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: http://www.outreach.hawaii.edu/noncredit/courses// and scroll to the bottom of the page.

To buy tickets and find more about the Asia Pacific Dance Festival click here: http://outreach.hawaii.edu/community/asiapacific/

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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: http://manoa.hawaii.edu/liveonstage/

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July 14th, 2015

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

CLICK HERE TO SEE  AERIAL SILK SOLO: HCC Aerial

May 1st, 2015

Kaiaulu Performance

Kaiaulu Performance

April 4th, 2015

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

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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:http://www.hittingthestage.com/uhms-kennedy-theatre-presents-laieikawai/

 

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December 15th, 2014

Beyond the Eyes – Final Reflection

politics of gender, clothes, and the naked body

-practice as research

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Our seeing is already deeply predetermined. Much of the knowledge we gain through vision and our other senses, and the way we direct our seeing, is highly organized. To a large extent this is not a matter of choice but of our cultural and even our neural conditioning. We see conceptually, metaphorically, linguistically. But whatever our culture, we also see to some extent literally. There is always a tension between these two ways of seeing, and between our consciousness of meaning and being…Meaning shapes perception, but in the end perception can refigure meaning, so that at the next stage this may alter perception once again…
-taken from Meaning and Being by David MacDougal

This passage from MacDougal sparked an interest in me to investigate how perception creates meaning in the way we look at gender roles, clothes, and the naked body. How and why do clothes make a man? A woman? How do people perceive others that do not fit in these categories? How about gestures? Depending on our gender, how and why is the way move and gesticulate perceived one way or the other? Why is it so important that we are even clothed at all? When is nudity appropriate, and who decides this? If meaning is created from a pre-condition, a condition given by society, then I wanted to create a performance that would help us to see beyond what the eyes physically see – and into the socio-political and moral climates that create their meaning.

I knew I wanted to explore the naked body as material for the performance. How do you do this in a performance without it looking cheap and contrite? Fortunately enough I came across the ‘grandmother of performance art’, Marina Abramović at the time of this research. “Abramović has used her body as both subject and medium of her performances to test her physical, mental, and emotional limits—often pushing beyond them and even risking her life—in a quest for heightened consciousness, transcendence, and self-transformation” (ART 21 Magazine). Inspired and awestruck by her work, she empowered me to trust my own feelings about exploring the naked body. I realized that this performance needed to be about disrupting the norm, pushing the limits, and taking a risk.

Blessed with four other dancers to take the risk with me, we made a beautiful performance in front of Hamilton Library. Four out of the five of us got completely naked. It was an exhilarating moment – a moment of liberation. It felt like I was my own person for those few minutes standing naked in the lawn on campus with a small and supportive audience. My own person free from the confines of society’s morals, free of the confines of clothes and gender roles. I felt empowered. This is who I am, my world, my body, my destiny.

Before we were able to get to this point of baring it all – we had to build trust. Influenced by the concept of ‘relational accountability’, I knew that this was the only way to work. In fact, it’s the only way to work with people no matter what the job is. Relational accountability “means that the methodology needs to be based in a community context (be relational) and has to demonstrate respect, reciprocity and responsibility (be accountable as it is put into action)” (Wilson). Prompted by this method, my first conversation with dancers was about explaining the piece: the different clothes to wear; the feminine and masculine gestures to work with; the hierarchy clothesline; the chair choreography; and the nudity aspect. I shared also that we only had two rehearsals to create it together. I was very explicit in letting them know they did not have to wear, put on, or take off anything that they didn’t want to. I was also clear about my intention of getting naked at the end of the performance and that they are welcomed to join.

Relational accountability allowed us to be mutually heard, respected, and honored. It made everyone feel like they were a part of the process and not just being told what to do. Nudity is a very loaded subject in our society and I know I had to approach this subject very delicately. I wanted us to all be there for each other, to support each other’s choices, and to not feel any pressure. These were our conditions and we stuck with them. Each of us were held accountable to each other in the process and during the performance. This process of relational accountability is something that I will always use and I mahalo Shawn Wilson for sharing it with all of us.

Another aspect of the process of this performance was auto-ethnography. I asked the dancers if they were willing to journal, take pictures, video, or any other means of documentation of themselves while creating Beyond the Eyes. There were no rules about what they chose to document or how, it just had to relate to the piece being made. Here is a poignant example of what one of the dancers, Lucy, wrote:

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.

The power of dance, as reflected in this practice as research, is evident here in Lucy’s reflection. Dance is my practice, and if I or we, are able to journal and document the processes we undertake to create our art, the amount of insight and information there is invaluable. This topic of the naked and clothed body and the socio-political climates it must navigate through is ripe for the exploration of dance and movement. Practice as research opens an otherwise closed door to the viewers, the audience. These are like the “behind the scene” moments for the artist, but even better. Better because there are no smoke and mirrors, just honest reflections. This vantage point may never be seen otherwise to the viewer or the audience member. Practice as research is not only good for me, but for those who want to see what it was like making it, what we went through, and most importantly, how we felt about it.

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.

December 2nd, 2014

Megan Reflections

I just received this from Megan:

sat.15.nov: So many thoughts came up during this first rehearsal. One thought was that the setting and the cyclic nature of the piece remind me of Javanese theater and music. The second: Wailana asked us to be feminine, masculine, and to use movement to show male/female identities. It’s not that easy, though, because all the movement I thought of was stereotypical gendered movement. I feel this is closely linked with Wailana’s piece.The challenge for me is, how do we use the stereotype of gender roles to be the example of breaking stereotype? I feel like communicating the message to the audience could be tricky; what if we actually perpetuate stereotypes by using them? I’m excited to see the piece grow, I know that Wailana will take it in the right direction. He wants our movements to be clearly masculine or feminine, not ambiguous. How can I use stereotyped gendered movement, but convey a critique on it, challenge it? There’s the obvious dychotomy: be masculine in feminine clothes, and vice versa. Would it be possible to be clear in the opposite way? Can I be feminine, look feminine, and say within the movement something more? And the outrageous part–what would that be? Obviously there are lots of thoughts.

sat.22.nov: Wailana is planning on being naked at the end of the piece and is leaving it open for us to choose how we will be. Am I brave enough for that? Why don’t I want to be naked? Probably for the most simple reason: I’m not used to just being naked in front of strangers. I did dance around naked in a house with three girls once. One was a friend and the others I had met that night. We were just dancing and people started taking off clothes. Nothing sexual, just naked. I guess that was a situation where I felt free enough to go there, and even that was still a little intimidating. Gradual steps for me, I guess. I’m one of those people who get into cold water very gradually. Maybe Wailana likes to jump in :)

tue.2.dec: It’s the morning of the performance. Last night when I was going to bed I was thinking about what different things I wanted to wear during the performance! Hahahaaaaaa, pretty ironic. I wish I had a face mask of an old man or something. Oh well, next time.