Modern dance choreography in 1990s Hong Kong

by Lau, Tin-ming

(Uncorrected OCR) Abstract of thesis entitled

Modern Dance Choreography in 1990s Hong Kong submitted by

Lan TinMing

for the degree of Master of Philosophy at the University of Hong Kong

in August 2004

This thesis addresses the development of Modem Dance choreography in 1990s Hong

Kong. Professionalism in Hong Kong Modem Dance was marked by the

establishment of the ftrst Modem Dance company in Hong Kong, City Contemporary

Dance Company, in 1979. However, it was during the 1990s Modem Dance

developed as a culture in Hong Kong. This research aims to provide the ftrst

comprehensive study of local Modem Dance choreographies in 1990s. The thesis

focuses in particular on works of three prominent Modem Dance choreographers, Mui

Cheuk Yin, Yuri Ng and Pun Siu Pai.

There are altogether ftve chapters in the thesis: Chapter One is an outline of the

situation of Hong Kong Modem Dance up to the end of 1980s. Establishments of two

professional performance companies that deal with Modem Dance, CCDC and Zuni

Icosahedron are discussed. Works created by the two companies by Willy Tsao, Helen

Lai, Danny Yung and Edward Lam are analyzed. The role of the Hong Kong Academy

of Performing Arts and the Arts Development Council are also analyzed; Chapter Two

is an analysis of Mui Cheuk Yin's works. She practiced Chinese Dance before she

came to choreograph for CCDC. This chapter discusses her Chinese Dance training

and her involvement in Contact Improvisation. Both her solos and group dances are

analyzed; Chapter Three is an analysis ofYuri Ng's works. He practiced Ballet Dance

before he came to choreograph for CCDC. This chapter analyzes how he adapted

choreographic ideas from classical ballet to the local Hong Kong environment;

Chapter Four is an analysis of Pun Siu Fai's works. He practiced Chinese Dance

before he worked for CCDC. This chapter analyzes how he expressed his discontent

against traditional Chinese Dance performance structure and examines his

Environmental Dance series in 1998 and 1999; Chapter Five highlights other

choreographers who also presented works in 1990s Hong Kong. The influence in their

dance training, whether in Hong Kong or overseas, will be analyzed. Main dancers

and the associated Companies mentioned included: Jacky Yu from E-side Modem

Dance Company, Andy Wong and Francis Leung from DanceArt Hong Kong, Victor

Ma and Mandy Vim from V-Space, Abby Chan and Yeung Wai Mei from McMuiMui

Dancemble, Dick Wong and Daniel Yeung.