"Using the sounds of the ten directions to perform Bagua, the dancer's center of gravity should be in the rhythm of retraction, so that every drop of the shoulders can have cutting energy.Tathagata comes, it will not come; if it is dancing, it will not move."

This dance uses the lion dance and ball-playing figures as a new field of preservation activities, retaining the mind's attention on the moving bodies, and also reproduces the many challenges faced by urbanization: the lost lion dance culture of Taiwan. Taking breath control as the core of the creation, it is necessary to jointly regulate the third wall between dancers and viewers due to the Western stage concept. It also simulates all the possible movements, forwards and backwards of the lion body technique, connecting the internal time of the dancer and the viewer, and through hesitant uprightness and sitting, it creates a non-reciprocal listening experience between performance and viewing. relationship structure. Let us see the sinking limbs, and the complex functions of the temples in the past are presented through the lion dance, such as: faith and entertainment, social connection and early consultation system. The two co-constructed transitional space brings us closer to the main temple of the soul. oscillations in the transition time.

Reconcile and highlight the overlapping and coexisting tension between sacred space and earthly place, and return to the (perhaps changed) spiritual habitat.