Artistic Direction & Concept: Kuik Swee Boon
Pán – SeungMu: Choreography, Music Composition & Arrangement: Kim Jae Duk
Pán – The Notion of Transculturation: Choreography: Kuik Swee Boon in collaboration with the performers; Music: Wang Yu-Jun
Pán – Epilogue: Collaboration between Kuik Swee Boon, Kim Jae Duk, Wang Yu-Jun and performers
Lighting & Spatial Design: Adrian Tan
Costume Design: Loo An Ni
Performers: Brandon Khoo, Fiona Thng, Klievert Jon Mendoza, Nah Jieying, Ng Zu You and Haruka Leilani Chan
Original Cast in 2020’s Creation Process: Anthea Seah
Masters of Ceremony & Performers: Tung Ka Wai and Wheelsmith (Danial Bawthan)
Alluding to both choreographers’ cultural roots, ‘盤’ is a word commonly used by Mandarin-speaking cultures around the world, that also exists in the native vocabularies of the Koreans, Japanese and Vietnamese. Represented in its traditional form, the Mandarin title《盤》draws upon the allegorical Chinese creation myth ‘Pangu’, a fabled being whose colossal body fragments to transform into all elements of nature. The tale of ‘Pangu’ serves as a starting point to investigate the notion of transculturation – as both a concept and present-day reality. Gathering the voices of different collaborators,《盤》Pán sets out to uncover if a shared positionality can be fashioned for our current times.
The playful imagery found in the Chinese character’s homophonic variants – ‘pán’ being the pin-yin romanisation of ‘盤’ and doubling up as its English title: a serving bowl, a large boulder, the crouched intensity of a giant feline, a coiling dragon.
These evocative meanings intertwine with Kuik’s explorative research, beginning in 2018, of the twin ideas of transculturation and positionality. Through《盤》Pán, Kuik urges the viewer to contemplate the deeper implications of the concept coined by Cuban anthropologist Fernando Ortiz in 1940:
Loosely defined, transculturation is the process of a continual merging and converging of cultures, where either side may stand to lose or gain its resident properties, or where both sides become enriched by a broad absorption of new and innovative elements. Consequent outcomes include neo-culturation (cultural renewal or regeneration) or de-culturation (cultural shrinkage).
The most striking feature of transculturation is the absence of any preconception regarding the evolutionary course that cultural transmogrification should take. The notion of positionality occupies this grey zone.
Moving from the abstract to the familiar, it is here where《盤》Pán hopes to advance new possibilities for the inclusion of diverse audiences and artists with disabilities.
performance date 25-26 Jun 2021 | Esplanade Theatre Studio | Dimo Kirilov Milev & Jos Baker
performance date 22-23 May 2021 | Singapore Chinese Cultural Centre | Kuik Swee Boon & Kim Jae Duk
performance date 15-16 Jun 2018 | Esplanade Theatre Studio | Kim Jae Duk
performance date 22-24 Jun 2017 | Esplanade Theatre Studio | Borderline by T.H.E Dance Company and Muscle Mouth
performance date 7 - 9 Dec 2017 | Esplanade Theatre Studio | By Kim Jae Duk
performance date 28 Mar – 6 Apr 2018 | Esplanade F.Y.I Festival | By Kim Jae Duk
performance date 1-4 Mar 2018 | Esplanade Theatre Studio | By T.H.E Dance Company and Nine Years Theatre
performance date M1 CONTACT Contemporary Dance Festival 2013, Esplanade Theatre Studio, Singapore
performance date 1-2 Oct | Seoul Dance Collection | Silences We are Familiar With
T.H.E Dance Company is supported by the National Arts Council under the Major Company Scheme for the period from 1 April 2020 to 31 March 2023.
© T.H.E DANCE COMPANY 2021. ALL RIGHTS RESERVED
We like to give our thanks and acknowledgement to
Board of Directors:
Jobina Tan (Board Chairman)
Kuik Swee Boon (Artistic Director)
Ho Jun Chong, Jaycee (Administrative & Partnerships Executive)