An interview with a circus performer Kuo Chien Hung about his creative process, busking scene in Taiwan and searching for a definition of happiness.
The most important thing is to truly embrace the journey. You don’t necessarily have to deliver the perfect performance and should never regret anything you’ve done, as long as you gave it your all.
Kuo Chien Hung
Hi Chien Hung. When I saw your application for Busker Tour, I thought “It may be one of the best street shows I have ever seen, or I will be disappointed”. I rarely have this feeling. It was a pleasure to work with you and have you around. We have spoken many times after the festival, so you already know that I have many questions for you.
Let’s start with your background. What was your path to becoming a performer?
I graduated with a degree in Business Management. I began learning to perform at the age of 19 and have practised continuously, dedicating myself to learning both the art of performance and the art of life up to today.
I first learned about fire performance through a university camping activity. Later, during a holiday in my hometown Kaohsiung, I came across a street fire show group. I asked the leader if I could join, and the next day when I arrived, the group had gathered an audience for me, so my first street show was for a big crowd.
What is your busking experience, and why do you perform in the street?
The first festival I participated in was Burning Man in the United States. At that time, I was contemplating the true meaning of love while also seeking an answer I could believe in. Honestly, I didn’t find the answer at Burning Man, but I understood that people can be so free there. That’s when I began to think about what true freedom really means.
The reason I chose to perform on the street is because I don’t like working in the traditional sense. I want to travel freely and live a life that embodies true freedom.
I started doing street performances with a fire group, and I always enjoyed working with them. Back then, I didn’t understand why we needed to get paid after a show. Money wasn’t important to me because my family provided me with everything.
The first time I seriously considered making a living as a street performer was seven years ago. After returning from my travels, my family informed me that we only had 1,500 euros left at home. They had never shared our financial situation with me until it became unsustainable.
At first, it was very difficult because I didn’t have experience performing solo. Although I had the skills, I didn’t know how to organise the entire show. It wasn’t until I met other buskers and observed how they worked that I tried presenting my own style. At the same time, I sought advice and guidance from various teachers.
However, when I found a way to search for busking pitches in my city, I encountered many other street performers who wanted to connect with me. At that time, I was a beginner and didn’t know how to protect myself. I faced some unreasonable situations, but event managers from the venues who noticed that offered me to perform at their venues.
I have grown a lot during my time street performing in Taiwan. Although it is a small country, I believe every place has a similar social model. There are many stories, and we can talk more about them another time.
What’s your process of creating your shows? How do you come up with your routines and how would you say your acts have changed since you started?
At first, I used to combine improvisations with techniques I already knew. Later, I kept modifying my performance with the new skills I learned. They could come from dance classes, workshops, shows I watched, or even ideas I accidentally imagined
What left the deepest impression on me and influenced me the most was a Sufi whirling class I took in college. It made me realise that a single movement can convey many messages and energies. My performances include a lot of spinning, and with each turn, I try to connect to the energy from the centre of the universe. In Sufi whirling, both the observer and the person who is spinning can feel the energy the spinner connects to—whether good or bad.
You use many different circus disciplines and techniques. What are your favourites, and which do you perform more for the audience than yourself?
My favourite prop is the staff, as it’s the one I’ve practised with the longest and feel the most comfortable with. It holds a lot of stories for me. The circus cube wasn’t originally one of my props. I started practising it eight years ago, mainly for the audience. But in recent years, I’ve found that it has also begun to hold personal significance for me.
What has been the hardest trick for you to master, and which one are you most proud of?
In my performances, there is rarely any risk or difficulty involved. The routines I now choose for street performances are those I am very familiar with and almost never make mistakes in (even though the audience might find them very challenging, I’ve practised them over 10,000 times).
What I’m most proud of is still my Sufi whirling. It’s an essential technique for conveying energy to the audience and serves as a form of meditation for me.
The title of my performance is Moving Zen, as it includes a lot of meditative and Zen— Zen that moves and dances.
I have never been to Taiwan. What is life like there?
The pace of life in Taiwan, as I know it, varies by region: Taipei is very fast, Taichung is a bit slower, Kaohsiung is the slowest among the big cities, and the eastern region is very peaceful
In Taiwan, people rarely prepare their own food because eating out is quite affordable compared to Europe.
Our country is small and densely populated, and there are events happening almost every weekend in various cities.
In some cities, having your own transportation is more convenient, like a motorcycle or car (both are easy to rent). Personally, I get around Taiwan by motorcycle.
If you could choose a few words to describe Taiwanese culture and mentality, what would they be?
Friendly, passionate, great food, a bit crowded
Does your culture, and background influence your shows?
Yes, definitely!
I believe the most important part of a performance is being honest with oneself, and my performances also contain elements of my journey to explore myself.
Kuo Chien Hung
We recently spoke about maintaining passion and how travelling to Europe helped you rediscover your curiosity about the world. You have been performing for a decade. Did you feel that you got to the point that you did shows, but without enthusiasm?
Yes, I think this is a stage that many performers go through, and I did too. I tried to watch many shows, attend workshops, or even go hiking, but I didn’t feel that the problem was resolved.
In 2023, I decided to travel to Europe. I saw there the geese on the lake, the mountains and rivers from the train, and I met different people while performing in new towns. Everything seemed so beautiful to me, constantly giving my soul fresh energy. My curiosity about the world and the small things in life around me felt like I was returning to the state of a child once again.
I have met many performers who travel to festivals all over the world, but they don’t explore towns. You combine work with being a tourist. What places have you enjoyed or surprised you the most?
Every place has something that surprises me. The Botanical Garden in Wrocław where we went together amazed me. I also really enjoyed the slower pace of life in the towns of Krotoszyn and Zielona Góra.
I was also very surprised by the churches in the big European cities. Each one was truly awe-inspiring. Whenever I go to a big city, I always visit a church. It’s often free to enter, and it’s definitely worth it.
You took our joke “There is no photo if Chien Hung doesn’t take off his shirt!” with a smile, so I have to ask about your workout routines and diet. In other words, what is your “get abs tutorial” for us?
I believe that doing something simple repeatedly can turn it into something amazing. In my performances, the movements are simple, but I’ve practised them countless times. The same goes for my abs. I train them every day as part of my routine (since other areas are more challenging for me, I always make sure to focus on my abs).
I usually eat light, and I find it hard to tolerate foods with stronger flavours.
Speaking of the Busker Tour jokes, the shirtless photos topic leads us to the nipple story.
If the eyes are the window to the human soul, I think the nipples can reveal the person’s physical state.
I often find myself observing the nipples of people with their upper bodies exposed. Much like how a face without makeup reflects a person’s physical condition, the nipples show something similar (as I write this, I realise that maybe looking at the face would tell me enough).
Now I wonder if this will be stuck in my mind and I will be staring at people’s nipples.
Back to performing. You always show up on the pitch long before the show starts. What are your tricks to build the crowd?
One of the reasons is that when I perform in a new area for the first time, I need extra time to observe the surroundings. There may be some details that need adjustment.
Also, after arriving in Europe, I realised that both my show and my preparation for it might be unique. If I arrive early and prepare slowly, passers-by will likely notice me, stop, and stay.
What have you learnt over the years about performing in the street? How has your busking experience changed your life and the show?
Some things may be beyond change, but I am doing my best to ensure I have no regrets about the experiences I’ve had. This is the deepest lesson I have learned since becoming a performer.
After I started performing, I realised that I am the type of person who absorbs the energy of my surroundings and the people around me. I am very careful in choosing the places where I perform and the collaborators I work with because these factors can influence both my performance and my life.
What has been the most terrifying moment in a street performance and the best crowd reaction you have ever seen during busking?
The most terrifying experience was in my own country. I remember one time before my performance, I clearly stated that my act was a bit dangerous and asked the audience not to come too close. However, it was very difficult to control when there were crazy children whose parents didn’t manage them. I remember that during that performance, a very kind audience member helped carry the child away, which allowed me to complete my show successfully.
I’ve had many wonderful experiences in Europe. The audience notices the subtle details in the performance and applauds for them. The happiest moment is when, after the performance, I receive applause like a tsunami.
Do you get discouraged when there are fewer people at your show than you expected? Have you ever stopped the show?
I haven’t had a similar experience in Europe yet, probably because I’m still new here.
In Taiwan, it rarely happens, but when it does, I still make sure to show some skills and tricks to any audience that stays to watch, even if it’s not a complete performance. As a busker, I believe that even if only a few people remain, I shouldn’t let them down. At the same time, I need to ensure I don’t drain too much of my energy.
The energy between the performer and the audience needs to flow mutually.
What has been the best show in your life?
In Kaohsiung, Taiwan, there is an art centre called the Weiwuying National Kaohsiung Center for the Arts. In 2022, they invited me to create a show for their circus platform. I based the performance on my life story and combined it with live world music.
This act wouldn’t work effectively on the streets, but for me, it’s my best creation. It was also my way of expressing gratitude to the city of Kaohsiung.
It is beautiful. This video also reminded me that I should complement you for your music selection. Circus street performers often use the same popular songs. You choose music that adds another layer of poetry to your performance. The same as your tricks, it may be new to the audience.
Do you change the songs often and what are your favourite artists?
For my main performance, I don’t change the music often, but for the music used to gather the audience, I occasionally try something new.
I have a few musicians that I really like
The first one I want to share is Da Kung, a musician I’ve collaborated with twice on circus projects at the Wei Wu Ying Center for the Arts. He is also my friend. I believe he infuses his work with both his old soul and a sense of living in the moment, which is something I really appreciate.
The second one is Ding Ke. I don’t know him personally, but I’ve listened to almost all of his works. I often use his music when gathering the audience. It feels like every piece of his music tells a story, and I really enjoy how he tells stories through his music.
What are your favourite and the most challenging places to busk?
I love performing at festivals because, so far, every festival that I’ve attended has been incredibly considerate towards artists, and I’ve never encountered any issues with the venues.
In 2023, I tried street performing in many cities across Europe, including the UK. I often encountered drunk people or individuals trying to take my props. This was very challenging for me because my performance requires a lot of focus.
What shows make you stop and stay in the street?
It depends on my state of mind at the time and whether I feel the need to watch the performance. For example, if I need some calmness or something uplifting, I’ll stop if the performance resonates with that. Alternatively, if I know the performer is famous, but I haven’t seen them live yet, I’ll stop to watch as well.
Who are your favourite buskers/best shows you have ever seen?
I don’t have a favourite, but I do have performances that left a deep impression on me.
The first time I watched Samuel Penastro perform was in Edinburgh. His show was clearly carefully crafted, with every segment designed perfectly. I don’t know much about how clowns create their work, but I’m sure it’s incredibly challenging.
Another performance that impressed me was by the Taiwanese group 0471 Arco. Whenever they have a show and I’m available, I always make time to watch. I admire how they combine acrobatics with storytelling. It’s hard to describe—you really need to see their performance to fully understand.
What’s the circus and busking scene like in Taiwan?
The number of street performers in Taiwan is quite significant, possibly surpassing that of many European countries. Outstanding skills and quality content are just the basics for a performer. More experienced street artists tend to maintain good relationships with event organizers, as it is very challenging to rely on local governments for performance spaces due to the overwhelming number of street performers.
In Taiwan, circus performers and street performers are often considered two distinct professions. While both are artists, their methods and forms of collaboration differ greatly. Most street performers tend to perform the same act repeatedly, whereas circus artists spend much of their time experimenting and developing new content. Theatre performers, in particular, often create for their own artistic expression rather than solely to appeal to the audience.
Taiwan has some notable art centres, such as the Weiwuying National Kaohsiung Center for the Arts, which sometimes host circus and performance art events, providing a platform for artists to showcase their work.
I have noticed an interesting thing about the Busker Tour applications. In the past, I had almost no applications from Asia (except for Japan). It has changed recently. What do you think is the reason for that?
I think because COVID-19 is now over, many Asian performers who were confined to their own countries for too long are eager to travel abroad but don’t know how to start. The internet is a powerful tool for spreading information—whether I say anything, it’s easy for others to find out where I’ve been through other websites.
Do you think that busking should be regulated? If you had to decide, what would be the best busking rules?
Yes, I believe there should be reasonable regulations in place to ensure a smooth and long-term collaboration between performers and venue organisers.
For example, setting limits on sound volume or direction, establishing clear application procedures, and having daily checks to ensure compliance with the rules by local authorities.
In Taiwan, where there are many performers, some local governments already have similar regulations. However, these rules also need to be flexible to accommodate different circumstances.
Performers come from all over the world, and having some guidelines in place can help cities and performers collaborate in a mutually beneficial way.
How do you choose the festival you apply for? Do you do your research before, or do you apply for everything and then decide later?
I begin by researching the websites of all known festivals, or if I know any friends who have attended, I will directly ask them about their experiences. If I can’t find detailed information and have no one to ask, I base my decision on the event’s location when deciding whether to apply.
You have performed in various Polish towns at Busker Tour. What was your experience, and how would you compare the Polish audience to the others?
I could directly feel the audience’s respect for the artist, as well as their intense focus while watching my performance. In every show I did in Poland, I poured all my energy into it because I could sense the audience’s attentiveness and their anticipation for my performance.
What kind of advice could you give to young performers?
I am still young, I’m 31 years old now.
If I were to advise performers much younger than me, I’d say that the most important thing is to truly embrace the journey. You don’t necessarily have to deliver the perfect performance and should never regret anything you’ve done, as long as you gave it your all.
Have you found your answers on the meaning of love and happiness? What are your current definitions?
Living in the moment is happiness. Knowing that there is someone in the world who loves you is happiness. Knowing that you are still young and have plenty of time to explore the world is happiness.
Caring for someone or something from the heart is love. However, if it goes too far, it can become a curse.
For example, nine years ago, when I first got the opportunity to perform abroad, my family didn’t give me my passport and stopped me from going. They thought they were protecting me, but the following year, I successfully completed my journey.
What are your plans and dreams, and what should I keep my fingers for?
It seems like I don’t have a dream any more, because the dreams I once had are now within reach, depending only on whether I’m willing to put in the effort.
My current goal is to travel to more countries and cities through my performances, and if possible, I’d love to see the Northern Lights in person.
Fingers crossed and hopefully see you soon!
About Kuo Chien Hung
Kuo Chien Hung was born in Taiwan in 1993 and grew up in an unorthodox performance education system. At the age of 20, he learned fire, stick, and dance. Since 2013, he has been practising circus arts, seeking ways to touch people’s hearts. He was inspired by a butoh dancer who covered his whole body with mud, which led to his realization of what beauty is. He believes one can find oneself even in the forest while speaking to trees.
Moving Zen is a performance with various types of choreography and high-skilled techniques, including crystal ball, 8 rings, cube, contact staff, and fire dance.
If you were about to embark on the last journey of life, where would you want to go and what would you do?
Chien Hung performed in Poland for the first time at Busker Tour 2024 in Wrocław, Zielona Góra and Krotoszyn.
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