© Heidrun Löhr
A five-hour durational performance and installation with five performers
Experience a remarkable collision of dance, sculpture and live electronic music with xhe. Unfolding over the length of an evening, this immersive performance by Daniel Kok and Miho Shimizu envelops the audience in a search for the elusive xhe: a figure that is not a he, not a she, not an it. Pronounced “zhee” or like “j’y” in French, xhe is the pronoun for the possible, the queer or the multiple, a figure that moves between a Square an an Octopus.
In “xhe”, Daniel Kok and Miho Shimizu explore how a singular body might already be an expression of multiplicity, whereby one is always already other and many. The durational performance is a choreographic mash-up of different forms - part installation, part dance, part concert - bringing different international artists together in search for this elusive figure.
As we spend time together, we hope to summon, to discover, to receive, even to become xhe.
Concept & Choreography
Fliastine & Nova Ruth
Melvin Tan / CURRENCY
Management and Distribution
Technical Staging Manager
Yap Seok Hui
Esplanade Theatres By the Bay (Singapore)
Live Works Festival of Experimental Art (Sydney)
With the support
Naomi Migrom Foundation
“...But the imprints of such mysteries deepens the excitement of the work, throwing into possibility a multiplicity of conclusions. Borders collapse; beginnings, middles and ends are drawn, then redrawn, line after line more blurred. xhe never retreats into passivity. The performance proclaims improvisation as a springboard to stretch the limitations of imagination (of both the performer and audience.)”
“Exponential Becomings” by Amelia Zhou
“When I left the performance, I was euphoric. After spending two hours in Kok and Shimizu’s colour world, I had been instilled with a sense of play and child-like wonder — imagine the liberating possibilities if such a space could be open to all.”
“xhe”, By Soo-Min Shim
“xhe is layered like an onion. You get drawn in, there are even tears, but staying on the outside to admire its cool roundness remains an option. Graphically, there are plenty of angles, but the experience of space is never sharp. My feelings of discomfort are similar — occasionally I question why there are quotations of whaacking, or mohiniyatham, both recognisable and codified dance forms, and then I question why I question those choices, whereas I don’t question the choice to play with, for example, hitting a microphone against a box. There is a lot of baggage here, and in scrambling through a jungle of possibility, we perhaps find each other.”
“xhe is layered like an Onion”, By Bernice Lee
“In this desire to become an entity between ‘a square and an octopus’, I am reminded of the urgent need for us to attend to the existing limits of our bodies and participate as an ethical agent in this world we share: to locate each other not in Other worlds, but attend to an alteration of our communal present to make it bearable in our co-existence.”
“Caught Between a Square and an Octopus”, By Loo Zihan