For Khmeropédies I (2009) and Khmeropédies II (2011), she used female dancers dedicated to classical Cambodian vocabulary meant to entertain the Gods and steeped in the devotional relationship between Master and disciple. Then, in Khmeropédies III (2013) and Brodal Serei (Freestyle Boxing/2015), she used male dancers to continue her movement discussion on classical Cambodian monkey training and Khmer boxing, respectively. In all four works, there was always a twist; she pushed the norm and, admittedly, took heat for questioning traditional Cambodian dance forms. Often labeled documentary-performances, about Khmeropédies I & II one writer wrote, “she has shocked conservative audiences with her modern take on the ancient Asian art form,” and for Brodal Serei, another wrote, “Phuon tests the audience by feeding small pockets of information on Khmer boxing.” Though her drive remains a questioning of contemporary dance, Cambodian bodies, and reinvention of traditional form, she says “adding to traditional…doesn’t make sense anymore.” Her reasons are many, but topmost on her list is that funding and governmental support for dance in Cambodia is “in a terrible state” after a good run of support 10 years ago. Concerned about not being able to support dancers financially, and not having the space and time to really work, for now, she resigned to making a solo. “I know when I’m available,” she said. “I’m not fantastic or well-known,” she adds shyly, but I’m a dancer, “...this piece will actually prove that. [Laughs]"
The new work, autobiographical in a way, titled A Work for One Dancer and Many Sounds, is set to a sound score by the soft-spoken Zai Tang Mcintosh with whom Manou collaborated on Brodal Serei. Continuing to turn things upside down, Manou invited others from her dance life to make work on her. Her goal for this creative process "was to gather as much material, related to conversations: “about dancing in general as well as my own, in the context of my experience and understanding of what dance is, [and] with people who are my friends and peers.”
In the mix are Elisa Monte, Mikhail “Misha” Baryshnikov, David Thomson, Patricia Hoffbauer, Yvonne Rainer, and Vincent Dunoyer. The plan was that each choreographer would be part of the final piece because of their long-standing relationship. In-between, a good deal of time is spent with the Zai and seeing Manou (shy) and Zai (shyer) work together, is very special. “These first three weeks were meant to be messy, all over the place, and free. This allows me to go back with elements that I can choose to develop, or use as is, or discard all together,” Manou insisted. She also gave herself the option of cementing all this later after working with a dramaturge, and possibly integrating some of her husband’s art. That was the plan. So what happened after three weeks?
As promised, in lieu of a showing for invited audiences at the end of the three-week residency, Manou left her door open and I was invited to watch rehearsals with Zai, and later with Patricia.
The Plan: Manou worked with Monte 25 years ago “when [she] was in shape, [laughs]," so they were thinking about that time together. Some thoughts were: “What to do with me now”? "Maybe we will use a video from that time and I will dance in front of it”
The Takeaway: Monte created a pretty long series of phrases and also recorded her story of auditioning for Martha Graham’s company during their time together. Manou and Zai were working on blending the two.
The Plan: Manou danced for Baryshnikov’s company, White Oak Dance Project, and said “if he’s in the building [BAC] maybe he won’t choreograph a new work, but maybe revive a piece from their White Oak days.”
The Takeaway: “I didn’t catch Misha, who was too busy.” she said, but I have a feeling there may be more to this.
The Plan: Manou said she “will work with David because I love the guy. We don’t know what we will do yet, but the last question he asked me was, ‘why do you dance?’ I may want to turn that question back and ask, ‘how do I keep doing it?’ He’s the only one who didn’t ask me to do “dance-y” things.”
The Takeaway: “David’s work attempts to answer the question about trying to find who you are on stage when you are not doing ‘other people’s movement.’ [His] work could be worked on more.”
The Plan: Manou dances with Patricia in Yvonne Rainer’s works as one of the “Raindeers.” Patricia has “a very strange idea." [Manou said she wants to] "investigate everything Asian.”
The Takeaway: “Pat’s work is related to a conversation we had about European dancers who do not train like we do and are not interested in the lines and technique American dancers have, and how dated (as in old fashioned) I feel as a dancer. Pat’s work is not ‘finished’ yet.”
The Plan: “She will probably just interview me and I will probably jog [laughs]. I plan to interview her on technique and her fascination with ballet.”
The Takeaway: Yvonne will do something later (the film “Trio A” messed up the schedule!)
The Plan: the only French choreographer on the list told Manou that he was “going to wait and see what the others do... [then] maybe [his] work will be the in-between.” “He may also collaborate with a sound designer,” she said.
The Takeaway: He wasn’t in New York, so they will work when she is back in Belgium.
Manou is lovely dancer and an agreeable subject whose intention it is to bring to life each choreographer’s work vis-à-vis their symbiotic bond. There is more to come, but for now, she says, “all of this comes about because I perform in the US, I choreograph and ‘innovate’ in Cambodia, using tradition as a point of departure, and live in Belgium where the sensibility about movement and dance is completely different from the US.”
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