C2A International Workshop 2 with No Strings Attached Theatre of Disability and Culture Maru

The energy was already high going into this workshop. Typically dance moves have names, however, Culture Maru started with something a little out of the ordinary and began the workshop by getting everyone to rhythmically introduce themselves with a dance move that represented their quirkiness. The next time I see someone doing a cute little bunny hop, Kathryn, our NSA performer will be the first person that pops in my head. Once the introductions were done, it was time to play a game.

The 3, 6, 9 game, a Korean classic schoolyard play, where the participants start reciting the numbers but every time the numbers 3, 6, or 9 came up it was replaced by a clap. It went a bit like one, two, clap, four, five, clap, and so on. However, our performers were up for a challenge. The claps were replaced with their signature move. A penalty was put into place for those who muddled up the rhythm - a five-second solo freestyle dance performance. It was a simple game with a personal twist. Soon both studios had the same enthusiasm you would see at the school playground after hours. With laughter ensuing, it was time to move on to the next part of the session.

While most cultural exchange happens through stories or over food, this workshop was all about using dance as the medium but always with a personal twist. Speaking of twists and turns, the performers learned the Circle Dance or Ganggangsullae (강강술래), a Korean dance that celebrates and prays for a bountiful and prosperous harvest season. Our dancers emulated the salted fishes that were strung up to dry, twisting and turning around to tie and untie themselves. The combination of cultural exchange and movement development was exciting to see and you couldn't help but also sing to the catchy beat or move a little while watching them.

After a well-deserved break, the Culture Maru dancers Mingyun and Gyusang gave a mini talent show that got all the dancers moving once again and kick-started the second session. Mingyun came in with his ukelele and Gyusang with his trusty microphone. Although the dancers wanted to keep going, it was time to wind down. They found comfortable spots around the room where they felt the most relaxed and proceeded to focus on their breathing. And slowly stretch their arms, legs, and body and very consciously move them. Then it was to acknowledge the person beside them. They then used eye contact to connect energies through the tips of their fingers or the space between their palms. A subtle flow of calmness was felt in both studios where no one was leading or following but appeared to be a symbiosis of movement.

They were focused on exploring and moving within the immediate environment but gradually extended themselves to the performers on the other side of the world. Some of our performers became mannequins and others became operators where they gently moved limbs around and gracefully modeled them into an art form. The remnants of the first session's laughter and playfulness also made an appearance as the performers played with the camera and their partners on the other side of the world.

With all the playing and moving, it was time for a massage. Everyone formed a straight line facing their friend's back and was tasked with giving each other a good massage. The session wrapped up with the performers reflecting on what they enjoyed the most and shared their excitement for the next workshop.

Written by Trena Jenifer

Marketing Officer (trena.jenifer10@gmail.com)