3Cs 2021 Tokyo: Mutation of Performing Arts
In 3Cs 2021 Tokyo, we have online works by the artists. You can see all the programs below.
The online works will start broadcasting soon.
Intercultural collaboration provides a chance to open up new possibilities for the idea of ‘negotiation’. This time, Ayu will collaborate with Japanese artists who have had experiences based on cultural backgrounds that are different from Ayu. Although they are united as fellow Asians, it is their traditions that give them different attitudes and articulations. This collaboration process is based on in-depth discussions and the exploration of each other’s unique bodies. There is no need to agree on the same choice of attitude and their artistic collaboration will be a visualization of the dialogue that occurs between them. It is not about who is stronger in the negotiations; it is how each of them works hard while struggling according to their own conscience. They would struggle with themselves like all humans do but it is the way they struggle that is going to be different.
Instant Images, Instant Sounds (Film Narrative)
The cinematic version of the ‘Instant Images, Instant Sounds’ series that explore on time perceptions and relationship between the bodies and surrounding environments in different setups that generate visuals and sound waves which philosophically influence perception of the receivers. Derived from the previous collaboration process of lives connected through objects and stories exchanged between Dan Sai and Sangkhlaburi, we will carry out experiments through sounds to find out people’s awareness of the speed of life in the metropolis of Tokyo . We will see whether we can extract strangenesses from the city soundscapes by swiftly disturbing their flow.
Nyu Shu Movement
The ‘Nyu Shu Movement’ (Zyo Syu undou) is a conceptual research project that focuses on the experiences of Asian women across generations (i.e. women aged 50-60 and women aged 20-30) and understanding how women across generations think and respond to the gender waves of society. The two artists, Kuan-Jou and Yi-Chin made attempts to break away from their fixed mindset about gender to enter the world of cross-generational women through a series of fieldworks, experimental body workshops and performances in Taiwan, Thailand and Japan. The video that you will see is the documentary of the project and also an invitation to join the movement for women’s self-revolution.
Collaborator and Performer
Thinkers’ Studio and Low Fat Art Fes
National Culture and Arts Foundation
NORUHA works 2020-2021
From 2020 until 2021, the ‘NORUHA’ has been making various attempts through online creative projects. Initially, the company had upheld the theme of ‘extracting the fundamental elements of theater to explore how they affect the communities’. The theme was derived from the collective’s usual activities. However, after facing the possibilities and the impossibilities of online activities, the theme gradually changed and developed. Through the dialogues and collaborations with the artists and people who are involved in the arts in other countries, the NORUHA has made new discoveries and found ways to use them for its theatrical activities. They have been compiled into a video and it will be presented as a documentary.
‘Choreographing in the Cloud’ is a series of studies through workshops, lecture performances, and video projects showcased as an attempt to adapt to the limitations posed by the COVID-19 pandemic in pursuing artistic work virtually. It mainly explores and utilizes karaoke as an entry point to understand self and communal entertainment as an adaptive mechanism but also probes into hybridized cultural identities and representations. The research was initiated in 2020, with the support of Karakoa’s Creator’s Cradle Circuit (3Cs), a transnational mobile festival. ’Choreographing in the Cloud: Welcome’ takes off as an ‘auto-videographical’ parody on ‘self-entertainment’, which incorporates distinct elements from karaoke videos. It captures the reality of an artist in her quarantined home as she (un)performs within the confines of multi-dimensional frames. The video project is a prologue to a live and virtual performance to be held in the last few weeks of September at BUoY Arts Center Tokyo, in collaboration with a Japanese actor, Kotaro Yagi.
Artist and Choreographer
Raul L. Raquitico Jr.
Collaborator and Performer
The Path to the Stormy Hill
− Archive of Yasuno Miyauchi’s online trials-
A video digest of last year’s 3Cs online workshops and the collaboration with Kawamura presented online, which will lead to the actual performance
3Cs Tai Dan Intervention: Spiritual connection beyond the lockdown
“Load?” The Dialogue
In 3Cs 2021, Ayu shares the work method of “Load?” which initiated since Karakoa Project 2020. “Load?” itself is the result of Ayu’s research on Sigeh Punguten (a Lampung traditional dance that danced by female dancer) vis a vis the cultural convention of Pepadun’s tribe on positioning female and male which in a way intersect with the relationship of Ayu and her father. Through the process, Ayu found the negotiation as a strong keyword. Negotiation between women and men, tradition and modern, normal and odd, crowded and quiet. With Thai’s collaborator, Ayu tried to not only transferring the method and find the physical form, but also make a dialogue about these negotiation in the each collaborator’s context.
Stone is not Stone
The reason for the lockdown made it impossible to travel to Dan Sai District – resulted in the need to change the working style to be online and led to a collaboration between Time, people who are stranded in Sangkhla, and Beer who lives in Dan Sai. “Stone is not Stone” is an independent experimental and research project that gradually learns from the dialogue between two people, the exchange of information between the two cities, and the incidents that happen. Both of them are interested in experiencing nature as an aesthetic and philosophical aspect. Suddenly, the stone was brought into the conversation, causing the two to recall the stone in their memory and continue discussing their ordinary but extraordinary qualities. Something that is a part of nature that is close to itself is full of traces of the past and can still be moved. This led to the idea of wanting to create some kind of interaction with the indigenous stones of another area. Both are therefore the mediums that select and carry the sediment from one side to the other. This was the beginning that made them pay more and more attention to the stone, gradually merging life with the foreign stone, and crystallizing into something new and different at a certain moment in the two areas.
Nyu Shu Movement
Nyu Shu Movement is a research project that focuses on the experiences of Asian women across generations (i.e. women aged 50-60 and women aged 20-30) and understanding how women in cross-generation think and respond to the gender waves of society. The two artists, Kuan-Jou and Yi-Chin attempted to break away from their gender mindset and enter the world of cross-generation women through a series of fieldwork, experimental body workshops and performances in Taiwan, Thai and Japan. We hope to redefine and expand the rich context of women’s images through the process and make the thinking of different generations visible and recognizable through the intersection. In this international presentation, we are going to share with you our refreshing experiences, project finding and reflection during the Low Fat Art Fes.
名取川 / NATORIGAWA / แม่น้ำลักนาม
This performance is based on a traditional Japanese comedy and Kyogen play called “Natorigawa”. Natorigawa is a real river in Miyagi Prefecture in the northeastern part of Japan, and the word “Natori” means “to take a name”. In this Kyogen, a monk who is so bad at remembering things that he cannot even remember his own name and writes it on his sleeve, but when he crosses this Natori River, the letters disappear and he thinks that his name has been taken. For those of us who live in a society with a name, the name is so integral to our existence that it is hard to imagine separating the two. However, in this story, the name is something that is quickly forgotten and easily washed away by the river. What is the “nameless existence” that remains after that? It seems to be a very free existence, but at the same time, it is somewhat difficult to grasp and has an eerie impression. “Natorigawa” is a story that elicits laughter. I feel that this laughter is caused by confusion when confronted with such a free and eerie existence.
This uncanny presence is similar to the anonymous and unidentifiable objects that are omnipresent online. For example, on a social networking site, a picture of a cat is taken as a material, processed, and spread. The image then leaves the original cat behind and begins to appear as something completely different and elusive. It looks like a cat, but it is something completely different from the animals we usually encounter on the street. On looking closer, it is eerie, but at the same time, the absence of reality means freedom. They are not bound by names or bodies, and they do not belong to any place.
The creation was done in collaboration with Kwin Bhichitkul, an artist from Bangkok. Kwin’s performance is based on the motif of spiritual beings such as gods and ghosts in Thailand and Japan. These beings exist not only in folktales but also in our daily lives, appearing in the discipline of children (ex. “If you do something wrong, a ghost will come”) and spreading in the form of urban legends and ghosts stories. Spiritual beings are anywhere, from the darkness of the highway to the corners of the Internet. When we re-tell the story of “Natorigawa” in the light of these transcendent beings, the monk who forgets his name appears as a mysterious and eerie presence, but at the same time, it seems to have a strange reality as a modern myth. It may even offer a refreshing sense of freedom for those of us living constrained by names and affiliations.
Choreographing in the Cloud: Presence
Dan Sai Book
Choreographing in the Cloud started in 2020 as a series of collaborative movement researches motivated by investigating karaoke cultures and how existing artifacts and structures present in a community capture collective yet diverse values and identities. In Presence, it continues to focus on the mundane practice of performing karaoke as a starting point to understand and explore one’s body and movement in relation to oneself, others, and the larger community to unlock conversations about local realities. Moreover, in an unconventional setup of collaborating and communicating remotely/virtually with other artists and the local people, the research also delves into ideas which surround communicating and establishing ‘presence’ (remote/virtual presence vs. tactile/physical presence).
Dan Sai Book is a reimagination of the typical instructional Thai text book used across Thailand by means of capturing contemporary and regional/local realities and representations. Through exchanges with the adolescents in Dan Sai, the creation of the book aims to acknowledge the bilingual use of Tai Dan dialect and Central Tai as media of visual instruction; stories which are rooted on real places, ways of life of the local people, including local myths and legends; and karaoke songs to substitute traditional poems. It seeks to create a space for the local youth to have power on how they would want to be represented through having ownership with their choices over images, stories, and vocabulary.
The two collaborative and participatory researches primarily engaged the youth from Dan Sai District, Loei Province as they collectively surfaced topics on expression, representation, and creation in a series of online interviews and workshops which involved karaoke and movement exploration.
Raul L. Raquitico Jr.
An Experiment in Music Tele-Inheritance
Yasuno’s previous participation in the 3Cs in 2020 as well as her fellow artists and curators coincided with the global situation of the pandemic. The premise of going ‘online’ or working remotely among the team came to fall in, and the various telecommunications newly confirmed as contemporary superiority for artists’ creation and presentation. Since then she has gradually adapted her music practice from onsite gathering to online gathering, and has pursued a rudimentary form of leading online vocal workshop in cooperation with the local participants from Japan and Thailand. This year, Yasuno will take this online practice further to experiment in inheriting her music practice to local communities under the teleworking environment, based on her core approach that music can be a communication tool not only to disseminate itself, but also to pass it on to the next generation.
In Loei, Thailand, Yasuno collaborated with three local groups who received a written music instruction (not five-line staff) named “Breath Strati” composed by Yasuno at her early career. One of participants from each group took a lead role to interpret and perform the piece in their own sounds while Yasuno stayed as an observer during the process. Here at the presentation, she will share her observations whether and how “Breath Strati” was effective to convey the intention of music without a composer’s presence, and any unexpected misinterpretation could possibly evolve its musicality. This trials in Loei will be incorporated into the next phase in Tokyo leg.