One summer in the 1980s, William Yong was an aspiring and award-winning lead singer of a band called Fundamental in Hong Kong's booming pop music industry. Instead of just sticking with singing, he took a leap of faith and enrolled in the School of Dance at the Academy following his secondary school graduation. Today, a contemporary dance show choreographed by him is praised by Canadian critics as a must-watch in 2020. Despite the pandemic, his studio in Toronto continues to explore and present the art form to a global audience in avant-garde and thought-provoking fashion.
Before he entered the Academy, William had not received any dance or choreography training. Growing up in a "not well-off" family, he says, the dance artist had many unexpected encounters that changed the course of his professional life. As the only tertiary education provider dedicated to the performing arts in the city, the Academy has been providing an array of practice-based and professional diplomas since 1984, and a few years later also started to offer undergraduate and postgraduate programmes. William was among the first batch of professional performing artists to graduate from the Academy.
"Dance chose me," he says with enthusiasm. "I was very lucky to have a group of such influential teachers. I am so very grateful to the Academy because that was where I started the whole dance journey."
Recalling his audition at the Academy, he believes it was his mentality that impressed the panel most, notably his belief that an artist needs to work both physically and mentally. "I always work really hard and thoughtfully, even in music. The determination to be able to pick things up, and the determination to do something new and think of possibilities, is very important. The panel might have seen these qualities in me when I was auditioning in the studio. I'm really thankful they accepted me; otherwise, I wouldn't be here sitting in Canada talking to you guys now," he quips.
Teachers at the Academy had an immense influence on him, he says, because when he first underwent professional training as a student majoring in modern dance, his start was not easy. As the only total beginner in dance technique classes, his body was inflexible. His posture was so stiff that he was teased by fellow classmates as a "pillar of stone".
"I cried a few times in the first week at the Academy because in dance classes, particularly for ballet, I knew nothing about the syllabus. I thought I had made the wrong decision in joining the Academy," says the long-time dancemaker. "But then, I had some really amazing teachers, like Ms Paula Lau. She used her spare time and helped me out. She coached me privately after classes. She had a lot of patience for me as well as a few other teachers."
"Moreover, the group of students I was with were very driven and of a high calibre. There was a lot of competitiveness among us, especially in dance technique training. I think we needed that, as it drove us to another level. I was really lucky to have these inspiring classmates."
He continued his double life – as a dance student and a singer – while he was studying at the Academy, managing to strike a balance for several years before dance started to take over.
"The Academy actually had one of the best post-secondary courses and facilities in the world for training as a performer," he says. "They also provided me with a really safe environment to learn and build up my skills."
The Academy set him on the road to a career as a professional dancer. Since then, he has performed in 75 cities within 15 countries, including the United Kingdom, the United States and Canada. And it all began with the Hong Kong Jockey Club Music and Dance Fund Scholarships he obtained which allowed him to attend any international dance school of his choice for further dance studies after graduation from the Academy. He gave up his singing career and decided to pursue a bachelor's degree at the London Contemporary Dance School where he also received further scholarships to complete a master's degree with distinction.
After graduation, he worked with Wayne McGregor's Random Dances and then joined the original cast of Matthew Bourne's Swan Lake and Cinderella in the UK. He worked with the company for five years before he emigrated to Canada where he joined the Toronto Dance Theatre. In August 2005, he decided to start his own not-for-profit charitable contemporary dance organisation called Zata Omm to create multidisciplinary contemporary dance works by integrating dance, technology and other art forms. Zata Omm is in a state of constant development with on-going artistic research to explore the artistic climate and reflect contemporary culture.
"In my early years at the Academy, I saw all these amazing teachers who helped me so much. Now, when I go into guest teaching positions, I always try to inspire those who are very talented and also lift up the students who are less talented. I believe, as a teacher, that you can be so inspirational and influential for all students."
While William received an award and ten nominations at the Dora Mavor Moore Awards, regarded as the Toronto equivalent of the Tony Awards on Broadway, he acknowledges that such recognition is less important than knowing your own worth and claiming your own space. Achieving so much in the international arena, as William has done, is not an easy task. "I think we all have to find our own path and build our own success," he says. "We all can determine what is precious for us. Everyone will have their own definition and journey to success."
One of William's groundbreaking achievements is his work integrating technology and dance. In his latest production, Eden Planted , which was staged in February this year, William and his team riffed with the idea of genetic engineering and a technological utopia, subjects that touch on human evolution, biology and futurology. His collaborators explored possibilities with projection mapping and robotic elements on stage, giving the audience a more profound and more inspiring sensation than television entertainment shows.
With virus containment measures currently restricting gatherings in enclosed spaces, the global performing arts business is suffering a significant blow. However, where there are limitations, there will be opportunities for innovation.
"I think art is taking a much broader view," he says. "It's no longer linear and arranged in terms of divisions. Artists are adaptable and resilient, and will find new ways to create and present."
His creative team has started to rehearse with video-conferencing apps. He also has tried to find new ways to choreograph virtually. Although physical contact is not possible at the moment, making duets impossible, this has not stopped him from making art and adapting to the digital world.
But, as he says, all these ideas do not come out of the blue; they require time to research and investigate before one gets as far as the studio. "You have got to seek 'the truth', dig deep and research the most significance through your own methodology and philosophy," he says. "Whether the subject matter is something you don't yet fully understand or something that is very close to your heart, you still have to spend time on developing an intelligent piece of work that will engage, challenge and communicate with the audience."
"It has long been my wish to bring my workspace to Hong Kong or to do something back at the Academy. I'm open to presenting my works there and also doing works with the students or teaching because I was born in Hong Kong. That's my motherland and I'd like to contribute in any way if the opportunity arises."
(The article was published in the October 2020 issue of Academy News. Click here to read the original story.)
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