I interviewed Formosa Circus Art (FOCA) on a broiling summer afternoon in Tai­pei. It was 37ºC when I visited the troupe’s corrugated-metal studio on ­Shezi Island. The men were practicing shirtless in the 430-square-meter facility, the sweat pouring off of them in the non-air-conditioned space. Company director Lin Chih-wei, the only company member in a shirt, noticed the sweat soaking my back and suggested that we step outside to chat about ­FOCA’s history.

 

FOCA received an enthusiastic response to their 2015 performance at the Tini Tinou International Circus Festival in Cambodia.

The troupe, originally known as MIX Acrobatics ­Theater, includes members from a variety of backgrounds. This diversity enables a signature multidisciplinary approach that combines elements of acrobatics, juggling, theater, and dance. Over the last few years, FOCA has performed around the world in locations ranging from Cambodia, Vietnam, and mainland China, to Denmark, France, and Germany. The group recently hustled back to Taiwan from August performances in Avignon, France, to play for the closing ceremonies of the Tai­pei Universiade.

Sweat and tears

Lin grew up in a single-parent family. To ease the burden on his mother, at the age of ten he went away to school at the National Fu ­Hsing Dramatic Arts Academy (now the National Taiwan College of Performing Arts). He trained hard in acrobatics, and went on to study at the Tai­pei Physical Education College (now the ­Tianmu Campus of the University of Tai­pei). After ­graduating, he performed with Paper Windmill Theater, and as a contract dancer with Cloud Gate Theater. While at Paper Windmill, he noticed that the acrobats were always bit players in spite of garnering the loudest applause, and wondered: “Why do the acrobats always play second fiddle? Why can’t we be the stars?”

FOCA was invited to the Tini Tinou International Circus Festival in Cambodia in 2015. In addition to performing, FOCA engaged in exchanges with other circus troupes, from both Cambodia and abroad.

Lin explains that in the years after he graduated from drama school, acrobats’ career opportunities were limited to things like performing in theme parks and touristy “folk villages.” Annoyed by the lack of respect for acrobats’ artistry, Lin and a few like-minded individuals from other fields founded MIX Acrobatics Theater in 2011.

Lin recalls the sweat and tears they put into establishing the troupe. They were still university students when they staged their first show at Tai­pei’s Zhong­shan Hall in 2012. Though Lin went into the show with confidence, they came out millions in debt. But the performance did open doors for the troupe. The program director of a French circus happened to be in the audience that day and invited MIX to perform at the Festival Pisteurs d’Etoiles 2013 in Ober­nai, France. Initially unsure whether the offer was real or a scam, the group heaved a sigh of relief when a formal invitation came the next year, accepted it, and began building a name for themselves.

Setting minds at ease

FOCA vice director Chen Kuan-ting is an expert at juggling hats. His performance in FOCA’s annual production of I Have My Demons Have Me is amazing.

Once the troupe began acquiring a reputation, their opportunities multiplied. But troupe members had a hard time keeping up, and invitations to friends to help out resulted in performances of uneven quality. In general, performing for a living also means dealing with an unstable income and a high turnover rate. FOCA sought to address the problem in 2014 by instituting a “crazy” new policy: paying its performers a monthly salary.

Hardly any Taiwanese performance troupes pay salaries, but FOCA offers its members NT$25,000 per month in base pay plus NT$2-3,000 per performance, enabling them to take home as much as NT$40-50,000 per month.

Vice company director Chen Kuan-ting handles the troupe’s choreography, is one of the best hat jugglers in Taiwan, and has earned a second prize at an International Jugglers’ Association competition. He says: “The salaries are a really good thing because they let us immerse ourselves in our art.” Chen himself faced a difficult decision after completing his military service. His father wanted him to come home and work for the family’s metal machining business, and Chen hesitated for a time before choosing to pursue his dreams.

Sung Chia-cheng performs with a diabolo in FOCA’s annual production of Olé.

Huang Chao-ming, who specializes in street dance, was at one point working several jobs, including podcasting and personal training, to manage his family’s heavy financial burdens. He admits: “Having a salary is a huge help!” With a steady income, he doesn’t have to spend all his time trying to make money. When things were at their worst—with his grandfather 99 years old and his father in a permanent vegetative state—he thought about giving up performing. But then his brother, who is 12 years his senior, reminded him: “I’m here for the family, too.” Huang’s brother assumed responsibility for the family’s financial needs, enabling Huang to continue to pursue his dream.

Like a family

FOCA includes no lack of well-known performers. Sung Chia-­cheng made a name for himself performing with a diabolo on China’s Got Talent in 2011. He was also a champion at the 2012 Young Stage international circus festival, has performed with a Swiss circus, and has performed in Germany. He recalls: “Everything was too easy at first. Later on, things got much harder.” He had a hard time adjusting when the spotlight dimmed. Fortunately, his FOCA colleagues lent a hand. He was with them day in and day out, sharing in the sense that they were forging a revolution. “Without them, I wouldn’t be who I am today.”

Eight troupe members demonstrate a three-tier human pyramid. (photo by Jimmy Lin)

The members of the company average less than 30 years of age, and maintain a joyful atmosphere even though the training is tough. Hsu Yue-wei loves ­FOCA’s vibe. A graduate of National Taiwan College of Performing Arts, he says: “At FOCA, you can talk about anything.” Being in the group also gives him a feeling of accomplishment. He smiles and explains: “You get a lot back for what you put into it; you get to perform around the world.”

Chao Wei-chen specializes in the Cyr wheel. Having previously been a member of a dance troupe, he recognizes how special FOCA is and bashfully admits to embracing joining FOCA as a learning opportunity. “I’ve only been with FOCA for a year, and plan to extend my contract.” Lo Yuan-yang is a juggler with a mischievous look. Speaking of his love for the circus, he says: “If you don’t push forward when you’re young, when do you push? I’m aiming to be Taiwan’s top juggler.”

Kuo ­Ching-te originally studied martial arts and has been a member of both MIX and FOCA. While a student at Tai­pei Physical Education College, he happened to see some people doing backflips in a parking lot and wondered: “How do they turn flips in the air and land safely? That’s amazing!” And then he joined them. Having come from a different background, he often feels less skilled than other troupe members, but he has nonetheless found his place in the circus as a ball-throwing clown.

Circus dream project

FOCA members train together every day to improve their chemistry. The photo shows Chao Wei-chen (bottom) and Lo Yuan-yang. (photo by Jimmy Lin)

The troupe’s passion for the circus enables them to train intensively. But for all their enthusiasm, it’s difficult to keep a performing arts company afloat in Taiwan, and money is always an issue. Member salaries, performance bonuses, the NT$70,000 rent for their practice space, and administrative costs add up to more than NT$400,000 per month. Lin admits that he’s currently in debt, that the company lost NT$400,000 on this year’s trip to Avignon, and that it has lost money on most of its previous performances abroad.

Why does the company undertake such money-­losing overseas performances? In the case of Avignon, the troupe members see the festival there as their Harvard—it offered them an opportunity to broaden their horizons and have exchanges with the best circus performers in the world.

Established some seven years ago, the company gives more than 100 commercial performances every year. One of their goals for the future is balancing their commercial work with artistic performances. With FOCA growing, Lin and his partners have begun planning their next step: launching the “Circus Dream Project” in 2020. This involves introducing their own educational system and establishing a circus school, both to create an “escape route” for members and to help put FOCA on a sustainable footing.

Reflecting on the group’s passion and how that enables them to train intensively, my thoughts turn to the bashful ­Huang Kuan-jung. A graduate of a dance program, he doesn’t say much, but he does articulate FOCA’s collective goal: “The company is like a human pyramid—it takes everyone working together to make it work. You have to practice the same movements again and again, thousands of times, and you have to be willing to give yourself to your partner.”

That’s how they’ve supported one another for all these years.