SCOPE is a platform for artists' presentations. Associate members of Dance Nucleus as well as non-members may conduct discussions, workshops, jams, readings, screenings, open studio and work-in-progress showings. The showings are self-organised and hosted by the artists themselves.
SCOPE #7 : 23 - 24 November 2019
11:00 - 12:00
Jee Chan (Singapore/Berlin)
I’ve been away for sometime.
I’ve been dreaming of the sea for a while now.
This presentation is a memory of a performance and simultaneously a performance in itself. The jawline of a map, a weather front, a breath (folded up and tucked away in the space between back then and right now).
Situated across hybrid forms of performance, installation, video and text, Jee Chan's work is imbued with a consciousness of the body as an intimate thing. Their practice is foregrounded by an interrogation of (post-)colonial power and actively engaged with the politics of place, language and memory.
12:00 - 13:00
Encounters of Dance and Music in Instant Composition
This project brings dancers/movers and musicians together to dialogue based on principles of instant composition. Essential topics to this project are the engagement of physicality, the enhancement of spatial awareness, and the investigation of time. We are interested for the artists to stay true to their own artistic language while meeting in a common space to feed and develop the composition.
In this presentation we would like to share some of our ongoing research ideas, and invite the audience (if they so wish) to explore with us.
Mulled Wine is an exploration of different forms and aspects of waiting, as experienced by the three artists. They ask why we wait, how we wait and in what ways can this be communicated to an audience. This presentation is a reflection on the process, feedback and new developments from the performance sharing of Mulled Wine on 7 September 2019.
15:00 - 16:00
Ready to Go Solo: Season 8 trial
Dapheny Chen (Singapore)
Dapheny aims to question the ideologies behind social politics in Singapore by activating conversations through dance. Questions currently pertinent to her practice are: what do we speak about? Whom do we speak to? How do we speak? Her presentation is a response to the Singapore Table Tennis foreign talents controversy between 2008 and 2012, and involves 1000 ping pong balls accumulated over 8 seasons of exploration.
A screening of excerpts from this documentary-in-making, and a discussion of its concept and central questions. The film follows the underground ballroom scene of Southeast Asia: three dancers living in Thailand, Malaysia and the Philippines, as they ‘walk’ the journey of their lives.
Sze-Wei creates for the stage and screen. Her practice is grounded in a somatic approach coupled with an interest in politics of the body. Sun is known for building the vogue scene in Thailand. He also creates work around ideas of gender, culture, soul, body and mind, as well as ideas of fantasy and reality, beauty and fierceness.
17:00 - 18:00
Falling into Flow
Hwa Wei-An (Penang/Singapore)
Wei-An draws from his personal explorations of street dance and tricking, as well as his avid passion for watching action sports, to explore his personal practice of falling, in conjunction with a study into the psychological state of flow. Wei-An will be sharing materials and ideas that have been developed during his recent residency at the Campbelltown Arts Centre in Sydney.
11:00 - 12:00
Maybelle Lek (Singapore)
Maybelle engages with 3 core values within her artistic practice: empathy, authenticity and community. This workshop demonstration will focus on 5 principles: Pressure, Articulation, Locomotion, Mapping and Sensitivity (PALMS). Exploring how one’s hands can enhance movement quality, the artist seeks new possibilities of connection within our bodies, thus allowing for more intelligent movement and embodied awareness.
12:00 - 13:00
The Creative Process
Retno Sulistyorini (aka Enno) (Surakarta)
Retno learnt Surakartan traditional dance and has worked with Indonesian artists such as Mugiono, Sardono W. Kusumo, Eko Supriyanto, and Melati Suryodarmo. In this presentation, she will make a self-introduction through a 10-min performance, and an essay that frames her somatic exploration process and her dance experiences.
14:00 - 15:00
Tactility Studies: Processes and Processing
Chong Gua Khee, Bernice Lee (Singapore)
Tactility Studies emerges from Gua Khee and Bernice's ongoing exploration of the notion of 'the body as theatre'. They draw attention to the performativity of bodies in conversation with themselves and the world around them, as well as how performance provokes each person’s subjective experience. This presentation is a sharing about how Tactility Studies emerged, their explorations and stages of growth, and serves as a space for describing, discussing, and interrogating ideas around the project.
15:00 - 16:00
Hasyimah Harith (Singapore)
Hasyimah engages in conversation circles to inform her practice. She rounds up a fearless collective energy to self-soothe and celebrate ‘nafsu’ (lust in Malay). With Malay folk dance training, she questions nature and nurture through the lens of a Malay woman today.
16:00 - 17:00
An Autotopographical Exercise
Chiew Peishan (Singapore)
Informed by introspection of her personal biography, Peishan explores the connections and tensions between reality and imagination, between subjective truth and inventive representation. This is a sharing of a performance practice that deals with the themes of home, memories, feelings of detachment and temporality. The work is inspired by Annette Arlander’s notion of autotopographical exercise, which suggests “practices related to topobiographically meaningful places”.
17:00 - 18:00
Kung Hei Fat Choy
Er Gao (Guangzhou)
Er Gao’s works continuously see the body as the primary medium of work and the site of artistic investigation, using diverse strategies to explore Chinese identity, sex, and gender.
“For my dad, the family must be together during Lunar New Year for the annual reunion dinner; while for the younger generation, receiving the auspicious red packets has always been a ritual expectation. On attitudes and perspectives to life, my father and I had completely divergent ideas. As I grew up and due to migration, my childhood and hometown eventually faded away. The idea of Kung Hei Fat Choy has become a generic new year greeting.”