Dancing in the SHADOWS

FROM NEW YORK comes the very welcome news that Pichet Klunchun has become the first ever Thai artist to receive the John D Rockefeller third award. He joins a list of arts mavericks that includes Taiwan’s Cloud Gate Dance Theatre founder Lin Hwai Min and the late theatre director and founder of La Mama ETC (Experimental Theatre Club) Ellen Stewart.
The Asian Cultural Council (ACC), now celebrating its 50th anniversary, issued a press release on Tuesday, saying, “Although recognised as Thailand’s foremost classical male dancer, as a choreographer, Pichet Klunchun’s work challenges the traditional conventions of classicism by infusing it with contemporary forms”.
The acclamation continues, “Pichet Klunchun’s discovery of contemporary dance, first in New York City and then at the American Dance Festival in Durham, North Carolina – courtesy of a six- month ACC fellowship – radicalised his thinking and fueled his imagination. His natural curiosity drew him to Jerome Bel, one of France’s most celebrated avant-garde choreographers. Together they created “Pichet Klunchun and myself,” which was subsequently performed at Philadelphia Live Arts, Dance Theatre Workshop in New York City, and at the Jacob’s Pillow Dance Festival in Lee, Maryland. The duet went on to win the 2008 European Cultural Foundation’s Princess Margriet Award for pushing the boundaries of an art form beyond national interest.”
The other two artists selected this year are Cambodian American composer Chinary Ung and Indonesian arts leader Amna Kusumo.
Responding to this news, Pichet says, “I’ve never worked for awards and so every time I’ve been honoured like this I stop and think about what kinds of effect it would have on me. I really admire those agencies that give out awards like this for their ongoing research on the artists’ works.
“I think this recognition will have more effect on the future of Thai dance itself than on me and my company. Khon, classical Thai masked dance theatre, has never been part of the international dance field – it’s been regarded merely a performing art culture and a national heritage seen at cultural exchange functions rather than a living art that can be experienced and enjoyed in theatres and arts festivals. Now that I, who was trained as a khon dancer, has been given this prestigious award, I think many people would start to consider khon differently.
“Also, a lot of people here in Thailand especially have disagreed with what I’ve been trying to do and this might change their attitude.”
With the support from the Bangkok Art and Culture Centre, Pichet has significantly revised “Tam Kai”, seen last year in eight Netherlands cities as well as at “Our Roots Right Now” festival and his Chang Theatre.
“This is a dance in the museum, not a dance in the theatre,” Pichet says, referring to one of the major differences.
“This is my response to the venue and will also serve as a preparation for my work at a Berlin museum in July. The audience’s perspective is key here. Although the venue is quite large, only 28 spectators are admitted to each performance and all of them are seated on the floor against the wall. In other words, all will experience the work from the same angle and level so it’s like you’re watching a two-dimensional painting. The lighting has also been redesigned accordingly and throughout the performance, the dancers who are positioned considerably far from the audience, are seen in silhouettes while the late National Artist Boonyong Ketkong’s rendition of ‘Krao Nai’ is heard.
“In the previous versions of ‘Tam Kai’, the dancers were in clear light and could communicate with the audience directly. This time, you can see them but not vice versa.”
 LUCKY NUMBERS
- “Tam Kai” will be performed at 7 nightly from tomorrow until Sunday in the Bangkok Art and Culture Centre’s fourth-floor studio.
- Tickets are Bt700 (Bt300 for students).
- For bookings, call (083) 863 7585 or (091) 7781876. For more details, visit Facebook.com/pklifework.