Tracy Wong: The baby steps of a First Generation dance professional from Macau
Born in Macau, Tracy Wong was one of the only two students from her batch to graduate with First Class honours from the Dance stream in the Hong Kong Academy for Performing Arts (HKAPA). Majoring in Contemporary dance, she has been awarded multiple scholarships from HKAPA as well as the Macau Education and Youth Affairs Bureau, and has performed in Korea, Spain, Vienna, Philippines and Singapore. Although it has been less than a year since her graduation, Tracy has made a name for herself in the Hong Kong dance scene: working with the Hong Kong Dance Company, performing in a duet as part of the Hong Kong Arts Festival, as well as dancing for well-known choreographers based in Hong Kong.
Momentum (Episode 1) – choreographed by Xing Liang and Mui Cheuk Yin
Q: How did you end up in this industry?
A: I’ve always loved dance since young. When I reached my first year of high school, I got to know that the Macau Conservatory was starting a full-time professional dance program, and I immediately signed up. My parents disapproved at first, but when they saw that I was serious and determined, they supported me in the end. I started my professional training in 2005 and four years later, after finishing my program, I realised I had fallen in love with Contemporary dance. I applied for Shanghai Dance School and the Hong Kong Academy for Performing Arts and was accepted into both of them, but I chose HKAPA because I wanted to focus on Contemporary dance.
HKAPA was definitely the most influential period of time in my life. Through university, I had the lowest time I have ever had to date and I doubted my determination to continue dancing, but after experiencing a big accident, it only affirmed how important dance was in my life and I became even surer of what I wanted to do in the future. At present I am a freelance dancer working in both Hong Kong and Macau, occasionally working with the more established dance companies as well as collaborating with some Hong Kong-based independent artists, while at the same time working on my own creations.
Shelf Life – choreographed by Tracy Wong and Mao Wei
Q: What are some of the more memorable experiences you’ve had through your journey in dance?
A: Three years ago, I was involved in a traffic accident, resulting in fourteen stitches and a minor fracture in my knee. My leg was set in a cast, preventing me from bending, walking, and of course, dancing. I was so afraid that the injury would affect my dancing in the long-term. In that tedious month, I could not feel the muscles in my leg, and I could only watch my classmates dance. That feeling of only being able to watch but not move stayed with me for a long time.
Q: What are some of the sacrifices you have had to make for your craft?
A: When I was eight, my teacher picked me to perform guzheng for my school’s anniversary celebration performance. When it was time for high school, the same teacher recommended that I take a professional guzheng course. I told my mum that I wanted to try for the dance stream as well, and in the end, I was accepted in both courses.
Since I started playing the guzheng, I had consistently won awards and was often praised by the teachers for my talent. Whereas for dance, I wasn’t the ideal dancer body type and I knew I had to work very hard even to reach the most basic standard. My passion for dance was greater than my interest in guzheng and gradually, I stopped practicing guzheng altogether. At that time, it was a big decision for me, and although I would never regret choosing dance, I do regret giving up guzheng a little.
Reaction – choreographed by Xing Liang
Q: How do you maintain the balance between earning a living and working on your craft?
A: I am a freelance dancer, and I appreciate the variety of the different projects that I can work on, even if that means I have less time for myself. Ideally I would be able to collaborate with different artists and refine my own creations, but when the choices dwindle I will also dance in certain commercial performances for the income. If I ever have to choose between an artistic production and a commercial job, I would still want to do the artistic one, even if the income was much lower and the rehearsals were more time-consuming. At this stage of my life, I think it’s more important for me to gain more experience and grow as an artist. Right now I would rather have opportunities to learn from more experienced choreographers and dancers than focus on earning my first million dollars.
Reaction – choreographed by Xing Liang
Q: Have you ever thought of walking down a different path?
A: Before I entered university, there was a period of time after my graduation from high school where I was lost and confused about what to do. I was the first batch of dance majors from my high school and there were no seniors to advise us and we were quite clueless in general. I questioned myself over and over if it was the right decision for me to choose dance and should I continue with it. I took the risk and applied for HKAPA, and in the few years that I spent there, I became more reassured that I was on the right path. I was able to meet and create new goals for myself, and that stands true for me till today. I feel like I have just begun my journey, and I will continue to explore and develop myself and my craft. I believe I have chosen the path most suitable and meaningful for me, and I am enjoying myself each step of the way.
Momentum (Episode II) – choreographed by Xing Liang and Mui Cheuk Yin
Q: What kind of works have you created/performed recently? Do you plan on focusing on similar projects in the future?
A: Recently I have been working on several performances with renowned choreographer Xing Liang. Due to some reasons I was suddenly asked to replace another dancer in Xing Liang’s piece Reaction in the Hong Kong Arts Festival. I had two weeks to learn a thirty minute duet and it was a big challenge for me. Thankfully Xing Liang believed in me and the feedback from the audience was mostly positive, and that led to Momentum (Episode I) and Momentum (Episode 2), also choreographed by Xing Liang and produced by the City Contemporary Dance Company.
My first piece, Scattered Soul won the Hong Kong Open Dance Competition’s Gold Award and Best Performance Award. Encouraged by this, I choreographed Baraka this year which was awarded Silver in the Hong Kong Bauhinia Cup Competition. With these experiences, I have also applied for showcase opportunities in some Macau theatres this October and February 2015. I hope to develop my choreographic potential as well as create opportunities for myself and other artists to collaborate, create together as well as challenge each other.
Shelf Life – choreographed by Tracy Wong and Mao Wei
Q: What do you think the current Hong Kong dance industry needs more/less of?
A: Each year there are more and more dance practitioners entering the dance scene in Hong Kong, and a shortage of opportunities for dancers is becoming a serious problem. Support from the government is usually slow and focuses mostly on the three main dance companies in Hong Kong, neglecting the large group of independent artists and smaller dance companies. For new choreographers, budget concerns sometimes overpower their focus on the creative aspect of the piece. If the Hong Kong government could spare more support for the small dance companies and independent artists, the Hong Kong arts industry could have the chance to become more vibrant and diverse, audience members would be able to have more choices and the entire industry would be able to grow and develop in general.
Momentum (Episode II) – choreographed by Xing Liang and Mui Cheuk Yin