Thaipusam

Pain is as diverse as man. One suffers as one can.
— Victor Hugo
“Thoughts,” in Victor Hugo’s Intellectual Autobiography, (1907).

It's pretty fascinating the way people (all over the world) push themselves into extreme experiences. This festival is one of physical testing. It reminds me of stories of saints, of the Catholic pious inflicting pain in order to prove worth. But instead of it being dark and depressing as i imagine those examples were...this is joyous, colorful, communal, festive.

Pain is superficial, and therefore fear is.
The torments of martyrdoms are probably most keenly felt by the by-standers.
— Ralph Waldo Emerson, “Courage,” Society and Solitude (1870).

In Thaipusam, at least as far as I've gleaned from Arul, the idea is beauty. It's all about asking for beauty and creativity. To ask properly you fast for 30 days, abstain from physical intimacy, think pure thoughts and prepare for the procession. Here in Singapore the procession is 4 km, repeated over and over between two temples, for 24 hours. Faithful walk and families join and encourage each other on. Those who do not bleed show that they abstained. Most do not bleed at all.


Everyone carries milk to the temples or buys milk at the temples, to be poured at the alter. There is an incredible smell of milk inside, which totally contrasts with the physicality of the followers. I imagine pain, but none is apparently experienced. and the milky contrast is like yin and yang. male extreme pain (or self inflicted tests that do not apparently cause pain) fused with the smell of mothers, of life. wild.

Mother,
strange goddess face
above my milk home,
that delicate asylum,
I ate you up.
— Anne Sexton “Dreaming the Breasts.”

No pain, no palm; no thorns, no throne; no gall, no glory; no cross, no crown.
— William Penn, No Cross, No Crown (pamphlet) (1669).

preservation and communication.

Govin Tan photo: George James Parel

Live art, performance, ceremonies and rituals are ephemeral by their very nature. It is the responsibility of the creative community to capture and preserve these moments by whatever means available in order to understand identity and history and to communicate to wider audiences and future generations.

astrid almkhlaafy

This last Sunday, I took my designed experiences class to the Sri Sivan Temple in Geylang for an immersive experience into Singaporean identity and culture. My idea was so put the students into an unfamiliar, possibly uncomfortable setting, task them with documenting and let them unfold and observe, absorb and record. The goals of the workshop were multi-tiered: to confront identity, to record and document, to collect ingredients for future projects and to become comfortable in the role of cultural archivists.

This class is quite fascinating. we are working towards the first youth Olympics, briefed with creating content—of an experiential communicative nature— for the opening and closing ceremonies. The actual youth Olympics are in 2010, here in Singapore and the youth village will be on our university campus.

We've been invited by the Olympic committee and Johnny Lau to be actively involved in putting forward concepts for the events, and so ADM has jumped on the opportunity. My course is starting with the meta. What is a ceremony? a ritual? what is identity? what do we hope to communicate to an enormous international broadcast audience about Singapore? who are we? and how do we shape our concepts within the context of something rather sacred? a ceremony of national importance?

Our first field trip then was one of immersion. we were graciously invited by Arul Ramiah to come and observe and document the performance of Sita Jameison and Govin Tan, an Irish female, deeply spiritual chanter and a 17 year old Chinese Singaporean tabla player.

Sita Jameison photo: George James Parel

The setting was within the temple, surrounded by devotees, priests, sounds, smells, colors, details and action. The audience sat on the floor and faced the musicians while to our backs the temple continued on in its activities. The majority of my students were not Indian and none were Hindu by faith. Many had never stepped into a Hindu temple. There was some initial trepidation, but the role of documenting, and the cameras, notebooks and videos helped to remove the focus from self to task. All students had to document in at least two ways. they were asked to take note of colors, of architectual details, of sensory ingredients within the temple. To notice processions, motions, gestures. To observe the actual performance and to document that as well.



This workshop focused on important aspects of a designers' research duty: observing, collecting, archiving, and eventually in sorting and presenting. In the long term i hope to see Olympic proposals that incorporate and borrow, mix and 're-present' details from the experience in original shape and form.

We will continue immersing ourselves in culture over the semester, with the emphasis being on identity and culture. I expect to see some brilliant proposals for the Olympics. It was a very generous first step into understanding the richness of this territory, and special thanks go out to Arul and Sita for setting this experience up.

Here was the temple etiquette we received from Arul

TEMPLE ETIQUETTE
For Camera/Video Crew & Visitors

An Indian temple, like other places of worship, has its own set of unwritten and written rules. Visitors who wish to document temple traditions or temple concerts are encouraged to do so in a culturally sensitive way. Attitude of temples to photography, filming and interviewing devotees and priests vary vastly across temples around the world. To encourage temples to document their oral and social history, Studio Arul encourages you to observe the following rules of etiquette:

1. Attitude of Reverence. A temple is a sacred space where a meditative and contemplative attitude is encouraged. Adopt an attitude of respect and reverence on the temple grounds.
   
2. Respect Elders and Priests. There is a deep reverence for elders and priests within the Indian tradition. Putting your palms together in a prayerful manner when greeting elders and priests is a sign of respect that will be highly favored.
3. Dress Code. A formal and conservative dress code is the best. When in the house of God, there is an expectation that you honor the divine by wearing your Sunday best. Silks, jewelry and formal tailored attires are preferred. No shorts, tube tops or revealing clothes which are considered disrespectful. Socks and shoes should not be worn on the temple grounds.
4. Wash your Feet. If possible just after you enter the temple wash your feet and look up and contemplate the gopuram. This serves as reminder for you to shift your energies towards heavenly matters and humble yourself before God.
5. Sit Cross Legged. Sitting and meditating on the temple grounds after prayers is encouraged. Never point your feet out to the deity or to the performers on a stage when sitting on the floor. This is considered deeply sacrilegious.
6. Smile and Nod. Indians often study another person’s attitude, aura and vibration. A smiling countenance and a humble/agreeable attitude will score top points and typically grant you favors that direct verbal requests will not. Being aggressive and pushy however is culturally unacceptable and will often backfire.
7. Do Not Step Onto the Stage. The stage is often demarcated by a carpet where artists sit and perform. The stage is considered a sacred space and non-performers should not step into this space or allow their kids to run across it.
8. Do not touch the Statutes or Musical Instruments. Certain statutes are considered sacred and should not be touched. Musical instruments are also considered sacred and only the artist is allowed to touch them.
9. Getting Good Shots without Intruding. Many devotees and priests do not appreciate a camera being thrust onto their faces when they are in the midst of deep prayer, meditation or rituals. Keep a respectful distance when filming. And do not block the devotees path or sight of the sanctum to get a better shot.
10. No Meat, Smoking or Alcohol. The temple is a space where the consumption animal meat, and other forms of toxins like drugs and alcohol are strictly prohibited.
11. Learn through Observation. The best way to learn is through observation. Observe what the other Indians in the temple are doing – where they stand and how they partake in the prayers etc. Most priests and devotees do not appreciate being bombarded with questions on the whys and hows of their traditions from strangers. Build goodwill slowly through repeated temple visits before asking questions. The receipt of spiritual knowledge is considered a privilege, not a right.

Taiwan Ghost Festival — OISTAT 2008

OISTAT post workshop poster | that's me in black

Since coming to Singapore, and being back in the diverse and rich festival worlds of south east Asia and greater Asia, I've been on site researching and recording as much as possible. From August 13th (arrival) to 24th (departure), 2008. I was invited to join From Ritual to Theatre – Asian Ritual Festival Workshop, organized by OISTAT Secretariat and supported by Taiwanese Governments. The workshop took place during the Ghost Festival in Taiwan.The opportunity to work with theater people was a first, and housed within this the focus on ritual was extraordinarily ideal.


As one of the international artists, I was asked to present my work in order to be invited, and again, on the second day of the workshop, to the participants. The response to my own work was positive (being a visual communication I was nervous that my work would be too left field). But the live art and the intersection of performance with graphic design history, and my body of work in staging and documenting live art experiences, somehow connected well with the participants who were enthusiastic to collaborate They compared my most recent grant work at Taishan to Christo.


The workshop consisted of a two-day trip to visit the Ghost Festival ceremony in Keelung to observe the Taoist Shaman’s ritual performance, lantern pole erection, folk art parades and the “ water lantern releasing to the sea”. We also were guided through rituals like the “Grand Putu” as well as the Hakka Holy Boar Competition. In the workshop we were expected to share our observations and inspiration with the Taiwanese performing art professionals (directors, designers), as well as theatre apprentices/assistants who toured and worked with us. The intention of the workshop was to encourage intercultural exchange and dialogues based on the grass-roots culture and to transform the ritual into theatrical ideas.

Hakka Holy Boar Winner 2008
a boar, fed like a king for a year, then stretched out and painted and displayed for competition

It was expected that after breaking into smaller groups during the workshop, that we work intensively together in the conceptualization, making and staging of our projects on the final day of the workshop in the form of installations, story boards for a potential production, video/photo documentary and its transformation, design as performance, etc. My group consisted of one of the leading choreographers of Taiwan, Hsiao-Mei Ho—leader of Taipei Crossover Dance Company and Associate Professor of Dance Department of TNUA—and her four dance students, as well as Francis Shen—one of the top costume designers and also one of his students. We worked intensively and were able to bring our areas of interest together into a performance on the last night.

The mandala floor

My contribution was in the concept, the space, the stage design and the experience of the audience. I also staged a ritual using the paper money for the ghosts, which ended up becoming the floor for the audience. For an entire day i layout the papers one by one, into a perfect mandala like shape. It was exhausting. but somehow the absurdity of what i was doing (i had no idea what i was doing until i began and then i was too stubborn to quit) attracted the attention of nearly everyone, and the combination of these papers, the possible presence of ghosts, and my obstinacy in finishing it completely made the entire process elevate on it's own.

There is only one step from the sublime to the ridiculous.
— Napoleon Bonaparte

Somehow within this collaboration i was able to stay true to my own research and interests while working with 2 strong directors. It was incredibly satisfying.

The response to our collaboration was very positive and we are in the process of exploring how to make this into an actual performance in both Taiwan and Singapore. Hsiao-Mei Ho is looking into funding in Taiwan. Further development of works from the workshop has been strongly encouraged and OISTAT is hoping the works may be presented in future OISTAT events such as Scenofest, World Stage Design, or even end up as production in Taiwan.

ittekimasu : and ode to Sisyphus

Ittekimasu | ADM Singapore 8.2007

Upon arriving in Singapore the first project we staged summed up the journey to this place. The building of ADM was an ideal setting for me & kaatje to cathartically push a pretend boulder up and summon up the myth of Sisyphus. So we sweated and pushed and rolled and chased and did it over and over, so the name became Ittekimasu, which means 'i'll be back', in Japanese. It was good. Healing. We did it as a threesome, the little family in black in the new and intense crazy tropical heat.


Somehow the mountain settled on me then and for the last year and a half I've been dragging my research and family up hills and mountains and pushing upwards. It's been rather extraordinary where the research has led—from the ADM rooftop to Wat Tham Suea, to Borobudur and Angkor Wat. More recently we climbed TaiShan and are headed to HuaShan this summer. I'll go much further in detail in the mountain chapter. but what i wanted to mention is that it started here with Sisyphus.

Kal edited the footage and we were invited and submitted to the MilkBar International Film Festival where it was well received and has been listed as an avant garde film.

I made a book out of it, which I've yet to exhibit. I'm thinking of a whole room dedicated to the video posters and book...a yellow green and black event.

Ittekimasu | ADM Singapore 8.2007

what surprised me in the story of Sisyphus is the reason he was punished. It was often said that Zeus took the form of an eagle and abducted Aegina, taking her to an island near Attica, then called Oenone; henceforth known by her name. Aegina’s father Asopus chased after them; his search took him to Corinth, where Sisyphus was king. Sisyphus, having chanced to see a great bird bearing a maiden away to a nearby island, informed Asopus. Though Asopus pursued them, Zeus threw down his thunderbolts, sending Asopus back to his own waters. Aegina eventually gave birth to her son Aeacus, who became king of the island. For his troubles, Sisyphus was punished in Hades by having to forever roll a stone uphill which continually rolled back down before he could complete his task.

What is fascinating is this: Historically the island Egina rivaled Athens. It was the sea trade power spot (like Singapore). Athens did not like the competition. Aegina was the daughter of the sea god Asopus. Was she the primary goddess or original goddess of the island? Is she a hint of an earlier culture that was raped and shaped by the dominant colonist (symbolized by Zeus) mainland power?

She was pursued by eagle Zeus. the shape shifting patriarchal seed planter and rapist and her offspring, Aeacus became the ‘founder’ or first king. The tradition of powerful women baring god seed and birthing leaders is not unique to the ancient greco-roman culture. we live under this tradition through Mary & Jesus today. So now a man is in charge, a man half Zeus. half Greek. but not all is well. Hera (good cop/bad cop marriage) is punitive. I guess I become fascinated in the rivalry of Athens and wonder if myths are not propaganda and historical. because it is stated that later Athens came and squashed the island, as it is also later that Hera comes and kills all of it’s inhabitants. they are then replaced by clone like, drone like worker ant robotic like workers. what a freaky story. what exactly was the role of Sisyphus, the woman Aegina, Athens, Zeus and the geographic rivalry? i wonder.