William Forsythe & Sang Jijia

Chinese of Tibetan origin, Sang Jijia is pictured in Hong Kong at the start of his mentoring year. 
Hong Kong, 2002

Chinese of Tibetan origin, Sang Jijia is pictured in Hong Kong at the start of his mentoring year. Hong Kong, 2002

Sang Jijia says “A piece is never finished… When a new dancer comes in, old ideas are set aside and new ideas come in.”
Hong Kong, 2002

Sang Jijia says “A piece is never finished… When a new dancer comes in, old ideas are set aside and new ideas come in.” Hong Kong, 2002

Prior to his mentorship, Sang Jijia was a member of the City Contemporary Dance Company in Hong Kong in 1999.
Hong Kong, 2002

Prior to his mentorship, Sang Jijia was a member of the City Contemporary Dance Company in Hong Kong in 1999. Hong Kong, 2002

A guest member of William Forsythe’s Ballett Frankfurt, Sang Jijia spoke no English and little German. He and Forsythe communicated through a common language of movement and gesture.
Frankfurt, 2002

A guest member of William Forsythe’s Ballett Frankfurt, Sang Jijia spoke no English and little German. He and Forsythe communicated through a common language of movement and gesture. Frankfurt, 2002

“Dancers need to try everything, not limit themselves to one thing,” says Sang Jijia. “I want to try to speak onstage, to do some things with video and cameras. You need to be open.”
Hong Kong, 2002

“Dancers need to try everything, not limit themselves to one thing,” says Sang Jijia. “I want to try to speak onstage, to do some things with video and cameras. You need to be open.” Hong Kong, 2002

“I am not interested in what makes ballet distinct from other things,” says William Forsythe. “I am interested in where it participates in the rest of the world, in the places where it touches other fields.”
Frankfurt, 2002

“I am not interested in what makes ballet distinct from other things,” says William Forsythe. “I am interested in where it participates in the rest of the world, in the places where it touches other fields.” Frankfurt, 2002

Sang Jijia says that the most important aspect of the mentoring programme for him was the opportunity to really learn from his mentor, Frankfurt, 2002

Sang Jijia says that the most important aspect of the mentoring programme for him was the opportunity to really learn from his mentor, Frankfurt, 2002

During his mentoring year, Sang Jijia was particularly attentive to William Forsythe’s creative process. “For a dancer to copy a movement style is very easy. But to learn how Forsythe prepares a work, how he creates, that is what I have to learn.” Sang Jijia said. Frankfurt, 2003

During his mentoring year, Sang Jijia was particularly attentive to William Forsythe’s creative process. “For a dancer to copy a movement style is very easy. But to learn how Forsythe prepares a work, how he creates, that is what I have to learn.” Sang Jijia said. Frankfurt, 2003

A sample of William Forsythe’s detailed choreographic notes.
Frankfurt, 2003

A sample of William Forsythe’s detailed choreographic notes. Frankfurt, 2003

Sang Jijia cites working on Decreation, a full-length piece developed by William Forsythe, as the most important part of the mentoring year for him.
Frankfurt, 2003

Sang Jijia cites working on Decreation, a full-length piece developed by William Forsythe, as the most important part of the mentoring year for him. Frankfurt, 2003

Sang Jijia & William Forsythe: “What is choreography but dancing by proxy?”

Sang Jijia & William Forsythe: “What is choreography but dancing by proxy?”

“Most people start with music, which is emotion. I’ve done that too,” says Sang Jijia. “But (William) Forsythe wants to make music through movement. If I can learn this, it will be in my blood. I can take it with me forever.” 
Frankfurt, 2002

“Most people start with music, which is emotion. I’ve done that too,” says Sang Jijia. “But (William) Forsythe wants to make music through movement. If I can learn this, it will be in my blood. I can take it with me forever.” Frankfurt, 2002

A key part of William Forsythe’s method of creation is video-taping the dancers, then redesigning with them the work in progress.
Frankfurt, 2003

A key part of William Forsythe’s method of creation is video-taping the dancers, then redesigning with them the work in progress. Frankfurt, 2003

During the mentoring year, William Forsythe integrated Sang Jijia into Ballett Frankfurt as a member of the ensemble. Sang Jijia remained with Ballett Frankfurt for one year after his mentoring year was over. 
Frankfurt, 2003

During the mentoring year, William Forsythe integrated Sang Jijia into Ballett Frankfurt as a member of the ensemble. Sang Jijia remained with Ballett Frankfurt for one year after his mentoring year was over. Frankfurt, 2003

Sang Jijia and Fang Yi Sheu in Duet. New York, November 2007

Sang Jijia and Fang Yi Sheu in Duet.
New York, November 2007

Sang Jijia and Fang Yi Sheu in Duet. New York, November 2007

Sang Jijia and Fang Yi Sheu in Duet.
New York, November 2007