Woven Veins - for Sinfonietta (2019) - 7'
＊This work was awarded The Christine Clark/Theodore Front Prize by the International Alliance for Women in Music in 2019
In 1930, aboriginal Seediq people in Taiwan rose and confronted Japanese colonial government in response to long-term oppression by Japanese authorities. During that time, aboriginal people were treated as savages rather than equal subjects. Lots of their rituals and customs were banned because they were perceived as barbaric and uncivilized.
Nowadays, aboriginal cultures are “slaughtered” in a different way. Fusion between different races and highly developed technology industry accelerates the extinction of traditional culture. With different ethnic groups living in this young country, cultural identity is sometimes confusing for most Taiwanese. What it means to be a Taiwanese? What is our culture?
Nowadays, aboriginal cultures are “slaughtered” in a different way. Fusion between different races and highly developed technology industry accelerates the extinction of traditional culture. With different ethnic groups living in this young country, cultural identity is sometimes confusing for most Taiwanese. What it means to be a Taiwanese? What is our culture?
Lost Lust - for Orchestra (2019) - 7'
“I am encouraging everyone to be a happy, healthy, unrestrained slut. When everyone is a slut, no one can use this word against women anymore”, said Ya-Ching Yang, a Taiwanese girl launched a project called One Hundred Kisses in Paris. When she was a student studying in Paris, an idea suddenly struck her: “Why not have a photographer taking pictures of me kissing a hundred random men in the streets of Paris?” Her action soon provoked heating arguments in Taiwan. She mentioned in a lecture, “There is no need to justify my action. And of course there is sexual desires in my works. I selected these men because I found them attractive.” She then brought up a question: why does women embracing lust makes the society so anxious?
Starting with a strong, justified musical gesture, the brilliant, splendid sounds are gradually suppressed by an invisible force. The timbre is transformed from piercing metal sounds to soft wooden tone color. It’s like society expect “decent ”women to hide their inner lust, regard their natural human desires as shameful and sinful. The second half of the piece is about release and liberation. From a really quiet and peaceful passage, the faith and belief are like buds is spring, waiting to blossom and be transformed into something beautiful and unbreakable. Like Ya-Ching’s tile of the lecture: “Dear girls, please regain lust, rights, confidence and physical autonomy!”
Starting with a strong, justified musical gesture, the brilliant, splendid sounds are gradually suppressed by an invisible force. The timbre is transformed from piercing metal sounds to soft wooden tone color. It’s like society expect “decent ”women to hide their inner lust, regard their natural human desires as shameful and sinful. The second half of the piece is about release and liberation. From a really quiet and peaceful passage, the faith and belief are like buds is spring, waiting to blossom and be transformed into something beautiful and unbreakable. Like Ya-Ching’s tile of the lecture: “Dear girls, please regain lust, rights, confidence and physical autonomy!”
Collision - for Orchestra (2017)
*This is a MIDI recording.
*The recording is only a partial of the piece.
*The recording is only a partial of the piece.
Transmutation - for Orchestra (2016) - 10'30''
Wave in Heart - for Orchestra (2015) - 6'30''