The Battle Zone

The Battle Zone

「梁以他流暢的身體語言作出回應,陳亦以他充滿節奏的語言回應。這樣你一「言」,我一「語」地延續了他們的「對話」。兩位創作者好像要讓觀眾明白,舞蹈也是一種語言,何須分什麼的風格呢。」—— 丘思詠 /舞蹈手扎

「在強勁節拍的音樂,街舞與現代舞的各自個性突顯之餘,也見融合、對話的嘗試——街舞背景的馬宝山與現代舞背景的岑智頤的動作既相同又有異。儘管仍有沙石,但兩位編舞的構思似乎衝破了一些桎梏,想法有所發展。」—— 聞一浩/文匯報

"The Battle Zone explores how each dancer culls movement to make it his own and how he uses it to claim space, shape space and protect space. The dancers occasionally move as one, but mostly they are rugged individualists; when they do interact, it is in the form of a negotiation – sometimes fraught, sometimes peace-making. Or they engage in a shared construction job involving machinery." - Ballet To The People

"Narration and theatrical elements were incorporated to challenge set ideas about the two distinct dance genres." - China Daily

As street dance steps into the theatre, contemporary dance embraces the battle culture.
Contemporary dancer Kenny Leung met street dancer Yip Chan while working on a performance in Australia in 2017. Despite their diverse training backgrounds, they bonded through the passion for dance. From the battle culture of street dance, they explored a 1-on-1 relationship and reflect on the ways of creating, values and body language in contemporary dance and street dance. The Battle Zone is an attempt to dance out of their comfort zones in search for a shared artistic language. The two choreographers collaborated with Belgium sound artist Peter Lenaerts to create a dialogue of sound, music and dance.

Choreographer's Note | Kenny Leung
First of all, I’d like to thank the HKAF for this creative and artistic opportunity. This work originated from Project-1on1 which was initiated by myself and Yip Chan. "1on1" does not only refer to a battle format; it may also point to the dialogue between two persons, the connection between an event and an object, or the dynamic between a space and a format. The focal point of this Battle is not only winning or losing, but also questioning our preconceptions.
Some time ago we held an experimental battle —Battle-Or-Not — at the Jockey Club Creative Arts Centre. On one hand, it served as a platform for cross-genre dance exchange; on the other hand, it provoked many questions and discussions among the participants. While it was a small scale event with many limitations, the dancers’ performances were eyeopening for me. They reflected the exchange between dancers working in different genres who, in the spirit of experimentation, competed and learnt from one another. It was a remarkable occasion, and a truly memorable experience of a dance battle for me.
In creating this new work, I reflect on my past approaches to artistic creation, and the environment or circle I was in at that time. I enter another world of dance in the hope of leaving my comfort zone, as I face the unknown and embrace all possibilities.

Choreographer's Note | Yip Chan
Opposites in both idea and format
As early as November
we held a contest called Battle-Or-Not
Some found it inspiring
Some found it absurd
These words are in fact useful elements
Thank you to those who took part in the battle
My apologies for its inadequacies
What battle might evolve into
is a process that is not yet defined
It is certainly controversial
Street dance enters the theatre
Street dance enters the Olympics\
There are many unprecedented things happening
I want to experience them myself
to make a choice

Sound Artist's Note | Peter Lenaerts
Most of us are surrounded by sound all the time. Some of it we hear, some of it we choose to ignore, most of it passes by unnoticed. It is there, but we don’t hear it until we decide to listen to it.
Listening is almost always an active act, a choice. We decide to pause for a moment, prick up our ears and focus. Most of us don’t do it very often. Especially not when there’s nothing to see. It requires an act of concentration that is quite often too demanding.
And yet we are surrounded by sound all the time. In life and in art.
Whether an artist consciously uses sound or not, there is sound in the work. Always. Even the conceptual dance artist who chooses to stage a piece with no set, one light setting, and no sound, still uses sound. You cannot turn off sound. It’s there. So you might as well be aware of it and use it. Or abuse it.

Kenny Leung
Yip Chan
Resident Sound Artist & Composer
Peter Lenaerts
Henry Shum
Kaspy Ma
Lighting Designer
Timmy Cheung
Sound Coordinator
Ha Yan-pui
Set Coordinator
Jacob Wu
Production Manager
Lam Hing-lun
Stage Manager
Kami Ng
Deputy Stage Manager
Carmen Hung
Make-up and Hair Stylist
Ada Cheng
Stage Crew
Leo Mui
Yeung Kwai-hung
J Dilla by 551
It's A Ganster Party by Unknown
Cyclotron by Harmonic 313