2026北藝學院︱構作與創作秋季課程

⭐ 舞蹈構作套票：2026.9.7（一）12:00起，購買「2026北藝學院︱構作與創作秋季課程」講座1～3，三場講座各一張，享9折優惠。三場講座必須一起購買，不拆售。▶購票連結

講座4｜克里斯汀・赫佐 【何以為「構作／創作」】

時間：11/18（三）19:30~21:00
地點：11 樓排練場 1
講者：克里斯汀・赫佐
與談人：施馨媛

「『構作』並非止於形式的排列、身體或動作而已，而是要帶出空間，讓不同的存在與彼此相遇，不同的物質進行對話，視野得以漫遊，且讓時間以不同的方式被感受。」──克里斯汀・赫佐

在這次講座中，赫佐將帶領觀眾一窺他的創作方式。比起物件的製作，他更關注的是『關係』的創造：一場表演如何找到氣息？空間如何從單純的場景，轉化為體驗的發生場域？光線、聲音、舉止、靜默、動作等元素，如何形成一種不以敘事為目的的構作，而是讓各種狀態與彼此之間的碰撞得以浮現？

在創作中，赫佐使用舞台上種種元素的間隙、摩擦，和脆弱的平衡狀態來構作，由此形成一種關係性的書寫，既關注身體之間浮現的事物，也關注身體與空間之間的連結。這次講座會是一場開放、不設限的交流，探討創作的各種過程：在創造一部作品時，隨之而來的種種構作舉措、直覺、轉變，和不確定性。

另外，赫佐的分享將觸及聆聽、流動、感知的構築方式、對場域的記憶、音樂、舞台美學、舞蹈等面向。對於他而言，這些並非各自獨立的領域，而是互相召喚、轉化、滋養的力量。這場講座也試圖邀請人們進入一種「持續流動的思考方式」：在其中，創作或構作也許意味著迎向意外，讓各種形式得以呼吸，讓空間本身成為關注核心、形成關係，和存在的場域。

講座5｜中島那奈子 ✕ 克里斯汀・赫佐【敘事與形式：舞蹈構作之觀點】

時間：11/19（四）19:30~21:00
地點：11 樓 排練場 1
主持人：陳雅萍
講者：克里斯汀・赫佐、中島那奈子

在赫佐的創作實踐裡，「直覺」是一項至為根本的構作工具。

對赫佐而言，「直覺」是長時間經驗累積與沉澱的結果，其中蘊含著知識、傳承，以及我們發聲的場域。

在抽象的編舞實作當中，「敘事」的用意是什麼？

倘若敘事的形式刻意與「說故事」的概念背道而馳，我們又要怎麼勾勒敘事的形式呢？

我們應該依據主題或主體來創造敘事，還是應該讓敘事從作品的形式中自然浮現？

中島那奈子將藉由伊凡．瑞娜提出之「動與被動」的概念，探索不同舞蹈文化的構作敨示。她從日本能劇的角度來探討：「無法移動之物要如何移動？」以及從現代舞的脈絡來看：「應移動之物要如何移動？」

瑞娜追尋的理論，會透過傳統日本戲劇和當代歐洲舞蹈來脈絡化，赫佐和中島兩人會在這個後現代的理論架構裡帶入種種敘事，這些敘事或基於某些主題或主體，或源自作品的形式本身，工作坊將探索各種舞蹈文化中的敘事和構作。

⭐五場套票：2026.9.7（一）12:00起，購買「2026北藝學院︱構作與創作秋季課程」五場講座各一張，享85折優惠。▶購票連結

【講師陣容】（依課程開始時間排序）

講師｜中島那奈子（Nanako Nakajima）

傳統舞蹈訓練出身，在與舞者的合作中漸漸轉向舞蹈構作工作

꒰ 亞洲少數活躍於國際劇場第一線的舞蹈構作專家
꒰ 2006-2007年度舞蹈界奧斯卡「貝西獎」得主
꒰ 2017年美洲文學監督與戲劇構作協會「傑出構作獎」特別表揚
꒰ 日本早稻田大學文化構想學部副教授

「構作是我的『dream job』！它讓我以自己從未想像過的方式結合我的舞蹈訓練、理論背景與創作實踐。」

舞蹈學者、舞蹈構作、日本舞踊「藤間流」師範（傳授者；藝名：藤間勘那惠），工作足跡遍及美國、歐洲與亞洲各地的藝術節、劇院、大學，並且致力將「老化」（Aging）相關的研究融入舞蹈構作，現任日本早稻田大學文化構想學部副教授。

中島那奈子與紐約藝術家Luciana Achugar一同構作之作品《舞蹈空間企畫：窮盡之愛》（Exhausting Love at Danspace Project）曾獲得2006–2007年度貝西獎（New York Dance and Performance Award，俗稱The Bessies），本人亦獲得2017年美洲文學監督與戲劇構作協會（Literary Managers and Dramaturgs of the Americas）傑出構作獎（Elliott Hayes Award for Outstanding Achievement in Dramaturgy）之特別表揚。

曾任2022年澳洲凱爾編舞獎（Keir Choreographic Award）評審、2019–2020年擔任柏林自由大學劇場研究所「Valeska Gert客座教授計劃」客席學者，2022–2024年擔任加拿大班夫藝術創意中心（Banff Centre for Arts and Creativity）專任舞蹈構作，亦曾在新加坡擔任亞洲當代表演藝術學習平台（Certificate Programme for Critical Practice in Contemporary Performance，簡稱[CP]³）講師。

著作包括《舞蹈中老化的身體》（The Aging Body in Dance, 2017）和《連結的身體：當代表演的文化與生態》（Networked Bodies: The Culture and Ecosystem of Contemporary Performance, 2022）。目前正在撰寫專書《老化的舞蹈構作：跨境穿越世代、舞蹈文化、體現史，探討認同的歷程》（Dramaturgies of Aging: A Journey of Negotiating Identity Across Generations, Dance Cultures, and Embodied Histories in Between Continents; Routledge, 2027）。

個人網站：http://www.nanakonakajima.com/

講師｜高林白牛口二（Kouji Takabayashi）

꒰ 高齡90歲的資深能樂師
꒰ 日本重要無形文化財「能樂」綜合認定保持者之一

京都「喜多流」能樂師，1935年出生，自幼僅由父親高林吟二（Ginji Takabayashi）教導，1971年成為喜多流職業能樂師。自1982年起，經擁有400年傳統的喜多流京都分部許可，主辦「喜多流涌泉能」表演，致力推廣與延續能劇表演傳統。1938年在《飛鳥川》以兒童角色首次登台，日後出演《卒都婆小町》（1998）、《鸚鵡小町》（2009）、《姨捨》（2012）之「老女物（以老年女性為主角的能劇作品）」主角，自2016年《江口》後正式自仕手演出退休，2017年起參與京都藝術劇場表演藝術研究中心之研究計畫，包括「伊凡．瑞娜展演（Yvonne Rainer Performative Exhibition）」等。2018年第28屆催花賞（Saika Award）得主，2023年3月獲選日本舞評網站《THE DANCE TIMES》當月最佳舞者。

講師｜克里斯汀・赫佐（Christian Rizzo）

꒰ 從服裝設計、視覺藝術、搖滾樂團到編舞家與舞蹈構作的跨領域鬼才
꒰ 法國里昂歌劇院巴蕾舞團、馬賽國立芭蕾舞團等多個國際知名單位特邀合作
꒰ 2013年法國戲劇、音樂劇、歌劇及芭蕾舞著作人協會最佳編舞獎
꒰ 2014年獲頒藝術及文學軍官勳章（Officer of the Order of Arts and Letters）
꒰ 2017年獲頒台法文化獎
꒰ 2015-2024年任蒙彼里埃國家編舞中心藝術總監

 

「『構作』對我而言就如同做飯一般，它讓我持續探索與實驗，我接觸過的物質和我的想像力，如何以某種組織或順序被實踐出來。」──克里斯汀・赫佐

1965年出生於法國坎城，創作語彙不拘於任何單一形式，橫跨編舞、導演、舞台美學、視覺藝術，並曾執導華格納的《唐懷瑟》（Tannhäuser）等多部歌劇；自1990年代中以降發展出的作品，透過細膩的視覺語彙，關注身體、空間與物質的共振關係，至今已參與超過逾40齣作品。

赫佐早期從視覺藝術與音樂的角度接觸藝術創作，除了服裝設計、創立自己的服飾品牌外，還組了搖滾樂團，其藝術創作方式至今仍受早年經驗的影響。即使在1990年代初轉往現代舞、表演藝術和劇場後，他並未屏棄生涯初期的積累，而是將之納入自身的跨域對話中，因此除了創作，也常見赫佐與其他藝術家長期合作，擔任服裝設計或為其創作配樂。他於1997年成立藝術團體「脆弱組織」（l’association fragile），至今能持續推出前衛、具實驗性的跨領域藝術創作。

赫佐在2003年以《不會很久，頂多一個月，等我回來之後再帶你去看早場的戲，這是我曾經答應你的（avant un mois je serai revenu et nous irons ensemble en matinée, tu sais, voir la comédie où je t’ai promis de te conduire）》獲得法國評論人協會年度最佳編舞新秀獎（Prix de la révélation chorégraphique de l'année du Syndicat de la critique）。他也受邀為重要舞團創作，包括里昂歌劇院芭蕾舞團、舞蹈空間舞團、馬賽國立芭蕾舞團等，也參與在巴黎裝飾藝術博物館、龐畢度中心等機構的視覺藝術計畫。

赫佐於2014年獲頒法國藝術與文學勳章（Ordre des Arts et des Lettres），並在2015年成為蒙彼里埃國家編舞中心（ICI–CCN）藝術總監。自2000年中期後，他便與臺灣保持密切關係，除了呈現《依據真實（d'après une histoire vraie）》（2016）、《伊恩症候群（le syndrome Ian）》（2017）、《依據自然（d'après nature）》（2018）等作，也常參與講座或主持工作坊。他在2018年成為臺中國家歌劇院台灣國際藝術節首位外籍策展人，2017年獲頒台法文化獎（Franco-Taiwanese Cultural Prize）。

與談人｜施馨媛

꒰現任維也納國際藝術節（Wiener Festwochen）國際策展小組成員
꒰前國家兩廳院藝術顧問

施馨媛為國際文化顧問與策展人，在節目策劃、藝術管理、場館治理及跨國文化外交領域擁有逾二十年的豐富經驗。她於 2024 年獲頒法國文化部「藝術與文學騎士勳章」，目前擔任維也納藝術節（Wiener Festwochen）與紐約水磨坊藝術中心（The Watermill Center）藝術顧問，並受倫敦沙德勒之井劇院（Sadler’s Wells）邀請擔任2025與2027年「ROSE 國際舞蹈獎」全球提名人。

她擁有法國里昂第二大學藝術管理碩士學位，專長於串連歐亞表演藝術網絡、推動區域戰略聯盟，如「亞太表演藝術節網絡」（Asia & Pacific Festivals Connection, APFC）與「永續劇場聯盟」（Sustainable Theatre Alliance for a Green Environmental Shift, STAGES），並策劃「Taiwan Week」等重大國際交流平台。

她曾任職於台灣國家兩廳院，擔任副藝術總監及節目企劃暨國際發展部經理。在此之前，她亦曾於建國工程文化藝術基金會、中華民國建國百年跨年慶典活動以及法國在台協會等機構擔任高階主管與文化事務推動職務。

主持人｜陳雅萍

꒰國立臺北藝術大學舞蹈學院特聘教授暨院長
꒰曾任臺灣舞蹈研究學會理事長

舞蹈學者、舞評人。國立臺北藝術大學舞蹈學院特聘教授暨院長。曾任臺灣舞蹈研究學會理事長（2019-2022），現任常務理事。美國紐約大學（NYU）表演研究博士。

長年致力台灣舞蹈史研究及書寫，特別關注其中殖民歷史、複重現代性、主體建構、跨文化影響及涵化等議題，出版有專書《主體的叩問：現代性•歷史•台灣當代舞蹈》(2011)。近年亦投注於跨文化身體哲學，跨領域莊學研究、後人類與新物質主義等理論，融入舞蹈研究並寫成專書《凝視無垢：莊子•泛靈•後人類》(2024)。奠基於先前之研究脈絡，目前著力的研究主題為：台灣原民歷史與原民當代舞蹈。

與林雅嵐共同主編《身論集 01：尋•找•亞•洲•身•體》(2021)、《身論集 02：檔案•媒介•技藝》(2024)。近年學術著作亦收錄於中、英論文集：Oxford Handbook of Dance Praxis (forthcoming), The Routledge Companion to Dance in Asia and the Pacific: Platforms for Change (2022)，Fifty Contemporary Choreographers, 3rd Edition (2021)，Corporeal Politics: Dancing East Asia (2020)，《六位香港當代編舞家作品研究(1980-2010)：香港當代舞蹈歷史、美學及身份探求》(2019)。

目前正撰寫英文專書Dancing Multiple Modernities: Contemporary Dance in Taiwan (書名暫定)，持續深化並擴充對台灣舞蹈史之探究與書寫

Lectures 1–3｜Moving and Being Moved: Dance Dramaturgies of Aging

'No/Yes to moving and being moved': Yvonne Rainer, a US postmodern dancer and filmmaker, once wrote that performers were not themselves; they were neutral doers. "Artifice of performance has been re-evaluated, in that action or what one does, is more interesting and important than the exhibition of character and attitude. That action can best be focused on through the submerging of the personality; so ideally one is not even one’s self, one is a neutral doer." 

Rainer is interested in dancers as subjects that exist in the space between subjects and objects. In her transition from dance to film, she has transformed her dancing into cinematic images of objects. The neutral doer is the never-aging moving image, and Rainer also explores the narratives and themes of her aging life in her films. Since returning to dance in 2000, she has adapted her approach to choreography, incorporating her interest in aging bodies in dance. 

The aim of these lectures is to re-contextualise Rainer's theoretical interests within the dramaturgies of traditional Japanese theatre and contemporary European dance. With the help of Kouji Takabayashi, a Noh old master, I will explore, as a dance dramaturg, the dramaturgical insights of different dance cultures in my lectures by transferring Rainer's concept of 'moving and being moved'.  The dramaturgical questions are: How to move what is not to be moved? How to move what is to be moved?

Although there are many definitions and approaches to dramaturgy, for me, creating a dance performance as a dramaturg involves thinking through practice. It is both a practice and a theory. Doing dramaturgy is not about imposing theory onto practice, but rather it is a specific way of participating in thinking through practice. It is also a process in which the audience participates. Theory often provides us with a way to break through the deadlock of choreographic exploration. On the other hand, our artistic practice can be much faster than current philosophical and social discourse. As a dramaturg, I find it tremendously rewarding to be present during these moments of creative thinking alongside the artists. 

Lectures 1 & 2

Date/Time: November 15 (Sun.) 14:30–15:30; November 16 (Mon.) 19:30–20:30
Venue: 11F Studio 1, Taipei Performing Arts Center
Speakers: Nanako Nakajima, Kouji Takabayashi

Lecture 3

Date/Time: November 17 (Tue.) 19:30–21:00
Venue: 11F Studio 1, Taipei Performing Arts Center
Speaker: Nanako Nakajima

Lecture 4｜What Composes? A Lecture/Conversation with Christian Rizzo

Date/Time: November 18 (Wed.) 19:30–21:00

Venue: 11F Studio 1, Taipei Performing Arts Center
Panelist: Shih Hsin-Yuan
Speaker: Christian Rizzo

To compose is not simply to arrange forms, bodies, or movements. It is to bring forth a space where presences encounter one another, where materials enter into dialogue, where the gaze is invited to wander, and where time is experienced differently. Through this conversation, Christian Rizzo will offer a window into a practice that is concerned less with producing objects than with creating relationships.

How does a performance find its breath? At what moment does a space become the site of an experience rather than merely a setting? How can light, sound, gesture, silence, or movement give rise to a dramaturgy that does not tell a story, but instead allows states, intensities, and correspondences to emerge? In Christian Rizzo's work, dramaturgy is shaped through intervals, frictions, and fragile balances between the elements that inhabit the stage. It becomes a form of relational writing, attentive both to what appears between bodies and to what connects them to space.

Conceived as an open and generous exchange, this conversation will explore the processes of creation: the gestures of composition, the intuitions, shifts, and uncertainties that accompany the making of a work. It will address listening, circulation, the architecture of perception, the memory of places, music, scenography, and dance—not as separate disciplines, but as forces that call to, transform, and nourish one another.

An invitation to share in a way of thinking in motion, where composing may ultimately mean welcoming the unexpected, allowing forms to breathe, and making space itself a place of attention, relationship, and presence.

This presentation of Christian Rizzo's practice will take the form of a dialogue between the artist and panelist Shih Hsin-Yuan.

Shih Hsin-Yuan is a Taiwanese curator and producer and curator who has collaborated with a wide range of artists and institutions in Taiwan and internationally, including the National Theater and Concert Hall in Taipei. Her long-standing engagement with contemporary performance and cross-cultural artistic exchanges makes her an ideal interlocutor for Christian Rizzo, bringing a thoughtful perspective to their conversation on dramaturgy, composition, and artistic practice.

Lecture 5｜Narrative and Form: Perspectives on Dance Dramaturgy

Date/Time: November 19 (Thu.) 19:30–21:00
Venue: 11F Studio 1, Taipei Performing Arts Center
Moderator: Chen Ya-Ping
Speakers: Christian Rizzo, Nanako Nakajima

How can dance create forms of narration without relying on storytelling? Bringing Christian Rizzo and Nanako Nakajima into dialogue, this lecture explores how narrative and form can emerge through the body, movement, and choreographic practice.

For Rizzo, intuition is not spontaneous, but grows out of accumulated experience, knowledge, inheritance, and the place from which we speak. Nakajima approaches dance dramaturgy through Yvonne Rainer’s concept of “moving and being moved,” considering how it might be transposed across different dance cultures. Through these perspectives, the lecture examines the relationship between movement, form, and narrative, and asks how dramaturgy can operate beyond conventional storytelling.

【Speakers Introduction】

Lecturer｜Nanako Nakajima

Dr. Nanako Nakajima is a dance scholar and dramaturg. She is a certified master of traditional Japanese dance (odori), Kannae FUJIMA. Her dramaturgical work with New York artist Luciana Achugar, Exhausting Love at Danspace Project, won the 2006-2007 New York Dance and Performance Award ("The Bessies"). In 2017, she received the Special Commendation of the Elliott Hayes Award for Outstanding Achievement in Dramaturgy from the Literary Managers and Dramaturgs of the Americas. Dr. Nakajima has worked with festivals, theaters, and universities in the U.S., Europe, and Asia, where she integrates her research on aging into dance. Dr. Nakajima was a juror for the 2022 Keir Choreographic Award in Australia; a Valeska Gert Visiting Professor at Freie Universität Berlin in Germany from 2019 to 2020; a faculty dramaturg in dance from 2022 to 2024 at the Banff Centre for Arts and Creativity in Canada; and a mentor in the Certificate Program for Critical Practice in Contemporary Performance [CP³] in Singapore. She is an associate professor of dance studies at Waseda University in Tokyo. She has delivered keynote lectures at the Universidade Católica Portuguesa, the Institute of Dance & Media Korea, and the National Taiwan University of Arts. Her publications include The Aging Body in Dance (Routledge, 2017) and Networked Bodies: The Culture and Ecosystem of Contemporary Performance (Taipei Performing Arts Center, 2022). She is currently preparing her monograph Dance Dramaturgies of Aging: A Journey of Negotiating Identity Across Generations, Dance Cultures, and Embodied Histories in Between Continents (Routledge, 2027). Following the launch of her bilingual dance dramaturgy website (www.dancedramaturgy.org), she organized Japan’s first dramaturgs' meeting in 2024 and is preparing for a second meeting in Tokyo in 2027–2028.

http://www.nanakonakajima.com/

Panelist｜Kouji Takabayashi

Born in Kyoto in 1935, he was trained from an early age exclusively by his father, Ginji Takabayashi. In 1971, he became a professional Noh actor of the Kita school. Since April 1982, he has continued the disclosure performance “Kita School, Yousen Noh” with permission of the Kita school Noh Kyoto, which has a tradition of 400 years, and he has been making efforts to popularize Noh, maintain the tradition, and foster successors. His first stage was “Asukagawa” as Ko-kata, a child role (1938). He played three important Noh — “Sotoba Komachi”(1998), “Oumu Komachi”(2009), and “Obasute”(2012) — all three are included in Roujo-mono (an old woman appears as a protagonist). In 2016, he retired from dancing as Shite after performing “Eguchi”. Since 2017, he has participated in research projects including “Yvonne Rainer Performative Exhibition” at the Kyoto Art Theater Shunju-za. The 28th Saika Award, Best dancer of March 2023 by "Dance Times" critics.

Lecturer｜Christian Rizzo

Born in Cannes in 1965, Christian Rizzo is a choreographer, stage director, scenographer, and visual artist whose interdisciplinary practice brings together dance, theatre, visual art, music, and scenography. Originally trained in visual arts at Villa Arson in Nice, he began his artistic career through visual art and music before turning to contemporary dance, performance, and theatre in the early 1990s.

In 1997, he founded Association fragile, through which he has created more than twenty-five choreographic works, alongside performances, installations, and exhibitions. His work explores the relationships between bodies, spaces, materials, memory, and disappearance. His major works include toutes sortes de déserts (2007), le bénéfice du doute (2012), le syndrome Ian (2016), une maison (2019), miramar (2022), and je vais t’écrire (2024).

From 2015 to 2024, Rizzo served as Director of the Centre Chorégraphique National de Montpellier Occitanie, which he developed into ICI—CCN (International Choreographic Institute), focusing on artistic research, interdisciplinarity, education, and public engagement. He has also created works for major dance and opera institutions and served as Artistic Director and curator of international festivals.

Since the mid-2000s, Rizzo has maintained a close artistic relationship with Taiwan, regularly presenting his work, leading workshops, and developing long-term collaborations. In 2017, he received the Franco-Taiwanese Cultural Prize, and in 2018 became the first international artist appointed Artistic Director of the Taiwan International Festival of Arts, organised by the National Taichung Theater.

In 2025, he reactivated Association fragile in southwestern France and created à l’ombre d’un vaste détail, hors tempête for the Lyon Dance Biennale. He is Associate Artist at the Centre National de la Danse (CND) for the 2025–2026 seasons. His distinctions include the French Critics' Union Grand Prize for Dance, the SACD Choreography Prize, and the FEDORA–Van Cleef & Arpels Ballet Prize. A recipient of the Villa Kujoyama residency, he will undertake a six-month artistic residency in Kyoto in 2027.

Panelist｜Shih Hsin-Yuan

Shih Hsin-Yuan is an international cultural advisor and curator with over two decades of experience in programming, arts management, institutional governance, and cross-border cultural diplomacy. Awarded Chevalier des Arts et des Lettres by the French Ministry of Culture in 2024, she currently serves as an International Advisor for Wiener Festwochen (Vienna) and The Watermill Center (New York), as well as a global nominator for Sadler’s Wells’ ROSE International Dance Prize (London). Holding an M.A. in Arts Management from Lumière University Lyon 2, she specializes in bridging European and Asian performing arts networks, fostering regional strategic alliances such as the Asia & Pacific Festivals Connection (APFC) and the Sustainable Theatre Alliance for a Green Environmental Shift (STAGES), and curating major international platforms including Taiwan Week.

She previously worked at the National Theater & Concert Hall, Taiwan as Deputy Artistic Director and Director of Programming & International Development. Her earlier career includes leadership roles at the Jianguo Cultural & Arts Foundation (CEO), the ROC Centennial New Year’s Eve Celebration (Production Manager), and the French Institute in Taipei (Cultural Attaché).

Moderator｜Chen Ya-Ping

Chen, a dance scholar and critic, is Distinguished Professor and Dean of the School of Dance, Taipei National University of the Arts, Taiwan. She was the president of the Taiwan Dance Research Society from 2019 to 2022 and currently serves on its board of directors. She earned a Ph.D. in Performance Studies from New York University. 

Chen has dedicated herself to the research and writing about Taiwan dance history since the late 1990s, paying special attention to issues such as colonial history, multiple modernities, subjectivity formation, intercultural influence and acculturation, leading to the publication of her Chinese monograph Enquiry into Subjectivity: Modernity, History, Taiwan Contemporary Dance (2011). In recent years, she has also focused on intercultural corporeal philosophy, transdisciplinary Zhuangzi studies, posthumanism, and new materialism, integrating these theories into dance scholarship to produce the Chinese monograph Beholding Wugou: Zhuangzi, Animism, Posthumanism (2024). Building upon these research lineages, her current research focuses on Indigenous history and contemporary Indigenous dance in Taiwan.

Chen co-edited two Chinese anthologies: Corporeality I: In Search of Asian Corporeality (2021) and Corporeality II: Archives, Bodies, Techniques (2024). Her recent writings also appear in English volumes such as Oxford Handbook of Dance Praxis (forthcoming), The Routledge Companion to Dance in Asia and the Pacific: Platforms for Change (2022), Fifty Contemporary Choreographers, 3rd Edition (2021), Corporeal Politics: Dancing East Asia (2020), as well as in Chinese anthology Six Hong Kong Contemporary Dance Choreographers (1980-2010): Dance History, Aesthetics, and Identity Issues (2019).

She is currently working on an English monograph tentatively titled “Dancing Multiple Modernities: Contemporary Dance in Taiwan”, funded by the National Science and Technology Council, to further deepen and expand her research on Taiwan dance history.