(We’re Gonna Go Dancing is Japan Contemporary Dance Network (JCDN)’s project to promote Japanese contemporary dance and and will tour five cities in four countries -Kuala Lumpur (Malaysia), Bangkok (Thailand), Manila (the Philippines), Solo and Jakarta (Indonesia). The performance described was performed in The Actors Studio, in Kuala Lumpur on the 10 August 2007.)
Dance 1: Ho Ho-Do - "How to Move Forward to the North-northeast!"
Some of the better journeys are taken within. I know nothing about contemporary dancing, Japanese or otherwise. Which was why I was keen to explore it. There was my concern that I may find it boring but I considered that to be adequately balanced by my upcoming education. So I convinced a couple of friends to join me for “We’re Gonna Go Dancing!!”
source: http://www.jcdn.org/
I always liked the Actors Studio because of its close proximity with the performers enabling me to clearly see facial expressions. This, I feel heighten the appreciation especially of the first performance – where facial expression played a big role in bringing out the interaction between the two dancers and connections with the audience. And what interactions they were – seamless, playful, passionate expressing many variations of acceptance and rejection, indifference and love. They expressed to me most, the innocence of two children in play.
source: http://picasaweb.google.com/patravaditheatre
I’ve no understanding of the subtleties of dance movement or the messages they were trying to convey. Nor will I pretend to. From the first dance, I’ve decided to just feel the dance as it spoke to me even if that is the ‘wrong’ or unintended message by the dancers. I just want to lose myself in the beauty of the movement and passion. Ho Ho-Do danced as if there were no audience, just the two of them frolicking on stage. They were convincing.
source: http://picasaweb.google.com/patravaditheatre
It is said “their work (Mira Arashiki and Mari Fukutome) is created through their delicate sensitivities and impulses they feel in everyday life. They adapt not only ordinary dance techniques but also small trivial gestures from daily life as motifs of movement to create pieces showing their poetic world-view.” That is a mouthful and what I read in the synopsis before the show. I didn’t remember any of that when the show started or did I tried to. I did not see dance techniques or trivial gestures, together or combined because I’m an uninitiated. What I did see was running, skipping, jumping, pulling, pushing, dancing, parallel and synchronized movement, separate and individual movement that recombined, playful and joyous movement, imitation movement from one to another creating new movement for imitation coming all together into one seamless, poetic whole. What I saw were children in play, constantly evolving through affection, pretended indifference, imitation, exploration, adventure, discovery and growth.
source: http://picasaweb.google.com/patravaditheatre
My take was probably wrong. I told myself – forget trying to be right, just soak it in and enjoy. Any interpretation should be spontaneous and natural. As long as I’m touched, the dancers have done their part. With this attitude, this unabashed neophyte absorbed the rest of the show and enjoyed himself tremendously.
Dance 2: Amy Len - "WALL"
The next act was disturbing. It was choreographed by Malaysian Amy Len, artistic director of Youth Studio of Dance and Kwang Tung Dance Troupe and performed by Amy, Tan Bee Hung and Foong Siew Ching. In the stage interview at the end of all dances, Amy said she drew her inspiration for this dance from the pleasure of rolling comfortably, leisurely on her bed! Oh-oh, I thought. How could her inspiration of leisure comfort contrast so much with my impression of hell on stage. That is revealing. I would love to ask her that question but never got the chance.
Source: http://www.kakiseni.com/
It was a very powerful piece. Right from the start when a naked leg first protruded into the spotlight shot against the wall with the rest of the stage pitch dark. Then a contorted female shape with long hairs and black pajama shirt twisted and rolled in slow motion along the wall. Followed by another. They seemed to be in agony, desperately trying to find an escape but hopelessly trapped. And as the tempo increased, their struggle became more frenzied till they were literally throwing their body against the barrier that hemmed them in. It was horrible. It was good. I thought I had the interpretation all stitched up until the interview at the end. I will stick to my interpretation. That was hell. And any wall that constricts our freedom is hell.
Dance 3: Shintai Hyogen Circle - "To Norichan"
I did not know how to react to the next performance. Yutaka Joraku and Masato Takeuchi made a powerful entry in their Japanese loin cloths. What an impact naked bodies have. And it is nothing remotely erotic. They bring out sincerity of movement when there were no clothes to hide the rippling of muscles. This was especially evident in the last act of the night (will come to that later).
source: http://www.jcdn.org/
While Ho Ho-Do added to their dances with expressive yet indifference faces, Shintai Hyogen Circle cemented theirs with their blank, stoic masks. Movements are strong, solid and physical and the dancers responded powerfully to each other. So powerful it made me winced and go silently “ouch! That must have hurt.” When the first open palmed blow by Joraku smacked on Takeuchi’s shaved head, it was funny and I almost gave away a laugh which I stifled immediately. It felt natural but are we supposed to laugh at contemporary dancing? Wouldn’t we be insulting the dancers? Or are we insulting the dancers by not laughing? Oh boy, don’t know the protocol. A few funny painful smacks later, one brave or better informed or less sensitive soul laughed. After that, everyone laughed at each funny painful smack. I learned something that night – you are meant to laugh when it is funny even it is a serious dance performance.
source: http://picasaweb.google.com/patravaditheatre
I paid tributes to these two performers for the sacrifices they made for their art. For the blows were real, you can hear them and see their marks left on their pale bodies. It is a bit troubling that we enjoyed, found it funny when two bodies are whacking each other. How very Asian. How very human.
When Joraku was asked, “What were the messages you were trying to convey?” He answered, “There was no message. It was enough that the audience enjoyed the act. That was the reason for the performance.” I loved that.
When the lights came up for the intermissions and people were standing up and moving, I remained seated as I was still absorbing the performances. Then I remembered I got to out for a release.
To be continued.....
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