The Russian colossus of ballet didn't exactly master Thai classical dance, as Pichet Klunchun demonstrates
A century ago when Siam's Bud Mahinot Dance Company performed across Europe, the great Russian ballet dancer Vaslav Nijinsky was so inspired that he created a solo called "La danse siamoise". This he performed at the Mariinsky Theatre in St Petersburg and later at the Paris Opera.
Photographs of Nijinsky striking poses from the choreography - taken not onstage but in an outdoor garden - have now in turn inspired a "re-creation" of his performance.
The Pichet Klunchun Dance Company's "Nijinsky Siam" had its world premiere at the recent Singapore Arts Festival as part of the Esplanade's ConversAsians.
The audience was enthralled from the outset with newly crafted nang yai - large shadow puppets - depicting Nijinsky in some of his poses from "La danse siamoise".
Pichet, Sunon Wachirawarakarn and Padung Jumpan introduced themselves afterward and the characters they'd performed - the female lead, or princess, the demon and the monkey - while the screen held a photo of Nijinsky with the words "I am Nijinsky. I am a Prince."
The photos of him changed, moving from one pose to another, while Pichet, Sunon and Padung danced their own characters, in total silence.
This suggested that the audience should focus solely on the movements so they could see that "La danse siamoise", despite the similarities, was far from classical Thai dance.
The 50-minute show closed with Pichet in a costume reminiscent of Nijinsky's ("rather Tibetan than Siamese", he said). He showed Singapore what St Petersburg and Paris watched more than a century ago, and for those who understood classical Thai dance, it looked like nothing more than a cultural mishmash.
The scene ended with the line "My name is Pichet Klunchun" projected on the backdrop, stressing who he was not.
"While I was performing this scene," Pichet said while chatting with viewers after the show, "I could hear Nijinsky laughing."
For me, this confirmed that Pichet was making a comment about colonialism with his investigation into the Russian's inventiveness 100 years ago.
Cultural exchange between Asia and Europe has become more two-way than it was in the days when transportation was slow, but it's still far from balanced. Asians were always more interested in Europe anyway than vice versa.
Pichet's research is valuable as a reminder that, in an era of arts festivals and other forms of global cultural exchange, we need to understand what it is we're borrowing.
"Nijinsky Siam" is now touring Europe. It will be interesting to hear the Eurocentric views - some may call it an homage to the Russian, a mere re-creation of "Le danse siamoise". Let the debate begin.
The show had its European premiere last night in Mulheim, Germany, and continues there through tomorrow. In August it will be staged at festivals in the Netherlands, Slovenia and Switzerland.
No Thai producers have shown interest, but "Chui Chai", another work by the Pichet Klunchun Company, debuts at New York's Lincoln Centre Festival later this month and will be staged at the Patravadi Theatre from August 6 to 8 and 14 to 15.
Tickets cost Bt500 to Bt1,000 (half off for students) at Total Reservation. The August 7 show is already sold out.
Find out more at www.PatravadiTheatre.com and www.PKLifeWork.com.