Soldier M.I.A. unfolds in darkness, with sound taking precedence. Low frequencies and vibrations fill the space as four performers step into the light. They kickstart a dialogue, asking questions like, “How fast does Mulan run?” and “What specific hand gesture does Mulan have?” ...
A video materializes at the back of the stage, projecting Mulan in Peking opera attire, evoking a distinct foreign atmosphere. A performer syncs with the on-screen Mulan, both adorned in pink-toned costumes. The twist? On the stage, Mulan wears modern clothing, distinctly portraying a contemporary narrative.
The four performers infuse an unfiltered, individualistic essence into their roles - dancer, costume designer, musician, and dramaturgy - challenging our perception of what is staged versus spontaneous. This boundary-blurring extends to involving the audience on stage, a distinctive element in Ming Poon's choreography. Instantly, we question the dynamic between the viewer and the one being viewed.
The initial perplexity surrounding the study of Mulan dissipates as the performance unfolds. It encourages contemplation about war, framing it as organized collective violence. Humor serves as a skillful remedy, adeptly addressing the weighty subject throughout the performance:
How much agency do we truly possess as individuals within a collective discourse?
This inquiry compels us to reassess our position in the grand scheme of things, leaving the audience in a state of wonder.