About Me

I began dancing at a young age, captivated by how motion could express what words could not. Over the years, training in classical and modern ballet taught me discipline, precision, and emotional awareness. Yet dance has always been more than technique to me. It is a mirror of who I am and how I see the world. Through every turn and extension, I explore how movement can embody empathy, curiosity, and the subtle balance between strength and grace.

Much of my choreography draws inspiration from nature, the rhythm of rainfall, the resilience of trees, the quiet harmony of the forest. My piece Forest reflects this dialogue between humanity and the natural world: it begins in serenity, disrupted by human destruction, then returns to peace. Through these movements, I express how nature endures,  fragile yet unbroken, constantly regenerating. I see dance as a way to reconnect people with the organic rhythms of life, to remind us that harmony with nature begins within ourselves.

I also explore the relationship between dance and chemistry, translating complex scientific ideas into physical form. For example, I used circular body movements to represent the oscillation of the Belousov–Zhabotinsky reaction, and sharp gestures to symbolize the formation of crystals. The act of drawing circles extends beyond science. It connects with Daoist philosophy, where circular motion (Taiji) embodies the balance of yin and yang and the return of all things to one. Through this integration of art, science, and Chinese thought, I hope to transform abstract concepts into visible emotion, allowing audiences to feel the logic and beauty of the universe.

As I grew, I began to notice the unseen inequalities within the dance world — how students who do not pursue professional exams are often overlooked, and how artistic passion can be overshadowed by rigid competition. These experiences inspired my research on the living and working conditions of Chinese dancers, comparing them with international counterparts. By investigating issues such as access to education, career stability, and social recognition, I aim to bring visibility and respect to dancers whose artistry is too often undervalued.

As the founder and leader of my school’s Ethnochoreology & Culture Society, I guide dancers to explore how movement reflects different cultures and emotional states. Each piece we create draws inspiration from diverse traditions, from Chinese folk gestures to Western contemporary fluidity, revealing that dance is a universal language of healing. I see movement as therapy, a way to process emotion and rediscover balance. In our rehearsals, we often discuss the feelings behind each gesture and how cultural expression can soothe and empower the mind. For me and my dancers, every performance becomes a shared journey, a dialogue between body, culture, and soul that reminds us that art not only communicates but heals.

Beyond technique, I believe the true power of dance lies in its ability to connect people. It transcends language and identity, transforming individual emotion into shared experience. I aspire to create works that not only move bodies but move minds, bridging science, culture, and art to explore how movement can heal, communicate, and inspire.