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Flash Dispatch, 7-12:
Hong Kong Ramble
Smart Moves: a Weekend's Worth of Dance in Hong Kong
By Maura Nguyen Donohue
Copyright 2000 Maura Nguyen Donohue
HONG KONG -- Well, it's
hotter than Haiti in Hong Kong. We're only supposed to be here for
as long as it takes to get a couple of visas into Mainland China
and Vietnam. Luckily, in the meantime, a workaholic curiosity and
the smallest amount of urging from PBI sends me into three days
of dance observation and contact (either personally or peripherally)
with just as many generations of modern dance in Hong Kong. The
"founders" from the '70s like Helen Lai, Willy Tsao, and Sunny Pang
are followed by "80s babies" such as Mui Cheuk-yin and Pun Siu-fai
who are in turn chased by "young ones" including Andy Wong, Ong
Yong Lock, Daniel Yeung, Yeung Wai Mei and, my-personal-hostess-to-today's-downtown-HK-dance,
Abby Chan. I met Abby a couple years ago when she performed in a
site-specific work of mine at the Bates Dance Festival but, you
too were as likely to run into her on the streets of NYC thanks
to a few Asian Cultural Council grants. With her help I was able
to see performance works by Ong Yong Lock's South ASLI Dance Workshop
and Andy Wong & Frances Leung's DanceArt HK as well as make visits
to the Fringe Club and rehearsals at City Contemporary Dance Company's
studios and school. Of course, I've also got to offer props to Perry
Yung, travel companion, HK tour guide, Cantonese translator and
pending -- "ahem" -- partner.
Interestingly, despite,
or perhaps to spite, the 1997 reunification with the Mainland this
current generation of dance artists seems hell bent on creating
and performing work that appears very Western in form. Perhaps I
could come back again and experience something entirely different,
but not this summer. The Hong Kong Ballet is performing "La Fille
Mal Gardee," Seattle's Pacific Northwest Ballet is coming with "A
Midsummer Night's Dream" and the balletic People's Liberation Army
Comrade Dance Troupe uses the bourgeois-est form of dance to celebrate
communism in "Rhythm of Military Life." Of course, how can I speak
of issues of performative identity in a city where famed Taiwanese
director Ang Lee, best known in the States for interpersonal dramas
like "The Ice Storm" and "Sense and Sensibility," opens "Crouching
Tiger, Hidden Dragon" (a martial arts interpersonal drama with HK
heavy hitters Chow Yun Fat and Michelle Yeoh) in the theater right
next to "Me, Myself & Irene," the latest gift from America's Kings
of Crass, The Farelli Brothers.
So for now, I'll just
report on what I saw and some of what's to come without too much
sociological exploration of what it means for Asian American artists.
Though I'll admit it makes for interesting conversation over your
10HK$ ($1.50USD) lunch special of wonton soup & tung sum choi at
the Hollywood Plaza Mall.
But first...
If you don't have an
Abby Chan to guide you then check out South China Morning Post's
"24/7," a free weekly guide to what's on in Hong Kong. Andy Wong
was on the cover this week and Abby's show was "choiced" in the
Best of the Week picks. Email: twentyfour@scmp.com.hk
OR pick up or surf to
Hong Kong Arts Centre's monthly calendar at its
web site.
OR stop by The Fringe
Club, 2 Lower Albert Road, Central, for dance, theatre, music, art
exhibitions, talks, or maybe just for a drink in their not-so-secret
rooftop garden. Mandy Yim, another ACC grantee, who presented work
in NYC at PS 1 and Pace Downtown Theater, is currently giving workshops
here in Stretching and Modern Dance. This is also the home of HK's
annual Fringe Festival. Click here to check
the web site.
AND, the Hong Kong Dance
Federation has organized some serious dance fever for the Hong Kong
Dance Expo 2000. This annual event is split into three segments:
a four-day program with over 60 shows from July 13 - 16; an international
dance camp; and an international dance education conference. This
year's guest speakers include Chinese choreographer Zhou Ming, Professor
Ruth Solomon from the University of California and Phrosso Pfister,
a former principal of London College of Dance. Click here to visit
the web site.
City Contemporary Dance
Company
Six years ago I first
saw CCDC members (and their members, if ya know what I mean) at
La Mama in "The Pink," Muna Tseng's revealing work based on a forbidden
erotic novel of ancient China. (Note: CCDC has also worked with
Sarah Skaggs and Shapiro & Smith.) That many of those dancers, including
Andy, Frances, Lock and Abby are now part of the 'young' choreographers
scene is no accident. CCDC seriously considers itself to be an agency
that supports the continued development of modern dance in Hong
Kong. General Manager Kwong Wai-lap jokingly refers to it as a full-time
dance production house. But, though that might make the administrative
offices work much harder it has had an enormous impact on the modern
dance scene here. Since its inception in 1979 CCDC has committed
itself to providing emerging choreographers with creative resources
and opportunities. Their school attracts an annual attendance of
over 30,000 people and each year they produce 80 outreach performances.
And we had just missed their annual 'young' choreographers showcase,
which this year was an 'exotic encounter of Dance and Fashion' called
"Strip Teaser" featuring designers Silvio Chan, Henry CW Lau, Ruby
Li, Pacino Wan and choreographers Abby Chan, Allen Lam, David Liu,
Sang Jijia, Xing Liang, Daniel Yeung and Yeung Wai-mei. You know
my salacious self was bummed but as a consolation prize we did get
to view part of Pun Siu-fai's rehearsal of "Somewhere in the Past
80 Years by the Railway" for upcoming performances later this summer.
Three years ago when we were passing through these parts last Abby
invited both of us (Perry had performed in the NYC production of
"The Pink") to a dress rehearsal for their upcoming thirtysomething
concert, which included Pun's "Nine Does Not Match Seven," a post-modern
work with Peking Opera visuals. Pun too has done some NY time, also
thanks to the ACC.
Technique reigns in the
section of 'Somewhere' that they were working on. It is full of
high (and I mean HIGH) extensions, attitudes and formal port de
bras. At times the only apparent difference between the dancers
of CCDC and any other first-rate dance company in the world would
be their appearance. They just all happen to be Asian. If a dancer
isn't an import from some other Asian city then they've most likely
come through the Academy of the Performing Arts (APA), which means
that the community is full of fantastic technicians though not too
much diversity. Imagine a New York where almost everyone is a white
Julliard grad. It seems one must work much harder to express individual
artistry. Of course, that statement alone could reflect a very American
opinion about the importance of the individual but I'm going to
say it's a modern dance opinion instead.
The section opens and
ends with brief shifts into a calmer past. Solo dancers pour tea
and move slowly through traditional Chinese dance shapes in the
more human moments of the work before abrupt breaks into urgency.
Pun makes great use of space and counterpoint. The music is a frenetic
tango and the movement meets it with various rhythms playing themselves
out on stage simultaneously. Watching him rehearse the 13 dancers
(6 men/7 women) is a performance in itself as he switches between
English, Cantonese, Mandarin and movement.
In addition to various
performances of 'Somewhere' this summer Helen Lai, Resident Choreographer
and CCDC's AD from 1985-89, has been invited to take part in the
Lyon Biennial Dance Festival this September following the success
of the UK debut of "Nine Songs." Which I'm guessing must be the
same phenomenal work that Taiwan's Cloud Gate Dance Theater brought
to BAM a few years ago. In November the company performs for the
much-awaited opening of the Heritage Museum and next February it
premieres "Rock 'n' Roll." In CCDC's tradition of collaboration,
"Rock 'n' Roll' will include live music from famous Beijing rock
star Cui Jian, film from Zhang Yuan (recently named Best Director
at the Venice Film Festival for his work of 17 Years), and 30 dancers.
For more info on CCDC's
performances, programs or classes email admin@ccdc.com.hk
or visit its web site.
"Dumb Moves"
Ong Yong Lock is one
of those 'young' artists who has received significant support from
CCDC. "Dumb Moves" was jointly presented by his South ASLI Dance
Workshop and CCDC at Hong Kong City Hall Theatre July 7-9.
The work opens with video
on a white scrim behind which six horizontal white coffin-like cubicles
are revealed. One man rises from behind them and slowly makes his
way downstage, laying himself underneath one of the boxes as other
bodies are exposed within each of the light-rigged remaining cubicles.
The video flashes brief glimpses of humanity against an eerie electronic
soundscape, giving an impression of the rush of daily life in a
city like Hong Kong.
As the scrim rises, the
dancers engage in shaking off movement while the boxes are continuously
rearranged in a constant shift of the performance space. This was
an excellent interaction between scenic elements and dance. Which
makes perfect sense, as choreographer Ong Yong Lock was also the
set designer. The boxes are used in several different manners and
are an integral part of the entire work. Horizontally, they created
multiple performance levels for the dancers, who crawl, slither
or are caught beneath them and sit, fall and dance on top of and
around them. One effective duet has one dancer laying within the
box shadowing another laying just on top of it. Just when the shifting
of the set pieces seems to be wearing thin, the dancers go vertical
with a go-go dance image revealing the reflective inner surface
of the boxes, which then become a peripheral city maze and later
a projection surface.
The movement was often
abrupt and jerky, leaving me wanting to see more out of these obviously
well trained and versatile dancers. Thanks to the Academy of Performing
Arts, it's hard to find a dancer who isn't technically proficient.
But, it does leave me yearning for performers who can embody themselves
with more confidence. In this respect, Jay Jen Loo and Elsie Chau
stood out as particularly solid performers, comfortable and conscious
enough of their abilities to own the movement and translate it into
a personal style that stands out from the crowd.
Aside from the outstanding
scenic work, the other production elements were noticeably well
done as well. Malaysian lighting designer Godzilla's work was both
subtle and striking, depending on the moment. Wong Sun Keung's techno
soundtrack, though eventually wearing, sent me into several involuntary
synaptic jerks. Karin's post-apocalyptic costumes of silvery tops
and slippery black pants evoked a strong sense of tomorrow.
"Paper Balloons"
Where Lock's "Dumb Moves"
showed humans struggling amidst the hustle and bustle of life, Andy
Wong brings us into the complex struggle within our own hearts in
"Paper Balloons." Inspired by Ryu Murakami's novel of a young girl's
self-discovery but modeled most often on autobiographical input
from each of the performers, the work examines human relationships,
despair and hope. Interesting and ironic that these two shows were
running at the same time, with "Paper Balloons" across the bay at
Hong Kong Cultural Centre's well-equipped Studio Theatre in Kowloon,
July 7-9.
The design elements were
again excellent, with a reflecting pool installation and costumes
designed by Ewing Chan. Site-specific staging with the black box
theater was best realized during a sequence where the dancers run
throughout the space and occasionally stop in the house to speak
briefly with a narrator, Ulysses Chuang. The dancing is superb from
the entire ensemble, and though the movement style has a very familiar
downtown NY release-based vocabulary complete with fleeting one-arm
balances, it well suits the sense of tossed and tumbling balloons.
I found myself struggling to verbalize the seamless, unique quality
of Wong's dancing. It's the kind of settling into one's body that
comes from more than just years of movement but also from a profound
understanding of one's spirit. Towards the end of the show he tosses
water from the pool into the air, and transforms himself into liquid
form, easily becoming a single droplet falling through space. Both
Wong and Frances Leung are seasoned veterans of APA and CCDC whose
striking grace and articulation present me with an antidote for
the overwhelming technicality of Hong Kong dance. Leung executes
a solo that is a pure expression of repression. Taiju Matsumoto
meets Wong with a younger but equally as skilled refinement in their
duets together. The remaining company of dancers, including Allen
Lam, Rachel Yip, Frankie Ho and Lim Chee Keat, each shine at various
moments while still maintaining a solid sense of the inherent ensemble.
The sincerity of the work, the tight partnering and the complexity
of the dancing makes obvious the enormous amount of input and commitment
each performer offered to the creation of the dance.
We brought our friend
Serge to his first modern dance performance. He said he loved it,
enjoying the narrative elements and the depth of the work. But,
I joke that he secretly hated it and tried to punish me the next
day with an excruciating three-hour hike into the clouds of Sunset
Peak on Lantau Island. It was a breathtaking experience in every
sense of the word. But somewhere up there between Heaven and hell
I thought of Wong's notes where he stated, "If I could summon the
courage to explore uncharted depths (or in my case heights) and
choose the path with my heart, I may find a palace that harbors
invaluable treasures."
"Dancing Machine"
Abby Chan and Daniel
Yeung will be presenting a collaborative romp into the backstage
and front stage goings-on of the dance world at The McAuley Studio
Theater, July 13-16 at HK Arts Centre. After watching them run through
the piece for their stage manager I get an overwhelming sense of
two dynamic performers eager to explore new territory in performance.
The show includes elements of ballet, yoga, Butoh, improv, Chinese
dance & opera, video, spoken text in Cantonese and English and zany
scenarios. The work is created, it seems, in direct reaction against
the omnipresent focus on technique in Hong Kong's dance world. What
Chan and Yeung have done is created a work that allows each of them
to work at their skills as performers and not just dancing machines.
Though I would have missed much of the opening humor without Perry's
translation, I think the message is clear. They aim to risk a life
on the stage that moves beyond just the marionette demonstrations
they have been party to in past activities.
And that's Hong Kong
for now.... I'm off for some dim sum and "Crouching Tigers"....
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