Kuala Lumpur, 20 March 2026 – A deeply introspective and visually striking contemporary dance production, Islands, will make its Southeast Asian premiere from 1 to 3 May 2026 at Pentas 1, The Kuala Lumpur Performing Arts Centre. Presented in collaboration with the Taipei Economic & Cultural Office in Malaysia, the production brings together two artists from different islands, Taiwan and Indonesia, in a powerful exploration of identity, balance, and belonging.
At the heart of Islands is Taiwanese choreographer Wang Yeu-Kwn, whose rise in the global dance scene has been both unconventional and compelling. A finalist for the prestigious Rose International Dance Prize 2025 at Sadler’s Wells, Wang is also the first Taiwanese artist to win three awards at Japan’s Yokohama Dance Collection, a trajectory that has marked him as one of Asia’s most promising contemporary choreographers.
From Fisherman’s Tale to Artistic Quest
Inspired by a saying from pongso no tao folklore, “Every big fish has a fisherman’s name written on its back”, Wang embarked on a journey to Indonesia in search of metaphorical meaning rather than literal catch. What he found instead was collaborator Danang Pamungkas, a former colleague from Cloud Gate 2, and together they transformed that encounter into Islands.
The production is not merely a dance performance but a dialogue, a meeting point of cultures, philosophies and lived experiences. Through movement, the two artists navigate the dualities that define their identities: land and sea, balance and imbalance, solitude and companionship.
The Language of Movement and Mask
A key element of the performance is the use of the topeng, a traditional Javanese mask introduced by Pamungkas. The mask imposes both physical and psychological constraints, limiting vision, restricting breathing, and demanding complete bodily awareness.
This interplay of restriction and expression becomes central to the choreography, reflecting how identity is often shaped by both limitations and adaptation.
Pamungkas also brings elements of traditional Javanese dance into the production, grounding the contemporary work in cultural heritage while extending its expressive boundaries.
Pushing Boundaries Through Balance
Wang’s choreographic philosophy challenges conventional perceptions of stability. For him, losing balance is not failure but discovery, a necessary disruption that leads to renewal. This idea manifests physically throughout Islands, where the dancers continuously negotiate equilibrium in both controlled and chaotic states.
The result is a visceral performance where movement becomes metaphor, an embodiment of life’s constant shifts.
A Stage Transformed: The Giant Airbag
Adding to the production’s visual intensity is a monumental black airbag, designed by set designer Chen Guan-lin. The prop functions as both environment and force, at times resembling the vast ocean, at others behaving like waves that engulf and destabilise the performers.
This dynamic set piece elevates the production beyond traditional staging, creating an immersive landscape where dancers are not merely performing on stage but interacting with it as a living entity.
A Global Creation Journey
Islands is the result of an international co-creation process that began during the Covid-19 pandemic, with early rehearsals conducted virtually alongside Paris-based dramaturg Wang Shih-wei.
The work has since evolved through residencies and showcases at major global venues, including the National Kaohsiung Center for the Arts (Weiwuying), Kinosaki International Arts Center in Japan, and The Place in London. It premiered at Taiwan’s National Theater and Concert Hall in 2024 and has continued to tour internationally, including participation in the Taitung Arts Festival 2025.
Following its Kuala Lumpur staging, the production is set to continue its regional journey with a stop at Salihara Arts Centre in Indonesia.
A Trilogy in Motion
Islands forms the second chapter of Wang’s trilogy, following Beings, which has toured extensively across Europe and Asia. The final instalment, Remains, is scheduled to premiere in 2027, completing a body of work that reflects Wang’s evolving artistic inquiry into existence and identity.
A self-described “slow creator,” Wang’s deliberate approach has yielded works of depth and resonance, earning recognition across international stages.
A Cultural Collaboration in Challenging Times
This staging marks the fourth collaboration between the Taipei Economic & Cultural Office in Malaysia and klpac, supported by Taiwan’s Ministry of Culture. Unlike previous productions developed primarily within Taiwan, Islands represents a more outward-looking creative process — one that embraces cross-border collaboration.
In today’s fragmented global landscape, the production carries a timely message: understanding is often found beyond one’s own shores.
As critic David Mead observed in Seeing Dance, the work suggests that “we only truly discover ourselves… when we leave our ‘islands,’ meet others, and reflect from afar.”
The Ledger Asia Perspective
Beyond its artistic merit, Islands reflects a growing trend in Asia’s creative economy, cross-cultural co-productions that blend tradition, innovation, and global mobility.
Such collaborations are increasingly vital in positioning Asia as a hub for contemporary performing arts. They also highlight how cultural capital, much like financial capital, benefits from diversification and exchange.
In a region defined by archipelagos, borders, and histories of migration, Islands becomes more than a performance. It is a metaphor for Southeast Asia itself, connected, complex, and constantly evolving.
