I’m Only My Body? “I’m only my body?” is the starting point of the questioning, which extends to the two creators’ concern about understanding the various aspects of self-recognition. Through theatre, they seek to identify the body as a metaphor for the political arena and explore how gender, upbringing, experience, culture, tradition, and nomenclature interfere with the audience’s expectations of the performer’s body and creative proposition at present (both works are named after the choreographer or performer), and the context in which the performance is constructed. An ongoing dialectic on self-talk, and two performances on the body, identity and cognition, reveal the ways in which different understandings shape our imagination of the reality.
Cheung Lee Hung Each individual is a patchwork of multiple and interlaced acts of impression. Cheung Lee Hung is a performance that explores how individuals understand one another. The creation was inspired by Cheung Lee Hung’s own
experience of being labelled an actor in the dance world, while at the same time being labelled a dancer in the theatre world. As a result, he began to ponder how was he being perceived and defined; what kind of body is considered as that of an actor; and what type of performance qualifies as dance. The performance begins with Cheung Lee Hung’s self-introduction, which proceeds into recounting his past performances and experience – the performance is focused on how the audience appreciate the authentic Cheung Lee Hung on stage, and the bridging of understandings achieved by performing arts.
Kerry & Frieda The female body How it is viewed What is expected of it How it is defined
Production Team Cheung Lee Hung Choreography & Concept Holmes Cheung Creation & Performance Woo Yat Hei, Li Ka Man, Skinny Ng
Kerry & Frieda Choreography & Concept Paula Wong Creation & Performance Frieda Luk, Kerry Cheung Lighting Design Maggie Law Production Manager & Stage Manager Karen Kwong Deputy Stage Manager Oli Tse Producer Michael Li Programme Coordinator Yan Cheng Marketing Coordinator Chris Kwong
*
Administration Coordinator Vincent Yik *The Arts Administration Internship Scheme is supported by the Hong Kong Arts Development Council
About Unlock Unlock Dancing Plaza Unlock Dancing Plaza is a promising contemporary dance company founded in 2002 based in Hong Kong, with Ong Yong Lock as Artistic Director and Joseph Lee as Associate Artistic Director. Unlock is committed to pursuing innovative breakthrough and theatrical liberation. These commitments are embodied in and practised through its productions. The company focuses in reflecting dance on the basis of individual. Through defining dance in the uniqueness of a body and being free from the institutionalised aesthetics of dance, Unlock deeply believes, “Everyone can dance”. Curating cross-media, cross-regional, and experimental projects, Unlock Body Lab is developed to discover and show the possibilities of dance in various forms. #danceless includes a series of creative works, performances and workshops that are based on public participatory as the main way of artistic practise. It promotes and deepens the diversity of imagination of dance; facilitate the mutual exchange between artists and the public through experiencing dance together.
Unlock is a three-time Hong Kong Dance Awards recipient and highly recognised by the dance industry. Its representative works include Jump to Mars, Dance with me, Boy Story. Reborn, Wanderer, serial dance-theatre Walls 44, Chopin VS Ca, and etc. The company is financially supported by the Hong Kong Arts Development Council since 2009.
About #DANCELESS Complex #DANCELESS complex – Choreographic Methodology Based on the aesthetic basis that Unlock Dancing Plaza has gradually established through the years, the concept of #danceless is first proposed by Artistic Director Ong Yong Lock. By examining the mainstream, institutionalized dance training and aesthetics of dance, #DANCELESS complex develops another (or more than one) way of seeing, using, and connecting the body and mind. It is hoped that dance can enter more people’s lives in different forms and ways. As the major platform, #DANCELESS complex expands the whole concept to a larger scale,
trying to unify the direction of studies in recent years in a more complete curating context, plus, presenting and communicating with the industry and the public. The inaugural festival addresses the methodology that is less understood and talked about in the local dance community through five separate works corresponding to the theme of the platform, “Choreographic Methodology”. Channeling the classification as an angle to view and enter the work, and at the same time, provides a larger framework to express the understanding of each choreographer for the work and the process of creation. The platform is held from July to November 2021. In these five months, there will be a series of activities, including performances, residency programs, workshops and talks, which allow participants to further understand the work’s origin, process and motivations behind it; to unfold different levels of communication and extend the dense and short juncture in most dance festivals. This allows different cultures and perspectives to develop over time, supporting artists and participants to communicate organically. At the same time, a writer group was formed to bring dance records from comments only for particular works to various discussions about “choreography”. The possibilities of dance
commentary, choreography and views are explored from different perspectives, generating more ideas that can be discussed before and after the ephemeral performance, connect directly with the local dance community, and experiment with the way of archive. To plan such a platform for a dance company, to talk about #DANCELESS through dance is nothing more than to expand the existing definition of aesthetics and breakthrough behind different cultural contexts, in the hope of stimulating the local performing arts community and reflecting on itself. How dance, as one of the expressions that brings together perception, reason and primitiveness, connects people around the world today, sharing experiences and connecting with times. Only by opening up your mind, can you see more choices and freedom. Co-curator Ong Yong Lock, Joseph Lee Chief Editor (Dance writing) Dick Wong Dance Writing Chan Wai Lok, Dong Yan, Brian Yu Producer Michael Li International Public Relations and Marketing Wouter Bouchez Graphic Design Peter Bird Studio Videographer & Video Editor REDTEAM Programme Coordinator Yan Cheng Marketing Coordinator Chris Kwong
*
Administration Coordinator Vincent Yik *The Arts Administration Internship Scheme is supported by the Hong Kong Arts Development Council
Curators’ Word On becoming us – choreography as a strategy to rediscover oneself Joseph Lee The first #DANCELESS complex uses “choreographic methodology” as its premise. Not only does this produce a more systematic and rational discussion on the ‘how’ and the ‘why’ of choreography, it is also an examination of how the artists gradually construct the performances from their respective starting points. Various concepts, experiences and imaginations are transformed into theatre through choreography, and the difference in background between the two artists drives extraordinary modes of creation and presentation. Paula Wong utilizes physicality, gesture and time to stimulate the mind when faced with gazing; while Cheung Lee Hung uses words, characters and fragments of life as the backbone to the flesh of the piece that is put together through the bodies of the three dancers. Both create unique viewing experiences that elicit an emotional response from the audience and give rise to uncertainty, curiosity and reflection. The two choreographers developed a short work from Unlock Body Lab’s dance-to-be program
which was further refined and adjusted in a 6-month period with feedback from creative partners and audiences. The work is then transported from the studio to black-box theatre, which requires not only reworking the implicit contexts and expectations of the setting, but is also constrained by various restrictions and considerations during the pandemic. To young choreographers, it is both a challenge and an opportunity to explore the frameworks of production, so that it becomes a more complete process of transitioning from the buds of creation to the fruits of production. While different in tone, both works are derived from personal experience - taking the difference between one’s perception of oneself and how one is viewed by others and tracing the divergence to its source. The discomfort, anxiety and doubt experienced in the creative process are distilled, filtered and examined, before being handed to performers to expand on. While both works are eponymous, there is a sense of separation from the self. This stems from the thinking behind the propositions, thereby creating space for the audience to explore the works, and for the artist to experiment with his role in the creation. Through collaboration which shapes the tone and form of the work, it helps to realise an alternate form of power structure in creation.
These two works are not only reflections on how to produce a performance, but also a broader and more fundamental exploration of the proposition. Who am I? How am I understood? How are visible and invisible constraints imposed on us? What influence do they have? As artists, how do you engage such constraints and how can the exploration of them be shared with the audience? At times where contemporary performance art productions place undue emphasis on transmedia, both choreographers are not constrained by pre-existing notions or overly indulged in self-reflection. Instead, they strive to use performance as a tool for thought by straying from the mainstream and using themselves as a blueprint, leading the audience into something different.
Kerry & Frieda The female body How it is viewed What is expected of it How it is defined
Paula Wong Choreography & Concept Wong Pona Paula, an independent choreographer and performer based in Hong Kong. Graduated from Chinese Culture University Dance Department in 2019, majoring in Contemporary Dance. Her recent performance includes Maze 3.0 by Passoverdance Company (2019). Tenacity by Passoverdance Company (2019). Unlock Body Lab:dance-to-be by Unlock Dancing Plaza (2020). Imagination Boom 5 by E-Side Dance Company.
Choreographer's Notes Paula Wong Kerry & Frieda was inspired by the observations and thoughts that I had as a woman in this culture. Starting with the mainstream stereotypical image of women, this piece explores how the female body is being presented, observed and defined. It has been more than half a year since I first stepped into the rehearsal room with the two performers. Actually, the piece that you are seeing now is very different from what I originally had in mind. Learning how to embrace this difference, to assimilate the same and communicate with it has been the most valuable part of the creative process. Seeing how the piece is performed at the rehearsal room versus on stage, it was a great challenge for me to juggle several things at the same time -to keep the ‘intimate’ feeling inside the black-box theatre, to take care of the audience’s vision, maneuver around the scarce resource of performance spaces during the pandemic, and finetune to the performers’ conditions - that being said, this is the fun part of creative process.
I hope that each audience member can step inside the theatre feeling curious, and exit with food for thought.
Kerry Cheung Creation & Performance Kerry Cheung, a freelance dancer. After graduation from The Chinese University of Hong Kong (Bachelor of Nursing), Cheung devoted herself to Performing art, exploring different aspects of self and perfroming. She was resident artist of Unlock Dancing Plaza for two years since 2019, reaching different people in the community through “#danceless” creative workshops, aiming to open up imagination of dance. Cheung currently keeps close cooperation with the company, experimenting possibilities to connect with the public. Performances involved: New Force in Motion series: Unmixed, REAL showcase series: FIT in WHAT, Maze: Shifting boundaries by
Passoverdance, Dance On series: Untitled III, Jockey Club New Arts Power: Maybe Tomorrow mobile dance, The Hong Kong Jockey Club Contemporary Dance Series: Elephant in the Room, KU-SO Olympics by Unlock Dancing Plaza X Namstrops X Sunfool.
Frieda Luk Creation & Performance Frieda Luk is a some-time performer. Between work and rest, she definitely prefers to snug herself at home. Kowloon it is. It would be a blast if she could wholeheartedly devote herself into something anatomically bodymindsoulspirit related……really couldn’t tell what exactly that is. Anyways, such wishful thinking. Time to dive back to bed.
Cheung Lee Hung Each individual is a patchwork of multiple and interlaced acts of impression. Cheung Lee Hung is a performance that explores how individuals understand one another. The creation was inspired by Cheung Lee Hung’s own experience of being labelled an actor in the dance world, while at the same time being labelled a dancer in the theatre world. As a result, he began to ponder how was he being perceived and defined; what kind of body is considered as that of an actor; and what type of performance qualifies as dance. The performance begins with Cheung Lee Hung’s self-introduction, which proceeds into recounting his past performances and experience – the performance is focused on how the audience appreciate the authentic Cheung Lee Hung on stage, and the bridging of understandings achieved by performing arts.
Holmes Cheung Choreography & Concept Freelance actor and graphic designer. Exploring theatre, dance and movement with the perspectives from both a designer and a performer, Cheung has actively participated in and carried out a wide variety of theatre performances and experimental creations. Recent performances include: YinNgZi–Makye Ame,2nd Stage-Live, Joseph Lee–Drifting, Cinematic Theatre-Lightening, Theatre Ronin– Free Playing Park!, Joseph Lee-The World Once Flat, YinNgZi–Anti-Kōdy, Alex Tam–Cave Theatre.
Choreographer's Notes Holmes Cheung About Cheung Lee Hung and his thoughts Inspiration The inspiration of the piece came from my experience of being labelled a dancer or an actor with a background in dance whenever I did theatre work, but conversely an actor or a dancer with a background in acting whenever I did dance work. I am not opposed to this, but it has made me ponder: as a performer, where does one’s identity and definition originate or where should it originate? Disparity between performance and reality As a performer, contact with the audience mostly occurs during the performance. Each performer presents a small part that together constructs the world of the performance, which could take the form of a character or certain actions as performed. An actor, for instance, would need to make certain adjustments to portray a character - be it to their body, mannerism, hair color, accent, or their emotions and reactions. This can be achieved through rehearsals, their inherent skills or with the help of external tools (such as eating wasabi to get teary). In a hourlong performance, it is as though the audience
spends the hour with the performers, even if they are not spending time ‘together’ in the truest sense. Within this short span of time, the performance, the disparity between characters and the performers all affect how the audience views and understands them. Disparity between theatre and reality In theatre, the performance and performers are constructing a convincing alternate reality to the audience. Realism on the outside is often achieved through performance skills, set design and so on. Many performances rely on utilising such disparities to convince the audience to make believe. Without such a mismatch in understanding, many theatrical effects or mirages cannot be achieved. Therefore, doesn’t the premise of inherent misunderstandings make it more difficult to establish any complete understanding? Exploring the change in proposition As we continued to explore how the identities of performers and myself are being defined, perceived and interpreted, I began to ponder: what are the things that can manifest one’s identity? Furthermore, what is there to prove my very existence, what is the meaning of my existence in this world? Such questions should be further explored down the road.
Li Ka Man Creation & Performance A freelance professional dancer, Li graduated from The Hong Kong Academy for Performing Arts with a bachelor degree of Fine Arts (Honors), majoring in Contemporary Dance in 2014. Her recent participations include CCDC Dance Centre 2nd Stage 2021 {POV [TWINK / COUPLE (ASIAN) / EXPERIMENTAL]} By Chan Wai Lok and Simulacra by Sudhee Liao; Unlock Dancing Plaza Unlock Body Lab: dance-to-be 2021 Cheung Lee Hung by Holmes Cheung; Who Killed The Elephant by Vee Leong; Co-presented by Jockey Club New Arts Power and Tai Kwun— Centre for Heritage and Arts, Unfolding Images: We Are Spectacle(s) by Joseph Lee; Tai Kwun Contemporary Still In Hong Kong (2021) by Scarlet Yu and Xavier Le Roy; Tai Kwun Contemporary Zoo by Eisa Jocson; Hong Kong Arts Festival@Tai Kwun Our Atlas by Chloe Wong; Hong Kong Dance Exchange 2020 Action by KT Yau; LCSD Yin Yu Chun Fai programme A Body Research by Dick Wong; New Force in Motion
series Infiltrated by Tsang Wing Fai; Departure X Wei Dance Company The Key by Rex Cheng. Li has also participated in cultural exchange programmes, including Unmixed by KT Yau toured in 2nd DANCESTAGES Shanghai Dance Festival in 2018 after the premiere and re-stage in Hong Kong, and Simon Says, facilitated by West Kowloon Cultural District, co-produced by Unlock Dancing Plaza and Le Phare, National Choreographic Center of Le Havre Normandy (France), which premiered in France in January and toured in Hong Kong in June and Guangzhou in November in 2017. Her choreographies include 2nd Stage 〡夂〨〤 presented by CCDC Dance Centre, and In The Air Between Our Particles co-created with Emily Ng.
Ng Wing Ho Skinny Creation & Performance Ng Wing Ho Skinny, generation Y, graduated from The Hong Kong Academy for Performing Arts, majoring in Choreography. As a dancer, he has collaborated with numbers of choreographers. Recently, he has tried to get involved in musicals, exploring and expending enthusiastically about himself.
Woo Yat Hei Creation & Performance Woo is a dancer, actor, and choreographer based in Hong Kong. He started dancing contemporary at the age of 16. He then obtained a BFA in Contemporary Dance from The Hong Kong Academy for Performing Arts. During his study, He has worked with choreographers such as Kuik Swee Boon, Rick Nodine, John Utans, Li Yongjing and Christina Mertzani. He has joined CND Camping 2019 in Paris and research with the artists Robyn Orlin and Raphael Delaunay. As a performer, he has collaborated with artists across the field of dance, drama and film. His recent participations include The Formidable Year by MW Dance Theatre; Unfolding Images: We Are Spectacle(s) by Joseph Lee; Jumping Frames Over Here? by Zelia ZZ Tan; 19 by Oscar Wan; The Kingdom of Men by Anson Sham Kwan Yin; The Lost Adults, Papa, Zhenghe, 1357 by Théâtre de la Feuille
As a choreographer he has created a physical duet A Noble Failure (2018), he has also collaborated with circus artist Patrick Pun and created Ball, Shoes and Diablo for STAGE Creators Collective.
#DANCELESS complex event listing I’m Only My Body? Post-show Workshop I Workshop Leader
Holmes Cheung
21 Aug (Sat) Time 2 – 4pm Venue Unlock Dancing Plaza Target Participants with certain foundation in performing arts Fee $120 Date
I’m Only My Body? Post-show Workshop II Workshop Leader
Paula Wong
21 Aug (Sat) Time 4:30 – 6:30pm Venue Unlock Dancing Plaza Target Participants with certain foundation in performing arts Fee $120 Date
Registration https://unlock-imonlymybody.eventbrite.hk
Drink and Dance 16 Sep (Thu) – 19 Sep (Sun) Time 6:30pm Venue Tai Kwun Prison Yard Date
Outdoor Performance, Free of charge
Relatively LIVE 1-2/10 (Fri-Sat) 20:00; 3/10 (Sun) 15:00 Venue Kwai Tsing Theatre, Black Box Theatre Price $180 Time
Early Bird https://forms.gle/U1a8QEKceh7tQivo9
If you’re on fire, fall. If you’re confused, go straight. If you drink, dance.
Chan Wai Lok Drink and Dance 16 Sep (Thu) – 19 Sep (Sun) Time 6:30pm Venue Prison Yard, Tai Kwun
Date
Outdoor Performance, Free of charge
Lawrence Lau X
Holmes Cheung X
Sabrina Wong
Emily Ng X
Li Ka Man
Relatively LIVE Time 1-2/10 (Fri-Sat) 20:00; 3/10 (Sun) 15:00 Venue Kwai Tsing Theatre, Black Box Theatre Price $180
Artists Team Artistic Director Ong Yong Lock Associate Artistic Director Joseph Lee Resident Choreographer KT Yau Resident Artists Kerry Cheung, Andy Lee, James Yau
Administration Team Project Manager Michael Li Outreach Officer Tiffany Ko *
Programme and Marketing Trainee Chris Kwong Transmedia Content Creator Vincent Yik Community Arts Mediator John Wen Accounting Officer (Part-time) Amy Chan Administrative Assistant (Part-time) Choi Ka Lin
*The Arts Administration Internship Scheme is supported by the Hong Kong Arts Development Council
Presented By
Media Partners
Acknowledgement
#DANCELESS complex" is financially supported by the Arts Capacity Development Funding Scheme of the Government of the Hong Kong Special Administrative Region The content of this programme does not reflect the views of the Government of the Hong Kong Special Administrative Region
Unlock website www.unlock.com.hk #DANCELESS complex website www.dancelesscomplex.com Facebook www.facebook.com/unlockdancing Instagram www.instagram.com/unlockdancingplaza Youtube www.youtube.com/UnlockDancingPlaza