nine doesn't follow eight is a multi-media dance theatre work for three performers with live-generated electronic sound and projection. It is a companion piece/sequel to NINEEIGHT and is currently in development towards a premiere in spring 2017, followed by touring.
okay.odd. is a multimedia meditation session centred around facilitating a stream of consciousness encounter. It muses on the notion of belonging through use of associative language and image. Participants are taken through a series of thought problems and sequences of text, proposing connections between the mind, the body, and the given state. In this engagement, you are encouraged to follow thought. Based on the tenets of concentration, mindfulness, contemplation, and visualization, it exists between thought and perception; knowing and unknowing; real and imagined; proximal and tangential. Breathe. Don't think.
Ties between China and Canada are deepening. Advancements in foreign property investment, cultural exchange, and policy-making are changing the game of international trade. eatingthegame is a motivational keynote speech of, from, and between two worlds: West and East, business and culture, pragmatics and possibility, ethics and desire. Guest-speaker, Conor Wylie, is a freelance entrepreneur and private investment consultant with ties to Vancouver, Canada and Guangzhou, China. A sometime performing artist, Conor is fascinated by the endless creative potential of the marketplace and by opportunities for growth and discovery in collaborations between the cultural & business sectors. The eatingthegame project investigates the risky and destructive nature of international trade, with a focus on capital investment ties between North American cities and Asia. This is inspired by a true story.
An urgent celebration of Cantonese language and culture at a critical juncture. Hong Kong’s Umbrella Movement offers a window into the overwhelming political forces committed to the degradation of Cantonese ways of life and expression. Reflecting the overseas struggles are the local effects of rapid gentrification and the “historical”ization of Vancouver’s Chinatown, tempting the impending loss of an invaluable cultural space and irreplaceable knowledge.
越界/粵界 (transgression/cantosphere) is a multimedia art installation that transforms the delightful complexities of the Cantonese language into compelling audio, visual, and tactile experiences. Through dissection and play with Cantonese tonal structure, denoting/transforming meaning, the installation plays with exclusivity, revealing itself to people who speak the same tongue. 越界/粵界 (transgression/cantosphere) is language as a stand for Cantonese culture; Chinatown as a bastion for Cantonese people.
Lang(Lang)guage investigates the role of the modern piano in contemporary Chinese society. While the instrument represents the western past, its skyrocketing popularity in Mainland China has made the piano a symbol of the “eastern future”. Unprecedented numbers of child piano protégés have emerged as a result. What are the consequences of Chinese piano ownership and worship on such a mass scale?
Lang(Lang)guage is an interactive multimedia installation with a scheduled recital.
Through the lens of mo lei tau, a phenomenon of absurdist comedy that dominated 1990s Hong Kong cinema, NINEEIGHT reflects on personal fractures and the meaning of “motherland” at times of transition – political, social and geographical.
Dear HK: at this fateful time, I would like to live out all of your wildest fantasies.
FOXCONN FREQUENCY contrasts the notion of ‘simple’ western harmonic structure with the dissonant sounds; a rapid succession of notes only achievable by digital applications. As a metaphor for eastern work forces creating technology for the west, three visibly Chinese performers trigger the composition through three piano samplers. The output is heard through speakers hidden within a grand piano.
The work is a response to the financial struggles and constraints of emerging composers, who lack the hefty funds needed to hire concert musicians. It is a commentary on the New Music community’s dependency and attachment to ‘expensive’ sounds.
eatingthegame [ver. 1]
The relationship between China and Vancouver is deepening and the rapidly growing emphasis on the foreign marketplace is increasingly game-changing; eatingthegame is an investigation of the captivating possibilities, the infinite opportunities, and the happenstance of international and sociopolitical systems at the feet of economically motivated agendas. This is inspired by a true story.
An intimate and sensorial site-specific show at Chapel Arts (a former funeral home) based on the rituals of death, thresholds of spaces, and perfectly placed eyewash stations. Two distinct scenarios are set, a warmly lit and embellished “waiting room” contrasted with the flooded barely-lit morgue where five chosen audience members stand. Audiences are drawn into a harrowing experience of wetness, darkness, loudness, and proximity, all to the haunting distortions of live cello.
EXILE is a somber yet humourous theatrical dance work exploring diaspora, isolation and censorship. Set to composer Remy Siu’s cheeky and subversive, Hong Kong Exile, the work exists in nine movements performed by a live string quintet. EXILE plays with duration and expectation, using surgical masks as ever-transforming symbols of oppression, ritual, and consumerism.
First presented at Second Story Theatre, this re-adaptation of Longing Gone is a study of escapism. In contemporary society, what do we find ourselves escaping from? Where do we escape to? Animated by a four-piece rock band on stage, this quirky and minimalist piece is the product of a year-long collaboration between choreographer Natalie Gan with Triadic Dance Works and musician Remy Siu.
Set during the Han Dynasty is the story of Ts’ao Ts’ao after an attempted assassination of Tung Cho and before establishing a military rule in a struggle to unite China during the Romance of the Three Kingdoms. As a wanted criminal, he is recognized and captured by the guards in Chung-mou. This is an exploration of our contemporary culture through an old translation of historic Chinese operatic text; I am, we are, you are Chinese.