There is a sense of quietness, just like before a big storm.
Skin – A Choreographic Response is ready. All the thoughts and imagination have been handed over, and labored through the dancer’s bodies. I can’t thank enough this group of charismatic artists that made my ideas into choreography.
Dance has a reputation of being dominated by male choreographers and artistic directors. The female presence is rarely a majority and this brought me to choose an all-female cast – to celebrate female artists in dance. Even though in the audition process for this project I came across interesting male dancers, I quickly felt the need to give voice to women and not to men. Being a male choreographer myself I dwell with the question of fairness in the dance industry for females.
Skin – A Choreographic Response is a new ecosystem generated inside an art installation that speaks of connection.
A sensorial work – responding to distance and sound, travelling through choreography, I challenge you to see what’s not evident.
This ensemble of dancers is really a score of all of my movement ideas, edited in the dance studio every week, each individual brings in a suggestion for what my ideas can become, and together I simply produce an articulate speech to express dance.
What fascinates me in dance and what I couldn’t find in circus training, is the ability to express my very own thoughts through movement. The latter always happens in a distinct way, for as much as I code and choreograph a phrase of dance, it is always a different performance that vanishes in the second it is executed.
It is ephemeral, and personal and will always feel and look different in another dancer.
I am fascinated with the ability the dancers have to learn my movement ideas. Sometimes I might teach an entirely coded sequence of my own material and observe how the dancers responded and process the information. This work is pure joy, to see one struggling to ‘perform’ what they have watched. The process of editing my material on someone’s body is really where choreography happens.
I obsess with the suggestions that every dancer makes through their bodies, and quickly I ditch an idea, my very own material in favour of something new that I couldn’t imagine beforehand, something new happens right there in front of me, I am fascinated with these differences – and these are the foundations for Skin – A Choreographic Response.
Now I can only hand over the work to the dancers, and let it be, out there open to criticism and ideas from the audience.
I am looking forward to understanding how people feel in this performance situation.
Skin – A Choreographic Response at Singapore Art Museum. 1st, 2nd and 3rd of May 2015.