East-West mixes at Montgomery County Community College


The critically-acclaimed and internationally active Kun-Yang Lin/Dancers (KYL/D) is pleased to announce a performance that offers its striking East-West mixes at Montgomery County Community College Science Center Theater in Blue Bell, PA on March 12 at 8pm.

Known for its “distinctive blend of traditional and Western dance [that] has the dark, bold force of a woodcut print” (New York Times), Kun-Yang Lin’s choreography is widely acclaimed by critics and audiences throughout the United States, Asia and Mexico. His artistry promises to “transport…us back to the beginning of humanity and the wellspring of our beings” (Backstage) and has been described as “deeply spiritual, remarkable.” (Dance Magazine).

In his groundbreaking, contemporary works, Lin has developed a personal movement language that is an unexpected hybrid of Western and Eastern cultures.  Lin draws upon varied influences from his native Taiwan, such as calligraphy, martial arts, tai chi and traditional Chinese dance movements, yet expresses these impulses in a thoroughly contemporary way, borne of his extensive performance experience worldwide. KYL/D has performed internationally and across the United States including at the Festival Internacional de Danza in Queretaro, Mexico, the Victoria Theatre in Singapore, the Interlochen Arts Festival in Michigan, Kaatsbaan International Dance Center, Columbia Festival of the Arts in Maryland, Jacob’s Pillow Dance Festival, and in New York City at The Japan Society, Queens Theatre In The Park and the Dancing in the Streets Festival.

Highlighting KYL/D’s taut integration of Eastern philosophy and contemporary dance forms, the concert is entitled “Journey of East/West.” The concert will feature KYL/D’s signature work, “Chi,” (“a radiant, buoyant dance” The New York Times) and its acclaimed “Traces of Brush,” which explores the parallels between dance and the ancient art of calligraphy.  Kun-Yang Lin also will perform his trademark solo, “Dedication” (“a nuanced distillation of sorrow” The New York Times), an homage to his Father and all those we have lost.  Concluding the program will be “Autumn Skin”, a piece that breaks open fixed notions of relationship, deconstructing emotion in order to uncover new meaning, new skin.

KYL/D consists of seven dancers: Jillian Harris, Kun-Yang Lin, Scott McPheeters, Olive Prince, Elrey Belmonti, Jennifer Rose and Jessica Warchal-King.  Apprentice: Wen-Chun Liu. Lighting Design:  Stephen Petrilli.  Stage Manager: Caitlin Quinn. Costume Design: Heidi Barr.  For more information about the Company, please visit www.kunyanglin.org.

“Journey of East/West”
Tickets: $10-$25
Reservations:
http://www.mc3.edu/campusLife/artsCulture/mar.aspx

Kun-Yang Lin, Artistic Director of Kun-Yang Lin/Dancers & Founder of CHI Movement Arts Center, has received numerous awards in his native Taiwan and been widely recognized in the United States for his dancing and choreography including, in 2002, by Back Stage, which selected him as “the year’s most promising choreographer.”  Before moving to the U.S., Lin toured internationally with London’s Transitions Dance Company, working with numerous European, post-modernist choreographers. In the U.S., he performed in iconic American modern dance companies including the Martha Graham Company, Anna Sokolow’s Players Project, Jennifer Muller/The Works, Kevin Wynn Collection, Paula Josa-Jones, Janis Brenner & Dancers, Doris Humphrey Repertory Dance Company and the Mary Anthony Dance Theatre, where he also served as Associate Artistic Director.  Lin has been called “an extraordinary dancer” (New York Times), “theatrical visionary…outstanding choreographer and compelling performer.” (Philadelphia Inquirer).  In 2009, Lin was named by the Painted Bride Arts Center an “Artist of the City” for his outstanding contributions to the arts and culture of Philadelphia.

Lin’s choreography, described as “deeply spiritual, remarkable” (Dance Magazine), has been presented throughout the United States as well as in Asia, Southeast Asia, London, Vienna and Mexico. His latest creation, Mandala Project, was hailed as “a masterwork of art, spirituality and stagecraft.” (Philadelphia Inquirer, 2011).  Lin’s work has been performed by the Martha Graham Dance Company in Union Square, Dance Compass, Dance Fusion, Blue Muse Dance, Pick of the Crop Dance, Elizabeth Higgins Dance Theater, Moving Arts Project, Janis Brenner & Dancers, Dance Ensemble Singapore and Ballet Nacional de Mexico, as well as by numerous universities and high schools.  In addition, Lin’s choreography has been made part of the dance curricula at Taiwan National University of the Arts, SUNY Buffalo and Dance Ensemble Singapore (DES) Performing Arts Academy.

Highly sought as a teacher, Lin is regularly offers master classes and workshops throughout the U.S. and abroad.  In addition, he has been on the faculty of The Yard, H.B. Actor’s Studio, Peridance International Dance Center and The Limon Institute.  Since 2003, Lin has been a Professor at Temple University’s Boyer College of Music & Dance in Philadelphia.  For more information please visit: www.kunyanglin.org or email [email protected]

Journey of East/West

CHI
Inspired by the ancient art forms of tai chi and calligraphy, Chi, which means “energy,” “breath,” or “vital life source” has become a central element in KYL/D’s outreach initiatives. The New York Times described it as “a buoyant, radiant dance.”

TRACES OF BRUSH
Traces of Brush explores the parallels between the art of dance and the ancient Chinese art of calligraphy, both of which are defined by movement, rhythm and the concentration of energy. And, the four essential elements of each, for calligraphy – brush, ink, inkstone and paper – and for dance – body, energy, time and space – have remarkable parallels. In Traces, the dancers’ bodies are, at turns, the calligrapher’s brush, ink or energy, together giving life to the space/canvas. The movement/brushwork is inspired by Chi, or the flow of energy, with the intent of transcending the literal meaning of the written characters.

“Traces of Brush,” created and evoked movement from his dancers that was technical, poignant, and fiery… Abstract and even seasoned with a hint of Butoh-esque nature, “Traces” pulled together the ideas surrounding the written symbols associated with language and how their meanings get communicated through authorship… Explosive movement set apart through simultaneous solos, sporadic duets, and ever-changing trios, were that much more mesmerizing when the literal vocabulary was punctuated with commas, semi-colons, and exclamation points that came in the form of dead-on unison movements. Mr. Lin himself transcended his role outside of the work as choreographer by placing himself inside the work as author and inventor of meaning, a hat he wears very well.”—— The Martha’s Vineyard Times

DEDICATION
A piece created in honor of Mr. Lin’s father and all those we have lost, The New York Times described it as “a nuanced distillation of sorrow.”

AUTUMN SKIN
A season of bewildering dynamics, Autumn is suffused with the chaotic impulses of Nature’s intricate dance of death and birth. The outer world’s symphony of chaos and transition, destruction and creation, is mirrored in humankind’s internal struggle for renewal and transformation. Masks conceal the roiling tension between truth and deception, strength and vulnerability, courage and fear, selflessness and ego. What can be shared with our beloved, our families, friends, colleagues and community without blowing apart the image of self we have carefully crafted? Will light cast on our darkest shadows, our unacknowledged selves, destroy or elevate us?

Through the metaphor of Autumn, KYL/D breaks open fixed notions of relationship, deconstructing emotion in order to uncover new meaning, new skin. Extreme physicality — movement that shifts among bursts of explosive power, barely contained tension and absolute stillness — creates an experience where dancers and choreographer appear to exist at the edge of their limits, emotionally, physically and spiritually.

In his fascination with the language of the body under the skin, in the marrow of the bones, Kun-Yang Lin challenges us to join in the exploration of the knowable and unknowable, inviting us to consider what it is that holds us together – individually and as a larger community.
“AUTUMN SKIN” demonstrated the company’s versatility, technical proficiency, and capability of producing choreography both poignant and culturally relevant… The raw emotion and intensity embedded in the choreography gives access to the dancers’ souls leaving the impression of knowing those six people far more deeply than just as performers after the lights go out.” — The South Philly Review

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