on Taiwan. But so do legends and lores of different origins.

Mesopotamian myth, circa 713 B.C. gets told on the sands this summer. Sargon II was said to have built a walled city with seven gates guarded by human-headed and winged bulls. His capital came up in Dur Sharrukin or present-day Khorsabad. His grandson, Naram-Suen, appears in a bust sculpture inviting a look up close at this year’s sand sculpture show.

Different lifestyles also inspired the creation of masterpieces this year. The sand portrayal of the native Americans along with their love of nature was contributed by German participant Joseph Bakir. The Sioux tribe of the Dakotas gets to tell a tale revolving mainly around family life in a Sioux tent called teepee.

The igloo, a home built from blocks of ice by the Eskimos in the freezing North Pole, calls attention under the scorching summer sun.
The carnivorous polar bear with its thick fur and layer of fat beneath its skin is a survivor in the freezing cold of the North Pole. Its unusual presence on a sun-bathed shore is not likely to be overlooked.

An Arctic explorer comes upon an ancient giant buried in the polar ice caps in yet another intriguing creation at the sand sculpture festival. His origin, possibly tied to an ancient civilization, emerges a puzzling mystery.
Putuo Mountain in the middle of Lotus Pacific island in Zhejiang Province in China takes the spotlight in one corner of the exhibition ground. The peak floating above the clouds is known for its caves and rock formations. Ancient temples stand out in this Buddhist haven introduced by Chinese participants in the ongoing sand sculpture festival.

A legend of the sea constantly told in Taiwan centers around Goddess Matsu as a great protector of fishermen and the people on the island. Temples in many places have been built in her honor. And so this venerated deity finds her niche in the sand sculpture showcase.

Taiwan as a butterfly kingdom due to its unique ecological environment faces the threat of ruin in the light of economic progress and development. The Taiwanese team seeks to make a statement on protecting nature on the shifting sands of Fulong.

A Japanese participant dedicates his work of art to convey the Japanese people’s deep gratitude to Taiwan for being the biggest donor in the aftermath of the big earthquake and tsunami calamities in March.

Mysterious visitors from afar, courtesy of an unidentified American artist, have likewise landed in a spaceship along Fulong’s sandy stretch this year.

Forty-one sand sculpture experts from eight countries, including the United States, Canada, Germany, Portugal, Russia, Japan, China and Taiwan, were invited to transform a sandbar in Fulong, New Taipei City, into a striking showcase of sand sculpture art.

The Fulong beach tide rises and ebbs. Just like footprints on the beach, the “Golden Fulong” world built on the shifting sands overnight will be washed away by the waves towards the end of June. Another fun-filled season of sun and sea will have to wind up and give way to change. By then, the summer visitors will have returned home with cherished glimpses of romance and adventure tucked away in their memories.

Motorists can easily drive to Fulong to view the “Golden Fulong” exhibition. The hour-and-a half train ride to Fulong is another option. One-way train ticket costs only NT$83. Entrance ticket to the sand sculpture festival is priced at NT$190.

Nanquan catches up with modern dance or is it vice versa? Find out from WC Dance

2011-05-17T23:39:00.000-07:00

By Nancy T. Lu

When young choreographer Lin Wen-chung of WC Dance drops Bach or Tchaikovsky in favor of traditional “nanquan” in his dance creation, there is reason to wonder why. In fact, Lin’s newest piece titled “Small Nanquan” leaves room for reflection.

Exposure to Tsai Hsiao-yueh’s acclaimed recorded singing of the most refined ancient Chinese music called “nanquan” made a big impact on choreographer Lin Wen-chung back in 2008.

“Tsai Hsiao-yueh really takes me to a different realm,” recalled the fascinated Lin. The new experience moved the excited Lin to set out to learn and study “nanquan.” He approached the Hantang Yuefu ensemble as well as Wang Xin Xin in his journey of discovery about “nanquan.”.

Lin wanted very much an encounter with the aging national treasure Tsai Hsiao-yueh herself. But to his chagrin, he heard about her flight to a Southeast Asian country allegedly to seek refuge after her son’s debt collectors started harassing her.

In choreographing “Small Nanquan,” Lin hoped to take his young dancers with him through a very interesting learning process involving “nanquan” music and drama gesture.

“There is something to be said about learning from the old and traditional,” he pointed out. “It can be fun.”

“Nanquan” and modern dance moves crisscross and clash in “Small Nanquan.” The pacing and the rhythm can vary, even turning playful in bridging difference in time and space. The company dancers who sing along during rehearsals end up simply catching their breath. “Nanquan” musicians, however, will provide live music during the actual performances.

Modern dance encourages completely outward expression of emotions. “Nanquan” singing and drama dwell on deep feelings but with quiet restraint, leaving ample room for reflection.

The dancers of WC Dance led by Lin himself have been absorbing the whole “nanquan” experience, feeling enriched along the way.

The public is invited to find out for themselves the relevance of “nanquan” in modern everyday life.

“Small Nanquan” will be presented at the Experimental Theater in Taipei at 7:30 p.m. on May 20 and 21 as well as at 2:30 p.m. on May 21 and 22.

Aroma of tea and sniff of history down Wistaria’s way in the heart of Taipei

2011-05-08T00:45:00.000-07:00

By Nancy T. Lu

Walk down Wistaria Tea House’s Memory Lane. Do it either through the 30th anniversary exhibition “Remembering the Old Friends: Beautiful Flowers Blossom Once Again” or through the entirely new documentary “The Story of Wistaria Tea House.”

The men and women who have helped fill with their experiences the pages of the Wistaria’s colorful history spanning the last three decades and possibly longer are returning and gathering to relive nostalgic moments.

But there are also those who are just beginning to discover this cultural hub in Taipei and they are fascinated with the episodic accounts of artists, writers and intellectuals, generally unreluctant to reminisce their early pursuits of their creative ideals or dreams of freedom and democracy in surroundings filled often with the soothing aroma of brewed tea.

Chow Yu, the central figure in building and maintaining with the encouragement of friends this haunt of generations of intellectuals and idealists, remains very much around, writing beautiful calligraphy about tea culture and following up such exercise with teachings on the ancient “way of tea.”

Habitues of Wistaria, in fact, associate him with the special tea house, declared and recognized since 1997 as Taipei’s heritage building. His persona is in the fine tea poured and served at the place with a comfortable ambiance. This extends to the calligraphy on the wall, on the menu, and on the souvenir items on sale.

At one point the Wistaria Tea House was nearly closed down permanently for demolition. In fact, it was boarded up overnight, throwing out into the street the protesting artists and social critics. The campaign to protect it went into high gear. The official declaration of the property as historical and worthy of preservation for posterity in 1997 saved it in the nick of time.

Repair followed. This witness of constant political drama and upheaval over time found new life. In 2003 the Wistaria Cultural Association took over the running of the tea house.

The labyrinthine Wistaria Tea House on Xinsheng South Road in Taipei was the residence assigned to Chow De-wei, the father of Chow Yu, when he served as customs chief under the Finance Ministry in the 1950s.

Chow Yu, the youngest of five children in the family, grew up surrounded by scholars of western liberalism as well as emerging intellectuals from the National Taiwan University, all lured by the older Chow to this meeting venue for stimulating discussions and debates.

After the structure was damaged by typhoon in the 1960s, it underwent repair, acquiring a western-style façade. Not long after, the Chow family bought the property. The interior gave way to changes to accommodate activities like art shows and discussions.

In the 1970s, Chow Yu’s parents joined his siblings in the United States, entrusting the management of the Wistaria Tea House to him. And so an old house with flowering vines gained in popularity as hangout of a generation of then would-be artists and writers. It also became a seedbed of activism.

Some of writer Li Ao’s letters to Chow Yu during his five years spent as political detainee are now on display at the Wistaria Tea House. Sophie Lin, Chow Yu’s wife, has painstakingly sorted out Wistaria Tea House’s memorabilia and organized the ongoing exhibition to celebrate this Taipei landmark’s 30th anniversary milestone. She also brought out works created by artists like Yu Peng before they found fame. In 2009, Chow Yu invited his artist friends like Yu Peng, Cheng Tsai-tung and Chen Lai-hsing to return and present their new works in an exhibition.

Chow named the place Wistaria Tea House in 1981 and moved then to promote the “way of tea” based on ancient Taoist philosophy and on beliefs of modern Chinese literati.

Liu Sheng, director of the Wistaria Tea House documentary lasting about 50 minutes in length, admitted during the recent premiere showing at SPOT Taipei that the task of making the introductory film over a period of just a few months was daunting. There was so much to be said. The storytelling, he was told at the outset, must stand on the three legs of liberalism, leftist thinking and traditional Chinese art of tea with its age-old principles.

Wistaria Tea House holds different meanings for the men and women who have been lured to its embrace in their youth before treading the road to success and prominence. They have mostly struck up special friendships with Chow Yu. They now return, rediscovering it as a haven for the healing of the spirit in the jungle of city life.

Some artists with long years of association with Chow Yu candidly revealed that he gave them NT$3,000 out of his pocket when they were strapped for cash. Choreographer Lin Li-chen of Legend Lin Dance Theater recalled in the documentary film how Chow volunteered in 1978 to be the producer of her first dance production, “Don’t Forget Your Umbrella.” On seeing how the then pregnant Lin had to commute by bus on days of rehearsals, he urged her to take his offer of NT$3,000 as taxi fare. Lin was deeply touched by the gesture.

The calm atmosphere at the Wistaria Tea House attracts a clientele interested in simple but tasty dining and relaxing tea drinking. Music from Chinese instruments like the erhu lends itself to the serenity of the setting.

Years ago, imported classical western music played in the premises. Nowadays the more traditional Chinese airs have taken over. The Wistaria Tea House has produced a 30th anniversary souvenir music CD in collaboration with composer Zhou Chenglong.

Wang Xin Xin regularly fills the Wistaria Tea House with her exquisite nanquan performance for the appreciation of the traditional art lovers. Her ensemble of musicians rehearses upstairs every Monday and Thursday

The fragrance of tea at the Wistaria is spreading. Tea connoisseur Chow Yu has been taking the ancient art of tea beyond the boundaries of Taipei and Taiwan to win and warm the hearts of faraway friends, enticing them to sip the ceremonial culture of the old Chinese literati.

The Wistaria Tea House is located at No. 1, Lane 16, Xinsheng South Road, Sec. 3, Taipei.

Taiwan design creativity lights up the showcase at Eslite in run up to 2011 IDA Congress Taipei

2011-05-03T23:03:00.000-07:00

By Nancy T. Lu

Taiwan’s selected outstanding product designs speak out to consumers through little scenarios at the O.H.L. (Office, Home, Life) space in basement 2 of Eslite Bookstore Dunnan in the run up to the 2011 International Design Alliance (IDA) Congress Taipei to focus on “Design at the Edges” this October. The Taiwan Design Center as IDA member will host the congress. It is organizing all related activities.

A coffee cup with a saucer (see photo on top) which can be set in circular motion has mirrors built in to reflect changing images. Characters on a spinning plate, for example, easily become passengers on the coaches of a train on the unique cup. Another cup design has a merry-go-round theme. The price per set: NT$2080.

Even imperfections like cracks on a wall can be turned around with aesthetically rewarding result. New stick-ons now available make it easy to introduce tree leaves and birds to beautify the otherwise annoying fissures on the wall. The price:NT$180.

A cute and practical gift suggestion takes the shape of an elephant earring holder named Little. Despite the smallness of the item as underscored by its given name, the bigness of the good wishes that the giver sends with the gift gets conveyed through the animal shape of choice. The price: NT$600.

Tea Shirt, which is about a play of words, is a shirt-shaped holder of tea leaves. The clip on one end can be used to attach a sweet message to a beloved. The price: NT$450.

Wake up in the morning to the melodious chirping of the birds. The bird alarm clock is designed even for decorative hanging in the bedroom. It also gives the time and date either in Japanese or in English on demand.

A designer in southern Taiwan says “Welcome to Tainan” with a tourism-oriented product series highlighting landmarks like Anping Old Fort, Eternal Golden Fort, Chihkan Tower, Former Tainan Meeting Hall, Museum of Meteorology, National Museum of Taiwanese Literature, Tainan Confucius Temple, and Old Tainan District Court. Open a paper cup and find what looks like a protective sachet. Go deeper and come upon a small bottle filled with auspicious objects to put in the sachet. The cup also has seedlings to grow as indoor plants.

Traditional crescent stones for communication with Taoist deities are, in fact, small erasers to readily put in a pocket. The so-called “buei” while offering a glimpse of culture in Taiwan becomes functional in the product design.

The ongoing exhibition is intended to cater particularly to the office crowd. The collection of product designs created by Taiwanese talents goes on view like art gallery displays. Consumers who fancy the original product ideas need only go to the gallery counter at the entrance to buy the items.

The 2011 IDA Congress Taipei will take place at the Taipei International Convention Center on October 24 to 26. The Taipei World Design Expo, the Young Designers Workshop and Design Tours will be the parallel events. The Taipei World Trade Center in the Xinyi District as well as in Nankang and the Songshan Tobacco Creative Design Park will be the venues.

Taipei Chinese Orchestra announces with Sunrise Records the release of 2nd CD under BIS label

2011-05-02T00:13:00.000-07:00

By Nancy T. Lu
“Harmonious Breath,” the Taipei Chinese Orchestra’s second of four crossover collaborations earmarked for recording release under the BIS label, is now available in the market.

Chung Yiu-kwong (shown in right photo with designer Sophie Hong) as director of the orchestra keeps up the drive to go international and make far-reaching impact through the TCO’s new recording release featuring French saxophone player of renown Claude Delangle as soloist and Tianjin-born Shao En (shown below wearing new Sophie Hong outfit) as conductor.

“Sunshine on Taxkorgan for Soprano Saxophone and Chinese Orchestra” arranged by Chen Gang and orchestrated by Chung Yiu-kwong in the new release originally had violin music. Delangle listened closely to the original music as well as the erhu transcription. He, too, had to find the saxophone technique to replace the bowing of the string instrument.

Composer Chung Yiu-kwong treats the saxophone like a modern guanzi. Delangle seeks to have the saxophone pay tribute to a distant cousin, the guanzi. In fact, he studied the traditional phrasing of the instrument with Li Guoying, a master, during his working trip to Beijing in October last year.

Managing music in different ways, using old tools, has been Delangle’s preoccupation for some time now. With the saxophone, changing the mouth piece can turn it into a different instrument, according to Delangle.

The CD repertoire which was performed and taped at a concert at the Zhongshan Hall in Taipei with Shao En as conductor last December ranges in style from traditional to contemporary. Chung Yiu-kwong’s two original selections, “Concerto for Alto Saxophone and Chinese Orchestra No.1” and “Concerto for Alto Saxophone and Chinese Orchestra No.2” can be described as less like Chinese music. Delangle previously played the first piece with the Taipei orchestra at the National Center for Performing Arts in Beijing in October last year.

Also in the CD is Tian Lei-lei’s “Open Secret Concerto for Saxophone and Chinese Orchestra.” This piece was commissioned by the French Culture Ministry last year. Tian told Delangle that “the saxophone is the only Western wind instrument which with ease produces the glissandi that are almost indispensable in Chinese music.”

Another traditional piece in the recording is Peng Xiuwen’s arrangement of “River of Sorrow for Soprano Saxophone and Chinese Orchestra.”

Two more TCO CD albums to be launched in due time will highlight trombone artist Christian Lindberg and percussionist Evelyn Glennie respectively.

The amazing Pearl Lin (seen below with Chung Yiu-kwong) of Sunrise Records resurfaces after a year of complete absence due to health reason to celebrate another fruition of her years of hard work.

Lin, “superwoman” to those who know her, has spent years giving recording breaks to many of Taiwan’s very own musicians, including composers and performing artists. She dares to tread on new grounds, courageously financing projects with uncertain market acceptance. Because of her great love for Taiwan, she keeps coming up with new ways to help give exposure to local musicians, thereby finding her niche in promoting Taiwan’s talents for world appreciation.

Lin as the prime mover behind Sunrise Records deserves credit for bringing about TCO’s link-up with the Sweden-based BIS.

Not a few decision-makers behind international record labels are Lin’s business partners and even friends. Sunrise Records markets Telearc, Harmonia Mundi and Putumayo recordings, among others, in Taiwan.

With the growing interest in world music as a modern-day phenomenon, Lin sees no reason why the Taipei Chinese Orchestra with gifted and prolific composer Chung at the helm should continue to stay away from the international spotlight and remain contented with a limited local audience.

Sunrise Records is right now even keeping on the front burner negotiations for producing under another international music label a DVD complete with video for the TCO.

The TCO with Chung as baton-wielder will embark on a five-city European tour early next year. New looks for the orchestra members will shortly be introduced to lend freshness and style to the TCO. No less than top Taiwan designer Sophie Hong is to dress up the musicians in innovative Chinese attires.

Meanwhile exciting new programming to spring on TCO’s many fans will stay a priority of the orchestra. Creating new and changing music genres for the Chinese orchestra, in Chung’s thinking, will go a long way towards literally helping the TCO get noticed and go global.

Ju Percussion Group turns 25, looks forward to more years of upbeat drumming in Taiwan

2011-04-16T06:18:00.000-07:00

By Nancy T. Lu
A quarter of a century of successful drumming in Taiwan and even overseas from time to time is without doubt quite a feat. Such track record, in fact, is inspiring the Ju Percussion Group led by founder and artistic director Ju Tzong-ching to look forward to another 25 years of percussive music-making.

The announcement of a plan to build and develop not just a permanent home but rather a cultural and educational center at the old Danshui Customs Wharf near the historic Fort San Domingo and Hobe Fort early this year marked the dawning of a new era for the group known for remarkable leadership in writing the history of contemporary percussion music in Taiwan. The Ju Percussion Group appears determined to continue to aim high in goal and accomplishment.

The Danshui site of historic importance dating back to the Qing Dynasty and the years of Japanese colonial rule will be transformed to fulfill functions like music creation and rehearsal, international exchange, musician training, promotion of percussion music education, as well as enhancement of the quality of life through tourism-oriented leisure programs. Existing structures with historical meaning at the location in New Taipei City will be preserved. But new facilities will be built, too.

For 25 years, the Ju Percussion Group has been performing, teaching, doing research on and promoting percussion music. The Danshui project has the objective of bringing it even closer to the life of the people. Percussion talents will be nurtured there. So will be the teachers. Percussion music education will be made more accessible. Music enjoyment will be encouraged as leisure activity of the general public. Such is the vision of Ju, also the incumbent president of the Taipei National University of the Arts and former artistic director of the National Chiang Kai-shek Cultural Center.

Two memorable concerts presented at the National Concert Hall in Taipei in January this year kicked off the Ju Percussion Group’s celebration of a 25-year milestone, even featuring First Lady Chou Mei-ching as surprise guest performer during the rendition of two encore pieces, “Love Story” and “Body Language.”

President Ma Ying-jeou’s wife seriously played the marimba number with the other professional musicians first before venturing to playfully work out rhythmic beats by striking and slapping herself with her bare hands as well as by stomping her feet from time to time. She prepared for the program for two months. The choreographed performance inevitably ended each time with thundering applause from the entertained audience.

Chou first caught the public eye as an amateur percussionist shaking a pair of maracas during the state visit of President Ma to Central American countries in June 2009. The Ju Percussion Group joined President Ma’s entourage on this trip.

Not long after Ju Tzong-ching’s return from music studies in Vienna in the 1980s, he founded his pioneering group of percussionists in Taiwan in January 1986. Over the years, they have successfully fanned percussion fever in different parts of the country. Concerts carefully planned and organized around the island every year have helped spread the fun, excitement and joy of percussion music. Repertoires have featured works by international composers. However, even selections by Taiwanese composers have been played, too. Hung Chien-hui has even been hired to work full-time, composing for Ju’s percussionists. The Ju Percussion Group has likewise done recordings of percussion music over the years. The first album was released in 1988.

The Ju Percussion Group first developed a curriculum in percussion education especially for children in 1992. Classes for kids, which have been started and continued in different places around Taiwan, have shown that music education, which is best begun at an early age, has received ever-growing parental approval. From time to time, performances by Ju Percussion 2, a younger group of percussionists, have been organized to appeal to children.

Ju’s ambitious BOT project at this point, however, is to promote and develop percussion culture in an almost one-hectare area of the Danshui Customs Wharf on the right bank of the Danshui River. When orchestrating the successful bidding for the right to build and operate this meaningful educational project with the support of his team, he bears in mind that there is room only for world-class standard in nurturing Taiwan’s future generations of percussionists.

Raising the almost NT$200 million financial outlay needed to realize the project will be a challenge. The influential and persuasive Ju, who has extensive art management experience, remains undaunted though. He proved himself to be both a dreamer and an achiever in the past. For now, the Ju Percussion Group through a foundation first formed in 1989 and now functioning with Liu Shu-kang at the helm is officially looking forward to the operation and the running of the project in New Taipei City over a 50-year period.

Ju Tzong-ching rounded up friends from the art and education circles to establish the Ju Percussion Group Foundation in the past. His professional connections will ensure his capability to surmount all obstacles and difficulties in this venture in New Taipei City governed by Chu Li-lun.

Meanwhile the talents who identify with the leading group of percussionists founded by Ju stay driven and motivated in organizing concert programs with creativity to stimulate public interest in percussion music and at the same time to promote cultural awareness in the community. The Vietnamese presence because of intermarriage and the Filipino existence due to Taiwanese dependence on foreign labor invited a closer look through their music-making on indigenous percussion instruments as well as through poetry-reading at concerts in May 2006. The legend of “Mulan” got retold in original percussion theater complete with colorful costumes and stage design in May 2010.

Taking percussion music to the world stage has slowly come about gradually for the Ju Percussion Group of Taiwan. The musicians have brought their exciting beats and rhythms to countries on different continents. Invitations to grace music festivals and even events like the Asian Games have put them in high profile.

The Ju Percussion Group Foundation’s hosting once every three years since 1993 of the Taiwan International Percussion Convention with world-class ensembles of percussionists in attendance has put in the limelight the level of professionalism of Taiwan’s musicians. The next such event will unfold on May 20 to 28 this year.

After a quarter of a century the Ju Percussion Group continues to go places. A first-time trip to the subcontinent of India is scheduled for April 2011.

The upbeat drumming activities show no sign of tapering off. In fact, new exciting chapters in the history of the Ju Percussion Group are being written.

Palace Museum to invite visitors to enjoy Kun opera "Peony Pavilion" every Wednesday

2011-04-01T03:12:00.000-07:00

Kun opera (Kun Qu), a most refined traditional Chinese performing art form, will be a special highlight of“New Melody at the National Palace Museum” from 2:30 p.m. to 4 p.m. every Wednesday from April 6 to June 22, announced the museum in Taipei. The Taipei Kun Qu Research and Study Society will field the featured opera talents.

The classic“Peony Pavilion”originally written by Tang Xian-zu in the 17th century has been selected as initial opera offering, promising to lure spectators into the dream romance defying life and death of Du Li-niang and Liu Meng-mei.

The cultural program will be launched in keeping with the flower theme of the Taipei International Flora Exposition to wind up on April 25 and, in particular, of the exhibition“Fragrance Fills the Courtyard: Chinese Flower Paintings Through the Ages” to run until May 31 at the National Palace Museum in Taipei. Flower paintings belonging to the museum, now on view, celebrate the changing seasons and auspicious metaphors about life.

“Peony Pavilion” has remained a masterpiece enjoying undying popular appeal for hundreds of years. Staged but not always in the original version, it, in fact, has adopted modifications or even crossover interpretations, however, always emerging as shining brilliantly like a gem in the world of Chinese theater and drama.

This time, episodes with the greatest audience appeal from the original opera – from Du Li-niang’s dream encounter with her scholar in the garden all the way to her resurrection and reunion with her lover Liu Meng-mei - will be staged for the free enjoyment of visitors at the National Palace Museum.

The museum will likewise organize lectures to promote better understanding and appreciation of paintings in its collection as well as the classic opera art form.

Alumna revisits University of Santo Tomas during 400th founding anniversary celebration

2011-02-20T22:40:00.000-08:00

By Nancy T. Lu
A Tomasian does not forget. This one certainly remembers.

Memories of four formative years spent as a journalism student in the Manila campus of the Pontifical and Royal University of Santo Tomas – particularly in the Faculty of Arts and Letters – returned in a flash on this particular Saturday in February picked for a revisit.

The Artlets alumni were gathering for a general homecoming in the Quadricentennial Square between the Main Building and the Miguel de Benavides Library on February 19. The area due to the transformation over the years was unfamiliar to this alumna, who spent the last 25 years practicing journalism in Taiwan. (The library building received substantial donation from the Chiang Ching-kuo Foundation in Taiwan years ago when Ma Soo-lay, a Tomasian, was still an influential senior policy adviser to then President Lee Teng-hui in Taiwan. In fact, as a result of the donation, a professorial chair was created. A collection of replicas of treasures at the National Palace Museum was also turned over to UST.)

The much-publicized QuattroMondial, a bronze masterpiece created by sculptor Ramon Orlina in celebration of the 400th founding anniversary of UST this year, stood dominating the open-air site cordoned for the Artlets alumni homecoming.

Four figures on the work of art were described as representing four centuries of Excellence, Spirituality, Tradition and Erudition. Piolo Pascual, a very popular entertainment celebrity, was the model for the male student symbolizing Excellence. Charlene Gonzales, a beauty queen and psychology graduate from UST, lent her face to the female student suggesting Erudition. The Rev. Fr. Rolando de la Rosa, O.P., rector of UST, provided the look of Spirituality and Monina Orlina, the sculptor’s daughter and an academician, gave her visage to the figure standing for Tradition.

The Artlets homecoming unfolded within view of the St. Raymund’s Building (more familiar to this UST graduate as the A.B./Commerce Building). The Faculty of Arts and Letters was housed in the beginning in the Main Building, an engineering feat of Fr. Roque Ruano, O.P. This first building in the UST campus facing Espana Street was said to be earthquake-resistant.

The UST campus started by the Spanish Dominican friars was originally in Intramuros or the Walled City. The Japanese occupation forces even used the Main Building as an internment camp during World War II, lending a grim note to the history of the campus with entrances also on Dapitan Street at the back and P. Noval and Arsenio H. Lacson (formerly Governor Forbes) Streets on the two other sides.

The stern-looking Fr. Tomas Martinez, O.P. was dean in the early years of the Faculty of Arts and Letters and the more approachable Fr. Florencio Testera, O.P. served as assistant dean. This reporter in the original Rey Datu-led staff of the Flame, the official publication of the Faculty of Arts and Letters, moved over to the Varsitarian, the university magazine, in the succeeding years, interviewing, among others, the ever-perspiring Fr. Jesus Merino, O.P. about the collection of artifacts of the Museum of Arts and Sciences gathering dust deep inside the Main Building. Bernardo Bernardo, who was the Varsitarian editor then, was also into stage acting. In fact, he went on to join Zeneida Amador and Repertory Philippines in a number of theater productions. He also acted in movies. Alfredo Marquez, who succeeded Bernardo Bernardo as Varsitarian editor, went on years later to work for the People's Journal.

Years ago, segregation of the sexes was a rule enforced in the use of the stairs at UST, a Catholic institution of learning. The female students, who had to negotiate the corridors of the Main Building, avoided Fr. Nestor Mata, O.P., the strict prefect of discipline, if they were wearing sleeveless dresses because violation of the acceptable dress code meant being reprimanded for indecency on the spot.

Bishop Miguel de Benavides, O.P. bequeathed the fund and his personal library collection, paving the way for the establishment of the University of Santo Tomas in 1611, His bronze statue in front of the Main Building was done in Paris in 1889 and first made its appearance in Intramuros in 1891. Statues representing the virtues of Faith, Hope and Charity as well as Shakespeare, Dante, and St. Augustine, among others, were said to have been introduced on the building in the 1950s. Fine arts students over the years were often seen doing on-the-spot painting of the façade of the Main Building and the statues there.

The Arch of the Centuries near the gate on Espana Street (which easily got flooded during the rainy season to the chagrin of the students) was another favorite site of fine arts students. It was originally erected and remained at the entrance of the UST campus in Intramuros until 1941.

The Fountain of Knowledge to the left of the Arch of Centuries and the Fountain of Wisdom to the right were fondly remembered as bubbling attractions at the start of a tree-lined walk to the Main Building. One fine day, a bunch of giggling Artlets students (including this then undergraduate) decided to negotiate the partly shaded stretch barefoot or unshod, unmindful of the stares of passersby.

Memories of the Main Building also included Varsitarian meetings held in a ground floor office. Occasionally a staffer would hail the sorbetero or ice cream vendor to a corner window and coerce somebody to give everyone a “dirty ice cream” treat on a hot day. Pay day – meaning the day when allowances of Varsitarian staffers were released – was when everyone would turn up.

At “Artlets’ bash at full blast,” this writer picked up a copy of Rated A only to learn of the fairly recent demise of Professor Milagros Tanlayco and Professor Ophelia Alcantara-Dimalanta. Professor Tanlayco in her chattering style taught English and literature. She would arrive in class with diaphanous fabric softly trailing after her. As for Professor Dimalanta, she taught short story writing but was herself a poetess of renown.

There was one professor whom this Artlets graduate admired and tracked down many years later in Seattle, Washington. Professor Erlinda Rustia taught aesthetics and literary criticism. One quiz she gave required comparing the operatic singing of Maria Callas and Renata Tebaldi.

Journalism subjects in those days were handled mostly by the late newspaperman Felix Bautista. He was also adviser to the staffers of the Flame and the Varsitarian. His lectures were peppered with interesting first-hand anecdotes. Julie Yap Daza, a Tomasian and a columnist presently connected with the Manila Bulletin, taught public relations. When press obligations kept her away, she sent over her husband, a PR practitioner.

Tuition in those days was less than 300 pesos per semester. A senior at the Faculty of Arts and Letters revealed that it has gone up to 30,000 pesos per semester. Inflation has indeed caught up with Philippine education. The more exclusive Catholic universities are reportedly even charging about 100,000 pesos per semester.

UST is planning to build new campuses in Sta. Rosa, Laguna, and in General Santos City. South Cotabato.

Song legend Teresa Teng comes alive in Celebrity’s House at Taipei Flora Expo

2011-02-03T05:29:00.000-08:00

By Nancy T. Lu

Teresa Teng is a name which fans memory of many popular Chinese love ballads. “The Moon Represents My Heart” can be cited as a classic example. Her rendition of this song in a sweet and caressing voice touches listeners and puts all in a romantic mood long after her passing.

The memory of this song legend whose 58th birth anniversary fell on January 29 this year makes a visit of the Celebrity’s House at the ongoing Taipei International Flora Exposition (Taipei Flora Expo) worthwhile. Nostalgia overwhelms a visitor as song after song plays inside in Mandarin, Cantonese, Japanese and English. Pictures and video presentations capture highlights from her lifetime with fond remembrance.

Red roses said to be Teresa Teng’s favorite flower greet those privileged to enter Celebrity’s House. Floral artist Lin Hui-lee was responsible for introducing preserved roses and transforming an area into a rose-covered setting.

Only a limited number of visitors are accommodated each day at Celebrity’s House. Special entrance tickets are distributed outside early every morning.

Roses on an interactive, multi-touch screen give way to an emerging Teresa Teng near the entrance. Teng’s life story is then told in phases complete with representative pictures.

The displayed memorabilia of the enduring song artist includes her clothes, her Louis Vuitton luggage, trophies, record albums over the years, personal jottings, letters and her signatures in Chinese, English and Japanese.

A pop-up image of Teng dominates a stage with a microphone. Tourists are able to have souvenir pictures taken here.

Nearby, people queue to have their pictures taken as featured Celebrity's House cover personalities and to have even just briefly a taste of instant fame. Visitors can later go online and download files showing them as publication cover subjects.

The final moments of a visit are generally spent viewing a documentary of Teresa Teng mainly in concert. Long after every screening, the spectators linger – in fact, craving for more of Teresa Teng and her sweet and gentle but sad singing.

The Taipei International Flora Exposition at the Yuanshan Park Area, Fine Arts Park Area, Xinsheng Park Area and Dajia Riverside Park Area opened on November 6, 2010, and will run until April 25, 2011. The Celebrity’s House is at the Yuanshan Park Area.

Award-winning New Year print designs celebrate Year of Rabbit and Republic of China’s founding centennial

2011-01-23T23:23:00.000-08:00

By Nancy T. Lu

Good wishes spring forth and multiply fast when the Lunar New Year approaches. The Year of the Rabbit has inspired many original New Year Prints and all of them have been conceived and created to convey absolutely auspicious messages.

As in the past, the Council for Cultural Affairs through the Taiwan Museum of Art has singled out to honor with awards the finest entries in the latest search for New Year prints inspired primarily by the Year of the Rabbit.

Of the top six entries, Lu Yan-hui’s “The Rabbit Takes Off and Advances with Vigor” shows an abstract rabbit outline against a background of peony-covered Taiwan fabric. In Chinese culture, the peony is the king of flowers. It is also the flower of riches and honor. It finds its place as one of the flowers representing the four seasons. It, in fact, it is associated with spring. The peony, too, is recognized as an emblem of love and affection as well as a symbol of feminine beauty.

Chen Mei-yun’s “Auspicious Rabbit Celebrates Centennial” goes all out in heralding the 100th anniversary of the founding of the Republic of China (ROC) on Taiwan. A peony appears on the upper right corner of the flag. In the lower right is a rabbit with the Chinese character for “spring” on it. “Chun” when read in Mandarin is a homonym of the Taiwanese word for “surplus” or “abundance.”

Meanwhile the peach of longevity and the “ru yi” (“as you wish”) scepter likewise convey greetings most appreciated at the start of a new year. The plum blossom, chosen as the national flower of the ROC because of its five petals representing five clans (Chinese, Manchus, Mongolians, Mohammedans and Tibetans) and “Five Power Constitution” of the Chinese Republic, springs forth on a leafless tree branch in winter.

Chen Qiao-yu’s “Ten Thousand Rabbits of Good Fortune Welcome Century Milestone” features plum blossoms on four corners. Red, a hue reserved for happy and festive occasions, is the only color used in this New Year Print launched in a historical year.

Huang De-cheng’s “Good Persimmons Multiply Twofold” carries the message of joy spreading in the New Year. As a bright-colored fruit symbolizing joy in Chinese culture, the persimmon appears often on Chinese cups and bowls.

Ouyang Wen-hui’s “A Gentle Breeze is Freely Blowing” highlights a furry and playful rabbit sprawled in familiar and comfortable environment, thereby summing up the mood and spirit in the year ahead.

Cai Chun-yi’s “Jade Rabbit Announces Good News” captures the mood of a nation turning 100. Exploding fireworks on the Taipei 101 landmark usher in a year of celebration in exciting color. Taiwan keeps moving forward with power and speed like the bullet train on the high-speed rail.

Happy Year of the Rabbit to all!

Rabbit seen only through a magnifying glass emerges from miniaturist Chen Forng-shean's hands to delight everyone

2011-01-20T23:42:00.000-08:00

By Nancy T. Lu

Most people aim big in their endeavors. Chen Forng-shean has chosen to be different, devoting a lifetime to the pursuit of the opposite. The creation of scaled-down objects is his obsession. In fact, the smaller the size of the item, the greater the satisfaction it brings him.

Chen, a rare find, is a miniaturist from Xinchu, Taiwan. As the Lunar New Year approaches each year, he unveils his delightful masterpieces, which are often inspired by the zodiac animal of the year. They are barely visible to the naked eye

To welcome the Year of the Rabbit, he took resin and transformed it into “the world’s smallest rabbit.” Take note: the lovable creature measures only 0.5 mm in size. It is even more tiny than the eye of a sewing needle. Chen spent three months to produce a carrot-eating bunny. The rabbit, including its facial expression, can only be seen and appreciated under a magnifying glass.

Chen had the native rabbit in mind when he buckled down to make his rabbit conversation piece. He described the furry white animal as having a cleft palate, developed front teeth, short tail, long ears, short front legs and longer hind legs.

In the past three decades, Chen Forng-shean has built an amazing collection of miniature items. He displays many of them in his private museum at No. 17, Lane 207, Ankang Road, Sec. 1, Xinchu City. All those who have had the privilege of dropping by have been totally impressed by his skill. His accomplishments are indeed for the Guinness Book of World Records.

Breton singer Yann-Fanch Kemener traces trail of “Nan Kuan” expert Tsai Hsiao-yueh, later meets designer Sophie Hong and erhu artist Liang Wen-pin

2011-01-13T03:42:00.000-08:00

By Nancy T. Lu
East is East and West is West. But artists of different art forms and genres can make the meeting of the two happen with interesting result.

Yann-Fanch Kemener, one of the best-known voices from Brittany in France, touched down on Taiwan soil for the first time in December for a two-week visit. The specialist in traditional vocal music called “Kan Ha Diskan” (translated “call and response singing”) headed straight for Tainan to trace the trail of Tsai Hsiao-yueh, a singer of the most refined ancient Chinese music called “Nan Kuan” (southern pipe).

Tsai did a first recording of “Nan Kuan” ballads with an ensemble of musicians from Nansheng Association for Radio France in Paris in 1982. The critical acclaim received by this first “Nan Kuan” music album led to subsequent recordings for two more volumes in September and October 1991.

Kemener, himself involved in Breton roots revival, spoke in Taipei of his great admiration for Tsai’s traditional singing whom he first heard through her “Nan Kuan” recordings. He had made the special trip to the southern city of Tainan in Taiwan to hpoefully find her and interact with her. But he never met her. Instead he had very friendly encounters with people who knew her. In fact, he encountered Chen Hung-ming, a 92-year-old pipa or lute player who was in Tsai's entourage of musicians when she went to do recordings for Radio France in Paris thrice.

Kemener, one of just a handful of existing recognized mentors in traditional Breton singing, has likewise done many professional recordings of ballads in a language which he described as of Celtic origin and totally different from French. He performs in live concerts usually with a cellist or a pianist.

Born in Sainte-Tréphine (Côtes-d'Armor) in 1957, Kemener participated in the revival of the Kan Ha Diskan in the 1970s and 1980s. He helped in preserving the traditional songs by collecting and singing them in his beautiful and powerful voice. In Taipei, he expressed his interest in finding a publisher for a collection of 200 ballads in due time.

Kemener hailed from a family of tillers of the soil. Although exposed to a life of hardships, he found everyday joy in singing. Traditional singers of Brittany particularly fascinated him from childhood. He listened closely, eventually even taping their singing.

While in Taipei, Kemener tracked down top Taiwanese fashion designer Sophie Hong whose chic clothes he first discovered in Brittany and, in fact, has taken to wearing in his concerts and public appearances in the last 10 years. At Sophie Hong’s boutique in Taipei, he shopped to his heart’s content for his new wardrobe fashioned out of Chinese silk treated and processed using an ancient method for his coming performances in France.

One evening Sophie Hong invited him to dinner at the famous teahouse and restaurant with history called Wistaria. The setting was once the hub of workers in Taiwan’s earliest democracy movement. Christophe Gigaudaut, the French diplomat overseeing cooperation and cultural affairs for the French Institute in Taipei, joined them.

Sipping of aged Puerh tea circa 1950 from Lanchang -- said to have been wrapped and kept dry in a special straw mat of the region – combined with erhu music entertainment by Liang Wen-pin, a gifted artist of the two-string instrument and also a conductor of at least two Chinese orchestras in Taiwan, made the East-West encounter truly memorable for all.

After bowing classical Chinese musical notes inspired by the romance of the “Butterfly Lovers” Liang Shan-po and Chu Ying-tai, the erhu artist ventured into music suggesting the excitement of horsing around.

The moment finally came for Kemener to fill the air with his Breton style of singing. He sang in his native dialect and Liang caught up with him in his music-making by repeating his tune like a refrain after him. Was this like the “Kaner” singing and the “Diskaner” responding in a unique performance of “Kan Ha Diskan”? .

Kemener was drunk not with whisky nor with the special tea poured for him. He felt overwhelmed by the experience of traditions of East and West meeting in his rendezvous with newfound friends in Taiwan.

He earnestly expressed interest in returning despite his fear of flying to teach and conduct a workshop in his area of musical expertise.

Starry, Starry Night – from UNICEF Christmas card artist Manuel D. Baldemor

2010-12-10T23:03:00.001-08:00

By Nancy T. Lu

Generosity gets manifested in many wonderful ways at Christmastime. Famous artists around the world, for example, offer the reproduction rights to their paintings to the United Nations Children’s Fund. Corporate interest in buying UNICEF Christmas cards to contribute to efforts to help malnourished and impoverished children around the world has been sustained over the years despite the trend to go for digital cards because the colorful greeting cards feature designs with great appeal.

To look at the paintings of Philippine-born artist Manuel D. Baldemor is to understand readily why his works revolving around the festive Christmas theme have been selected for reproduction on UNICEF cards over the years.

Every labor of love coming out of Baldemor’s atelier in Pasig, Metro Manila, feels very much like Christmas. He fills his Philippine Christmas landscape with traditional Philippine Christmas lanterns, which hang on windows and in front of homes at this time of the year. The star-shaped decorations shine beautifully in the night. The bright and exciting colors from Baldemor’s palette spread the joy of the season.

Traditions are very close to the heart of this 63-year-old native of the famous woodcarving town of Paete in Laguna province. He portrays Filipino farmers from the countryside taking time out to go and hear the Midnight Mass on Christmas Eve. Some show up even on the backs of water buffalos. The colorful Philippine jeepney likewise brings people to church. Vendors balancing baskets of food for the Noche Buena on their heads also find their way into his paintings.

Baldemor’s stylized depictions of Christmas celebration remind viewers that Christmas is a religious feast in predominantly Catholic Philippines. The façade of a house of worship – often Baldemor’s hometown church – is incorporated into his art composition from time to time. The Filipino family, too, gets highlighted in his well thought out art expression about Christmas. He paints townsfolk looking out of the windows of their homes.

The titles, which Baldemor gives his paintings, tell about the traditional Filipino culture, which fascinates him and which he holds dear. These include: “Pasko Sa Aming Bayan (Christmas in the Philippines),” “Season of Hope,” “Stars,” “Lantern Festival,” “Stars of Good Blessing,” “Midnight Mass” and “Filipino Family.”

The generous Baldemor has contributed at least 15 designs to UNICEF cards since 1986. Some of the original paintings are still in his personal collection.

The processing of a work of art for use on a UNICEF card takes about four years. A slide of the painting is sent to the UNICEF head office in New York for evaluation. The actual painting is never brought over there.

Greeting cards featuring Baldemor’s paintings have all been best-sellers. Such knowledge truly fills the painter’s heart with happiness.

Baldemor, in fact, created a mural titled “Pasasalamat” (Thanksgiving”) for the lobby of the UNICEF Building in Vienna, Austria. The mixed media masterpiece even required Baldemor to bring 50 kilos of lahar sand to Vienna. It was unveiled in 1998.

The friendly and outgoing Baldemor is not just a painter but also a sculptor, printmaker, and book illustrator. At the age of 12, he was already a “master carver” in Paete. Years ago, he even dabbled in ceramic tile design.

Baldemor studied fine arts at the University of Santo Tomas in Manila. He went on to win painting competitions and represent his country at international exhibitions like the Salon International Art in Paris.

Baldemor’s earliest drawings were in black and white. But his paintings have exploded in all the brightest colors imaginable. And art collectors just love them.

Today Baldemor – the father of three and grandfather of five – is considered one of the most productive and most appreciated contemporary painters in the Philippines. There is hardly any Filipino artist who can match his record for the total number of one-man shows held in his professional art career – to be exact, over 100 in all.

He travels abroad often, returning to showcase the creative results of his inspiring sojourns. Many travel grants from governments have enabled him to get to know first-hand the cultures of different countries on different continents.

When Baldemor was young, he wanted to be a poet. He now writes occasionally about his travels for the mass-circulation newspaper Philippine Star.

Getting misty-eyed over Xmas lights on Policarpio Street in Mandaluyong, Metro Manila

2010-12-08T19:55:00.000-08:00

By Nancy T. Lu

Memories of Christmas lights brightening up almost the entire Policarpio Street in Mandaluyong, Metro Manila, four years ago make me misty-eyed. My first visit there happened during my last Christmas holiday with my father.

Arriving at Policarpio Street in Mandaluyong, Metro Manila, just a few days before Christmas brought out the hidden child in me. My father, too, was overwhelmed to see an entire neighborhood in Barangay Zuniga glow with the heartwarming joy of the Christmas season.

December in the previous seven or eight years at least, I was told, had meant skyrocketing electricity bills for the community. Some belt-tightening homeowners were forced a few years ago to drop the whole idea of keeping the tradition.

I was back in Manila for the first time in December after so many years of living and working in Taipei. I had heard so much about Policarpio Street as a tourist attraction.

Fortunately that year when I first visited Policarpio Street, Anthony Suva, the barangay captain, wanted to set a good example in showing the spirit of Christmas. So he went ahead and transformed his two-story residence into the most attractive House of Santa Claus.

Right across the Suva home was a huge mansion shining with a hundred thousand lights as in the past years. Even the gate, the walls and the tall water tank tower of this residential compound were covered with tiny lights. The sparkling ornamentation was indeed a joy to behold in the night.

Some residents opted to put up animated decorations that December. The story of the first Christmas all the way to the visit of the Three Kings was told with music playing in one moving display. Santa Claus riding away on a sled pulled by reindeers was the theme of the showcase on the façade of another house.

Vendors sold hot “bibingka” (rice cakes) and “puto bumbong” (glutinous rice steamed in bamboo tube), delicacies usually associated with the Midnight Mass on Christmas Eve, to the delight of the “balikbayan” (homecoming) crowd.

Word about the Yuletide celebration on Policarpio Street near Boni Avenue had gone around fast. The lighting ceremony in late November officially announced the arrival of the Christmas holidays. Visitors who turned up every night contributed to the festive atmosphere in the whole community. Volunteers assisted motorists in looking for parking space. .

Christmas lights and animated displays in Metro Manila such as the showcase on Philippine history at UNI-Mart in Greenhills that year reminded me so much of my happy childhood. My father always found time at the end of the day to drive the family around during the Christmas season.

We made the rounds of a few places like Caltex on Padre Faura, Coca-Cola Bottling Plant in Otis, Pepsi-Cola and Magnolia plants (completely giving way to condominium high-rises today) on Aurora Boulevard, C.O.D. Department Store in Cubao and Ysmael Steel on Espana Extension. We did this several times every year then. We even voted on the best or favorite display each year.

My father and my mother sent us, the children, to bed and dreamland only after putting us through an exciting drive around the city in those days when road traffic in Manila had yet to deteriorate into a big nightmare at Christmastime.

The mass-circulation newspaper Philippine Star carried on the front page a few days ago this year a big photograph showing that the lights are back on the big mansion on Policarpio Street. That the Christmas spirit is alive in that neighborhood is wonderful news.

Was it Fate that brought me back to Manila for the first time in December after so many years of living and working in Taipei? Looking back, I feel more than glad that I made that trip to Manila in 2006.

I saw my beloved father again during my Lunar New Year break not long after. But the angels took him away forever the following June. So now thoughts of Christmas lights on Policarpio Street leave me misty-eyed.

Chunky Move’s “Mortal Engine” combines choreography with interactive system and laser technology, says Obarzanek

2010-11-03T14:00:00.000-07:00

By Nancy T. Lu

Gideon Obarzanek, a would-be scientist years ago, made a sudden turnaround, becoming a dancer and then a choreographer. He now brings to Taipei for the first time the Australian dance company called Chunky Move to stage a production involving tracking systems and laser technology titled “Mortal Engine.”

Obarzanek promised a “sophisticated live performance on stage.” As he put it, “No two performances are ever quite the same because the light generated to create the performance is made from dancers’ movement. What dancers do shapes the changing figure around them.”

Many choreographers in the 20th century turned to the projection of images in dance. Obarzanek cited particularly Alwin Nikolais and his use of video and film projections to distort perceptions of human body. But the late choreographer encountered problems. Video and film materials must be prepared in advance. They ran on fixed time. Dancers must keep rehearsing to be at the right place at the right time.

Obarzanek himself experienced similar frustration in the projection of images. This was until he stepped into new ground involving collaboration with German computer engineer Frieder Weiss.

Weiss was an expert in creating quality control system for production line components. He developed a series of cameras which looked at components on production lines to track down defects and abnormalities.

In his spare time, Weiss experimented with the technology from Bosch Engineering by applying it on his partner who was a dancer. In short, what was intended for industrial use became tracking technology for artistic pursuit, said Obarzanek.

After meeting Weiss at a conference in Europe, Obarzanek invited him to work with him in 2005. They showed each other their works and then discussed the possibility of a collaboration.

A solo titled “Glow” became their first project together. This choreographic essay showed a change in the perception of the body, explained Obarzanek. A combination of movement, speed and images distorted the perception of the human body, which shifted to cause it to sometimes even acquire animal qualities. Such change affected the choreography.

The successful work, however, could only go into very specific exhibition spaces with spectators sitting around and looking down at the performers on the floor, according to Obarzanek.

In 2007, Obarzanek convinced interactive system designer Frieder Weiss to develop more tracking systems for a larger work, which could go into the more conventional theaters. As a result, the relationship between the video and the dancers in what was to become “Mortal Engine” got more complicated.

Obarzanek elaborated: “Video began taking dimension from dancers. Video used behavioral mathematical algorithms to acquire life (sometimes disturbing as seen in the black patches) of its own.”

At this point, Obarzanek also thought of exploring new space – particularly the void above the audience in a theater. Laser and sound artist Robin Fox through his works in Melbourne got the choreographer’s attention.

“And so Robin Fox took the contours of the dancers and then gave the information to the laser, shifting the movement in the choreography from the stage into space with the audience drawn into the work itself,” recalled Obarzanek.

“People felt the live-ness of the performance for they were put in a unique point in time and place,” stressed Obarzanek. “This was not just a live show.”

Obarzanek also brought music composer Ben Frost into the production.

“We imagined what we could do individually and we discovered in the studio what we never imagined,” Obarzanek said of the team behind “Mortal Engine.”

He added: “Collectively we were able to work out what we individually could not have.”

Choices had to be made along the way. There were no big clashes or conflicts among the involved artists. Obarzanek, however, claimed that he was the director.

Obarzanek was the guest speaker at the Boomerang Lunch hosted by the Australian Commerce and Industry Office in Taipei on November 3. In attendance were choreographers, dancers and representatives of the many prominent dance companies in Taiwan.

Chunky Move will present “Mortal Engine” at the National Theater in Taipei at 2:30 p.m. and 7:30 p.m. on November 6 as well as at 2:30 p.m. on November 7.

World of wonder at Taipei Flora Expo sparks excitement ahead of opening on November 6

2010-10-24T09:33:00.000-07:00

By Nancy T. Lu
The Taipei Flora Expo has yet to open on November 6. But already, the Pavilion of Dreams is fanning a lot of excitement. .

The Pavilion of Dreams at the Xinsheng Park has the theme of “Hope, Dream, New Horizon.” There are three sections: Five Senses Beyond Space and Time, Interactive Digital Video Center and Panoramic Interactive Theater. A tour of the pavilion is likely to require at least one hour.

Enter the first hall to watch in awe the programmed metamorphosis of a giant flower overhead to six different music soundtracks and constantly changing lighting.

The Interactive Digital Video Center invites a visitor to step into a circle of light in front of a picture and to move to animate the image. A bee, for example, suddenly flutters into view to look for pollen on a flower. Or, petal after petal drops from a beautiful bloom. There is also a long wall on which the silhouette of each new arrival is thrown. But this human shape while moving forward quickly changes into an animated and almost human insect.

The Panoramic Interactive Theater gathers a group at the center　for a sweeping look at nature starting with the lotus lagoon. The magical journey through water and land takes off rapidly with everyone blinking their eyes in disbelief and with their spirit literally soaring. Whether from underwater or on a mountain top, Mother Nature takes everyone's breath away. Then comes once more the interactive part. Hands are encouraged to reach out and touch trees to animate images.

Queues at the Pavilion of Dreams are expected to be very long. Groups of 70 visitors will be allowed to enter every 14 minutes after Flora Expo officially opens. The site can ideally accommodate a maximum of 280 persons. But more are likely to be crammed into the space.

Get ready, therefore, to explore the Taipei Flora Expo. A world of wonder and charm waits to take everyone to an unprecedented high.

Ling Jiou Mountain takes this Taipei visitor up the winding road to spirituality and tranquility

2010-10-21T08:22:00.000-07:00

By Nancy T. Lu
Ling Jiou Mountain on a heavily mist-covered day seems a shy lady veiled in mystery. Occasionally, the fog fades away to reveal but only very briefly the beautiful curve of the wave-washed coastline way down below.

Undeniable is the power of this quiet retreat so filled with spirituality to draw in a visitor seeking relief from all worldly cares and pains. The drive through the hairpin curves of the mountain road before arriving at the entrance to the sacred setting lifts the spirit. The fresh air is invigorating and the embrace of Mother Nature is so comforting.

At the heart of this peaceful place for meditation on Ling Jiou Mountain is a Myanmar-born holy man whose road to a better understanding of life and death is through an ascetic life of fasting and meditation.

He looked at death up close, undergoing fasting, meditation and wrestling with the demons all alone in an abandoned pagoda of a neglected cemetery for a long period. As an ascetic seeking enlightenment, he chose also a cave in Fulong for his abode. He emerged as the inspired founder of the Museum of World Religions and promoter of interfaith dialogues in a war-torn world.

Not every outsider gets to personally meet the Venerable Dharma Hsin Tao. Each one who approaches the Wusheng Monastery, however, begins at least to try to learn from him with the help of his followers the path to tranquility.

Empty the mind, he says during a meditation. But the spiritual teaching is not something to be mastered overnight. The long journey to learn and find the truth begins at the very quiet Ling Jiou Mountain. Practice moves a sincere person closer to his goal.

Speechless mountains hold secrets. The Ling Jiou Mountain – a peak with the silhouette of a protective eagle watching over it – is not an exception. Long before the arrival of the Venerable Dharma Hsin Tao, local fishermen reported sightings of a mysterious flame burning at the summit.

After lighting a scented votive candle for a mother suffering in pain faraway back home, this visitor looks forward to another opportunity to experience Ling Jiou Mountain, including being soothed by the drone of the religious community at prayer before the Buddha, living in austere but fairly comfortable quarters, going completely vegetarian at mealtime, strolling alone along the Path of the 500 Arhats, participating in a “tai chi” exercise and joining a meditation with the Venerable Dharma Hsin Tao providing inspiring leadership even if only his taped voice is used.

The monastery’s shuttle bus brings a first-timer back to the Fulong train station to board the train to Taipei at the appointed time. After an hour, the Ling Jiou Mountain is just a beautiful memory to be cherished until the next visit to the haven created by a modern-day visionary.

All the pictures posted here were taken by Nancy T. Lu.

Ancient Greek art exhibit at National Palace Museum highlights beauty of human body

2010-10-21T08:00:00.000-07:00

By Nancy T. Lu
Banners showing the famous marble statue of an ancient Greek discus thrower fly and flap in the wind nowadays in several parts of Taipei, announcing the opening of “The Body Beautiful in Ancient Greece” exhibition at the National Palace Museum.

This masterpiece, which was a copy made upon the order of Roman Emperor Hadrian in the 2nd Century AD after a lost Greek original dating back to 450–400 BC, graced the poster of the Olympic Games in London in 1948. The arrival of the art treasure depicting an outstanding Greek athlete in the nude, which has required insurance coverage as high as NT$500 million, calls attention to the fact that the British capital is preparing to host once more the Olympic Games in 2012.

“The Body Beautiful in Ancient Greece” opened on October 15 at the National Palace Museum in Taipei and will run until February 7 next year. This is only the second time that the British Museum in London has lent treasures from its collections to the National Palace Museum in Taipei. Negotiations for the present project started two-and-a half years ago.

Ian Jenkins, the curator from the Department of Greek and Roman Antiquities at the British Museum, explained that many of the 136 items in the collection on loan from London museum with a history of 200 years were not found in Greece but came rather from Italy. The replica of Myron’s “Discus Thrower” was traced to Hadrian’s Villa in Tivoli, Lazio, Italy.

Jenkins said that Greek athletes in ancient times competed in the nude. They, in fact, participated in the Olympic Games not only to show their exceptional talents but also to display their beautiful naked bodies.

The nude champion athlete in ancient Greece, however, strikes an image of modesty in the face of victory and accomplishment. One marble statue of a young man in the collection shows him looking down and not up in his moment of glory. He does not pump his fist in the air, observed Jenkins.

There were no female athletes in the ancient Olympic Games. They held their separate competitions in honor of the goddess Hera elsewhere though, according to Jenkins.

Opportunities to depict the female nude were few in ancient Greece. The naked female was associated more with cults and rituals little understood today, he noted. In fact, Brancusi, Modigliani and Giacometti were known admirers of a particular cult-related piece in the ongoing exhibition for showing a very sophisticated way in which the human body can be given abstract form.

“Artists in ancient Greece suggested the female body beneath drapery,” pointed out Jenkins. “Breasts and thighs of the female body were subtly suggested by folds and fall of drapery.”

A Greek artist in the early 4th century BC notoriously created a nude of Aphrodite, the goddess of love. A 1st or 2nd century AD version of this Greek original is now drawing admiring gazes from visitors at the National Palace Museum. The powerfully attractive marble representation of the goddess, as described by Jenkins, has her “stepping out of her bath, surprised by a voyeur.”

Jenkins spoke of the humanism of ancient Greek art, citing the portrayals of gods in human form – beautiful, perfect, and with personalities like human beings except for their immortality. Ruling over the gods and goddesses on Mount Olympus was Father Zeus, represented naturally in the collection on view by a bronze statue originating from Hungary and dating from the 1st-2nd century AD and made after the sculpture by Pheidias for the altar at Olympia.

Greek mythology sings of heroes and their stories. Herakles, perhaps the greatest of all heroes, and his 12 labors are painted on preserved ancient pottery. As half-god and half-mortal, he must fight his way into the pantheon of the gods. In one pottery painting on display, he bravely survives a struggle with a dangerous boar and even brings the animal back alive to taunt the enemy who puts him through this test shown hiding in a storage jar. Herakles is also depicted as being driven by Athena, the goddess who is his patron, in her chariot to meet his father Zeus on Mount Olympus at the end of his labors.

One section of the exhibition focuses on birth, marriage and death. In short, this is about the rite of passage from cradle to grave. Jenkins noted that marriage was to a girl what war was to a boy in ancient Greece. A woman found her place as wife and mother. A man experienced fulfillment through public engagement such as in politics and war. To die young in a battle was the most beautiful fulfillment for a man, explained Jenkins.

Episodes about atrocities of war as seen in Greek mythology are captured on artifacts. One depiction has the Greek warrior son of Achilles using the body of the grandson of aging King Priam of Troy to beat him to death.

A sphinx on exhibit calls to mind the easy riddle which Oedipus answered correctly. But he figured out too late the riddle of his life, fulfilling the prophecy of killing his father and marrying his mother.

Scenes of sexual intercourse were common in Greek art. The exhibition has a painted pottery item showing a sex worker – a slave as indicated by hair cut short – lowering herself on her partner during a Greek drinking party with sex orgy called symposium in those days.

Older men engaged in institutional mentoring of young boys can be viewed in the collection. Jenkins cited the 300 Spartans as 150 pairs of lovers as further indication of the practice of homosexuality in ancient Greece. Fidelity to the partner was upheld with honor, said Jenkins.

Female sexuality was addressed in Greek art as seen in the drinking cup of pottery shaped like a breast. Wine like a mother’s milk was drunk from a vessel resembling the female breast.

Fertility found totems of hope for growth. A woman appears to be watering her crop of phalluses grown in her garden on ancient pottery.

Terracotta human characters highlight great diversity, sometimes bringing smiles to viewers. Faces are just as interesting. The helmet is a different story. The wearer hides his individuality and goes into a battle as a killing machine, said Jenkins.

Sokrates, essence of an intellectual, was a beautiful mind in a most unattractive body. He challenged all who came into his world of confidence. He ended up executed.

Dancers’ bodies speak out and articulate Hakka culture in Taipei Dance Circle’s “Body Sound”

2010-10-13T00:36:00.000-07:00

By Nancy T. Lu
Creativity finds expression with bullish energy as choreographer and dancer Liou Shaw-lu leads the dancers of the Taipei Dance Circle in figuratively spinning yarn for a new dance tapestry called “Body Sound.”

For years, Liou has been exploring the three-in-one principle of “breath, body and heart” in dance creation. He has been taken particularly by choreography evolving side by side with the sounds flowing naturally through the body’s network of arteries and veins.

“Body Sound” is a polished and refined outcome of years of working on such technique. Physical motions release body sounds throughout the dance. The chakras, which are “force centers” or whorls of energy in the human body, get moved around. As the dance progresses from segment to segment, chakras can be traced to the crown, brow, throat, heart, and solar plexus, among other points in the dancer, in “Body Sound.”

Minimalism and expressionism have guided the development of this modern dance by the Taipei Dance Circle. Liou puts aside for now the use of baby oil, his highly successful and rather unique dance trademark for many years.

The props and costumes in at least two parts of “Body Sound” invoke rustic images. Liou, in effect, tells the story of his life in “Body Sound.” From his peasant family background comes the traditional farmer’s raincoat of straw. He wears it in a solo dance.

Jhudong in Hsinchu County is Liou’s hometown and the area as suggested by the “Jhu” word (meaning bamboo) in the name is where bamboo groves thrive. He gets his dancers to dress up like traditional scarecrows or straw men in the fields, pounding their way around with bamboo poles.

Raw and primitive moves in “Body Sound” strongly call to mind Taiwan’s aboriginal people. The choreographer summons his dancers to break into an aboriginal high in “Body Sound.”

Anthropological researchers have put forward a theory that the island of Formosa was at the center of the Austronesian culture thousands of years ago. Majority of the Taiwanese population up until the Dutch colonial period belonged to the Pingpu tribe, explained Liou. But their descendants today are often in denial of such origin.

Hakka culture was closely tied to that of the Pingpu tribe because generations of Hakka men married women from the Pingpu tribe, according to Liou.

The modern dance choreography constantly highlights Liou’s fascination with his Hakka roots. Two dancers at one stage struggle to snatch a bamboo pole from each other. The unyielding Hakka spirit is symbolically brought out this way.

The stylized moves and the rhythmic paces of the performers show Liou’s love of traditional Hakka song-and-dance culture. Even the dancers’ rhythmic number counting in one segment is in Hakka dialect. Very seldom is taped music used in this choreographed dance. The natural lusty shouts and calls coming from the male and female dancers generally replace taped music during the performance.

The dancers with well-rounded dance training work in groups of six, four, three or only two. Their constantly changing formations and moves even occasionally call to mind classical ballet. Four dancers even seem to duplicate the pas de quatre from “Swan Lake.”

Emotions in “Body Sound” go the range: excited, happy, euphoric, quiet, angry and tense. Variety spices up the performance. Always, a tale of grace and harmony becomes the ultimate objective.

Liou, 62, is making his refreshing and heartwarming comeback on the dance stage after a temporary setback due to brain surgery earlier this year. He returns to even playfully incorporate a balancing ball from the therapy clinic into a solo dance act.

Liou and his six performers are gearing to participate in Taipei’s upcoming flower celebration. The body and the mind of each dancer are coming together to enable dance poetry to bud and blossom.

“Body Sound,” the Taipei Dance Circle’s newest dance production, will be staged at the Taipei County Art & Culture Center’s Hall for Performing Arts at 62 Zhuang Jing Road in Banciao City on October 16. The group will also bring “Body Sound” to the Keelung Municipal Cultural Center on October 30 and the Shu Qi Lin Culture Hall in Jhudong, Hsinchu County, on November 20. All performances will start at 7:30 p.m. Call tel. (02)2893-0061 for ticket information.

All photographs posted here were taken by Lee Ming-hsun.

Metro Manila screening of “Cape No. 7” triggers recollections of Hengchun Peninsula tour

2010-10-03T18:13:00.000-07:00

By Nancy T. Lu

Young Filipino moviegoers’ complaint about the limited screenings of “Cape No. 7” at the just-concluded Taiwan Film Festival at the Shangri-La Plaza Mall’s Shang Cineplex in Mandaluyong, Metro Manila, this year triggered recollections of how the success of the Wei Te-sheng movie two years ago fanned tourism in southern Taiwan.

The movie tells of a frustrated singer in a band returning to his sleepy hometown after failing to find career success in Taipei. Aga becomes one of the local recruits of Tomoko, a Japanese model putting together a front act for the concert of a Japanese pop star. Thrown into the story is a mysterious mail package with an address difficult to pinpoint. The love story involving a local girl and a Japanese young man who was forced to leave the island with the retreating forces after Japan’s defeat during World War II comes full circle in the end.

The Hengchun Peninsula for all its natural charm and beauty never before saw anything similar to the influx of tourists two years ago. Tourism truly picked up after the film “Cape No. 7” starring Van Fan (Aga) and Chie Tanaka (Tomoko) hit the movie theater screens in Taiwan in 2008. A reason other than the “Spring Scream” rock music festival at the beautiful Kenting National Park woke up the usually sleepy area in southern Taiwan.

Wave after wave of tourists arrived to soak up the “Cape No. 7” experience. Ever since director Wei Te-sheng’s first full-length motion picture opened in movie theaters throughout Taiwan, the tourist influx was unbelievable, prompting the different sectors of the tourism industry to get their act together to welcome the avalanche of visitors.

The Taiwan Tour Bus even arranged to take people to the movie’s different shooting location sites. The West City Gate, Aga’s home, Uncle Mao’s house, Grandma Tomoko’s residence, Chateau Beach Resort, Paisha beach, Sanhai Fishing Harbor, Wanlitong beach, Fu An Temple, and Checheng Taihsing Temple were among the stops in the whole day itinerary. The sightseeing trip from 8 a.m. to 6 p.m. cost NT$1,314 (US$1 = NT$33) per person then.
Half-day options with the Taiwan Tour Bus covered either the morning itinerary or the afternoon route of the whole day trip. Morning sightseeing from 8 a.m. to 1 p.m. for a total of five hours, including lunch at the Chateau Beach Resort, was priced at NT$999 while the afternoon schedule requiring four-and-a half hours from 1:30 p.m. to 6 p.m. cost NT$450.

The “Cape No. 7” tours were offered daily for a limited period only. Call the Pingtung Travel Agency at tel. (08)888-2900 or tel. (08)889-1464 to check on the possibility of going on such a tour today if you plan to travel to southern Taiwan. Visit websites www.taiwantourbus.com.tw or www.hotel-world.com.tw for more information on other tours around Taiwan. Taiwan Tour Bus service information is given in Chinese, English, Japanese and Korean languages through tel. 0800-011765.

Communities where the location shooting took place put up signs, maps and posters to help outsiders with “Cape No. 7” on their lips find the sites of the different precise scenes in the movie.

Aga’s home and Uncle Mao’s house emerged the visitors’ must-see addresses. In fact, the homestay place used as the rock band singer character’s home in the film began collecting an entrance fee of NT$50 from those seeking to have a first-hand look of Aga’s bedroom.

Finding some of the film’s extras then was not all that difficult. The low-budget movie, which became the talk of Filipino moviegoers in the last week of September this year, relied on amateurs very often. Visitors in the Hengchun Peninsula were warned though at that time: Beware of imposters trying to bask in reflected glory in a place put suddenly in the limelight. Even the local dog out on the street wanted to get into the picture when Chie Tanaka, the leading lady, appeared on a beach to face the media frenzy.

Towns got used to the overnight fame though. Entrepreneurial brains worked to cash in on the “Cape No. 7” fever by packaging whatever they were trying to sell with the movie and its characters for inspiration. The food and beverage department of the Howard Plaza Hotel in Kenting, for example, came up with a very special bread carrying Aga’s name.

Other Taiwan movies featured during the recent Taiwan Film Festival in Metro Manila included Chi Y. Lee’s “Chocolate Rap,” Tseng Wen-chen’s “Fishing Luck,” Chu Yu-ping’s “Kung-Fu Dunk,” Yang Ya-che’s “Orzboyz,” Tong Chan-yu’s “Our Island Our Dreams” and Cheng Yu-chieh’s “Yang Yang.” All screenings were packed. “Cape No. 7” was also presented last year during the film festival made possible by the Taipei Economic and Cultural Office in the Philippines.

All photographs shown here were taken by Nancy T. Lu during an unforgettable tour of Hengchun Peninsula in southern Taiwan two years ago.

Francoise Zylberberg of Librairie Le Pigeonnier lives on in the hearts of Taiwan's Francophones

2010-09-10T18:14:00.000-07:00

By Nancy T. Lu

What will the Taipei International Book Exhibition (TIBE) be like without Francoise Zylberberg? And what will the Librairie Le Pigeonnier du Quercy or even the French reading festival called “Lire en Fete” in Taipei be like without Zyl?

Poor health in recent years – a subject she was most discreet about – did not keep her – a former mentor to countless French language students in Taiwan – from getting fully involved even if she had to do it by remote control over long periods.

Back in 1969, Zyl was put in charge of the French language classes at Jussieu for the “boat people” escaping the anti-Chinese persecution in Cambodia, Vietnam and Laos. The free language courses, which applied the latest pedagogical methods in affiliation with the Paris University 7, had proven a success with thousands of immigrants benefitting from the French 、language education program.

Years later, having picked up a little Cantonese, Zyl was appointed to teach French language beginners at the Hong Kong University. This assignment almost got cancelled by the French cultural attaché who did not seem impressed by her success at Jussieu. And so Zyl arrived in Taipei instead in 1979 with Jacques Picoux, her colleague at Jussieu. They developed together the French language education program at the National Taiwan University, even producing the extremely successful television program called “Salut les Copains” with Maria Chiu, a former Taiwanese teacher at Paris University 7, four times a week.

Zyl and her colleague at NTU were paid by the National Taiwan University for their work on the TV program. Corresponding teaching manuals were developed. Exercises and tests were sent in for correction. French students were recruited to correct them.

The first French cultural attached sent to Taipei in 1980 gave the TV series full support and encouragement, paving the way for successors at the post to promote and realize a strong French cultural presence in Taiwan.

The French language television program aroused enormous interest in France. As a result, Zyl began to develop a series of postcards to nurture such enthusiasm. This went on for a while and eventually gave birth to Librairie Le Pigeonnier du Quercy. She reproduced old maps of Taiwan into a calendar at one time. She likewise established links with French institutions like the Louvre, bringing in souvenir shop items and reinforcing the image of her homeland as a leader in the appreciation of art and culture.

The French bookstore managed by Zyl did not just import French titles but also went into publication. Cartoonist Golo was invited to visit Taipei and create the illustrated bilingual book filled with his observations “Made in Taiwan.” Zyl even took Golo to the Tamkang University to meet the students in the French language department.

The “Lire en Fete” – an annual festival promoting French reading – got launched at Le Pigeonnier complete with French cheese and wine. The project kept growing. French language authors even lent their distinguished presence to the event. Francophones living, studying and working in Taipei, were encouraged to gather on weekends at the bookstore. Zyl would sometimes bring out her antique music box and crank out notes to capture French ambience on the spot.

France became the main country featured at the Taipei International Book Exhibition (TIBE) with Zyl’s major involvement at least twice over the years. At the last TIBE, she coordinated the display of the reproductions of original manuscripts of French writers, philosophers and even a composer.

Zyl ran the only French bookshop, a very chic one, near the Itung Park in Taipei, serving the local academe and catering to needs in French pedagogy. She imported a whole range of titles on French art and culture.

French publishing houses turned to her for assistance in connecting with Taiwanese counterparts. She related very easily to people in Taiwan for she spoke fluent Chinese. At the last major book fair in Paris shortly before her return to Taipei in late July, Zyl received a special award from the French government.

One of her last projects was to oversee the opening of Taiwanese fashion designer Sophie Hong’s fashion boutique at the Palais Royal in Paris. Zyl, always dressed in the clothes of Sophie Hong, did not just promote the art of France but also talent from Taiwan. She went a long way in promoting French-Taiwanese relations.

Zyl paid a high price for being a heavy smoker over the years. Her constant physical absence in Taipei in the last two years was evident. Till the end, she was a workaholic. She finally closed the last chapter of her meaningful life, shocking many and leaving them to mourn the great loss. She will be deeply missed.

Local theatrical productions at Taipei Arts Festival spiced with humor, romance, sadness

2010-08-13T18:47:00.000-07:00

By Nancy T. Lu

Allow Taiwan’s very own performing talents to entertain you at the ongoing 2010 Taipei Arts Festival.

Roll in the aisle with laughter when the Four Chairs Theatre stages “Waiting for What!?” at the Nanhai Gallery in Taipei at 7:45 p.m. on August 12 to 15. Panda twosome Tuan Tuan and Yuan Yuan decide on a prison break while waiting for their favorite steamed dumplings at the zoo. The zookeeper is after all without weapon. The pandas seem to be bolder than humanity trapped at the workplace and in a stifling living environment. This outstanding program of the Taipei Fringe Festival 2009 deserves a look.

Shakespeare’s Wild Sisters Group has also been invited to bring back “Michael Jackson” at the Zhongshan Hall in Taipei on August 19 to 21. Performances start at 7:45 p.m. except for the matinee show on August 22. The late pop icon’s hit songs “Thriller,” “Bad” and “Dangerous” get a Taiwanese interpretation in this comeback production. Revisit the past and refresh your memories. Each scene’s link to Taiwan’s history is remarkable.

The Slow Island Theatre Group’s “Mint, Rosemary and the Flower With No Name” likewise drew special notice at the Taipei Fringe Festival. As a result, it has been picked for inclusion also in the ongoing Taipei Arts Festival. Love relationships in the story are not just between woman and man but also between woman and woman. The performances will take place at the Zongshan Hall in Taipei on August 27, 28 and 29.

"Timeless Love – Concert of Dichterliebe & Nanguan” on September 3, 4 and 5 at the Zhongshan Hall in Taipei will have conductor Chien Wen-pin playing the piano for a change and will have nanguan performing artist Wang Xin-Xin and tenor Tilman Lichdi blend music from East and West in an unprecedented experimental performance. Although this is the only concert program at this year’s Taipei Arts Festival, it gets a theatrical treatment, pointed out Victoria Wen-yi Wang, executive director of the Taipei Arts Festival.

“The Impossible Times – Taiwan Musical Trilogy” turns to an important page in history at 7:45 p.m. on September 10, 11 and 12 at the National Theater. There will be matinee performances at 2:45 p.m. on the second and the third day. Chiang Wei-shui’s heroic leadership in the colonial resistance movement in the history of Taiwan merits focus in an original production of the All Music Theatre Company with Mel Chung-heng Yang as artistic director. Yin Cheng-yang gets cast in the leading role in the tale about the life of Chiang.

Modern theater makes creative use of media as seen in The Puppet & Its Double Theater’s “The Cutter of Happiness” at 7:45 p.m. on September 9, 10 and 11 as well as at 2:45 p.m. on September 11 and 12 at the Experimental Theater of the National CKS Cultural Center in Taipei. Hence, actors and puppets come together to narrate the story of the paper-cutting grandma capable of scissoring tears and sadness and the little boy who does not heed his grandma’s urging to stay indoor when it rains.

The festival now on its 12th year will wind up on September 12. For tickets, go to www.artsticket.com.tw or call tel. (02)3393-9888.

Rare theatrical experiences sum up exciting offerings by masters at Taipei Arts Festival

2010-08-07T07:51:00.000-07:00

By Nancy T. Lu

Theater productions by three masters, namely Robert Lepage’s “Lipsynch,” Heiner Goebbels’ “Stifters Dinge,” and Romeo Castellucci’s “Hey Girl!” promise to take the public down an exceptionally exciting road in performing arts during the 2010 Taipei Arts Festival from August 3 to September 12.

The festival being presented by the Taipei City Government through the Taipei Cultural Affairs Department and the Taipei Culture Foundation will feature nine programs, including three important works by internationally acclaimed masters and six local productions by outstanding talents and groups in Taiwan.

“Hey Girl!” -- the talk of the Avignon Festival in 2007 – opens the Taipei Arts Festival now on its 12th year. The Taipei crowd, in fact, is being treated to a cutting-edge and hallucinatory experience made possible by Italian director Castellucci’s remarkably rich artistic vision.

Stopped by the red traffic light one day, Castellucci found himself overwhelmed by the sight of blooming Italian girls aged 16 to 18 walking by and he went on to use this inspiring encounter to create a successful production in celebration of women immortalized in history and literature because of their great love, courage and power, said Victoria Wen-yi Wang, executive director of the Taipei Arts Festival for the third consecutive year.

The 4D theater of Castellucci’s making visually excites no end starting with the opening scene which depicts the birth of a woman, according to Wang. A female form breaks free from a resin layer and dramatically steps out to face life. She next emerges in t-shirt and denim. The image of Chanel No. 5 perfume announces her maturity.

In seeking to dedicate his production to the future of the adolescent girls who stopped him in his track, Castellucci resurrected three easily recognizable figures. Juliet from Shakespeare’s love tragedy “Romeo and Juliet,” Joan of Arc known as famous maiden from New Orleans and Queen Elizabeth who guided England to dominate the world as a maritime power all help tell the lifetime story of a woman and ultimately the tale of humanity, explained Wang. The crucifix appears as a symbol of Christianity and sacrifice. The sword suggests courage.

Forty male performers recruited locally serve as a reminder that men still dominate society.

“Hey Girl!” is a 75-minute production being staged at 7:45 p.m. from August 5 to 8 at the Taipei Brewery at 85 Bade Road, Sec. 2, in Taipei. Matinee shows on August 7 and 8 start at 2:45 p.m.

Castellucci is also showing his installation art inspired by the philosophy of Emmanuel Kant from August 3 to 29 at the Central Hall 6 at the Huashan 1914 Creative Park. Admission is free.

The artist reflects on the question: “What is going to happen to nature and what is going to happen to human beings if people stop thinking?” Visitors enter a dark room and see through a crack on the wall a forest behind the house.

Are you ready for a marathon performance lasting eight and a half hours, including breaks and intermissions? Robert Lepage’s “Lipsynch” will have nine actors reprise over 10 roles and bring to life a total of nine stories over a 70-year period. English, German, French and Spanish languages are used in this evolving production. Voices, whether it be jazz singing, radio broadcasting, taping, or lipsynching, get introduced as scene after scene unfolds in the exploration of sound by the director from Quebec.

“Lipsynch” will be staged in its entirety starting at 1 p.m. on August 21, 22 and 28 at the Metropolitan Hall in Taipei. Part 1 will be presented at 7:45 p.m. on August 24, Part 2 at 7: 45 p.m. on August 25 and Part 3 at 7:45 p.m. on August 26.

Meanwhile German director and composer Heiner Goebbels proposes to combine music, theater and installation art to create a theatrical experience without actors. In fact, “Stifters Dinge” is described as “a composition written for pianos without pianists.” It is also “a performance without performers.” Pianos play by themselves. A song by a Papua New Guinea aborigine will be heard.

This intermission-free 70-minute program with English handouts and French subtitles will be shown at the Taipei Brewery where seats are limited to 200 at 7:45 p.m. on August 11 to 14. There will be matinee performances at 4:45 p.m. on August 12 and 13 as well as at 2:45 p.m. on August 14 and 15.

Huoyanshan in central Taiwan stands out like painting to study in ecology classroom

2010-07-23T05:57:00.000-07:00

By Nancy T. Lu

Huoyanshan, a hill formation resembling a beautiful landscape painting when seen from the highway in Miaoli, takes its name from a legendary setting in the classic, “Journey to the West,” because of the dramatic flaming effect of sunlight on its hard and dry yellowish meandering ridges. Up close, this landmark of saw-tooth mountain ridges is a virtual classroom for geological and ecological study.

Huoyanshan’s rock layers have been formed by pebbles of different sizes over a long period of time. Sedimentation, corrosion and erosion have all come into geologic play. Patterns on rocks when studied by experts lead to a better understanding of the secrets of nature.

Erosion has resulted in materials from the hills settling in the low-lying areas. Compacting and compression have followed, accounting for Huoyanshan’s present formation particularly the main peak with an altitude of 600 meters above sea level. The Daan River nearby has mostly gravel beds. Over the years the landslides during the rainy season have frequently forced the closure of the road at the foot of the mountain to traffic. Even the building of a tunnel has not solved the problem.

The landscape consisting of interesting ridges, cliffs and slopes with vegetation here and there continues to rapidly change. The topography keeps evolving. The climate is one influencing factor. Constant rain washes away the mud holding the rocks together. As a consequence, rocks on the edges of the slopes slide off.

Motorists who drive past Huoyanshan can find weather sunny in the south and rainy in the north. In short, Huoyanshan is virtually a weather boundary between the north and the south. Such environment provides a unique habitat for animals and plants. The nature preserve tells a fascinating story in this respect.

The raised air current at Huoyanshan helps migratory birds passing through fly higher. The birds soar and glide to save on energy, riding on the winds and the thermals, which are rising currents of warm air.

Huoyanshan, in fact, is on the migration route of the gray-faced buzzard. Every spring, this raptor returns to the north for breeding. While en route, it stops and rests at Pakua Terrace and Huoyanshan Nature Preserve.

Forest fires and landslides explain the distribution of plant species at the Huoyanshan Nature Preserve. Growing in drier areas south of Huoyanshan’s main peak are the Taiwan pied pine, the Taiwan acacia, the Formosan sweet gum and the Formosan alder. Wild grass plants thrive in the gravel river delta.

Visits to fascinating Huoyanshan require special permission. The Huoyanshan Forest Ecological Education Center at 73 Zhongzheng Road in Sanyi, Miaoli, was inaugurated last July 16. The exhibits here provide an introduction to the wonderful ecology of the site. Visitors can peep through a hole and see, for example, a yellow butterfly from the area. Video clips show the many faces of Huoyanshan and what dangerous erosion has done to it.

Trained guides deployed Huoyanshan Forest Ecological Education Center are helpful in promoting love and protection of nature especially among visiting schoolchildren. Do-it-yourself activities are organized regularly to stimulate interest in the natural environment and its protection.

The Hsinchu Forest District Office of the Forestry Bureau under the Council of Agriculture has asked the Forestry Department of the National Pingtung University of Science and Technology to manage this center. The center is open from 9 a,m. to 5 p.m. from Tuesday to Sunday. Call tel. (037)878851 to make inquiries. Or write to email address hoyenshan@gmail.com

Siraya and Southwest Coast Pavilions during culinary event to zero in on local bounty

2010-07-14T10:13:00.000-07:00

By Nancy T. Lu

Oyster, milkfish, and giant grouper prepared with culinary creativity grabbed attention. So did Taiwan’s biggest and award-winning meatball, which tapped not just pork but also scallop and shrimp as ingredients for added flavor. Tourism-oriented establishments participating in coming 2010 Taiwan Culinary Exhibition also introduced foodways involving lotus seeds and pods, pumpkin, asparagus, ampalaya and vegetables.

Chefs in Taiwan have been warming up for the 2010 Taiwan Culinary Exhibition to unfold at the Taipei World Trade Center from August 27 to 30.

The preview of the Siraya National Scenic Park (Siraya refers to an indigenous people) and Southwest Coast Pavilions at the Ambassador Hotel in Taipei on July 14 was a feast for the eyes, zeroing in on the fresh food bounty of the land. Areas known for mud springs and salt beds were in the spotlight.

Culinary talents from remote places in Chiayi County and Tainan County cooked and prepared the ingredients with acquired flair. The organizers of the Taiwan Culinary Exhibition arranged their exposure to training by experts beforehand to enable them to grow professionally and get ready for the annual culinary showcase.

The Taiwan Culinary Exhibition this August will tips on how to eat right and eat local. It will drum up interest in becoming a low-carbon emission gourmet.

The Taiwan Culinary Exhibition this year will feature also Taipei’s seven popular night markets and seven gourmet gift items to take home.

The Tainan City Government has decided to promote local culinary traditions at the Tainan Food Pavilion.

As in the past years, there will be a domestic culinary competition. The Fine Dining Exhibit will put Gold Medal dishes in the limelight. The Celebrity Chef Cooking Classes promise to attract even homemakers who want to improve their skills in the kitchen.

Biking is a breeze in Caoling Tunnel in Fulong, Taipei County; no need to worry about sunburn

2010-07-09T01:28:00.000-07:00

By Nancy T. Lu

Sunday biking in Fulong, Taipei County, is so much fun. There is no need to worry about ultraviolet rays and sunburn. A train tunnel no longer in use has been converted into a biking lane since around two years ago. A midway marker indicates the boundary between Taipei County and Yilan County.

So go out and rent a bike this summer. Pedal away with the entire family in the Caoling Tunnel. Go solo or take a tandem bicycle with a partner.

Natural ventilation inside the tunnel makes bike riding a breeze. The exercise is very relaxing. Watch out though for bikers who sometimes stop without warning or parents who block the path while helping their little ones unmindful of the pace of the cycling traffic on a lane filled with riders on a weekend.

The North Entrance of the 2.18-kilometer stretch for biking has a sign which translates to mean “Overcoming Obstacles of Nature.” The marker at the South Entrance says: “Where White Clouds Fly.”

One end of the bikeway looks out to the inactive volcanic Turtle Islet just 10 miles off Toucheng in Yilan County. Its precipitous cliffs, sulfur hot spring, mountain peaks, sea-eroded caves and marine resources invite exploring. The Northeast and Yilan Coast National Scenic Area Administration describes the islet as “an ideal outdoor classroom for the study of volcanic geology and natural ecology.”

While in the Fulong area, drive to Longtong-Bitou Geopark. Plateau 101 (top two photos), the apex of Badouzih Parks, offers a panoramic view of the area. Keelung Islet is to the north, Keelung Mountain and Jioufen are to the east, while Yeliu and Fugui Cape are within sight to the west. Sunrise and sunset from this point must be breathtaking. Beware of falling rocks and strong winds in the cliff area though, warns a sign.

A hearty seafood meal can be enjoyed along the coast. If you have a yen for the nine-hole abalone, call Yang Shu-chun on her mobile phone 0975733818. Motor to Joli Café (tel. 02-24903529) near a diving point by the sea in Gongliao. Yang will bring out platter after platter of the cooked gourmet mollusks for you to relish.

Football fever hits 2010 Taipei Film Festival with “Kick Off” emerging top contest winner

2010-07-02T05:14:00.000-07:00

By Nancy T. Lu
Shawkat Amin Korki’s “Kick Off” took the coveted Grand Prize in the New Talent Competition of the 12th Taipei Film Festival. The jury announced the winners on July 2 at the Riverside Live House at the back of the Red Playhouse in Ximending.

The triumph of the film about how an exciting football game between the Kurdish and the Arabic boys gets organized in a semi-destroyed stadium doubling as refugee camp in post-Saddam Iraq perfectly tied in with the current World Cup fever.

The jury took note of the fact that the motion picture produced partly in black and white was made “under challenging conditions.” It was described further as “a daring work with outstanding direction.”

The Special Jury Prize went to “Women Without Men.” The “unforgettable” movie directed by Shirin Neshat is set in Iran of the 1950s. The jury’s statement read: “This is a visually striking film in which the awareness of female coincides with the awareness of the nation.”

The Special Mention honor went to two comedies: Taika Waititi’s “Boy” and Ho Wi-Ding’s “Pinoy Sunday.” Chung Mong-hong’s “The Fourth Portrait” received the Audience’s Choice Award.

This year's jury included Kim Dong Ho of the Pusan Film Festival, Brazilian movie actor Jose Wilker, Japanese filmmaker Isao Yukisada and Taiwanese actress Chen Shiang-chyi.

The Taipei Film Festival will run until July 15. Film screenings are held at the Zhongshan Hall and at the Shin Kong Cineplex in Ximending.

Photo shows Shawkat Amin Korki, director of “Kick Off,” flanked by Ho Wi-Ding of “Pinoy Sunday” and Chung Mong-hong of “The Fourth Portrait.”

National Symphony Orchestra embarks on telling story of gifted female artist Pan Yu-liang

2010-06-28T23:18:00.000-07:00

By Nancy T. Lu

The story of the legendary female Chinese painter Pan Yu-liang will come to life in the National Symphony Orchestra’s big opera production “La Peintre, Yu-Lin” at the National Theater from July 8 to 11.

As told previously in a Gong Li-starring movie and later in a TV drama, Pan who was born with the Zhang surname in 1895 was sold to a brothel when she was only 13. After Pan Zan-hua, a customs official, made her his concubine, she adopted his family name.

Pan Yu-liang started taking lessons from Hong Ye, her neighbor and teacher at the Shanghai Art Institute. Liu Hai-su, a friend of Pan Zan-hua, saw talent in Pan and encouraged her to enroll at his school as the first female art student.

Pan Yu-liang’s fondness for drawing female nudes did not sit well with the conservative Shanghai society in those days.

Pan eventually went to Paris for her formal art training. She returned nine years later to teach at Liu’s school in Shanghai. Her past as a prostitute, however, haunted her. She eventually returned to the French capital and lived a lonely and impoverished life until 1977. Her plan to go back to China never materialized.

Pan produced many paintings in her life, including many nudes influenced in style by Matisse. She also did many self-portraits. Several of her works combining western and ink painting styles went on to win prizes at salons and exhibitions.

Juliette Deschamps, the young French stage director invited to work with the opera cast, revealed that she made an effort to view Pan’s paintings in French museums before coming to Taipei.

When Joyce Chiu, manager of NSO, first sent her an email to invite her to conduct the opera, Deschamps thought somebody was playing a joke on her. She later felt very delighted to have this opportunity to come to work in Asia.

Of the original Chinese-language opera, she remarked: “I have discovered and truly come to appreciate the beautiful poetic ring of the Chinese language.”

There will be Chinese subtitles on the two sides of the stage throughout the presentation of this opera.

Chien Nan-chang, one of Taiwan’s best-known composers, wrote the music for “La Peintre, Yu-lin” after receiving the script of the award-winning playwright Wang An-chi last year. This is the Germany-educated Chien’s third opportunity to write a commissioned opera.

Yip Wing-Sie, director of the Hongkong Sinfonietta and principal guest conductor of the Guangzhou Symphony Orchestra, will conduct the National Symphony Orchestra.

Chien heaped praises on Wang’s poetic lyrics. He previously wrote music to go with the poems written by poets like Xi Murong. So did Chu Tai-li, the Italy-based soprano cast in the role of Pan Yu-liang. She has had the most songs to memorize. Mewas Lin will be the alternate singer of the part of Pan in some of the performances.

Vocalizing the role of her husband is Beijing-born Chinese bass Tian Hao-jiang. Tian has been singing at the Metropolitan Opera in New York for 19 years. This is his second Taiwan visit. He performed in Zhang Yi-mou’s production of Puccini’s “Turandot” in Taichung not too long ago. Alternating as Pan Zan-hua is Wu Bai Yu-hsi.

At a sneak preview of the opera, the main cast appeared wearing clothes designed by Sophie Hong. Hong’s fashion style has consistently demonstrated Chinese influences with a Parisian flair, making her a good choice in the search for the designer of the opera’s costumes.

In charge of the set design (shown above) is Nelson Wilmotte. He has decided to play with 15 movable panels to create different and changing spaces at will as called for in telling the story of Pan Yu-liang. Stage lighting will also make a lot of difference as the story moves from Shanghai to Paris and back. Creative lighting design will also be crucial in the almost three-hour opera.

Nudity, a big and controversial issue in conservative Shanghai during the time of Pan Yu-liang, will be handled with subtlety and creativity in the production, according to Deschamps. Designer Hong also revealed that unfurled red cloth will suggest a model’s nudity in the opera. But original nude paintings of Pan will be projected on the stage.

Photo shows: (from left) composer Chien Nan-chang, soprano Chu Tai-li, stage director Juliette Deschamps, conductor Yip Wing-Sie, fashion designer Sophie Hong and bass Tian Hao-jiang.

Computer-aided art show by 2 digital art teachers becomes garden of visual delights

2010-06-27T11:49:00.000-07:00

By Nancy T. Lu

Digital art in the hands of artists Lin Yao-tang and Jean Cha-lin evolves into a garden of visual delights. Lin creates his own flower show ahead of Taipei’s International Flora Exposition to open later this year while Jean releases flashes of butterflies fluttering their gossamer wings to make complete the very colorful Mother Nature-inspired picture at the Daxia Gallery of the Chinese Culture University’s Department of Education Promotion in Taipei.

Both art teachers from Ming Chuan University display expertise in the methods for digitally synthesizing and manipulating visual content in computer-aided design.

Computer graphics got started by William Fetter in 1960 or half a century ago and in the 1990s three decades later, the technological advances had opened up fantastic possibilities in digital design. Access to the Illustrator, Photoshop and Painter softwares in the market today, however, does not guarantee success in producing digital art. Human talent remains crucial in the input for image manipulation on a computer.

Lin, who was born and raised in Puli, began preparing for the ongoing exhibition a year ago. He decided to do his flower series of digital art after the unexpected sight of Taiwan’s wild but beautiful flowers fanned nostalgic memories.

Jean for his part reveled in art creation for this exhibition. He just kept “painting” a razzmatazz of bold and solid colors on his computer screen. Bright and strong colors emerging in surprising combinations went on to sum up his cheerful personality.

According to Jean, he experienced unstoppable urge to make art evolve in ways bringing personal satisfaction. Each first attempt, however, was never his final one. At the end of the day, he felt truly appreciative of how far computer science in this age of advanced technology. had taken him in his creative endeavor.

Jean, too, felt a certain nostalgia as he went about his creative digital exercise. As he moved forward in developing shapes, patterns and colors with the help of softwares in computer graphics, he did not stop engaging in wistful yearning for past results. In fact, he has printed saved files to share with the public at the ongoing exhibition of digital works.

During a trip to the countryside, Lin had caught sight of big clusters of orange lantana flowers off the beaten track. He suddenly remembered a weird character who used to roam the streets of his childhood memory, calling out “Hanako! Hanako!” The eccentric fellow reportedly lost his mind after learning that his beloved Japanese girlfriend had committed suicide after being misled into believing that he had died. Their love for each other had met with strong family opposition at the outset. His family did everything to tear them apart. And so thoughts of Hanako, whose name means “flower” in Japanese, have lingered on in Lin’s memory.

An imagined love letter from the heartbroken Hanako inspired a series of works resembling traditional stationeries. These have been nicely framed for the art show.

As a child, Lin had heard of a wild flower with a smell said to drive people crazy. But the remembrance of the wild ginger flower had lingered with more appeal, according to Lin. Blossoms of this kind grew wildly on the banks of a running brook near his ancestral family home in Puli.

When in full bloom, the local magnolia plant cultivated in the courtyard of his Puli home invited picking by the women returning from doing their laundry in the brook nearby for instant tucking in their hair, according to Lin.

Meanwhile the hibiscus plants at home required monthly trimming, Lin recalled. And so he drew them, too, for eventual inclusion in his digital art designs. Flowers blooming on the loofah vines likewise attracted his attention for they were very beautiful, he said.

Lin used handmade Puli paper to print his digital art. The two biggest masterpieces required at least eight sheets each to produce. The special paper absorbed the ink colors to create a soft result as seen in the picture shown here.

The “Exhibition of Digital Works by Two Artists” will run until July 8. The Daxia Gallery of the Chinese Culture University’s Department of Education Promotion is located at 231 Jianguo South Road, Sec. 2, in Taipei.

Taipei International Choral Festival from July 25 to August 1 to feature five foreign groups

2010-06-24T19:08:00.001-07:00

The Taipei International Choral Festival will unfold from July 25 to August 1 this year, announced organizer Taipei Philharmonic Foundation. The Taipei Philharmonic Foundation has invited Yoon Hak Won Chorale from Korea (July 31), the University of Louisville Cardinal Singers from the United States (July 30), the Bratislava Boys’ Choir from Slovakia (July 27), the Gustaf Sjokvist Chamber Choir from Sweden (July 26) and the Rajaton from Finland (July 28) to this year’s festival.

The Taipei performances will take place at the National Concert Hall.

Fred Sjoberg will be the featured Swedish conductor of the Taipei Philharmonic Chorus and the Taipei Philharmonic Youth Orchestra during the presentation of Haydn’s “Nelson Mass” to open the festival on July 25.

The closing program on August 1 will highlight the Taipei Philharmonic Chorus and the Taipei Philharmonic Youth Orchestra under the baton of Hungarian conductor Gabor Hollerung in a performance of Mendelssohn’s “Die erste Walpurgisnacht Op. 60.”

For ticket information, call tel. (02)2773-3691.

The picture above shows the Taipei Philharmonic Chamber Choir performing at the Philippine Independence Day celebration in Taipei.

2010 Shanghai World Expo and Taipei Flora Exposition inspire miniaturist Chen Forng-shean

2010-06-20T17:09:00.001-07:00

By Nancy T. Lu

Taiwan’s famous miniaturist Chen Forng-shean is keeping up his record in creating specks of surprises with big impact.

World headlines continue to grab his attention, inspiring him to come up with new conversation pieces. The buzz about the Shanghai World Expo has not gone unnoticed. Shown here is Chen’s mini masterpiece on the “Century’s World Expo Dreams.”

The Xindian-based Chen has literally painted the China Pavilion and the Taiwan Pavilion on a single grain of rice. The grain measures 0.5 centimeter long and 0.3 centimeter wide. He has even written a total of 16 Chinese characters on the rice, which is smaller than the eye of a sewing needle.

As Taipei is bracing for the Taipei International Flora Exposition in November, Chen has also gone horticultural in his creative hobby. He has produced the world’s smallest orchid flowers.

Chen took one month to finish making the orchids out of resin. The floral results measure 0.25 centimeter in length and 0.15 centimeter in width. One cattleya stem has a white flower with touch of red and the other has a yellow bloom with a dash of green.

Both pictures shown above were provided by Taiwan's amazing miniaturist Chen Forng-shean.

"Pasion Criolla" from Dominican Republic puts everyone in the mood for exciting merengue

2010-06-17T21:31:00.000-07:00

By Nancy T. Lu

From the Dominican Republic, the land of merengue in the Caribbean, came Ballet Folklorico Nacional Dominicano, sweeping spectators into a lively and fast-paced world of music and dance.

The exotic land which would normally require travelers from Taiwan at least 20 flight hours to reach (not counting the time spent while in transit) was there for everyone to experience.

The country in the Caribbean first reached by explorer Christopher Columbus in 1492 went through 300 years of Spanish colonization (including evangelization) with French and Haitian interludes. This historical background somehow came to light in the entertaining program presented at the National Taiwan Art Education Center on Nanhai Road in Taipei on June 17. The Ministry of Foreign Affairs also arranged to have the group shine on stages at the National Center for Traditional Arts in Yilan on June 16, at the National Sun Yat-sen University in Kaohsiung on June 18 and at the Taichung Fulfillment Amphitheater on June 19.

Spanish and African influences lent themselves to the exciting and truly colorful cultural performance in "Pasion Criolla". A trio called pri pri made music with a small drum, an accordion and guira (gourd scraped with a stick). Percussion instruments later included palos, atabales and congos. Passion kept building to a new high.

The graceful dancers dressed in folk costumes (even in the patriotic flag colors of red, white and blue in one number) introduced very sensual merengue moves. The men were there to respond with grace, too.

Footwork sometimes seemed to be a takeoff from the hot Spanish flamenco. Hips swiveled and shoulders shook in the limelight. Skirts billowed and swirled to create quite a spectacle. The carnival spirit was in the air. Revelers were invited to take off their masks in Carnaval “Saca Tu Careta.”

Ileana Reynoso rendered Spanish songs in a powerful voice, moving listeners with classic Latin-style expression of love and romance.

One of the dance numbers paid tribute to the late dance company founder Fradique Lizardo. A piece of modern dance choreography performed to familiar Taiwanese song “Ali Mountain High” conveyed the Dominican Republic’s wish for long-lasting friendship with Taiwan.

The dancers and musicians representing a multi-racial population (90 percent with West African ancestry of varying degrees) proved themselves to be extremely successful ambassadors of goodwill.

Josefina Minino de Molina, whose dance career spans 50 years, beamed with pride when she as artistic director appeared with her dance company from the Dominican Republic, an ally of Taiwan, on the stage for the final curtain call.

All the pictures shown here were taken by Nancy T. Lu.

Follow trail of Catholic missionaries in Taiwan and come upon interesting church architecture

2010-06-16T05:01:00.000-07:00

By Nancy T. Lu

Roman Catholic churches are overwhelmingly outnumbered by elaborate Buddhist or Taoist temples in Taiwan. The trail of the Catholic missionaries, however, shows a legacy of churches, and these lend themselves to a study of the enriching imported and local or even ethnic influences on Taiwan’s architecture. Some houses of worship are admired for their historical style in design and others grab attention because of the bold and experimental approach in creating cultural monuments.

Spanish Dominican friars known for their pioneering spirit in spreading Christianity arrived in Taiwan with the Spanish explorers in 1626, settling down to plant the seeds of Christianity initially in the north, building churches particularly in Tamsui and Keelung. But the Dutch colonizers in southern Taiwan headed north in 1642, forcing the Catholic missionaries to abandon their work and leave. Thus, Christianization in Taiwan was interrupted for about 200 years.

In 1858, the western powers overthrew the Qing Dynasty. China was forced to sign the Treaty of Tianjin despite the unequal provisions. The foreign missionaries’ freedom to engage in evangelical work in Taiwan returned with the treaty.

In 1859, the Dominicans sent Fernando Sainz, O.P. and P. Angel Bofurull, O.P. to Taiwan. The missionaries belonging to the Order of the Preachers set out from Manila in the Philippines, traveling through Xiamen and landing finally in Kaohsiung to begin rebuilding churches in southern Taiwan after a long absence. But only Sainz stayed to face the difficult challenges of the evangelical mission. Health reason forced Bofurull to return shortly to Xiamen.

Of the many Roman Catholic churches in Taiwan, the Wanchin Basilica in Pingtung County deserves special mention because of its history which goes back to 1859. Indeed the fortress-like structure is the oldest Catholic church in Taiwan today. Pope John Paul II elevated the basilica to pontifical status in 1984. Whenever possible, Catholics who trail the Protestants in headcount on the island turn up as devout pilgrims at this site of great significance in Taiwan’s evangelization.

Initially this house of worship used by the local converts to Catholicism was just a simple house of prayer with a thatched roof. In 1869, the parish priest enlisted the support of the parishioners to rebuild the church. Construction was completed in 1870. The church was expanded to a depth of 116 feet. The walls were 25 feet high and 3 feet thick. The granite tablet with ” 天主教 (tian jhu jiao)” or Chinese characters meaning Catholicism on it is regarded today as an important Qing Dynasty cultural and historical relic.

The exterior of this church shows architecture with both western and Taiwanese influences. The three-part façade features a bell gable flanked by parapets on top. The solemn interior has a nave and two aisles. The Blessed Virgin Mary’s palanquin in the altar area of the church was carved by an artisan from Fujian province. Stained glass windows can be seen here.

The reopening of Taiwan to foreign missionaries as a result of the treaty signing led to the purchase of a piece of land near the Love River in Kaohsiung. In December 1859, Father Sainz paid 62 pieces of silver for the land on which a temporary house of worship with thatched roof was to be built. In May 1860, the church acquired the name of Holy Mother Church. In 1862, a church of bricks replaced it. This church became the Holy Rosary Cathedral in Kaohsiung. The image of the Virgin Mary came from Spain.

Trends of the times have dictated church architecture in Taiwan over the years. The Japanese colonial period from 1895 to 1945 saw the importation via Japan of western architecture that was mainly historical in style. Builders borrowed elements from western architecture in their construction projects.

Despite the architectural restrictions imposed by the Roman Catholic Church, building concepts continued developing and evolving. Trends in the building of churches included copying the Romanesque style and simplifying the Gothic architecture as seen in the present-day Holy Rosary Cathedral dating back to 1931.

The construction of this landmark Gothic church in the Kaohsiung diocese by the Dominicans began with soil refill in a low-lying area in 1929. Work on the beautiful church with a steeple was completed in 1931.

Renovation was undertaken in 1995. Wood braces inside, which were purely decorative and not functional, were given steel replacements. In general, the original church design remained unchanged though.

Actually the Dominican friars built the original Cathedral of the Immaculate Conception on Minsheng West Road in the old section of Taipei in the Gothic architectural style years earlier in 1911. Clemente Fernandez, O.P. had acquired the land for the church in 1905.

The Dominicans’ seminary was constructed next to the church. Also adjacent was Blessed Imelda’s School.

The beautiful church along with the seminary got bombed and destroyed by the attacking American forces on May 31, 1945. The community shortly transformed a hall at Blessed Imelda’s School into a place for prayers.

A temporary chapel to serve the community was built next to the ruins. A new and modern church which replaced it was inaugurated on May 31, 1961. Chen Xi-zhao, a Catholic architect, designed the new and modern cathedral. Its architectural design was a complete departure from the traditional look of the Roman Catholic church.

Actually getting a building permit for the new church in old Taipei was very difficult due to tension across the Taiwan Strait after 1949. The entire process was long and discouraging. But prayers and patience finally brought positive result. The diocese contributed one-third of the required sum for the church construction. The rest came from a couple of generous benefactors as well as the parishioners whose donations were partly in kind such as gold jewelry.

The church with an underground area is 152 feet long, 53.5 feet wide and 71.5 feet high. Its pitched roof of bronze has exposed braces inside. This gathering place of the Catholic community can accommodate 1,200 people.

The altar of the Cathedral of the Immaculate Conception is made of Italian marble. The mosaic depiction of Our Lady of Immaculate Conception in front was added much later. There used to be just a cross at the center. The church will be renovated and spruced up this year for the celebration of its 50th anniversary next year.

Many Roman Catholic churches in Taiwan were built after 1952. The Paris Foreign Mission Society and the Bethlehem Mission Society did the fund-raising for the churches in Hualien and Taitung. This meant bringing in western influences in architecture. However, the designs of the churches were not entirely dictated. Parish priests, usually foreign missionaries, and communities of faithful took into consideration the living environment and the needs of the people. Priority was given to the use of local materials in Hualien and Taitung.

Houses of worship, temporary in nature for they were built in a hurry, gradually gave way to more permanent structures depending on access to funding resources. The Paris group relied on help from the United States. The Bethlehem Mission Society turned to Switzerland for financial assistance.

Karl Freuler, who was based in Japan, was invited to help in the design of several churches in Taitung County in the Sixties. These included Our Lady’s Church in Guanshan, Tunghsin Church in Dongxing, St. Joseph Church in Jinlun, and Immaculate Conception Church in Jhiben. The influence of modern architecture was worthy of note. Structural design, choice of construction materials and building technology met the demands of the times.

Churches are monuments of their builders. Thrust into the limelight in recent months has been the Holy Cross Church in Qingliao, Houbi, Tainan County. Gottfried Boehm, the German winner of the prestigious Pritzker Architecture Prize in 1986, was the architect of the landmark Catholic church with simple, defined lines in southern Taiwan. The striking pyramid-like design was believed to be his first church project abroad.

Not too long ago, the original architectural blueprint of the Holy Cross Church in Qingliao, Houbi, Tainan County, got secretly removed without permission from the desk of the parish priest.

Lin Jun-han, an architecture student from Cheng Kung University, climbed a post and broke into the locked church compound about three years ago. He came upon the blueprint of the church in a dust-covered brown envelope on the table.

Lin tried to photograph the original manuscripts dating back to 1986 but his camera jammed. Thus, he took the papers and returned them two months later after copying everything. He attached a note, saying that the drawings should be carefully preserved for these were done by a Pritzker Architecture Prize winner.

Two years later, Hsu Ming-song, a professor of architecture, went to give a lecture at Cheng Kung University. When he mentioned that he was doing research on Boehm’s church, Lin volunteered a disk containing reproductions of the manuscripts. Lin’s handling of the materials was brought to the attention of the authorities. He was finally asked to pay within six months a fine of NT$50,000 to a charity organization for illegally breaking into the church.

Boehm was the third and youngest son of one of the most prominent Catholic church builders in Germany. He was a student of architecture and later, sculpture, too. He worked in partnership with his father from 1952 to 1955, taking over his father’s office after his death.

With Taiwan becoming the 21st separate province of the Roman Catholic Church at one point, emerging houses of worship veered towards the introduction of Chinese architectural elements.

Standing out today due to its Chinese architecture is Our Lady Queen of China Cathedral in Tainan. The pillars inside of wood are painted over in red and writings are done in gold against a black background. Decorative ceiling and window features also contribute to this impressive reminder of a traditional Chinese palace or pavilion.

St. John Church on Nanya West Road in Banciao, Taipei County, can be cited as another example. Taipei Bishop Guo Ruo-shi acquired the piece of land for this particular second church in Banciao, still a town in those days, and Father Mao Zhen-xiang, who oversaw the building of the house of worship, sought the help of Fu Guo-shao, whose expertise was in roof construction and church design.

The church built with financial help from friends in America started out with just a warehouse. The church proper broke ground on March 25, 1961, and was inaugurated on November 25 of the same year.

The cross-shaped interior of the church has a length of 142 feet and a width of 66 feet. With a total area of 246 pings, the church can accommodate over 1,000 faithful during Mass or service. Sixty-eight pews are lined up on the left side and another 68 pews are on the right.

There are three altars inside. The main one at the center has an image of the suffering Christ. The left one honors the Blessed Virgin Mary and the right one is dedicated to St. John.

Up front and to the right side of the church, too, is a huge painting commemorating the Chinese martyrs of the Roman Catholic Church. The first church in Banciao which was built to honor their memory was closed down in 1997 due to the downsizing of the Catholic community in the area. In fact, the two churches simply merged at that time after the other place of worship was asked to partly give way to road expansion. The open-air Way of the Cross has newly-acquired marble pieces of sculpture created by Vietnamese artists to inspire prayers.

Just love zongzi during Dragon Boat Festival

2010-06-15T05:03:00.000-07:00

By Nancy T. Lu
History, myth, legend and custom all come together during the Dragon Boat Festival. As the story goes, Qu Yuan, a fourth century B. C. statesman and poet, in his frustration while serving as minister in the state of Chu for the ruler did not heed his advice, quit his office and threw himself into the Milo River. Villagers, who saw him commit suicide, tried to keep hungry fish from feeding on his body by dropping rice in the water. And to commemorate Qu Yuan, people took to the practice of wrapping rice in bamboo leaves, using thread to tie up the traditionally tetrahedron packets.

The summer solstice festival on the fifth day of the fifth moon for generations used to see homemakers make this must-eat snack at home. The high demand for leaves (green for a more distinct flavor and spotted-brown for ordinary wrapping) used as wrappers even resulted in the import of needed supplies from the other side of the Taiwan Strait long before the thawing of ties.

In recent years, however, easy access to commercial zongzi of many flavors (you can even order zongzi from your neighborhood convenience store in Taipei) has made such kitchen activity (of long duration for the boiling takes time) truly rare. Every year, the five-star hotels in Taiwan compete to satisfy palates with a difference. Ingredients for the filling include often pork fat, dried shrimp, egg yolk, peanuts, dried mushrooms, taro, sweet bean paste, and sesame paste. But the zongzi made primarily of glutinous rice sometimes spirals into truly high-end consumption through the introduction of abalone, for example. A savory zongzi experience sometimes even requires the introduction of X.O. sauce.

Zongzi varieties include basically the meat kind, the vegetable option, the sweet delight and the savory recipe. The Hakka community in Taiwan likes the zongzi with pulverized rice. Another kind known as alkaline zongzi calls for frying the rice with alkaline and no other ingredient. Then the rice is wrapped in green bamboo leaves and boiled until it turns into translucent gelatin. This particular zongzi is relished with sugar or even honey.

In the past when many people made zongzi at home, friendly exchanges of tied tetrahedron bundles were common.. The rice snack abundance made it necessary to keep the surplus in the freezer for gradual consumption in the weeks after the Dragon Boat Festival.

The pictures highlight zongzi from (top to bottom) Landis Taipei, Ambassador Hotel and Grand Formosa Regent of Taipei.

Enjoy the zongzi. But don’t overeat.

Taipei Chinese Orchestra celebrating 30-year milestone with “Farewell to My Concubine”

2010-05-27T20:52:00.001-07:00

By Nancy T. Lu
The Taipei Chinese Orchestra has come a long way. Three decades at Taiwan’s music scene do not come easy. “Farewell To My Concubine,” a concert at the Zhongshan Hall in Taipei on May 29, will celebrate the TCO’s 30th anniversary by bringing together acclaimed international artists in an exciting program which will creatively combine musical elements from the East and the West.

The tragic love story of King of Western Chu and warrior named Xiang Yu and his beloved concubine Yu Ji during the final days of the Qin Dynasty about 2,200 years ago has traditionally been told through the Chinese opera with legendary Mei Lan-fang leading a line of talents in interpreting the role of the concubine. Composer and TCO director Chung Yiu-kwong, in fact, found inspiration in Mei Lan-fang’s reprisal of the famous Beijing opera role when he was writing“Farewell to My Concubine: a Double Concerto for Jinghu and Cello, accompanied by the Chinese Orchestra.”

Xiang Yu and Yu Ji will come to life through the bowed solo instruments of cello and jinghu. Chung seeks to be different in telling the story through music by going deep into the emotions of Xiang Yu as he watches the sword dance of his beloved while he contemplates his loss of the battle to unite China against Liu Bang, the eventual first emperor of the Han Dynasty.

Finnish cellist Anssi Karttunen, who has collaborated with composer Tan Dun for 20 years, is making his Taipei debut at the concert. For the cellist, it has always been a challenge to be a part of music from a culture different from his. He expressed the hope that once the playing of the notes begins, the instruments will disappear and only the music will remain.

Aside from playing “Farewell to My Concubine,” he will also perform Finnish composer Uuno Klami’s “The Cheremission Fantasy” (arranged by Lo Leung-fai for the Chinese orchestra). The Stravinsky-influenced composition is said to absorb the mood of the folk melodies and rhythmic patterns of the Cheremis people in the northern reaches of the Volga River.

Jiang Ke-mei remarked that the jinghu, which she will play to dramatically emote the feelings of the concubine Yu Ji, has the widest music range among the bowed huchin instruments. The notes coaxed out of the jinghu are particularly gentle and exquisite, according to her.

The jinghu traditionally steps in to fill the gentle requirement of the Chinese opera. Beijing opera evolved and developed from the jinghu, she pointed out. Carrying on a dialogue with a cello (or cellist) will be a new experience for jinghu artist Jiang though.

As conductor of Enjott Schneider’s “Earth & Fire” in the concert, Shao En said after the first rehearsal that the composer’s understanding of Chinese music instruments is "truly impressive." His "use of tone colors" is "full of imagination." The music orchestration is beautiful. The orchestra is able to play comfortably to bring out the best possible sounds, he added.

Schneider explained that he has five books on the range of Chinese music instruments for his reference. Besides, he has been listening to Chinese music for 20 years and has acquired quite a collection of CDs. He even went to YouTube to check out the music played by the TCO. Schneider has composed many film music, working with Shanghai musicians over the years.

Berlin-based Chinese musician and avant-garde sheng player Wu Wei will be the soloist of Schneider’s piece. His expertise in a Chinese musical instrument with a history of 4,000 years has led to collaborations with Kent Nagano and the Berlin Philharmonic Orchestra, Gustavo Dudamel and the Los Angeles Philharmonic Orchestra as well as Heiko Matthias Foester and the Munich Orchestra, among others, over the years. He has also participated in crossover activities, getting involved in the projects of Gunter Grass and Michael Lentz, Jean-Jacques Lemetre of Theatre du Soleil as well as dancers Miho Iwata and Lin I-fen, among others.

The concert program on Saturday, May 29, will likewise feature Huun-Huur-Tu, an ensemble of four performers including a throat singer from Tuva on the border of Mongolia and Russia. They will perform a song from Todja called “Odugen Taiga.” The herdsman’s song is about the place “where he grew up and where the scent of pine enveloped his body.”

The photo above shows Finnish cellist Anssi Karttunen and Chinese jinghu player Jiang Ke-mei rehearsing with the Taipei Chinese Orchestra under the baton of Chung Yiu-kwong at the Zhonghshan Hall in Taipei.

For ticket information, call tel. (02)33939888.

Original soloists return to play "Butterfly Lovers Violin Concerto” and “Yellow River Piano Concerto”

2010-05-21T01:58:00.001-07:00

By Nancy T. Lu

The Taipei Chinese Orchestra (TCO) is bringing together in a very special program considered a high point of the Taipei Traditional Arts Festival Yu Li-na, the original violinist of the “Butterfly Lovers Violin Concerto,” and Yin Cheng-zong, the pianist during the world premiere of the “Yellow River Piano Concerto.” Both Chinese musicians rose to fame during the Cultural Revolution in China.

These two compositions well-loved not only by the people in China but also by ethnic Chinese all over the world will be in the repertoire of the TCO under conductor Shao En at the Zhongshan Hall in Taipei at 7:30 p.m. on May 22 and at 2:30 p.m. on May 23.

In recent years, even international music artists of great renown have taken to performing these concertos in their concerts.

Yu was only 18 back in 1959 when she went up the stage of the Lanxin Theater in Shanghai to perform the violin solo part of the music composed by Chen Gang and He Zhan-hao. Her beautiful fiddling of the music which was the embodiment of China in transition turned her into an overnight sensation. A taped rehearsal of the piece became a commercial recording.

“At the end of my performance, I was initially greeted with complete silence from the audience,” recalled the visiting Yu. “I got really very tense and nervous, not knowing how I stood in their eyes. An earlier concert flop by another artist left me rather apprehensive about public acceptance. But then came the applause.”

Yu remembered wearing a white blouse and black skirt on this occasion. Her schoolgirl look included white socks and black flat shoes, too.

Yu prepared lengthily for this performance. The piece written by two students was not easy to interpret, she said.

“The composition was not part of academic music training,” said Yu. “I had to learn erhu and I had to study Chinese opera to get ready to play this new piece.”

Yu refused to comment directly about foreigners’ attempts to play “Butterfly Lovers Violin Concerto.” She had this to say though: “Just like Chinese musicians seeking to perform Bach and Mozart are required to have a grasp of the composers’ cultural backgrounds, foreign musicians need to study traditional Chinese art and culture first before attempting to play the music.”

Yu has not kept track of the exact number of times she has played “Butterfly Lovers Concerto.” As of last year, she had performed it for half a century. At age 70 this year, she announced: “This will be my last performance before the Taiwan audience I have decided to completely bow out of the concert stage end of this year.”

After she retires as concert violinist, she will probably play the music only to demonstrate her point while teaching her music students, she reckoned. Her teaching profession has kept her growing as a musician, according to Yu.

Yin Cheng-zong, for his part, got on a cart, leaving Gulangyu in Xiamen back in 1954 to find his future. He traveled for five days, harboring constant fear of getting bombed because cross-strait relations then were very tense and critical.

Gulangyu, which at one point was site of 14 consulates, acquired the reputation of the cradle of Chinese pianists, because foreigners who moved in then brought pianos. Yin, a native of Gulangyu, claimed to have learned music by singing in church until he was 16. There was no music conservatory to get formal music education.

Yin later had the opportunity to study music in St. Petersburg, Russia. He took lessons not just in piano but also in conducting and music composition.

Western classical music was banned in China during the years of the Cultural Revolution. Yin as a pianist was concerned about the disappearance of the piano in China. On May 23, 1967, he – fresh from his music training abroad – decided to move a small piano with help from friends to Tiananmen Square in Beijing.

Wearing the uniform of a Red Guard then, he played revolutionary songs for three days. His listeners grew from 300 to 2,000. Yin received about 1,000 letters as a result of what he did. His act even caught the eye of Jiang Qing or Madame Mao.

Music in those days served to fire patriotic fervor. Yin would always be remembered for his leading involvement in rearranging Xian Xinghai’s “Yellow River Cantata” originally written as an expression of defiance against Japanese invaders into the “Yellow River Piano Concerto” for a premiere performance in 1969. Right there with him in this collective effort ordered by Madame Mao of creating the four-movement concerto promoting nationalism were Chu Wang-hua, Liu Zhuang, Sheng Li-hong, Shi Shu-cheng and Xu Feixing. The inclusion of “East Is Red” in the concerto – said to push the musical instruments to a climax – caused the concerto’s performance to be regarded as very controversial. It was even banned in Hongkong, for example, in those days.

The “Yellow River Piano Concerto” has a history of at least four decades. Yin first played it in Taiwan in 1991. The music has often been played in 53 countries, he said. He himself has performed it at least 1,000 times. The Chinese people's spirit in the concerto today is different from what it used to be, he remarked.

Ju Percussion drumming up new excitement about “Mulan” with Guoguang Opera Company

2010-05-20T07:27:00.000-07:00

By Nancy T. Lu

"Mulan” in the hands of creative and innovative Taiwanese artists promises never a dull moment. The story of the legendary heroine who disguises herself as a male and replaces her aging and ailing father, reporting to the battlefront in answer to the Chinese Emperor’s call to war of defense against the invading Huns, has been told frequently on the Chinese opera stage. But the Ju Percussion Group is drumming up this time new excitement about this familiar tale of the daughter celebrated for her filial piety in a crossover collaboration production with the Guoguang Opera Company at the National Theater in Taipei on May 21, 22 and 23.

Get ready for a spectacular mix of tap dance, Beijing opera and, of course, percussion music on a multi-level theater stage. Even the orchestra pit is put to use. Excellent percussionists are pounding out heady beats on traditional Chinese drums from there.

Composer Hung Chien-hui has rewritten entirely the music for the 90-minute opera performance, making percussion instruments dramatically speak out the moods and emotions as the scenario unfolds. A total of 20 musicians from Ju Percussion Group and Ju Percussion 2 are prepared to strike out the upbeat tell-tale rhythmic notes on a range of musical instruments, including wooden boxes, tin cans and bottles, with score sheets all taken out of sight.

Creative costume design by Chen Wan-li draws inspiration and taps elements from traditional Chinese papercut. Laser technology helps realize the intricate design patterns.

Mulan must shift from simple country lass to brave male warrior in the plot. Gender roles require defining through the wardrobe differences put in the spotlight. The square shape is reserved generally for the male and the round form ties in with the female look. The male wears cold and subdued shades while the female gets dressed in warm and attention-getting hues. Twenty-eight different costumes complete with headgears and accessories have been created for the entire cast. Percussionists, too, unravel different faces of Mulan through their designed looks. Austronesian tribal influences lend interesting shapes and details to the whole wardrobe, too.

For ticket information, call tel. (02)3393-9888.

All pictures were taken by Nancy T. Lu during a dress rehearsal.

Summer is here and it is a beautiful season for young love, says choreographer Lin Wen-chung

2010-05-13T22:21:00.000-07:00

By Nancy T. Lu

Summer is here and it is a season for love. So live love. But be prepared for both the magic and the pain. The lyrics and melodies of music selected for the new dance choreography called “Small Songs” say it all. The interpretative dance itself, however, expresses everything even more eloquently. Dance moves sometimes go abstract though. Expect fireworks (worth NT$2,000 at each performance).

If you are young, you will easily relate to the love expressed through body language in “Small Songs.” If you are not so young anymore, you will feel young and ready for romance once more. Or, you will simply fall into nostalgic and beautiful reminiscences of love many summers ago.

Choreographer Lin Wen-chung of WC Dance Company is sharing his own love-related experiences and making a statement virtually denying that love is a folly of the young through the dance concert, “Small Songs.”

The 35-year-old Lin danced for seven years with the Bill T. Jones/Arnie Zane Dance Company in the United States before he decided to return to Taiwan to start his own modern dance company. He steps into the limelight in at least two segments to show his refined and beautiful style and form. Emotions are poured out with amazing grace.

The body language of six dancers, including Lin himself, says it all. Love can be about couples. Menage a trois – three’s company – that, too, is possible. Moments range from giddy to bewitching. The young company dancers show affection in saccharine detail, sometimes suggesting the conduct of loving canine pets. Contact improvisation puts everything to work gracefully and smoothly on the stage.

Fights happen. Are those suggestions of karate moves? So the pairs of dancers break up, resulting in partners avoiding each other. But such is life even among those once sworn to love each other without fear of death or sacrifice as articulated in the familiar song from the box office hit Taiwanese movie, “Cape No. 7.”

A Spanish song reaches out and zeroes in on the passion of love. But love can be the tongue-tied kind sometimes, according to Lin. The choreographer taps Kun opera music as well as an operatic aria to emote love in different ways in his dance creation. Even classical music finds a place in the choreography, which sometimes calls to mind a ballet presentation. Dance moves bring in techniques from East and West. Variety spices up the performance in the intimate Wenshan Theater.

The love story also has a chapter about heartbreak. The French song about lost love inspires the choreography showing two persons going their separate ways. The need to embark on a solo flight emerges in one segment. A solo dance finds the lonely heart turning inward. The Taipei-based Lin himself carries on a long-distance love relationship with his wife, who lives and works in Hong Kong.

The Chinese title of the choreography translates to literally mean “love songs.” As Lin put it, “I have always been very fond of love songs. However, I have tried to be more abstract in my choreography when the lyrics of the songs are explicit in meaning. Through the use of love songs, I hope to draw the public in Taiwan closer to modern dance.”

“Small Songs” – which was originally commissioned by the National Chiang Kai-shek Cultural Center in Taipei last year– is about sexuality and the city (it can be Taipei, Taichung or Kaohsiung) as told in seven segments. The dancers are dressed in black and white although in changing combinations throughout the choreography. They move with precision mostly on a square platform, making it look like a marital bed sometimes.

The stage backdrop resembles a huge mirror, which captures surreal images of the dancers throughout the performance.

“Small Songs” featuring the WC Dance Company will be presented at 7:30 p.m. on May 14 and 15 as well as at 2:30 p.m. on May 15 and 16 at the Wenshan Theater in Taipei; at 7:30 p.m. on June 2 at the Zhongxing Hall in Taichung; as well as at 2:30 p.m. and 7:30 p.m. on June 12 at the Zuoying Senior High School Dance Theater in Kaohsiung. For inquiries, call tel. (02)2533-9875. Or send email to info@wcdance.org

Wenshan Theater at 32 Jingwen Street in Taipei can be reached by taking the MRTS Tamshui-Xindian Line. Get off at Jingmei Station along Roosevelt Road and head for Exit No. 1. The Wenshan Theater is to the left immediately next door.

The picture above was taken by Nancy T. Lu.

Diplomats steal show with their music-making at swinging TIWC charity gala dinner event

2010-05-08T01:17:00.000-07:00

By Nancy T. Lu

Easygoing moments filled with music made up part of life away from the office desks at the American Institute in Taiwan for AIT Deputy Director Eric Madison and AIT Public Affairs Section Chief and Spokesman Thomas Mark Hodges along with Dave Rank, Denise Shepherd, Gonzalo Saldias, Alan Tousignant and Scott Riswold, all of AIT or the de facto U.S. Embassy.

This was a big revelation to the members of the Taipei International Women’s Club after their friends from the AIT agreed to show their gift for music-making during their off hours by performing at the TIWC’s charity gala dinner at the Grand Formosa Regent Hotel in Taipei on April 30. They did it only to support a good cause. Their entertainment program, in fact, turned the well-attended fund-raising event into an unforgettable swinging affair.

The male-dominated happening only proved that the gentlemen from the diplomatic community remained ever-gallant and committed when approached by women for support in a meaningful endeavor.

Madison graciously accepted the invitation to do a very rare public duet, karaoke style, with Kingdom of Swaziland Ambassador Njbuliso Gwebu. Their rendition of “Take Me Home, Country Road” even earned a high score of 96. They reportedly began practicing together two weeks earlier.

Madison started off with a solo number, “Ain’t No Sunshine When She’s Gone,” concluding with a score of 65. Gwebu for her part did “When I Need You,” getting a score of 74 for her effort.
Earlier, the fun-loving AIT band called Mad Cows got into a hot rock music act, exciting the TIWC members and guests with their thythmic sounds into rushing to the dance floor.

The night was young. Dave Rank, Denise Shepherd and Gonzalo Saldias (doing the vocals), Alan Tousignant (on the guitar), Scott Riswold (at the drums), and Thomas Mark Hodges (playing bass) were just warming up before unbelieving eyes and ears.
“Stray Cat Strut” was their opening piece. And then they moved into the more dramatic “Secret Agent Man,” followed by “Crazy Little Thing Called Love.” By the time they got to “Brown-Eyed Girl” and “Jumpin’ Jack Flash,” the crowd was totally convinced of their amazing music talent. They were good enough for the professional stage.

Then came vocalist Rank’s climactic announcement about switching from English songs to a Mandarin tune. Wu Bai’s “You Are My Flower” got performed in flawless Mandarin, bringing everyone to a new high.

Move over, Wu Bai. Such thought crossed the minds of a few who were familiar with the hit song. The original Taiwanese singer should have seen Rank, squinting his eyes and putting on shades while going through his routine in the stage limelight.

The excellent entertainers called Mad Cows had another song to offer - “Play That Funky Music.” Then Rank started asking Mayumi Hu, TIWC 2nd vice president and English-language emcee of the event: “Should I stay or should I go?”

The question turned out to be the title of the final song for the evening. Carlson Huang of Radio Taiwan International was there too as Chinese-language co-emcee of the very special program.

At one point Gonzalo Saldias emerged a cool balladeer from AIT, serenading the board members called to the stage for special citation after a year of service with “I’ve Got You Under My Skin.”

Connie Pong, TIWC president, handed out certificates and gifts to the following: Swaziland Ambassador Njbuliso Gwebu, 1st vice president; Mayumi Hu, second vice president; Anne Yung, treasurer; Jin Lee Fang, membership; Lily Assana, hospitality; Caroline Chou, Chinese public relations; Sophia Lu, social service; and Peckhee Lim, publicity.

This year’s TIWC led by Connie Pong, the president, took the education of poor Taiwanese students for special cause in their fund-raising efforts. The TIWC is presently supporting the meals and transportation allowances of 16 students. Pong presented NT$160,000 to Nanhu Senior High School and NT$200,000 to the TIWC Education Fund during the program.

The readiness to encourage and support the TIWC in meaningful charity work prompted the special participation of the talents from the diplomatic community in the gala dinner performance.

Nicaraguan Ambassador William Tapia stepped forward to sing Frank Sinatra’s classic “My Way” completely in Japanese. Wong Kai Jiun from the Singapore Trade Office in Taipei impressed the audience with his voice and singing style when his turn to vocalize “You’ve Got a Friend” came.

DJ Chicano was there also to contribute more excitement to the swinging party. Professional ballroom dancing by Cassia Chang and Harrison Lee alternated with high-energy hip-hop performances by two very young groups of dancers from Nanhu Senior High School in Taipei. This very school is where the poor student beneficiaries of TIWC’s funding and priority support come from.

The TIWC also supports the Lin Kun-Ti Foundation through various hospital projects and handicapped students’ assistance in colleges and other domains. Then there is the TIWC Education Foundation, which offers scholarships to financially-strapped post-secondary school students with outstanding potential for leadership and with promise of using their talents for the benefit of the society. Friends of TIWC have meanwhile been contributing to two funds: Dr. Lilian Chao Education Fund, which awards prizes to the winners of an annual English speech contest, and Lily Chow Memorial Fund for handicapped students.

The TIWC members in the last year raised money also for those who suffered the devastating effects of Typhoon Morakot, donating NT$100,000 to the Ministry of the Interior to help the victims rebuild their lives. The TIWC likewise collected NT$50,000 for the victims of the deadly earthquake of 7.0 magnitude in Haiti, channeling donation to survivors through the Embassy of Haiti in Taiwan.

Generous donors, including Cecilia Koo of the National Women’s League and Eclat Hotel, contributed prizes worth a total of over NT$200,000 to a raffle draw on April 30. Many of the embassies and trade offices also gave prizes.

Snow in April and May brings about youthful euphoria in Taiwan's Hakka communities

2010-05-05T21:50:00.000-07:00

By Nancy T. Lu

“April snow” or “May snow,” depending on when the floral encounter takes place, sets the stage for romance or perhaps reminiscence of a once blossoming summer love. Magic is in the air, bringing back youthful euphoria. This is something to be experienced in many places where Hakka communities are found in Taiwan. Clusters of tung blossoms on trees covering hillsides drop to the ground to create fantastic floral beds, sometimes on roads stretching as far as the eyes can see.

Residents used to simply sweep away the white flowers. But nowadays they leave the flowers on the ground for they know that tourists are willing to travel for miles to take in the breathtaking floral sight. The flowers can be gathered and strung into a garland to crown a female’s dainty head.

The tung tree sometimes goes by the name of pawlonia. It is likewise called the phoenix tree. In Chinese folklore, the phoenix was said to have rested on the tree.

The more common male or staminate flower takes 36 hours to fully blossom from the time of pollination. The flower drops to the ground with all five petals intact. The female or pistillate bloom has bigger petals. It falls to the ground petal by petal. Then a fruit develops, ripens and finally shrivels, dropping to the ground after a total of about 150 days in September.

Back in 2002, the Council for Hakka Affairs saw the tung blossom season as full of tourism potential and embarked on involving local communities to get their act together to make visits to their far-flung areas worthwhile and memorable. Somehow, the hardworking men and women have been rewarded financially over the years for their entrepreneurial talent and skill.

Without a doubt, the picture-taking opportunities in many locations and sites in Miaoli County and Hsinchu County during the yearly tung blossom festival are comparable to what the cherry blossom festival in Japan has to offer.

Leisurely walks along paths cleared for such exercise can start in the townships with a bit of Hakka history and culture. The shops lining the main roads entice passersby with Hakka delicacies. Mealtime calls for sitting down to a hearty meal of typical meat and vegetable dishes. These are washed down with Hakka ground tea containing not just tea leaves but also sesame, peanut and rice.

The fresh side of pork, marinated first in soy sauce and other seasonings, then steamed on a bed of chopped as well as preserved plum vegetables at Hong Zao or Red Jujube Restaurant in Miaoli is worth stopping for lunch. Mei gan kou rou is a most typical Hakka recipe. It is relished with a white bun.

Fancy restaurants, which are accessible to private motorists, sometimes offer strictly vegetarian menus designed to appeal to individuals accustomed to high-end dining in Taipei. As many as 78 dining establishments around Taiwan are said to join the Hakka tung blossom celebration at this time of the year. Sanyi Township has lodging for travelers, too.

About an hour and a half from Taipei is Shishan Tourist Center in Emei, Hsinchu County. The Teng Ping Trail, a 45-minute stretch for the strolling party, starts here.

Those who like to do some walking for good health can actually take their pick of several tung blossom trails in Miaoli. There is even a tunnel for trekking along a railway built in 1905 but is no longer in use.

Xiexin Teahouse close to the Teng Ping Trail has tables out in the terrace for visitors to take in the sight of dropping tung blossoms while feasting on Hakka rice dumpling and peanut powder-covered mochi. Oriental beauty tea is served to help wash down the Hakka delicacies.

Sitting down to sip coffee in the terrace of Shangtian later in the day elsewhere in Miaoli County is relaxing for tourists. The coffee in a setting looking out to the tung tree cluster and the camphor woods is aromatic.

Operators of kilns lure visitors with do-it-yourself activities before the end of the day. An outsider can sit down and paint a ceramic chime, even drawing five-petal tung blossoms on it to bring home as souvenir from Xiao Gu Tao Yi, a ceramic workshop, in the tung blossom-covered countryside. Commercial products like the tea set with “May Snow” theme can also be bought at the site.

Sanyi Township is famous for woodcarving. The Sun Yi Duck Gem Box had for many years a really flourishing business producing handmade wooden ducks for export. Duck hunters in Europe in those days used them to entice the waterfowl. The environmental protection campaign in the 1990s, however, proved a setback for the business. The beautifully carved and painted ducks found a new market among collectors starting in 2002 though.

Hands-on dyeing lessons also appeal to city residents who find their way to Hakka communities. They learn to dye blue scarves with white floral patterns.

As many as 400 commercial products packaged beautifully have been developed, introducing the tung blossom as motif or accent, and these have been marketed in 92 outlets in Taipei County, Taoyuan County, Hsinchu County, Miaoli County, Taichung County, Changhua County, Yunlin County and Nantou County.

Hakka tofu cheese, tung flower fruit jelly, pickled mustard, rice food items, dried persimmons and herb tea called Mesona chenensis have found consumers’ acceptance. Traditional Hakka colors along with the tung blossom have been incorporated into fashion items from textiles to accessories with professional design expertise.

Tung blossoms even flavor pastries baked for selling especially during the tung flower season in April and May. Herbal tea takes the flower’s fragrance.

Motorists can easily drive from Taipei to Miaoli. Itineraries can include enjoying Taian spa and fruit picking in an orchard. One-day and two-day trips are possible.

All photographs were taken by Nancy T. Lu.

Cakes ever so colorful and sweet serve as wonderful culinary introduction to Malaysia

2010-05-03T09:24:00.000-07:00

By Nancy T. Lu
Kuih or cakes, desserts ever so colorful and sweet on the buffet of a traditional Malaysian culinary celebration, have always made homemakers who love them wonder how they are prepared.

Madame Zawiah Ahmad made a sweet comeback at the International Food Culture Exchange coordinated by Pallas Chen at the Eslite Bookstore Xinyi on April 30 to demonstrate two Nyonya Kuih or cake recipes, namely Kuih Lapis (layered cake) and Kuih Ketayap (pancake wrapped around palm sugar and coconut).

The first recipe required the mixing of the all-purpose flour, rice flour and starch/tapioca flour. Sugar and water were added, Then came the coconut milk and a few drops of vanilla essence.

Dato’ Abdullah Mohd Salleh, president of the Malaysian Friendship and Trade Center in Taipei and de facto Malaysian ambassador, did not just stand watching his wife do the cooking demonstration. He showed that he could also stir the batter properly without fumbling at the task.

Madame Zawiah proceeded to divide the mixed ingredients into two parts. A few drops of red rose essence went into one portion to create a pinkish color. The other part remained white. Brown sugar could be used to create chocolate color batter while pandan leaves could be introduced for a yellow outcome. In short, a beautiful rainbow of colors could end up on the dessert table.

The Malaysian homemaker in the spotlight then poured some pink batter into a tray in a steamer. After five minutes, she poured white batter over the pinkish one. Another round of steaming lasted five minutes. This went on a few times until several layers with alternating colors had been created. Once the final layer had been added, the cake was steamed for 20 to 30 minutes. At last the cake inspired by the Malaysian flag was ready to be sliced and enjoyed.

The Kuih Ketayap recipe called for the preparing of the coconut filling first. Dried coconut, brown sugar as well as water and vanilla essence were the required ingredients. Madame Zawiah melted the brown sugar first. She then introduced the dried coconut. She cooked everything slowly, finally leaving everything to cool off.

As for the thin pancake, ingredients included all-purpose flour, egg, water, salt and green essence. The green batter poured on a non-stick pan should not be overcooked to prevent this slightly brown final wrap from breaking when rolled around the coconut filling, according to Madame Zawiah.

Among those who turned up to watch the cooking demonstration were Margaret Madison, the visiting mother of Deputy Director Eric Madison of the American Institute in Taiwan (AIT), and Isaura Novelo, wife of the Belize ambassador.

The event turned into a most pleasant afternoon tea on the third floor of the Eslite Bookstore Xinyi. Malaysian white coffee was served along with the delicious cakes.

Malaysia as a country endowed with beautiful beaches, great highlands, verdant jungles, modern cities, charming countryside and a spectrum of colorful cultures was presented also on this occasion. Boxes of Malaysian white coffee served as prizes during an.on-the-spot quiz about the Southeast Asian country.

Cooking demonstrations featuring cuisines of countries around the world are held regularly at 3 p.m. on the last Friday of every month. The public is invited.

Foreign Minister Timothy Yang confers diplomatic medals on Lina Yeh, Rolf-Peter Wille

2010-04-23T07:11:00.000-07:00

By Nancy T. Lu

Taiwan’s best-known piano duo Lina Yeh and Rolf-Peter Wille were conferred diplomatic medals by Foreign Minister Timothy Yang at a ceremony which took place at the Ministry of Foreign Affairs in Taipei on April 23.

The awarding of the Friendship Medals of Diplomacy came particularly after their significant achievement in consolidating the ROC’s friendship with diplomatically allied Vatican. Over the years since 1987, Lina Yeh and Rolf-Peter Wille have traveled to many countries on different continents as ambassadors of goodwill, making their contributions toward strengthening the Republic of China's friendly ties with different countries especially in the absence of diplomatic relations. The two marked their 30-year milestone performing professionally as a piano duo earlier this year.

Friends, colleagues from the academe, mentors as well as diverse individuals whom Lina Yeh described as those who have helped and supported her and her German husband in arriving at their significant accomplishments were present during the awarding ceremony on Friday. Yeh’s parents also attended the event.

The Taipei-based piano duo received an invitation from the Vatican to perform at the 25th founding anniversary celebrations of the Pontifical Council for Health Care Workers earlier this year.

During their brief but memorable encounter with Pope Benedict XVI, the Papal Pontiff – a German national like Wille – revealed that he also plays four hands with his brother and former director of the Regensburger Domspatzen choir, Msgr. Georg Ratzinger. Pope Benedict XVI loves playing on the piano. In fact, when he was elected the new head of the Roman Catholic Church, there was talk about the need to move his piano to the papal apartment at the Vatican. This proved quite a challenge.

Yeh and Wille performed music by Bach, Brahms, Edvard Grieg and Francis Poulenc at the function at the Vatican. Bach is one of Pope Benedict XVI’s favorite composers. He is known to listen to music daily.

All photographs were taken by Nancy T. Lu.

Mime Bizot excited about living dream with “nan guan” dancer 20 years after reading “Peony Pavilion”

2010-04-22T12:28:00.000-07:00

By Nancy T. Lu
Imagine exquisite “nan guan (southern pipe)” music playing on the stage. “Nan guan” dancer reprising the classic opera role of an official’s daughter Tu Li-niang appears and not long after, so does a French mime cast as dream lover and scholar Liu Meng-mei. Romance from the Kun opera “The Peony Pavilion” unfolds dramatically without words like a dream

Philippe Bizot, a French mime very excited about collaborating once more with the Taipei Chinese Orchestra although with a big difference, revealed that he first read a French edition of Tang Hsien-tsu’s “The Peony Pavilion” about 20 years ago and became totally fascinated then with the love story.

“Little did I know at that time that I would be living my dream today,” he said while showing a look of contentment. “A full-length production of ‘The Peony Pavilion,’ possibly in two parts or even more, is what I would like to work on next.”

At least a week of close interaction with “nan guan” performer Cheng Hsin-i is paving the way for the awaited actual performance at the Zhong Shan Hall in Taipei at 7:30 p.m. on April 24.

Chung Yiu-kwong, the director of the Taipei Chinese Orchestra (TCO) and the featured conductor, said during a rehearsal of the exquisite “nan guan” music: “This concert program is in keeping with our goal of showing the diversity of the orchestra.”

“Mime as personified by Pierrot with a tear in his eye is all about emotions,” said Bizot, making a comeback after working with performers with challenged hearing during the Taipei Deaflympics. “And the emotions of mime are universal.”

“I have always performed in silence,” pointed out Bizot. “But I now do mime to ‘nan guan’ music. I listen closely. I love it when the notes fade so beautifully into a whisper.”

The “Floating Musical Notes” program will also feature sheng player Kuo Hsiu-jung, erhu artist Yang Xue and violinist Tu Ching-yun.

Yang Xue will be the soloist during the performance of He Zhan-ho and Chen Gang’s “Butterfly Lovers Concerto for Erhu and Chinese Orchestra.” Sheng player Kuo Ksiu-jung will perform Qian Zhao-xi’s “Tian Mountain Rhapsody for Sheng and Orchestra.” Tu Ching-yun will play the violin solo part in Ravel’s “Tzigane” (arranged by Qu Chun-quan).

For tickets to “Floating Musical Notes,” call tel. 02-33939888

Taiwan's top designer Sophie Hong opens boutique at Palais-Royal in heart of Paris

2010-04-20T10:07:00.000-07:00

By Nancy T. Lu

Boutique Sophie Hong had its soft opening at 3 Galerie de Montpensier of the Palais-Royal in Paris in early March this year. The Lettre d’information du domaine national du Palais-Royal published by the Centre des Monuments Nationaux announced the arrival of Taiwan’s top fashion designer known for her subtle blend of ancient tradition and modernity in the chic, upscale section of the French capital.

The grand opening will be on May 17. A Taiwanese glove puppet theater performance will be a highlight of this special occasion. Hong, whose clothes are worn by celebrities like Isabelle Huppert, Gong Li and Zhang Ziyi, will dress up for a change the glove puppets created for the program.

Sophie Hong’s collection taps silk manually dyed, using extract from vegetal root. The process ancient in origin dates back to the Ming Dynasty (1368-1644).

All photographs shown here except for the picture of Sophie Hong taken by Nancy T. Lu are courtesy of Sophie Hong.

“Best job”winner Ben Southall talks about stint as island caretaker in the Great Barrier Reef

2010-04-16T01:13:00.001-07:00

By Nancy T. Lu

Ben Southall, the adventurous British winner of the much-publicized “best job in the world,” is visiting Taipei for a few days, arousing in the process great public curiosity about the his six-month stint as caretaker of Hamilton Island in Australia's Great Barrier Reef last year.

Blond and tanned Southall, who outshone everyone else in a search which attracted 34,683 applicants from different continents, was said to have clinched the closely contested “best job” due to his excellent skill in communicating. Taiwan’s very own Clare Wang was a finalist for the job, too.

“My experiences underwater – which were all about the islands and the Great Barrier Reef – have stood out in my memory,” the 35-year-old Southall revealed.

“In the last few weeks of my job, I was diving with my film camera at a place near Elliott Island,” Southall said. “Turtles seen in the water normally disappear quickly. But for some reason on this particular day, one turtle about 15 meters from where I was swam all the way towards me. So I wrapped my hand around its shell. It turned and looked back at me. Then it disappeared. My girlfriend was underneath the turtle. So she had seen it from below while I had seen it from above. Between the two of us, looking at each other, we could say only very little to each other underwater. We could only mumble our excitement. It was an amazing experience.”

“This was an exhausting job, too,” remarked Southall about his enviable stint out in Australia. “This, in fact, was like you’ve got money for two weeks of vacation and you had an adventure every single day. You finally ended up needing a holiday after the two-week holiday.”

His last four months have been about his new role as Queensland’s tourism ambassador. In fact, he is in Taipei to fan excitement about travel to Queensland. Southall described his new job as “still about making people around the world jealous about what my work is all about.” He has been making presentations and showing people everywhere the pictures which he has personally taken in order to get them to book for travel to Australia.

Southall spent a few years before “the best job as island caretaker” traveling in a very different way. He knew it all – from five-star accommodation all the way down to camping on a beach. He has pictures as tell-tale proof.

For ten years leading up to “the best job,” Southall explored different places, but mainly parts of Africa. He was often a backpacker. But in the last year, he went around driving a Land Rover with a tent on its roof. The Land Rover was his bedroom, his kitchen and so forth during the expedition. He blazed a 61,000-kilometer trail through 31 African countries over a period of one year and one week.

Backpacking in Australia is much easier than similar activity in Africa due to the existence of lots of hostels, according to Southall. A wide variety of activities are possible.

A pair of flip flops with thongs, a Swiss army knife as well as a small and compact waterproof camera are on Southall’s list of needs for a backpacking trip in Australia. Recording and documenting the travel for eventual input on a personal blog can go a long way to drive away boredom upon return to the humdrum of life working in an office job, he stressed.

Southall intends to go back to the Great Barrier Reef to involve young people from around the world in an environmental study particularly of how global warming is affecting it.

Time to wax poetic after Joyce Kilmer over a breathtakingly beautiful flowering tree in Taipei

2010-04-13T08:42:00.000-07:00

By Nancy T. Lu

Flowers have a way of taking my breath away. And coming upon this flowering tree in the heart of Taipei leaves me in awe. Just imagine an entire canopy of blossoms and the ground below paved with dropped flowers, too. Wow!

Said to stay in full bloom for only one month in a year, the special tree is indeed a sight to behold. That it is the only flowering tree of its kind in Taiwan makes it unique.

Capparaceae is its scientific name. People in Taiwan also call it by different names, including mountain olive tree. With origin traced to Australia, the tree grows usually to a height of at least 10 meters.

In the month of April, when this particular tree in Taipei blooms, flowers appear greenish yellow in color. The petals then turn slightly purple in shade. In July, small spotted fruits develop, according to explanations on a marker at the site.

The wood from the tree is carved into the shape of a fish and this is used as bait for catching squid or cuttlefish. This explains why residents point to the flowers, calling them wooden fish flowers in Chinese.

The tree standing on a piece of Taipower property at 11, Lane 283, Roosevelt Road, Sec. 3, in Taipei has been there for at least two decades. Now is the time to rush over to catch a fleeting seasonal floral feast for the eyes. And maybe you, too, will have a good reason to start quoting poet Joyce Kilmer: “I think that I shall never see…a poem as lovely as a tree…!”

Wi Ding Ho’s “Pinoy Sunday” opens First Taipei Golden Horse Fantastic Film Festival

2010-04-12T08:25:00.000-07:00

By Nancy T. Lu

Hilarious is the adjective which best describes Wi Ding Ho’s first full-length movie “Pinoy Sunday.” The real life tale told by many overseas Filipino workers is generally peppered with sadness and pain. But the reel life drama is full of comic situations.

Manuel (Epy Quizon) and Dado (Bayani Agbayani) are Pinoy (Filipino) characters with an easy-go-lucky side. Despite the hardship and loneliness of life as migrant workers in Taiwan, they manage to grin while sharing experiences of their hearts as lonely hunters over Taiwan beer (not San Miguel beer, which is harder to find).The verbal exchanges of the two factory workers always trying to beat the Sunday curfew at the dorm – one fair-skinned and the other with dark brown complexion – leave spectators rolling in the aisle with laughter.

The comedy truly begins when they find an abandoned red sofa on the street one Sunday. Both decide to carry it all the way to their dorm. Imagine the two even attempting to get it on a public bus.

“Don’t think for a moment that the task of carrying the sofa across town as seen in the movie is easy,” remarked director Wi Ding Ho (shown on the extreme right in top photograph). “Believe me, it is not.”

The guys wear very colorful shirts and that is intentional. All the bright colors seen in the film match the cheerful and upbeat nature of the Filipino workers in Taiwan.

A typical tale about Pinoy workers can easily be melodramatic. But the director himself has observed to his own surprise right from the beginning the Filipinos hanging around a stretch on Zhongshan North Road to be a happy bunch. They seem quite capable of dealing positively with the difficulties of being away from loved ones and home while trying to earn money. Camaraderie among Filipinos abroad is strong.

Dialogues in the movie are in colloquial Tagalog or Pilipino. The involvement of a Philippine line producer (producer Mark Meilly and Spark Films) has helped in telling the story of Philippine migrant workers with credibility. There are Chinese subtitles.

Malaysian director Ho said he did not find his inability to speak Tagalog (or even the Ilongo dialect in one scene) a problem during the three-and-a half weeks of filming in Taiwan last year. While shooting the movie, actor Quizon picked up the Taiwanese song, "I'm Not Drunk," from the Taiwanese crew.

Ho asked Jack Pollack, his classmate at the New York University more than 10 years ago, to be the cinematographer of the movie which took five years in all to realize. Pollack played with vivid colors in the upbeat movie but shifted very briefly to black and white a few times in the film.

Wi Ding Ho’s “Pinoy Sunday” opened the First Taipei Golden Horse Fantastic Film Festival last April 9. Epy Quizon(shown on the extreme left in top photo), son of king of Philippine comedy Dolphy, flew back to Taipei to attend the world premiere of the movie.

Quizon confessed that he sat in awe over the presence of internationally-known Taiwanese director Hou Hsiao-hsien at the movie premiere. He watched closely Hou’s reaction during the showing of the film.

When Quizon’s turn to speak to the audience finally came, he pulled out his mobile phone and asked everyone to greet his mom in the Philippines.

Nubia Lin, a top professional model making her movie debut in this motion picture, towered over Quizon as they stood with director Ho for picture-taking earlier.

Meryll Soriano and Alessadra De Rossi are the other Filipino stars in the cast. All the extras, including the priest and the Catholic parishioners of Our Lady of Fatima Church in Danshui, attended the Taipei movie premiere and film festival opening.

Taiwan’s Government Information Office and NHK Japan helped produce the movie through funding.

Ho’s earlier successes have included short films “Respire” and “Summer Afternoon.” “Respire” was winner of the Kodak Discovery award and TV5 (very) Young critics’ Award at Cannes in 2005 while “Summer Afternoon” was selected for Director’s Fortnight at the Cannes Film Festival in 2008.

Artists gathering to honor memory of publisher and supporter of the arts Yu Chi-chung on his 100th birth anniversary

2010-04-03T01:13:00.000-07:00

By Nancy T. Lu

Luminaries of Taiwan’s art and culture community are gathering and organizing a special concert to honor the memory of the late China Times founder Yu Chi-chung on April 9, just days before Yu’s birth centennial on April 16. All participation and involvement will be offered gratis et amore.

Yu, who lived to the ripe old age of 93, gave his crucial support to the arts over the years and helped in his lifetime write the history of Taiwan’s cultural heritage.

The program at the National Theater in Taipei on April 9 will open with the performance of Lin Hwai-min’s 10-minute solo dance choreography by a Cloud Gate dancer. The performer must keep rotating without moving from a pivotal point to express mourning and grief for the departed as well as to give vent to a feeling of protest against the heavens for taking him away.

Cloud Gate 2 will likewise dance Huang Yu’s “Floating Domain” to the music of Bach. This will be the premiere of the new choreography. Lin Hwai-min seeks to give full encouragement to rising bright young talent Huang, emulating the example set by the late Yu.

When Taiwan’s best-known and multi-awarded choreographer Lin Hwai-min was just starting out with his Cloud Gate Dance Theatre many years ago, he was personally taken by Yu to his house as well as to his office. Lin, only 26 then, met important personages of the older generation, who were potential supporters of his dance company, this way.

The dance company folded up in 1988 but got revived in 1999. Lin recalled that the dance company which he led at that time had “no money, only courage.” But on the second day after artistic director Lin made his comeback announcement, Yu sent his driver over to deliver an envelope containing a letter and a NT$2 million check.

Meanwhile the Ju Percussion Group will strike up marimba notes during the concert to stir emotional recollections. Pipa or lute master Wong Ching-ping will interpret Hsu Po-yun’s “Pipa Jottings.” The composition blends influences of East and West, reflecting the late Yu’s thinking and philosophy.

The Taipei Symphony Orchestra and Chorus will perform overtures from “Aida” and “La Forza del Destino.” Art songs and operatic highlights by the chorus will be featured. Chen Chiu-sen will return to conduct the Taipei Symphony Orchestra at the concert to be a prelude to another collaboration with the orchestra later.

The rendition of Yu’s favorite songs like “I Live at the Start of the Yangtze River,” “Mending the Broken Fishnet” and “One Day When We Were Young” will fan sentimental reminiscences of how Yu never tired of listening to them or even singing them, according to New Aspect’s Hsu Po-yun.

Hsu remembered that the New Aspect’s announcement of financial difficulties to the tune of NT$50 million in the 1980s led to a personal phone call from Yu. Yu, in fact, sent over his accountant to check the books of the New Aspect. He urged Hsu to reduce his staff of 100 by half in a week’s time to cut down on costs and save New Aspect from permanently stopping operation as promoter of the arts.

“New Aspect cannot fold up,” he told Hsu. “New Aspect is no longer a private entity. It belongs to the Taiwan society.”

The following day, he gave New Aspect a donation of NT$10 million. Because of his influence as a leading light in Taiwan’s media industry, Yu also helped New Aspect solicit a donation of NT$5 million from Formosa Plastics.

Yu also personally tried to stop Hsu from entering politics. He wanted to see him remain an impresario. Hsu at one stage toyed with the idea of becoming a legislator. Yu urged him to just focus on the promotion of the arts.

Yu Fan-ying, Yu’s daughter and head of the Yu Chi-chung Foundation, announced that proceeds from the April 9 concert would go to charity causes helped by the foundation. She recalled that intellectuals, who were friends of her father, came and went at home when she was growing up. She knew her father to be a man who had a sense of direction and who felt a sense of purpose in life. She felt very touched to have so many people going to great lengths to express their deep gratitude to her father for his generosity and influence seven years after his death at the age of 93.

Photo shows (from left) Cloud Gate Dance Theatre’s Lin Hwai-min, conductor Chen Chiu-sen, Yu Fan-ying of Yu Chi-chung Foundation, and New Aspect’s Hsu Po-yun.

Wife of new Argentina representative in Taipei shares her recipes for home entertainment

2010-03-28T10:28:00.001-07:00

By Nancy T. Lu

No country consumes more beef per capita than Argentina. But when Carmen Pena, wife of the new director of the Argentina Trade and Cultural Office (ATCO), showed up to introduce a few of her favorite recipes at the Eslite Bookstore Xinyi’s Cooking Studio, she pushed aside talk about the parrillada, the asado or the beef cooked con cuero.

Home cooking, Argentine style, .was what she seemed to be prepared to share with the small crowd, who showed eagerness to learn about Argentine culture, notably cuisine. She enlisted the help of chef Daniel Negreira to demonstrate her simple recipes for home entertaining.

Sopa de remolacha or beetroot soup preparation began with the washing of the beetroot, potatoes and green apples. Actually the green apples were not available in the market. Red replacements were found. Then the cooking of the ingredients went on for 20 minutes before everything was put into a blender. The thick soup called for a sprinkling of salt and pepper. Olive oil was added to emulsify it. A drop of yogurt of original flavor contributed to a nice presentation. Cumin or semillas de comino went in for that final touch.

The arollado or roll recipe came up next. Tuna fish right out of a tin can went into the salty version. Ingredients also included mayonnaise, mustard, salt, pepper and finely chopped American celery.

Dulce de leche or condensed milk made the sweet difference in the filling of another roll. Crushed walnut and sweet wine were also introduced. The affection for sweet milk is said to be the influence of Spanish cooking.

Juan Pena, ATCO director, watched the entire session with approval on the sideline. Pallas Chen, who coordinated the monthly culinary event, warmly welcomed the presentation of a slice of Argentina this month.

Mate, a drink made from the dried leaves of yerba, inevitably had to find its place in this Argentine activity in Taipei. Samples of the small gourds from which the Argentinian men and women drink mate were prominently displayed on this occasion. The bombillas or the tubes with which to sip mate were there, too.

Tango music, quite identified with Argentine passion, did not play out in the background on March 26. But the dance of seduction in Tango Land did merit some mention.

A slide presentation took the audience on a quick tour through beautiful Argentina. Iguazu’s waterfalls and Perito Moreno’s glacier were some of the pictures which stood out.

Quiz time drew quick response from the audience. Carmen Pena threw out one about Argentina’s national sport: “Who is at present the hottest Argentine soccer player?”

“Lionel Messi,” replied a Taiwanese fan. Messi is a potential successor to the legendary Diego Maradona.