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新古典舞團/唐樂舞創辦人暨藝術總監
新古典表演藝術基金會創辦人、董事長
劉鳳學博士生於黑龍江省齊齊哈爾市。1949年畢業於國立長白師範學院主修舞蹈輔修音樂。1965~1966在日本東京教育大學研究舞蹈學，同時在日本宮內廳研究唐朝（西元618~907）傳至日本之讌樂舞。
1971~1972於德國福克旺藝術學院（Folkwang Hochschule）隨Albrecht Knust及Hans Zülich研究拉邦動作譜及舞蹈創作。
1981~1987在英國拉邦舞蹈學院（Laban Centre for Movement and Dance）攻讀博士學位，1982~1987年期間，在劍橋大學教授L. E. R. Picken Sc. D.. F.B.A.指導下撰寫博士論文，1987年通過口試，獲哲學博士Ph.D.學位。
劉鳳學歷任中學舞蹈教師、大學舞蹈助教、講師、副教授、教授、主任及國家最高表演機構「中正文化中心」主任；負責音樂廳、戲劇廳之藝術行政工作。現任職於她親自創辦的「財團法人新古典表演藝術基金會」董事長、「新古典舞團」藝術總監及「唐樂舞」負責人。
劉鳳學舞蹈創作生涯歷經一甲子，作品編號已有121首；其中包括大型舞蹈如《黃河》、《灰瀾》、《曹丕與甄宓》、《黑洞》、《大漠孤煙直》、《沉默的杵音》、《北大荒》、《冪零群》、《招魂》等。她首倡中國現代舞，為中國舞蹈開闢出一條嶄新的道路。
她的舞蹈風格結構嚴謹，肢體語彙簡潔有力，獨特的舞蹈空間安排，宛如一首首精緻完美的交響詩。她的研究領域涵蓋台灣原住民舞蹈人類學、儒家舞蹈與唐讌樂舞蹈文化及古譜之譯解。
已經出版之著作有《教育舞蹈》、《舞蹈概論》、《倫理舞蹈人舞研究》、《與自然共舞－台灣原住民舞蹈》及巨著 劉鳳學作品第115號舞蹈交響詩《大漠孤煙直》已於2003年出版。她經常在國內外學術會議中發表論文；建議政府改革舞蹈藝術教育制度；中小學舞蹈班及七年一貫制舞蹈教育制度即係由她提出構想、課程架構。
她曾獲教育部第一屆國家文藝獎－舞蹈獎，薪傳獎，國家文藝獎特別貢獻獎，國家文化藝術基金會第一屆舞蹈藝術獎及兩次CORD舞蹈學者獎。
Liu, Feng-Shueh, Ph.D.
l
Founder and Artistic
Director of
The
Neo-Classic Dance Company and Tang Music and Dance
l
Founder and Chairwoman of
The Neo-Classic Performing Arts
Foundation
Liu
Feng-Shueh graduated with a degree in dance and music from National Chanbai
Teachers College in 1949. From 1965 to 1966 she studied modern dance and
choreography under Matsumoto and Ioguchi at Tokyo University of Education in
Japan. In 1970 she went to Germany to study choreography and labanotation under
Albrecht Kunst and Hans Zülich at Folkwang Hochschule. Eleven years later,
she went to England to study for a doctorate at London University’s Laban
Center for Movement and Dance at the University of London Goldsmiths’ College.
She wrote her dissertation under the direction of L. E. R. Picken, Sc. D., F. B.
A. at Cambridge University and earned her Ph.D. in 1987, becoming the first
Chinese national to be awarded a doctorate in dance. Liu Feng-Shueh has served
successively as dance professor of National Taiwan Normal University, Director
of Dance Department of National Taiwan Arts College and Director of National
Theatre and Concert Hall.
Liu Feng-Shueh has amassed four decades of
experience in the field of dance. Through
her philosophy of dance, choreography, research directions and methods,
innovations in dance notation, and work in arts administration, she has made an
immense contribution to the art of dance in Asia and profoundly influenced its
development.
A pioneer of Chinese modern dance, Liu has
produced a prodigious body of work distinguished by its unique blend of
traditional Chinese dance movement, avant-garde spatial theory, and distinctive
personal style. Her choreography has influenced the creative direction of a
whole generation of choreographers and forged a new path for Chinese modern
dance.
Liu Feng-Shueh has researched and
reconstructed dances of the Tang (618-907 A.D), Song (960-1279 A.D.), and Ming
(1368-1644 A.D.) dynasties. In 1965 and 1966, she visited the Court Music
Department of Japanese Imperial Palace to research a dance that was passed on to
Japan during the Tang dynasty. In 1972 and again in 1984, she visited Korea to
study Confucian dances introduced to that country during the Sung dynasty and
15th-century Korean temple dances choreographed in the Confucian style. She
recorded the findings of her research on film, and has kept and published notes
in labanotation.
Among the important dances she has single-handedly revived are King of
Lan Ling, The Emperor Destroys the Formations (Tang), Majesty Invests the
Four Seas (Sung), Dance of the People (Ming), and Keeping the
Peace (a Ming-derived Korean dance).
Liu has also researched, performed, and preserved the dance of Taiwan’s
aboriginal tribes. She was involved in extensive research on this subject
between 1954 and 1976, carrying out surveys on Orchid Island and throughout the
mountains of Taiwan. In 1976, she organized and filmed a performance of
traditional dance by youths of each of the nine tribes.
Using labanotation, Liu has revived and preserved ancient Chinese dances
and recorded her own works. She has taken part in numerous international arts
conventions, where she has set forth new theories on the relation between
Chinese philosophy and concepts of movement and space in Chinese dance, thus
making an important contribution to the dissemination of Chinese culture and
promotion of cultural exchange.
Liu, Feng-Shueh’s influence on dance education has been far-reaching.
She taught at National Taiwan Normal University and the National Taiwan
Arts College for more than 30 years. Her students have continued to make
significant contributions in all areas of dance, and their impact is evident
throughout Taiwan’s educational, cultural, and artistic organizations.
In 1969, Liu won the Ministry of Education’s first Cultural Award for
Dance. In 1977, she won acclaim from the Congress of Research on Dance (CORD) in
the USA as an outstanding scholar of dance, and in 1991, she was the recipient
of the National Cultural Award of Outstanding Contribution in the field of
dance. In 1997, she won the National Culture and Arts Foundation Literary and
Arts Award.
Since she began her career in dance, Liu, Feng-Shueh has choreographed
more than 115 dances, all characterized by careful structure, rich body language
and expansive style, and yet all the while her dances are underpinned by
profound philosophical theories. With their unique use of space and distinctive
Chinese movement system, her works occupy a special position in the world of
dance.
In recent years, Liu, Feng-Shueh has been devoted
to blending dance and technology, using computers to record dance notation and
creation. Her computerized pieces include Child’s Eyes, Symbols and
Koalas.
