From The Street to the Theatre - What Changed in Hong Kong and in Street Dancer's Mentalities?
Sica
After reviewing Takao Baba’s text and reflections in The Recognition of Street Dance in Germany, it provoked many internal thoughts about the Hong Kong street dance and theatre scene. From the demand of street dancers in the mainstream industry, to the utilisation of street dancers in contemporary dance productions and his vision for the development of street dance in theatre. Though we are located on opposite sides of the world, Hong Kong is now facing a similar situation and so I started to think, when did street dancers start to enter the theatre here, what changed in Hong Kong and then what changed in our mentality?
About Street Dance Theatre
What is “Street Dance Theatre”? This is the question that I keep asking myself, especially since I was selected as one of the choreographers of the Flo - Choreographic Journey of Street Dance Theatre programme.
I define Street Dance Theatre (SDT) as a contemporary performing art which utilises street dance as a movement language and explores the possibilities and aesthetics of street dancing bodies. Takao Baba says street dance culture is known for its individuality, authenticity and creativity and it is predestined for theatrical creation. The craft of SDT also shares the same values as street dance culture but it requires choreographers and dancers to revisit their own art and ideas beyond just movement. SDT offers a process of discovery which allows us as street dancers to develop new theatrical perspectives, reveal our vulnerabilities, and get to know ourselves creatively. This is a unique process and an uncommon experience when solely practicing or participating in competitive street dance environments.
The naming and use of “theatre” frames it as an act of intentional creation. Choreographers can easily get trapped by the term “street dance” as they constantly create short street dance routines and place them in a theatre. This is not street dance theatre, but something that demonstrates a lack of creative exploration and depth in the artistic process often resulting in a showcase, not a piece of theatre.
For my choreographic journey in Flo, I have asked these questions:
Why is the term ’street dance theatre’ needed in the industry?
What is special about this genre?
What does theatre mean to a street dancer?
What difference does it make when you have a theatre space to create?
How do I make a good ‘street dance theatre’ piece?
SDT has inspired me to explore new ways to move the street dancing body, connect with the space and audience, and learn how to deliver a message. It’s a term developed for the system, for institutions and the audience, but I am on a different journey, one where I begin to understand and define what SDT means for me.
What does ‘Street Dance Theatre’ mean to you?
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Wallace: A Hong Kong dance professional with Hip Hop dance and contemporary dance background, based in Portugal
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Suen Nam: A professional Hip Hop dancer, DJ and one of the choreographers for Flo
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Billy Chan: Founder of Billy Chan Dance Concepts and one of the mentors for Flo
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Elaine Lam: The producer of Flo
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Joseph Lee: Artistic Director of Unlock Dancing Plaza
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Rex: Founder of The Autistic Genius.
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HoTung: A professional Waacker and one of the choreographers for Flo
“Any street dance movement quality or language, it’s not necessary for it to be a foundational movement, it can also be a concept that can be put into the theatre which can be called street dance theatre.”
Wallace
“A category that allows the audience to clearly understand the performance genre.”
Suen Nam
“Street dance is a form that can be changed. It is good to have street dance in the theatre and it is a breakthrough for street dancers. Street dance is diverse and free. Allowing street dancers to explore theatrical creation as a way to reveal another side of themselves and seek new ways to present their ideas. This creative process enables street dancers to uncover deeper meanings. The body becomes more than just a battle machine, it transforms it into a medium for expression.”
Billy Chan
“Before creation, choreographers can think of what theatre means to them and why theatre is the medium.”
Elaine Lam
“It’s about how you use different lenses to view this genre and how a street dance choreographer brings their world view to the audience. Even if movements are deconstructed you can still see the roots of it. “ Joseph Lee
“Street Dance Theatre has the same concept with theatre but using the idea of street dance to interpret.”
Rex
“There are different views from each stage of me.
In the beginning, I think street dance theatre was combining a street dance routine or steps with abstract music and varies by changing some forms.
Moving to the next stage, I started to think that our bodies are rooted by street dance quality through experiences. So, no matter when our bodies are receiving different kinds of dance, like contemporary, choreography etc., we are also using a “street dance body” to receive those different styles. Thus, whenever a street dancer is dancing in a theatre production it is street dance theatre.
Recently, I have some new thoughts. First I would like to define what theatre means to me. Theatre allows me to enlarge a focal point, like an object, an event etc. The enclosed space allows audiences and dancers to get closer. I believe different stages serve for different purposes: contemporary dance usually happens at the theatre; street dance happens on the street; commercial dance happens on the big stages. That is why I started to think of the usage of theatre to enlarge a focal point and show the details to provoke audience thinking, unlike at the dance battles which only have 40-50 sec to dance with.
About “street dance”, its characteristics are groove, music and body quality - these are unique in street dance. Groove links with people and creates the same vibes. Music brings rhythm. The body provides different qualities and energy, like isolation, vibrations, shaking etc.. Even though dancers from other dance styles will also do the same moves in the theatre, street dancers can interpret them more rigidly.”
HoTung
During the conversation with Elaine and Joseph, we began to understand the conditions for when something new emerges:
1. A new phenomenon occurs and it necessitates a new definition.
2. While the situation may be ambiguous, a name is essential to establish a framework and provide perspective.
SDT in Hong Kong is born from this second situation and individuals like Suen Nam and HoTung have carved their own paths and have begun to develop within this genre. Under these conditions, how should I find my own way?
The Development of Street Dance Theatre in Hong Kong
In Hong Kong, theatre performances in dance are primarily influenced by contemporary, Chinese, and ballet styles - a reflection of a colonial legacy. As a result, it is uncommon to see street dancers taking the lead in traditional theatre spaces.
The first street dance theatre production in Hong Kong was Lost Era, co-choreographed by Billy Chan and Rico Tsoi in 1998. Billy Chan graduated with a major in Chinese dance from The Hong Kong Academy for Performing Arts and established a street dance studio in 1999. Rico Tsoi is one of the pioneers of the Hong Kong street dance scene.
Lost Era was initiated by Rico with the intention of gathering different dance elements, like street dance, jazz etc. to create a dance theatre production with storytelling. It was a full-length piece about a teenager who took a wrong turn and ended up in jail, but eventually someone helped him out and changed his attitude and life. The piece utilised the techniques of street dancers to execute each part of the story and although the idea was simple, it was an experimental exchange in an era when only traditional performance occurred.
Tap dancer, Rex Chiu started the theatre company The Autistic Genius (結界達人) in 2011 and gathered the different performing arts talents he met during his choreographic work at a local amusement park like street dancers, musical artists, actors/actresses and formed a company aiming to create theatre productions that tell stories through dance. He created training programmes and theatre shows including: Street Dance Carnival - a street dance and performance training programme from 2011-2015 and Malade J+: The Right Kind of Wrong: a street dance musical in 2015. Due to Rex's training, he graduated with a major in Musicals from The Hong Kong Academy for Performing Arts, and his experience in the commercial industry, this allowed him to connect with a diverse range of talent. The Autistic Genius continues to invite street dancers to create for the theatre and welcomes audiences from diverse performing arts backgrounds. These initiatives bridged gaps and offered opportunities for street dancers to explore new facets of performance art whilst allowing the traditional arts scene and audiences to experience street dancers in a theatrical context.
However, since 2015, more contemporary dance choreographers have begun to invite street dancers to participate in contemporary dance performances and these are some examples of who has been invited to be part of the contemporary dance productions:
Do contemporary dance choreographers share a genuine understanding of street dance with the street dancers, or are they merely utilising and exploiting their bodies and movement qualities for their own creative purposes? I agree with Takao Baba’s observation that street dance offers new movements and aesthetics that differ from contemporary dance but I cannot say if those aforementioned choreographers possessed adequate street dance knowledge as I did not participate in the creative processes cited above.
As time went by, street dancers began to establish platforms and experimental battles aimed at connecting with theatre practitioners. In 2017, Hip Hop dancer Yip Chan collaborated with contemporary dancer Kenny Leung to organize Battle-or-Not, a non-genre battle in a black box theatre which aimed to re-examine the possibility of dance as a common language through battle. In 2019, Yip Chan curated the programme Mind Flowing at Tai Kwun, a contemporary Hong Kong arts space, featuring all-style 1-on-1 battles, creative movement workshops and experimental battles.
Not only is the establishment of genre exchange platforms a way to foster art form development, but the support of funding is an equally important factor. In Germany, Takao shared his perspective on the unequal resource distribution between contemporary/cultural institutions and the street dance community which throttled the development of SDT. Hong Kong shares a similar situation - funding is usually assigned to artists with institutional backgrounds. However, there is an association that took the first steps and successfully applied funds to promote and develop SDT in Hong Kong.
In 2019, the Hong Kong Street Dance Development Association launched its first SDT series, The Box, which has run for six years with funding from the Hong Kong Arts Development Council. In each series, they have invited local contemporary and street dance choreographers to work together, created open calls for proposals and invited overseas guests to foster and explore the possibilities of SDT. Receiving funding in such an institutionalised context is not only an affirmation but also a significant starting point for cultivating our SDT scene.
There are more and more street dancers being invited to participate in contemporary dance productions and choreographers adapting street dance concepts in their creations. In 2020, The Battle, curated by the contemporary dance choreographer Kenny Leung, was going to be presented by West Kowloon Cultural District. It was a creation he had researched for 3 years which combined the concept of a battle and theatre and continued his previous project Battle-Or-Not in 2017 and 2019 (co-curated with Yip Chan). It was a non-genre battle with performances connecting actors, street dancers and contemporary dancers to jam and exchange. Though the show was cancelled due to the pandemic, it was an interesting example to see how a contemporary dance artist had adapted a street dance concept for his event. This kind of curation offered a platform for performing artists to gather, exchange and build an understanding in/of theatre. In Hong Kong, this is not as common as hosting regular dance battles. If these types of events were more common, it would be an effective way to build common languages between contemporary and street dance bodies and a more appropriate way to understand each other's choreographic languages.
A Conversation with HoTung: Experiences of working with contemporary chorographers
Sica: Have you ever participated in a dance production choreographed by a contemporary choreographer?
HoTung: Yes! In 2021 I was one of the dancers for Mokita, choreographed by Dickson Mbi, in the Hong Kong Jockey Club Contemporary Series 10th Anniversary, presented at The 49th Hong Kong Arts Festival. Dickson is a UK based choreographer with a popping and contemporary dance background.
In 2024, I was one of the second company dancers for Beyond Dance Theatre and participated in Re Four Seasons, choreographed by Kelvin Mak Cheuk Hung who is the artistic director of the company.
In 2024, I worked as a rehearsal assistant for Choreographic Intrusion choreographed by Olè Khamchalan for The Box 5.0, presented by Hong Kong Street Dance Development Association.
Sica: During the choreographic processes, how did the choreographers adapt street dancers' bodies in their dance pieces?
HoTung: For Mokita, it was not necessary for the content to be presented by street dancers. There were movements infused with contemporary dance techniques which the contemporary dancers could execute better than street dancers, e.g. the unison parts. My characteristics as a waacker were not utilised in the work.
For the working process of Beyond Dance Theatre, since I was participating in their second company training programme, it was more closely aligned with the company’s training practices and artistic goals, primarily focusing on contemporary dance technique and execution.
By observing Olè Khamchalan’s choreography process, he selected a locker, bboy, hip hop and contemporary dancer in his dance piece. He was able to understand the qualities and characteristics of each dance style which allowed him to adapt street dancers skills in the dance work.
From my observation, styles like Popping, Breaking, Hip Hop and Krumping are easier to be adapted in theatre productions due to their movement quality and energy, while Waacking and Locking may be comparatively more challenging.
A conversation with Joseph: The rise of street dancers entering the theatre scene
Sica: For dance-to-be 2022, an artist residency programme at Unlock Dancing Plaza, what were your criteria and curatorial thoughts for having two street dancers involved in the project?
Joseph: In the past few years, I’ve observed an increasing number of contemporary dance choreographers inviting street dancers to participate in their performances. This shift in interest towards bodies without traditional training is an interesting phenomenon, but it raises important questions: When are we using their bodies respectfully? When are we adapting their culture appropriately?
Sica: How do we allow street dancers to enter the theatre space fairly?
Joseph: The process of learning is important. Especially when contemporary dance choreographers seek street dancers to work with. Ideally a co-learning process is required to cultivate a common understanding. After the learning process, open a room for deciding if both can work together or not. It opens up the room for learning, refusal and differences.
A conversation with Billy: The development of street dance theatre in Hong Kong
Sica: From your observations, what do you think of the development of 'street dance theater' in Hong Kong?
Billy: There are more and more street dancers starting to make their own creations under different platforms, like The Box, which is a good phenomenon. It is good to see people keep trying as street dance theatre is about experimenting, every creation is different and new. Through experimentation, street dancers will start to know what theatre is. If the knowledge you have can be converted, then it will be a breakthrough for you.
If more street dancers are willing to explore street dance creation, it allows for the expression of street dance in various forms, rather than being confined to just one.
To further develop the genre, both choreographers and audiences need to have an understanding of street dance theatre. They can watch performances, provide feedback and critique the works. The first thing is to participate. Regardless of the type of participation, their involvement contributes to the improvement and growth of the genre.
The development of SDT in Hong Kong is not as mature as it is in Europe or the UK. Hong Kong is still in the process of searching, developing, nurturing choreographers and audience building. However, choreographers in Hong Kong have their own characteristics and strive for ways to enhance their artistic vision and expand their creative tools.
What Changed in Street Dancer's Mentality?
A choral conversation (inspired by Larissa Clement Belhacel) between Wallace, Joseph, Suen Nam, HoTung and myself.
Sica: From a street dancer to a contemporary dance professional, how did your physicality and mentality change?
Wallace: I first began dancing with Hip Hop in my university dance society. Subsequently, I pursued professional training at the Hong Kong Academy for Performing Arts. My body has become a vessel for time travel, moving through the latest styles and traditional dance forms—from ballet and modern dance to contemporary dance. I initially experienced dancing as a linear and structured practice, but gradually shifted my focus to sensation, allowing me to explore my own body and discover my individuality. This shift opened up my understanding of dance, revealing that music is not the sole stimulus for movement.
I started contemporary dance to explore if there was a way to break free from the constraints of music. However, throughout my exploration, I realised that everything has its own limitations. Thus, dance can be likened to playing video games, where different styles come together to create new forms of expression.
Sica (reflecting): From the street to the theatre, it’s about a focus shifting from movements to sensation.
I am a street dancer who was afraid of freestyling until I met contemporary dance.
I am afraid of seeing my own dance form.
I doubt myself.
I keep asking if the choice to react with the music is right or wrong.
I cannot feel my body and soul when I am freestyling.
I can just feel the nervousness, worries and anxiety.
My body is stiff.
Until I tried improvising in a contemporary dance class.
I started to open up my sight.
I was able to look at how I move as if I had an outside eye.
My senses are open to feel space, people, body and time.
When things slow down, I trust my choices.
My body flows freely.
From the street to the theatre, we should treat ourselves as a body mover instead of solely a “street dancer”. Everything has its own limitations. Street dance develops our movement techniques and bodily qualities, however, we need to open up our bodies and minds to accept different information which would allow us to shift perspectives, be ready to experiment and create.
Sica: What are the qualities and mentalities that you love to see in a choreographer?
Wallace: Learn more and be sensitive. Stay open-minded and don’t fear making mistakes. Avoid being confined by the label of "street dance theatre" during the creative process, otherwise, you may find yourself trapped. Your identity as a street dancer inherently contributes to the creation of a street dance theatre work.
Sica (reflecting): From the street to the theatre, another mentality shift a street dance choreographer should possess is moving the creative focus from product to process.
dance-to-be 2022 was one of the insightful projects that helped me realise the importance of the "process" in creation.
In this project, two street dancers were selected, and I was one of them. Our identities as street dancers were not the main focus and were not labeled during the process, instead, Joseph created space for us to explore our curiosity and interests. The mentors did not directly suggest solutions but guided us by asking questions and sharing references. The entire choreographic process required us to research, reflect, question, and digest our ideas. This reflective thinking process is seldom employed when doing street dance choreography. Since then, I have become more aware of the process involved in choreography. I embrace the unknown and search for answers throughout the journey.
My choreographic process in Flo…
I start with the concept.
I think about the process.
I deconstruct the body.
I ask myself again and again: “Is this still a street dance body after it’s been deconstructed?”
I pull deconstructed bodies back to their foundation and try to explore the details.
Repeat.
Repeat.
Sica: When you go to watch a street dance theatre performance, what are you looking for?
HoTung: I wish to see a nice blend between theatre and street dance concepts. How street dancers utilise their body in a theatre work.
SuenNam: I don’t have much expectation of what to see in a street dance theatre show. But I may look for a resonance, also a stronger pace and rhythm as this is how street dance music works.
Sica (reflecting): From the street to the theatre, theatre to me is…
A space
where imagination is needed;
where you do an action with an intention;
where you do a movement with meaning;
where people share the same moments but different feelings.
A space
to express myself;.
to connect;
to make choices;
to share in synchronicity.
.
.
.
I feel calm.
I am conscious.
My mind is running.
.
.
.
I rarely talk to people before the show.
I breathe. I calm myself down. I warm my body up.
I feel my temperature. I have a clear mind.
I enjoyed watching a theatre piece where the performer has a strong presence in the space. The presence of a performer in the theatre is powerful. "Presence" is a feeling or state of mind that is difficult to articulate, but can be described as a state of heightened concentration.
A street dancer’s explosive power emerges in just 40-50 seconds during battle rounds, where the music intensifies and the crowd roars - this creates a two-way connection. In the theatre, audiences are focused, the spotlight is on the performer and the duration of bodily presentation is much longer, allowing for the performer's state of concentration to resonate intangibly with an audience. This forms a profound connection between people and space. I wish to see this side of a street dancer in the theatre.
One of my most remembered performers with this quality is Olé Khamchanla, a Laos choreographer and performer with a street dance and contemporary dance background. I felt his energy projecting from the stage to the auditorium when I saw him. I tried to grasp and synchronise with his breath during his movement and his calmness and concentration still lingers in my mind.
The Future
Reflecting on the development of SDT in Hong Kong, there are a lot of links between street dance and theatre in the last decade. From the invitation of contemporary dance choreographers to adaptation of street dance concepts by contemporary dance choreographers, from establishing SDT creation platforms to the recognition of institutional funding systems. More opportunities are coming for SDT in Hong Kong.
However, the development and growth of individuals is a fundamental part of the art form. Street dance choreographers should keep exploring the boundaries, artistic expressions and their own aesthetics. This ongoing exploration will create a unique Hong Kong language that resonates with both street culture and theatrical conventions.
I agree with Takao Baba when he said street dance needs its development led by the street dance scene. We, as SDT choreographers, should prepare ourselves and become knowledgeable enough in theatre to open up new forms for street dance to emerge and exchange in different ways. These are some principles and mentalities that choreographers should acquire for a new generation of SDT.
Stay curious.
Experiment and embrace uncertainty.
Watch more.
Think more.
Bring ideas beyond movements to the theatre.
If you are in the scene, can you answer the following questions:
What if street dance choreographers build their own aesthetic?
What if more experimental battles or creation platforms can be used to open up the body and mind?
What if SDT choreographers learn more about performance-making?
What if SDT choreographers work together to inspire each other?
What if a SDT company was established in Hong Kong?
Exploration takes time, but every move counts.
Buy a copy of Ink Cypher - In Print, an exquisitely designed, limited edition, Hip Hop dance newspaper featuring all of the texts from Ink Cypher Round 1-3 here.
This text was conceived during the Hip Hop Dance Writing Laboratory in Hong Kong in April 2025. It is part of Ink Cypher Round 4, published November 2025.
A response to The Recognition of Streetdance in Germany by Takao Baba.
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Sica
Sica Ho Tsz-kwan - a dancer, creator, arts administrator. Embracing curiosity, she continually seeks new knowledge and understands the world from different perspectives.
She is a member of the Hong Kong locking dance crew The Quickies. Her recent creations and performances include Ivy Says (Hong Kong Arts Centre), dance-to-be 2022 (Unlock Dancing Plaza), The Box 2.0 (Hong Kong Street Dance Development Alliance), and The 2nd Arts Voyager: Landing in Suspense and Maze 3.0 (Shanghai version) (Passoverdance).
This text is part of Ink Cypher Round 4 and is published in English and Chinese.
中文翻譯按此 - Chinese version, click here
Original translation: ChatGPT
Additional translation and edited: Catherine Yau
Sica