Retracing the Steps

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TPAG ISSUE 35 — OCTOBER 2012

SPACE

Retracing the steps Text: Richard Chua

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In Malaysian choreographer Jack Kek’s dance piece titled Adam and Eve,we follow the gaze of the biblical character Eve as she sculpts the body of Adam. There is another element that makes this special: theaudience is watching the sculpting process in “real-time”.

n a fleeting moment, it seems that the initial attraction has been established and what ensues are two bodies coming together in unison, executing dance moves that unite male and female. Taking the female dancer’s gaze as a depature for a piece of writing on dance likens the man’s movements to pushing chairs aside for the frail woman in Pina Bausch’s Café Muller. The act of clearing indicates both an intention to explore and to love (clearing the dangers for the beloved), not to mention sculpting chaotic female emotions in times of extreme loneliness. Not so much a re-telling of the biblical story, Kek’s Adam and Eve is a reorganisation of vignettes of Bausch’s dance theatre genre. What matters in this piece of work is the choreographer Kek’s own intention and language that either complements, augments, or subverts the form, content, and aesthetics of Bausch’s dance theatre. Attempts to do so in themselves pose a huge challenge. The literature for and against it abound, but there are many different ways of “breaking” it. What’s interesting about the piece is the sculptural form it creates that manipulates the audience’s gaze on the lines and curves of the bodies. The intention of Kek’s Adam and

Eve might not be to break ground, but to tease out the beauty of dance theatre and introduce it to the Malaysian audience, to whom the understanding of the concept of dance theatre might be limited. The gaze of dancer Hoi’s Eve towards Kek’s Adam not only exhibits love and seduction but also an acute awareness of their sense of identity, as created by the creator (Hoi as Eve, and Kek as Adam can also be studied separately).

Dance of Eden In every part of the dance piece, from the time both of them get acquainted, to the time they get married, to the time they decide on revisiting the dating process the encompassing gazes are directed at each other, but encounter resistance. The resistance might be about the rules they are required to abide by in their world (or, to us, society), it might also be about their bodies. Little known to

them, the audience’s gaze was also present. Their understanding of the power dynamics between the male and the female dancer could offer an objective view of the definition of bodies on stage. Clearly, both Adam and Eve are trapped in their own world which seems to be under surveillance. The red apple presented in the form of red helmets, as interpreted by choreographer Kek, is a trapping device for both of them. As the biblical lovers attempt to ride away in a motorbike, kissing passionately, they encounter resistance. Metaphorically, the use of the helmet is apt and poignant. What makes an interesting discovery is when they mutually smell each other: and smelling becomes an act of exploration and sculpting that couples the act of seeing and gazing into each other. The politics within the bodies are at one with the politics of the relationship between “to look” and “to be looked upon”. The gaze could be read on different levels. The Gestalt Theory of Psychology explains it all; an adage in the 1920s that holds true till this day: People often perceive similar objects as a whole, as a group/pattern. If anything falls out of the norm, 46 47


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