FUSE#2

SCOPE#3
About ‘Unison’
by Ming Poon
Day 7: Disempowering of movements.
Dancers learning to move in sync to texts, instead of the
Tank Man video. The text describes the physical actions of
the Tank Man. The image of a group of dancers moving in
sync to texts gives a different meaning. It now feels more
militant and mechanical, because the human intention
behind the actions is no longer there. They are reduced to
movements for movements' sake. The power of the Tank
Man's movements has been uprooted, appropriated and
tamed, so that they are safe for public viewing and
consumption.
Day 12: Tank Man or the Tank.
I ended the residency by asking the students to what purpose
they intend to put their training and knowledge and what roles
they play as dancers.
When the time comes, will you become the Tank Man or the
Tank?
Thank you all for your commitment and believing in the process.
It is interesting to see how dancers are co-opted to be agents through which
movements become disempowered in this situation.
Day 10: Tank Man is closer to home than we think.
I brought up the on-going court cases of both Seelan Palay
and Jolovan Wham for discussion. It made the students
realize that the theme of the Tank Man is still relevant and
happening today. While the tank does not take on any
physical form, it is not less present and felt.
We discussed these questions:
● Are you aware of the power under which you operate as artists?
● How do you as artists and individuals negotiate with this power?
● What can you do to change the situation?
The students had no answers to the last 2 questions. They have never thought or
been asked to think about them. The sense they gave was a mixture of frustration
and resignation. It became very obvious that they were badly equipped to deal
with these issues as future dancers and dance artists.
About
Ming Poon
Ming began his career as professional dancer in 1993,
and started to develop his choreographic practice in
2010. He sees movement not only as a physical
activity, but also as a social and political one. To move
is to relate and to strive for change. His approach to
dance is one where there are no dancers, only people
in a constant process of negotiation as they reach out,
converge, meet and separate. His performances
explore themes of vulnerability, intimacy, peripherality
and failures. They are interactive in design and often
require the collaboration of the audience or performers.
By interrogating and shifting the politics of their body,
he hopes to bring about an embodied and empathic
relationship to his works.
www.mingapur.de
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