CIRCUIT#2 features digital artefacts by participants of the Certificate Programme for Critical Practice in Contemporary Performance, also known as [CP]3. The materials in this online exhibition do not constitute completed works of art. ‘Artefact’ is a term used here to denote what is neither documentation of the artistic process nor artistic ‘product’, but may be used as a ‘third term’ as it were, to describe the different creative studies and propositions that help artists articulate their developing ideas with clarity.
In exhibiting these artefacts, CIRCUIT#2 also seeks to propose new potentials for dance and performance in Asia. The intention is to expand the scope of choreographic praxis, and go beyond dichotomies of research and creation, process and product, rehearsal and presentation that have been taken for granted in the performing arts. Instead, different mediums – photography, video, text, drawings, etc – could be seen as varied ways of inscribing dance (corresponding to the -graphy suffix in ‘choreography’). In this expanded treatment, dance and performance, which are in essence about multi-faceted human experiences, can become practices in contingency, adaptability and potentiality; the very qualities needed in the time of COVID.
[CP]3 is an intensive online programme organised by Dance Nucleus (Singapore), with Padmini Chettur (Chennai), Pichet Klunchun (Bangkok), Arco Renz, Melati Suryodarmo (Surakarta), Xiao ke x Zi Han (Shanghai), Choy Ka Fai (Berlin/Singapore), Eisa Jocson (Manila) and Luke George (Melbourne) as mentors. Some of our partners and supporters include West Kowloon Cultural District (Hong Kong), City Contemporary Dance Centre (Hong Kong), Thinker’s Studio (Taipei), Dancehouse Melbourne, LaSalle College of the Arts (Singapore), Kelola Foundation (Jakarta) and Chang Theatre (Bangkok).
The first [CP]3 cohort consisted of 19 participants from 14 different cities: Albert Garcia (Macao), Anishaa Tavag (Bangalore), Anoushka Kurien (Chennai), Chung Nguyen (Ho Chi Minh City), Er Gao (Guangzhou), Jaclyn Chong (Singapore), January Low (Kuala Lumpur), Jared Jonathan Luna (Manila), Josh Marcy (Jakarta), Konkarn Rungsawang (Bangkok), Megan Sin (Singapore), Norhaizad Adam (Singapore), Pat Toh (Singapore), Rhiannon Newton (Sydney), Sudhee Liao (Hong Kong), Syimah Sabtu (Singapore), Valerie Lim (Singapore), Wang Ning (Taipei) and Zhang Dianling (Guangzhou).
This made me wonder, who is the animal or who is the human? Who is watching who?
This project examines our air ways as entangled territories of policies, ecologies and corporealities.
This collection of dream bodies is composed of text, doodles and sounds that capture the content, feelings or essence of dreams.
Understanding the configuration and dynamics of having a live streamed performance
workbook 內容嘗試紀錄我自 2019 年底開展的一系列獨舞發展進程
This a relationship between my body archive of Malay dance and the ‘merenjis’ (sprinkling) symbolic gestures.
Destiny Angel brings you products to guide you on your destiny’s path.
I reflected on virality, the diffusion (and formation) of dance knowledge, and the experience of making short dance videos.
A set of scores, drawings, writings and sounds for you to try out, skim through, chew on, and move with.
We shall question how the beliefs influence our lives at the moment as well as in the future.
This work will offer an alternative insight into the development of the LGBTQ community in Guangzhou, China.
In this sharing, Albert hopes to share his ongoing research regarding his views towards his homeland.
This is a conversation – a kind of expanded conversation. Spanning many months, many voices and locations and situations.
The traditional folk movement is an equal and collective action which connect different communities and people.
Ideas and explorations from my engagement for Critical Practice in Contemporary Performance.
While asking what is body and space and the co-relation between these two, it brings a certain consciousness – that whatever its meaning will always be in flux.
Instead of seeing my body as a machine or a vessel, my body is a life on its own.
Being Mortal is honest, sensorial, deeply intimate, and a wonderfully alive work about death.
How can I create different experiences by removing distinct and familiar elements found in Odissi?