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🥇 1st Prize, 2023 Clare C. & Friends Fellowship Experience the transcendent beauty of ‘Birdy,’ a Taiwanese masterpiece enchanting global audiences. This contemporary dance, celebrated in France and debuting at the American Dance Festival, reinterprets Western myths and Eastern opera traditions, unfolding a poetic journey of individual and collective soaring. Born from LAI Hung-chung’s unapologetic desire for flight, ‘Birdy’ has evolved into an octet production, circling the globe after a sold-out run at the Festival Off Avignon. This visually stunning performance weaves Western mythology and Eastern traditions, challenging ‘restriction’ through graceful movements and striking symbolism. A poetic response to whether ‘every free flight is born from a restriction,’ the dance explores life and nation’s unsteady skies. Join us as contemporary dance confronts contemporary issues, transforming feathers into wings. Don’t miss this unforgettable journey at the 2024 ADF. “Birdy, une sublime chorégraphie.” —Youness Bousenna, La Provence Upcoming Shows “Birdy" by LAI Hung-Chung, Hung Dance Dates: 3.23 Sat & 3.24 Sun, 2024 Venue: WEIWUYING PLAYHOUSE, Kaohsiung, Taiwan Presenter: LAI HUNG CHUNG Contact CHANG Hsin-i riva0820@gmail.com http://hungdance.com/ Back to 2023 FACP - Clare C. & Friends Fellowship

🥈 2nd Prize, 2023 FACP - Clare C. & Friends Fellowship Resident lsland Dance Theatre, an emotionally thrilling, physically integrated quartet co-choreographed by RlDT’s Artistic Director CHANG Chung-an and French dance maker Maylis ARRABlT. The 55-minute piece is performed by two dancers in wheel- chairs and two standing dancers. As the world locked down during the COVlD-19 pandemic, the work took shape—to explore the different ways that people navigate and connect in their own cultural environments. lt evokes the coexistence between parallel realities, separated by space-time and at the same time, united by it. lce Age challenges external forces and shows us the potential of a physically, mentally, and emotionally integrated world. Upcoming Shows KIADA Korea International Accessible Dance Festival August 2024 - Coming soon! Contact HSIAO Shu-lin ridt.taiwan@gmail.com sayakaxaw1028@gmail.com More Resident lsland Dance Theatre http://www.ridttaiwan.com Back to 2023 FACP - Clare C. & Friends Fellowship

🥉 3rd Prize, 2023 FACP - Clare C. & Friends Fellowship 🏅 FACP Members' Choice, 2023 FACP - Clare C. & Friends Fellowship Bodies are like vessels drifting with the waves of the ocean; perhaps we will only begin to understand each other as we leave our islands. lnspired by choreographer WANG Yeu-kwn’s 2019 trip to lndonesia in search of a giant fish— the self-identification. WANG invites his long time friend, Danang PAMUNGKAS, an lndonesian dance artist who once worked in Taiwan, to go on this search together. They will conduct a dialogue by exploring the cultural heritage hidden in each other’s body and movements in search of “who l am (who we are).” Contact WANG Yeu-kwn shimmeringproduction@gmail.com https://shimmeringproduction.com Back to 2023 FACP - Clare C. & Friends Fellowship

🥉 3rd Prize, 2023 FACP - Clare C. & Friends Fellowship If people don't go to the theatre why don't we just go to them? If we want to bring the beauty of dance to more people who never watched dance before, why don't we just show them that your daily partner can become your dance partner? Uber Dance seeks to dismantle the divide between the general public and contemporary dance by leveraging the iconic cultural motif of the 'motorcycle/scooter' in Taiwan. The project also aims to explore how motorcycle structure diversifies the body movement, and the possibility to integrate the work into different corners of the city via its mobility. Upcoming Shows October - November 2024 - Coming soon! Contact HUANG Shuo-te arthurh82@gmail.com https://www.facebook.com/profile.php?id=61552938860253 Back to 2023 FACP - Clare C. & Friends Fellowship

🥉 3rd Prize, 2023 FACP - Clare C. & Friends Fellowship "Healing should be the main theme of the following dance research, based on the previous three-staged study of Taoist funeral ritual. The city (Hong Kong) has been unstable in recent years. People have experienced separation in different ways without choice. l hope Hell Door Breaking can bring a therapeutic effect to people who live here, with the courage to face the living and death, stay and leave, and face the future and ourselves." - Terry TSANG Hell Door Breaking is a humanity and ritual dance research for everyone worldwide, also simultaneously engaging in cooperation with dancers from different nations and races. Contact: Terry TSANG terrytsang1992513@yahoo.com.hk https://linktr.ee/LaboraTerryArts Back to 2023 FACP - Clare C. & Friends Fellowship

🏅 FACP Members' Choice, 2023 FACP - Clare C. & Friends Fellowship AΦE is a Chatham (UK) based dance company founded by accomplished dancers Aoi NAKAMURA (Japanese) and Esteban LECOQ (French) in 2016. Through the artistic and technological research, AΦE incorporates cutting-edge technology into its performances to reinvent the audience experience. As trailblazers in the sector, AΦE wants to rethink live performances. ln only 6 years, they have established the company as one of the leading dance companies working with technology and garnered the support of some of the most presti- gious venues around the world, including Sadler’s Wells in London, the Sydney Festival and Théâtre de Chaillot in Paris. Contact: Esteban LECOQ esteban@aoiesteban.com https://aoiesteban.com/ Back to 2023 FACP - Clare C. & Friends Fellowship

🏅 FACP Members' Choice, 2023 FACP - Clare C. & Friends Fellowship The show is about a magician who uses magic to tell the story of another magician. The story took place in London at the dawn of the twentieth century. The world-fa- mous Chinese magician CHUNG Ling-soo performed in London every night. The audience went crazy for his magic and Gocked to see this oriental man wearing a long robe. ln fact, CHUNG Ling-soo was not even Chinese. Role Play explores various ways of “role-playing.” Through the perspective of the magician LlN Lu-chieh, the production discusses the intriguing connection between LlN himself and the magician CHUNG Ling-soo. Contact LIN Lu-chieh luchiehlin@gmail.com More Lu Production / LIN Lu-chieh https://www.luchieh.com Back to 2023 FACP - Clare C. & Friends Fellowship

By LIU Chun-liang From November 23 to 26, 2023, Weiwuying and the Federation for Asian Cultural Promotion (FACP) put on the 2023 Annual Conference of the FACP in Kaohsiung, whose theme was “Next Stage, Green Generation – Sustainability in Culture and Performing Arts,” discussing how to make the performing arts sustainable. Alison TICKELL, who is full of experience in related advocacy and practice as founder and CEO of the British organization Julie’s Bicycle, kicked things off during an online discussion with views of the globe from a distance to remind us what a beautiful place this world is. Climate crisis is a culture crisis TICKELL believes that the climate crisis is a culture crisis and, accordingly, that “culture-led-solutions are climate solutions.” We need to view mutual care and collaboration between different cultures and different social groups with importance from the very root. The culture system cannot just be for transmitting information; it needs to be applied in developing feasible methods of sustainability. She emphasized the importance of data and knowledge, people and action, and governance. Data and knowledge is not just about the climate but also about the influence of culture. People and action is about creating new relationships, sharing stories, changing, and celebrating each other’s paths of diligence, because the power required for change will only come by working together. Governance refers to changing government organizations, policies, laws, and modes of thought – true reform will only take place when grassroots workers are affirmed, understood, accepted, and supported with funding. Julie’s Bicycle has custom-made creative green tools for culture, which can be used to calculate the carbon footprint of such activities as art venue operations, tours, production, and art festivals, helping people understand the influence of carbon at varying levels and learn how to do better. 40% of users of these tools are from outside of her home base of the UK. Contributions of data by the public really can influence government decisions! In the UK, over 800 companies must report on their carbon footprints and propose plans of action annually, behind which the Arts Council England is a major driver. Between 2018 and 2019, culture centers there reduced carbon emissions by 35%, and between 2021 and 2022, over a thousand organizations included carbon emissions and carbon footprints in their operational agendas. Achieving climate justice and supporting those taking action Julie’s Bicycle continues to learn with various organizations and alliances, emphasizing climate justice, which includes a look at colonialism. In 2023, The Colour Green Lab program was relaunched to amplify the voices of people of color, Indigenous people, migrants, the disabled, and LGBTQ+ people regarding the issue of climate change. TICKELL believes that art gives people emotional experiences. Besides being concerned with the climate, art needs to engage in environmental advocacy and activism. Organizations and their leaders working hard on these issues should be extolled. Design innovation must also be focused on, such as in the aspects of integrating art into social and technological creation and the use of renewable energy. New paths need to be found, varying social groups need to have their opinions heard, and governments need to be urged to make climate action a priority. She also shared about her experience with the UN COP. In the past, it seriously lacked participation by culture sector workers, but this year’s event, the COP28, was better, and it was the first time the discussion touched upon the inclusion of cultural heritage. She invites everyone to take part in advocacy (see https://www.climateheritage.org/jwd ) and lobby for useful government policies.  Sustainability in slash careers: Broadway Green Alliance The Broadway Green Alliance (BGA) is an American NGO that is funded completely by donations. Director Molly BRAVERMAN, Program Manager and Green Captain for The Phantom of the Opera  Austin SORA, and Communications Associate Lauren MANDRAS shared about their experiences as ecofriendly-minded slash workers in the theater sector. The BGA holds to four major principles: “It is impossible to be 100% ‘green’ - we can only be greener ,” “the climate crisis … demands action - big and small - from each of us. Change results from the cumulative effect of our actions,” “climate neutrality is insufficient,” and “there is no climate justice without racial justice.” The BGA encourages those who wish to make sustainable productions to: Practice sustainability in at least one aspect of production. Communicate to the public how you have worked toward sustainability. Share what you’ve done with the BGA through images and links to add to the public conversation. Sustainability adventures of Green Captains The BGA has over a thousand volunteer Green Captains, most of whom are part of educational organizations or arts centers. The BGA provides them with toolboxes, and the captains develop their strategies as they see fit. The BGA also provides networking connections, information, and emotional support as these captains go on their adventures. SORA took the baton of Green Captain from one of her coworkers. For instance, during The Phantom of the Opera  tour, she made sure there were food-waste bins and ecofriendly tableware. While touring with Hamilton , BRAVERMAN had the paper sheet music replaced with e-files, turned a shoe rack into a place to hold reusable water bottles, used rechargeable neck lights, came up with indexes of reusability, and gathered donated reusable water bottles for members of the audience to use. Education is the strongest tool. Each year, the BGA selects winners for the Green Captain Award. An organization may have multiple captains to advance sustainability even further. The speakers said they hoped schools would also have Green Captains, and as people spanning a wider range of ages become captains, a mentor system could be established. The BGA stresses that there are a lot of organizations working hard toward sustainability, so we’re not alone.  Sustainability in performing arts design and production Artistic Director LEE Yoori of the Seoul Performing Arts Company shared the findings from a survey of a thousand people conducted by the Korea Culture and Tourism Institute in 2021. 80.4% said they were willing to view environmental policies and ecofriendly service with importance while watching/taking part in culture events, and 80.1% agreed that art and culture can foster an atmosphere of environmental friendliness in society. In 2022, a sustainable development guide was launched in Korea. There are currently five platforms (three of which are private) through which people may exchange such resources as stages, props, and costumes. Local governments put on musicals for children and teens about environmental issues. In Korea, musicals are hugely popular; many have reached over a million views. LEE shared about how to make repertory theater sustainable. The longstanding musical Hero  has been using the same stage design since 2009. The stage design for Death Note  (2015), consisting of basic steel supports and an LED screen, has also never changed. With video imagery, the production saves both money and energy! In addition to what she’s doing in Korea, LEE hopes to develop the One-Asia Green Alliance, creating an online exchange platform to develop works for theater that are environmentally friendly. Executive Director YUAN Hao-cheng of Ridge Studio talked about how to create a sustainable supply chain. Ridge Studio has a complete resource documentation system including production, warehousing, transportation, recycling, and reusing to provide all that is needed for productions and be able to accurately calculate the carbon footprint of each. The studio has a 600-square-meter warehouse to not only store its own materials but also to rent storage space out to performing groups. The studio makes and rents out props, has opened a bar with existing set design materials, and reduced waste at the Beitou Art Festival by adding more showings of the same performances (which means the same props, etc. were used a greater number of times). Ridge Studio in Taiwan works hard to recycle or re-design what it has. YUAN stressed that clients need to have concepts of sustainability to ensure his studio can ensure the production will be sustainable. For example, after Taipei Fashion Week, a lot of designers borrowed things from the event decor.  Carbon rights system encourages carbon reduction and a future of high-quality production with low resource input  Assistance Vice President Grace WU of Taiwan’s recently established Taiwan Carbon Solution Exchange stated that over US$1 billion in damage was done this year by climate disasters, and according to a report by the UN, if the average global temperature rises another 0.5 degrees, extreme-weather disasters will increase by between two- and four-fold, so achieving net zero is urgent. How do we get to net zero? Gathering data is the first step. You need data to reduce carbon, which is required to achieve carbon neutrality. There are three scopes for carbon emissions that deal with both direct and indirect emissions (see https://www.bnext.com.tw/article/68882/carbon-trans-data-corp-april ? ). Besides that, carbon rights transactions conducted through a payment system encourage companies to actively reduce emissions. Carbon rights can be categorized as mandatory or voluntary: mandatory ones include total carbon emission management, carbon taxes, and carbon fees, while voluntary ones include carbon credit/offset systems. In Taiwan, companies only have to pay fees if their emissions reach 25,000 metric tons; those below that level can opt for voluntary carbon-reduction mechanisms and then apply for carbon rights based on what they achieve. As there are not many carbon rights cases in Taiwan, the transaction amounts are quite high. If a metric ton of carbon sells for NT$10 abroad, it will sell for NT$80 in Taiwan. Carbon rights are only given after one or two years and an audit by an accredited organization. Through low-carbon construction and materials, art and culture centers can reduce energy consumption and boost energy efficiency. Reducing the carbon emissions from daily operations, which accounts for 80% of the total, is difficult, but the transportation, materials, and manufacturing involved in productions, such as the use of e-tickets, environmentally friendly ink, the circular economy, the repeated use of props, and the downsizing/digitalization of set design, have great carbon-reduction potential. UN International Resource Panel member Anthony SF CHIU discussed the UN’s 17 SDGs. The most pressing matter is to develop solutions that produce high quality through low resource input, create a life-cycle inventory of resources, and develop environmental and health impact data models. Infrastructure will decide the amount of carbon emissions over the next two decades. For instance, ceasing to mine aluminum and using substitute materials instead can reduce carbon emissions. CHIU spoke of the Sydney Opera House’s 2020-23 environmental action plan and emphasized how certification and awards can encourage people to take action. He believes that as the performing arts can create empathy and tell stories, audiences can be influenced and become a force for change. Off-peak AC use and the power of gentle pressure Deputy General Director Raymond WONG at Weiwuying said that sustainability comes by changing organizational behavior and initiating strategies. By changing its lighting to LED, Weiwuying has reduced 62,264 kilograms of carbon emissions. Along with off-peak air conditioning and other related measures, Weiwuying saved 7% year-on-year on electricity used this year. Weiwuying has also extended sustainability to its audiences by allowing them to obtain a NT$10 discount in advance for their MRT trip home after a program. One day, over a thousand people used it! Japanese PIA Corporation Corporate Officer and PIA Research Institute Director SASAI Yuko shared about sustainability at art festivals. The AP Bank Festival used biofuel and solar power, and Fuji Rock provided trash bags made from rice in 2023. SASAI believes that indicators outside of SDGs are also important and posed this question: How can we create a society that is happy, in harmony, and full of life? CEO Stanisław SUCHORA of Sonora Music talked about what happens in Europe. Artists are given “gentle pressure” to travel on tour via train instead of plane, reducing emissions while being able to enjoy the scenery. Though ecofriendly ink and paper are expensive, he insists on using them. Rachael CHAN, who is working on a PhD in geography at Oxford and is a member of the Orchestra of the Music Makers, said the Singaporean culture sector hasn’t discussed sustainability much. She also shared how the creative design of a small organization inspires the administrative bodies of orchestras to think about economic and environmental vulnerability and understand feelings about climate change. Watch out for temptation as we advance toward a future of boundless creativity Someone in the audience asked how to respond to greenwashing. CHIU stated that for every mechanism, there is a counter-mechanism, and being unable to resist that temptation is a big problem. When asked about government subsidies for reducing carbon, WU stated that Taiwan’s mechanism is voluntary, so there are no subsidies. Moderator WEI Wan-jung added that performance groups (not just venues) should also take part in sustainability. How can you ensure production quality while reducing carbon? Ridge Studio’s case is a great example of how sustainability does not necessitate compromise in that aspect, and CHAN informed us that the Royal Shakespeare Company used objects found at the beach for its stage design – so sustainability can be beautiful too. So what’s the next step in sustainability? WU stressed good platforms and mechanisms and creating a carbon market to boost motivation. CHIU emphasized transparency in data. SASAI said public and private organizations need to work together. CHAN stated that we have to start with the details and regularly assess how well we have been progressing. Do any members of the FACP have practical plans of action for sustainability? The Chairperson of FACP Joyce CHIOU, also the General and Artistic Director of the National Taichung Theater, gave us some good news: the theater plans to be carbon neutral in three years. For its part, Weiwuying provided reusable cups, recyclable tableware, and cards for public transportation with a 72-hour validity. Public transportation and walking were the modes of choice for getting around during the event, which are easy, effective measures of sustainability. The climate crisis and related natural disasters may make us feel helpless, but more and more people are working toward sustainability, and the power of unity should not be underestimated. During the 2023 FACP Annual Conference, we learned about a variety of modes of sustainability and hope to encourage each other and our readers with this sentiment: You’re not alone on the path to sustainability.

Ms. Vivien Huai-chun KU CEO, C.F. Koo Foundation Former Vice Chairperson, Federation for Asian Cultural Promotion Although I knew that this day would come, I still feel shocked. As a book says, “Death is so...FINAL.” I spoke with him on the phone just a month ago. I clumsily asked him how he was, and he said that he was not doing so well as battling cancer was tough. I quickly changed the subject but, in my mind, I kept picturing him with his radiant, carefree, mischievous spirit. Even after hanging up the phone, I could not imagine him being eaten up with sickness. Growing up in the same alley, I remember that Hsu had several siblings and his youngest sister was my age. The alley we lived in was quite long, his house at the end and mine at the entrance. Occasionally, he would pass by my doorstep, moving swiftly like the wind. When Hsu had his first violin concert, my mom took me to see it. It was at the International House of Taipei. Hsu looked really handsome with big eyes and a high-bridged nose just like the rest of the Hsu family. After I engaged in performing arts, he once asked me to partake in the Federation for Asian Cultural Promotion as a volunteer. He was the most outspoken cultural figure I have encountered in international events, advocating passionately for Taiwan’s music community. I was moved by his sincere dedication several times. I would like to share a few laughs and commemorate Hsu Po-Yun with an anecdote happening during an international conference. It was a two-day conference held in Manila. He was the Chairperson. I already informed him that I could not go with him as I was too busy those days. However, he still insisted that I should go and I could not refuse. I decided to go on election day to show my support for the Taiwanese members, so I called to confirm whether the election was on the first or second day. He said it was on the second day before the conference ended, probably around noon. On the first day of the conference, at noon, I rushed from my office to Taoyuan Airport, and then hopped into a taxi just after arriving at Manila Airport. I got to the venue entrance around the evening and was about to check in and rest, planning to support Hsu’s re-election the next morning. Suddenly, I saw a large crowd surrounding Hsu coming out of the hotel, extremely excited and noisy. Just as I stepped out of the car, Hsu rushed over, pushed me back into the car and beckoned two Koreans to get in too. He chatted with the driver for a few words and the car started, heading straight to a market. Everyone got out of the car and the three gentlemen, with Hsu at the lead, walked off to buy local specialties, chatting and laughing. I had to pay the cab fare, drag my small suitcase and follow from a distance. If you think this was the climax of my trip, you underestimate Hsu! On the way to the market in the taxi, as soon as the two Koreans heard my name, they congratulated me, saying that they look forward to learning more from me. It turned out that the “wise” chairperson condensed the two-day conference into one day and the meeting was already OVER! What’s more, I, who had not even attended, was elected as vice chairperson! Seeing my stunned expression, the Koreans pointed at Hsu and burst into laughter. The next day, as the conference had already come to an end, I rushed back to Manila Airport around noon, returning to Taipei with an unexpected new title, and ran back into my bustling office. When people heard my story, they all stared at me in astonishment. Although I had not even gone to the conference or casted any votes, I inexplicably began my long-lasting “volunteer” position as vice chairperson / chairmanship with work duties on my shoulders. Despite all this, I was grateful that Hsu initiated my experience in international conferences. I firmly believe that he would want me to remember his sparkling eyes, his curious and mischievous look and his hearty laugh. I decided to remember him just like that as well as his heartfelt music. As for his influence on Taiwan’s performing arts, it is evident to all, understood without the need for words. Farewell to the handsome Hsu from the end of the alley. May you rest in peace!

-- Bits and Pieces of Hsu Po-Yun’s Life in Arts Dr. Wu Jing-Jyi Endowed Chair in Creativity & Emeritus Professor, National Chengchi University In 1978, Hsu Po-Yun and Fan Man-Nong established New Aspect. The motivation was based on values rather than profits. However, even in the competitive society of Taiwan, their foresight in cultural innovation resulted in many firsts. New Aspect was the first activity center in Taiwan that primarily focuses on performing arts but also includes visual arts. Three years after its establishment, the Council for Cultural Affairs (predecessor of the Ministry of Culture) was formed. Five years later, the Taipei Fine Arts Museum was established, followed by the National Theatre & National Concert Hall preparatory office’s establishment after another two years. Then after 21 years, the Taipei City Government’s Department of Cultural Affairs was founded. If New Aspect could have had a fixed government budget and a permanent performance venue, one can only wonder what the cultural activities and performing arts landscape in Taiwan could have become over the years. The government’s cultural institutions and venues would have taken a different form, and New Aspect would have had a much bigger impact. Nowadays, both central and local governments put huge effort into holding Taiwan International Festival of Arts and Taipei Fringe Festival. However, back in the 1980s, New Aspect had already started to organize large-scale International Arts Festivals, inviting numerous international performance groups and artists. Of course, the term “international” includes Taiwan. At that time, the indigenous warrior dance from Taiwan’s Orchid Island did not have much recognition on the main island. However, due to New Aspect’s pioneering move of inviting the Tao people to perform alongside international artists, it gradually gained recognition and appreciation from the public. Unexpectedly and surprisingly, at the backstage of the National Sun Yat-sen Memorial Hall, the Tao people and their joint performers, the Invatan dancers from Ballet Philippines, found that their languages are pretty similar! New Aspect was also the first to organize a small-scale Fringe Festival that encompassed both international and local artists and groups from over a hundred countries. Just like inviting the Tao people from Orchid Island to the International Arts Festival, they also brought international art performances to many cities and towns across Taiwan. In the 1980s, the global community had little knowledge about Taiwan’s performing arts. New Aspect was the first to introduce Taiwanese groups and their arts, featuring regeneration of traditional culture, onto the world stage. New Aspect also made performing abroad possible for local groups, resulting in Cloud Gate Dance Theatre’s first international performance at the Cultural Center of the Philippines, Contemporary Legend Theatre’s performance at the Royal National Theatre in the United Kingdom as well as Lanlin Theatre Troupe’s first performance in the Philippines. During the time when interdisciplinary approaches were still not officially recognized, New Aspect started an art center embracing both performing arts and visual arts. Performance Workshop’s work That Night, We Speak Xiangsheng was initially planned to be held at that center. However, New Aspect saw its potential and moved the performance to the National Taiwan Arts Education Center, which can accommodate more audiences. The show quickly attracted widespread attention. The New Aspect Art Centre, besides hosting exhibitions of artworks and sculptures, also served as a platform to showcase the potential of smaller theater companies. In 2012, during the time Lee Tai-Hsiang served as the artist-in-residence at National Chengchi University, he held a press conference and, as the composer, enthusiastically announced the first made-in-Taiwan musical Chess King. This musical was produced with significant investment by New Aspect. The official name of New Aspect is the “International New Aspect Cultural and Educational Foundation,” which indeed lives up to its commitment to the global art community. It not only acts as a bridge between art and audiences but also facilitates the participation and even the creation of both domestic and international artists in performances. Before the government got aware of the importance, New Aspect had already become the first to promote Taiwanese groups and artists at performing arts expos in countries like France, Japan and at the Federation for Asian Cultural Promotion, which was founded by Po-Yun and Lucrecia R. Kasilag, president of the Cultural Center of the Philippines. Over its 45-year history, New Aspect has undoubtedly come in first place in many areas; however, what we cherish is not only its pioneering role in the field of culture, but also its commitment to cultural innovation and influence on artistic activities. These commitments, innovations and influences reflect the bits and pieces of Hsu Po-Yun’s life as an artist. Hsu Po-Yun began his memoirs with these words, “Being able to work in the field of art throughout my life is fortunate.” However, his greatest passion was composing music, as it brought him more joy in life than any other art-related work. “HSU Po-Yun’s 60th Musical Anniversary” showcased Hsu’s works from 1962 to 2022. He seemed to have two regrets that needed to be reconciled in the concert. The first regret was realizing that he spent too little time on composing over the years. Fortunately, creativity is about quality, not quantity, so the concert of his life’s work could compensate for the limited composition output. The second regret was never composing for his wife, Fan Man-Nong- the “mother of flute in Taiwan”. It was not until this recent presentation that he took the opportunity to “painstakingly” compose Flute Capriccioso as a dedication to her. Throughout his life of seeking perfection, Po-Yun managed to transition his mindset and relax to finally complete a late but perfect piece for his wife. Sadly, Hsu Po-Yun did not get the chance to formally present the admirable works he created. “The most beautiful life is the imperfect one.” With such legend, he departed from his beloved Taiwan, art and loved ones. We cherish his memory and we offer our blessings. As the saying goes, “Value one’s and other’s beauty, the world will become one.” We eagerly anticipate that New Aspect, created by Hsu Po-Yun and Fan Man-Nong, will continue to thrive with art and Taiwan.

Mr. Martin Lopez Manila Governor and former Secretary-General, FACP I am saddened to read about the passing of Hsu Po-Yun! I have very fond memories of him starting with how we first met during the FACP conference in Shanghai. I was new to the organization and sitting alone over a meal. He approached me. We talked. He was pleasantly surprised that I was from the Philippines, the only one that year and the first in a while. It was not long before I started working closer and closer with him. In his ideas, interests and initiatives, I saw his genuine passion and concern for the organization. He will certainly be missed but his legacy will live on in his music, his advocacies and the people and organizations he loved. I send you, his family and his staff my sympathies and prayers! Sincerely, Martin

Ms. Fan Sun-Lu Ombudsman, Control Yuan On June 12th this year, Mr. Hsu, in a wheelchair, arrived at the Control Yuan with Yu Fan-Ying, Joyce Chiou and Chien Wen-Pin. They came regarding the budget plan for the 2023 Kaohsiung Conference of the Federation for Asian Cultural Promotion (FACP), which he had founded 42 years ago. Coincidentally, that day was his birthday. We were delighted, singing “Happy Birthday” to him and capturing some precious photos. Little did we know that this would be our final meeting. I had known him for more than 27 years. Since I took my term as a legislator in early 1996, I have been hearing him discuss the government’s ignorance toward culture. He lamented for the meager budget, the lack of administration expertise, the disregard for professionalism, severe inadequacies and backwardness in performance venues, as well as insufficient international perspectives and talent nurturing. Indeed, each of these became focal points for reform. We often gathered for art-related events. As a luminary in the field of art and culture, Mr. Hsu’s enthusiasm always inspired everyone. He liked making friends, engaging in lively discussions and was an excellent storyteller. He held innumerable great dreams, awaiting each one to be realized. Throughout his journey, his determination, foresight and passion deeply influenced the transformation of Taiwan’s cultural and artistic landscape. He was not just a genius music creator but also a cultivator and pioneer in various fields of culture and art in Taiwan. He broadened Taiwan’s international perspective as well as allowed the global community to see the charm of Taiwan. In the 1960s, the young Po-Yun faced the poor environment of art and culture in Taiwan, but he continued to work until it became a field for artists and cultural workers in different domains to shine. Every stage, every moment, every crucial turn has Mr. Hsu’s involvement, presence and footprint. He poured every penny and effort into art and culture in Taiwan. No one has done more than he has. Now, his departure has left us deeply saddened. His contributions to culture and art will forever be remembered. There will never be another pure soul as Mr. Hsu...