Nga Man Cheang is a BA graduate with a degree in Chinese Literature, as well as a choreographer, dancer and actress. She has a strong interest in exploring various types of training in body movement, especially Asian body training. Cheang has been trained in the Suzuki method, Kohn dance, prime energy training, Zen philosophy and insight meditation.
Her recent choreography includes A Blooming Tree (2015), Half (2016), EMPTY SET (2017), and DON’T EVEN KNOW (2018). EMPTY SET has been invited to perform in the Gothenburg Fringe Festival (Sweden), the Lahti Fringe Festival (Finland), the 2018 CDE Springboard (Macau), the 2019 NDA International Festival (South Korea), the 2019 PlaSt Forma Festival (Belarus), and the 2020 Dance Bridge Project (Japan).
Since 2008, Cheang has participated in various dance, drama and puppet theatre performances and has collaborated with many international performance groups and renowned theatre directors/artists, such as David Glass (UK), Chou Shu Yi (Taiwan), Romain Thibaud-Rose (France), Amalgama Dance Company (Portugal), Nine Years Theatre (Singapore), Iimuro Naoki Mime Company (Japan), Puppet and its Double (Taiwan) and Four Dimension Spatial (Macau) among others. In 2018, she studied at French theatre school Ecole Philippe Gaulier.
Why did you choose to study the MA Dance & Creative Enterprise? What were the main factors that attracted you to the course and NSCD?
I see myself as being well supported to develop my perspectives and artistic expressions. However, in order to further develop as an independent artist I needed to proceed beyond my current state by equipping myself with techniques such as business planning, fundraising, marketing and networking. I also wanted to build more knowledge of choreography, movement and body dynamics with the guidance and inspirations of a research-enriched environment. That’s why the MA Dance & Creative Enterprise is the best choice for me.
What interests you as an artist? How would you describe your creative practice?
Being a human is the most interesting thing for me as a creator. Even though I am not sure what that really means.
I spend a lot of time just watching people, wandering and reading. I believe in feelings, emotions and energy, and always try to analyse them. The process of analysing is the way that I create.
How are you finding the MA? What are you currently working on?
This MA is like a whole new world for me, especially the Project Management part. The teachers are amazing – they are sophisticated, and deeply connected with the industry. Everything we learn is based on reality, rather than just an academic model. You are being taught by some experienced producers and they tell you most of the problems that you will face in the industry and teach you how to deal with them, which is just amazing for me. The tutorials really help a lot and I feel that the teachers are always here to help.
How are you finding Leeds?
The people are friendly here, sometimes the elderly come to talk to me in the supermarket chatting about everything. Most of the things I need are in walking distance. I can visit a completely different environment like Harrogate within 40 minutes by bus, if I feel like I need a breath. I enjoy my time here!
Do you have any future projects lined up?
I am going to perform my solo EMPTY SET in Tokyo, Japan in 2020. One of the pieces that I created at NSCD will perform in Macau in 2020. I am also writing a proposal for a project about Cultural Revolution, which I will try to make happen.
Empty Set: Sponsored by the Cultural Affairs Bureau of Macau S.A.R. and the Education and Youth Affairs Bureau of Macau S.A.R.
2017 Creating in Silence, T Theatre, Macau
2018 Gothenburg Fringe Festival, Sweden
2018 Lahti Fringe Festival, Finland
2018 CDE Springboard, Stella and Artist, Macau
2019 NDA International Festival, South Korea
2019 PlaSt Forma Festival, Belarus
2020 Dance Bridge Project, Japan
Tarkovsky’s Last Days of Europe, David Glass and Macau Rolling Puppet Alternative Theatre
Pissed Julie, Macau Art Festival and Nine Years Theatre (Singapore)
Homecoming, Puppet and Its Double (Taiwan)
Medicine, Macau Rolling Puppet Alternative Theatre
Luxurious Study, Four Dimension Spatial
The Little Prince, Macau Cultural Center and Iimuro Naoki Mime Company (Japan)
Images
Header: Nga Man Cheang © David Lindsay
Sidebar: Empty Set by Nga Man Cheang © Erik Tam; Nha Man Cheang © David Lindsay