Innermost ghost hosts almost post dance
The following documents consist of her readings, thoughts, feelings and makings, during the period of April to June 2020. While staying in during the lockdown period, she had to strike a balance between her different needs – for work, caregiving, dance, rest, conversations, world news, growth, etc. Many intersecting themes arose as she examined the colonising and racist undertones of how postmodern dance is presented and taught, what that means for a dancer who has embraced certain postmodern dance ideologies, while keeping abreast with the systemic social injustices that have garnered heightened attention over these months, on national and international levels. It became inevitable for Faye to also investigate more deeply the implications for her domestic and professional spaces.
Innermost ghost hosts almost post dance (short film): This is an artefact of my feelings, thoughts and movement, between the months of April to June 2020. It exists for me as a paradox, bringing to mind (thank you, Jill) the notion of the “structure of feelings” (Raymond Williams). I conflate structure, reason, feelings and mess, and present them through this film, with pseudo-logic, bringing in references to abstractionism, post-modern dance aesthetics, my collaborative art-making practice with my young son, my propensity/ability to cry in public, Orientalism, and autoexoticisation. It also reflects my deep-seated need to engage with hierarchy and fold it, cut it, poke holes in it, dance with it and be with it. These are fueled by past conversations (such as a digital discussion organised by Critical Path Sydney, see below), and multiple readings, including Yutian Wang’s “Choreographing Asian America.” This film is dedicated to Justine Shih Pearson, for giving strength to my tears. It is made possible with the support of Dance Nucleus and Critical Path. Thanks to Ollie C for sharing your wonderful paper people practice with me, Alice Cheah for your artistry, fervour and trust and Xi Jie for your patient and profound partnership.
Dancing-in-Place Values (image): This is a screen capture of a discussion I had with my collaborators. It is now called Dancing-in-Place: Movement PenPals. As part of our process laying the foundations for the project, we discussed our values and how we would enact them in this project. Being aware and respectful of the diversity and differing needs of the young dancers was important to us, along with the need for care considerations all around, privacy and an embracing of the “mess” that will inevitably be part of the process.
Critical Path Digital Meetup (transcript): This is the textual documentation of a digital conversation convened by Charmaine Seet and organised by Critical Path Sydney. We discussed Miguel Gutierrez’s article “Does Abstraction Belong to White People?” Participants include Anna Kuroda (Sydney), Bernice Lee (Singapore), Charemaine Seet (Sydney), Faye Lim (Singapore), Justine Shih Pearson (Sydney), Lu Shirley Dai (Beijing/NYC), and Ting-Ting Cheng (Taiwan). The second iteration of this project includes videos submitted by each of the participating artists.
Faye dances, facilitates, performs, improvises, makes, and mothers. Her practice in movement and contact improvisation, experience working with young children, and never-ending play with her son form the base for her work in Rolypoly Family.
Her work history is multi-faceted, including collaborative performance-making (with Strangeweather Movement Group among others), teaching children and youth, developing community arts research and capacity building with the National Arts Council (a public arts agency) and advocating for and facilitating impact measurement in the non-profit sector with Just Cause Asia.
Prior to her work in Singapore, she performed and taught in New York City. Faye holds an M.F.A in Dance from New York University and a B.A. in World Arts and Cultures from University of California, Los Angeles.