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Studies: A Power-Induced-Lecutre

《临摹》系列以独舞为主,从城市入侵(urban hacking)开始,捕捉和激发个体与集体在公共场域内的交涉,并在纽约城多处进行回应和创作。这一脉络近期扩展为今年6月参加纽约华人博物馆“中医在美国”展览的讲演演出《临摹:一场带功报告》。讲演化用气功大师带功报告这一组织形式内在的表演性,同时取消大师这一角色。未来主人对气功档案中的隐蔽语本进行动作和话语再造,探究“气”作为一种庞杂、流动、面目不清的知识和传播媒介,如何对个人的身体、精神与认知进行集体调停,借此打开显性社会剧场与现实重叠的可能性。 未来主人与多位素人舞者合作,开设了气功文献工作坊和即兴身体工作坊,每位表演者承担同样的表演和讲演任务,主讲人的话语权威和身体主权被不断重新分配。文本由导演、编舞马汀滢和戏剧构作康康共同创作和整理,艺术写作者黄半衣受邀进行回应。文本涉及了未来主人对气功体现的宇宙观、政治史和控制论的研究,融合了学术和剧场写作,学者徐川亦贡献了重要文本。

Studies: A Dance Cycle provokes and captures negotiations between the individual and the public in different settings—from urban hacking to site-specific response to various locations in New York.Continuing our choreographic language and Qigong research, Studies: A Power-Induced Lecture presents an anti-lecture performance that recreates the ubiquitous form of "power-induced-lecture" in the absence of the Qigong master. Informed by our research into the fragmented, opaque and often palimpsestic archive of audio-visual and printed materials, we use somatic and discursive reenactment to investigate Qigong as an opaque, fluid system of knowledge and communication, where the Qi acts as an unreliable medium in collective processes of bodily, spiritual, and cognitive mediation. We work with amateur dancers through a series of Qigong archive and somatic improvisation workshops. During the performance, the authority and sovereignty of the lecturer is constantly redistributed to performer. The performance text explores the cosmology, political history and cybernetics of Qigong in a hybrid form of academic and dramatic writing. The historian and scholar Xu Chuan contributed to the writing; writer Banyi Huang was invited as a respondent.

This participatory performance proposes a Qigong masterclass as an investigation into the "power-induced-lecture." This form of mass teaching and public assembly mobilized unprecedented numbers of amateurs and practitioners in the height of the Qigong fever in the 1980s-90s that swept over Reform-era China. Studies recreate such a gathering in the absence of the master. Herein lies the opening to a possible "art of not being governed" that is at once embodied, fugitive, and utopian.

The performance will incorporate dance developed from Qigong movements, spoken texts written collaboratively, and a post-performance Q & A with Future Host.

Production:
Directed and choreographed by Tingying Ma
Dramaturged by Kang Kang
Performed by by Quan Xiao, Jessica Lam, Fumihito Kikuchi, Wang Yifan, Zheng Huize

Museum of Chinese in America, 215 Centre Street New York, NY 10013
June 10, 2018
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Curated by Herb Tam and Andrew Rebatta as part of the Chinese Medicine in America: Converging Ideas, People and Practices Exhibition.
Chinese Medicine in America: Converging Ideas, People and Practices and related programs are made possible with the generous support of the S.H. Ho Foundation, the New York College of Traditional Chinese Medicine, Con Edison, the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature, and by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.