Personal Reflections and Summary of Days 1 & 2 of ricca ricca* festa

Updated on July 26, 2017 in ricca ricca*festa 2017
0 on July 26, 2017

I’ve not seen as many performances as I have the past few days at ricca ricca* festa!

Summarizing the performances I have watched since Day 1 (25 July 2017) till today Day 2 (26 July 2017):

  1. “Pling, little thing*” by Theatre o.N. (Germany)

With “voices, shadows, stone…a musical performances for ages 2 and up”

  1. “AGAIN” by Aaben Dans (Denmark)

“A dance” …and light “performance for the smallest children (4 months onwards) and their adults about the joy of life”

  1. “Three Little Songs” by ACO Okinawa (Japan)

A play based on the essence of specific emotions in fairy tales (and the twisting of it) for children 6+ onwards.

  1. “Puzzle” by Dansema Dance Theatre (Lithuania)

For 0 months to 3 years, where performers enacted playful moments from the perception of our very very super young audiences.

  1. “I on the Sky” by DynamO Theatre (Canada)

For children 9+ onwards with music, dance, acrobatics and a narrative about a pressing but often not talked about issue of exile and refuge to children.

  1. “One Morning I Left” by Teatro de Ocasion (Chile)

Imaginative, creative, musical…for 4+ and up

Some of these performances were followed by discussions with directors and artists of the show, where we got to understand on a deeper level their creative processes, intentions, issues and challenges in developing the production.

From the discussions amongst the Asian TYA Network Programme Participants, multiple perspectives were shared, and the diversity of performing backgrounds contributed to a pastiche of varying performing arts practices across some SEA countries.

I wonder, however, about “inclusivity in diversity”, or “unity in diversity”. While differences need to be empathetically acknowledged, and the differing cultural contexts approached with sensitivity, I wonder how we could work towards the advantages of such a myriad of experiences where the tensions in differences could result in emphatic attunement which may result in further collaborative co-construction of meanings for TYA in SEA.

Apart from these performances, I had the opportunity to witness 2 workshop sessions:

  1. Workshop by Gill Robertson: Non-verbal performance for Younger Children
  2. Workshop by Alex Byrne: Multi-lingual performance for Older Children

While the short 1 hour observation sessions only allowed me to catch a glimpse of what the learning process of the participants may be, I wonder if future workshops may consider not only engaging foreign, western methods but consider collaborative efforts between both Western and Asian masters in co-planning and co-instruction of the workshop, such that there may be a balance of ideals, philosophies and aesthetics from the perspective of global or ‘glocal’ cultural contexts.

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