by Rosie van Heerde.
As Artistic Director and Choreographer, Tao Ye is soon to present two current works, the Australian Premiere of ‘6’ and the World Premiere of ‘7’, to Adelaide audiences at the 2014 OzAsia Festival. As a young dancer in China, Ye graduated from the Chongquing Dance School and thereafter honed his skills with the Shanghai Army Song & Dance Ensemble and Shanghai Jin Xing Dance Theatre. He later moved to Beijing to join the Beijing Modern Dance Company and in 2008 – at only 22 years old, he founded his own company, TAO Dance Theatre. Through an interpreter, The Clothesline emailed Ye and asked about his attraction to the world of modern dance, and in particular, his upcoming performance in Adelaide.
Responding to the forces that drew him toward modern dance, Ye shares how the constraints of traditional Chinese dance meant he was unable to fully realise his own potential, as he explains, “It was my own personal realisation that there is a possibility for self-actualisation in modern dance.” Indeed, Ye’s works can be described as contemporary explorations, although inspiration, according to Ye, comes from within. “My work has always rejected inspiration. My creation, my choreography comes from discovery of details.”
Ye has received worldwide acclaim for his choreography, his works consistently refusing to follow most dance codes – avoiding traditional narrative forms, body baring costumes and even music at times – all conventions that work to ‘restrain’ his art. Earlier dance pieces have been controversial for these reasons yet this has not diminished his growing popularity. Ye does not regard himself as a success, believing this is something “for other people to determine”. At the same time he is obviously pleased that his style is popular worldwide and in his home country as well. “Surprisingly my work has been met with a rather positive reception there”, he said. This is quite an accomplishment in a culture which retains such strong links to traditional ways of training, performing and viewing of the arts.
Ask Ye to explain his style or even the ideas he tries to convey and you quickly realise these are not simple questions for such an artist. Described by others as creating dance that is minimalist and abstract, Ye himself refuses to weigh in. “I never define myself because [through my choreography] I have found a ‘self’ that even I don’t understand yet.” At this point it is clear that Ye prefers to ‘create’ and leave it to others to interpret. There is no greater evidence for this than in Ye’s rejection of naming his pieces. Instead, performances are given numbers in lieu of titles. Such a decision means audiences have no cultural references from which to create preconceptions of Ye’s work which can be quite confusing for some. However as Ye explains, “The nature of uncertainty is where the significance of contemporary art lies. I can’t mislead myself or others.”
In discussing 6 and 7 respectively, Ye again avoids detail, preferring audiences to experience the works firsthand themselves. He does however describe 7 as an “extension of ideas developed in 6” – and as a “bold experiment that defies conventions or habits”. 6 has received rave reviews, a performance work that is both hypnotic and rhythmic in form, six dancers moving together in absolute synchronicity. 7 is a brand new work, making its world debut right here in Adelaide.
Clearly, OzAsia audiences can look forward to a double-bill of performances showcasing the human body as a purely visual form, freed from the constraints of traditional dance narrative or style. Tao Ye brings with him a radical dance experience that promises to both amaze and excite.
6 and 7 performs at Dunstan Playhouse, Adelaide Festival Centre, from 7.30pm on Fri Sep 19 until Sat Sep 20. Book at BASS on 131 241 or bass.net.au.
Title image courtesy of Marco Feklistoff
Centre image courtesy of Andreas Nilsson
