by INTAN BAHA 

THROUGHOUT history, dance has consistently served as a chosen outlet for individuals to release tension. Through the expressive movements and melodies that accompany the dance, it has proven to be an effective means of stress relief, allowing us to reconnect with our roots as proven by Bulareyaung Pagarlava, founder of Bulareyaung Dance Co’s (BDC). 

Bulareyaung is a Taiwanese choreographer and dancer who is indeed known for his passion for dance. He is recognised for his contributions to the contemporary dance scene in Taiwan and beyond. He has created numerous choreographic works that explore themes of cultural identity, indigenous traditions and personal experiences. 

The highly anticipated production of “Luna” is scheduled to take place at the Kuala Lumpur Performing Arts Centre’s (klpac) Stage 1 from July 14 to July 16, 2023. 

Founded eight years ago, BDC is already making waves as the first troupe to win the Taishin Arts Award two years in a row with “Luna” bagging the coveted Taishin Annual Grand Prize in 2019. 

What makes this young dance company stand out is that instead of creating their works in the confines of a studio, they do it out in the fields, by the sea and — in this case — up in the mountains. 

“I am from the Paiwan tribe, but ‘Luna’ was inspired by Bunun culture. BDC learned from Luluna Bunun Choir to learn Bunun songs and used them as inspiration for creating new work. The aim was to honour the spirit of the traditional songs while infusing them with a contemporary touch, creating what we call a ‘contemporary body’,” Bulareyaung told The Malaysian Reserve (TMR) via email. 

The performance explores themes such as indigenous identity, personal experiences and the inter-section of tradition and modernity. 

Created in the depths of the mountains in Central Taiwan, “Luna” is a journey of self-discovery through nature, tradition and dance. At an altitude of 1,000m, lies Luluna village — home to the largest Bunun indigenous tribe of Taiwan known not only as fierce warriors but also as extraordinary singers. 

“‘Luna’” is the perfect reflection of the times we are living in and a powerful reminder that we can find our way back to where we belong, pandemic or not. 

“I was attracted by some singing voices and found a group of people singing under a street lamp. We were profoundly moved by the voices. After coming down from the mountains and returning to my regular routines for a week, I couldn’t stand it anymore. The voices were still in my head,” Bulareyaung added. 

Bulareyaung headed back into the mountains with his dancers to learn ancient Bunun chants (recognised as a cultural heritage in Taiwan) from the Luluna Bunun Choir and mountain life including rituals like their exploit-boasting act at the end of a hunt. 

Direct Engagement 

When asked about what he wants the audience to take away or learn from “Luna”, Bulareyaung expressed that the answer to this question can only be discovered by those who attend the performance and purchase tickets. He emphasised that without the opportunity to witness the production first-hand, much of the effort invested in creating the show would be in vain. 

“I believe that the most crucial aspect is for the audience to step into the theatre and engage their senses, allowing themselves to truly see and hear what the performance imparts. It is through this immersive experience that the definitive answer to what the production can bring to its audience is revealed,” he said. 

Bulareyaung suggests that the transformative power and impact of “Luna” can only be fully appreciated through direct engagement with the performance. The audience members have the chance to open themselves to the artistic expression, symbolism and emotions conveyed by the dance, ultimately taking away their own unique interpretations and personal experiences from the show. 

All About Dance 

Reminiscing on his involvement in dance, Bulareyaung said he aspired to be a dancer since he was 12 years old. 

“I pursued dance at Taipei National University of the Arts and then joined the Cloud Cloud Gate Dance Theatre. In 1998, I was awarded a fellowship by the Asian Cultural Council to study in New York, where I created dance pieces for Cloud Gate Dance Theatre, ‘Cloud Gate 2’ and the Martha Graham Dance Co. 

“In 2012, I was selected as one of the Ten Outstanding Young Persons of Taiwan and was presented with the National Award of Arts by the National Culture and Arts Foundation in 2022. 

“When I was younger, it was all about passion. But now, at this stage, it’s about facing a dance company and a group of dancers, and it has become a responsibility. I am more than willing to embrace this responsibility because seeing the progress of the dancers brings me the greatest joy and motivates me to keep going. 

“Currently, my biggest passion lies in performing in the indigenous villages of Taiwan, sharing our work with the tribal communities and witnessing the happy smiles on the faces of the elders and children. All the hard work becomes worthwhile in those moments,” he said. 

Real Experiences for Young People

In an effort to attract and encourage young people to learn our heritage dances, he believes it is essential to provide young people with real experiences. 

“When they can truly feel and engage, they become more proactive in their learning. Our approach involves immersing ourselves directly in the indigenous villages, interacting with the community and living their way of life. connect and learn,” he added.

For any aspiring young dancer looking to pursue dance as a profession, Bulareyaung opined it is crucial to go beyond mere desire and take proactive steps. Dancing demands significant focus and unwavering dedication. Merely finding joy in dancing may not suffice. “Therefore, my advice to young dancers would be to not just possess ideas but also actively pursue them. Once you embark on your dance journey, aim for excellence and surpass your own expectations.

“It is through genuine effort and unwavering commitment that you can truly attain and embrace the beauty of dance. True ownership of the art form can only be achieved through wholehearted dedication,” he added. 

Love of Choreography 

On his transition from a dancer to choreographer, Bulareyaung said he never thought that one day he would become a well-known choreographer. 

“It was an opportunity given to me by my mentor, Madam Lo Man-fei, who invited me to choreograph for ‘Cloud Gate 2’ and asked me to commit to choreograph one piece every year as practice. It was through choreography that I discovered so much more. Once I took choreography seriously, I naturally stopped performing on stage. 

“Dancing brings individual joy, but choreography brings collective joy — it’s the result of collaborative work, creating something out of nothing,” he added. 

Bulareyaung said dancing gave him confidence, but choreography made him face himself and become his true self. Through choreography, he started engaging with others and having conversations with the world.

“Now, choreography means more to me than just creating dances. As I’m an indigenous person, being a choreographer has allowed me to visit many different indigenous villages with dancers. These experiences have opened up my eyes for me since becoming a choreographer,” he said. 

Staying True to Artistic Vision

In sharing his advice with aspiring choreographers, Bulareyaung offers valuable insights into the mindset and approach necessary for a fulfilling creative journey. He encourages choreographers to shift their focus from external measures of success, and instead prioritise self-discovery and an honest evaluation of their work. 

Bulareyaung advises choreographers to resist conforming to trends or following the crowd, urging them to maintain a deep under- standing of the purpose behind their creations. By staying true to their artistic vision, they can forge their own unique path and make a meaningful impact with their work. 

Acknowledging the inevitable creative lows that artists encounter, he emphasises the importance of finding joy in the process of creation, even in high-pressure situations. He stresses that even small accomplishments should be celebrated, fostering a sense of fulfilment and motivation to persevere. 

Recognising the solitary nature of the choreographic journey, Bulareyaung encourages choreographers to strike a balance between their creative pursuits and living a well-rounded life. He highlights the significance of maintaining passion for life, cultivating empathy towards others, and embracing courage in the face of failure and setbacks. 

“I view choreography as a sacred profession with transformative potential. Thus, I urge aspiring choreographers to approach their craft with kindness, recognising the impact it can have on both themselves and others. By embracing this extraordinary opportunity, choreographers can harness the power of dance to create meaningful change and touch the lives of those who experience their work,” he added. 

Upcoming Projects 

Bulareyaung is filled with enthusiasm as he shares details about his upcoming project. In the earlier part of this year, BDC achieved a significant milestone by successfully completing “tiaen tiamen Episode 1 (2023)”. This production was commissioned by esteemed organisations such as the National Theatre & Concert Hall in Taipei, the National Taichung Theatre and the Taitung County Government. 

Buoyed by the success of Episode 1, Bulareyaung is now eager to delve deeper into the theme and continue his exploration with a trilogy. 

“Currently in the planning stage, Episode 2 of ‘tiaen tiamen’ promises to further unravel the captivating essence of the Paiwan tribe. The production revolves around the sharing of the three stages of life within the tribe, offering a profound insight into the cultural heritage and traditions of Paiwan roots. 

“With this project, I seek to present a personal journey of discovery and self-exploration, using dance as a powerful medium to convey the richness and depth of his indigenous heritage. By continuing the narrative through a trilogy, I aim to expand upon the themes and intricacies explored in Episode 1, creating a comprehensive exploration of the Paiwan tribe’s life stages,” he said. 

Bulareyaung’s passion for his indigenous culture and his commitment to artistic excellence shine through as he embarks on this exciting next phase of his creative journey. Through “tiaen tiamen”, he is not only showcasing his choreographic talent but also seeks to celebrate and honour the Paiwan tribe’s traditions and the profound impact they have had on his own identity. 

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• This article first appeared in The Malaysian Reserve weekly print edition