Sorry, Salamat is a performance piece evolves around the emotional upheaval caused by family expectations and pressure, then culminating in the joy of accepting that I am me and can be at peace with my heritage and past.
I escaped those expectations when I migrated to Australia but often would sense and feel like a failure in the eyes of the family members I left behind.
The performance / contemporary dance routine taps into my cultural and religious heritage along with these expectations. I take the audience on an emotional roller coaster where I experience failure and despair, peppered with moments of Elation and times of triumph but always a resilience to go on and reach my full potential.
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ART CAMP ARTIST RESIDENCY
Funded by Inner West Council 2021
Photograph by Shane Rozario
Ate Indai was part of EDGE 2021 Art Camp: 16 April to 9 May 2021
This 24 day on-site residency project sees nature and creativity converge in one breathtaking hub. Both the natural and creative worlds are at a tipping point – impacted by urban growth, climate crisis and now COVID-19. We face enormous challenges for our ecosystems to survive and thrive.
Diverse art projects are being developed in creative spaces such as shipping containers, under bridges and in community venues like the Wanderers, Café Bones and Canal Road Film Centre. Come along to wander the site, meet artists and see their work develop, or book in for workshops, talks and pop-up performances sharing insights into how art is made.
Ate Indai is pronounced Ah-thay In-dye.
My artwork has three common goals; community and audience engagement, addressing important social issues, delivered in a fun and interactive manner. My concept for the project brief in utilising the space in a community interactive experience shall be reflected by my alter ego character ‘Indai’.
‘Ate Indai’ is a theatrical take on a Filipino mother/carer who leaves her family in the Philippines and works abroad so that she can send money back to the family. They often work as hospitality staff, carers, cleaners or nannies. These women not only ensure the survival of their family but can also fund an education for the next generation.
During my 3 weeks residency I was able to build with an assisstance of Rod Nash with the pedicab and I have develop my character 'Ate Indai'.
About the pedicab.
The Pedicab created an interaction point for people to discuss not just the social issues around the immigration but also how the pedicab was made. Indai was able to describe the recycled materials used and why as well as the use of bright colours. The Pedicab was inspired to showcase how Filipino's are very resourceful and skilled with creating practical items with limited materials and resources in an effort to eke out an income for their families.
'Ate Indai' Performance
ARTIST IN RESIDENCY THIRNING VILLA
Ashfield, Inner West Council 2021
Thirning Villa artist residency was my one week residency, I emerge myself in Ashfield and played the word 'Placemaking' a word that was repeated and overused in the arts.
Cementa Festival, Kandos 2019
The performing artist, Rosell Flatley, visited Kandos in August to research her performance for the Cementa Festival and after visiting the museum found a reference to the Girl Guides that resonated with her.
Her daughter is a member of girl guides and Rosell herself was in Girl Scouts in Tagbilaran as a child.
Rosell's character, Indai has joined us today dressed in her Filipino Girl Scouts uniform (in her own style) as a symbol of the cultural similarities that existed between the communities of Kandos, in rural NSW and Tagbilaran city, in the Philippines.
In Kandos we had the Girl Guides, no longer operating but we do have Scouts, and in the Philippines we have the Girl Scouts. Both of these started to flourish in the early 1940’s.
Her performance today is from Indai’s perspective of the girl guide movement and how it shaped the community of Kandos. In a mostly male-dominated society, the Girl Guides was an opportunity to learn new skills and share stories and experiences. It was also an escape from the mundane lives the girls and women of the region endured in a community that evolved from the cement and quarrying industry and which was geared to support the working man.
Indai is camouflaged in her girl scouts uniform to blend in with her surroundings. This portrayal of invisibility is sending a message of the cultural beliefs of the time that a woman's place was in the home. They should be active in rearing the children, cooking the meals and keeping the home clean and tidy but seemingly not present in the wider community. Indai is also portraying the current cultural stigma of her homeland where educated and successful women are expected to give up their careers once they marry and have children.
Indai welcomes you to join in and interact during the performance and you are encouraged to take photos and video for the communities archive and share your experience of this artwork across social media platforms #indaiatkandos.
The materials provided can be molded into aspects of the town, real or imagined, that helps the individual connect to the community.
Fairfield City Museum & Gallery
Rosell migrated from the Philippines to Merrylands as a refugee child with her family. The experience of dislocation and social isolation has shaped her artistic practice. In Filipino culture, a highly religious and Christian nation, art serves a central role; of defining one's place in society and maintaining social structures, and is commonly reflected in the interplay between performance, music, dance and art. 'Tahana', 2019, is born as much from Visayan, Thai and also Malaysian word for home or refuge as the artist's own negative and positive experience as a migrant. In Indonesian, Visayan denotes a prisoner or detainee. Tahanan explores what it means to come from a nation which is one of the world's largest diaspora groups. The house skin is made of textiles, sourced from Op shops (charity shops) and donations which forms the canvas for the artist's painting. The structure itself acts as a refuge, a place for gathering, a place of welcome and acceptance. Throughout the exhibition, the interior will be transformed into a meeting or social space to share food, experiences and exchange stories.
Written by Carmel Aiello
‘Analysand’ is a performance program celebrating those with powerful lived experiences as agents of resistance and knowledge. Performers deflect and protest against medicalised, sexualised, racialised and gendered analysis. They create and own their own readings of internal and external experiences, and have carefully chosen what to share with you.
Curated by Kate Stodart
PACT SALON: SLURP
The first PACT Salon of 2019 is curated by Carla Zimbler and Mikaela Stafford.
Pact Salon: SLURP! is an exploration of sensory response and nostalgia, engaging with the five senses to fully engage and immerse the body in a liminal space. It encourages self-discovery, asking the audience to peer inwards, meditate on sensations of touch, taste, sight, smell and sound as they weave between A/V chambers that inspire dialogue and connectedness. SLURP! is a syrupy sanctum of sensation.
Introducing my alter ego to my Nanay (grandmother) in the Philippines is the most terrifying thing to face. She is a strict catholic and never knew what I do for work. This was an experience for me to break the barrier and talk
Collaboration with Digby Webster.
Stop motion video.
Stop Motion Video