Born into a family running a light bulb factory in Causeway Bay, Hong Kong, in 1964, I grew up in a household where art and business coexisted. My father, an actor and stage performer, also managed Kwong Wah Lamps. I am the eldest of three siblings, with a brother 18 months my junior and a sister a decade younger. Across from our house stood the family factory, a constant reminder of our entrepreneurial roots.
While my father graced the stage and screen, my mother pursued a career in education, eventually becoming a secondary school principal. Her decision to send me to schools other than her own—North Point Methodist Primary, Morrison Hill Primary, and Lui Kei Government Primary—was a thoughtful choice to let me carve my own path.
My introduction to dance came at the age of six when I joined the Jean M. Wong School of Ballet in Kowloon. Being one of the few boys in ballet school, I cherished the attention and encouragement, finding in dance not just a hobby but a passion. Jean Wong herself played a pivotal role in my growth as a dancer, helping me secure scholarships and career opportunities.
Attending Wah Yan College for secondary education, I soon realized that a traditional academic path in Hong Kong might not suit me. Thus, my family sent me to Toronto, where I lived with relatives. There, I attended a ballet school run by Mrs. Marian Macpherson and later auditioned for the National Ballet School in Toronto, thanks to the guidance of Ms. Janice Alton.
Despite winning a scholarship to study at the Royal Ballet School in London, financial constraints led me to spend two years in Canada before moving to London. My time at the Royal Ballet School was transformative, culminating in the Adeline Genée Gold Medal award from the Royal Academy of Dance.
After graduation, I faced the harsh reality of racial barriers in the ballet world of the 1980s. Advised against staying in England, I joined the National Ballet of Canada in 1983. Under the artistic direction of Erik Bruhn, I experienced a blend of classical and contemporary ballet, even dabbling in choreography and exploring new creative expressions.
After a year with Les Grands Ballets Canadiens in Montreal, I freelanced in Toronto, delving deeper into choreography and costume design. However, family obligations called me back to Hong Kong in 1993, where I reconnected with Jean Wong and started working with the City Contemporary Dance Company (CCDC).
My father’s passion for mahjong inspired me to create a ballet themed around the game, which I choreographed for CCDC. This period marked a resurgence in my career, filled with opportunities to choreograph for films, musicals, and plays. I even launched a dance course at Wah Yan College, leading my students to victory in a school dance festival.
In 2008, I co-founded the Yat Po Singers, a professional company focusing on vocal music for ballet. This venture was a departure from traditional ballet music, further illustrating my innovative approach to dance.
Throughout my journey, personal relationships and societal observations have profoundly influenced my art. My partner, a university researcher with a PhD in Chinese history, challenges me to consider the relevance and impact of my work, sparking deeper reflections on the role of art in society.
As I approach significant milestones in both my life and career, I continue to seek creative outlets beyond dance. My desire to merge various art forms, including dance, Chinese opera, and drama, reflects a belief in the interconnectedness of artistic expression.
This journey through dance and life highlights not just my personal growth but also the evolving landscape of performing arts in Hong Kong. In an environment where creativity can be a form of resistance, my story is one of artistic exploration and the relentless pursuit of unifying different art forms.
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