Spotlight On YAFies: Saya Kawano

Saya Kawano
Choreographer for Falling Awake

When did you discover your passion for dance?

Around the age of 13. Before this, I was obsessed with karate training, where I obtained my black belt at a very young age. When I turned 13, something shifted and my focus became more on dance. My dance teacher at the time, Melissa Thornton, was a huge catalyst for this shift. She took me with her to professional dance gigs around Hong Kong. I got to see the glitz and glam of the dance world, as well as the not-so glitz and glam from the backstage perspective. Despite this, I knew that dance was something I wanted to get into. I realised that teaching dance was also something I enjoyed, when I started student-led dance extra curricular activites at my high school. From the age of 15 all the way up until graduation, I was in charge of choreography, organising performance venues for students and collaborating with teachers to ensure that these performances were feasible. This was the moment I realised I had the natural ability to create choreography on the spot.

You were part of HKYAF’s production years ago. How do you feel coming back as a choreographer?

I’m sure that every ex-YAFie who returns as a choreographer will say the same thing, but it’s definitely a full circle moment, and I am eternally grateful that you asked me to come back to be a part of this team and this journey. Back when I was part of HKYAF as a performer, it was inspiring to be among so many talented individuals. I remember as a dancer, I often thought that the choreography was challenging enough to stretch me as a dancer and performer, but not so challenging that I felt discouraged. This is something I wish to take into the process with the dancers in my piece. As a dance teacher, I’m known to push my students to their limits. I do this because I truly believe that many people tend to stop before they realise their limits. I’m excited to share my process and approach as I will always strive to push my dancers to adopt a mindset where they can grow and not be afraid of failing. 

Why did you want to be involved in Falling Awake, and what are you hoping to take away from the experience?

After everything the HKYAF experience taught me about the professionalism behind a large-scale production, it was a no-brainer that I wanted to give back what I’ve learnt. Also, who can say no to Lindsey, Carmen and Anca!

I hope to learn more about large-scale productions and the behind-the-scenes work it takes to put something of this calibre on stage. I have experience with school productions and musicals but not with something like HKYAF productions. I’m excited to see what skills I can bring to the table but also what new skills I can learn and how I can continue building my repertoire as an artist.

Tell us about the key elements of your choreography for Falling Awake and where the inspiration came from.

I always struggle to explain where the inspiration for my work and choreography comes from. A lot of the time, I listen to the soundtrack, improvise and record my improvisation, and take the part of the improvisation that I liked. From there, I develop it bit by bit. I also highlight any keywords from the lyrics that I feel are important and try to include movements that match those words. 

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What is the biggest difference between being a performer and being part of the creative team?

I can’t comment too much on the rehearsal process just yet but the biggest difference I’ve noticed so far is the audition process. Seeing how nervous the young dancers were before the auditions, I definitely saw my younger self in them and empathised a lot. But now, being part of the creative team, the biggest difference is realising how cutthroat the audition process is. I knew it was competitive, but the speed at which we said yes or no was definitely eye-opening. My experience in school productions had shown me the effort that goes into backstage work, but being part of the creative team has given me a new appreciation for just how much. With dedicated teams for set, sound, costume and so on, the detail and commitment of each individual really showed me the amount of collaboration it takes to bring a show to life. 

How has your experience prepared you for being a choreographer?

I’ve actually been creating choreographies since I was 15. Since beginning work at my school, I’ve created and led the dance team, where I used to choreograph a new dance piece every term. Soon, I realised how unsustainable this was and so now we do one big dance team choreography every academic year, with a total of 9 team routines. I’ve also choreographed for two school musicals, Little Shop of Horrors and Chicago, which had 11 dance numbers, that I choreographed in the span of three to four months. I also directed the play Harry Potter and the Cursed Child. Having experience of directing helps with my choreography, because I need to consider the dancers’ placements on stage as well as the actors’ placements before and after the dance number and ensure a seamless transition. As a director, you’re expected to consider all elements of what’s happening on stage and off stage, and I’ve learnt to take this into my role as a choreographer, where I try to think of unique ways to implement these considerations in my piece.

Which HKYAF production made the biggest impression on you?

I can think of two. The first one was A Chorus Line, where I watched the performance live. This was the first time I was absolutely wowed by the talent of the performers and it motivated me to want to be a part of something like that. The second would definitely be Oliver as this was where I was able to take part as a YAFie and make lifelong friends at the same time.  

Who inspired your artistic journey?

My biggest inspiration when it comes to dance and my love for this art form, would definitely be Melissa Thornton. She passed away a few years ago, but her presence and influence definitely continue to live on within me and the other students she inspired. I was also inspired by the show So You Think You Can Dance, where I got to see the high levels that dance could be taken to and the range of styles that dance has. Next, I would definitely say my university and post-graduate experience. At university, I embarked on a double major, one of which was a Bachelor of Arts in Dance.  I was surrounded by so many talented dancers from all over the United States and it really humbled me in terms of my own abilities and technique. You may be one of the best in Hong Kong, but in America, you’re below average. I think that my experience on the university conservatory dance programme is where I grew most as a dance artist. Lastly, moving to LA and pursuing a professional dance career with a contemporary dance company. Though this was short-lived due to COVID shutting down access to studio space and other performance-related activities, this continues to be a milestone that inspired my artistic journey.