Lin Hwai-min

This major work brings together two of today's pre-eminent dance talents, Akram Khan, world renowned for developing his own 'contemporary Kathak' style, and international superstar Sylvie Guillem, as they explore the dynamics and language of two great classical dance forms, kathak and ballet.

A biographical documentary filmed in 1999 on the occasion of Chang Chao-tang (張照堂) receiving the National Award for Arts (國家文藝獎) in the Fine Arts category (美術類). In the film he is credited as both director and editor under the pseudonym “Gao Shang-tu” (高尚土)—a name derived by decomposing the character “tang” (堂) into its constituent elements “gao” (高), “shang” (尚), and “tu” (土). Semantically, the pseudonym implies a counter-reference to the notion of temple-like, institutional “high culture,” redirecting emphasis instead toward the vernacular and the earthy—suggesting that what is truly “noble” lies in the force emerging from the “soil” (土) of the people. For this reason, the film may also be understood as a semi-autobiographical documentary that carries an element of self-writing within its particular historical context.

The Cloud Gate Dance Theatre of Taiwan performs their elegant Tai Chi-based dances to the music of J.S. Bach. Choreography by Lin Hwai-Min. This dance film examines the correlation between essence and appearance, effort and effortlessness, man and woman , all explored using water, mirror, light and reflections.

This dance film presents Siddhartha as reimagined by Lin Hwai-min and performed by Cloud Gate Dance Theatre of Taiwan, directed for screen by Chang Chao-Tang. Inspired by Hesse’s novel and a pilgrimage to Bodh Gaya, where the Buddha attained enlightenment, Lin created a work of stillness and elemental force. The stage is shaped by tons of golden rice grains into shifting landscapes—like rain, waterfalls, and deserts. Georgian folk songs flow through the space as dancers, carrying wooden staffs, move in slow, spiraling journeys, while a monk in white remains motionless. In the final scene, a dancer rakes the grains into vast concentric circles, forming an image of quiet intensity. Premiered in 1994, this 90-minute work is one of Lin’s key creations. Widely toured and acclaimed, it remains among Cloud Gate’s most performed works. Recorded in high definition, this 2013 version stands as the definitive edition of this landmark piece.

This landmark dance film presents Legacy, a defining work by Lin Hwai-min and Cloud Gate Dance Theatre of Taiwan, directed for screen by Chang Chao-Tang. Premiered in 1978, the work marked one of the first major theatrical productions centered on Taiwan’s own history, leaving a powerful and immediate impact. Built on a strong sense of ritual, Legacy evokes collective memory and identity, reflecting Cloud Gate’s commitment to engaging with society and history through dance. This documentary captures a 2003 performance for the company’s 30th anniversary. With live percussion by JUT Percussion Group and the voice of Chen Da, the dancers push their physical limits in an intense and deeply emotional staging.

"Wild Cursive" is the third piece of Taiwanese dancer and choreographer Lin Hwai-min's Cursive trilogy, a captivating series translating the development of the fascinating art form of Chinese calligraphy into dance. As Lin says himself, the final part marks the climax of the trilogy, because it corresponds to the completely detached, free and highly abstract forms of “spontaneous” calligraphy. The performance contains elements of Tai Chi and is musically accompanied by compositions by Jim Shum and Liang Chun-mei. The performance was recorded in 2009 at the National Theater in Taipei, Taiwan.

A visually stunning paean to spiritual pilgrimage that creates a world of intense reverence, distinctly Asian in its imagery. Set to Georgian folksongs with 3½ tons of shimmering golden grains of rice.

This dance film presents Dream of the Red Chamber as reimagined by Lin Hwai-min and performed by Cloud Gate Dance Theatre of Taiwan, directed for screen by Chang Chao-Tang. Inspired by the classic Chinese novel, the story centers on the fragile love between Jia Baoyu, Lin Daiyu, and Xue Baochai, set against the rise and fall of a great aristocratic family. Lin’s choreography frames the tale as a memory: a young man who has left the garden looks back on a vanished world. The Twelve Beauties appear in flowing, embroidered costumes, moving through falling flowers and shifting seasons. Classical imagery merges with contemporary dance, creating a restrained yet lyrical visual language. Premiered in 1983, the work became one of Cloud Gate’s signature productions. In 2005, Lin retired the piece as the company turned toward a more austere, introspective aesthetic. This film preserves a late-stage performance, documenting a key work from Cloud Gate’s early repertoire.