Wei-Yi Chen is an independent dance artist. She graduated with a Master's degree in Dance from National Taipei University of the Arts (TNUA) and is currently working as an independent artist in creation, performance, and teaching. Her creative practice originates from bodily perception, exploring how the body relates to herself, others, and the surrounding environment through improvisation and somatic exploration. She continuously seeks possibilities for body and space to encounter audiences across various sites. Her experience includes artist residencies at TROIS C-L – Centre de Création Chorégraphique Luxembourgeois and the International Choreographers Residency at the American Dance Festival (ADF). In 2025, she was invited to present the work Echoing Body in the Yuanshan Tunnel for Nuit Blanche Taipei.
Ssu-Han Wang is an independent arts worker. Born in Chiayi City in 1998 with Sun in Aquarius and Virgo Rising, she holds a Master's degree in Dance Choreography from National Taipei University of the Arts (TNUA). Viewing art as a bridge for communication and sharing with the world, her work focuses on the interaction between space, site, and body. She excels at using everyday objects to evoke trace memory and connections from daily life, creating a sense of spatiotemporal fluidity to awaken the audience's sensitivity toward real life. Alongside her love for writing, she continuously expands her exploration and curiosity of art through teaching, administration, and hosting.
Qi-Fang Huang is an independent arts worker and somatic practice researcher. A Hakka from Longtan, she loves mountains, traditional local markets, and adventure. After graduating from Ren Mei Waldorf School, she sought opportunities to engage in dialogue with the world across different educational frameworks. She subsequently studied traditional Hakka opera at the National Taiwan College of Performing Arts and is currently pursuing a Master's degree in Dance with a concentration in Theory and Interdisciplinary Somatic Practice at National Taipei University of the Arts (TNUA).
Her long-term research focuses on awakening bodily awareness, transcending physical boundaries, and extending sensory perception into objects. Recently, she has been exploring phenomenology of perception, intertwining its concepts with object manipulation in contemporary circus and object theater. Using traditional opera props and everyday objects as creative mediums, centered on her cultural background and physical body, she expands standard notions of perception to seek possibilities for societal dialogue between the everyday and the extra-ordinary.
Searching for Nagashi begins as a game, inviting audiences into the market in search of a song, a sound, and a memory. As the game unfolds, what we are searching for may no longer be Nagashi alone, but also a place in the midst of change, a way of life gradually fading away, and the people who once lived here. Moving through the sounds and crowds of the market, audiences encounter “disappearance” along the way and are invited to reflect: when the market is no longer as vibrant as it once was, what will disappear, and what can remain?
