「羅文瑾以深思熟慮、古怪奇特的舞作風格著稱，特別是以具挑戰性文學作品為創作靈感的風格令人值得為她投以關注。」——Taipei Times, Diane Baker

「羅文瑾獨特的創作風格、不追逐潮流的自信，使沉重的議題在其帶領的製作團隊設計下，常展露詭異不凡的色調，隱晦迷人、引人發想，特別是透過動作將人的身體變形成怪誕的生物，令人著迷。」——國藝會表演藝術評論台/特約評論人 徐瑋瑩

「羅文瑾嘗試在每部作品中以大膽的創意挑戰當代舞蹈動作的美學觀點，使得許多作品在藝術形式上有令人意想不到的驚喜與期待，與透過藝術形式開啟的深度哲思對話。」——國藝會表演藝術評論台/特約評論人 徐瑋瑩

稻草人現代舞蹈團藝術總監暨核心編舞、表演家。美國伊利諾大學舞蹈藝術碩士。一半漢人一半泰雅族，擅長從周遭環境吸納各種能量並轉換成獨樹一格的身體語彙與創作能量，進而發展出與各種環境共振共感、風格動人強烈的特定空間創作表演。不追逐潮流的創作信念，喜歡自文學及哲學汲取創作養分，用舞蹈作為觀察的鏡子揭示生活與人性的荒謬，陸續發表過曾獲文建會及法國巴黎台灣文化中心遴選參與【2011外亞維儂藝術節】演出，並獲法國《Reg'Arts 表演雜誌》譽為“令人驚嘆的創作”的《鑰匙 人‧The Keyman》、2017年獲香港舞蹈團之邀赴香港演出的《詭 跡Dripping》，以及挑戰經典文學、深思熟慮、古怪奇特的《虫The Bug》(2018)、《深淵Abyss》(2019)、《巢Hideout》(2021)、《七體Figure 7》(2022)、入圍第23屆台新藝術獎《有可能，但現在不行》(2024、2025)等。

Wen-jinn Luo

“Wen-jinn Luo is known for her thoughtful and eccentric choreographic style, particularly for drawing inspiration from challenging literary works—an approach that makes her an artist well worth close attention.”

—— Diane Baker, Taipei Times
 

“Beyond her outstanding physical ability—having seen 22 performances across three seasons of Chaos Resonance, it is rare to encounter a dancer who sustains such high-energy performance tension for a full hour without pause—I was deeply struck by how Wen-jinn Luo responds with great sensitivity to the plain rehearsal-space setting, using climbing movements and even light projections to leave traces of her body within this specific time and space.”

——Fei-Lan Pai, Observer, 18th Taishin Arts Award

 

“Wen-jinn Luo’s distinctive creative style and her confidence in not chasing trends allow weighty subjects, under the design of the production teams she leads, to reveal uncanny and extraordinary tonalities—subtle yet alluring, evocative and thought-provoking. In particular, her transformation of the human body through movement into grotesque, otherworldly creatures is utterly captivating.”

—— Wei-Ying Hsu, Contributing Critic, Performing Arts Review Platform, National Culture and Arts Foundation

 

“In every work, Wen-jinn Luo boldly challenges conventional aesthetic perspectives on contemporary dance movement, resulting in many pieces that offer unexpected surprises and anticipation in their artistic forms, while opening up profound philosophical dialogues through the language of art.”

——Wei-Ying Hsu, Contributing Critic, Performing Arts Review Platform, National Culture and Arts Foundation

 

Wen-jinn Luo is the Artistic Director, core choreographer, and performer of the Scarecrow Contemporary Dance Company. She holds an MFA in Dance from the University of Illinois at Urbana-Champaign, USA. Of mixed Han Chinese and Atayal Indigenous heritage, Luo excels at absorbing diverse energies from her surrounding environments and transforming them into a distinctive physical vocabulary and creative force. Through this process, she has developed powerful, emotionally resonant site-specific performances that engage and interact deeply with different spaces and environments.
 

Adhering to a creative philosophy that resists following trends, Luo frequently draws inspiration from literature and philosophy. She uses dance as a lens of observation to reveal the absurdities of everyday life and human nature. Her works include “The Keyman” (2011), selected by the Council for Cultural Affairs and the Taiwan Cultural Center in Paris to be presented at the Festival d’Avignon Off, and praised by the French performing arts magazine Reg’Arts as “a stunning creation”; “Dripping” (2017), which was invited by the Hong Kong Dance Company for performances in Hong Kong; and a series of thoughtfully conceived, eccentric works that challenge classical literature, including “The Bug” (2018), “Abyss” (2019), “Hideout” (2021), and “Figure 7” (2022).

Her recent work, “That’s Possible, But Not Now” (2024), was shortlisted for the 23rd Taishin Arts Award and continued to be recognized in 2025, further affirming her distinctive choreographic voice and sustained artistic exploration.