Awarded the Silver Lion at the 2023 Venice Dance Biennale, the TAO Dance Theater presents pieces 13 and 14 at the Théâtre de la Ville in Paris from 16 to 19 October. Both works belong to the Numerical Series, a sequence that delves into the richness of dance in its purest form: that of movement.
Founded in 2008 by choreographers Tao Ye and Duan Ni, along with producer Wang Hao, the company stands out for its innovative approach to movement, rooted in circular dance technique. At its core lies pure dance, centred on the ritualistic repetition of natural gestures and body movements, stripped of any embellishment. This purist aesthetic avoids any categorisation.
Observing 13 on the stage, it becomes clear that the group’s unity remains unbroken, even when a dancer falls, collides with another, or is lifted or embraced by a fellow performer. The sense and rhythm of the slow rotation of the dancers’ bodies (swaying from one side of the stage to the othe) never falters, carried along by a simple piano score.
The grace and hypnotic power of their rotating, bare feet command much of the audience’s attention. These bodies, stimulated by decelerated rhythms that only quicken when they fall or rise abruptly, become mere vessels, transforming continuously into whatever the spectator’s imagination dictates—though this immersion was occasionally disrupted by the distracting sound of coughing from the audience.
The choreography of 14, set to the violent ticking of a clock as its only soundtrack, seems to focus on the fluidity of the ensemble as it undulates, spins, halts, and orbits across five diagonal lines, each composed of one, two, four, four, and three dancers. A product of dynamic complexity and meticulous rhythm, 14 pushes the circular dance vocabulary to its limits. These repetitive, serpentine gestures evoke both the rotational swing of a pendulum (or clock hands) and the cyclical nature of existence — ultimately, of time itself.
In both performances, each lasting around half an hour, the dancers spin and sway barefoot and, surprisingly, with their eyes closed, inside a minimalist cube of black walls and either white or dark flooring, depending on the staging. Costume design plays a key dramaturgical role. In 13, deconstructed trench coats in shades of beige and grey dominate the wardrobe, while 14 features influences from the hakama and samurai kimono, combined with the vibrant colours of Western pop culture. The costumes, crafted by DNTY, a clothing brand owned by the two choreographers, highlight the importance TAO Dance Theater places on individualised garments.
Though the company’s works are distinct, Tao Ye and Duan Ni explain that “they are all part of a single piece.” This is why they refuse to give titles with words, as any lexical reference could fragment the overall work and evoke concepts or symbols that might steer the audience’s interpretation. Hence, the numerical naming: starting with the founding duo (2), the number in each title corresponds to the number of performers in the piece. For the creators, dance does not need words to validate its essence.
Upon receiving their award in Venice, the choreographers explained that every Chinese dancer undergoes training in both classical and contemporary dance techniques, alongside basic elements of traditional dance. This rigorous preparation results in extraordinary physical agility and unyielding discipline. Tao Ye built his circular dance technique on this foundation, with fluidity and collective harmony forming the core of his choreographic work.
Tao Ye’s original style, marked by a zen and minimalist philosophy, oscillates between repetition and interruption. Through vigorous, precise movements of great visual beauty, his performers blend virtuosity, rhythmic precision, and fluidity. The company has showcased its work in diverse venues, from the ruins of an ancient Roman battlefield to Paris Fashion Week (in 2015, they were invited to collaborate in the Y-3 runway show by Japanese designer Yohji Yamamoto).
TAO Dance Theater is also one of the most sought-after Chinese contemporary dance companies on the global stage. The Numerical Series choreographies follow a simple yet creative concept and have been performed in over forty countries and at more than a hundred festivals worldwide. For more than fifteen years, TAO has explored the idea of pure movement. It is therefore unsurprising that their dynamic, hypnotic gestures generate a pulsating energy that not only permeates the dancers’ bodies but also captivates the minds of those who watch.
