《Be ⁷記得—林亨泰音樂會》

藉由燈光、繪畫及音樂，探索可見／不可見之間的界線，與人們於此邊界遊走的微妙感受。 本演出分成三大曲目，多數靈感來自彰化詩人林亨泰。其中，第一及第三首曲目（分別為渡边愛及徐儀作曲）為電子音樂。第二首《希望花園練習曲》，由Ross Aftel以現場擊樂及電子聲響進行演出。整個演出將結合林映辰設計的燈光裝置，創造幻化的時空邊界。Nubbin Dai以繪畫融合演出中的各種元素，並帶領觀眾探索詩的字裡行間。 本演出以多種手法在視覺及聽覺上混合數位／類比及複合媒材，邀請觀眾透過燈光、繪畫、詩文及音樂進行多重的感官體驗。

Through light, painting, and music, this show explores the boundaries between visible/invisible. The show is created as a single large scale work, consisting of 3 pieces. Most of the show is inspired by the poetry of modernist Taiwan poet, Lin Heng Tai (林亨泰). The first piece and third pieces are solely electronic-《Be ⁷記得》by Aï Watanabe, and 《兑》by Xu Yi (originally a bass and tape piece, but this performance features an electronic version of the work). The second piece is "The Garden of Hope Studies", a piece I created between 2021-2023 to act as a companion piece to Xu Yi's work, 《兑》. The entire performance combines a light installation by Lin Ying Chen. Nubbin Dai uses paintings to integrate various elements in the performance, and leads the audience to explore between the lines of the poems. 

About "The Garden of Hope Studies",
This work is about visibility/invisibility and friendship. As a physically disabled person, visibility/invisibility has been a very important issue throughout my life, but this concept took on a different significance when moving to Taiwan. In Taiwan, I think that a lot of social issues are visible to some and invisible to others. A quick look at any news outlet in Taiwan, one can see all the news is about issues related to Taiwan and how other countries or people see Taiwan. I also think that a lot of people who are not immediately affected by social issues avoid anything that would trigger thinking about oneself as it relates to the greater community. As an immigrant in Taiwan, this is something I notice daily, especially with issues facing marginalized communities. It makes me think about how this is not just a phenomenon in Taiwan, but elsewhere as well. This is where the title originates from. “The Garden of Hope Foundation” (I am not affiliated with) provides shelter and many other resources for young women in Taiwan who have been victims of abuse and human trafficking. Learning about the foundation reminded me of the poem, “Appalachian Elegy” from Bell Hooks. I then got an idea to use poetry based around this idea of cultivating a musical “garden of hope”. This musical garden is a means of trying to make things visible.
Not only are social issues a visibility problem in Taiwan, but culture and place have issues of visibility as well. Arts education and cultural institutions put a lot of value into what is mainstream and what is commercially valuable on an international scale. In Taiwan, the emphasis on “the culture industry” makes a lot of local culture seem invisible, but with this piece, I hope to show that it is not the case. 林亨泰 poetry is important for this reason. When I came to Taiwan, I would always ask my coworkers and friends if they knew of 林亨泰, and the answer was always “no”.  One of the first places I wanted to visit was 彰化 because of my interest in 林亨泰 and his work. Asking people about 彰化, I was always asked “what’s in 彰化?” “Why do you want to go there?” As with any place in Taiwan, 彰化 is not actually invisible. It’s a beautiful place with an interesting history. Even the old Railroad hospital was an intellectual gentlemen's club when it was first built. When learning more about 林亨泰 poems, I found that so much of his work is unique and shows places and things that might often appear invisible to others.

林亨泰 and his work has another significant meaning to me, and that involves the theme of friendship. I was introduced to his work by my friend and mentor, Chinese/French composer 徐儀. In 1991, she wrote a piece for bass and electronics based on his poem, 「風景 No.2」. This is a piece that is not often performed, but my friends and I put on a performance of this work in New York in 2019. After reading his poem「風景 No.1」, I had the idea to make a companion piece to be played with 「風景 No.2」. However, I noticed that I had collected a set of poems that created a space, a landscape, or a garden, of things and places that sometimes seem invisible, but to me are easy to see. In October of 2022, I had the chance to work with light artist, 林映辰, who after many discussions also seemed interested in collaborating on this piece. It goes without saying, but using the medium of light for a project that explores the ideas of visibility seemed appropriate (and fun). Another partner I was equally excited to work with was the visual artist Nubbin Dai. Not only has her painting been very influential to me, she has also been an anchor in my life in Taiwan, so getting to collaborate on a project was quite meaningful. Other collaborators have been equally important in the development of this piece, namely Nicholas Nelson (sound technician/electroacoustic composer) and Alex Smith (percussionist/electroacoustic composer).
Lastly, as with any garden, this work is meant to grow. Overtime, I intend to add more pieces to this project. Currently, The garden of hope studies 1-4 is approximately 35-40 minutes long, and it is meant to be a companion piece to 徐依’s piece, 兑 which is 9 minutes long. Following the performance, the LED installation will stay lit so people can enjoy the lights and reflect after the show.

Garden of Hope studies- No.1-4
      Song #1. 林亨泰- 嘈雜
      Song #2. Branko Miljković- Pesma o cvetu (“poem about a flower”)
      Song #3. Bell Hooks-“Appalachian Elegy #6.”
      Song #4. 林亨泰- 風景 No.1