DANCE MARATHON JOURNAL #10
MY MOTHERS AND I
CHOREOGRAPHED, PERFORMED & DESIGNED BY
1 SEPTEMBER, 8.45PM
SOTA STUDIO THEATRE
55min, followed by intermission
Double Bill with Eyes Open. Eyes Closed. (a.k.a. Traitriot)
CHEY CHANKETHYA began training in classical Cambodian dance at the age of five. Chey has worked under some of the world’s leading contemporary choreographers at World Dance Alliance choreographic labs in Brisbane, Hong Kong and New Delhi. She has been a featured dancer in works by Emmanuèle Phuon, Peter Chin and others, which have toured extensively to Europe, the US and throughout Asia. Chey was a featured dancer in “CRACK”, a new work of contemporary Cambodian dance by German choreographer Arco Renz, which received the 2012 ZKB Patronage Prize in Zurich, Switzerland in September 2012.
Today, Chey is one of Cambodia’s most prolific choreographers and has created a large body of work in both classical and contemporary forms. In 2014, Chey obtained her master’s degree in Choreography from UCLA as a Fulbright Scholar, supported in part by the Asian Cultural Council. She is also the Mo Ostin Performing Arts Award winner for 2013. Presently, she serves as the artistic director of Amrita Performing Arts.
CHEY CHANKETHYA RESPONDS TO TSUYOSHI SHIRAI’S ARCHIVE BOX
What were your initial thoughts on first receiving your corresponding Archive Box?
I tried to understand the choreographer’s concept and main purpose. Because I received the Archive Box in a digital format, I paid much attention to the texts and the pictures that he had placed in the digital archive.
From what you saw of the Archive Box, could you imagine what the ‘original’ dance was like? Have you seen the dance?
I saw a photo of the earlier version of this Archive Box, which included some dining cutlery like spoons, forks, plates and wine glasses, a boot and more. From those photos, I could understand that the archivist had created a dance piece that was based on the idea of simplicity and everyday life or routine. I saw how the movements, routines and objects of simple and everyday life could be at the heart of that particular dance, “Still Life”. He is very conceptual. I have seen some of his other works, but not “Still Life”.
How do you archive your work as a dancer and choreographer?
I would like to share the concept of making the dance piece, as well as the images and materials that I use to kickstart my creative process. I would also like to share my approach in making dance and choreographing movement with receivers of my work.
How has working on this Archive Box project affected your notions of archival?
To create an Archive Box, a creator can put everything in the Box. However, creators need to present a clear intention of how they want their users to use their Box. How much information do they want to share with their users? Most importantly, they have to be well aware of the different backgrounds of their users. Meaning that, in general, people will interpret the same Archive Box differently depending on their contexts, so the archivist-creator needs to be open-minded.