November 29th, 2015

Wailana plays “SALESI” in Garin Nugroho’s newest dance film


directed by Garin Nugroho and Vilsoni Hereniko

“Adapted from the popular Indonesian legend “Mangir,” written by Pramoedya Ananta Toer, Salesi is a story about the tragedy of power and unconditional love. This dance film is a collaboration of filmmakers, dancers, choreographers, and producers from Indonesia, Hawai’i and the Pacific Islands. The film is sponsored by NETPCA/USA; NETPAC/Indonesia; University of Hawai’i at Manoa Department of Theatre and Dance; University of Hawai’i at Manoa’s Academy for Creative Media; Doris Duke Foundation for Islamic Art and SET Workshop.  Other sponsors include Shooters Film Production; Island Film Group; Shaunagh Guinness Robbins, Movie Museum”.

This was an incredible experience.  So humbled and grateful to work with such talented, bright, and inspiring people.  Mahalo.

We shot at Shangri-La – Doris Duke’s old place, for two days and spent one day at Lo’i Kanewai at UH Manoa.  These places are magical and it was an honor indeed to be there, dancing.  The film is to be released next year and is expected to enter film festivals throughout the world. Please check out Garin Nugroho’s films if you haven’t, he is a genius.














October 5th, 2015

“Moon” – an aerial ring duet is to be featured at FOOTHOLDS 2015

Fall Footholds 2015

July 14th, 2015

Wai Company to teach and perform as part of the Asia Pacific Dance Festival (APDF 2015)

Wai Company is honored to be one of this year’s featured groups performing in the Local Motion event of APDF  Sunday  July 19 at 2pm UH Manoa’s Kennedy Theater.   The Company will also be are offering an aerial dance workshop on SAT/SUN July 25 – 26, 10am – 12pm. Workshop is open to all levels of experience.  Aerial Tissue Dance and Technique Workshop with Brian Wailana Simcock. Click here to sign up: and scroll to the bottom of the page.

To buy tickets and find more about the Asia Pacific Dance Festival click here:


July 14th, 2015

“Papa a Wakea” a featured performance at the Asia Pacific Dance Festival July 19, 2015 at 2pm, UH Manoa Kennedy Theater

Papa a Wakea will be a featured performance in Local Motion, an event of the Asia Pacific Dance Festival that showcases Hawaii’s local dance makers on July 19th, 2015 at 2pm.  Papa a Wakea is a Hawaiian creation story that of depicts the love story and drama Wakea, Sky Father, and Papahanaumoku, Earth Mother.  It combines modern and aerial dance forms with influence from hula and oli (Hawaiian chant).   The cast features kumu hula Ka’enaaloha Hopkins, Wailana Simcock, and David Sause accompanying the performance with live violin.  It also involves pulley operators Sequoia Carr-Brown and Kapono Aiwohi-Kim to allow Wakea to fly in this special event.  To buy tickets got to:

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July 14th, 2015

Wailana performs solo aerial silk number at Hawaii Convention Center on July 7


May 1st, 2015

Kaiaulu Performance

Kaiaulu Performance

April 4th, 2015

La’ieikawai: Inauguration of the Hawaiian Theatre at the University of Hawaii


































This historic performance marks the beginning of Hawaiian Theatre at the University of Hawai’i with Tammy Haili’opua’s La’ieikawai.  Wailana is casted as actor and chanter and plays Ka’onohiokala, the Sun-God, using the aerial ring for an incredible modern interpretation of a well known mo’olelo (story).  Check out this review:


laieikawai crew













December 8th, 2014

Beyond the Eyes Dance Performance Video

Beyond the Eyes is one of the performances that came out so fun and easy. Yet, hard and interesting. It kept you on your toes. I was practicing also the art of doing what was easy, fun, simple. Not to complicate matters. I was interested in having the dancers also experience a sense of ease in the creation and performance of it either. They really made this happen.

Below is a 6 min edit of the 30 min performance. Enjoy.

Video credit: Laurie Hubb

December 4th, 2014

Performance Was Great!

What a fantastic performance/event/experiment! The weather was perfect, the dancers really gave it their all, and there were no arrests! The security guard from the library gave us a quick look in the beginning and left us alone the rest of our 30 min. performance.

The biggest sensation I had after the show, besides being high for several hours after, was liberation. It was a very personal liberation – a sense of freedom and accomplishment as well. Like we really set out to do something and it got done the way I wanted it too – and in many ways, turned out even better. The one thing that could have been a lot better was the volume. It was way too low. The great news is that four out of the five of us got completely nude! That speaks a lot about how safe we felt and power and courage of the dancers. Which none of this could have happened without them. So a big mahalo to SAMI< LUCY< MEGAN< TERRY!! XO Laurie, thanks to you as well! Laurie so graciously volunteered to video our performance and is also editing it. Until I get the video to post, here are some pics of the actual show. mahalo, wailana

December 2nd, 2014

Lucy Reflections 2

12/2 Performance

I prepared that morning differently having watched The Artist is Present. State of being. Taking my time. Cultivating.

Performance: I loved juxtaposing gestures and oddly matched costumes.

In line, pulling my bra over my head feels exhilarating. Pulling down my underwear even more so. Naked – liberation, standing firm on the ground, feeling the wind. Camaraderie and solidarity we built over the rehearsals helping us take the risks. Looking along our line, compared to the clothed hierarchies we’d played with, I suddenly see that collectively we have just redefined naked as powerful.

Second rehearsal reflections 11/25/14

Dress up – clothes as … power objects – how they change us, open up identities, parts of us we haven’t owned, shadows.

Just handed them – both choice from the rack and “here, put this on.” What does this do to you?

Physically walking in line, replacing myself, who am I, I keep changing, I think this dissolves a layer of ego, perhaps.

I needed to process all that about gestures in my last journaling, and then by the second rehearsal it seemed very simple and not conflicted – I just did my gestures with love, and added one maternal one. I did not mock, though mocking is rampant in the culture at large.

I enjoyed the contrast when we did “both”, mixed them up. I realized in my solo is where I can play with what I want to, including matter of fact / my interpretation of androgyny, depending on how I feel like that day. I also love wearing whatever I want and performing whatever genderness I want and the subversion of mixing those up. Not even subversion as I would have reveled in it in my 20s, a fuck you I’m more liberated than you kind of subversion that compares. But more- subversion as opening minds, my own included. About liberation from identities through playfulness.

This was powerful and fun.

Also my place in the first line, I knew as a mermaid I was a supernatural being, and so belonged “above” humans. Honoring spirit somehow, unseen worlds and legends. A sweet superhuman moment. Mermaids outrank men. Even though I know rank is a game and maya.

Watching “The Artist is Present”

notes I took:

Real knife & your own blood – performance. Ketchup – theater

Performance is all about state of mind. audience is like a dog, they can smell insecurity

Nude doorway; State of being; Wild, raw, vulnerable; Preparation, risk; Humanity of audience –enthralled – witnessing, relationship, silence, stillness, eyes, looking, being seen.