Rockbund Art Museum 上海外滩美术馆

Eisa JOCSON is a choreographer, dancer, and visual artist based in Manila. Trained as a visual artist with a background in ballet, a key concern in her work is the question of representation and visibility of the Philippine body.

In this exhibition, we see a karaoke video that combines song and dance performances inspired by folk rituals and contemporary pop songs. Through studying their evocative power, songs ascribed with different influential meanings in Filipino culture are distilled into a growing archive of extracts of phrases, songs and dance routines. For JOCSON, they represent collective notions of femininity to different generations in the Philippines. As an on-going project, JOCSON is using the archive to ambitiously map out a contemporary adaption of the ancient ‘epic’ tradition in order to preserve this memory.

The Filipino Super-KTV-Woman Band is a performance by an all-female trio. Together with her two co-singers Bunny CADAG and Cathrine GO, the performance connects an exploration of migrant labor with formative moments of feminine empowerment through the phenomenon of KTV. By referencing a wider history of song and dance culture through influences pre-dating the colonial era up into the contemporary, JOCSON channels the spiritual qualities of these songs into a new ritual that unpacks not only their affective potential, but also explores the colonial formation, and socioeconomic conditions of a Filipino show band.

艾萨·霍克森（Eisa Jocson）是一名舞蹈指导、舞者和视觉艺术家，生活工作于马尼拉。作为一名受过芭蕾舞训练的视觉艺术家，她的作品主要关注菲律宾人身体的表现形式和可见性。本次展览中，我们将会看到一个结合了歌曲和舞蹈表演的卡拉OK式视频，这样的灵感来源于民间仪式和当代流行歌曲。通过研究它们唤起共鸣与意识的力量，这些在菲律宾文化中被赋予不同影响及意义的歌曲被提炼成越来越多的短语、歌曲和舞蹈片段。对于艺术家而言，它们充当了菲律宾不同年代女性的集体意识。在这个未完结的项目中，艺术家充分利用档案记录对一个古代“史诗”传统进行当代改编，以此来保存这一记忆。

菲律宾的菲女超人团是一个全部由女性组成的三重唱。艺术家与她的两位搭档邦尼·卡达（Bunny Cadag）和凯瑟琳（Cathrine Go）一起，通过KTV现象将对劳工阶级的探索与女性赋权的形式联系起来。通过引用一段更为宽泛的歌曲和舞蹈历史文化，并透过自殖民时代之前到当代的影响，艺术家将这些歌曲的精神特质引入到一种新的仪式中。这不仅揭示了内藏的情感潜力，同时也探索了殖民地的形成和菲律宾表演乐队的社会经济状况。