Brulesk : Women who become men, Men who become macho, We are all Macho
From 23/09 till 06/10 nodine and Shelbatra Jashari organize a workshop Macho Dancing led by the Philippino choreographer Eisa Jocson within the framework of Brulesk, an initiative to bring contemporary dance, burlesque and cabaret together in the urban context of Brussels performance arts while rethinking these different spaces and styles.
On the 06th october the first BruLesk Soirée takes place publicly showcasing the results and research of the Macho Dancing workshop during an evening filling show, starring the participants of the workshop.
Macho Dancing is performed by young men in night clubs for male as well as female clients. Macho Dancing seems to be a Philippine phenomenon, being an economically motivated language of seduction, using notions of masculinity as body capital.
Eisa Jocson created a solo piece of a woman performing a macho dance. Her becoming a macho dancer challenges our perception of sexuality and questions gender as a tool for social mobility: The macho dancer through his practice is pushed into a marginal, weak position in society.
“He realizes his potential, and exercises his individual empowerment, only to return the following night. Desire and performance of social mobility, after all, are only posed in simulation. In gay bars, as in the Philippine nation, real mobility is evasive, restricted, and temporary. Yet every night, the desire and the performance of social mobility are reenacted.”
Rolando B. Tolentino, Macho Dancing, the Feminization of Labor, and Neoliberalism in the Philippines.
Taking on the character of the Macho dancer, Eisa challenges both economic and sexual taboos, a fascinating world going beyond classic gender roles opens up, which serves as a framework for a clever play with the ambiguities of the situation and the rituals of seduction.
Eisa Jocson is a contemporary choreographer and dancer from the Philippines. Trained as a visual artist, with a background in ballet, she won her first pole-dancing competition in Manila in 2010, and started pole 'tagging' and other public interventions in Manhattan and various cities.
From pole to macho dancing, Eisa investigates the labour and representations of the dancing body in the service industry, and exposes gender formation, seduction politics, and Filipino social mobility. Her next work will uncover the world of 'Japayuki' - the foreign entertainers hired from the Philippines to perform for the pleasure of 'salary-men' in clubs throughout Japan.