Taiwanese choreographer Lai Hung-Chung and Chinese-American artist Shen Wei are exploring new expressions within the evolving landscape of Chinese contemporary dance, blending traditional motifs with modern and cross-cultural influences.

Lai’s company, Hung Dance, founded in 2017, presents “Birdy,” a piece that reinterprets the use of pheasant tail feathers—known in Chinese opera as ling zi—to convey warrior roles and emotional states. In this dance, the feathers extend from the performers’ heads, used dynamically not only as decorative elements but also as symbolic tools and weapons. Lai’s creative vision draws on Taiwanese cultural heritage, tai chi’s breath and flow, and his early experiences in American street dance styles like popping, combined with artistic inspiration from the British painter Francis Bacon. “Birdy” had its U.S. debut at the American Dance Festival in 2024 and will be staged in New York at NYU Skirball.

Lai emphasized that his choreography reflects a personal and cultural vocabulary that is both Taiwanese and individual. Despite facing challenges in resources and recognition domestically, he sought and secured international exposure before gaining broader acceptance in Taiwan. To support emerging artists, Lai recently established the Stray Birds Dance Platform, aiming to create easier pathways for young choreographers.

Shen Wei, a prominent figure in Chinese contemporary dance who also works as a painter, continues to advance his multidisciplinary approach through “MindScape,” which will premiere in the U.S. at the American Dance Festival in Durham, North Carolina, before a free outdoor New York presentation during Lincoln Center’s Chinese Arts Week. The work features colorful body painting and poetic elements, symbolizing the “landscape of the soul,” and is performed by a blend of Shen’s New York-based company, Shen Wei Dance Arts, and dancers from the Guangdong Modern Dance Company.

The Guangdong troupe, officially formed in 1992 through an experimental collaboration with the American Dance Festival, marked an important milestone for modern dance in China. Once considered foreign and ideologically suspect by some observers, the company has grown increasingly celebrated. Shen, a founding member, first gained acclaim with his 1999 piece “Folding.” For “MindScape,” Shen returned to Guangzhou, reengaging with the city where he trained decades ago, and created a work reflecting his mature perspective on struggle, adaptability, and inner resilience. Shen described the work’s multiple versions, scaled for different venues, reflecting his pragmatic approach to touring internationally.

Both Lai and Shen embody distinct generational perspectives within Chinese contemporary dance. Lai’s “Birdy” represents an emerging voice negotiating identity and freedom amid societal constraints, often portraying tension between the individual and the collective. Shen’s “MindScape” conveys a more philosophical acceptance of change and flexibility, informed by his years of artistic evolution and international experience.

The upcoming U.S. presentations in New York offer audiences a rare opportunity to witness the contributions of two influential choreographers who bridge traditional Chinese cultural elements with contemporary and global dance forms, illustrating the dynamic and increasingly prominent role of this art form on the world stage.