researching melodrama, consuming illusions

Last night at the height of what alcoholics call intoxicated enlightment, I yapped and yapped about the consumption of illusion and projected fantasies surrounding the performing practice. Taking off from the framework of spectacle, with allusions to Guy debord's Society of Spectacle, and debate on virtuosity versus mundane/pedestrian/everyday gestural action so fashionably seen on the contemporary dance stage, the question remains as to how are performances consumed? A performance (dance show, piece of theatre, action or happening) free or ticketed inevitably figures within the relations of production, corresponding to a world of economic valuation and moves as an 'object'–a commodity that is in circulation and exchange of 'things'. Easy speak, pera pa rin yun kung pera. Libre man o hindi. What is a performance' place in the system of production of our consumer-oriented society? Yes, while dancers and performers continually struggle economically, living off from the sweat of a previous work or commercial venture; hell, even pro-bono stuff; waiting for the next 'racket' or some teaching vacancy; all in between, we cramp our creative activities, how do we give actual value to the work that we do.

Mette Ingvarsten in her essay "WORK, Work and work" (The Adventure) speaks of the frames that determine 'work' and the varied ideas of work, including the contexts by which it is used in performing practice. This comes as relevant question as we tease out conditions surrounding contemporary dance practice. As we should (please, please, please) move beyond mere expression in dance towards interventionist acts, provoking questions, challenging even our own stereotypes, embodied advocacies and yes, world peace. Meanwhile parallel performing spaces has sprouted in and around Manila , giving voice to emerging choreographers who otherwise would have faded into the obscurity and impossibility of dance as a career, a sustained momentum for awareness and building audience for contemporary dance is put in place. Herein lies the call for discursive spaces in dance. A space to ask questions about dance-making, pedagogy, technique, agenda, presentation, aesthetic position, choreographic process and mode of production.

We speak of 'work' both in terms of the product and process. In this action, we find ourselves in the paradox confronting our practice. Whereas work connotes a transaction necessitating equivalent renumeration, performing, dance in particular is judged as non-productive activity. It comes as no surprise then that dancers, among the rest of the art practitioners are the ones who are most vulnerable to praticalities of life. Overworked, underpaid art slaves sweating for the glory of what but steady flow of intoxicating endorphins. Still we persist and the audience craves for more. For we embody fantasies and illusions that otherwise has no place in daily life. Both audience and artist thrive on this melodramatic transaction, perpetuating sweat, blood and tears. Guts and self. Braving through even our own hesitations, domestic worries and personal life situation for the 'stage' is a prison that everybody longs to be a part of, nevertheless.

So now, I find myself in this dilemma. Occupying the in-between zones of spectacle. To subvert or to concede. Or should we carve out a new territory, one that embraces both in true anarchist fashion. There is no rush, these days i choose to concede to guiltless pauses and well-deserved silence. Enjoying the illusion in peter pan land, in virtual residency.