WEBZINE ACC

The unique masks that cover faces, the extravagant costumes, the rhythmic beat of an instrument resembling Janggu, and the playful gestures evoke a feeling as though you are watching a traditional Korean mask dance. But if you look closely, the costumes and masks are different from the traditional colors of Korea. Yet they don’t seem entirely unfamiliar or strange. It is a Bangladeshi mask dance that shares similarities with Korean traditional mask dance, but possesses its own unique essence. When you watch the performance, you may be naturally drawn to a sense of familiarity or feel a distinct beauty in their uniqueness. The universality and individuality of Asian culture are vividly conveyed through the Bangladeshi folk dance you encounter for the first time.

The ACC prepared the opportunity to meet different yet similar dances of various Asian countries in one place. The ACC Asia Dance Community presents the “Asia Screendance Screening” and “Symposium” as part of the 2023 international exchange program. The ACC Asia Dance Community has been collaborating with 14 member countries to exchange and explore Asian dance through workshops, international conferences, and performances since 2011. This year, they presented two events including a screendance screening and symposium to inspire solidarity and empathy through Asian dance.

“Mask-Dance, Transformation and Conversation” Sharing the Value and Meaning of Mask Dance of Asia

The symposium held on the opening day under the theme of “Mask-Dance, Transformation and Conversation” provided a platform for an in-depth discussion on mask dance cultures of various Asian countries. It served as an international academic conference focusing on mask dances, which were designated as UNESCO Intangible Cultural Heritage in 2022. Experts in various fields, including Korean mask dance, Bhutan’s Pa Cham, the Boar Mask Dance, Thailand’s dance drama Khon, and Cambodia’s community dance Lakhon Khol, shared their insights into the values and meanings of Asian mask dances.

Bangladesh’s mask dance Kali Kachi: Black Goddess Kali’s Dance, the opening performance, effectively delivered the mystique of Bangladeshi folk mask dance. Kali Kachi is a dance performed with a mask of the goddess Kali and has been passed down among Hindus in the Bengal region. The performance starts with the scent of Huduna* and reaches its climax when the Shatruvadha dance for expelling evil spirits begins. The dance vividly presents the fearsome yet worshiped essence of the goddess Kali through intricate movements, elaborate costumes, and unique masks. This extraordinary performance allows the audience to experience both the universality and uniqueness of mask dances across Asia, transcending borders.

*The incense made from Sal tree resin primarily used for religious rituals in Bangladesh

Screendance Coloring the Fall of ACC Enjoy the Dances of Asia through Videos and Performances

The “Screening of Asia Screendance” beautifully colored the fall of the Asia Culture Center. Under the theme of “Dancing Cities of Asia,” you can enjoy the dances of various Asian countries through films and performances. The screening event featured over 20 dance films from the 14 member countries of the Asian Dance Community as well as India and Japan.

A diverse range of works welcomed audiences, from The Pearl Teardrop (Hàm lệ minh châu) that combines the folk dance and contemporary dance of Vietnam to Arrival of Prince Vijaya (Vijayavatharanaya) that peeks into the founding story of Sri Lanka and The Kitchen that explores the roles of women in a patriarchal society of India.

The Special Performance of Southeast Asia presented beautiful dances from five countries: Singapore, Malaysia, the Philippines, Vietnam, and Indonesia on the first day. Singapore’s Soar was inspired by the desire of the mythical bird “Huma” to fly. It compared Huma’s never-ending flight and the pursuit of freedom to the spirit of an artist. A Bountiful Harvest (Dumendingan) of the Philippines is a traditional dance of the Sibanan tribe in the northwest of Mindanao Island, celebrating a bountiful harvest near a river. It conveys the joy of abundant harvest transcending borders and nationalities. Vietnam’s The Pearl Teardrop (Hàm lệ minh châu) integrated the form of classic ballet and traditional Vietnamese folk dance into contemporary dance. In this four-part dance, the past and present intertwine in a tragic and legendary love story. In particular, Debussy’s music with the ballet beautifully harmonizes Eastern and Western aesthetics. The audience was able to immerse themselves in contemporary dance of various Southeast Asian countries.

The Special Performance of South Asia welcomed the audience with a live dance performance from Bangladesh and works from India and Sri Lanka. Fireflies, a Bangladeshi dance performance, was inspired by the poem by Tagore who left behind many poems in Bengali. The Bangladeshi dance company Shadhona expressed, through captivating movements, the essence of short but radiant thoughts on the life of fireflies, beauty, and divinity based on Tagore’s short poem Fireflies.

India’s The Kitchen is a dance film that explores the roles of traditional women in a patriarchal society. The story, based on the director’s memories of his mother, unfolded with traditional dishes from the 1980s. The story resonates with audiences from various cultural backgrounds. Arrival of Prince Vijaya (Vijayavatharanaya) unfolds an epic journey of Prince Vijaya of Sri Lanka through dance. Prince Vijaya falls in love with Queen Kuveni, and Prince Vijaya becomes the King with her support and rules Sri Lanka. This beautiful dance film delivers the rich cultural heritage of the island nation of Sri Lanka.

The Special Performance of Northeast Asia showcased works from Korea and Japan. Things That Make Us Move by Daegu City Dance Company, the first national contemporary dance company, was an attempt to find the intersection of video and stage performance. It illuminates the vibrant interaction between the audience and the stage, representing a dynamic approach to live art. Japan’s TONARI explores two neighbors in Tokyo and San Francisco 8,000 miles apart, through meaning of “neighbor” or “right next door.” It shows how film, dance, and music can connect people across the sea, making even distant neighbors feel close. Writing Using choreographed by Ahn Aesoon, the former joint chair of the Asia Dance Community (2013-2022), was also screened. It is interesting to look at the process of individual movements collected from universal lives accumulated in the body, including personal histories, memories, pictures, and environments, and create new textured movements through each body of dancers.

The “Screening of Asia Screendance” held during the 2023 Asia Culture Week not only featured dance films but also included live performances to convey the charm of Asian dance art. For the 50-year anniversary of diplomatic ties between Korea and India, the Indian film Natyam was specially screened. Natyam is a film about the traditional Indian dance “Kuchipudi,” conveying a message that “dance is a story that can change the world.” In Asia Plaza, seven dancers from the Bangladeshi dance company “Shadhona” performed the folk dance of Bangladesh in celebration of the 50th anniversary of diplomatic ties between Korea and Bangladesh, receiving a warm response from the audience.

Asian Dances with the Long History and Essence of its Land in One Movement Serve as a Beautiful Bridge for Connecting People and Generations

The “dances” of Asia we meet on the stage or on the screen are not mere visual entertainment that has been beautifully produced. Each movement embodies the wisdom of ancestors and the essence of the land. These dances, passed down over generations, are valuable cultural assets that connect the past, present, and future of Asia. They also symbolize the harmonious respect for the cultural diversity of each country. I hope Asian dances can serve as a medium to connect different countries and people and create a beautiful link of Asian cultures for bridging different generations.