Kumu: Tawid sa Harbour

I am testing my stamina in live streaming via the KUMU app starting this National Arts Month (February).

The title is a phrase often used by performance makers at the Cultural Center of the Philippines. “Tawid sa Harbour” (Head over to the harbour) subtly means “Let us head over somewhere to talk about what we just experienced.”

I hope that we continue reclaiming our collaborative spaces and creating new public spheres in the time of the global health crisis.

Elizabeth De Roza’s “Creating an Embodied Multi-dimensional Performance Platform”

Just attended Elizabeth De Roza’s “Creating an Embodied Multi-dimensional Performance Platform” via the UPD MA (Theatre Arts) Program’s ArtistTalk.

Thinking about future bodies, pixelated bodies, network-lag bodies, Schrödinger’s cat bodies (when you turn off your camera during Zoom; are you dead/alive?), disconnected bodies, reconnecting bodies, Zoom waiting room bodies, are-you-wearing-shorts-in-your-zoom-meeting bodies, machine-readable bodies, bodies and data, shake-body-body-dancer.

P.S. Next #ripplesworld is on 7 November. Join us!

Registration for the ADSA Conference 2020: Acts of Gathering

Layeta P. Bucoy and I will be presenting the performance-lecture MonoVlog, an Emergen(t)cy Digital Performance.

My long-time friends and colleagues, and a former student will be presenting their papers too:

Sir Anril P. Tiatco’s Performance, Devotion, Gender: Figuring the Peñafrancia in the Bicol Region, Philippines.

Bryan L. Viray’s The Bati as movement of sacred gathering in Salubong.

Ian Ramirez’s Remembering the Utopian Performativity in Today x Future in Manila.

UP Diliman’s CAL-DSCTA’s international partners will be presenting their work too:

Jonathan Bollen’s ‘Glittering in the dark’: audience appeal and the design of attraction at the Stardust, Las Vegas, 1959.

Felipe Cervera, Theron Schmidt, Hannah Schwadron’s Planetary performance pedagogies in (and hopefully after) the pandemic.

Registration is FREE. Click here.