Choy Ka Fai

Shamanism meets voguing meets Yishun. For Yishun is Burning the choreographer Choy Ka Fai adapts Singaporean ritual dances for a transcendent queer solo on a multinational stage. The dancer Sun Phitthaya Phaefuang (a.k.a. Amazon Sun) puts himself into states between ecstasy, trance and drag to go beyond the usual attributes of gender, cultural identity and religion. Thirty years after the iconic New York documentary Paris is Burning, this performance interweaves the themes of a globalised world with old and new movement traditions, and celebrates the search for (one’s own) spirituality in dance.

Team
Concept, Documentation and Direction: Choy Ka Fai / Dramaturgy: Tang Fu-Kuen / Spiritual Presence: Kali and Kuan Yin / Choreography and Dance Performance: Sun Phitthaya Phaefuang / Sound Design and Musical Performance: NADA (Rizman Putra & Safuan Johari) and Cheryl Ong / 3D Visual Design and Technology: Brandon Tay / Visual Artist: Sven Gareis / telematique / Light Design, Installation, Technical Direction: Ray Tseng / Technical Direction Singapore Studio: ARTFACTORY / Stage Management: Sanja Gergorić / Touring Administration: Tammo Walter / Production Manager: Mara Nedelcu / Guest Dancers: Magia Prodigy, Loki, Pavka, Jade Mugisha

Wed 16.03.22, 19:00*
Thu 17.03.22, 17:00

Venue: HAU2, Hallesches Ufer 32 10963 Berlin
Language: English, Mandarin, Malay
Duration: 60'

*artist talk after the show

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The piece uses a fog machine, laser light, strobe and flashing lights. Images of a ritual with self-harming acts are shown, which may have a disturbing effect on some viewers. There is a moment of complete darkness. Loud music as well as repetitive sounds are played. Hearing protection will be provided at the entrance. The audience area is seated. Early boarding is possible.

Credits
Yishun is Burning was developed with the support of tanzhaus nrw Dusseldorf and Singapore Art Museum.
Additional support was received from the Nationales Performance Netz (NPN) Coproduction Fund for Dance, which is funded by the Federal Government Commissioner for Culture and the Media, Germany.
The research process was supported by the National Arts Council, Singapore and Kunststiftung NRW, Germany.