It's a Wrap! More insights into 'Hanging In The Balance'

After 2 successful shows at the Esplanade Studio Theatre, there was a post show dialogue after the first show where all the dancers, choreographers and stage crews came out onstage to discuss the various processes and insights leading up to each piece. 3 pieces were presented as part of Co.Lab Asians - 'Hanging In The Balance' by Isabella Guistina, 'All Ears' by Miwa Okuno and Lee Ren Xin, 'Playing Stones' by Ji Kyungmin.

Moderated by Yarra Illeto, a prominent figure in the local dance scene as a dancer, choreographer and mentor, some really interesting questions were posed to the choreographers as well as the dancers to help the audience gain a better insight into each piece. I thought it might be nice to share my 2 cents worth on the process of 'Hanging In The Balance' with questions that people have asked me (off stage, in person).

Q: Did Isabella come prepared with material, or did you guys have to improvise a lot?

Isabella came prepared with material that she had created previously before arriving in Singapore to work with us. In our very first rehearsal, we learn 3 phrases of 3 different qualities, which became the backbone of this piece as the rehearsals progressed.

The 1st section were shapes that we improvised in solos, duos, trios, quartets and finally quintets. We were told to imagine totem statues, ever-changing shapes and landscapes happening internally within the body and externally alongside 4 other bodies. (as shown in the photo above taken by Bernie Ng)

Q: What was the most challenging for you performing this piece?

The most challenging part for me was to upkeep the stamina throughout the piece. As we strung phrases of material together, we actually ended up with a piece that was almost 45 mins long! It could almost be a full-length piece, but unfortunately the requirement was between 20-25 minutes. I struggled to find moments of exhalation, moments of explosion even though my body is already physically taxed.

Getting the quality and dynamics of Isabella's movements were challenging too, as they were not in my natural 'default' style of moving. Her movements are strong and dynamic, with a lot of spirals and flying across the floor whilst looking like you're strong. Even when you are showing fragility, there is still an inner strength. She's a beast!

Image by Malcolm Fu

Q: Since there is such a specific movement dynamic and musicality created by Isabella, did you feel like you could be 'yourself' (for a lack of a better word) in this piece?

Yes, there is a very specific rhythm and movement dynamic that we have to execute. Isabella enjoys dynamic very much, so there are definitely moments of explosion, moments of softness and moments of individuality. She does not enforce on how we execute the movements, so I feel that there is space within that to find our own individuality whilst performing this piece. At the end of the day, there are 5 individuals onstage with very different experiences, notions of strength and fragility. We all relate to the title, the process and even each other in different senses, so it is nice to be able to have that during the performance.

Q: Was there a language barrier when working with Isabella?

Not at all! Isabella has a really good command of the English language, so we were able to understand and communicate honestly and effectively. If language failed us, we would express it with our dancing and bodies. Through that, there is an exchange where we also got to learn a little bit of Italian. We got to boogie to Italian songs which I have no idea what it's about, but it's hilarious nonetheless.

Image by Bernie Ng

Q: What is the biggest takeaway for you?

That I got to be stronger in my own dynamic. To be able to trust my body and really push it to the limits of what I thought I was capable of. Not going to lie, it is physically exhausting to do this piece, and there were times where I wasn't sure if I was able going to get through it. I really found myself hanging in the balance between strength and fragility (not intended, but heh). So, I was not comfortable in sitting back in my old habits, but to push and explore ranges of movement and musicality. From being the understudy to eventually a part of the piece, I am grateful to Isabella for the opportunity to learn and gain a deeper understanding of my own artistry and ways of moving. Not to mention the 4 other dancers which I have learnt so much from.

Here's a short link to an interview with Isabella herself, explaining the motivations of the piece and an insight into the working process!

If that is not enough, here is a review written by Issac Lim, as part of FiveLines Asia, a contemporary dance initiative in Singapore. (https://www.fivelines.asia/co-lab-asians-exciting-show-well-worth-watching-review/)

"First of the three acts, Hanging in the Balance by Isabella Giustina from Italy, performed by members of T.H.E Second Company. The dancers first appear in earth tone attire, moving through space as strangers who deny each other’s presence, as they reach out to stand out from the crowd. Against an upbeat percussion soundtrack, they weave within one another, each movement and action intentional and purposeful, releasing a sense of hope amidst the competition.

It is midway through that when the dancers put on white shirts and black trousers, that the narrative takes a turn towards the dark. Floorwork dominates the second half, as the system markedly slows down almost to a dread. The movements are repetitive, cyclical and recurrent. Almost like monologues, everyone takes turn displaying their vulnerable self on stage, as they negotiate their beliefs and convictions against their insecurities and weaknesses. They push and pull each other, in a constant struggle between dependency and independence. Hanging questions human’s race between opposing fractions and values, and pronouncedly life’s fragility."