At the end of 2017, Lin Huaimin, founder and artistic director of Yunmen Dance Collection, released a retirement plan, announcing that he would retire at the end of 2019, with Zheng Zonglong taking over as artistic director.

"Bad Boy" Zheng Zonglong didn't expect that he would one day become the artistic director of Yunmen Dance Collection .

At the end of 2017, Lin Huaimin, founder and artistic director of Yunmen Dance Collection, released a retirement plan, announcing that he would retire at the end of 2019, with Zheng Zonglong taking over as artistic director.

The attention of the dance circle quickly turned to this underachieving show. How will the future Yunmen run and what height will he bring Yunmen to? There were crowds of people outside and hot discussions were everywhere, but Zheng Zonglong did not have the energy to think about these things.

One of his highlights this year is to do a good job in the six-stop tour of "Thirteen Sounds" in mainland China in October and November, from Beijing, Shanghai, Guangzhou to Xiamen, Changsha and Ningbo. The dance was commissioned by the Taiwan International Art Festival and has been premiered in 2016 and has attracted much attention.

At the end of May, "Thirteen Sounds" was performed at the Macau Art Festival, which is very different from two years ago. The morning of the second day of the performance of

, the reporter from The Paper met Zheng Zonglong. With his hair tied into a small girdle, and with a pair of tired red eyes, Zheng Zonglong appeared in a plain outfit and drank three cups of black coffee to wake up. The night before, he tossed and turned until four o'clock, so excited that he couldn't sleep.

"Look at it again after a while, you will feel riddled with holes and always want to change it." Zheng Zonglong did not hide his desire to modify and recreate. In his consciousness, this work is still growing and has not been completely fixed. "When I figure it out, I will let go when I know what it means to let go. It's almost time, give me some time."

"Thirteen Sounds" Photography Liu Zhenxiang

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"Thirteen Sounds" is a legendary figure that Zheng Zonglong's mother often talks about.

1960s 0,000 (old name Mengjia) Whenever this street artist appears, neighbors all run around to tell each other. He plays multiple roles, with a young voice, sometimes a man and sometimes a woman, and is proficient in everything. As soon as he appears, neighbors will shout, "Thirteen sounds, Thirteen sounds are coming!" Wherever he goes, there are people everywhere.

Zheng Zonglong grew up in Wanhua and set up a stall with his father to sell slippers since he was a child. The streets are the best classrooms. He learns to yell at the adults, watch neighbors play, watch the neon lights flashing in the dark night, and the vibrant city scenes are always turbulent in his memory.

The story of "Thirteen Sounds" touched him, like a lead, calling out Zheng Zonglong's childhood memories.

Beggars, vagrants, prostitutes, and underworlds are everywhere. Mazu's sedan chairs are passing by. Believers will lie on the ground to give way to her. In the early years, Wanhua is mixed with fish and dragons. "Some people are crying, some are laughing, some are crawling on the ground, and some are peeing next to her. These are all mixed on the same street and happening at the same time."

Zheng Zonglong remembers that Wanhua takes two or three steps to one temple. The god's birthday is a big day. All the temples are holding performances. The men are shirtless and sweating profusely, setting up the stage with fluorescent sets. When creating "Thirteen Sounds", he discussed with clothing design and lighting design, what can I do to present a fluorescent feeling and make the taste of Monga in color.

The designer finally used colored brushes to draw a colorful dance dress, and then turned the UV light on the dance dress to create a fluorescent color. A huge orange-red koi was projected on the curtain and wandered around - whether it was Longshan Temple, the largest temple in Wanhua, or the pond of rich families in Wanhua, koi were indispensable mascots. These colorful things all have the taste of Mengjia.

"Thirteen Tones" tells about people and past events. The dancers are too young and do not have such memories and life experience. Zheng Zonglong took them to Wanhua to sweep the streets, see the life of the locals, and smell the breath of the streets.

even, he asked them to watch Hou Hsiao-hyun 's early movies, "Love the Wind and Dust", "Handling the Wind and the Wind and the Wind and the Wind and the City of Sadness"... looking for similar barbaric smells in the lower-level characters.

Niu Chengze 's "艋纺" is based on 艋纺, but Zheng Zonglong did not suggest them to watch it. This movie is too beautified, not what Monga looks like in his memory. Hou Hsiao-hsien's films are not crafted and do not have much arrangement or management, which makes Zheng Zonglong feel real.

Hou Hsiao-hsien's official musician Lin Qiang was invited to the soundtrack.The electric guitar is played and the people at the bottom are accustomed to. The high-pitched suona is reborn, this is Mengga, which is on the lantern. Female dancers sing Manzhou tunes, while male dancers sing spells. This is a familiar and acquainted but not very famous ancestral song.

"Thirteen Sounds" sounds old, sometimes male and sometimes female, 11 dancers, each representing a certain aspect of "Thirteen Sounds".

They danced various disorderly, hunched, bizarre and absurd movements on the stage. Under the guidance of the theater genius Cai Baizhang, they used their throat muscles to laugh, howl, strange sounds, and strange tunes, like fireworks, and all the energy is released without reservation. Zheng Zonglong admitted that at the beginning he had put him in an indescribable "shame" mood, and the sense of shame came from the contrast between the body of the common people and the exquisite ballet.

Zheng Zonglong was influenced by the beauty of ballet's lines. "Ballet emphasizes being straight and extending. It must have an aristocratic style, which is beautiful. But the shapes and movements of the people I am looking for are not symmetrical, elegant, or tall. They are hunched and have a strange appearance, which makes me struggle in the choreography process."

After forcibly forgetting ugliness and beauty, Zheng Zonglong started from the grassroots level, and finally transformed the melody and limbs of the common people into a different kind of vitality.

htmlThe vitality and various life patterns on the streets of Wanhua are the background of Zheng Zonglong's life and the most vigorous source of his creation. "Thirteen Sounds" is his first time to return to the place where he grew up and creates concretely with it as the theme. Will future works continue to look back or move towards the future? Zheng Zonglong, 42, has not yet known the answer, "I want to explore more, maybe it's the surface, maybe it's the line."

"Thirteen Sounds" Photography Liu Zhenxiang

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Zheng Zonglong's definition of himself when he was young is not a good child or a bad child, but an unstable child.

He learned dancing at the age of 8, purely because he was too active and got into trouble everywhere he went. I went to cut my mother's hair, and with a blade in my hand, he could cut off a piece of finger flesh without paying attention. When walking on the road, he could even smash the entire floor-to-ceiling window, causing injuries all over his body.

"I am a child who makes my mother worried and is completely out of control. Maybe it is because of these reasons that my mother threw me to learn dancing."

ballet, modern dance, Mongolian dance, Xinjiang dance. Zheng Zonglong learned everything when he was a child. He spent all his strength during the day, collapsed to the ground when he went home at night, and had no strength to toss.

The parents run a slipper factory. Since childhood, Zheng Zonglong had to go to the street with his sister and brother to sell slippers. He would try his best to hawk the market and use his voice to attract passers-by to pay attention to the stalls. Because the stalls are not allowed, when the police arrived, he would pick up a bag of slippers and run away desperately.

When he went to the junior high school, Zheng Zonglong began to smoke and fight, and once became a "fallen boy". He had to report to the court every weekend, and all kinds of "weird people" such as fighting young people, unmarried mothers who steal money, motorcycle thieves and other "weird people" are neighbors.

High School, the Huagang Art School where Zheng Zonglong studied is a storied figure in the school. There have been many celebrities in the school, such as S. In "Kangxi is Coming", Xiao S publicly stated that he was once a fan of Zheng Zonglong. "He is very tall and handsome, but he just thinks he likes him very much."

"Middle and high school in my country are ridiculous. They don't study. They sway around every day, ride modified motorcycles and run around, behave brothers with others, bully the weak, and join a small gang." Zheng Zonglong said that when he was young, he was a "bad boy."

University, Zheng Zonglong originally wanted to take the Taipei University of Arts , but failed the exam because of his poor cultural course. After crying, he turned to the Night Department of the Dance Department of Taiwan University of Arts.

During the day, he was busy helping his father deliver goods, and at night he changed into ballet shoes and tights, and danced in the classroom listening to the sound of the piano. In his memory, these two years have been chaotic, conflicting, and unhappy.

"Once a performance, Roman Fei (former artistic director of Yunmen 2) saw me dancing in the audience and asked you why you didn't take the Taipei University of Art? I said I took the exam, but I lost the election. She said you can take the exam to transfer to the class, and I went the next year and transferred to Taipei University of Art."

has good qualifications and can't learn anything quickly, but Zheng Zonglong can't cherish the dance.After class, he went to the Internet cafe to play games. After playing all night, he went to school to practice Tai Chi guidance at 6 o'clock in the morning. At that time, his dream was to open a high-end Internet cafe, and even the pictures were set in his mind.

I don’t want to study, don’t want to play electric, and I don’t know why I have to continue dancing. In my senior year, Zheng Zonglong, who was confused, chose to leave school and join the army.

As a soldier, he stood in the ward for more than an hour, and Zheng Zonglong often felt ache in his back. I went to X-ray during the holiday and found that the pedicle that supported the spine had a crack. The doctor gave him two ways: surgery and lock the pedicle with a nail; if the surgery is not performed, the pedicle slips one day, which can easily lead to paralysis.

Zheng Zonglong struggled for a long time and decided to start the operation. The doctor dug up the bones in his pelvis to fix the gap and then punched two steel nails next to his spine. Wearing an iron suit, Zheng Zonglong lay on the bed for two years. Looking back, he attributed his spinal problems to his overdraft when he was young - he did not pay attention to warming up before dancing, and did not pay attention to finishing the exercise after dancing, so he would do whatever he was happy, and the human body was too fragile.

During the two years of lying in bed, Zheng Zonglong thought the most about what he would do in the future.

Taipei University of Arts has been studying for five years. His parents and friends suggested that he finish the last year. What should he do if he can’t dance? Zheng Zonglong crafted three dances and successfully transferred to the choreography department. When choreographing, he tried to move slowly and found that his body seemed to be OK and his waist injury did not affect much. He took the Yunmen exam after graduation.

Zheng Zonglong didn't know that after entering the Yunmen, his torture really began.

Young Zheng Zonglong

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Zheng Zonglong entered the Yunmen in 2002.

He still remembers that his first class in the group was standing (half-squat), and one stop was an hour and a half. The practice room at Yunmen was in the iron house. His sweat fell like rain, and his feet soon became wet.

Yunmen was on a hillside in Bali, Taipei at that time. It was difficult for Zheng Zonglong to go up the mountain, and his legs would be weak after climbing for a while. After dancing, the others were fine the next day. Zheng Zonglong went to see a Chinese medicine doctor every Monday, Wednesday and Friday, and had to do rehabilitation on weekends.

"Everyone is resting and watching movies. I cupped, acupuncture, applied medicine, and took Chinese medicine in the hospital. Over time, I found that I had no choice but to do anything. I needed a lot of rest."

Four years later, Zheng Zonglong had to quit the group. Only then did he realize that he really fell in love with dance, and he was engaging in the bones. On the day he left the group, Zheng Zonglong hid in the rehearsal venue and cried for an afternoon.

Thinking of this passage, Zheng Zonglong's nose felt sore, tears in his eyes, and his tone choked. He said that he had purely thought of separation, "Any separation is uncomfortable. At that time, I established a deep relationship with dance."

Zheng Zonglong did not complain, nor did he regret that his ignorance was ruined when he was young. He is a person who doesn't regret it, and it's gone.

can’t dance and don’t want to go back to inherit the family business. Zheng Zonglong rented a small house outside, with a monthly rent of NT$8,000 and made a living by commercial performances.

Every night, he and his friends choreographed in the gym in the community building, and he could live for more than a month as long as he received one order. Sometimes when you encounter difficulties, you may be sent away when you encounter difficulties with the performers. When I was the poorest, I only had less than NT$100 left.

Lin Huaimin knew that Zheng Zonglong wanted to choreograph, but he had no money, so he simply invited him to be a driver and brought this young man with him at any time.

Zheng Zonglong followed Lin Huaimin to watch the performance, watching him attend meetings, revise manuscripts, answer calls, and chat with people every day. He was busy from morning to night, scrolling non-stop, "So this is how he lives."

In the past one or two years as a driver, Zheng Zonglong discovered that this was the beginning of his practice. What touched him the most was Lin Huaimin's home, without any unnecessary decorations, and the three walls were books and CDs. "I seem to have seen the treasure and want to know what is hidden in the book."

Lin Huaimin has a deep study of classical music and laughed at Bach who has lived at home for more than 20 years. Almost overnight, Zheng Zonglong decided to let go of Jacky Cheung and Jay Chou and listen to Mozart and Beethoven instead.

"Suddenly, my previous life was negated in an instant."Zheng Zonglong gradually understood that choreography cannot rely solely on talent, but also needs rich accumulation and support, and has various understandings of art, music, dance, and history. "I just feel like I am empty and crazy, just a big boy who can play. I don't know what those on the wall are, I want to absorb them. "

If Lin Huaimin didn't give a hit, Zheng Zonglong sighed that his life might be completely different. "I may sink into the sea of ​​suffering, or become a director who specializes in concerts, but I still have the desire to create in my heart and want to express it. "

On the road to dance, the two artistic directors of Yunmen extended a helping hand to Zheng Zonglong, but the impact of the two on him was completely different. "Teacher Lin is a strict teacher, and you can't joke. Teacher Manfei is a warm friend, the kind who will put his hand in front of you. "

2006, Zheng Zonglong was 30 years old. This year, both him and Yunmen, too many stories happened.

1 In January, Wu Guozhu, the most talented choreographer in Yunmen 2, passed away; in March, Roman Fei, the artistic director of Yunmen 2, passed away. Zheng Zonglong participated in a choreography competition in Germany, won the bronze medal with the duo dance "Diderbesh", but no chance to bring it to his mentor; in April, Zheng Zonglong was invited to serve as the special choreographer in Yunmen 2.

In his early years, Zheng Zonglong was a poor and happy big boy, without much burden. After experiencing such things, his psychology began to become subtle, "The feelings have become more. "

It was also in October of this year that Zheng Zonglong rushed to India to wander. After choreography by

, Zheng Zonglong found that he wanted to talk to many people, but he had no idea what to say. In a daze, he applied for the "Roamer Plan" funding of Yunmen, on the grounds of "finding yourself". Unexpectedly, he passed by.

Lin Huaimin supported young people to go out of their lives and see the world. In the first season, Zheng Zonglong applied for Japan. Lin Huaimin said that when you go to Japan, you will only feel that you are poor, so he changed India. He did not make any travel plans. He went to India alone with his bag and walked 24 cities in one breath. When he reached Taj Mahal , he cried.

"I finally went around with my own strength. These two months have been solid for two months. "The trip to India was very exciting to Zheng Zonglong. Next to the magnificent hotel was beggars. Heaven and hell were intertwined, reminding him of Taipei's Monga, and also allowing him to take off his long-standing armor and practice talking to himself.

The trip to New York in 2012 was a completely different experience.

This year, Zheng Zonglong was awarded the Asian Cultural Association Award to go to New York for half a year. He lived like a local, absorbed like a sponge, and watched some strange performances in a strange theater. "It was completely different from the feeling in India. India is like a jungle, with different desires to tear up. New York is a structure, a clear structure. "

In New York, Zheng Zonglong compiled "A Blue Place". Six female dancers in black were putting down their hair and doing some strange movements.

" It was a little annoying and a little melancholy during that time. One night I couldn't sleep, so I ran to the rooftop to have a breath, hoping to sort out my thoughts. As the sky was about to dawn, a little light leaked in, and the sky slowly transitioned from black to blue. I suddenly forgot my worries and gained peace, hoping to express the annoying thoughts of insomnia with dance. "

After Zheng Zonglong returned to Taiwan in the row dance

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, Zheng Zonglong was promoted to assistant artistic director of Yunmen 2 by Lin Huaimin, and two years later, he was promoted to artistic director. This is the first time that Yunmen 2 has taken over the baton after Roman Fei died of illness.

"It may be that I choreographed and choreographed well. "Zheng Zonglong explained lightly.

Time goes backwards. Since he served as the special choreographer of Yunmen 2 in 2006, Zheng Zonglong has released new works in "Spring Fight" almost every year: from "Change" (2008), "Wall" (2009), "Crack" (2010), "On the Road" (2011), "A Blue Place" (2012), "Du Liankui" (2014) to "Come" (2015). The propositions are both abstract and concrete, both personal but also common.

Zheng Zonglong's creations are not as full of family and country feelings as Lin Huaimin. He has no traditional burdens, no historical tension and restraint, but is more like Roman Fei, another mentor who discovered him, with much arbitrary emotions.

Zheng Zonglong's early works followed the feeling. The 2015 "Come" was considered a turning point - this dance takes Wanhua's temple fair, the action scenes of the spirit medium, and the colorful temple characteristics as the source of creation - he began to try to trace his own culture and explore the beliefs and evolution of Taiwan until "Thirteen Sounds" reached its climax.

"He has become more and more brave and honest, knowing what he wants, and starting to find the purpose of being a Taiwanese creator. Why do he want to choreograph?" Cai Baizhang, who is the voice director of "Thirteen Sounds", believes that Zheng Zonglong's creative context has gradually returned to his hometown in recent years, and it can be foreseeable that he will move towards a mature stage.

Lin Qiang, who played the soundtrack of "Thirteen Tones", believes that "he has always wanted to break through his inertia in his creation. He used to like to use classical music or Western contemporary music, and his physical expression was also influenced by Western dancers. "Thirteen Tones" starts from Wanhua's life and finds it from his own life experience, so that the growth process becomes a nutrient for creation."

Lin Huaimin often said that there is something that Zheng Zonglong has never had in his life and is very envious, that is the vigorous vitality on the street. The vitality is sometimes even wild, and what Zheng Zonglong is interesting is that he can turn wild into beauty.

He was very happy that Zheng Zonglong took himself back to Wanhua step by step, and Brariyang (Taiwanese choreographer) finally returned to Taitung , "Everyone needs to go home. This is a strange fate of Taiwan. We always feel that we are not good enough, we only yearn for the distance. Both choreographers have been to Europe and the United States, seen, and then they go home. This is a question of cultural confidence."

The outside world thinks that Zheng Zonglong is mature, and Zheng Zonglong understands very well. He is still looking for "what is himself".

Four years in Yunmen, he followed Lin Huaimin to receive the most traditional martial arts and Tai Chi training in China. He practiced Martha Gram technology since childhood, liked Pina Bowsh dance theater, and saw William Forsyth, he would marvel at "ballet can be so vivid", and saw Erie Killian's dance, his eyes would turn red...

"I will ask myself, what do I want? What can I do?" Every choreographer walks around the world and has a unique style. Zheng Zonglong is not afraid of admitting it. He is still exploring now, and his style is not yet finalized, and it is far from the stage where he can organize it.

Every time he choreographed, he was still afraid of facing the creative process, and had a feeling that he could not speak, between sadness and joy.

What are you afraid of? For example, "Do I want to make a cup of American coffee or a cup of latte? It turned out to be a caramel macchiato? What's wrong with this? I want to stir-fry a dish, but it's strange how it made three cups of chicken. What happened in the ingredients and order?"

"Simply put, your imagination and your ability and whether you have reached an agreement on what you do require time and experience. I just want to connect my hands and heart, but even if I have a connection now, I still can't stamp myself in the deepest part of my heart."

Zheng Zonglong said that his biggest problem lies in this: if others recognize it, you must recognize yourself. This is probably the most indescribable distress of all creators with pursuits.

also has dances that he recognizes, such as "There is a Blue Place" and "On the Road". He found that the works he recognized were all compiled when he was most relaxed, and it would not work if it was too purposeful.

"The Thirteenth Voice is a commissioned work. My purpose is to find Wanhua. If you relax, maybe Wanhua will come to me. One day you don't want anything, and it is real when it really appears, but if you don't go through this exploration process, it won't pop up."

Zheng Zonglong guides Wanhua

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For Zheng Zonglong, choreography is not difficult, but it is another matter to hang the cloud gate sign. This sign is a business card of Taiwan. It was accumulated by Lin Huaimin in 45 years and was piled up by Yunmen dancers with countless flight miles and sleepless nights. The pressure on the

brand is too great, and Zheng Zonglong advised himself, "Just don't think about it.""

" That pressure comes from having a very respectable senior there, but I have to tell myself that I am not Teacher Lin, and I may not be able to reach that height, but what can I do? Where can I do it? I still have to walk out with my feet. I occasionally have some thoughts and throw them away. I get used to them after a long time. "

In 2020, everyone is watching. No matter whether they want to or not, they will be compared with Lin Huaimin. Is there no pressure?

"I can't compare, so there is no need to be pressured. I knew from the beginning that who I am and where I came from, and I started from here. I like dancing, I like choreography, and I hope to share dance with more people, just as this heart is enough. "

So I won't set a goal for myself. I must bring Yunmen to the same height as Lin Huaimin?

"No, my goal is to be clear-headed every day, and to complete every meeting, every thing, and every task with people carefully at all times, and there will naturally be accumulation. "

Zheng Zonglong admitted that after 45 years of Yunmen, there are too many experienced partners fighting side by side. He is not worried about administration and management at all. The biggest pressure is creation. "The only thing I have to strive for is my works, are my hands and hearts together. ”

Someone once asked Lin Huaimin why he chose Zheng Zonglong, and he replied, “Because he is stupid enough! "Zheng Zonglong's friend and choreographer Tao Ye attributed it to "simple", "He has the purity of an artist, and it is precisely because of simplicity that he can be competent. "Zheng Zonglong said with a smile, what the two of them actually meant the same thing, "Simple is just stupid, but Tao Ye said it better. "

Yunmen has two dance troupes. Although the training system is the same, the style is completely different: the first regiment specializes in dancing Lin Huaimin's works, and all the dancers are shaped by Lin Huaimin's aesthetic preferences; the second regiment will cooperate with different young choreographers, and the dancers are relaxed and free, and are the body of ordinary people, but there are more possibilities. The

1 regiment is mostly spent on international tours, while the 2nd regiment instead, it runs to the countryside, goes deep into the community, schools, tribes, and mountainous areas. A handheld speaker, swipe the floor, and dances on the spot.

"Dance the 1 regiment's works, you must be stable and calm down. If you want to be able to live a life of the works of the 2 groups, you can deal with all kinds of people, various venues, and various states. If you want to lead people up to dance anytime, anywhere, what should you do if you can’t afford it? You have to make a lot of decisions between zero and a few seconds to deal with many emergencies. This is the hardest and most interesting part of the 2nd group. "

Artists usually like to devote themselves to creating, but Zheng Zonglong is willing to lead the group to the grassroots level, carefully design every performance link, communicate and interact with the audience, and let them get close to modern dance - he loves the general audience, which is also something Lin Huaimin admires.

"If the creators are doing it to death but no one understands it, it has always been a question mark, and I really want them to have the same resonance as me. "Zheng Zonglong said that the easiest way is to invite the audience to dance together, "They know what dancing is like when they move, and they have the ability to empathize when watching dance. "

Whether it is positioning, dancing code or dancer's temperament, the 1st and 2nd groups are different. What will happen in the future? Someone is thinking about it, and the two groups will merge, "I can only say that it is possible, but I haven't decided yet. "Zheng Zonglong emphasized.

Because of its unique personality, modern dance troupes are often dominated by a soul character, specializing in dancing this person's works, Martha Glam, Pina Bowsh, and Moss Cunningham. This is a "double-edged sword". On the one hand, it is easy to develop a highly recognizable dance style. On the other hand, once the soul character leaves, it means the end of an era. Where will the dance troupe go? How to deal with the accumulated works?

After Lin Huaimin retired, Zheng Zonglong also faced this problem.

is like Pina Bowsh Dance Theater, which is a museum-like dance troupe, and regards the repertoire of the soul as an important task? Or do you open up your own roads, invite directors, speak contemporary voices, and make the most current creations like the Dutch Dance Theater?

"Is it possible to find the third type?" Zheng Zonglong admitted that he still needs time to explore and find directions during the exploration. "You still have to wait until 2020 before you can really consider how to turn the rudder."

Zheng Zonglong Photography Wang Bizheng

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When he was young, he loved to call friends, but now Zheng Zonglong enjoys being alone more.

When he has time, he likes to climb mountains alone, soak in hot springs, and walk around the beach. He is alone when watching movies, and he also has a ticket to watch performances. He wants to give two, so he just sticks to one.

Yunmen 2 are all young people, and they eat, drink and have fun in groups. Zheng Zonglong occasionally participates, but is not keen on it.

"Working with everyone for so long, we haven't had a meal alone, and so are the members of the league, very few." He has already said so much to others at work, and he hopes to leave the rest of the time for himself, "One person is more sensitive, and you produce chemical components because of yourself, and you leave more time for yourself to think."

is not cold, time goes too quickly, Zheng Zonglong said that he just has one more aspect, "In the past, I needed friends very much, and I had to come and go every day, otherwise I didn't seem to live in the world, and now I want more personal space."

is loneliness the essence of human beings?

"It's like this, it's loneliness, it's hardship. This is the truth of life, we are just lying to ourselves."

Resulting in hardship, Zheng Zonglong, who is responsible for the leadership, is now extremely self-disciplined. He wakes up at five or six o'clock every day, gets up early to work, choreograph it with all his heart, and try to keep himself in a stable state.

Next, he wanted to compile a dance related to the moon and the wind. This time, he hopes to truly relax without purpose.