Getting Specific

Tom in the YAF Studio
Photo by Yuen Kin-leung Maru

I'm in a funk... the kind I only get into when I finish something that feels really important. Something about this last project in Hong Kong has left me in post-mortem meltdown. I can't quite put my finger on it, and Zach has done a really good job articulating much of what I also feel in his previous blog entries, but somehow the lyrics from the song we used in the Chapel sequence that keeps playing over and over again in my head seems to capture it best:

I know I tried,

but it's hard sometimes

the roots don't take,

it takes a while

and you pull at the strings

but they're broken, it seems

the dance isn't over for me

How do I put it to bed? Well, that's the rub. This time I don't want to neatly tie up the experience and catalog it among the works I've done. I want to use it to work my way into a broader engagement and deeper undertanding of what I feel I've only scratched the surface of.

It wasn't so much about the dance or the workshops themselves, but about the people and the site, learning to live again in a different context which somehow brought me back to the freshness I felt when I first fell in love--with dance, with another person, with a place--it's seeing what you already know anew, and then seeing something more that you never noticed. I'll try to be more specific. After all, we are all talking about specificity here.

Sometimes the images come so easily. Like the wall of hands and the sliding on the Chapel pews. I saw those in my head as soon as we walked on site with Maria Wong for our first visit prior to the workshops. I filed them away, determined to let them rest until they welded with an idea or opportunity within the workshops themselves... but I knew them already. The hands became a chorus of longing and need through the explorations and interpretations of the participants. The shuffling on the pews became an opportunity for levity in a heavy space, and a chance for each of the performers' idiosynchrasies to reveal snippits of personality within the group, popping out in sequence. I knew they were right. I knew it about the participants too. Sometimes it feels easier than it should, like decisions are making themselves.

Of course, I want more time with this, the process, the participants, the project, Hong Kong. It was rushed. The very nature of the project demanded it be, and it was also exactly what it needed to be, in terms of committment, body sustainability, time, money. But in terms of the emotional involvement, it felt like a tumultous relationship, burn fast and then burn out. I'll be pining away for years on this one. But what was it that made it so crazy?

I think the site had a lot to do with it. The traces of so much longing and caring, healing and dying color the walls with grief and with love. We don't often talk about that in site work, but everything that has ever happened in a site is accessible to the artist, especially those sensitive to it. Bethanie is a monument to human compassion and confusion, and you can't help but absorb the vibrations of everything that occured within the space. But mostly, I think it's about the connection between such a large group of strangers, who came together, and in the words of one of the participants, Derek, became not an organization but an organism. Kerry furthered the metaphor to the site itself saying that it felt like we entered its body through blood vessels and traveled into its heart. I think that's true. We definitely got at something big, but detailed too.

My regret is that we weren't able to be more comprehensive. We focused mostly on composition, in workshops, and then through the lens of the performance we created together. What we didn't cover was the politics, administrative nightmares, and headaches of securing a site, getting permissions, permits, and support--something that was lovingly done for us by the Hong Kong Youth Arts Foundation with the generous support of Aedas, and through the loan of the Bethanie site from the Hong Kong Academy of Performing Arts. And, really, there is no way to thank all of them enough, for creating and supporting this opportunity to work together and also build bridges between global arts communities, profoundly affecting us as individuals, collaborators, investigators...

We didn't talk about documenting the experience either. Though, I believe through the blog, videography component, photographs, etc, we set an example. Hopefully soon, we'll have a really kickin video and documentary to share.

And, we never really got as deep as we would have liked to into movement creation and choreography development through site inspiration. It almost seems as if several sub-workshops would've been necessary. I would certainly have liked to have gone further into exploring fresh vocabualry with the participants and also how developing a vocabulary off-site, can then be attuned and shaped or re-shaped into something that partners with the site. Ah well, next time when we do it for longer... I guess that's it, I felt like we all left wanting more--us, the participants, the audiences, everyone--wanting more from the site, from the time, and from each other. And, I guess that's not a bad thing. It's a powerful place to leave off, and in its not-so-subtle way, implies that there is more to be done. I am looking forward to the continuance of this work with the artists in Hong Kong, and finding ways to bring them to New York--to open a channel between the two cities and the artists who are making this important work, bringing dance and performance interventions into public spaces.

--Tom

Photos by Alz Ng

Participant Responses to the Site

We asked each participant to write a short paragraph response to the site on Day Two after we had a chance to do a site-work overview as well as observation and exploration. Below are highlights from the collective responses, and below that, the full text from each participant. We have not edited the responses in any way, only typed them out for inclusion on the blog. Enjoy!

--Tom

Excerpts:

"Bethanie, there might be many stories in it" -- Maru

"I feel like I’m in a tiny cell going through a body,entering from the blood vessel to the lung and finally I come to the heart of this building." -- Kerry

"Knowing that it was used as a sanitorium, these characters do feel very much like the atmosphere of a nursing home or hospital. Also, after studying the inhabitants that were once here, I felt so much more in touch with them in their absence – than I did with the present inhabitants in their presence. " -- Derek

"The Bethanie is not soft, nor friendly, but it’s holy and demands respect." -- Lawrence

"Standing outside overlooking the South China Sea, my mind just wonders into the lives of these missionaries and the recovery process, what could have gone through their minds, their longing for home." -- Tommy

"The Bethanie site gives me a strong sense of frustration." -- Kayuen

"It made to think about a human. How to living and how human fight for their life." -- Odilia

"There is this smell when I first entered the main entrance of the building, a smell that many historical spaces own." -- Catherine

"It is the oldest western building I saw in Hong Kong... The pattern on the ground, the glass on the wall, the doors and the stairs… most of the things in Bethanie are symmetrical." -- Alz

"Enveloped in greenery, the sea view and the gentle breeze, I can feel its regenerative power." -- Gabrielle

"I experienced a sense of sinking deeper within myself, and only once I stepped into the chapel did I feel like I ever walked into a settled space and felt like I arrived." -- Muriel

'Her body, the wall of Bethanie, surprised me the most. It is not smooth at all, in fact, it is rough. It seems like she is trying to protect something or against something. The repeating patterns in Bethanie shows her patience or maybe she tries to remind us something." -- Rebecca

"I love the hardness of the site, the way it challenges us physically, emotionally, spiritually… so much inspiration, and that’s just in the density of the rock." -- Patricia

Other Full Responses to Site

Derek: Upon arriving to the Bethanie site – the surrounding nature and uplifted elevation is very warm and refreshing. The architecture and colors are very pretty and soothing to the eye. But, once walking through and around the premises, it has the opposite feeling. One of coldness, hallowness, coarsness, and hard. It’s very picturesque, but once you personally experience (walk, touch, sit, etc.) in the environment it has a very unsoothing vibe. Knowing that it was used as a sanitorium, these characters do feel very much like the atmosphere of a nursing home or hospital. Also, after studying the inhabitants that were once here, I felt so much more in touch with them in their absence – than I did with the present inhabitants in their presence.

Charles:

Peace.

in a great one piece

Where illness are healed, and where the sicks believe.
Tranquility.

from which comes creativity.

When my senses make, and where my body shakes.

Kerry:
Clean but bloody.I feel like I’m in a tiny cell going through a body,entering from the blood vessel to the lung and finally I come to the heart of this building.

Tommy: Bethanie to me is a very peaceful place, and where my friend got married. I didn’t know that it had such a great history of pain. The history of this sanitorium reflected to me on how determine people can be, the hard work they put in to help others. Standing outside overlooking the South China Sea, my mind just wonders into the lives of these missionaries and the recovery process, what could have gone through their minds, their longing for home.

Kayuen: The Bethanie site gives me a strong sense of frustration. One hundred years ago, the site was a spiritual place for religious purpose. But now, it is preserved as a Heritage something which can be accessed by tourists; and it is rent for the Academy of Performing Arts of Hong Kong for educational use. It seems spirituality is no longer there.

Gabrielle: I had never visited Bethanie before joining this workshop. The first impression that Bethanie gave me was that it is gorgeous and the neo-Gothic style building looks like it doesn’t belong on Hong Kong Island. Reviewing its history, it is easy to understand the geographical choice for this sanitorium. Enveloped in greenery, the sea view and the gentle breeze, I can feel its regenerative power. It’s so peaceful esp in the Chapel. But I can still feel a bit of tension from the rough walls. And there are so many symmetrical structures along with multiple frames. Everything is in order. With its history and architecture, I think it’s really a nice place for a site-specific performance.

Maru: Bethanie, there might be many stories in it. The white colour makes me feel peaceful. It’s like a hospital. But the most interesting is the mixed new and old things. I can dream that I am traveling in a time tunnel. I can go to the past. I can go to the future. And I most like the “box” before entering the Chapel. There, one two ground lights from the floor in front of the sides of the inner doors. If doors closed and just these two lights on, it can be a magic room that people inside can think about their life. The past and the future.

Lawrence: Strong – balanced, dominating. The space has power beyond its esthetic . The hallways are vessels of containment, you can feel surrounded and enclosed, watched by both the modern cameras and visitors that reside through resonating spirit. The depth is shallow, with a commitment to its shape. The Bethanie is not soft, nor friendly, but it’s holy and demands respect.

Alz: I know Bethanie because there is a model in HKAPA. The first time I saw it, I feel disconsolate. It look like a castle. It is the oldest western building I saw in Hong Kong. It is old but you can also say it is modern. HKAPA restored in 2003.
When I be there in Pokfulam, I really enjoy the natural light from its high, colorful glass and the view towards the Peak and outly islands. It’s very peaceful.
The pattern on the ground, the glass on the wall, the doors and the stairs… most of the things in Bethanie are symmetrical.
I enjoy to be dancing there. It is very artistic.

Muriel: A pitched roof, Flying buttresses and pointed arches proudly defend Bethanie on the outside. While on the inside: corridors lined with small rooms focus and lead to the chapel: the space with the tallest ceiling, high ribbed vaults, stained glass tableaux and the most light. The repetition of arches lining the verandah aid in creating a sense of balance, strength, security and safety. I loved noticing that the strong lines and security of the architecture is represented by stone or marble and the doors are of flexible, softer material: wood and light. Passing the arches, the beams of light and going through doors over and over again placed my mind in an active meditative space, I experienced a sense of sinking deeper within myself, and only once I stepped into the chapel did I feel like I ever walked into a settled space and felt like I arrived.

Keene: Bethanie have a over 100 years history. It experiences that the World War. The world financial problem. SAR, etc. It still here and also witness of Hong Kong everything. Bethanie grow up with Hong Kong and who love in there (HK). The building are full of Culture and Art feature. There architecture are full of it’s build feature. When I stay in the chapel I feel so sanctity and peaceful. And also means “Dead” and “Alive.”

Odilia: Is there have any ghost story? Full of secret here? Many people die in Bethanie?All these questions are around of human dying! First, I came there for my audition. I came to the theater room which are on the 2/F. It had a beautiful view to the harbor, and the glass housetop, a lovely sky view! And this is my second time to visit Bethanie, to know about the history there. It made to think about a human. How to living and how human fight for their life. The sunshine come into the Chapel, made me feel peaceful, all the love and sad here.

Rebecca: The first day I visited Bethanie, she was so calm. So peaceful and graceful. Bethanie was so silence, esp inside the chapel. I can hear the sound we made bouncing back from the wall. Her body, the wall of Bethanie, surprised me the most. It is not smooth at all, in fact, it is rough. It seems like she is trying to protect something or against something. The repeating patterns in Bethanie shows her patience or maybe she tries to remind us something.

Patricia: Bethanie is a hard site.

If you’d asked me yesterday I would have expanded on the rich history of the site – a kaleidoscopic layering of faith with healing, sanctuary with hospice, passion with restraint – and the haunting juxtaposition of its role today as a school of film & television – a surreal medium that allows for reality to be mirrored, captured, imposed, superimposed, created, edited, cropped, rewound, sped up.

I would have mentioned the symmetrical architecture with interesting potential for framing; the high ceilings that seem to highlight that separation of Earth and heaven, challenging me as a performer to try and cross that boundary, fill that space. The daily transformation the site goes under as the lighting changes with the journey of the sun and then the change into evening. And for me, I always find some of the most motivating aspects of a site are the different textures of the structures and how they look, feel and emote.

But after the fun exploration and developments yesterday, the only thing that strikes me about the site is that it is literally hard. An inventory of the bruises that colour my body, the marks they leave are inspiration in upon themselves. I love the hardness of the site, the way it challenges us physically, emotionally, spiritually… so much inspiration, and that’s just in the density of the rock.

Catherine: I’ve never been to Bethanie before until this Monday. I’ve always thought, from the pictures of the church, that it is a grandeur church situated in a piece of large greenery. It turned out to be a cozy, warm and welcoming little church housed in an elevated land, yet kept its privacy created by the plants surrounding it; a perfect space for a sanatorium in the past, and an educational space at present. It¡¦s like going to a resort every day, out from the city’s hustle life and dancing in such lovely space. There is this smell when I first entered the main entrance of the building, a smell that many historical spaces own. And the wall, the doors at the side, the patterns of tiles and the high ceiling all reminded me of my high school, which made the experience even more welcoming.

Evelyn:

welcome, says bethanie,
who sent forth its aura to embrace the lone visitor,
treading on its grounds for the first time,
ushering her way
through hollow hallways, hallowed halls.
nolstagia is written
in the air
she stood,
entranced, enthralled, captivated, spellbound,
held—
beyond words, beyond sounds, beyond thoughts way beyond bounds,
as if time has shifted through the embodied space,
life has inscribed itself through the walls that echo
their stories, untold stories.
but yet she is wary…
of the ghosts in the hallways
who peek at her, an intruder
into this sacred, holy place.
101 years, 101 deaths,
101 souls and ghouls, with long white beards,
creases in their foreheads, wrinkled eyelids that hid their glassy blue eyes,
in robes wrapped around their ailing bodies,
crucifixes around their necks.
101 years, 101 deaths,
101 souls who guarded this stone mansion
till their day of rest.
they stare,
down,
God-like,
shaking their baldy heads,
at the intruder, the traitor,
the blasphemer,
who has forgotten,
God’s face and His caring hand.

Bethanie, An Overview

Bethanie in Pok Fu Lam

Hello Blogsphere,

I’m writing a few days after arriving. Still turned around and have not yet totally reacclimatized to being back in Hong Kong. The dim sum is helping, though.

Tom and I just did our first visit to Bethanie, the site where next week we begin the Aedas My Footsteps masterclass series and performances.

Bethanie is fantastic. It is architecturally beautiful. Its grounds are gorgeous. And most exciting for me, the site has a rich, convoluted history. It’s riddled with all sorts of cultural/social complexities and contradictions. Exactly the type of site I get jazzed about.

It is a perfect site to begin teaching and collaborating with a new group of artists.

Following is a reader’s digest history of the site:

Bethanie was built between 1873 and 1875 by French Missionaries to be the first sanatorium in this part of the world. Built in Pok Fu Lam – some distance from the congested Central area of Hong Kong Island – Bethanie was designed as a haven to serve priests suffering from long term health issues and recovering from the rigors of missionary work. Initially, Bethanie included a chapel, 14 bedrooms for ailing priests as well as a service wing and several other rooms.

Bethanie operated as a sanatorium for 101 years. In the interim, it weathered an occupation by the Japanese during WWII and dealt with the repercussions of the Communist revolutions in 1949. Sold to Hongkong Land in 1974, Bethanie seemed doomed to demolition. However, the government resumed the site in 1975, and it was eventually listed as a heritage building. In 2003 the Hong Kong government allocated Bethanie and two octagonal cowsheds (which neighbored the site) to the Hong Kong Academy for the Performing Arts. In 2006 Bethanie re-opened and currently houses the Academy’s School of Film and Television.

The site has undergone several expansions and renovations in its history. Most notably, the renovation efforts prior to its re-opening in 2006, when the Academy spearheaded an effort to modernize the building, refurbish the site, and restore many of the original elements including the altar, main and chapel doors, statues, and stained glass.

-Zach