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The 54th HK Arts Festival .Feature
2025.12.19

How FOCASA changed the circus scene in Taiwan—and beyond

Text / Shao yi Chan

The camera turns on to reveal two faces visibly geared up for our Zoom interview. One of them is Lin Hwai-min, founder of the legendary Cloud Gate Dance Theatre. "It took me ages to tidy up after the kids made a mess!" The younger man next to him, Lin Chih-wei, answers with a shy smile, which belies a strong-willed tenacity that has kept a 40-strong troupe going for so long

The story of Lin Chih-wei and the FOCASA Circus goes back 15 years to 2011, when a fresh-out-of-school Lin and a group of like-minded friends founded MIX Dance Theatre. Instead of pursuing street performances or cruise ship gigs, they had a bigger mission: to prove that acrobatics is a legitimate form of performing art. At the time, street dance was all the rage and many young people, including Lin, were captivated by B-boy culture. MIX combined street dance, theatre, acrobatics and youthful grit—a spirit that was carried over when they regrouped as FOCASA Circus a few years later. "Most circus performers in the West would specialise in one move. If you're a juggler, you just juggle. If you're a stilt-walker, you walk on stilts. But we do it all," Lin says. 

This meant they had to work twice as hard as others—but it also brought unexpected opportunities. Lin Hwai-min instantly lights up at the mention of his connection with FOCASA—despite having told the story countless times. In their early days, the FOCASA members had to train in public parks as they could not afford a space of their own. This is when Lin Hwai-min stepped in. He handed them the key to his rehearsal studio—and a site to pursue their dreams. 

In 2020, Lin Hwai-min retired from Cloud Gate, but decided to return to the scene when he found that FOCASA was struggling to stay afloat during Covid. He brought in Jimmy Liao, the beloved picture book writer and artist, to visualise and create a performance that would draw in audiences from all walks of life—a work that might well be Lin's final stage work. 
 
The result is One to One Hundred: A Brave Journey, a beautiful work that epitomises the circus arts at their most pure yet manages to defy all conventions. While the show, based on Liao's artwork, features clowns and vibrant visuals that are typical of the circus, it breaks away from the circus arts in a fundamental way. Lin Hwai-min says the main challenge in directing a non-dance piece comes from an underlying distinction between the two art forms. "Where dance is a lyrical art form, the circus is inherently explosive, so I had the FOCASA kids take lessons to attune their bodies." And unlike most circus shows, One to One Hundred is driven by music, with a delightfully eclectic soundtrack that ranges from Mozart to Taiwanese pop and the Pirates of the Caribbean score. This entails a rhythm and breathwork that is entirely different from the art of circus.
 
While FOCASA's early works were more about "art for art's sake", One to One Hundred is a show truly made for the audience. "We used to be so focused on making 'real art'," Lin Chih-wei recalls."Then a mentor of ours told us, 'There are plenty of wealthy people in the world, but few who can make others happy'." These happened to be Lin Hwai-min's thoughts all along. When asked about the biggest difference in directing a circus production, he says: "The difference? I had fun this time. What's more important than making our audience happy in a circus show?" 

It's been 50 years since Lin Hwai-min first performed in Hong Kong, so this performance holds special meaning for him. "I hope to come to Hong Kong in person and give the audience here a proper farewell." 

FOCASA Circus—One to One Hundred: A Brave Journey

Date: 13-15 Mar, 2026

Venue: Grand Theatre, Hong Kong Cultural Centre

Details: https://www.hk.artsfestival.org/en/programme/FOCASA-Circus-One-to-One-Hundred-A-Brave-Journey

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