Lin Hwai-min Reflects on Half-Century of Cloud Gate, New York Connection
Cloud Gate Dance Theatre founder Lin Hwai-min is in New York to attend a major lecture at the Asia Society, reflecting on his half-century journey in dance and the unique path Cloud Gate has taken, emphasizing its role as a social declaration.
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- 📰 Published: April 30, 2026 at 09:51
- 🔍 Collected: April 30, 2026 at 10:01 (9 min after Published)
- 🤖 AI Analyzed: May 1, 2026 at 09:57 (23h 55m after Collected)
Central News Agency
(Central News Agency reporter Liao Han-yuan, New York, 29th) Lin Hwai-min, founder of Cloud Gate Dance Theatre, is in New York today preparing to attend a major lecture held by the "Asia Society." In the early 1970s, a Taiwanese boy, Lin Hwai-min, only formally began learning dance at the age of 23. After returning to Taiwan, he "accidentally" managed a dance company, and Cloud Gate embarked on a path different from other dance companies worldwide.
In 1969, Lin Hwai-min, who graduated with a degree in journalism, went to the United States for his master's degree but formed an indissoluble bond with dance. After graduating with his master's in 1972, he came to New York to study dance at the Martha Graham Dance Company. After returning to Taiwan, he founded "Cloud Gate Dance Theatre" in 1973.
In the early 1970s, New York had legendary dancers Rudolf Nureyev and Margot Fonteyn, whose performances captivated the world. There was also Martha Graham, who had left the stage to focus on choreography, and Lin Hwai-min, in his early 20s, riding a bicycle.
Lin Hwai-min recalled that being able to dance back then was an extraordinary feat. Starting at age 10 was just basic; everyone didn't know that by 23, there was no hope. Because he wasn't preparing to be a professional dancer, he danced happily, just "accidentally" managing a dance company.
He said: "Being a dancer back then was a beggar's profession, but everyone knew it wasn't, though parents didn't know how much suffering was involved. Ballerinas' feet are not pretty."
Lin Hwai-min, 79, came to spring New York alone, without an assistant, full of vigor, to attend "Encounters and Exchanges of Taiwanese and American Dance" at the Asia Society on May 1st, where he will converse with Jodee Nimerichter, director of the American Dance Festival.
Cloud Gate Dance Theatre first performed in the US in 1979, the year Taiwan and the US severed diplomatic ties. The "Legacy" performance, with sweat on stage and tears in the audience, became a shared memory of that generation. The following year's performance in New York held special significance. Now, Cloud Gate has been performing worldwide for nearly half a century.
"From the very beginning, whether Cloud Gate was doing its own thing or performing for free at the grassroots level, these basics had nothing to do with dance or aesthetics; it was a social declaration. The path Cloud Gate took is different from that of dance companies in other countries. I am very happy that (Cloud Gate) can serve New Yorkers who have never been to Lincoln Center, and audiences from various places who have never been to large venues in Taipei."
Retired Lin Hwai-min, busy with the FOCASA Circus's "Jimmy Boy's 100 Brave Times," came to New York again to meet old friends and walk in the lush Central Park. He said the world is changing, moving towards broader horizons. Who would have thought Taiwan would elect its own president, and a woman, for two terms? During her eight-year tenure, same-sex marriage became legal, making Taiwan the first country in Asia. These are miracles in the Chinese-speaking world. Dance is progressing, and we seem to be progressing even more.
Speaking of the arduous career in dance, creation, and managing a dance company, Lin Hwai-min frowned: "There is only one Mikhail Baryshnikov; without effort, it's impossible. Prostrating oneself, covered in wounds, even the Buddha won't smile at you."
"Yesterday I went to see the New York City Ballet. The dancers lifted their legs very high, and the rehearsal was excellent, incredibly clean. Our era was terrible; George Balanchine had many works, and most performances weren't well-rehearsed, but now they are neatly organized, and it looks very good. However, I always feel it's just basic, just clean, which doesn't seem quite right," Lin Hwai-min mused.
International artistic dance competition is fierce. Dancers and dance companies from neighboring countries like Korea, Japan, and China, whether in traditional ballet or modern dance, are emerging in large numbers, vying for principal and soloist positions in classic dance companies.
Lin Hwai-min observed, "Korean children find teachers from Russia at a very young age and are meticulously trained; for every one who emerges, there will be ten. Ballet is a fluid thing, moving from Italy, France to Russia, and then worldwide. What's truly interesting is that street dance is now becoming mainstream."
Lin Hwai-min's "Encounters and Exchanges of Taiwanese and American Dance" is the inaugural event of the "Taiwan POP – Manhattan Taiwanese Cultural Black Tide" project, marking the 35th anniversary of the Taipei Cultural Center in New York. Lin Hwai-min will share how a Taiwanese person absorbed the essence of the city and dance in 1970s New York, initiating Cloud Gate's global connection. (Editor: Wei Shu) 1150430
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(Central News Agency reporter Liao Han-yuan, New York, 29th) Lin Hwai-min, founder of Cloud Gate Dance Theatre, is in New York today preparing to attend a major lecture held by the "Asia Society." In the early 1970s, a Taiwanese boy, Lin Hwai-min, only formally began learning dance at the age of 23. After returning to Taiwan, he "accidentally" managed a dance company, and Cloud Gate embarked on a path different from other dance companies worldwide.
In 1969, Lin Hwai-min, who graduated with a degree in journalism, went to the United States for his master's degree but formed an indissoluble bond with dance. After graduating with his master's in 1972, he came to New York to study dance at the Martha Graham Dance Company. After returning to Taiwan, he founded "Cloud Gate Dance Theatre" in 1973.
In the early 1970s, New York had legendary dancers Rudolf Nureyev and Margot Fonteyn, whose performances captivated the world. There was also Martha Graham, who had left the stage to focus on choreography, and Lin Hwai-min, in his early 20s, riding a bicycle.
Lin Hwai-min recalled that being able to dance back then was an extraordinary feat. Starting at age 10 was just basic; everyone didn't know that by 23, there was no hope. Because he wasn't preparing to be a professional dancer, he danced happily, just "accidentally" managing a dance company.
He said: "Being a dancer back then was a beggar's profession, but everyone knew it wasn't, though parents didn't know how much suffering was involved. Ballerinas' feet are not pretty."
Lin Hwai-min, 79, came to spring New York alone, without an assistant, full of vigor, to attend "Encounters and Exchanges of Taiwanese and American Dance" at the Asia Society on May 1st, where he will converse with Jodee Nimerichter, director of the American Dance Festival.
Cloud Gate Dance Theatre first performed in the US in 1979, the year Taiwan and the US severed diplomatic ties. The "Legacy" performance, with sweat on stage and tears in the audience, became a shared memory of that generation. The following year's performance in New York held special significance. Now, Cloud Gate has been performing worldwide for nearly half a century.
"From the very beginning, whether Cloud Gate was doing its own thing or performing for free at the grassroots level, these basics had nothing to do with dance or aesthetics; it was a social declaration. The path Cloud Gate took is different from that of dance companies in other countries. I am very happy that (Cloud Gate) can serve New Yorkers who have never been to Lincoln Center, and audiences from various places who have never been to large venues in Taipei."
Retired Lin Hwai-min, busy with the FOCASA Circus's "Jimmy Boy's 100 Brave Times," came to New York again to meet old friends and walk in the lush Central Park. He said the world is changing, moving towards broader horizons. Who would have thought Taiwan would elect its own president, and a woman, for two terms? During her eight-year tenure, same-sex marriage became legal, making Taiwan the first country in Asia. These are miracles in the Chinese-speaking world. Dance is progressing, and we seem to be progressing even more.
Speaking of the arduous career in dance, creation, and managing a dance company, Lin Hwai-min frowned: "There is only one Mikhail Baryshnikov; without effort, it's impossible. Prostrating oneself, covered in wounds, even the Buddha won't smile at you."
"Yesterday I went to see the New York City Ballet. The dancers lifted their legs very high, and the rehearsal was excellent, incredibly clean. Our era was terrible; George Balanchine had many works, and most performances weren't well-rehearsed, but now they are neatly organized, and it looks very good. However, I always feel it's just basic, just clean, which doesn't seem quite right," Lin Hwai-min mused.
International artistic dance competition is fierce. Dancers and dance companies from neighboring countries like Korea, Japan, and China, whether in traditional ballet or modern dance, are emerging in large numbers, vying for principal and soloist positions in classic dance companies.
Lin Hwai-min observed, "Korean children find teachers from Russia at a very young age and are meticulously trained; for every one who emerges, there will be ten. Ballet is a fluid thing, moving from Italy, France to Russia, and then worldwide. What's truly interesting is that street dance is now becoming mainstream."
Lin Hwai-min's "Encounters and Exchanges of Taiwanese and American Dance" is the inaugural event of the "Taiwan POP – Manhattan Taiwanese Cultural Black Tide" project, marking the 35th anniversary of the Taipei Cultural Center in New York. Lin Hwai-min will share how a Taiwanese person absorbed the essence of the city and dance in 1970s New York, initiating Cloud Gate's global connection. (Editor: Wei Shu) 1150430
Choose to stand with facts; every sponsorship you provide is a force for protecting press freedom.
Download the Central News Agency's "First-hand News" APP to stay updated with the latest news.
No text, images, or videos from this website may be reproduced, publicly broadcast, or publicly transmitted and used without authorization.