Audrey Natividad
Contributing Writer
UC Santa Barbara (UCSB) Arts and Lectures kicked off the 2024–2025 dance season with a performance from Cloud Gate Dance Theatre of Taiwan on Nov. 2. The show, titled “13 Tongues,” honors Taiwan’s cultural identity through a blend of traditional influences with contemporary elements, creating a unique fusion of past and present.
Directed by Cheng Tsung-lung, the show is directly inspired by his childhood memories of Bangka, the oldest district in Taipei, where he helped his father sell slippers on the street. He remembers Bangka for its vibrancy, its mix of religious and secular life, and its blend of rich and poor — all of which are reflected in the dance.
Cheng was particularly interested in his mother’s accounts of the 1960s storyteller and street artist “Thirteen Tongues.” The artist’s true identity remains somewhat mysterious, but they were rumored to be a lively street performer able to embody a variety of characters, personalities, and voices within the community, making them a local legend.
During a post-performance Q&A with the audience, Cheng spoke about his memories of Bangka and explained how this choreography is an attempt to honor those people and memories which make up the streets in which he grew up.
“The beginning is black and white, which represents the color of memory,” Cheng explained, “but later on it becomes colorful because it feels like the characters become alive.”
As projections of swirling, vivid colors moved across the stage, the dancers gathered and dispersed. They moved both as individuals and as a collective body, creating a chaotic yet flowing rhythm that resembles a bustling community. The stage appears to be in constant motion, a reminder of Bangka’s street life as the performers bring the characters of Cheng’s childhood memories to life.
One of the most memorable moments of the show came when a female dancer emerged on stage, dressed in a radiant, fluorescent robe, a stark contrast to the dark clothes of the other dancers and the stage dimly lit under black light. She was carried by several male dancers, her arms outstretched and body upright, as if she was flying. Slowly, she was set down onto the backs of other dancers who were on all fours, using them as steps as she “floated” around.
This sequence conveyed a sense of reverence with the woman portraying a spirit to be worshiped. Moments such as this capture the intersection between human and spiritual realms that “13 Tongues” seeks to achieve.
Cheng went on to say that the visuals were only a fraction of the homage paid, as the sounds and music were central to conveying the atmosphere of the district. He emphasized the significance of incorporating the mantra into the work, while still making it more modern and contemporary.
Beginning and ending with the chime of a handbell, the soundtrack of “13 Tongues” ranges from traditional Taiwanese folk music to electronica. The dancers also contributed to the sounds with the occasional Taoist chants and shouts. The progression of the sounds coincides with the changing scenes, transporting the audience through years of cultural and spiritual expression.
“In Taiwan, this part of the performance can only be done in the temples, but I really want to display these scenes,” Cheng said. “So I went to the temple and asked for permission from the God in Taiwan.”
For UCSB Arts and Lectures, “13 Tongues” is just the first of many performances in this year’s series to bring diverse voices to the stage. Don’t miss out on Dorrance Dance’s “The Nutcracker Suite” on Dec. 5, the next show to celebrate the power of dance as a tool for artistic storytelling.