Natalie Abbott creates sensorial dance performance experiences. Her work deals with endurance based practices, exhausting bodies to create new dialogues between the audience and performer. She is currently interested in failure and how this can be so rich within a performance context and exploring how to 'perform' 'authentic' failure, how to attempt and tempt failure to occur.

Her works include Ultimate Pressure, Next Wave Festival (NWF) 2010; Circles For Squares, Lucy Guerin’s Pieces for Small Spaces 2011; LEVITY, Blindside 2012; PHYSICAL FRACTALS, NWF 2012, Dance Massive 2013; DEEP FLEX, Tiny Stadiums, Sydney 2013; SWEAT – Melbourne NOW at the NGV 2014; MAXIMUM, Arts House, Melbourne, Next Wave 2014, Festival d’Avignon OFF, France 2014, Performance Space Score, Sydney 2014.


Hsia-Tzu is interested in the relationship between creating work and life. Her choreography draws on personal experience, and focuses on the human conditions such as loneliness, melancholy, and contradiction, narrating own's observations of life in movement through gestures such as a fling, swing, tossing, bouncing and from the lower centre.

A graduate of National Taiwan University of Arts (Master of Fine Arts in Dance), Hsiao- Tzu works with Shu-yi & Dancers Company, Century Contemporary Dance Company (CCDC), and has been an independent choreographer since 2008. In 2007, she was awarded a scholarship to the American Dance Festival, and was sponsored by National Culture and Arts Foundation as a participant in Young Star, New Vision in 2008, 2010 and 2012. In 2009 she performed with CCDC in the Asian Performing Arts Festival. Her graduate production, Pause won the Special Prize in the 2009 Taiwan Creative Dance Competition. In 2014 she collaborated with Style Lab and Assignment Theatre.


Peter is interested in releasing intensities and transformations of the body by the use of attention, empathy, imagination and bodily sensation. His practice draws on Bodyweather (which originates from butoh dancer Min Tanaka and regards the body as an ecology interdependent with its environment) and improvisation, influenced, in particular, by dancer Rosalind Crisp.

Peter performs in physical theatre, installations and improvisation. His ongoing work with De Quincey Coincludes extended desert inhabitations, theatre projects, and durational performance. His original works focus on the phenomenology of movement: Tarkovsky’s Horse (2008), Zeno's Overcoat (2009) and Lizard (2013) are based, respectively, on a rolling horse; ‘not being able to move’; and a goanna in a confined space. He is currently working in improvisation research (a project led by dancer Shaun McLeod); Sounds Like Movement, a duet with instrument-builder/musician Dale Gorfinkel, exploring the relationship of movement, materials such as paper, and sound; and he is co-director of the Environmental Performance Authority ecological performance group.


Tsung-Hsuan is interested in making work that asks us to consider the tensions between the complex relationships in our modern lives. Especially the generational tensions between traditional and contemporary ways of living and between our emotional lives in a time of continuous technological advancements.

Graduated from the Dance Department Taipei National University of the Arts, Taiwan, Tsung-hsuan Lee had performed with LAFA & Artists Dance Company, and Taipei Crossover Dance Company while in college. JoinedCloud Gate in 2009, Lee has performed in Lin Hwai-min works, including “Nine Songs”, “Water Stains on the Wall”, “Moon Water”, “Song of the Wanderers”, “Whispers of flowers”, “How Can I Live on Without You”… among others.

Since 2014, he started to work as a freelance dancer and artist. His work includes choreography and performing for The Time by The Tussock Dance Theater and choreography for Formosa Circus Art. He also joined the interactive performance “The Inheritance” with new media artist Hsin-chien Huang as choreographer and solo dancer. He was invited to Contemporary Dance Showcase Asian-Male Episode 5, in Hong Kong and performed solo dance artwork “Run Away”.


Melanie’s work is searching for vehicles for sculptural performance in collaboration with interdisciplinary artists from the fields of visual art, video/film and sound. More recently, her interests begin to shift focus towards looking at the representation of the body in dance performance – looking at its history and its potential.

Melanie completed her studies at WAAPA, Perth Australia in 1999. She then travelled to Europe and spent the following 13 years working with various artists and companies, basing herself in Berlin, Germany. She began creating her own work in 2005 and has since produced a series of work that has been presented both in Europe and Australia.

Her projects as a freelance artist has brought her to parts of Asia, namely Korea and Indonesia – collaborating with local artists in fields of martial arts, traditional and contemporary dance. Melanie has also taken up training in pole dance, voice and floral design.


Yu-Hsien is interested in gender issue, indigenous culture, religious rites, black culture, butoh and music, all kind of movies and music. WU has participated the most important ceremony of SaySiyat Tribe(Pisui Ciyo) over 10 years.

A multi-faceted dancer and performer whose movement background includes Hip-Hop (Popping, Locking, Free Style), Flamenco, Butoh, and Ballet. Specialising in street dance and Hip-Hop culture, WU has studied with such pioneers as Jimmy "Scooby Doo" Foster, Greg Cambellock Jr, OG Skeeter Rabbit, Tony GoGo, Suga pop, Jazzy J, Buddha Stretch, Henry Link, Loose Joint, Brian Footwork Green, E Joe, Marjory, Go Go Brothers, Gemini, Niako.

Yu-Hsien has learned from Pisui Ciyo (a Tayal Tribe artist) in Taiwan, collaborating on projects such as “寂靜時刻-Inllungan na Kneril”, “舞詠樂無盡”. Since 2014, she started to create her own theatre productions include “後青春-Youthhood”, “關於跳舞這件事-Something about dancing”.