Each year, cont·act Contemporary Dance Festival’s Open Stage programme is always one of the most exciting platforms to look forward to, gathering and curating short works from all corners of the world and presenting them as a mixed bill. The diversity you get in a single presentation is unparalleled, and celebrates movement, experimentation and varied perspectives.

This year, a total of seven works were selected from over 260 submissions, with artists from Germany, the Netherlands, Indonesia, Israel, Russia, the USA, Hong Kong and of course, Singapore, as the works cover themes of self-identity, cultural relations, and societal norms; relish virtuosity, camaraderie, and fantastical worlds.

songs for friends: a vinyl (selected tracks)
Ashley Ho (Singapore/Netherlands) & Domenik Naue (Germany/Netherlands)

Telling the story of friendship and memory in the form of a record of loss and growing up, songs for friends: a vinyl (selected tracks) starts with Ashley Ho and Domenik Naue swinging skipping rope about, as they survey the space around them. Engaging in the childhood game of Lom-Chiam-Pas, the game begins friendly and playful, pushing and pulling, before unwittingly, violence comes into play, ending. the game prematurely. The ticking of the metronome in the background seems to indicate how time is constantly going by, even as they keep their rhythm.

But not all is lost, as Domenik asks: can we start from the beginning? Ashley kneels, as if to begin an intimate sharing session, and Domenik shows us baby photos of himself, and of his sister. We learn that the tracks we are about to hear were from an album they made, and Ashley suddenly exclaims how she wants this space to be as wide as possible. And so they skip – not perfect, as they trip or falter from time to time, but always keeping score, almost as if they want to remain true and honest.

What is most important about this work is the narrative, where everything from the choreography to the lighting helps tell their story, a kind of sadness at leaving all this in the past hidden behind their playfulness. Filled with love and hesitation, a complex relationship that deals with as much jealousy and pain as love, the work ends with both artists telling us how Side A of the tape is done. What lies on Side B? That is something that is yet to come, and for us to decide for ourselves in the future.

PALACE 
Megan Doheny (United States/Israel) & Ilya Nikurov (Russia/Israel)

In PALACE, Megan Doheny and Ilya Nikurov explore the hidden world of insecurity and doubt behind the facade of a happy relationship. The work opens with a high-pitched sound, with one of the dancers behind a chandelier. We hear clashing, clanging, the breaking of porcelain and other glassware, and it seems to go on forever, imagining the terrible fight that is happening. Effective use of orange lighting helps to capture both dancers’ silhouettes, while the classical music selected (Mahler’s Quartet for Strings and Piano in A Minor) fits the initial ballet style adopted in their movements.

In this palace, we wonder about the story behind our two haunted dinner guests, dressed in a gown and a suit, as if preparing for a formal event. Over the course o the piece, they explore various styles of dance, finding the best way to express themselves. If anything, the palace feels like a haunted one, as they enter deeper and darker parts of their emotions, with painful memories as they intertwine and explore their relationship. From time to time there is hope, but just as it starts from a dark place, it ends the same way as well, with seemingly no way out.

Jap/Vanese 
Moh. Hariyanto (Indonesia) & Reisa Shimojima (Japan)

Playing on how the words ‘Japanese’ and ‘Javanese’ are only a letter apart, Moh. Hariyanto and Reisa Shimojima collide their individual styles into a single work, in an attempt to forge strong co-existence. This is a fast-paced, high octane work filled with energy, and it becomes difficult for our eyes and mind to keep up with what’s happening before our eyes. But as suddenly as it begins, the music is cut, and Moh sits down, as if meditating, catching his breath. We see him as attempting to calm his restless soul, frustrated and panting.

Reisa on the other hand begins to beat her chest, and we wince in discomfort imagining her pain. It feels like a dance filled with frustration, as expressing their innermost anger like a protest. But this is not forever; as Moh. puts on a belt of bells, he begins to perform what seems like a ritual to ward off bad spirits, cleansing the space as he dances. He seems to be taken over by a greater force, yet still able to showcase restraint, flexibility, strength and poise, fully in control. of his movements.

Slowing down, things begin to quieten, and we feel the importance of setting the mind and soul at peace. We remind ourselves that as individuals we are nothing, and instead, stronger together. As the lights go off, we still hear the bells jingling ever so slightly. Closing our eyes, we can still see them dancing before us and we feel the entire audience together as one, united in this experience.

BALL MEASURES #8 
Dapheny Chen (Singapore)

Dapheny Chen’s BALL MEASURES series utilises a ping pong ball to explore new forms of movement, leading to unexpected activations and interventions. As she takes tentative steps forward, she marks each step with a ping pong ball, curving her toes up and using all her flexibility and pose to show off her precision and innate ballet skills. All this while, there is a deep bass sound that plays, reverberating through our body, as if we’re being blasted into space.

The clock is ticking, and as she races to get to the ball she tosses, it feels as if she is running against time itself, where each time she runs, she seems to slow down and catch her breath. Over and over she does this in the quiet theatre, and all we hear is the sound of the ping pong balls bouncing across the floor after being launched.

Eventually, Dapheny manipulates her body to place the ball on her face, wedged perfectly between her nose and eye. There is something so careful about the planning, so precarious in the changeable nature of the ball that speaks of her control, as. if she has become master over a game of her own doing. Still chasing the ball, she begins to get used to the rhythm, before a rain of balls comes down, overwhelming her completely. Even when it seems we have things under control, the unexpected can throw our trajectory off balance, and we wonder if she’ll eventually find balance once more.

It’s not my body Chapter 3.5 
Wong Tan-ki (Hong Kong)

In It’s Not My Body — Chapter 3.5, Wong Tan-ki explores his relationship with dance, beginning as he lies on his side on a dance mat. Carefully circumnavigating the lighting, our focus is on his body movements, alongside the strength and concentration he puts into it. He is in his element, a work that is stripped down and all about showing off his coordination and mastery over the craft.

Taking off his shirt, it is clear that years of training has gone into his physique and honing his skills. Contouring his body yet remaining firmly within a set space, he seems to understand his own limits, yet contains a multitude of strength amassed over the years. Returning to his initial sideways stance, he positions himself just at the edge of the dance mat, before ‘falling’ off. He struggles to get up again, and it seems to represent the challenges faced throughout his career. Yet given his perseverance, we are certain that he will find it within himself to one day rise again. 

This Appearance 
Nah Jieying (Singapore)

Exploring the fluidity of both body and mind, Nah Jieying’s whimsical This Appearance begins with a balloon on her head, keenly aware of its presence. Kent Lee’s background music is eerie, and we watch as Jieying is cornered, popping the balloon in a single beautiful movement. Under the right lighting, and the smoke machine, she seems to have created a world of airiness.

In popping the balloon, she seems to have entered the sky, moving like an angel amidst vast clouds, gently walking upon them. Dream-like and surreal, This Appearance leaves us in wonder, as she shows us this moment of fun while she allows her mind and body to wander, free.

F I C T I O N S 
Annabelle Dvir (Israel)

Concluding the programme was Annabelle Dvir’s F I C T I O N S, where the Israeli dancer explores chronology and illusion. Completely transforming the stage, thanks to the work of the tireless stagehands, performers Annabelle Dvir, Layil Goren and Noa Shaveh come out onstage in the same clothes, almost witch-like as they stand in the middle of the stage, conversing. They almost seem to be casting a spell, as we hear them hissing, shouting together, as if trying to deal with a possessed child.  

As they begin chanting, the theatre turns a bright red, fully leaning into the pagan elements. Yet there is an evolution here, as the background music begins to become ‘holier’, like Christian worship music. The dancers begin to fling themselves across the stage, before showing us their bruises, as if proof of being abused, and it feels as if there’s a streak of evil and wicked humour they’ve imbued the performance with.

As one of them is put through a ritual, her body begins to contort, and a wave of fear spreads through the audience. They tell us that they are no playing, and it feels almost supernatural, where something spectral has creeped into the space. There is a clear sense of discomfort felt by the end, and we are left to wonder how much of what we’ve seen is real or imagined, a fiction or reality, testament to the power of dance in evoking our minds’ darkest thoughts.

In presenting such a variety of work, Open Stage celebrates the diversity of dance and movement all around the world, and opens our eyes to the sheer creativity that still runs strong through the industry today. These are powerful images and experiments that speak to the issues and concerns of our time, and leave us with plenty of food for thought and space for discussion, as we leave the theatre and ponder the wide world we inhabit.

Photo Credit: T.H.E Dance Company

Open Stage played from 23rd to 25th June 2023 at the Esplanade Annexe Studio, as part of the 2023 cont·act Contemporary Dance Festival. More information available here

cont·act Contemporary Dance Festival 2023 runs from 9th to 27th June 2023 across various venues. More information and full programme lineup available here

Production Credits:

songs for friends: a vinyl (selected tracks) Concept, Choreography, Text, Sound, Scenography & Performance: Ashley Ho & Domenik Naue Costume Design: In collaboration with Nina Perino Dramaturgy: Merel Heering Lighting & Technical Support: Edwin van Steenbergen

PALACE Choreography & Performance: Megan Doheny & Ilya Nikurov

Jap/Vanese  Concept & Performance: Moh. Hariyanto & Reisa Shimojima Sound Design & Composition: Rosemainy Buang Costume Design: Ren Kashiwagi

BALL MEASURES #8  Choreography & Performance: Dapheny Chen Dramaturgy: Emma Fishwick Collaboration: Jootz See Performance Assistance: Natasha Koo

It’s not my body Chapter 3.5  Choreography & Performance: Wong Tan-ki Music: Wolff Bergen, edited by Wong Tan-ki

This Appearance Direction & Choreography: Nah Jieying & Nah Jiemin Performance: Nah Jieying Sound Composition: Kent Lee

F I C T I O N S Choreography, Text, Vocal Composition & Soundtrack Design: Annabelle Dvir Creative Performers: Annabelle Dvir, Layil Goren & Noa Shaveh Body Art & Makeup: Annabelle Dvir Lighting Design: Rotem Elroy & Annabelle Dvir