FUSE#2

More documents

Recommendations

Info

SCOPE#3 about ‘Unison’ by Ming Poon Unison ● A dance term commonly used to describe a group of people dancing together with the same movements and moving at the exact same time. ● A choreographic device that organizes human bodies to move in synchrony. The research looked at the body politics of the individuals within a unison. These questions form the basis of the research. 1. 2. 3. 4. What do we have to do in order to be in unison? Is dancing in unison a force of unity, or is it a form of conformity? Are we empowered by being in unison or merely hiding behind it, abdicating our responsibility? When unison turns into forced homogeneity, how do we create space for individual voices and alternative existence? Footage of the Tank Man at Tiananmen Square in 1989. For this research, I worked with 16 dance students from NAFA. The movements used in the unison were based on the footage of the Tank Man at Tiananmen Square in 1989. Other than my interest in its choreographic composition, I chose the Tank Man because for me, his actions embodied the quintessential conflict between the individual body and the collective body, expressed through the refusal of an individual to stay within the collective and the disruption he caused to the hegemonic power. The idea was to use the Tank Man as a starting point for us to look at the political potential contained within the individual body. In addition to that, in executing the movements in unison, the students were also confronted with the body politics involved in the choreographic device of unison and the role they play in their participation of it. In a society like Singapore, where social unity, cohesion and order are prioritized over other social values and are meticulously engineered and maintained, I wanted to find out the students’ relationship to these values and where were their personal voices. I employed unison as a base from which to start a discourse about the wider socio-political context that the students lived in. As the research progressed, it became clear to me what the students’ relationship to being in unison was, whether as a choreographic device or a social apparatus. So I decided to shape the end performance in such a way that it portrayed the students’s state of mind and their predicament. Through the experience of these young people, I hope the performance would capture a glimpse of the zeitgeist of Singapore in 2018. 87 88
SCOPE#3 About ‘Unison’ by Ming Poon Notes From The Residency Day 3: Embodying the Tank Man. Our 3rd day trying to embody the movements of the Tank Man. Other than the political context, we are also studying his movements from a choreographic angle. After watching the footage repeatedly, I have come to the conclusion that it is an example of very good choreographic composition. It has very nuanced musicality, makes great use of level and space, and plays with contrasts, tension and suspense very effectively. The Tank Man's movements show very clear intention, economy of effort, groundedness and a precise yet unpredictable musicality. Day 4: Social reality has entered into the rehearsal space. Today I received news that the footage of the Tank Man cannot be used in the performance. The reason being that some audience members might be offended by it.* This new development brings the research questions closer to home for the students. ● What do we have to sacrifice in order to stay in unison (as a society)? ● Are we empowered through our unity or made to conform? ● What are the consequences if we fail to stay in unison with the rest of the society? ● Most importantly, where do we go from here? The students were asked to think about their role as artists/dancers and how they would like to respond to the situation. * Note: A few days later, the school further clarifies that the use of the footage may cause problems for the students from China. Photo credit: Ming Poon 89 90
Page 1 and 2: FUSE # 2 Produced by Dance Nucleus
Page 3 and 4: Foreword Developments at Dance Nucl
Page 5 and 6: As BAHASA KOREOGRAFI was conducted
Page 7 and 8: Element#2 BAHASA KOREOGRAFI OVERvie
Page 9 and 10: Element#2 BAHASA KOREOGRAFI OVERvie
Page 11 and 12: Element#2 BAHASA KOREOGRAFI ((PRAKT
Page 13 and 14: Element#2 BAHASA KOREOGRAFI (PRACTI
Page 15 and 16: Element#2 BAHASA KOREOGRAFI Malay,
Page 17 and 18: Element#2 BAHASA KOREOGRAFI (PRACTI
Page 19 and 20: Element#2 BAHASA KOREOGRAFI Proses
Page 21 and 22: Element# 2 BAHASA KOREOGRAFI The Pr
Page 23 and 24: Element#2 BAHASA KOREOGRAFI The Pro
Page 25 and 26: Element# 2 BAHASA KOREOGRAFI BODY A
Page 27 and 28: Element# 2 BAHASA KOREOGRAFI Body A
Page 29 and 30: Element#2 BAHASA KOREOGRAFI Lenggan
Page 33 and 34: Element#2 BAHASA KOREOGRAFI The Len
Page 37 and 38: Element# 2 BAHASA KOREOGRAFI Apa ke
Page 39 and 40: Element# 2 BAHASA KOREOGRAFI Apa ke
Page 41 and 42: Element# 2 BAHASA KOREOGRAFI what i
Page 43 and 44: Element# 2 BAHASA KOREOGRAFI Table
Page 45: SCOPE is Dance Nucleus’ open plat
Page 49 and 50: SCOPE #3 LA MARIPOSA BORRACHA - the
Page 51 and 52: SCOPE #3 LA MARIPOSA BORRACHA -The
Page 53 and 54: SCOPE #3 LA MARIPOSA BORRACHA -The
Page 55 and 56: SCOPE#3 There Is Speficifisfety - T
Page 57 and 58: SCOPE #3 Notes on ‘There is Spefi
Page 59 and 60: SCOPE #3 Notes on There is Speficif
Page 61: About Dance Nucleus Dance Nucleus i

FUSE#2

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?