Empathic audiences. I think that in a culture that has been enslaved and impoverished, when a performer is subjected to repetition - perceived by some as violence, we take aside criticality and turn on our instinctive ways of empathizing with the one who is “suffering” or who have taken“the challenge”. We cheer. We clap. We encourage. We stay with these people who have “shared their bodies and time” with us. In the end, humanity above all art, wins.
That can possibly explain why when a song is suddenly stopped “audiences wanted to continue the song”. When the dancers fall and stop dancing” audiences assume that perhaps, it’s the audiences’s task to be the next one to dance”.


Photo by Claudia Enriquez

On violence. We went to A venue today with loud music. Loud music is not violence to us, it is part of life. Enforced repetition of movement is not violence for performers, it is just another paying job. As sad as it may sound, this is the reality of life. No matter what we do inside, the theater is the safe space, and everything outside is more violent or maybe, not. This is a violent country and people are trained either to fight and/ or empathize. We will “will” it everyday with the ultimate goal - to survive. When faced with violence, either we offer help or fight! And so we dance. Dance for survival.

暴力について:今日、私たちは大きな音で音楽が流れている「A venue」というところに行きました。大きな音で流れる音楽は、私たちにとっては暴力ではありません。生活の一部です。パフォーマーにとって、動きを強制的に繰り返すことは暴力ではありません。お金になる仕事のひとつでしかありません。惨めなことのように聞こえるかもしれませんが、これが生活の現実です。内側で何をやったとしても、劇場は安全な場所で、外側にある全てはもっと暴力的、もしくは、そうではないのかもしれません。ここは暴力が蔓延した国で、人々は戦い、また、もしくは、感情移入するように訓練されています。「生き残る」という最大の目標に向かって、毎日、こうやって生きています。暴力に直面したとき、私たちは手を差し伸べるか、戦うのです。そして、だから私たちは踊ります。生き残るためのダンスです。

Photo by Claudia Enriquez

This is not a cultural exchange. The production management, yes, in a way but not really the performance. On thing is clear. The parameters, the musical and dance score is a collaboration between Tada and Kitamari. The other artists from Japan, Philippines and Cambodia are contributors to the content and not direct collaborators to the structure. And yes, this is ok. The production and the performance does not claim that the dancers are “definitive” representatives of their cultural background - but by their personal histories as people and dancers. Culture is given, it is already embodied. There is no part where they negotiate to exchange. They just dance and co-exist. And it is ok. It was made clear by the way the dancers do not look and interact with each other as much as they share the same space.



Photo by Adrienne Vergara

MNLLikha x Sipat Lawin Ensemble
会場:Power Mac Center Spotlight

演出:多田淳之介/振付・出演: Eisa Jocson、Irish Paul Mendoza、Carissa Adea、John Paul Ortenero、Narim Nam, Sophal Sor、きたまり、益田さち

プロデューサー:岡崎松恵/テクニカル・ディレクター: Lang Craighill/照明:岩城 保/通訳:平野真弓
プロジェクト・マネージャー :JK Anicoche 、Alon Segarra/アシスタント・プロジェクト・マネージャー:Claudia Enriquez/テクニカル・コーディネーター:Roman Cruz/照明:Carter Humalong/音響:Hermie Aguinaldo/広報デザイン:Adrienne Vergar/記録映像:Brandon Relucio

共同製作:Sipat Lawin Ensemble、NPO法人Offsite Dance Project、RE/PLAY Dance Edit実行委員会
パートナー:Circuit Makati、Power Mac Center Spotlight、Sinag Arts Foundation、Fuji Xerox

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