(L-R) Dance artist Louise Michel Jackson, PCI Directors Roselle Pineda and Angela Lawenko-Baguilat, sound artist Chittakone Baccam Thirakul, dance artist Kim Sanh Châu, and Jen Gamboa on the welcome dinner at Garlic Kitchen, Quezon City, Philippines.
Kim Sanh Châu performing Bleu Néon at Myra Beltran’s Dance Forum Space, Quezon City.
Talk with the artists after the performance, as moderated by PCI Director Roselle.
Photo with the audience after the performance at Myra Beltran’s Dance Forum Space, Quezon City.
After-show meal at STORYA Kitchen + Bar, Quezon City.
Intense and vibrant conversations at the Hatching Point, Quezon City.
Our guest artists riding a kolong-kolong going to the Dumagat community in Dingalan, Aurora.
Aurora Artist Residency Program and Space – AARPS
Visiting the home of Tatay Eladio and Nanay Flora, Elders from the Dumagat community in Malakawayan.
Arriving at the Dumagat community in Singawan. Guest artists Kim, Louise and Chi, with Chieftain Marites of Umiray, AARPS staff Ambet, Mildred and Joan, AARPS Manager Jen, and AARPS/PCI Director Roselle.
Our guest artists with newly elected IPMR of the Dingalan Dumagat community, Chieftains Sipin and Marites, and Tatay Eladio.
Farewell shot of the gang at Casita Aurora. Aurora Artist Residency Program and Space – AARPS home base in Dingalan.
May our continuing connections foster deep and caring exchanges and collaborations!
We would also like to thank the generosity of the University of the Philippines (UP) Diliman Office of the Chancellor, the UP College of Music, and Contemporary Dance Network-Manila for supporting us in making this exchange possible.
Performance Curators Initiatives (PCI), together with UP Diliman Office of the Chancellor, and the UP College of Music, present BLEU NÉON, this 27 April 2023, 7:00 pm, at the Dance Forum Space, 36E West Avenue, Quezon City, Philippines. This event is in participation with UP Dance Company and the Contemporary Dance Network Manila.
In BLEU NÉON, Montreal-based Vietnamese-French contemporary dance artist Kim-Sanh Châu, explores her body memories of her homeland Saigon, Vietnam, imagined and reimagined, through a series of rituals based on lighting elements.
As she describes in her online teaser,
“In a distant, fictional Vietnam, the echoes of pop music on cassette tape reverberate against the sounds of modern Vietnamese rap. Châu Kim-Sanh inhabits this space, metamorphosing through bodily states generated by the presence of coloured neon lights. Of this evening blue erupts a purpleness: “bầu trời màu tím xẩm” – an uncertain translation. Eyes closed, the neon haze returns her to the sensation of her ancestral land. Saigon, like many cities in South Asia, is flushed with these vivid lights. Here, embodied memory and the imaginary take a ride on a Honda Dream II motorcycle, across a humid sky whose wetness whips the face.
This solo is performed in its entirety from the squat position – a typically Asian posture. Audio recordings bespeckle the choreography, navigating between fantasized nostalgia, loss of language and sexual objectification – all three widely experienced by Asian diasporic populations. In Southeast Asia, rap culture is increasingly popular – giving a voice to a population marked by silence. Rap here is a prayer.”
(Kim Sanh, 2022)
For this Philippine performance of BLEU NÉON, Kim-Sanh Châu will be joined by Hazy Montagne Mystique, and Louise Michel Jackson.
Everyone is welcome to attend the performance and pay whatever they can.
After the 3-day International Symposium on Performance Curation at the Bulwagan ng Dangal, University of the Philippines, Diliman, our delegates went on a 2-day site-visit to Casita Aurora in Dingalan, Aurora from September 30 to October 1, 2017.
Early morning assembly at the University Hotel lobby was accompanied by freshly baked pan de sal and brewing conversations.
The whole trip was filled with insightful and entertaining conversations. Stopovers also served as photo opportunities for PCI guests to capture the breathtaking view of the North’s countryside.
Upon arriving at Dingalan, the PCI delegates had a courtesy visit at the Mayor’s office–where we also shared a sumptuous lunch with the hospitable Mayor Sherwin Taay.
(L-R) Kaoru Okada, Eri Karatsu, Paschal Berry, Eryl Torres, Roselle Pineda, Mayor Sherwin Taay, Will Peterson, Dena Davida, Sarah Miller, Dennis Gupa, Angela Lawenko-Baguilat
At the Casita Aurora, Prof. Roselle Pineda toured the delegates at the newly built Aurora Artist Residency Space and Program. The Aurora Artist Residency Program and Space (AARPS), is an independent and non-profit residency program and space, focused on initiating discussion on community empowerment and sustainable environment, through culture and the arts.
AARPS strongly advocate that a community that is entrenched in creativity, creative work and process, yields critical (thinking) communities; and critical communities are empowered and empowering communities.
The residency is located in the quaint property Casita Aurora, Barangay Butas na Bato, Dingalan, Aurora in the cusp of the vast Sierra Madre mountain ranges and the Pacific Ocean; and we partner with local communities such as the Dumagat community, the fisherfolk and upland farmers that reside in the area to work on projects that highlight the essentiality of creativity, art and culture in empowering communities.
a moment of respite during the rain
Come evening, PCI went to visit the Dumagat Community situated at the neighboring barrio. The gathering was facilitated by Prof. Roselle. With her translating between two languages, the visitors and the locals were able to communicate with each other. Both the Dumagat community and foreign guests expressed their gratitude for the encounter.
Prof. Roselle oriented the delegates about the role of AARPS in forging partnership and collaboration with the Dumagat Community of Dingalan, Aurora in preparation for the very first “Adow ni Dumaget Festival” or “Dumagat Day Festival.” The special day is agreed to be set on May 2018 with the theme “Pagkilala, Makilala, at Pagpapakilala” to foster gatherings and conversations surrounding recognition, education, and presentation of the Dumagat indigenous peoples cultural heritage and tradition.
The meeting was followed by a boodle fight dinner which both parties heartily shared.
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The moment of unwinding came during the night cap–where delegates got the chance to taste the local Malibog Wine. As always, conversations overflowed. The following day was also a fortunate one; the tropical sun momentarily shined and everyone was able to experience the Pacific Ocean.
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Before heading out to Manila, the team visited the Gutter Park to view the works of the “Art in the Hood.” Art in the Hood is curatorial project initiated by PCI and the AARPS, to activate art happenings in various communities and neighborhoods throughout the country. It is in partnership with the Municipality of Dingalan and its surrounding communities. It features works of Leeroy New, Tomas Leonor, Teta Tulay and Ralph Lumbres; and curated by PCI-AARPS director Roselle Pineda. The installations are projected to initiate curiosities and discussions about art, environment, and community in the beautiful town of Dingalan.
After the site-viewing, lunch was held at the local carinderia near the park.
The symposium’s opening program was held at the Bulwagan ng Dangal in UP Diliman on September 26. Beginning officially with welcoming remarks from PCI founder Prof. Roselle Pineda shortly followed by a special message from Dr. Cecilia Dela Paz of the Bulwagan ng Dangal.
Dr. Cecilia Dela Paz and Prof. Roselle Pineda
During cocktails, our speakers and delegates got the chance to mingle with each other and initiate discussions. (Pictured here William Peterson and Paschal Berry)
Cocktails were followed by the premiere of Con.Currents | Movement Provocations. After the performance experience, an open forum was held with Ms. Elena Laniog, Ms. Sarah Samaniego and the wonderful UP Dance Company.
the open forum following the premiere of Con.Currents | Movement Provocations
On September 27, the first day of the symposium commenced with the keynote panel “Imagining Performance Curation.” The panelists included Prof. Roselle Pineda, Dr. Dena Davida from Tangente Danse, Prof Eileen Legaspi-Ramirez of the University of the Philippines, Ms. Eri Karatsu of Aichi Prefecture Art Center. It was moderated by Prof. OJ Serquiña of the Department of Speech Communication and Theatre Arts.
Curation going back to its origins in the word Curare, where tending to relationships with artists, audience and colleagues matter as much taking care of artworks and performances.
The first two Exchange Cafes also had very fruitful discussions. The first one conversed on funding in the field performance curation. While for the afternoon exchange cafe, the film “White Funeral” was shown, followed by artists talks with Director Sari Dalena and Ms. Myra Beltran.
(L-R) Andrei Pamintuan of Fringe Manila, Cheska of WSK, and Alon Segarra of Sipat Lawin Ensemble share their experiences with sustaining productions and building networks
Director Sari Dalena and Ms. Myra Beltran talk about “White Funeral”
The afternoon panel focused on various multi-disciplinary practices ranging from music and dance, to local performance art and contemporary community theatre. Speakers included ethnomusicologist Dr. Jonas Baes, noted choreographer Ms. Myra Beltran, Performance artist Boyet de Mesa, and JK Anicoche, Sarah Salazar-Aronson, and Ness Roque-Lumbres of the Sipat Lawin Ensemble. Prof. Bryan Viray from the College of Arts and Letters, UP Diliman, moderated the very interesting panel of practitioners.
The 28th of September opened with speakers Prof. Will Peterson of Flinders University, Dr. May Datuin current head of the Department of Art Studies in UP Diliman, Dr. Steven Fernandez of Marawi State University. The panel focused on pedagogies. Mr. Peterson talked about festivals and explained how the body becomes deeply emplaced so much so that they come back year after year, while Dr. Fernandez spoke of “transcreation” applying to curations being a “performative” act.
Prof. Sarah Miller asking the Panel on Pedagogy and Performance Curation
“Collaborations are a form of Pakikipagkapwa.” – Dr. Flaudette May Datuin
The afternoon panel on Trans-geography and Communities was moderated by PCI’s very own Ms. Reena Manalo. Dr. Dela Paz emphasized on the need for researchers, especially the ones in the urbanized centers, to give back to the local community after gathering of data is finished. Mr. Leonardo Cariño of Teatro Ambahanon explained why they consider themselves a “terminal” and not the destination for contemporary dancers. Both Jane Gabriels and Marc Pronovost delivered informative and illuminating messages through video presentation. The former talked about the challenges brought by gentrification in the Bronx, while the latter focused on Cultural Mediation with communities in Canada.
The first exchange cafe of day 2 featured the film “Juana and the Sacred Shores”, followed by conversations with Director Antonne Carbonel and Choreographer Aisha Polestico. A lecture and workshop from the Lumad was the highlight of the afternoon where they also taught the delegates a sample of their dance.
Aisha Polestico and Antonne Carbonel taking questions from the audience
The lumad and the delegates perform the newly-taught dance
The third and final day of the symposium began with a panel on archiving and new media and was moderated by archivist Ms. Merselle Montes who rightfully asked what happens next after curating performances and who gets to decide what is to be saved. The panel was composed of Prof. Sarah Miller of the University of Wollongong, Dr. Sir Anril Tiatco of UP Diliman, PCI’s resident videographer Prof. Loujaye Sonido, and Prof. Paul Rae of the University of Melbourne.
intense discussions during the panel on archiving and new media
Dr. Tiatcotalked about the on-going project, The Philippine Performance Archive, a digital archive which aims to be “relevant, holistic, comprehensive and up-to-date.” On the other hand, Prof. Sonido talked about the origins of film practices and how film up to this day, remains to be a capital-driven practice. Triggered by the heartbreaking story of the UP Faculty Center fire and the lost of many of the university’s physical archives, Prof. Miller expressed the anxiety that danger is always present in archiving, whether it be in the context of fires and natural disasters or the instability of digitized spaces.
Prof. Roselle Pineda moderating the symposium’s closing panel
The closing panel on “Envisioning Performance Curation” also manifested the many forms and levels of commitment each and everyone has for their practice. In this panel were Mr. Masayoshi Yahagi of Toyohashi Arts Theatre PLAT, Prof. Angela Lawenko-Baguilat from the UP College of Music, Mr. Paschal Berry from the Blacktown Arts Centre in Australia, and Dr. Jazmin Llana – Dean of the College of Liberal Arts in De La Salle University Taft.
Mr. Masayoshi discussed that PLAT, as a public theatre, plays a huge role in engaging communities around it and enacting on Japan’s policies related to its depopulation. PCI’s project manager Prof. Angela shares the difficulties in pursuing creative practices in the midst of managerial tasks. Meanwhile, pondering questions from Mr. Paschal Berry that many of us can definitely relate to. Lastly, Dr. Llana emphasized on action after such gatherings, that it is up to us to do something, and we must do something.
The PCI Symposium program organically closed with a pleasant surprise from Mr. Norman Narciso of Teatro Humanidades from Davao.
Mr. Norman Narciso of Teatro Humanidades in Davao leading the closing program
It was an overwhelming experience but a very heartfelt and sincere gathering. We at PCI offer our sincerest gratitude to everyone who supported us, and who willingly shared their thoughts and experiences during and after the talks.
“Endless gratitude to all our old and new loves, who GAVE (including the agency of restraint as what Paul Rae so beautifully put it) in this whole experience – in various capacities – none of these would be special without those various capacities.” – Prof. Roselle Pineda
We are so happy and proud to announce that from our humble and intimate gathering Performance Pitch and Dialogue last September 23, Filipina choreographer Sarah Samaniego has just been programmed as part of Tangente Danse’s 2018-2019 Season, in Montreal, Canada; to develop new works, and possible collaborations with some of Montreal’s dance practitioners.
Once again, we send our heartfelt gratitude to all those who came and the choreographers who shared/pitched their evolving works.
Let’s make this spark spread like wild fire!
** Performance Pitch is Performance Curators Initiatives (PCI) alternative platform to converse about dance and make new and innovative connections among performance practitioners and curators.
Performance Curators Initiatives and UP Dance Company presents
CON.CURRENTS | Movement Provocations
September 26-29, 2017 | every 7 o’clock in the evening
Con.Currents | Movement Provocations is one of the iterations of a long conversation on movement site and body. Taking off from the movement research movement without moving and points of sublation, it is primarily an exercise in reflection and articulation of the complex dialectical encounters between and amongst collaborators, body, time and space
CREATIVE TEAM:
Roselle Pineda (Performance Curation and Dramaturgy)
Maria Elena Laniog (Choreography)
Loujaye Sonido (Video Artist)
Laya Roman (Video Curation)
Roselle Pineda (Visual Design)
Marx Diego (Additional Soundscapes)
Roselle Pineda, Elena Laniog and Loujaye Sonido (Movement Research)
UP Dance Company (Performers)
Tickets prices:
Regular: P300 | Student: P200
*Only 30 slots per show.
For reservations, please contact Angela Cepeda at 0915 799 5610
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As part of the performance experience, audiences are welcome to shoot videos/photos for the collaborative documentation of Con.Currents | Movement Provocations. Those contributing video footage and photos may:
From the PCI team, we extend our heartfelt gratitude to all those who went to the Performance Pitch and Dialogue with Dena Davida from Tangente Danse (Montreal, Canada). Thank you to all those who pitched their performance excerpts. Especially to the choreographers who shared their works with us Jared Luna, Dingdong Selga, Christopher Chan, Sarah Samaniego, Elena Laniog, and Chantal Primero.
Special thanks to UP Dance Company for letting us use their studio. It was a fruitful discussion and we hope that this will only be the start of more partnerships. See you at the PCI International Symposium on Performance Curation!
The Performance Curators Initiatives (PCI) and Tangente present “PERFORMANCE PITCH AND DIALOGUE” with Dr. Dena Davida, Curator and Educator of Tangente, on Sept. 23 at the UP Dance Company Studio.
This is a rare invitation to view the unique process of Performance Pitching. Ten dancers from different backgrounds and styles, will be presenting their choreography to Dr. Dena Davida to welcome and explore the possibilities of collaboration. Attendees will also have the chance to converse with Tangente’s curator.
Tangente is a premiere dance performance space in Montreal, Canada and has been a major figure in contemporary dance for 36 years. It is Québec’s first dance presenting organization and is considered as a forerunner of new trends. Year after year, it offers innovative and imaginative programming. More than 1600 choreographers have presented their work at Tangente – providing a springboard for young artists.
Big thanks to everyone who went to Conversations on Site-Specific Choreography with Elena Laniog and Roselle Pineda. We hope you enjoyed the talk as much as we did.
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We’re currently doing some preparations for the Movement Provocations happening on Sept 26-29 so the Bulwagan ng Dangal will temporarily not be open to the public.
On Sept 23, we will be having Performance Pitch and Dialogue with Dena Davida of Tangente. This rare event is for free but has limited slots, so do REGISTER here: http://bit.ly/2w2Qy3F
Check out our event page for more details:facebook.com/events/1681793251882098/
Thank you to everyone who attended Conversations on Hip-Hop and the Contemporary with Reflex Gotangco and Roselle Pineda!
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Don’t forget! On September 19, 4pm, we’ll be having Conversations on Site-Specific Choreography with Elena Laniog and Roselle Pineda. Their movement provocation “Con.Currents” with the UP Dance Company will be premiering on September 26-29, 7pm.
The 28th of September opened with speakers Prof. Will Peterson of Flinders University, Dr. May Datuin current head of the Department of Art Studies in UP Diliman, Dr. Steven Fernandez of Marawi State University. The panel focused on pedagogies. Mr. Peterson talked about festivals and explained how the body becomes deeply emplaced so much so that they come back year after year, while Dr. Fernandez spoke of “transcreation” applying to curations being a “performative” act.
The Performance Curators Initiatives 