Observers have described Nai-Ni Chen’s choreography as a combination of traditional Chinese dance with Western styles, or a merging of contemporary and Chinese influences, or Western contemporary movement with Asian forms. Ms. Chen, who was posthumously awarded a Bessie for Lifetime Achievement in December 2022, described her work this way: “…if I speak the truth from my heart, it will express my background—traditional Chinese movement and a Western dance vocabulary.”
To understand and enjoy Nai-Ni Chen’s work does not require any Eastern or Western cultural reference. Overriding all other influences is another aspect that speaks of the common experience of all living beings: of living on Earth. It is her appreciation and celebration of nature and the environment.
In no way could she be called an evangelist, but Nai-Ni, who was born and spent the first 18 years of life in Taiwan, was committed to Buddhist teaching. “Many of my dances are inspired by nature,” she said. “That’s the Chinese way and philosophy.” In another interview she said, “My parents always took us out to get close to nature, the ocean, the beach and the mountains.” Even until her accidental death while swimming in the ocean, Nai-Ni Chen was a devoted nature-lover who enjoyed camping, walking in the woods, and being in the out-of-doors.
Reverence for the natural world and living in harmony with it is not merely a Buddhist / Asian concept. It is a way of existence for all indigenous cultures. Even Pope Francis I in his book Laudato Si’ (subtitled “on care for our common home”) promotes protecting the earth against environmental degradation. And his name connotes that he follows in the philosophical footsteps of St. Francis of Assisi who spoke of Brother Sun and Sister Moon. These paragraphs are intended to invite the reader to reconsider Nai-Ni Chen’s choreography beyond the themes that challenged her (like social alienation, finding strength in unity, and the danger of social media),and look at her work through the lens of inclusion of natural elements (like the sounds of bird song and rushing brooks in her scores, the movement of animals, and the recreation of the shape of a breeze) but also the emotions engendered in humans by our interactions with nature. Perhaps her work was as much about nature as other themes? Robert Johnson wrote for NJ Arts.com, “Choreographer Nai-Ni Chen seems able to command the forces of nature. Like a shaman casting spells, she summons the delicate patter of raindrops, the crackle of flames and swirling gusts of wind, bringing the elements indoors and trapping them on stage.”
The natural influences in Nai-Ni Chen’s choreography are clearly exemplified in Raindropsand Way of Five: Fire, two dances that are frequently included in the company’s mixed repertoire programming which is often given the omnibus title “The Song of the Phoenix.”
Nai-Ni Chen’s Raindrops.
In Raindrops, with its score by Robert Rich and Sainkho Namtchylak, Nai-Ni Chen communicates the joy of walking in the rain—which quickly transforms into dancing in the rain. The emotional atmosphere is playful, goofy, exuberant and fun. In the last section of the dance we receive an expression, through movement, of the earth’s refreshment following a storm.
Nai-Ni Chen’s Way of Five: Fire.
Way of Five, Fire, with music by Tan Dun, captures the awesome and often destructive power of one of the five elements in the traditional Chinese world view. What comes to mind is the building intensity of a campfire or forest fire. And it culminates in what can only be described as a volcanic eruption.
With the untimely passing of Nai-Ni Chen in December 2021 the task of preserving her most important choreography has fallen to long-time artistic associate Greta Campo. As the world increasingly faces climate change events that were unimaginable 20 years ago the appreciation and love of nature found in Nai-Ni Chen’s work becomes an even more valuable cultural asset that should be exercised as aids to win hearts and minds in the effort to staunch climate change.