{"id":27788,"date":"2022-06-14T13:14:14","date_gmt":"2022-06-14T05:14:14","guid":{"rendered":"http:\/\/www.ccdc.com.hk\/?page_id=27788"},"modified":"2022-07-05T11:34:21","modified_gmt":"2022-07-05T03:34:21","slug":"mud-work-in-progress-video","status":"publish","type":"page","link":"https:\/\/www.ccdc.com.hk\/en\/mud-work-in-progress-video\/","title":{"rendered":"MUD: Work-in-progress Video"},"content":{"rendered":"

[vc_row enable_arrows_animation=”no”][vc_column][vc_column_text]<\/p>\n

M.U.D. : Work-in-progress Video<\/h2>\n

[\/vc_column_text][vc_empty_space][vc_empty_space]\n\t<\/i>\t\n\t\t\n\t\t\tCCDC Art Channel\t\t<\/span>\n\t<\/span>\n<\/a>[vc_empty_space][\/vc_column][\/vc_row][vc_row enable_arrows_animation=”no”][vc_column][vc_tta_tabs][vc_tta_section title=”CCDC Dance Artists” tab_id=”CCDC-Dance-Artists”][vc_row_inner][vc_column_inner width=”1\/2″][vc_video link=”https:\/\/www.youtube.com\/watch?v=drXmMBy0a_o” align=”center”][vc_column_text]<\/p>\n

Sensing Adjacency<\/em> – Zelia ZZ TAN<\/h5>\n

\u3010Synopsis\u3011
\nZelia\u2019s experimental creation aimed to explore the relationships between dancer and their avatar. She researched motion capture (mocap) dance as the form of performance. The work shared the process where one senses the loss of information. The dancer faced a distrust of data, but s\/he\/it discovers new connections from multiple sensors.<\/span><\/span><\/p>\n

A sensor, aka transducer, is a device that produces an output signal for sensing a physical phenomenon. There are many types of sensors. Most of the mocap suits use the Inertial Measurement Unit (IMU), which collects fluctuations, rotation, pressure, and other trends to a hub. The computing system converts the data to trigger the avatar to move into virtual environment.<\/span><\/span><\/p>\n

In the rehearsal, the dancer interpreted different avatars, observing the embodied feedback. One of the choreographic tasks was to study how the axis of the body is connected to animation, allowing the computer system to calculate the distance between the avatar\u2019s crotch and the ground. The choreographer tried to solve the technical problem of sinking and discovering the avatar\u2019s mode of expressions. The creators involved in this production learned new approaches to collaboration.<\/span><\/span><\/p>\n

To be continued\u2026\u2026<\/span><\/span><\/p>\n

\u3010Creative Team\u3011
\nChoreography, Performance & Multimedia Design: Zelia ZZ TAN
\nAvatar Design: Guido STUCH
\nSound Design: Simon HO
\nCostume Design: Perpetua IP
\nDirector, Cinematographer & Editor: Wilfred WONG
\nSpecial Thanks: School of Dance, The Hong Kong Academy for Performing Arts, Cie Gilles JOBIN<\/span><\/span>[\/vc_column_text][vc_empty_space][vc_video link=”https:\/\/www.youtube.com\/watch?v=kwaZsTmymzY” align=”center”][vc_column_text]<\/p>\n

Boiling Bo<\/em> – Bobo LAI X Terry TSANG<\/h5>\n

\u3010Choreographer’s Note\u3011
\nA worsened Omicron outbreak has forced us to cancel the live performance, and record it as a video. Through the camera, I can see whether I rely on my spouse for everything, and I learn how to temporarily separate from him. Because we don\u2019t know when we will die, I get to think of life as when and at what time I should rely on my spouse.
\n<\/span><\/span><\/p>\n

\u3010Creative Team\u3011
\nConcept, Choreographer, Costume Design & Cinematographer: Bobo LAI, Terry TSANG
\nPerformer: Pink Balloon
\nDirector, Cinematographer & Editor: Wilfred WONG
\nSpecial Thanks: Yuri NG, Melissa LEUNG, Tomas TSE, Ronnie LAM, David LOK
\n<\/span><\/span>[\/vc_column_text][vc_empty_space][vc_video link=”https:\/\/www.youtube.com\/watch?v=QsibOeG1Uyk” align=”center”][vc_column_text]<\/p>\n

The study of Cat – From Passive to Active?<\/em> – Eric KWONG X Justyne LI<\/h5>\n

\u3010Creator’s Note\u3011
\nI am not a choreographer, I am a dancer. Everything begins with the cat. This is incomplete, and cannot be completed. I will keep developing.
\n<\/span><\/span><\/p>\n

\u3010Creative Team\u3011
\nConcept & Performed by: Eric KWONG
\nResearch Facilitator: Justyne LI
\nDirector, Cinematographer & Editor: Michael TANG
\nGaffer & Camera Assistant: Ken MOK
\nLocation Sound Mixer & Sound Designer: Raven CHIU<\/span><\/span>[\/vc_column_text][vc_empty_space][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_video link=”https:\/\/www.youtube.com\/watch?v=Lqnlxt7aqRw” align=”center”][vc_column_text]<\/p>\n

Rebug: working in progress<\/em> – Shirley LOK \/ Ying Ching CHEN<\/h5>\n

\u3010Choreographer’s Note\u3011
\nMotivation for creation: Funny, that\u2019s it! <\/span><\/span><\/p>\n

Insects are unique, but not extraordinary. Teamwork is important to making dream works. I care the most about how this production can connect you and me. When I was young, I like puppets because they are magical. People who learn to better understand themselves also learn to better understand others. The observation of others will never end, every day is a new start. Never expect, it\u2019s better to feel surprised than to feel disappointed.
\n<\/span><\/span><\/p>\n

\u3010Creative Team\u3011
\nChoreographed & Performed by: Shirley LOK
\n<\/span><\/span>Putter Designer\/Puttereer: Ying Ching CHEN
\nDirector, Cinematographer & Editor: Wilfred WONG
\nCinematographer: Shing Hei YEUNG
\nSpecial Thanks: Bruce WONG, Chung Ying WONG
\n<\/span><\/span>[\/vc_column_text][vc_empty_space][vc_video link=”https:\/\/www.youtube.com\/watch?v=QC8kP1_q8qs” align=”center”][vc_column_text]<\/p>\n

Behind me 1<\/em> – Peggy LAM<\/h5>\n

\u3010Choreographer’s Note\u3011
\nGrateful to have self-communication.
\nThanks for having close friends who would like to talk, share, and argue with me.
\nWe cannot control everything, but we can choose how to respond.
\nAt this moment, just do whatever you want to, as one day tomorrow won\u2019t be there.
\nAll the best.
\n<\/span><\/span><\/p>\n

\u3010Creative Team\u3011
\n<\/span><\/span>Concept, Choreographed & Performed by: Peggy LAM
\nDirector, Cinematographer & Editor: Michael TANG
\nGaffer & Camera Assistant: Sound Designer: Raven CHIU
\nColorist: Kinglun YEUNG
\nSpecial Thanks: Kaki LEE, Melissa LEUNG, Tomas, Jess, Linda, Grace mama, \u963f\u826f<\/span><\/span>[\/vc_column_text][vc_empty_space][vc_video link=”https:\/\/www.youtube.com\/watch?v=zpPZQzZDqTY” align=”center”][vc_column_text]<\/p>\n

Decomposer – Valueless<\/em> – Simpson YAU X Justyne LI<\/h5>\n

\u3010Creator’s Note\u3011
\nThanks for trusting me, and accepting me as an \u201cuseless\u201d dancer. I could rediscover self value, to learn, to self-reflect, to move forward, and to decompose all these things and transform into nutrients. Words are not the best way to express, let\u2019s focus on the body, and continue our journey.
\n<\/span><\/span><\/p>\n

\u3010Creative Team\u3011
\nConcept& Performed by: Simpson YAU
\nResearch Facilitator: Justyne LI
\nDirector, Cinematographer & Editor: Michael TANG
\nGaffer Camera Assistant: Ken MOK
\nSound Designer: Raven CHIU<\/span><\/span>[\/vc_column_text][vc_empty_space][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”Open Call Finalist” tab_id=”Open-Call-Finalist”][vc_row_inner][vc_column_inner width=”1\/2″][vc_video link=”https:\/\/www.youtube.com\/watch?v=IHUmJGs-zoE” align=”center”][vc_column_text]<\/p>\n

The Problematic Workout<\/em> – LEE Ka Hei<\/h5>\n

\u3010Synopsis\u3011
\nThe Problematic Workout is inspired by popular online workout videos, where the topless trainers with tight shorts share their workouts from some ambiguous camera angles. And they get a lot of subscribers and positive comments. Personally speaking, it is objectification of body in return for something (fame, subscribers, profit, attention, etc.), which is becoming acceptable as observed from those positive comments. The Problematic Workout is to display this phenomenon and invite your perceptions on and reactions with masculine images.
\n<\/span><\/span><\/p>\n

\u3010Artist\u2019s Statement\u3011
\nThe Problematic Workout comes from the observations on the online workout videos in social media. For truly reflecting how the \u201cperformers\u201d objectify themselves, I am glad to have Willson in this work. Willson is a social media user with experiences in sharing his body shapes online. In the absence of performance experience, what Willson \u201cperforms\u201d is basically the authentic reactions when he is doing the exercises and being watched.
\n<\/span><\/span><\/p>\n

\u3010Creative Team\u3011
\n<\/span><\/span>Concept: LEE Ka Hei
\nPerformance: Willson
\nComposer: Larry SHUEN
\nSpecial Thanks: CHAN Wai Lok<\/span><\/span>[\/vc_column_text][vc_empty_space][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_video link=”https:\/\/www.youtube.com\/watch?v=GlRWrdYbeL4″ align=”center”][vc_column_text]<\/p>\n

Chicken Blood<\/em> – Alberto GEROSA X FENG Jingyi<\/h5>\n

\u3010Synopsis\u3011An aesthetic reinterpretation of the contemporary ritual and folk therapy exercise \u2018Chicken Blood\u2019, a common practice in China among migrant workers of different regions and professions. Millions of migrant workers perform it daily across China, mainly women. <\/span><\/span><\/p>\n

Our ethnographic art project re-interprets this practice, identifying it as the most important emerging Chinese choreographic style of the second half of the 20th century. <\/span><\/span><\/p>\n

Experiencing a Chicken Blood ritual is very powerful and instills a belief in the practitioner and the attendees alike. \u201cEndure, resist, persist, go forward\u201d: each audience finds their own space in this cathartic, atavic expression of women’s power. <\/span><\/span><\/p>\n

As in a shamanic drum possession ritual, the act progresses through repetition and higher intensity, the performer reaches a loss of senses, embodying the multitude of migrant workers to exhaustion, referencing the final sacrificial solo of 1913 Rite Of Spring. <\/span><\/span><\/p>\n

Ridding of this practice from its secular capitalist-infused armor, we intend to trace the lyricism of its movements back to its rural healing origins among ethnic minorities, reconnecting it to the nomadic root of dance in North-Eastern Asia, where early shamanic practices around lake Baikal have appeared. <\/span><\/span><\/p>\n

As the use of chicken blood is recurrent in Chinese, Haitian, Indonesian and Mediterranean animist religions just to name a few, our project ties a knot with the heritage of the shamanic origins of early drum dance.
\n<\/span><\/span><\/p>\n

\u3010Creative Team\u3011
\n<\/span><\/span>Concept & Choreographed by: Alberto GEROSA
\nPerformed by: FENG Jingyi (Artists appear courtesy of Hong Kong Ballet)
\nDirector, Cinematographer & Editor: Michael TANG
\nSecond Camera: NG Wai Ho
\nSound Mixer: Raven CHIU<\/span><\/span>[\/vc_column_text][vc_empty_space][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row enable_arrows_animation=”no”][vc_column][vc_btn title=”Back to Programme Page” style=”flat” color=”inverse” align=”center” button_block=”true” link=”url:http%3A%2F%2Fqrs.ly%2Fd3duye9|||”][vc_empty_space][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

[vc_row enable_arrows_animation=”no”][vc_column][vc_column_text] M.U.D. : Work-in-progress Video [\/vc_column_text][vc_empty_space][vc_empty_space][vc_empty_space][\/vc_column][\/vc_row][vc_row enable_arrows_animation=”no”][vc_column][vc_tta_tabs][vc_tta_section title=”CCDC Dance Artists” tab_id=”CCDC-Dance-Artists”][vc_row_inner][vc_column_inner width=”1\/2″][vc_video link=”https:\/\/www.youtube.com\/watch?v=drXmMBy0a_o” align=”center”][vc_column_text] Sensing Adjacency – Zelia ZZ TAN \u3010Synopsis\u3011 Zelia\u2019s experimental creation aimed to explore the relationships between dancer and their avatar. She researched motion capture (mocap) dance as the form of performance. The work shared the process where one senses the loss of information. The dancer faced a distrust of data, but s\/he\/it discovers new connections from multiple sensors. A sensor, aka transducer, is a device that produces an output signal for sensing a physical phenomenon. There are many types of sensors. Most of the mocap suits use the Inertial Measurement Unit (IMU), which collects fluctuations, rotation, pressure, and other trends to a hub. The computing system converts the data to trigger the avatar to move into virtual environment. In the rehearsal, the dancer interpreted different avatars, observing the embodied feedback. One of the choreographic tasks was to study how the axis of the body is connected to animation, allowing the computer system to calculate the distance between the avatar\u2019s crotch and the ground. The choreographer tried to solve the technical problem of sinking and discovering the avatar\u2019s mode of expressions. The creators involved in this production learned new approaches to collaboration. To be continued\u2026\u2026 \u3010Creative Team\u3011 Choreography, Performance & Multimedia Design: Zelia ZZ TAN Avatar Design: Guido STUCH Sound Design: Simon HO Costume Design: Perpetua IP Director, Cinematographer & Editor: Wilfred WONG Special Thanks: School of Dance, The Hong Kong Academy for Performing Arts, Cie Gilles JOBIN[\/vc_column_text][vc_empty_space][vc_video link=”https:\/\/www.youtube.com\/watch?v=kwaZsTmymzY” align=”center”][vc_column_text] Boiling Bo – Bobo LAI X Terry TSANG \u3010Choreographer’s Note\u3011 A worsened Omicron outbreak has forced us to cancel the live performance, and record it as a video. Through the camera, I can see whether I rely on my spouse for everything, and I learn how […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_tribe_blocks_recurrence_rules":"","_tribe_blocks_recurrence_exclusions":"","_tribe_blocks_recurrence_description":"","_ecp_custom_2":""},"yoast_head":"\nMUD: Work-in-progress Video - CCDC<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.ccdc.com.hk\/en\/mud-work-in-progress-video\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"MUD: Work-in-progress Video - CCDC\" \/>\n<meta property=\"og:description\" content=\"[vc_row enable_arrows_animation=”no”][vc_column][vc_column_text] M.U.D. : Work-in-progress Video [\/vc_column_text][vc_empty_space][vc_empty_space][vc_empty_space][\/vc_column][\/vc_row][vc_row enable_arrows_animation=”no”][vc_column][vc_tta_tabs][vc_tta_section title=”CCDC Dance Artists” tab_id=”CCDC-Dance-Artists”][vc_row_inner][vc_column_inner width=”1\/2″][vc_video link=”https:\/\/www.youtube.com\/watch?v=drXmMBy0a_o” align=”center”][vc_column_text] Sensing Adjacency – Zelia ZZ TAN \u3010Synopsis\u3011 Zelia\u2019s experimental creation aimed to explore the relationships between dancer and their avatar. She researched motion capture (mocap) dance as the form of performance. The work shared the process where one senses the loss of information. The dancer faced a distrust of data, but s\/he\/it discovers new connections from multiple sensors. A sensor, aka transducer, is a device that produces an output signal for sensing a physical phenomenon. There are many types of sensors. Most of the mocap suits use the Inertial Measurement Unit (IMU), which collects fluctuations, rotation, pressure, and other trends to a hub. The computing system converts the data to trigger the avatar to move into virtual environment. In the rehearsal, the dancer interpreted different avatars, observing the embodied feedback. One of the choreographic tasks was to study how the axis of the body is connected to animation, allowing the computer system to calculate the distance between the avatar\u2019s crotch and the ground. The choreographer tried to solve the technical problem of sinking and discovering the avatar\u2019s mode of expressions. The creators involved in this production learned new approaches to collaboration. To be continued\u2026\u2026 \u3010Creative Team\u3011 Choreography, Performance & Multimedia Design: Zelia ZZ TAN Avatar Design: Guido STUCH Sound Design: Simon HO Costume Design: Perpetua IP Director, Cinematographer & Editor: Wilfred WONG Special Thanks: School of Dance, The Hong Kong Academy for Performing Arts, Cie Gilles JOBIN[\/vc_column_text][vc_empty_space][vc_video link=”https:\/\/www.youtube.com\/watch?v=kwaZsTmymzY” align=”center”][vc_column_text] Boiling Bo – Bobo LAI X Terry TSANG \u3010Choreographer’s Note\u3011 A worsened Omicron outbreak has forced us to cancel the live performance, and record it as a video. 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