The Novel Hall Dance Series takes a new turn this year as director Lin Hwai-min decides to put Taiwan ahead of the curve in avant-garde dance By Diane Baker STAFF REPORTER Friday, Jun 02, 2006,Page 13 Lin Hwai-min (林懷民) wants the Novel Hall Dance Series to be riding the crest of the wave of the contemporary dance world, not paddling behind it. The noted choreographer and founder of the Cloud Gate Dance Company (雲門舞集) has served as artistic director of the Novel Hall series since its inception, and he has very clear ideas about who and what he wants. In the beginning Mr. Lin said that all culture had to be accumulated; that we had to invite the whos who of the dance world, said Elaine Huang (黃麗宇), public relations manager of Novel Hall in a telephone interview earlier this week, speaking about Lin, who is presently in Europe. After five years Mr. Lin thought that we had invited all of the whos who, so starting last year he wanted to go in a new direction -- what is the newest, the latest. He wants Novel Dance to develop [in line] with what is going on inter-nationally, she said. The groups should have different styles, as long as the groups stand for some statement. Last year we had Cesc Gelabert from Spain, Inbal Pinto from Israel and Josef Nadj from France, all totally different styles, Huang said. Something totally different is exactly what is in store for dance lovers this weekend as the Novel Hall Dance Series launches its seventh season with a company that is sure to divide Taipei audiences as much as it has its European ones. French choreographer and dancer Jerome Bel has gained a solid reputation as an agent provocateur. He has left dance critics scratching their heads while reactions from the audience have frequently been more physical -- with people storming out of the theater or throwing their programs at the dancers. Mr. Lin saw Jerome Bel at a festival in France. He saw Made in Thailand, which is now titled Picher Klunchun and Myself. He thought it was really extra-ordinary how Jerome Bel expressed himself, so he wanted him [for the series], Huang said. The Compagnie Jerome Bel will be performing three of Bels creations this weekend, starting with a 10-year old piece that is literally Bels signature work, one without all the usual necessities such as costumes, lighting or sound. Jerome Bel is really a little bit different. The four dancers appear without clothes, walk to the back of the stage and take off all their social identity, their numbers -- bank accounts, IDs -- and start to play with their skin. They paint or write on their leg with lipstick -- brand names, logos and then put the price of their leg in euros, Huang said. Its very sarcastic about the middle class, about wearing clothes with logos, about resculpting your figure. It asks What is identity in our society? she said. The work premiered in 1995, but this is the first time it will be performed outside of Europe He [Bel] is really hot in Europe because hes different from other modern dance choreographers. His way of thinking is different -- he makes people think why. He wants to challenge the values of our society, she said. Mr. Lin wants audiences to think about what is relevant to our lives, to our social life, Huang said. He said This is the statement of Jerome Bel. The audiences here dont have to like it or accept it, but we need to know what is going on. We need to be informed. We need to know what this kind of artist does or thinks about. Picher Klunchun and Myself, which will be performed tomorrow afternoon, is a collaboration between Bel and Thai classical dancer and choreographer Picher Klunchun. Created for the Bangkok Fringe Festival in 2004, it is an hour and 45 minute examination of two cultures through English dialogue and dance. Bel asks Picher Klunchun questions about life, death, work and dance and vice versa and then they work them out physically. Tomorrow night the company will perform N