Before forming MoeChee, I did public performances and participatory practices mostly by myself. For me, to work as a team was, and still is a very fresh idea. I never know it is possible to take risks with others other than myself. MoeChee taught me that to take risks with others may enhance our courage in performing, but it also meant responsibility in taking care of the other person.
To perform without permission may be nothing, or something. The actions we make in public space possess potential to re-evaluate the surroundings we are at. It also invites a chance to reflect where one is, and what one is, at that specific moment.
Before forming MoeChee I didn’t understand the term “moral support.” To perform with someone doesn’t necessarily guarantee support. Performing with Clinton does make me feel I’m performing “with” someone. We experienced the incidents in performances differently, but we were performing “together.”
After forming MoeChee, I went back to Taiwan. I curated three public interventions when I was home. There were conflicts with the authority, there were different ideals about interventions. I took the MoeChee team spirit back home. Now that I am in Melbourne again, I am the foreigner who wouldn’t have anyone to bail me out again.
All of a sudden, all these different positions and situations as a human being/citizen/foreigner emerge. It also reminds me to think more clearly of my own role in the coming event.
Clinton and I speak very different languages. There are similar things that we pay attention to, sound-wise we are both sensitive, and we have very similar working habits and patterns. I identify myself more as a performing artist/dancer, he sees himself more as an experimental musician. We are at very different stages in our career. Our gender also define our observations and actions in the public spaces very differently. And of course our nationalities have more or less determined ourselves as well.
All these things make MoeChee a very good team, because we are that different, it is a miracle that we manage to find some sort of harmony in our actions. What’s even better is that it is impossible to have absolute harmony in our improvisation or rehearsals.
Before reading Clinton’s note, I don’t even know he sees our performances as experimental. I just see them as performative actions in the public space. And it may or may not, affect the space. The term “performative” here is problematic and loose. What is the context there for the word, say, experimental? Compared to Clinton, I have very limited knowledge in it. Therefore, I can only say that, we will be performing, and the actions may be performative.
In End of April, Beginning of May, we would have guest artists most of the time. The performances (let’s just call it performances for now), just like the public space we are going to perform “in,” possess the chance to be polyrhythmic. For me, the most interesting part is the potential between harmony and chaos.
What I look forward to the most, is to be humble towards the surroundings. And see what would happen when I pay respect to actions Clinton and other guest artists make. I also look forward to the togetherness that may be formed, but not forced.
Maybe in the end we would still be speaking different languages in that space. Maybe the space is never singular. Or Maybe we would create alternative spaces. How lovely would it be if we create frictions in these differences. Who knows? I only know that I’ll be as genuine as possible, and take the responsibility, as a person, and as MoeChee.