TransDance House Programme

Dear Patrons,

To avoid undue disturbance to the performers and other members of the audience, please switch off your mobile phones and any other sound and light emitting devices before the
performance. We also forbid eating and drinking, as well as unauthorized photography, audio and video recordings in the auditorium. Thank you for your co-operation.

Dance “IN” possible VI



Y-Space’s Brand New Dance Work in 2019 in celebration of the 20th Anniversary of the Dance “In” Possible Series to Explore the Possibilities and Impossibilities of Dance!

Performance Date & Time
2019.5.10 (FRI) 8:00pm*
2019.5.11 (SAT) 8:00pm
2019.5.12 (SUN) 3:00pm

* With Post-performance talk

Studio Theatre, Hong Kong Cultural Centre

The Dance “IN” Possible series has been Y-Space’s on-going dance series since it began in 1999 with Dance “In” Possible!? I . Counting in this year’s Dance “IN” Possible VI – TransDance, it has been 20 years extending to six series and 8 pieces of dance works. These include Dance “In” Possible!?I in 1999 as mentioned previously, Dance “In” Possible II – Dark Corner and Dance “In” Possible III – This is a Dance Performance!? , both created in 2000, and Dance “In” Possible IV – Victor Ma’s Dance Exhibition I&II , as devised in 2009. In 2016, Victor Ma and Mandy Yim were both over 50 years old (their ages added up to 101 years old). To this end, they hoped to make retrospection for reviewing their past and this resulted in Dance “IN” Possible V : 101. The dance series aims to explore the relationships among theatre, dance, the act of performing and life; and through re-examining and retrospecting Victor and Mandy’s own creative processes through the years , the two have explored the unmapped territories of dance.

Dance “IN” Possible in Tour

Performing city and venue
All Independent Series: Dance “In” Possible!?
Performing city and venue
McAulay Studio, Hong Kong Arts Centre, Hong Kong
The K.A.C. Int’l exchange Modern Dance Festival Dance “In” Possible!?
Performing city and venue
Kim’s Taejon City Contemporary Dance Company Seoul & Taejon City, South Korea
Excerpt from Dance “In” Possible, Teen Aids Night (Arts Against Aids ‘99)
Performing city and venue
Shouson Theatre, Hong Kong Arts Centre, Hong Kong
Excerpt from Dance “In” Possible, Hong Kong Arts Festival: Asia-Euro Dance Networking Forum & Hong Kong Independent Dance Showcase
Performing city and venue
McAulay Studio, Hong Kong Arts Centre, Hong Kong
Dance “In” Possible!? II – Dark Corner
Performing city and venue
Star Alliance Theatre, Fringe Club, Hong Kong
Performing city and venue
Bergen International Theatre, Norway
Dance “In” Possible III – This is a Dance Performance!?
Performing city and venue
Star Alliance Theatre, Fringe Club, Hong Kong
Dance “In” Possible III – This is a Dance Performance!?
Performing city and venue
Theatre Zero, Seoul, South Korea Seoul Fringe Festival 2002
Performing city and venue
Star Alliance Theatre, Fringe Club, Hong Kong
Dance “In” Possible IV – Victor Ma’s Dance Exhibition I 2009
Performing city and venue & Theatre Y, Y-Space, Hong Kong
Dance “In” Possible IV – Victor Ma’s Dance Exhibition II
Performing city and venue
Black Box Theatre, Kwai Tsing Theatre, Hong Kong
Dance “In” Possible III – This is a Dance Performance II – Shall We Dance ! Hong Kong Dance Festival 2010 programme – Fre3 Dance
Performing city and venue
Jockey Club Black Box Theatre, Jockey Club Creative Arts Centre, Hong Kong
Dance “IN” Possible V: 101
Performing city and venue
Studio Theatre, Hong Kong Cultural Centre, Hong Kong

Dance “IN” Possible VI-TransDance is a product of artistic collaborations across a spectrum of artists, which is quite a rare scene in Hong Kong’s theatre-making discipline. The dance piece’s English title TransDance points to transcendence, translation and transformation in dance and prompts us to think what will happen when all these artistic elements collided and got translated, transcended and transformed into dance? Some says that a piece of collaborative works is multiplicity and multi-faceted. In this year’s production, Victor Choi-wo Ma and Mandy Ming-yin Yim have specially invited artist friends from different disciplines to participate in the creation. These different disciplines include dance, music, video, literature, ceramics, photography, lighting, sound, visual arts , costume and set design. All the artists come into the rehearsal room striped of their own ego, waiting for the ideas that never had existed before everyone met to come into existence. This condition of the creative process can be likened to the state of our world in the Chinese legendary story Pangu – when at first the sky and the earth were one blurred entity. But once the process begins, it becomes lively, like the works of nature.

And you, are you ready to join Victor, Mandy and fellow artists to witness the fruits of their journey into the uncharted territory of dance?



Music: Tsang Man Tung

Singing Bowl Bronze Mirror


Text: Cally Yu
Music: Edmund Leung

1. Mirror and Ash
2. Hundred Years Theatre

  • 1. 鏡/ 粉/ 灰 (Available in Chinese only)


  • 2. 百年劇場 (Available in Chinese only)

    有聲音問: 你想照見過去還是將來?




Music: Edmund Leung

  • Chair 1

    Sunset (Bird of Prey)
    作曲: James Cook, Jim Morrison

    Bird of Prey, Bird of prey
    Fly in high, fly in high
    Bird of prey, bird of prey
    In the summer sky, fly in high
    Fly in high, fly in high
    Take me on your fly, fly in high
Fly in high

    Bird of prey, bird of prey
    Fly in high, fly in high
    Bird of prey, bird of prey
    In the summer sky, fly in high

Bird of prey, bird of prey
    Jump me pass apart, fly in high
    Fly in high

    Bird of prey, bird of prey
    Fly in high, fly in high
    Bird of prey, bird of prey
    Jump me pass apart, fly in high
    Fly in high, fly in high
    Fly in high, fly in high
Fly in high, fly in high 
Take me over side, fly in high

  • Chair 2

    Weapon of Choice :
    作曲: Fatboy Slim, Bootsy Collins & Ashley Slater


Ceramic: Suzy Cheung
Music: Edmund Leung

Pale Blue Dot
Text and Narration: Carl Sagan
Music: Get Physical (Original Mix)

  • Text

    From this distant vantage point, the earth may not seem to be of any particular interest. But for us, it is different. Considering that dot,  That’s here. That’s home. That’s us. On it everyone you love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives. The aggregate of our joy and suffering, thousands of confident religions, ideologies, and economic doctrines, every hunter and forager, every hero and coward, every creator and destroyer of civilization, every king and peasant, every young couple in love, every mother and father, hopeful child, inventor and explorer, every teacher of morals, every corrupt politician, every “superstar,” every “supreme leader,” every saint and sinner in the history of our species lived there — on a mote of dust suspended in a sunbeam.

    The Earth is a very small stage in a vast cosmic arena. Think of the rivers of blood spilled by all those generals and emperors so that, in glory and triumph, they could become the momentary masters of a fraction of a dot. Think of the endless cruelties visited by the inhabitants of one corner of this pixel on the scarcely distinguishable inhabitants of some other corner, how frequent their misunderstandings, how eager they are to kill one another, how fervent their hatreds.

    Our posturings, our imagined self-importance, the delusion that we have some privileged position in the Universe, are challenged by this point of pale light. Our planet is a lonely speck in the great enveloping cosmic dark. In our obscurity, in all this vastness, there is no hint that help will come from elsewhere to save us from ourselves.

    The Earth is the only world known so far to harbor life. There is nowhere else, at least in the near future, to which our species could migrate. Visit, yes. Settle, not yet. Like it or not, for the moment the Earth is where we make our stand.

    It has been said that astronomy is a humbling and character-building experience. There is perhaps no better demonstration of the folly of human conceits than this distant image of our tiny world. To me, it underscores our responsibility to deal more kindly with one another, and to preserve and cherish the pale blue dot, the only home we’ve ever known.


Ceramic Bricks: Cheung Chi Wai
Music: Edmund Leung


Hey Billy
Composer: Dave Gaydon, Mark Revell, Maff Scott, Nad Scott


Music and Text: Nelson Hiu*

*Appearance by kind permission of City Contemporary Dance Company

  • 1. Walking

    wandering Arbituarilly
    Allowing walk signals to determine
    Direction Straight stop
    Now left Now straight
    Now left again stop right
    Right Straight stop Right
    Oh a bus get on
    Get off here Get on and off and walk no destination
    No place to go to Lost and not found Just here and here and now here
    No plan No goal No great reason
    No destination No sublime
    Meaning still breathing Kind of still sleeping Kind of still eating
    Kind of still thinking A dump kind of still making love

    Just keep walking and walking and walking and walking until you gotta rest
    And stop and rest until you can walk again
    And walk and walk and rest and walk and rest
    Lost inside and walk and rest and walk and lost and not found and walk
    And rest and down and off Centre and walk out of the perimeter and walk out
    The gut wrenching breath stopping walk palpable
    Walk over dramatic

  • 2. Chocolate

    Bitter Sweet Dark Chocolate
    85% Proof
    Reminiscent of Chinese Herbal Cooling Tea
    Bittersweet Like This Nothing Special
    Same Old Afternoon Not With You
    Old Pungent Red Wine and Birch Pipe
    Tobacco Bittersweet Dust of Your Embrace,
    Dust of Languid Endless Afternoons,
    Bittersweet Dust of Languid Endless Afternoons into Evenings ;
    Churning Gut and Groin
    Warm Sassy Smile, Honey coated Words,
    Bittersweet Dust of Desparate Love

    The Walls seem to Breathe
    And the Curtain Cord Swings Ever so Slightly
    like a Hangmans Noose

  • 3. Waiting

    Waitng to finish work
    Waiting to eat after finishing work
    Waiting to get some love
    Waiting to get done with getting some love
    Waiting to sleep after getting done with some love
    Waiting to wake up
    Waiting to wake up and see something new
    Waiting to wake up and see something new and interesting
    Waiting to not need to see something new and interesting waiting
    Waiting to die
    Waiting to see how to pass the time since you haven’t died yet
    Waiting to be ok that you haven’t figured out how to pass this time since you haven’t died yet
    Waiting to see the point of it all
    Waiting to not need to see the point of it all
    Waiting to be absorbed
    Waiting to not need to be absorbed
    Waiting Absorbed Waiting
    Waiting Absorbed
    Waiting Absorbed
    Absorbed waiting

  • 4. Butcher

    A huge elongated jutting saw Upside down I could just make out the shape
    The two adolescent horns The Sinews The Teeth
    He Hrld it upside down
    Afew quick deft surgeon moves
    At the back part of the jaw
    I almost just walked past
    But then He changed position Left arm firmly holding down the upper teeth
    Feet firmly planted Slightly apart
    Right hand pulling up with force
    One quick smooth thrust and off
    Came the jaw clean along
    White bones white teeth
    Red meat sinews bloob
    Casually thrown on to a pile of simarlily white and re

    Discarded parts then he turned it over It was very clear now
    Sharpened his knife
    A cow’s head lower jaw missing
    A FEW QUICK STROKES Eyes still open
    Cut the tissue around the nose
    Eyelashes intalt expression
    And proceeded with us butchering
    His casual tossing
    The beautiful round brown eyes of a compassionate Buddha
    Only ten thousand times more gentle

  • 5. Falling Skies

    Falling Stars Falling Lies
    Feeling Fragile Falling Skies
    Misty Hazy Clumsy Lines
    Obscure The Latent Moon sublime
    And it doesn’t even feel like autumn celebrating
    The unseen life with moisture
    Clinging to the skin in celestial
    Cerebral understated ecstasy
    I and I in eyes the sky
    Derides in a vast smoggy hiss
    The kiss that undulates
    Ineluctably blindly groping
    Blindly hoping mindfully
    Kindfully stoking stroking
    Ashed embers bliss amiss
    Past endeavors a passing piss
    In the pot eternally yours
    And mine thanks for the
    Thought the kind one finds
    When constantly denied the
    Denizen of immediate pleasure
    Censure “ Oh I didn’t mean
    That a swelling of the
    Glands a dwelling in lands
    Obtusely Designated out of
    Boundary glad to be back in
    Excavated mines a ceremonial
    Removal of the sacred bud
    The cud a civil annihilation
    Of natural inclinations considerate
    Affection Aaffection ban
    Bandaged bland and sealed
    In a tomb of blood and pain
    So that all that remains is
    Distempered reconnections
    Vague recollections of
    Artificial planes stained
    Basement bargain compromises
    Of getting by with, minor
    Complaints its fine were pretty fortunate aren’t we

    Carry your burdens with grace each
    Is a blessing
    They are companions on this lonely journey
    One day you may find yourself missing them


Music: Brazil
Composer: Ary Barroso


Dance Text: Mandy Ming-yin Yim
Music: Edmund Leung


Director, Conceiver, Choreographer and Dancer

Victor Choi-wo MA


Victor Choi-wo MA founded Y-Space in 1995 and is the Artistic Director. He was in the first graduating class of the School of Dance of The Hong Kong Academy for Performing Arts (HKAPA). Upon graduation, he joined The Hong Kong Ballet, and resumed study at the HKAPA School of Drama in 1990. In 1996, he received the Asian Cultural Council Lee Hysan Foundation Fellowship to conduct research on dance and theatre in the USA. In 2002, he further received the Hong Kong Arts Development Council – University of Leeds – Chevening Scholarships for a Master’s degree programme in Performance Studies in the UK. As a choreographer with over 60 creations, he has also been a movement director for many local and international companies. His major works include None of Your Business, Not a Double Room, Unconscious I & II, Dance “In” Possible!? I – V, Improvisation Land Series 1 – 62, Air and Breath I & II, Body, I.D. & Space I – V, Victor Ma’s Dance Exhibition I & II, RE/evolution, Suddenly, On and On and Turn Turn Turn…etc. He has been the Artistic Director and Curator of i-Dance (Hong Kong) since 2009.

Producer, Conceiver, Choreographer and Dancer

Mandy Ming-yin YIM


Co- founder of Y-Space, Mandy Yim graduated from The Hong Kong Academy for Performing Arts School of Dance in 1998. She was the dancer of The Hong Kong Ballet and City Contemporary Dance Company from 1988 – 1996. She was a recipient of the Asian Cultural Council Lee Hysan Foundation Fellowship in 1996 to do her dance research in the USA. In 2000, she was invited to create a site-specific work"Chop-Suey” for the Harare International Festival of the Arts, September in same year, was invited to attend the Norway Oktoberdans Festival & End of Millenium Festival and participate in performing arts festival of artists-in-residence program, has also been invited to Germany Delesideng Tanzwoche Festival Wishful Thinking Project (2001), Korea Fringe Festival (2002), India Kolkata Interface Festival (2004), Australia Melbourne Beyond Butoh Fringe Festival (2005), Beijing Dashanzi International Art Festival (2005), Shenzhen OCAT Comtemporary Dance Festival & Hunan Changde (2009), Poland International Comtemporary Dance Conference & Performance Festival (2008, 2010), i-Dance Taipei (2011), i-Dance Korea (2012, 2016, 2018), i-Dance Japan creation (2013, 2015, 2017), Hunan and Beijing of China for performances and exchanges. Since 2009, Yim has acted as the producer of i-Dance Festival (HK) and her teaching, performances, creation toured Europe, Asia and Africa. Yim is currently the Education and Outreach Director of Y-Space.

Devising Dancer



A choreographer and dancer, Wen Hui also makes documentary films and installations. She is one of the pioneers of Chinese contemporary dance theatre. Wen Hui graduated from Beijing Dance Academy in 1989 with a degree in Choreography. In 1994, she studied modern dance in New York. From 1997 to 1998, she received a scholarship from Asian Cultural Council to further her study of modern dance and theatre making in New York. In 1994, she formed Living Dance Studio with Wu Wenguang in Beijing, and has participated in curating and organizing numerous arts projects. For twenty years, Wen Hui has insisted in using theatre as an intervention in the society. Since 2008, she began to research the ways body form the archive of personal social documentation, using personal means to experiment how bodily memory catalyzes collision between history and reality.
Living Dance Studio is an independent non-profit contemporary dance creative collective. Since 1994 till now, the company has been active at the cutting-edge of Chinese contemporary art as well as the most probing stages and festivals internationally. They have presented their works in over seventy cities in thirty countries, winning international high appraisals.
French magazine Télescope describes Wen Hui as “a pioneer of dance…a miracle.”
In 2015 Wen Hui’s work: “Dancing with Third Grandmother”, “Dancing with Farmer workers”at the Venice Biennale in Italy.
In 2004, Report on Body by Living Dance Studio won the “ZKB Patronage Prize” in Zürcher Theater Spektakel.
In 2005, Wen Hui and Wu Wenguang established Caochangdi Workstation and co-curated the first “Cross-arts” International Dance Festival in Beijing. In the same year, they initiated European Artists Exchange Project and Young Choreographers Project.

Devising Dancer

Billy Siu-kit CHAN


Graduated from The Hong Kong Academy for Performing Arts in 1988, major in Chinese Dance and was awarded “the Dean of School of Dance School Scholarship.” He was a full-​time dancer at The Hong Kong Dance Company from 1988 to 1997. In 1999, he set up Billy Chan Dance Concepts (BCDC) and focus on training new generation dancers while improving the standard of street dance. He has been a guest lecturer at the HKAPA since 1998. Chan is also an active choreographer in school dance competitions and commercial engagements.

Video Designer

觀鳴 Avaloki T @ IZEN


To Ride the Surging Tide of Thoughts;
To Surf the Billowing Waves ofAart
As an art practitioner who is led by art and works in Tao’s way, Avaloki T has a great passion in injecting spirituality and philosophical concepts into his multimedia visual artworks. Through impromptu visual creation, he experiences fully the flow of the mind. A consultant and a founding member of IZEN, which is an artistic and cultural platform that realizes and promotes diversity in art forms and presentations.

A VJ duo from Hong Kong, with a portfolio of works drawing inspirations from photography, fashion, music and aesthetics design; the content of which is full of fantasies and emotions.

VJ Fushi Lee
In 2000, VJ Fushi Li became interested in DISCO, RAVE, and CLUBING cultures. He believes that the combination of auditory and visual experiences in driving the scene’s atmosphere is the real enjoyment.

VJ EvilKoo
With 5 years experience in Commercial Advertising After Effects, with considerable amount of understanding in visual design synthesis.

The following is the VJ duo’s website on their works:
The VJ duo has already performed in all scales of EDM, underground electronic music and large-scale parties not long after their debut.

Costume and Set Designer

Carmen Wai-ying CHENG


Graduated from The Hong Kong Academy for Performing Arts and obtained Bachelor of Fine Arts (Honours), majoring in Set & Costume Design. She has participated in set & costume design for over 100 productions including dance, drama, musical, installation, exhibition, music video, film, advertisement, concert, etc. Cheng has also worked for some of the Hong Kong arts group including The Hong Kong Ballet as set mistress and stage manager; Zuni Icosahedron as deputy stage manager; Hong Kong Chinese Orchestra as wardrobe mistress and Hong Kong Youth Arts Foundation as stage manager and production manager, etc. She is now the Creative Director of ‘Surge Production’ and ‘Globe Slicker’.

Lighting Designer

MAK Kwok Fai


Fai is a graduate of the APA with BFA Honours Degree major in Theatre Lighting. He has worked as technical director / lighting designer for numerous productions that include: 1 table 2 chairs (Festival of Vision ¡V Berlin), Vanity Fair (World of Extremes, Lisbon), King Lear and 2001: a Hong Kong odyssey (L.C.S.D.). Fai’s Lighting Designs include Dancing in the Sun 2000 (CCDC), Ashima (HKDC), Albert Au in Concert 2000, and a Chamber Opera ~ Comb of Three Kings and Night Banquet (HKAF). Fai is one of the Hong Kong’s most experienced Automated Light Programmer and Production Electrician working on many of Hong Kong’s major productions.


Suzy Kai-sun CHEUNG


Born in Hong Kong, Suzy received her training in visual design in the USA and Canada. Since returning to Hong Kong in 1984, she worked as art director for feature films, stage productions and TV commercials. She began working with ceramics in 1990, and in recent years has focused on creating with clay. In 2003, she graduated and obtained a Bachelor of Arts (Fine Art), and a Master of Fine Arts degree in 2006 with The Royal Melbourne Institute of Technology University. Her works draw upon her perceptions of nature, and are extensions of her personal experiences. They are journeys of self-discovery that explore the various possibilities that can arise from different life attitudes and choices.

Bricks and Photos



Stage photographer and teacher , living designer, like sharing , reading , nature and realize day dreaming . Full time shooting for various arts groups and arts organizations, use camera to watch art performances for a living . He awarded the Asian Cultural Council Fellowship to New York for further study in 1996. Conception and production of personal photography ” identity exchange ” to explore Hong Kong ‘s identity and image in 2006, frequently photographed ” stage ” to extend into the living environment in Hong Kong . He founded the “Island Rhapsody ” with like-minded friends in 2014 and practice the scientific literature and nature education , and promote creativity.

Bronze Mirror and Ash

TSANG Man Tung


Graduated from The Hong Kong Academy for Performing Arts with a B.A. (Hons) degree. Tsang has been awarded the Best Stage Design, Best Costume Design and Best Styling of the Hong Kong Drama Awards, the Award for Best Artist (Drama) (2008) and the Rising Artist Award (2003), both by the HKADC. With an Asian Cultural Council grant he participated in research projects at the Yale University. In 2012 his stage design for Double Swallow was named the “Outstanding Design for Dance” at the Hong Kong Dance Awards, and in 2013 Wild Boar as the Best Stage Design of the Hong Kong Drama Awards. Tsang established the “Allpamama Healing Circle” in 2010 to focus on vibrating healing and performance with the Himalayan singing bowl.


Cally Yeuk-mui YU


Yu is a Chinese writer with strong concern on Hong Kong cultural and social development. She published four novels and one book collected interviews on the topic of “freedom” and “independent” with 12 women. She also produces poems, theatre text, art critics, interviews and feature stories for local newspapers and magazines since 1997. Starting in 2009, she experiments with different visual art elements, body movements and text, in theater production and social happenings. She was one of the writers-​in-​residence of Hong Kong section in Liverpool Biennial 2012 and critic-​in-​residence of Macau City Fringe Festival 2012. Her recent project is “Grey and Green Ping Pong”, a long term collaborative community art platform, to advocate the concept of creative aging.

Composer and Musician

Nelson HIU


Nelson Hiu studied Ethnomusicology at the University of Hawaii, and moved to Hong Hong in 1985 where he took up dance music accompaniment as a profession. Hiu’s interest in music improvisation comes from the social unrest of the 1960’s and 1970’s, and has thirty plus years of experience in numerous locations for variety of performances including experimental improvisational music, sound, music for dance and music for theatre. His innovative uses of instruments include the bamboo flute, drums, erhu, guqin, electronic musical instruments and voice. Sound sources range from found sound, electronics sound, traditional ethnic instruments, guitar, electric guitar, piano to percussion. He has performed in the Mainland, Japan, Taiwan, Germant and the United States. His discographies include Music for Roaches, Birds & Other Creatures, Still Here, POK and Normal Free.

Sound Designer Composer and Musician

Edmund LEUNG


A living, breathing entity with major components made of water, carbon, minerals and other compounds. Atomically stable, able to contemplate the vastness of the universe while smiling in the floating air, that is me, and also you…Album producer/​musician/​ex-​guitarist and vocal of Huh!?

Costume Coordinator and Assistant Stage Manager

WONG Ping Tong


I have studied the Fast Track Intensive Training Programme at HKAPA, majoring in props making. The more I work in theatre, the more I found myself full of passion in the theater. Therefore I am determined to develop in this field.

Assistant Stage Manager



I have been the set designer for numerous productions and the assistant stage manager for Think Big Theatre’s One Funeral; One Wedding 2015
There are other productions which I have taken part.

Stage Manager and Deputy Stage Manager

Ding Dong KWONG


With a great passion working in the theatre.

Presented and Produced by

Media Partner


Leisure and Cultural Services Department

Special Thanks to
Dora Suet-man LAI
Wong Yan Kwai
Green Wave Art
Hoi Chiu
Muk Tau-Guitar Workshop
City Contemporary Dance Company


The presenter reserves the right to alter the programme and the artists.