{"id":134,"date":"2026-07-02T16:42:32","date_gmt":"2026-07-02T16:42:32","guid":{"rendered":"https:\/\/rescen.net\/blog10\/?p=134"},"modified":"2026-07-02T18:06:35","modified_gmt":"2026-07-02T18:06:35","slug":"day-2-first-day-of-rehearsals","status":"publish","type":"post","link":"https:\/\/rescen.net\/blog10\/2026\/07\/02\/day-2-first-day-of-rehearsals\/","title":{"rendered":"Day 2: First day of rehearsals"},"content":{"rendered":"

We embark on\u00a0the\u00a0first day of\u00a0rehearsals, high on\u00a0excitement, the\u00a0dancers meet each other, meet the\u00a0choreographers, and\u00a0together, we embark on\u00a0eight processes.<\/p>\n

Each process vastly different from the\u00a0get-go<\/nobr> as\u00a0choreographers explore their \u2018creative flowers\u2019. As\u00a0choreographers nurture their \u2018plants\u2019, I\u00a0wonder what the\u00a0garden will look like on\u00a0the\u00a010th<\/sup> of\u00a0July, but more importantly, what roots might have taken, and\u00a0in\u00a0what direction.<\/p>\n

Choreographer Wang Ru-Ping<\/nobr> finishes rehearsal wide-smiled<\/nobr>, and\u00a0tells us \u201cwe\u2019ve been sweating, but it\u2019s good sweat\u201d. But what is good sweat? I\u00a0believe Ru-Ping<\/nobr> to\u00a0be talking about the\u00a0trade-off<\/nobr> between sweat and\u00a0work.<\/p>\n

As\u00a0you enter each studio you find a\u00a0different sound. The\u00a0choreographers curate the\u00a0y\u00ecj\u00ecng<\/em> (\u610f\u5883)\u00a0\u2014 mentioned in\u00a0the\u00a0introductory post\u00a0\u2014 the\u00a0dancers respond, with their background, their luggage, their soil. The\u00a0y\u00ecj\u00ecng <\/em>is amplified.<\/p>\n

Electrifying energy is palpable in\u00a0choreographer Cheng Yongping\u2019s rehearsal as\u00a0precision in\u00a0movement and\u00a0enthusiastic energy allow for\u00a0an\u00a0impressively efficient transmission. Despite the\u00a0language barrier with one of\u00a0the\u00a0London dancers, he is not left behind\u00a0\u2014 and\u00a0is in\u00a0fact enveloped by\u00a0the\u00a0group. Everyone in\u00a0the\u00a0group becomes native to\u00a0this y\u00ecj\u00ecng. <\/em>Their new language of\u00a0communication.<\/p>\n

Clapping and\u00a0cheering is the\u00a0atmosphere we walk into when entering Nayaw Fangas rehearsal hosted by\u00a0Ifen. Dancers present improvised solos to\u00a0music of\u00a0their choice, using this as\u00a0a\u00a0form of\u00a0introduction to\u00a0each other, creating a\u00a0supportive y\u00ecj\u00ecng <\/em>from which to\u00a0begin.<\/p>\n

In\u00a0Ma Nan\u2019s rehearsal dancers quietly work in\u00a0pairs towards perfecting material that is set. In\u00a0this room y\u00ecj\u00ecng <\/em>appears in\u00a0bubbles, that surround and\u00a0encompass the\u00a0pairs. Each bubble with their sharp focus on\u00a0a\u00a0different movement, but all bubbles creating an\u00a0eco-system<\/nobr> of\u00a0calm support.<\/p>\n

L\u00e9a\u00a0Tirabasso\u2019s laughing prompts create a\u00a0vibrant y\u00ecj\u00ecng<\/em> full of\u00a0personality, where all dancers take ownership of\u00a0their choices. The\u00a0outsider becomes spellbound, becomes a\u00a0part of\u00a0this flowing vignette. As\u00a0you see the\u00a0dancers process to\u00a0make choices the\u00a0viewer plays catch-up<\/nobr> figuring out what is the\u00a0secret that the\u00a0dancers hold.<\/p>\n

Another moment of\u00a0vibrancy with a\u00a0more chaotic tint washes over Wing Fai Tsang\u2019s rehearsal. As\u00a0the\u00a0dancers speak in\u00a0languages they don\u2019t know, laughter emerges. A\u00a0cacophony of\u00a0unregistered sounds builds up in\u00a0the\u00a0room as\u00a0dancers try to\u00a0understand each other. Somehow, over time, and\u00a0with the\u00a0help of\u00a0the\u00a0echo in\u00a0the\u00a0room the\u00a0chaos starts to\u00a0sound like a\u00a0choir.<\/p>\n

Pik Yim Yu brings umbrellas to\u00a0her rehearsal, and\u00a0as\u00a0the\u00a0dancers attempt to\u00a0bring them to\u00a0life, and\u00a0incorporate their rhythm, cadence and\u00a0space to\u00a0their bodies the\u00a0focus becomes precision. The\u00a0y\u00ecj\u00ecng<\/em> that overtakes the\u00a0room exudes concentration and\u00a0careful consideration of\u00a0both the\u00a0dancer\u2019s kinesphere and\u00a0wider space where it becomes almost addictive to\u00a0observe repetition grazing obsession.<\/p>\n

The\u00a0y\u00ecj\u00ecng<\/em> in\u00a0Wang Ru-Ping<\/nobr>\u2019s rehearsal has kind undertones, as\u00a0dancers are encouraged to\u00a0share their experiences and\u00a0thoughts. Space both physical and\u00a0phonological is created for\u00a0the\u00a0individuals, as\u00a0dancers explore their physicalities alongside their voices, amplifying the\u00a0experience of\u00a0the\u00a0body, maximising availabilities and\u00a0possibilities.<\/p>\n

FUBUNATION rehearsals are silent, as\u00a0the\u00a0dancers work individually in\u00a0small movement tasks. The\u00a0y\u00ecj\u00ecng<\/em> of\u00a0this room can only be described as\u00a0dipping the\u00a0toes in\u00a0water, as\u00a0both Waddah Sinada, and\u00a0the\u00a0dancers try to\u00a0understand each other, find a\u00a0common ground, and\u00a0collect in\u00a0a\u00a0y\u00ecj\u00ecng<\/em> that speaks as\u00a0a\u00a0group.<\/p>\n

Written by\u00a0Adriana Garcia Pinilla\u00a0\u2014 Documenter<\/p>\n","protected":false},"excerpt":{"rendered":"

We embark on\u00a0the\u00a0first day of\u00a0rehearsals, high on\u00a0excitement, the\u00a0dancers meet each other, meet the\u00a0choreographers, and\u00a0together, we embark on\u00a0eight processes. Each process vastly different from the\u00a0get-go as\u00a0choreographers explore their \u2018creative flowers\u2019. As\u00a0choreographers nurture their \u2018plants\u2019, I\u00a0wonder what the\u00a0garden will look like on\u00a0the\u00a010th… <\/p>\n","protected":false},"author":20,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[1],"tags":[],"class_list":["post-134","post","type-post","status-publish","format-standard","hentry","category-posts"],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/posts\/134","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/users\/20"}],"replies":[{"embeddable":true,"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/comments?post=134"}],"version-history":[{"count":3,"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/posts\/134\/revisions"}],"predecessor-version":[{"id":143,"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/posts\/134\/revisions\/143"}],"wp:attachment":[{"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/media?parent=134"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/categories?post=134"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rescen.net\/blog10\/wp-json\/wp\/v2\/tags?post=134"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}