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Is Manila Zoo the answer to what dance will be in the future? A gloomy proposition, when I consider the fact that I had to drag myself to the Esplanade Theatre Studio in person to watch dancers performing on a large screen over Zoom. Manila Zoo is the third part of the Happy Land series conceived by Filipino choreographer Eisa Jocson as a response to what she views as the conditioning and co-opting of the Filipino body as labour for amusement parks.
These reflections were inspired by the hiring of many senior Filipino performers for the parades and shows of Hong Kong Disneyland when it opened in I was highly entertained and affected when I watched Princess, the first in the series, at the Esplanade for the edition of da:ns festival.
Jocson and fellow performer Russ Ligtas, dressed as Disney's iconic Snow White, re-enacted scenes from the animated movie. Their shifting between the unflaggingly gentle princess and their own tired, suppressed selves confronted the facade of happiness that Disney and the amusement park culture maintain through their performers' labour.
Where Princess began with the pristine image of a delicate Disney Princess, Manila Zoo starts by highlighting the labour that goes into preparing for performance. On a large screen in the middle of the stage, the performers in their individual Zoom frames go through a gruelling fitness regime. Against the melodic hum of The Little Mermaid's soundtrack, soothing voices whisper "always there for you and me", "yes, at your service" and "have a great day".
Beneath that, we hear grunts, bodies panting for breath and slick with sweat. The dancers start to roam around their rooms on all fours, stretching and yawning, morphing from wolf to lion to fish.