The Pichet Klunchun Dance Company returned earlier this month to Singapore’s Esplanade – Theatres on the Bay, where a few years ago as artists-in-residence, he and his troupe developed “Black and White”, a compelling contemporary dance work now on tour and which helped company members further develop their artistic and personal bonding. The Esplanade’s support continues with the commissioning of “Dancing with Death”, the company’s largest work to date.
This was a true company work as, except for the latter part, in which Pichet stepped out and through his movements became a spiritual leader conducting this celebration of life and death, but always remained part of this tightly knit company.
Taking inspiration from Loei’s Phi ta khon festival, Buddhist teachings, works by late world-class choreographers like Kazu Ono and Pina Bausch as well as each individual dancer’s background, the work risked being an intercultural hodgepodge. Instead it was a keenly unified performance that reflected the many influences on Thai culture from past to present.
The venue was also experimenting, as the set featuring a large yellow oval with many slopes was too large for the theatre studio where “Black and White” was staged, and the audience’s sightline in the main theatre wouldn’t fit either. The Singaporean producer then turned the upstage area of the main theatre’s huge stage into a medium-sized theatre. The new temporary space nicely fit the performance but the slope degree of the stand was too low and many in the front section didn’t get the angle Pichet wanted. With the oval shape of the slope stage and the fact that he wanted to involve the audience, at least spiritually, I’m wondering if a theatre-in-the-round format might better suit.
Flynow’s designer Piyaporn Bhongse-tong’s costumes showed the sharp contrast between the Phi ta khon-inspired costumes and the off-white attire of the dancers when they represented the spirits. Working in a totally new space, Japanese lighting designer Asako Miura’s job wasn’t simple and while all the dramatic requirements were met successfully, I would have liked to see the dancers float more up and down the slopes. Her compatriot, sound designer Hiroshi Iguchi, keenly combined the soundscape he recorded in Dan Sai and Northeastern Thai tunes led by the khaen, a reed mouth organ, with electronic sound.
Five days before the Southeast Asian premiere of “Dancing with Death”, Pichet conducted a two-hour workshop with local dancers, choreographers and advanced dance students. I wasn’t present at that workshop but like the rest of the audience watched as many of them walked from backstage and the audience stand to join and blend in with Pichet Klunchun Dance Company dancers towards the end. Their movements, and more importantly their celebratory spirit, were an excellent reminder of the Dan Sai people, who are not professional dancers, at the Phi ta khon festival. This once again provided proof that sheer understanding can always accompany skills in performing arts, no matter whether these are traditional or contemporary.
LIFE AFTER ‘DEATH’
– Pichet Klunchun Dance Company didn’t find the funding to bring “Dancing with Death” to Thailand so the company will take a brief pause.
– Next year, “Dancing with Death” will head Down Under, to the Arts Centre Melbourne’s Asia-Pacific Triennial of Performing Arts and the Adelaide Festival Centre’s OzAsia Festival. For details, check Facebook.com/PKLifeWork.
– Back in Singapore, the Esplanade is hosting the first “Super Japan – Japanese Festival of Arts” until Sunday. For more details, check www.Esplanade.com.
This source first appeared on The Nation Life.