A Singapore Arts Festival 2009 Commission
Forward Moves, Singapore Arts Festival 2009
Esplanade Theatre Studio
Edinburgh Fringe Festival 2009
New Town Theatre
Hong Kong Arts Festival 2010
Kwai Tsing Theatre
In Transit Performing Arts Festival 2011
House of World Cultures, Berlin
Our Roots Right Now 2013
Sodsai Pantoomokol Centre of Dramatic Arts, Chulalongkorn University, Bangkok
Tokyo Performing Arts Meeting, TPAM @ Yokohama 2013
Kanagawa Arts Theatre, Yokohama, Japan
Festival Bo:m 2013
Baekchang Theatre, National Theatre Company of Korea, Seoul
Q&A is a process-based research that explores the economics of performance - the social contract and politics of desire between artist and audience in a consumerist context.
The Performer begins by asking the audience: What would you like to see?
This question seeks to, on the outset, replace the assumption that the spectator should be a passive member in a performance; one whose role is to accept and go along with whatever the performer instigates. In its place, our movement research restructures the choreographic process and grant the spectator greater authority: the viewer will clarify why he is in the theatre and what he expects of the performer.
Surely it is the audience’s prerogative to demand? In our world governed by economic logic, the consumer’s desires are usually prioritized. Would the relationship between the artist and the audience come up differently if studied through the lenses of economics?
The evaluation of the power dynamics between artist and viewer(s), subject and object, is a key concern in my work. Usually, I undertake such evaluation via an pseudo-poetic approach by fashioning the performer-viewer context as one about love and desire. Yet it is timely to re-look this relationship on socio-economic terms.
The project hence commences its process with the audience, examining this key stakeholder of a performance firstly as individuals with varied socio-economic status, secondly attempts to decipher their different expectations for a contemporary dance production, before finally using that evaluation as a resource for creating dance material. The resultant product goes by the hypothesis that a ‘perfect’ dance work that tries to satisfy different (even if, contradictory) demands using economical strategies is possible.
By partly relinquishing the choreographer’s authority, this cart-before-horse method echoes democratic principles and tries to reassess the success of its functions.