The concept and ideas of the work were conceived and developed from the “Creation for Freespace: Choreographer & Composer Lab” by Hong Kong Ballet and West Kowloon Cultural District Authority. The composer and musicians are commissioned by the West Kowloon Cultural District Authority.

^{Acknowledgement:
The concept and ideas of the work were conceived and developed from the “Creation for Freespace: Choreographer & Composer Lab” by Hong Kong Ballet and West Kowloon Cultural District Authority. The composer and musicians are commissioned by the West Kowloon Cultural District Authority.}

Visualizing the observation of various forms of the transforming nature in the four season’s space and time, we focus on the formative views on the lines and shapes of trees in specific.

This piece interprets the body in formative principle and face the change in time and space. Spotting the various forms of trees with our transformed bodies through its interpreting process, we seek the relationship through intimate interaction

^{Acknowledgement:
Premier: 2019 New Dance foe Asia International Festival, at the Seong-Su Art hall, Seoul, S.Korea}

Etymologically, emotion is “movement or impulse” or “to move something to something” and it is a subjective experience to induce to act.
Emotions can be a fundamental building block of survival, and they receive assistance by emotion, but they sometimes see failure. Emotions written to maintain relationships with survival have a direct impact on the present life
This work will proceed in omnibus format.
This work is intended to constitute this work inspired by the incident that caused a change of emotion decisively to me in the experience of life until now

“There’s a reason why we’re here today
To make the world a better place
Things are not the same as we used to know
But I am still grateful to see beautiful souls
Replace our fear with faith, we fight for better days
WE ARE UNITED AS ONE”

Extracted from the song “We’re not afraid, written by Eva Chan”

^{Acknowledgement:
Confine premiered at 2018 the “Dance Series, Tai Kwun”, commissioned and produced by Hong Kong Tai Kwun Centre for Heritage and Arts.
Akama Chin, Cindy Ho, Li Hon Ting, Lawmanray, Jennifer Mok, Jonathan Hung, Emily Ng}

What society calls normal behaviour, psychotherapist Everett Shostrom says, all falls within the scope of manipulation. You who are always in control of yourself and others; are you unwittingly controlled by something else?

^{Acknowledgement:
This work premiered at 2019 the Hong Kong Jockey Club Contemporary Dance Series (CDS) commissioned and produced by the Hong Kong Arts Festival}

“The human being surrenders to the breath and pulse of Gaia, the mother earth, embracing the inevitable changes in the torrent of time. The Shift echoes to social events, which could be absurd, or sad, or beautiful… during this time of transformation of the city…” Daisy Chu

^{Acknowledgement:
This work premiered at 2019, commissioned and produced by the Hong Kong International Choreography Festival.
CCDC Dance Centre – Wong Tan Ki}

Performed by Company 605 Co-Artistic Director Josh Martin, this solitary dance began as an investigation surrounding an idea that the body holds a separate memory bank. Muscle tissue, bones, tendons and organs all storing their own accounts of past events, actions and trauma, with this collected information not readily shared or easily accessed by the mind. The process has been an exploration of how to consistently find, enter, and move through different states and sensations. In a constant effort to disconnect movement from thought, the dance is an attempt to externalize the inner moments of body recall, and an expansion of what gets churned up in the retrieval.

^{Acknowledgement:
Leftovers is a piece developed through support from The Canada Council for the Arts, The Dance Centre and mentorship from Kokoro Dance’s Barbara Bourget. The work premiered at the Dancing On The Edge Festival 2013 (Vancouver).
Barbara Bourget
Lee Su Feh}

“We have been taught to immerse ourselves in the trance of tranquility, as if we are having a hot bath. Not long after, a smile appeared on my face; I let myself be boiled to death without fighting back.”

^{Acknowledgement:
This work premiered at 2018 the Hong Kong Jockey Club Contemporary Dance Series (CDS) commissioned and produced by the Hong Kong Arts Festival.}

Naked, uncovered and undisguised – perhaps this is all that can be seen on the stage. When bodies are the only medium, what is the connection between the audience and the dancers, exposing their naked sculptural bodies to the air? Speechless communication? A long-searched-for echo? Or apathetic examination?

The selected generation of the times, something we cannot deny. Some scream and shout; some run away; some enjoy themselves; while others seek stability.

When each individual entity stands alone, what does harmony in diversity mean? Thousands of millions of people thinking like each other or seeking harmony while embracing their different ways of thinking? Perhaps, when topics like sex, freedom and human rights are no longer considered taboo by society, harmony in diversity will truly arrive.

^{Acknowledgement:
The premiere of this production was presented by the Leisure and Cultural Services Department, HKSAR.}

A newly developed work paying tribute to the HongKongese.

Under the banner of SOKATSU, many members of the United Red Army were killed by their comrades. It must be so hard for us to make sense of what happened in the incident. I just wanted to devote myself to a romantic act of “dancing”. I wanted to be a hero, a revolutionary warrior.