Long before the concept of “cross-discipline” gained prominence, Taiwan had already reaped the benefits of its diverse local culture and prosperous ethnic integration to foster numerous artistic exchanges. These interactions transcend language and culture, sparking creative collisions between art practitioners while igniting new possibilities. In recent years, Blaire Ko, a versatile artist known for engaging in various forms of performance across di erent instruments, genres, and disciplines, epitomizes this era of cross-disciplinary collaboration and hybrid creativity.

Starting his journey as a musician, Ko later expanded his repertoire to include album production, film and television scoring. Additionally, he has participated in various artistic presentations such as sound installations and theaters. His versatility in sound and music knows no bounds, as he thrives on “playing” with diverse avenues within these realms. Ko infuses his commissioned works with joy, always finding pleasure in the creative process. What truly sets him apart is not only his adeptness in blending classical and modern styles, but also his talent for revitalizing traditional opera, instruments, and folk music in contemporary contexts. His Sam-seng-hiàn-gē, showcased at the 2018 Daxdaxi Festival in Taoyuan, breathed new life into traditional opera, earning acclaim as a representative example of “hybridity.”

Stories abound just walking down Dihua Street in Dadaocheng, where Ko was born and raised. In his recollections, the vibrancy and avant-garde nature of Dadaocheng served as the catalyst for the adventurous experimentation and exploration in his works. Currently, Ko views the practices of cross-domain collaboration and hybridity as an ongoing trend, one that has surpassed people’s initial expectations. “As the entire social fabric, ethnic consciousness, and mother tongue education undergo new transformations,” he muses, “it’s di cult to predict the future dynamics of merging, but it’s certain to continue progressing.”


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