As gender and feminism continue to evolve, Taiwanese artist SU Pin-Wen and pianist LIN Mai-Ke are pushing the conversation further with their latest work, 'Girl's Notes'. This piece doesn’t merely challenge convention; it dismantles it.
Featured in Fringe Focus Taiwan at the 2024 Melbourne Fringe Festival, 'Girl's Notes' combines contemporary dance with performance art, sparking discussions on the power dynamics of women’s sexuality and rigid social structures surrounding gender. At its core, the performance examines how society dictates behaviour, especially for women, and how these expectations shape both private and public lives.
For SU Pin-Wen, the work is deeply personal, reflecting his traditional Chinese dance training and experience as an Asian artist. He describes his favourite and least favourite part of the performance: "I love Sinu – it comes from my traditional Chinese dance practice. It blends four emotions: joy, anger, sadness, and happiness. Joy and happiness are distinct, and during the performance, the audience’s focus shifts to my face, even though I’m completely nude."
This shift in gaze – from his body to his emotions – is central to 'Girl's Notes'. SU reflects on the connection he feels with the audience during these moments: "The way the audience looks at me changes as I express different emotions. They’re not viewing me as a man or a woman; they’re trying to understand my emotions."
A unique aspect of 'Girl's Notes' is the collaboration between SU’s movements and LIN Mai-Ke’s live piano performance. SU explains, "We’ve travelled together as a team, using he/him/they pronouns. LIN Mai-Ke, the pianist, is part of the LGBTQ community, which adds a fascinating dynamic. People often assume there’s a heterosexual concept when they see a masculine and a feminine figure on stage. But we explored deeper questions, such as whether Chopin, as a man, could have been queer, and if so, in what way?"
This introspective approach influences how SU and LIN structure their performance, creating intentional space on stage. SU adds, "We wanted to give the audience flexibility in how they engage with us. They can close their eyes and simply enjoy the music, observe me for a few seconds, or take in the entire visual. We’re allowing the audience to engage with our performance on their own terms."
The performance also delves into how gender norms and expectations, particularly related to beauty, are deeply ingrained in both art and daily life. SU notes the significance of collaborating with LIN Mai-Ke, a queer, LGBTQ pianist, saying, "It’s special to work with someone who is open to sharing the stage with another nude body, especially given our sensitivity to body image issues."
Through this partnership, 'Girl's Notes' redefines the boundaries of dance and music, immersing the audience in a space where gender, sexuality, and relationships are reimagined. SU’s performance blends vulnerability with strength, blurring the lines between physicality, emotion, and identity. Together with LIN, they create a performance that not only challenges traditional perceptions but also invites the audience to rethink their own understanding of bodies and connections.
'Girl's Notes' plays Melbourne Recital Centre 11-12 October.
