Mind the Gap, Lead the Path: Insights from AAPPAC 2024

In the opening address, Chairman Douglas Gautier highlighted AAPPAC’s nearly 30-year history as the longest surviving regional cultural organization. He encouraged members to seize the opportunity to exchange ideas, commission, and tour projects across the region. He also welcomed new members, with four venues—Darwin Entertainment Centre, Monash University Performing Arts Centres, Flinders, and Hong Kong Sinfonietta—introducing themselves on stage.

 

Taipei Mayor Wan-An Chiang followed, expressing hope that AAPPAC would encourage more exchanges and plant seeds of possibility in Taipei, inviting everyone to return with friends and family.

 

Victoria Wang, Chairman of the Taipei Performing Arts Center (TPAC), then spoke, noting that challenges faced by theater managers are becoming more and more diverse and difficult, making problem-solving a daily routine. She explained that this year’s theme, "Mind the Gap, Lead the Path," reflects their thoughts on key issues, including traditional innovation in art, community engagement—both local and online—sustainability, and the disruptive force of AI. Experts from various fields were invited to share insights on these topics, and Wang hoped that in-depth discussions would lead to valuable outcomes.

 

The opening performance featured Sangpuy, a singer from the Indigenous Pinuyumayan tribe, in collaboration with the Bulareyang Dance Company, led by Paiwan choreographer Bulareyaung Pagarlava. The performance beautifully blended Indigenous contemporary dance with traditional songs. At the end of the performance, the performers invited the audience to stand and join in a simple dance, ending the opening session on a joyful and uplifting note.

This year at AAPPAC, the program features one keynote speech and four panel discussions. The keynote talks about online theater, particularly in the post-pandemic era, while the panel discussions focus on four key challenges performing arts venues worldwide are facing: continuous innovation, community engagement, sustainability, and the impact of AI technology. Each session is designed to inspire new thinking and action plans by theater decision makers and leaders. 

 

The Digital Turn of the Post Pandemic Theatre: A Primal Investigation and Case Studies of Online Theatre in Taiwan

Professor Katherine Hui-ling Chou has researched over 80 online theatrical performances from 11 countries since the onset of COVID-19, focusing on how theater practitioners created "virtual theater spaces" that allowed audiences to gather and experience "liveness" and "co-presence" digitally. In her keynote speech, Chou shared two case studies in Taiwan: "Cloud Theatre Taiwan," a participatory digital platform launched in 2021, and interactive performances by the "If Children's Theatre Troupe". These case studies illustrated how post-pandemic online experimentation redefined the concept of "liveness". Chou argued that this digital shift is not just a temporary response to the pandemic, but rather a significant "digital turn" in theater history, offering new models for performance that engage a digitally oriented audience and broaden the scope of theater’s future.

 

Continuous Innovation in the Arts: Keeping Tradition Fresh

The first panel of the 2024 AAPPAC addresses an everlasting question in the performing arts: tradition and modernity. Moderator Chun-Yen Wang opened by encouraging exploration of the possibilities between tradition and modernity, rather than the gap between them, before introducing panelists Jian-Hong Kuo, Artistic Director of The Theatre Practice, and Bulareyaung Pagarlava, founder of Bulareyaung Dance Company.

 

Kuo shared her family's journey as immigrants in Singapore and her father's works, which blended languages, forms, and cultures to express the complexity of Singaporean identity. She discussed the "orphan complex” in Singapore, which artists experience when disconnected from their cultural roots, and the idea of "open culture" as a path to absorbing all cultures and creating new identities.

 

Bulareyaung spoke about his own path of reconnecting with his Indigenous Paiwan heritage through dance. Despite being trained in Western styles, he showed gratitude to these approaches so that he could have diverse perspectives when finding what he had lost.

 

Both panelists concluded that tradition and modernity are not in opposition but complement each other. As Moderator Wang concluded, rather than focusing on the gap, we should look into the bridges that already exist, encouraging interaction between the two and allowing for constant redefinition.

Neighborhood Life: The Choreography of Cultural Venues and Communities

In the panel, Moderator Douglas Gautier utilized the concept of gap analysis, setting the tone for a rich discussion on how cultural institutions can better engage with their communities. Panelists Gregorio Lucena Scarpella (GCDN), Yvonne Tham (Esplanade), and Jean-Louis Bleau (Chilliwack Cultural Centre) shared insights from their venues.

 

Yvonne Tham shared how Esplanade, more than a performance venue, serves as a civic space for Singapore’s diverse communities. By creating arts calendars aligned with local celebrations, activating public spaces, and fostering community ownership through events like "March On," Esplanade aims to integrate itself deeply with the community it serves.

 

The most important theme to Jean-Louis Bleau is building relationships with Indigenous communities. As Chilliwack grows and diversifies, the cultural centre seeks to focus on Indigenous narratives in its programming, starting with an upcoming season featuring Indigenous-led performances and ceremonies.

 

Gregorio Scarpella explained how GCDN views cultural districts as ecosystems. His four principles—engagement, accessibility, consistency, and intention—are essential for cultural institutions to prosper alongside their communities.

 

The panel also discussed engaging young people, digital-native audiences and balancing public service with financial sustainability. The panelists concluded that to remain relevant, cultural institutions must cultivate meaningful community relationships, promote accessibility, and adapt strategies to changing social dynamics. Also, long-term collaborations based on shared values are vital for ensuring the sustainability of these cultural organizations.

Constant Sustainability: Forever Is a Verb

The Roundtable Discussion gathered venue operators, artists, producers, and performing arts group leaders to explore sustainability practices in the arts. Attendees shared experiences about green initiatives, such as reducing single-use plastics, recycling props, and implementing energy-efficient systems like LED lighting. Despite some challenges, such as the high costs and balancing artistic needs with sustainability goals, participants were keen to find solutions.

 

Formosa Circus in Taiwan creatively recycles festival materials into reusable items, and Australia's Adelaide Festival Centre repurposes banners into tote bags. Various venues discussed energy-saving methods like ice-based cooling and solar panel installations, while others, such as National Kaohsiung Center for the Arts, use nighttime cooling to reduce energy costs.

 

Additionally, the conversation highlighted accessibility practices, including programs for neurodiverse audiences and integrating sensory-friendly tools. Attendees emphasized the need for a mindset shift, where sustainability is ingrained in all aspects of production, and public education plays a key role in encouraging audience acceptance of greener practices.

 

The discussion concluded with the need for ongoing communication and collaboration among all stakeholders to achieve a balance between artistic creativity and environmental responsibility.

 

Algorithm Theater: AI’s Creative Journey

The fourth session focused on the transformative role of AI in the arts, moderated by Ariel Yonzon, Associate Artistic Director at the CCP. The panel featured insights from Pierre Caessa of Google Arts & Culture, Kathy Hong of Cloud Gate, choreographer Hiroaki Umeda, and Chieh-Hua Hsieh of Anarchy Dance Theatre, each exploring AI's potential to expand boundaries.

 

Pierre Caessa opened with Google Arts & Culture’s innovative projects, emphasizing how AI can help artists tell richer stories. Notable collaborations included the Centre Pompidou’s project that reimagined Kandinsky’s experience while painting Yellow-Red-Blue, and an AI-generated dance sequence with choreographer Wayne McGregor, showing how AI is being integrated into cultural ecosystems.

 

Kathy Hong presented Cloud Gate’s Waves, the dance troupe’s first AI-powered production. Working with Japanese media artist Daito Manabe, they introduced a “13th dancer”—an AI entity that extended the choreography beyond human limitations. Despite challenges in merging AI with live performances, Cloud Gate’s interactive audience experiences deepened engagement with the creative process.

 

Hiroaki Umeda discussed his journey of blending technology with dance, using motion sensors and AI to integrate sound, visuals, and choreography. His recent works explore nature’s role in human movement, using technology to create new, dynamic performance elements.

 

Chieh-Hua Hsieh shared Anarchy Dance Theatre’s collaboration with AI to push the limits of human and digital interaction. Projects like CyborgEros used AI to generate virtual dancers, creating new perspectives on human movement and its relationship to technology.The session concluded with all panelists agreeing that while AI offers exciting tools for innovation, it will just serve as a powerful collaborative partner.

The Connecting Series provides AAPPAC members with an invaluable platform to explore potential partnerships through the development and presentation of new work. Its primary goal is to foster collaboration among members, offering opportunities for commissioning and co-production. This initiative aims to extend the longevity of creative works and increase visibility for artists, ultimately enriching the performing arts landscape.

 

In this session, eight works were presented. Host Yi-Wei Keng, a renowned Taiwanese curator, facilitated the session, guiding live presentations by posing thoughtful questions to the artists. This interactive approach allowed presenters to better articulate their work’s context and vision.

 

The first presentation, BIRDY by Hung Dance, blends traditional opera and martial arts, exploring themes of balance, swinging, and falling.

 

The second work, ICE AGE by Resident Island Dance Theatre, is a collaboration with disabled artist Maylis Arrabit from France. Created during the COVID-19 pandemic, it delves into themes of isolation, empathy, and human connection in extreme circumstances.

Goldfish, a co-production between Terrapin and Aichi Arts Center, was presented as a video. This piece addresses disaster recovery, utilizing locally sourced materials to highlight resilience and renewal.

 

The fourth work, This is Not an Embassy (Made in Taiwan), explores the challenge of creating an embassy for a state that lacks official recognition. Jointly produced by the National Theater & Concert Hall Taipei and Théâtre Vidy-Lausanne, the production is helmed by Stefan Kaegi of Rimini Protokoll.

 

The fifth presentation, UNITED by Chunky Move, was showcased through video. This work, using exoskeleton-like suits and gamelan-inspired music, mixes street dance with creature technology to explore spiritual connections between humans and the environment.

 

Next was Two Blood by Australian Dance Theatre, it is part concert, part story, part ceremony, utilizing multiple pillars of storytelling, text, dance, music and projection.

 

The seventh work, Samsara-A Cine-Concert by Garin Nugroho, commissioned by Esplanade, is a black-and-white silent film accompanied by live gamelan music and electronic sounds by Gabber Modus Operandi. The piece incorporates traditional Balinese dance, masks, and wayang kulit to create a rich, multi-layered experience.

 

Lastly, Beastosis, an interactive XR theater piece, was commissioned by National Taichung Theater. Based on Chang-Ting Chiu's novel, it immerses the audience in a virtual world, offering an engaging, multi-sensory exploration of the novel's thrilling scenes.

In addition to the opening and closing performances, the conference features a special performance, Shattered Moon by Dance Forum, along with several showcase highlights. These include Eschar by House Peace, Dream of Becoming by Taipei Puppet Theater, The WhiteSnake?! The Final Struggle of The Clowns by Theatre De La Sardine, Light of Life by Diabolo Dance Theatre, The Desperado of LongSing Street by Flying Group Theatre, …and, or…by I-Ling Liu, Falling into Dreams by Studio Acht, Don’t Cry, Dancing Girls the Musical Concert by VMTheatre Company, FreeSteps NiNi by HORSE, Landscape of the New Horizon of Sheng: A Tale of Two Cities by Li-Chin Li.

 

During the three-day conference, tours were arranged and members visited two key venues: the Taipei Performing Arts Center (TPAC), where the conference was held, and the Taipei Music Center (TMC). During the weekend of the conference, the urban international music festival JAM JAM ASIA took place at TMC, featuring fifty groups of musicians from across Asia to promote musical exchange and the internationalization of Taiwanese music.

Chairman Douglas Gautier expressed gratitude and highlighted the vibrant energy of Taiwan’s performing arts scene, especially its young, independent artists. He welcomed members from across the globe, and stressed the need for AAPPAC to continue sustaining and recruiting members.

 

In this time for conversation, Ariel Yonzon noted that 80% of the Connecting Series works were created by millennial artists, underscoring the importance of supporting the next generation and arts education. Joyce Chiu promoted the upcoming Federation of Asian Cultural Promotion (FACP) conference and invited everyone to reunite next year in South Korea for both AAPPAC and FACP. Kenjiro Hayashi from Aichi Arts Center suggested creating a session for newcomers to introduce themselves and urged native English speakers to speak slower for better understanding. 

 

Gautier concluded by expressing excitement about the present and future of AAPPAC, before inviting the president of Daejeon Arts Center to the stage. President Kim announced that Daejeon will host AAPPAC in 2025. She noted the increasing influence of technology and AI, which brings both risks and opportunities, and highlighted the importance of the cultural arts sector in addressing these challenges. AAPPAC 2025 will be held from October 21-23 in Daejeon, with the theme "From Local Inspiration to Global Influence."