Yau ka hei 邱加希





Dance Tutor

Unmixed 純生
Excerpt of Reviews

Felix Chan, Hong Kong theatre critic & independent producer:

From the self-choreographed performance Remain Invisible to the choreography of Unmixed, KT Yau exhibits an inexplicable sensitivity to the observed body. Yau uses objects to alter the shapes of the dancers’ bodies, and in turn changing the way they are being perceived. An “alien” body is added to the mix, which allows the audience to observe its motions, and the fascinating movements generated by its activities. Even if the concept behind Unmixed is put aside, the alienated body alone is powerful enough to tell its own story. The three dancers freely play with the swivel chairs, drawing various straight lines within the rectangular area on stage. As the sound changes, the performers project a more relaxed atmosphere as a reflection of their inner state, which contradicts with the gloominess of the woman in white. The performance shows an unpretentious and honest attitude that is rarely found in the works of young local choreographers. [...] Yau’s work is one of the few pieces where the audience can forget about the programme, and immerse in pure appreciation of the staging as well as the joyful interaction between the

dancers and the swivel chairs.

(Excerpts from preview by Hong Kong Dance Alliance)

Natalia Chan, Hong Kong theatre critic & scholar of cultural studies:

Through their candid movements, the performers express their feelings and emotions in the most naked way. Their performance vividly examines themes such as blood ties, growth, education, freedom and manipulation. With its refreshingly daring style, fast-paced rhythm, coupled with a stage design that is straightforward and yet profoundly metaphorical, the show reflects upon this generation’s criticism towards their surrounding environment, which is equally surprising and saddening. [...]

From Remain Invisible to Unmixed, KT Yau – returning from her studies in Israel – proves to be a young and atypical choreographer who constantly comes up with extraordinary ideas. While Yau is aware of the struggle between individuals and their era, she retains a rebellious sense of black humour. By combining emotions and intellect, Yau expands her personal experience into a form of choreography that reflects the social mentality, revealing the polarity of a generation that faces political repression, social imbalance and mismanagement of education.

(Excerpts from Art Plus, OCT 2017)

Daisy Chu, experienced arts & culture editor, Hong Kong theatre critic:


KT Yau seems to enjoy setting limits to herself, and yet successfully transforms the limitations into a distinctive feature. The dancers’ movement are not restricted by their seated positions – they are still able to “walk around” on stage – while such a constraint further echoes the theme: being shrouded by the mother-like shadow upstage, their actions are indeed not fully autonomous. [...] Unmixed exhibits the precision and thoughtfulness of Yau’s dance movements, and the use of props and sounds are especially delightful; the

dancers, who have accurately mastered their movements and rhythm, deliver an excellent performance.

(Excerpts from dance journal/hk 19-5, OCT/NOV 2017)

Kuh Fei, Convener of The Hong Kong Theatre Libre & Hong Kong theatre critic:

KY Yau’s Unmixed provides a lot of room for imagination; her ideas and techniques regarding the subject matter have reached a high artistic level. [...] In terms of her executive ability as a choreographer, by arranging the dancers to perform while sitting on swivel stools with wheels, Yau’s choreography requires them to break away from their routine, which reinforces the characterisation of their roles as “learners”. With their stirring body movements, the performance presented by Kerry Cheung, Carman Li, Kingsan Lo and Tam Yuk-ting does not disappoint, and has successfully prompted the audience to contemplate the implication of “norms”.

(Excerpts from dance journal/hk 19-5, OCT/NOV 2017)

Godric Leung, Interview on dance journal/ hk Vol. 19-3