Interview with Chengyao Zhou

Originally from China, Chengyao Zhou holds a bachelor’s degree in kinesiology-health management and an MFA in Contemporary Dance from Case Western Reserve University with full scholarship. Now based in Los Angeles, She continues to work as a professional dance educator and choreographer.

Born: China
Now: Temple City, United States
@chinyo_joo98 | website

INTERVIEW

Your dance journey began in Beijing and continued in the United States. How has this cultural journey influenced your choreography and perception of dance?

My choreographic perspective has been deeply shaped by my transnational journey, beginning in Beijing and continuing through my studies and practice in the United States. In China, my training was rooted in discipline, form, and technical clarity, emphasizing the value of tradition and collective expression. Upon moving to the U.S., I encountered a contrasting emphasis on individuality, experimentation, and interdisciplinary exploration.
This cultural shift not only expanded my movement vocabulary but also challenged me to reconsider the purpose and potential of dance. It encouraged me to explore dance as a site for identity formation, memory, and cultural negotiation. My work now often reflects this duality — it engages with the tension between structure and freedom, cultural heritage and personal voice. Through choreography, I aim to navigate and articulate the complexities of diasporic experience and embodied knowledge across cultural contexts.

In your works, you combine contemporary dance techniques with hip-hop, street styles, and improvisation. How do you find balance between these directions, and what inspires you to create such fusions?

My choreographic practice is grounded in the interplay between contemporary dance techniques, hip-hop foundations, street styles, and improvisation. Rather than viewing these forms as separate entities, I see them as distinct yet interconnected pathways to embodied knowledge, cultural memory, and personal expression. Although each style carries its own movement vocabulary, I believe they share underlying principles of motion and embodied philosophy. There is a universality in how the body engages with space, weight, rhythm, and emotion.
The balance in my work comes from honoring the essence of each form — its history, rhythm, and movement logic — while allowing them to intersect organically through my own body and lived experience. I am inspired to create these fusions out of a desire to bridge cultural and stylistic boundaries. Having moved between geographies and dance communities, I am drawn to hybridity not only as an aesthetic choice but also as a way of navigating identity. Improvisation, in particular, offers a space to explore both tension and harmony in real time, transforming movement into an ongoing dialogue between past influences and present realities.

My choreographic practice is grounded in the interplay between contemporary dance techniques, hip-hop foundations, street styles, and improvisation. Rather than viewing these forms as separate entities, I see them as distinct yet interconnected pathways to embodied knowledge, cultural memory, and personal expression. Although each style carries its own movement vocabulary, I believe they share underlying principles of motion and embodied philosophy. There is a universality in how the body engages with space, weight, rhythm, and emotion.

The balance in my work comes from honoring the essence of each form — its history, rhythm, and movement logic — while allowing them to intersect organically through my own body and lived experience. I am inspired to create these fusions out of a desire to bridge cultural and stylistic boundaries. Having moved between geographies and dance communities, I am drawn to hybridity not only as an aesthetic choice but also as a way of navigating identity. Improvisation, in particular, offers a space to explore both tension and harmony in real time, transforming movement into an ongoing dialogue between past influences and present realities.

Your piece “The First Time Death” was noted for its expressiveness and movement control. Could you share the concept behind this piece and how you convey emotions through movement?

The First Time of Death is a solo that takes inspiration from a line in an ancient Chinese poem: ‘Wildfires burn endlessly, but with the arrival of spring winds, life is reborn.’ This imagery resonated deeply with me as a metaphor for emotional and spiritual cycles — how we go through destruction, grief, and loss, yet somehow find ways to grow again.

Set to music by Chen Yi, the piece explores a personal journey through emotional struggle, regret, and ultimately, renewal. I used movement to embody these layered experiences — from heaviness and hesitation to release and expansion. The choreography includes grounded, breath-driven phrases and dynamic contrasts that express internal tension and resilience. For me, conveying emotion through movement means allowing the body to hold both vulnerability and strength, to communicate what words often cannot. In this work, I aimed to capture not only pain and loss but also the quiet hope that follows — the spring wind after fire.

As an educator, you strive for inclusivity in dance. What methods do you use to inspire students from diverse cultural backgrounds and help them express themselves through movement?

As an educator, I approach dance as both a physical practice and a cultural dialogue. I strive to create an inclusive environment where students from diverse backgrounds feel seen, heard, and empowered to express their unique identities through movement. One of the key methods I use is improvisation, which allows students to tap into their personal histories, emotions, and instincts without the pressure of conforming to a fixed aesthetic.

I also incorporate a range of movement languages — from contemporary and hip-hop foundations to elements drawn from street styles — to reflect the multiplicity of dance cultures and encourage students to find their own voices within that spectrum. Discussions on the historical and cultural contexts of different dance forms are also integral to my teaching, helping students understand not only how to move but why certain movements carry meaning.
Ultimately, my goal is to help students see dance as a tool for storytelling, self-exploration, and cultural exchange — a space where their individuality is not only accepted, but celebrated.

What themes or projects do you plan to explore in the future, and how do you envision the development of your career in the coming years?

In the future, I plan to continue exploring themes of identity, migration, and cultural memory—particularly through the lens of my experience as an immigrant artist. I’m deeply interested in the emotional complexity of living between cultures, and how movement can serve as a way to process and express that experience. My goal is to develop interdisciplinary projects that combine dance, sound, and visual media, creating immersive works that speak to diasporic communities and the universal longing for connection.

Artistically, I aim to deepen my choreographic voice by researching traditional Chinese movement aesthetics and exploring how they can coexist with street styles and contemporary forms. I see hybridity not just as a stylistic choice, but as a way of life—reflecting the cultural and artistic intersections I embody.
In the coming years, I envision my career evolving in multiple directions: continuing to perform and create original work, expanding my teaching practice with a focus on inclusive and cross-cultural dance education, and building collaborative platforms that connect artists across borders. I hope to contribute to a more globally conscious dance landscape.

Chengyao, what advice would you give to emerging artists who are seeking their path in dance?

My advice to emerging artists is to stay deeply connected to why you dance. In a world full of noise and external expectations, your inner voice is your most valuable guide.

Take time to explore different styles, communities, and cultures—not just to expand your technique, but to understand how dance can carry personal and collective meaning.

Be patient with your growth, and don’t be afraid of uncertainty. Sometimes the most powerful work comes from moments of confusion, vulnerability, or transition. Trust that your unique background and lived experiences are a strength, not something to hide or overcome.

Also, take care of your body and spirit. Dance is demanding, and longevity comes from balance—between discipline and rest, ambition and self-compassion. Surround yourself with people who inspire and support you, and stay open to collaboration and learning.