FUSE#2

dancenucleus

FUSE is a bi-annual publication that documents the projects at Dance Nucleus .

FUSE # 2

Produced by Dance Nucleus 2018

© Dance Nucleus

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Table of

Contents

1

3

85

117

Foreword

Element #2 “BAHASA KOREOGRAFI”

7 Overview of Bahasa Koreografi by Alfian Sa’at

15

(Practice of) Silat Duduk: Investigating the

Malay(ness) within Bahasa Koreografi by Helly Minarti

31 A Records of My Experiences by Ayu Permata Sari

43 Body Archive by Fauzi Amirudin

53 The Lenggang as Entry into Cross-Gender

Performance Research and Practice

by Soultari Amin Fari

69 What is the point of me? by Norhaizad Adam

SCOPE #3

87 About ‘Unison’ by Ming Poon

93 La Mariposa Borracha -The process

by Shanice Stanislaus

103 There Is Speficifisfety – The Work As Scribed Text.

by Lee Munwai

109 Notes on There is Speficifisfety by Lee Ren Xin

About Dance Nucleus


Foreword

Developments at Dance Nucleus continues apace in the

second half of this year. As we gradually establish our

operational SOPs*, we turn our attention towards

fostering artistic exchanges with partners and artists

from the region.

Pat Toh’s The Map has been a great example of what we

are trying to build at Dance Nucleus. The Indonesian

Dance Festival included her as one of their showcased

artists this year. In August, Pat attended a 3-week

residency in Jakarta, and gave a presentation at the

festival in November.

After their ELEMENT residency at Dance Nucleus, during

which they worked with Mandeep Raikhy as guest

mentor, Mandeep invited Chloe Chotrani and Bernice

Lee to continue their creative development at the Ignite

Dance Festival in New Delhi in October, organised by the

Gati Dance Forum.

Lee Mun Wai and Lee Ren Xin reworked their

collaborative creation at Dance Nucleus and Rimbun

Dahan in Kuala Lumpur. This working phase was

followed by work-in-progress presentations at SCOPE#3

and at Five Arts Centre in Kuala Lumpur.

Fauzi Amiridin and Ayu Permata Sari, from Kuala Lumpur

and Yogyakarta respectively joined us for ELEMENT#2

and SCOPE#3 in September, during which they met

local artists, Alfian Sa’at, Norhaizad Adam and Amin

Farid.

In December, we also hosted Angela Goh and Luke

George from Australia at SCOPE#4.

At the time of writing, we are awaiting the approval of

next year’s budget for Dance Nucleus. We certainly hope

to be able to do more with and for the artists in Singapore

and the region. To more artists talking, sharing,

exchanging, experimenting with one another!

*SOP = Standard Operational Procedures. A phrase often used in the

Singaporean military that is also popular in Singaporean parlance. By

SOP here, I am referring to all the administrative procedures our new

team at Dance Nucleus has had to set up rapidly over 2018.

Daniel Kok

Independent Artist, diskodanny.com

Artistic Director, Dance Nucleus

1 2


For ELEMENT #2, Dance Nucleus brought together 4

Malay (or Malay-identified) dance artists from Singapore,

Peninsula Malaysia and Sumatra. Ayu Permata Sari

(Lampung/Yogyakarta), Mohd Fauzi bin Amirudin

(Kuala Lumpur), Norhaizad Adam (Singapore) and

Soultari Amin Farid (Singapore) came together to

formulate critical frameworks for their dance practices,

which respond to their respective political, cultural,

historical and/or socio-economic contexts.

Element# 2

BAHASA KOREOGRAFI

The artists share common roots in Malay Dance, even if they each have

different relationships with the form. Their ongoing negotiations with Malay

Dance potentially deal with critical questions apropos the dichotomy of

tradition and contemporaneity, which remains a pertinent question in

Singapore and Southeast Asia. In this residency, the four artists engaged

each other in discursive exchange and proposed their choreographic

projects as critical case studies for contemporary practices in relation to

Malay Dance. Coached by mentor, curator and dance scholar Helly

Minarti, this residency as a whole addressed tensions amongst notions of

‘Malayness’ and articulated plausible strategies to navigate the inherent

politics within Malay Dance.

In conjunction with the group mentoring, Helly Minarti facilitated a

practical workshop by dancer/choreographer Benny Krishnawardi.

Benny was trained in pencak-silat first before engaging with dance. More

crucially, this workshop introduces the idea of a ‘bodily archive’, in which

the dancer an inscription of history, and their dance an act of recall or

reactivation of cultural memory and processes. In this workshop, Benny

drew from his experience of being instrumental in co-shaping the

pioneering choreographic practice of the late Gusmiati Suid (1942-2001),

a Minangkabau-born choreographer who was presented internationally in

the mid-1990s, including in important forums such as Pina Bausch’s

festival. (Incidentally, Gusmiati’s son, Boi Sakti who is also a

choreographer, worked actively in Singapore at the turn of this century) By

reflecting on the development of Malay contemporary dance from the

recent past, Helly’s goal was less to valorise a historic canon than to

propose the body-as-living-archive as a springboard for reflection on

contemporary practices by our artists-in-residence in ELEMENT#2.

3 4


As BAHASA KOREOGRAFI was conducted in Malay and

Indonesian languages as an effort to utilise a different vocabulary

for dance discourse that is perhaps better suited to our

artists-in-residence and our cultural region, Singaporean

playwright Alfian Sa’at was engaged as a ‘translator’ in parallel to

the group mentoring. As translator, Alfian’s role in this residency

served several objectives. Firstly, Alfian interpreted the discussions

and texts generated by the mentoring group into English and

provide a clear entry point for non-Malay Singaporeans to enter

and appreciate the discourse. Secondly, we invited Alfian to be a

mediator to pose further probing questions to the mentoring group

and to facilitate a conversation between our resident artists and the

local Malay dance community. Additionally, Alfian as provocateur in

this dialogic platform conducted a lecture presentation, entitled

'Kurang Ajar: 10 Rude Gestures From Singapore Malay Theatre'.

All four artists-in-residence conducted presentations in SCOPE #3.

5 6


Element#2

BAHASA KOREOGRAFI

Gambaran Umum

Bahasa Koreografi

oleh Alfian Sa’at

Sebuah kehormatan bagi saya untuk dapat

menghabiskan waktu dengan empat orang penari

sekaligus koreografer dan pembimbing mereka, Helly

Minarti, sebagai satu bagian dari program yang disebut

'Bahasa Koreografi'. Tujuan dari program ini adalah

mengeksplorasi bahasa koreografi khususnya untuk

tarian Melayu, dan untuk mengungkap wacana tarian

dalam bahasa Melayu / Indonesia. Saya mengucapkan

terima kasih kepada Daniel Kok dan Dance Nucleus

atas undangan yang diberikan.

Saya merupakan seseorang yang masih sangat baru

dalam kesenian tari, dan saya pun memiliki bias

tersendiri terhadap beberapa bentuk pertunjukan

tradisional. Bias-bias ini sering berpusar pada kegiatan

konsumsi, di mana kegiatan menonton sering tidak

dapat dipisahkan dari tugas sosial untuk 'mendukung'

apa yang telah dicap sebagai 'warisan budaya'

seseorang. Tiitik awal dari sebuah budaya yang sedang

dikepung (modernisasi / urbanisasi / Westernisasi dll),

memiliki kecenderungan untuk tunduk pada

kecemasan tentang apakah bentuk budaya tertentu

dijaga agar tetap hidup. Tetapi apa yang ada pada

dukungan kehidupan seringkali tidak terlalu hidup, dan

untuk mendapatkan status 'setidaknya' akan mengarah

pada menjamurnya klise-klise dan krisis kesalehan.

Selama empat hari yang intensif, saya mendengarkan,

mencatat, dan mengagumi berbagai macam diskusi yang

dilakukan di studio, dan juga demonstrasi tarian yang

dilakukan. Norhaizad Adam berbicara tentang Pasal 152

Konstitusi Singapura, yang menjamin hak-hak minoritas dan

'posisi khusus orang Melayu' (bagi Anda yang masih

menggunakan frasa 'hak mayoritas' harap bangunkan persepsi

Anda segera) . Sebagai seseorang yang terlatih dalam bidang

tarian tradisional Melayu, dia bertanya-tanya tentang ruang bagi

'kaum minoritas' seperti dia yang ingin menantang ortodoksi.

Jika dia mendekati para guru tari dan gatekeeper untuk

merumuskan suatu analogi ke Pasal 152, apa bentuknya?

"Posisi khusus" apa yang akan diberikan kepada pelanggar

aturan, dan apakah daftar pengecualian dan pengecualian akan

lebih panjang dari artikel itu sendiri?

Mohd Fauzi Bin Amirudin memperlihatkan kami beberapa

bentuk tarian dimana dia dilatih, termasuk tarian piring, sebuah

tarian Minang di mana penari menyeimbangkan piring di tangan

mereka, dan di mana pemindahan berat badan sangat penting

bagi eksekusi (berat piring diasimilasikan sebagai titik berat

pada tubuh itu sendiri; piring menjadi perpanjangan dari tubuh).

Tetapi mungkin yang paling berkesan bagi saya adalah

demonstrasi Fauzi akan terinai, sebuah tarian yang bermula di

istana Perlis, yang memiliki berbagai gerakan dan fase dengan

nama-nama yang paling indah, seperti 'timang burung'

(menimbang burung di telapak tangan), 'ketam bawa anak

'(kepiting membawa anaknya) dan' layang mas '(layang-layang

emas). Tarian tersebut ditampilkan sambil duduk dimana tarian

itu cukup menghipnotis saat ditonton, kebanggaan para pemain

larut ke dalam serangkaian cairnya gerakan-gerakan.

7 8


Element#2

BAHASA KOREOGRAFI

OVERview of BAHASA

KOREOGRAFI oleh Alfian Sa’at

Soultari Amin Farid berbicara tentang bahasa Melayu ‘lenggang’,

yang ia gambarkan sebagai gaya Melayu yang digunakan dalam

tarian, yang melibatkan goyangan tangan. Ini adalah gerakan yang

dikategorikan berdasarkan jenis kelamin penari: laki-laki lenggang

memperoleh energinya dari siku mereka, sedangkan untuk penari

perempuan memperoleh energinya dari jari jemari mereka. Ada juga

lenggang bentuk lain yang tercatat dalam kamus, seperti 'lenggang

janda' (gaya cerai), yang digunakan untuk menggambarkan gaya

jalan yang genit; 'Lenggang patah tujuh' (gaya berjalan menjadi tujuh

bagian) yang berarti berjalan melalui hutan dan menghindari ranting,

akar dan duri; dan bahkan lenggang ‘gaya pribadi’, seperti

kebanggaan yang digambarkan dalam Hikayat Anggun Che ’Tunggal

sebagai‘ lenggang si tabur bayam ’(gaya penari bayam), yang dibina

oleh pahlawan romantisme. Amin ingin mempelajari apakah ada

bentuk-bentuk lenggang nasional (lenggang Singapura, Malaysia,

Indonesia) yang diartikulasikan selama festival-festival Nusantara

(serumpun) dan bagaimana mereka dapat menceritakan kisah

perpecahan kolonial dunia Melayu.

Yang terbaik, bagi saya, adalah dapat menghabiskan waktu

hanya mendengarkan dan berbicara dengan Helly Minarti.

Seorang spesialis dalam tari Minang, dan kurator Festival Tari

Indonesia di Jakarta, amatlah mudah untuk benar-benar

terpesona (kagum, segan) di hadapannya. Sangat jarang bagi

saya untuk bertemu orang-orang dalam kehidupan nyata

yang menganggap saya memiliki kualitas bagai perpustakaan

hidup, dan Mbak Helly adalah salah satunya. Beliau adalah

seseorang yang dapat memberitahu Anda perbedaan antara

gaya Solo (lebih cair) dan gaya Yogya (lebih geometris),

mengingat kutipan Pina Bausch ("Saya tidak tertarik pada

bagaimana orang bergerak tetapi apa yang menggerakkan

mereka"), yang mengingatkan orang-orang agar tidak terjun

ke dramaturgi tari tanpa pertama-tama menyelesaikan

pertanyaan tentang apa itu koreografi tari. Namun di seluruh

sesi-sesi tersebut, beliau selalu rendah dan murah hati.

Betapa cemerlangnya untuk mengetahui bahwa kita memiliki

Ayu Permata Sari membahas penelitiannya tentang pengkodean

dan mewujudkan gerakan orang-orang itu (bapak-bapak) yang

menghadiri konser dangdut. Dangdut adalah bentuk populer musik

pop di Indonesia yang memiliki reputasi di beberapa bagian sebagai

musik bagi orang-orang yang tidak berpendidikan tinggi

(kekampungan). Dia terpesona oleh beberapa gerakan yang

dihasilkan oleh para pria di konser-konser tersebut, dimana mereka

begitu tenggelam dalam musik yang membuat mereka bergoyang

dengan mata setengah tertutup. Saat mewawancarai mereka, ia

menyadari bahwa bagi sebagian pria, gerakan itu berasal dari

kehidupan kerja mereka, misalnya ketukan keyboard atau stang

sepeda motor berputar yang diubah menjadi bagian gerakan yang

diulang dan ditambahkan. Dengan 'meminjam' gerakan-gerakan ini,

Ayu ingin melihat apakah ia mampu mengatasi kebiasaan-kebiasaan

dari tubuhnya yang terlatih dan mencapai tahap ketulusan, atau

bahkan keluguan (keikhlasan tubuh), yang baginya dikemas dalam

frasa “menari dengan hati ”(menari dari hati).

9 10


Element#2

BAHASA KOREOGRAFI

Overview of

Bahasa Koreografi

by Alfian Sa’at

I had the honour of spending time with four

dancer-choreographers and their mentor, Helly Minarti,

as part of a programme called ‘Bahasa Koreografi’. The

aim of the programme is to explore choreographic

language specific to Malay dance, and to uncover the

discourse of dance in the Malay/Indonesian language.

My deepest thanks to Daniel Kok and Dance Nucleus

for the invitation.

Over four intensive days, I listened, took notes, and marveled at

the kinds of discussions generated in the studio, along with the

demonstrations. Norhaizad Adam talked about Article 152 of

the Singapore Constitution, the one which enshrines minority

rights and the ‘special position of the Malays’ (those of you who

still use the phrase ‘majority rights’ please wake up your idea,

like now, immediately). As someone trained in traditional Malay

dance, he wondered about the space for those ‘minorities’ like

him who wanted to challenge orthodoxy. If he were to approach

the various dance gurus and gatekeepers to formulate an

analogue to Article 152, what shape will it take? What ‘special

position’ will be accorded to the rulebreakers, and will the list of

caveats and exceptions be longer than the article itself?

I came in as someone who is still very new to dance,

and with my own biases towards some forms of

traditional performances. These biases often revolve

around consumption, where spectatorship is often

inextricable from a social duty to ‘support’ what has

been branded as one’s ‘cultural heritage’. Given this

starting point, of a culture that is under siege

(modernisation/urbanisation/Westernisation etc), the

tendency is for criticality to be subordinated to anxieties

over whether a certain cultural form is even being ‘kept

alive’. But what is on life support is often not very alive at

all, and to settle for the ‘at least’ will lead to the

proliferation of cliched mediocrities and a crisis of

connoisseurship.

Mohd Fauzi Bin Amirudin took us through some of the forms

he was trained in, including that of the tarian piring, a Minang

form where dancers balance saucers in their hands, and where

the shifting of body weight (pemindahan berat badan) is crucial

to its execution (the weight of the saucers assimilated as points

of weight on the body itself; the saucers become extensions of

the body). But perhaps most magical for me was Fauzi’s

demonstration of the terinai, a dance from the court of Perlis,

which have movements and phases with the most gorgeous

names, such as ‘timang burung’ (weighing a bird on the palm),

‘ketam bawa anak’ (crab carrying its child) and ‘layang mas’

(golden kite). Performed while sitting down, the dance is

hypnotic to watch, the majestic hauteur of the performer at

points dissolving thrillingly into a series of liquid strokes.

11 12


Element#2

BAHASA KOREOGRAFI

OVERview of BAHASA

KOREOGRAFI by Alfian Sa’at

Soultari Amin Farid talked about the Malay ‘lenggang’, which he

describes as a Malay gait used in dance, involving the swaying of the

hands. It is a gendered movement: the male lenggang derives its

energy from the elbow, while for the female it is from the fingers.

There are also other forms of lenggang recorded in the dictionary, like

‘lenggang janda’ (divorcee’s gait), used to describe a flirtatious walk;

‘lenggang patah tujuh’ (gait broken into seven parts), to mean

walking through a forest and avoiding branches, roots and thorns;

and even ‘personal signature’ lenggang, such as a swagger

described in Hikayat Anggun Che’ Tunggal as ‘lenggang si tabur

bayam’ (the spinach-sower’s gait), cultivated by the hero of the

romance. Amin wanted to study whether there were national forms of

the lenggang (the Singaporean, Malaysian, Indonesian) articulated

during Nusantara (serumpun) festivals and how they could tell a story

of the colonial dismemberment of the Malay world.

Best of all, for me, was spending time just listening and

conversing with Helly Minarti. A specialist in Minang dance,

and a curator of the Indonesian Dance Festival in Jakarta, it is

easy to be absolutely awestruck (kagum, segan) in her

presence. It is rare for me to encounter people in real life who

strike me as having the quality of a living library, and Mbak

Helly is one of them. This is someone who can tell you the

differences between the Solo style (more fluid) and the Yogya

style (more geometric), recalls quotes such as that by Pina

Bausch (“I am not interested in how people move but what

moves them”), who cautions against jumping into dance

dramaturgy without settling the question of what is dance

choreography first. And yet throughout the sessions she was

always nothing less than humble and generous. How brilliant

to discover that we have so much, and even more brilliant to

have someone show you what all of it is worth.

Ayu Permata Sari discussed her research into codifying and

embodying the movements of those men (bapak-bapak) attending a

dangdut concert. Dangdut is a massively popular form of pop music

in Indonesia, but which has a reputation in some quarters of being

the music of the not-highly-educated masses (kekampungan). She

was fascinated by some of the movements produced by the men at

these concerts, often so immersed in the music that they would sway

with their eyes half-closed. While interviewing them, she realised that

for some of the men, the movements came from their working lives:

there was keyboard-tapping, for example, or motorbike

handlebar-twisting, turned into units of movements that were

repeated and elaborated. By ‘borrowing’ these movements, Ayu

wanted to see whether she was able to overcome the formal habits

of her own trained body and to reach a stage of sincerity, or even

innocence (keikhlasan tubuh), which for her was encapsulated in the

phrase “menari dengan hati” (dancing from the heart).

About

ALFIAN SA’AT

Alfian is the Resident Playwright of W!LD RICE. He

has been nominated at the Straits Times Life!

Theatre Awards for Best Original Script ten times,

and has received the award four times. His plays

with W!LD RICE include HOTEL (with Marcia

Vanderstraaten), The Asian Boys Trilogy,

Cooling-Off Day, The Optic Trilogy and Homesick.

He was the winner of the Golden Point Award for

Poetry and the National Arts Council Young Artist

Award for Literature in 2001. His publications

include Collected Plays One and Two; poetry

collections One Fierce Hour, A History of Amnesia

and The Invisible Manuscript; and short-story

collections Corridor and Malay Sketches.

13 14


Element# 2

BAHASA KOREOGRAFI

(PRAKTIK) SILAT DUDUK:

MENELISIK

(KE)MELAYU(AN)

https://www.youtube.com/watch?v=cbqvm1nvJD4

https://www.youtube.com/watch?v=V21eCFIvr-w

Istilah silat duduk diperkenalkan oleh Benny Krishnawardi

yang saya undang untuk memberi workshop tentang gaya

gerak Gumarang Sakti dasar yang diformulasikan oleh

pendirinya, koreografer asal Minangkabau, Gusmiati Suid

(1942-2001). Saya sengaja mengusulkan untuk

mengundang Benny sebagai cara membuka percakapan

tentang identitas Melayu - dan ketidak-Melayuan - di dalam

tubuh-tari, garis keturunan (lineage) artistik serta

perbedaan kultural tentang identitas Melayu di tiga konteks

kenegaraan yang berbeda: Singapura, Malaysia dan

Indonesia.

Menurut Benny, silat duduk merujuk pada sesi informal

dimana sang guru silat mengajak muridnya bicara tentang

falsafah silat dan hakiki kehidupan, di dalam sasaran silat -

tempat lapang di nagari (desa adat) Minangkabau dimana

para pemuda sejatinya berlatih silat atau randai (teater

tradisional). Biasanya, pembicaraan intim semacam ini

ditujukan untuk murid yang dianggap sudah mendapat

bekal cukup di dalam ilmu bela diri silat. Di dalam konteks

Minangkabau, silat duduk adalah saat ketika percakapan

tentang falsafah silat, adat yang mencakup etika

kehidupan, terjalin. Silat duduk inilah yang akhirnya menjadi

model alamiah bagi forum atau platform koreografik

Bahasa Koreografi.

oleh Helly Minarti

Ketika Daniel Kok pertama kali mengutarakan gagasan

tentang program element #2 tahun ini yang berfokus pada

isu-isu seputar identitas serta praktik tari Melayu sebagai

praktik transnasional di beberapa negara Asia Tenggara

(utamanya Singapura, Malaysia dan Indonesia), saya

merasa "dipaksa" menimbang ulang tentang pentingnya

membawa identifikasi kultural di dalam praktik seni tari

kontemporer. Awalnya, Daniel mengaku skeptikal tentang

ini (".. saya koreografer kontemporer. Bukan koreografer

Singapura atau China kontemporer"). Pandangan ini berubah

ketika ia ikut menonton program Joget awal tahun ini di

Esplanade Theatres on the Bay. Menyaksikan diskusi seru

yang terpicu dari beberapa karya eksperimental dalam

platform itu, terutamanya reaksi para tetua tari Melayu di

Singapura atas beberapa karya yang dipentaskan, Daniel

pun menangkap urgensi dalam membicarakan topik

tentang tari Melayu sebagai sumber eksperimentasi tari

kontemporer di Singapura.

Ketika saya diundang untuk menjadi semacam 'mentor' https://www.youtube.com/watch?v=UDKVycVfouQ

(sebutan yang pada

awalnya saya keberatan menyandang, karena mengisyaratkan adanya hierarki

pengetahuan), saya segera mensyaratkan keikutsertaan Alfian Sa'at sebagai

semacam 'provokator' di dalam forum yang diberi tajuk begitu tepat oleh Daniel

(yang ajaibnya, justru tidak bisa berbahasa Melayu): Bahasa Koreografi.

Saya merasa kehadiran Alfian penting sebagai sosok interlocutor yang banyak

mendiskusikan masalah tentang identitas ke-Melayuan di status Facebooknya

yang rajin saya ikuti. Ketika politik di Jakarta akhir 2016 memanas dengan isu

lama tentang identitas ke-Indonesia-an (pribumi versus non pribumi, kategori

yang terakhir ini otomatis diidentifikasi sebagai warga negara Indonesia keturunan

Tionghoa), saya sempat mengusulkan sebuah gagasan proyek artistik ke Alfian,

meski kami belum sempat membahasnya kembali dikarenakan kesibukan

masing-masing.

15 16


Element#2

BAHASA KOREOGRAFI

((PRAKTIK) SILAT DUDUK:

MENELISIK (KE)MELAYU(AN)

Melayu, Tari Melayu: Tiga Dimensi

Keempat koreografer muda peserta element #2 mewakili kerumitan

tafsir (Ke)Melayu(an) yang menghubungkan tiga noda kebudayaan di

Asia Tenggara: Soultari Amin Farid dan Norhaizad Adam berasal dari

Singapura, Mohd Fauzi bin Aminudin dari Kuala Lumpur dan Ayu

Permata Sari yang asal Lampung tetapi menetap di Yogyakarta selama

tujuh tahun terakhir.

oleh Helly Minarti

Konstelasinya begini: di Singapura, kaum Melayu adalah minoritas

(vis-a-vis kaum keturunan https://www.amazon.com/Flow-Psychology-Experience-Perennial-Classics/dp/0061339202

China yang mayoritas), sementara di

Malaysia sebaliknya (Melayu mayoritas, China dan India minoritas). Di

kedua negara ini, Melayu merujuk pada identitas rasial - dengan segala

konsekuensi kebijakan diskriminatif dari negara - sementara di

Indonesia, Melayu adalah satu diantara ratusan suku-bangsa (etnisitas)

lainnya - sama sekali bukan identitas rasial, meski memang digolongkan

ke dalam kategory yang problematis: pribumi.

Secara geografis, Indonesia merujuk provinsi Riau, Kepulauan Riau

(Kepri) dan Sumatra Utara (Deli, bukan bagian lainnya yang dihuni suku

bangsa Batak), sebagai daerah utama asal suku-bangsa Melayu. Tetapi

seperti juga telah diteliti oleh banyak ahli (Julianti Parani, diantaranya),

suku-bangsa Melayu di Indonesia juga tersebar di pulau-pulau lainnya,

seperti di pesisir Kalimantan, Sulawesi hingga kepulauan Maluku.

Namun, meskipun suku bangsa minoritas, kedudukan suku Melayu unik

di lanskap kebudayaan Indonesia, karena Bahasa Melayu menjadi

dasar Bahasa Indonesia, bahasa nasional. Dengan suku Jawa (dengan

segala keragaman di tataran lokalitasnya) sebagai mayoritas,

menjadikan bahasa suku minoritas sebagai bahasa nasional adalah

strategi yang ikut menyelamatkan Indonesia dari potensi konflik internal

jika menjadikan Bahasa Jawa (bahasa sang mayoritas), sebagai bahasa

nasional.

Jika workshop dua hari oleh Benny menggunakan

Minangkabau untuk mengontraskan perbedaan kultural

dalam spektrum rumpun Melayu di Indonesia (di konteks

kebudayaan tari Minangkabau, tari Melayu dianggap tari

pendatang dan hanya sempat popular di kota-kota besar di

tahun 1960an), maka ceramah Alfian tentang kilasan sejarah

identitas Melayu di dalam praktik teater di Singapura (apa

yang dilarang dan dianggap kurang ajar), menukik ke dalam

arena praktik seni kekinian. Kilas balik ini memantik diskusi

melingkar setelah ceramah, diantaranya seputar

tegangan-tegangan yang ada diantara konstelasi di atas

tentang identitas Ke-Melayu-an dan bagaimana

mengartikulasikan strategi-strategi yang jitu untuk menavigasi

politik-politik yang melekat di dalam (praktik) tari Melayu. Di

bawah ini adalah catatan yang tercecer dari pertemuan,

perbincangan serta rangkaian letupan anekdot di sana-sini

yang ikut mewarnai:

Garis Keturunan Artistik:

Arsip Ketubuhan dan Aspirasi

Menemukan Tubuh yang Kini

Menelusuri proses belajar seseorang sebagai bagian dari lintasan

(trajectory) personal hanyalah langkah awal dalam menyadari dan

menerima bahwa tubuh tari yang kini didiami adalah warisan dari

sebuah garis keturunan artistik yang disampaikan melalui transmisi

tertentu dari modernitas. Di Singapura, transisi ini bisa berbasis

komunitas (sanggar untuk menyebut istilah di Bahasa Indonesia)

ataupun ruang edukatif lainnya - seperti kegiatan ekstra kurikuler di

sekolah dan universitas di Singapura. Amin mendapuk Hasyima (yang

bersama Norhaizad mendirikan Prisma), untuk mengurai lintasan

perjalanannya belajar tari Melayu dari dua guru dari gaya yang berbeda,

hingga proses penciptaan karyanya, Nak Dara, yang memantik diskusi

diantara para guru tari Melayu di Singapura. Buat saya, penuturan

Hasyima yang sarat refleksi diri bukan hanya ilustratif tetapi juga

diskursif untuk bisa memahami konteks apa artinya menjadi anak muda

Melayu di kota Singapura. Salah satunya adalah bagaimana berada di

dalam posisi ketika menjadi proyeksi atau pantulan dari

harapan-harapan sang guru, dan ketika kedua hal ini tak bertemu.

17 18


Element#2

BAHASA KOREOGRAFI

((PRAKTIK) SILAT DUDUK:

MENELISIK (KE)MELAYU(AN)

oleh Helly Minarti

Soultari Amin membingkai praktiknya sebagai praktisi-peneliti dan

membawa pengamatan - termasuk penubuhannya - atas ragam

lenggang Melayu. Di sini, lenggang Melayu menjadi gerakan yang

sarat narasi atas asal muasal, identifikasi atas lokalitas ataupun

ketubuhan individual. Amin memahami lenggang sebagai sebuah

bahasa yang ia kuasai dengan fasih, sebagai ekspresi berjender

yang akhirnya ia coba dengan mentransfernya ke dalam tubuhnya

sendiri. Yang cukup mengejutkan bagi saya adalah identifikasi

lenggang Jakarta sebagai salah satu pengaruh dan bagaimana

tarian Melayu dari guru-guru Jakarta - satu nama kerap muncul,

yaitu Tom Ibnur - yang datang ke Singapura untuk mengajar, menjadi

semacam patokan yang hegemonik. Sewaktu beberapa tahun silam

Kekayaan dan ruang lingkup ragam tari Melayu di Malaysia tersingkap ketika ia

berbagi salah satu tarian klasik Kesultanan Perlis, Terinai dalam sebuah workshop

singkat di studio P7:1SMA (baca: Prisma) milik Norhaizad dan Hasyima. Sebuah

ragam yang bisa jadi tidak menemukan konteks kultural di Singapura, dan juga

Indonesia. Di dalam karya koreografiknya, Fauzi menelisik Tari Piring dari Negeri

Sembilan, Malaysia, yang sesungguhnya beresonansi dengan silat Minangkabau

sebagai asal. Namun, di luar teknik tari yang mengandalkan kecepatan dan

virtuositas ataupun langkah-langkah silat yang menjadi dasar Tari Piring, apakah

yang terus menggelitik untuk digali, terutama yang berkaitan dengan tubuh

kekiniannya?

https://www.amazon.com/Flow-Psychology-Experience-Perennial-Classics/dp/0061339202

Bagi Mohd Fauzi bin Aminudin, tari Melayu hanyalah salah satu dari

beberapa bentuk dan genre tarian yang harus ia pelajari di ASWARA,

satu-satunya pendidikan tinggi kesenian di Malaysia. Sebagai bagian

dari kurikulum yang inklusif, Fauzi harus menyelam ke dalam alam

tetarian Melayu, India (bharatanatyam terutama), China dan juga

teknik-teknik yang tidak berakar di tradisi Asia (identifikasi India dan

China di sini tentu saja mengandung problematikanya sendiri, meski

di sini tidak ada ruang untuk mendiskusikannya). Proyek nasionalistis

di ranah akademik seni terdengar familiar dengan pengalaman

Indonesia melalui pembentukan dan penyebaran beberapa ISI

(Institut Seni Indonesia) yang dibuka di beberapa kota utama; meski

dalam kasus ISI, nasionalisme harus bersinggungan dengan lokalitas

setempat dimana sebuah cabang ISI itu berada, dan lokasi tercermin

dalam penekanan kurikulum dimana ISI tersebut berada (misalnya ISI

di Denpasar, Bali, menekankan kurikulum pada tetarian asal Bali).

Untuk karya koreografik berikutnya Norhaizad tertarik untuk bekerja dengan Artikel

152 tentang hak-hak minoritas di Singapura. Koreografi-pun menjadi sebuah

strategi dalam mengartikulasikan elemen dan medium yang berbeda, yang

seringkali keluar dari tubuh fisik, untuk membentuk tubuh lain (tubuh digital,

misalnya).

Ayu Permata Sari yang berasal dari Lampung namun menetap

di Yogyakarta selama tujuh tahun terakhir, berkutat dengan

TubuhDang TubuhDut, hasil pengamatan dan penelitiannya atas

gerakan joget dangdut yang dilakukan oleh para penonton

dangdut di sebuah klab dangdut lokal yang kebanyakan lelaki.

Dangdut adalah musik populer khas Indonesia yang awalnya

mengambil idiom musik Melayu namun pada perjalanannya juga

dipengaruhi oleh irama musik lainnya - seperti langgam tabla

India, nuansa musik Arabia hingga musik rock di tahun 1970an

dan terakhir menjadi 'dangdut koplo' - sebuah genre dangdut

hibrid terbaru. Mempresentasikan karyanya yang sangat

berakar di lokalitas ke-Indonesian di Singapura membuat Ayu

berkutat mencari cara untuk mengontekstualisasikannya ke

dalam alam kultural yang sangat berbeda dimana idiom dangdut

tidak dikenal.

19 20


Element#2

BAHASA KOREOGRAFI

(PRACTICE OF) SILAT DUDUK:

INVESTIGATING MALAY(NESS)

oleh Helly Minarti

Tubuh, tari dan diri Melayu (dan Ke-Tidak-Melayuan) diurai dan

ditelisik selama empat hari, sebagai sebuah praktik silat duduk

kolektif, ketika sejarah, memori, narasi dan lintasan ketubuhan

saling berkelindan. Bagi saya pribadi, rangkaian seminggu

Bahasa Koreografi menjadi medan pertemuan yang bukan

saja inspiratif dan investigatif, tetapi juga momentum

pertemuan silang yang selayaknya dirintis sejak lama. Namun,

seperti juga bunyi pepatah Melayu, lebih baik terlambat

daripada tidak sama sekali.

21 22


Element# 2

BAHASA KOREOGRAFI

(PRACTICE OF) SILAT DUDUK:

INVESTIGATING

MALAY(NESS)

https://www.youtube.com/watch?v=cbqvm1nvJD4

https://www.youtube.com/watch?v=V21eCFIvr-w

The term silat duduk (literally means ‘sitting silat’, silat as in

pencak-silat, the martial arts practice shared in the

transnational Malay world), was introduced by Benny

Krishnawardi whom I invited to give a workshop on the

basic movement vocabulary of Gumarang Sakti. The latter

was formed by the late Minangkabau (West Sumatra)

choreographer, Gusmiati Suid (1942-2001). I invited Benny

to join in for Dance Nucleus’ ELEMENT#2 residency as a

way to open up the conversation on Malay identity, or even

the unmalayness, in relation to the dancing body. We also

looked at the artistic lineage as well as the different Malay

identities as rooted in three different stately contexts: of

Singapore, Malaysia and Indonesia.

by Helly Minarti

According to Benny, silat duduk refers to the informal

session where a silat master invites his student(s) to discuss

the philosophy of silat and of life, taking place in sasaran

silat - or an open field in the nagari (customary

Minangkabau village unit) where young men traditionally

train in silat or randai (traditional theatre). Usually, such

intimate conversations are reserved for advanced students

in pencak silat. Within Minangkabau context, silat duduk is

where the discussion of silat philosophy, customs that

include life ethics, are intertwined. This silat duduk has

become a natural model for the forum or choreographic

platform of ELEMENT#2: Bahasa Koreografi.

When Daniel Kok first expressed his intention to do this

ELEMENT#2 by focusing on issues around the identities

and practices of Malay dance as a transnational practice in

Southeast Asia (mainly Singapore, Malaysia and Indonesia),

I felt compelled to reconsider the obligation of bringing up

cultural identification in contemporary dance practice. In the

beginning, Daniel indeed admitted to being sceptical about

it (".. I am a contemporary choreographer. Not a Singaporean

or Chinese contemporary choreographer"). This view

apparently changed when he watched the Joget

programme organised by Esplanade Theatres on the Bay.

Witnessing the heated debate triggered by some experimental

works presented in that platform, especially the

reaction of the elders of Singapore's Malay dance scene

over certain works, Daniel sensed the urgency to discuss

this topic of Malay dance being the source for experimental

dance for its practitioners in Singapore.

When I was invited to be a 'mentor' (a descriptor that https://www.youtube.com/watch?v=UDKVycVfouQ

I resisted in the beginning

since I think it hints at a hierarchy in knowledge), I immediately inquired the involvement

of Alfian Sa'at to take up a role of 'provocateur' in the forum that was given

quite an apt title by Daniel (who doesn't speak any Malay): Bahasa Koreografi.

Alfian's presence was instrumental as an interlocutor, especially given his frequent

and animated discussions on the problems surrounding Malayness on Facebook,

which I have been following rather religiously. Towards the end of 2016, when the

age-old issue of Indonesian identities was reignited in the political scene in Jakarta

(pribumi, or indigenous versus the non-indigenous), the latter category here automatically

referred to Indonesian citizens of Chinese descent). I had already

proposed to work with Alfian on an artistic project, although we never found the

chance to get to it due our busy schedules.

23 24


Element#2

BAHASA KOREOGRAFI

Malay, Malay Dance:

Three Dimensions

The four young choreographers participating in ELEMENT#2 follow the

complexity of interpreting Malay(ness) pertaining to their respective

cultural contexts in Southeast Asia: Soultari Amin Farid and Norhaizad

Adam are from Singapore, Mohd Fauzi bin Aminudin from Kuala Lumpur

and Ayu Permata Sari yang asal Lampung tetapi menetap di Yogyakarta

selama tujuh tahun terakhir.

Their various constellations can be described as such:

(PRACTICE OF) SILAT DUDUK:

INVESTIGATING MALAY(NESS)

In Singapore, the Malays are a minority race within the population

(vis-a-vis those of Chinese descent who make up the majority), whilst it

is the reverse in Malaysia (the Malays as majority, the Chinese and

Indians are minorities). In these two countries, the word ‘Malay’ refers to

racial identity - with all the consequences of the discriminatory policies

from the state embedded with it. Meanwhile in Indonesia, ‘Malay’ simply

refers to one of its hundreds of ethnicities - not at all a racial identity,

although indeed, it is categorised within the problematic category - the

pribumi.

by Helly Minarti

https://www.amazon.com/Flow-Psychology-Experience-Perennial-Classics/dp/0061339202

In geographical terms, ‘Malay’ in Indonesia refers to the provinces of

Riau, Riau islands and North Sumatra (the Deli part, not other parts

inhabited by the Batak), as the main original locations for the Malays.

But as researched by many scholars (among them Julianti Parani), the

Malays in Indonesia is also spread out in other islands, such as coastal

Kalimatan, Sulawesi, and up to the Molucca archipelago. However,

although the Malays constitutes a minority group, it has a unique place

within the Indonesia's cultural landscape, since the Malay language

(Bahasa Melayu) is the basis for Bahasa Indonesia, the national

language of Indonesia today. Given that the Javanese (with its varied

localities) is the majority group in Indonesia, the adoption of the

language of a small minority proved to be a strategy that prevented

internal conflict, than if Indonesia had made Javanese, the language of

its majority group, the national language instead.

In the two-day workshop, Benny used Minangkabau as an

example to highlight the cultural differences within the

spectrum of Malay groups in Indonesia. (In the context of

Minangkabau dance culture, Malay dance is perceived as

something imported and was only popular in the big cities

back in the 1960s.)

Similarly, Alfian’s lecture on Malay Identity provided a historical

flash back in Singaporean theatre, citing examples of what

was banned, what was perceied as 'kurang ajar' or

obnoxious. This flash back triggered a circle discussion after

the lecture. We discussed issues surrounding the tensions

shaping Malay identity in the arts in Singapore, and how to

articulate effective strategies in navigating politics embedded

in the practice of Malay dance.

The following are the notes from our meetings, conversations

and a series of anecdotes that came up. They help give colour

to what I have discussed above:

Artistic Lineage:

The Bodily Archive and Aspiration to

Discover the Contemporary Body

Tracing one's personal trajectory in a learning process begins

with an awareness and the acceptance that the dancing body

that one inhabits is what one inherits from a certain artistic

lineage, transmitted through a mode of modernity.

In Singapore, this transmission can be community-based

(sanggar in Bahasa Indonesia) or other educational spaces,

such as extra-curricular activities in schools or the university

in the case of Singapore.

25 26


Element#2

BAHASA KOREOGRAFI

(PRACTICE OF) SILAT DUDUK:

INVESTIGATING MALAY(NESS)

by Helly Minarti

Amin nudged Hasyimah, who co-founded P7:1SMA together with

Norhaizad and joined our discussions intermittently, to unravel her

own trajectory of learning in Malay dance - from two different

teachers of two different styles, up to her creating Nak Dara, which

triggered a heated discussion among the Malay dance teachers in

Singapore. For me, the way Hasyimah narrated this, which was

dense with self-reflection, was not only illustrative but also

discursive. Her narrative reflects a wider discussion on what it means

to be a young Malay in Singapore. In her case, how to negotiate a

position when one becomes the projection or reflection of the

teachers' hopes, and how when these two - one’s aspiration and her

teachers’ - do not meet.

https://www.amazon.com/Flow-Psychology-Experience-Perennial-Classics/dp/0061339202 Balinese dances.

For Mohd Fauzi bin Aminudin, Malay dance is only one of several dance forms that

he had to learn at ASWARA, the only conservatory-modeled higher education

programme for dance in Malaysia. As part of an inclusive (or all-encompassing)

curriculum, Fauzi had to delve into the different forms - Malay dance, Indian (mainly

bharatanatyam), Chinese, and other techniques that are rooted in Asian traditions

(the identification of Indian and Chinese dance forms indeed carries its own

problematics, although there is no room to discuss these further in our residency).

Such a nationalistic project in the academic realm would sound familiar for

Indonesians, whose experience through the founding and spreading of several ISIs

(Indonesia Institute of the Arts), which operate in several main cities. Nevertheless,

in the case of the ISIs, nationalism has to somehow rub shoulders with the

respective locales they are set up in. This in turn brings about different emphases

in the local curricula. For instance, the Denpasar ISI in Bali, places an emphasis on

Soultari Amin frames his practice as artist researcher focussing on his

observation on and embodiment of the lenggang Melayu (Malay gait).

Here, the Malay gait becomes a movement infused with different

narratives of origins, and identifications of certain locales and

individuals (including the teachers). Amin understands the gait as a

form of gendered language that he has become fluent in, the intricate

vocabularies of which he now tries to articulate using his own body.

What I found rather shocking is that the identification of Jakarta's gait

as an influence on the local style in Singapore, and how Malay dance

was taught by teachers from Jakarta. One name that kept surfacing

in our conversations is Tom Ibnur, who came to Singapore to teach

and became a hegemonic barometer. Several years ago, when I

co-designed a programme on investigating Malay Dance as an

attempt to reread the practice of Malay dance in the Indonesian

capital, Jakarta was positioned as a diasporic location - if not a

peripheral one when it comes to Malay dance development.

The richness and the scope of Malay dance in Malaysia was revealed when Amin

shared with us the Terinai, a classical dance from the court of Perlis during a short

workshop in the studio of P7:1SMA (read as ‘Prisma’), founded by Norhaizad and

Hasyimah. This is a formal variation that has not found its cultural context in

Singapore, nor most probably, in Indonesia.

In his choreographic work, Fauzi also investigates the Tari Piring

(Plate Dance) from Negeri Sembilan in Malaysia, which

resonates with the Minangkabau silat as its origin of movement

vocabulary. However, outside the dance techniques that rely on

speed and virtuosity, and the silat steps that form the basis of

Tari Piring, what exactly are the ideas and questions that

stimulate him to dig deeper, especially that which relates with his

body and its contemporaneity?

For his next choreographic work, Norhaizad is interested to work

with the Article 152 that states the minority rights of the Malays

in Singapore. Choreography here becomes a strategy to

articulate different elements and mediums that often go beyond

the physical body, giving form to other bodies, such as the digital

body.

27 28


Element#2

BAHASA KOREOGRAFI

(PRACTICE OF) SILAT DUDUK:

INVESTIGATING MALAY(NESS)

by Helly Minarti

Ayu Permata Sari who hails from Lampung but has called

Yogyakarta home for the last seven years, has struggled with

her TubuhDang TubuhDut. The latter is a project in which she

observations and researches on the movement of the

audience, which comprises mostly of men, in local dangdut

clubs. Dangdut is Indonesian popular music that was based on

Malay music but took on other musical influences such as the

Indian tabla, Arabic musical nuances, rock music of the 1970s,

and most recently the localised dangdut koplo - the latest

hybrid dangdut genre. Presenting her work that is very much

rooted in specific Indonesian contexts in Singapore where

dangdut is not known, has obligated Ayu to find ways to

recontextualise and articulate her work differently.

ABOUT

HELLY MINARTI

In ELEMENT#2: Bahasa Koreografi, the Malay (and the

Un-Malay) body, Malay dance and Malay self have been

elaborated and investigated intensively over our four days

together. We looked at the ways in which history, memory,

narrative and trajectory of embodiment are intertwined, and

our discussions became a shared embodied practice of silat

duduk.

For me personally, this week-long programme was not merely

a meeting that I found inspiring and investigative, but

constituted the beginning of a momentum for a cross-cultural

meeting that should have taken place long ago. But as a Malay

saying goes, better late than never.

Born in Jakarta, Helly now works as an independent

itinerant dance scholar/curator, rethinking radical

strategies to connect theory and practice. She is mostly

interested in historiographies of choreography as

discursive practice on top of her fixation with certain

knowledges that view body/nature as cosmology

especially those rooted in Tantra/Taoism. She worked as

Head of Arts for the British Council Indonesia (2001-03)

which set her off to curating. Her most recent curatorial

project is Jejak- Tabi Exchange: Wandering Asian

Contemporary Performance, an exchange platform that

takes a traveling festival format she co-curates. She has

been involved in various exchange arts projects, invited

to various forums/conferences and conducted research

fellowships in Asia, Europe and the US. She was voted

as the Head of Programme of Jakarta Arts Council twice

- a unique collaborative curatorial platform (2013-17).

Helly earned a PhD in dance studies from University of

Roehampton (London, UK) and will call Yogyakarta as

her new home from late 2018 onwards.

29 30


Element# 2

BAHASA KOREOGRAFI

Proses “Bahasa

Koreografi”

oleh Ayu Permata Sari

Sebelum saya menulis tentang pengalaman saya dalam residensi ini, saya ingin

mengucapkan terimakasih sebesar-besarnya terhadap Tuhan, orang-orang yang di

sekeliling saya dan Dance Nucleus, yang telah memberikan saya kesempatan

untuk bertemu, berbicara dan berkerja dengan orang-orang yang hebat dalam

bidangnya.

Pada proses residensi dengan tajuk Bahasa koreografi,

terdapat 2 mentor dan 4 seniman berdarah melayu dengan tiga

negara yang berbeda. Dua mentor tersebut ialah Helly Minari

dari Indonesia seorang pengkaji seni dan kurator seni tari, dan

Alfian Sa’at, seorang yang berkecimpung dalam dunia teater

khususnya di Singapura. Empat seniman yang menjadi peserta

antara lain, Amin Farid koreografer dan pengkaji tari asal

Singapura, Norhaizad Adam koreografer dan penari asal

Singapura, Mohd Fauzi Amirudin koreografer dan penari asal

Kuala Lumpur, dan saya sendiri, Ayu Permata Sari, koreografer

dan penari asal Lampung, yang kini berdomisili di Yogyakarta,

Indonesia.

Pada awal kegiatan ini kami berkenalan melalui karya-karya

yang telah diciptakan oleh masing-masing sebelumnya. untuk

mengenal karakter dan mengenal cara pandang ataupun cara

pikir setiap peserta. Selain melihat dua karya sebelumnya, kami

juga menceritakan kegelisahan dalam berkarya baik pada diri

sendiri ataupun yang terjadi di negara masing-masing peserta.

Karena latar belakang kehidupan seniman sangat

mempengaruhi proses berkarya, sehingga ini penting di

bicarakan. Peserta juga memberikan pemanasan tubuh

sebelum kegiatan diskusi di mulai. Di hari pertama Norhaizad

yang memberikan teknik kepekaan terhadap ruang, Hari kedua

saya memberikan materi berupa gerak-gerak dangdut; hari

ketiga, Amin memberikan motivasi-motivasi bergerak yang

dimulai dari satu titik, dan hari keempat Fauzi memberikan

sebuah peregangan otot-otot atau seperti sebuah pijatan.

31 32


Element#2

BAHASA KOREOGRAFI

Proses “Bahasa

Koreografi”

oleh Ayu Permata

Setelah mengenal beberapa karya dari setiap peserta, kami

memfokuskan kepada karya yang akan kami presentasikan di

Dance Nucleus. Satu-persatu menjelaskan tentang

asal-muasal kenapa kami memilih konsep tersebut untuk

berproses dan saya menjelaskan karya yang sedang saya

geluti sejak awal tahun 2018 yaitu penubuhan gerak penonton

dangdut. Saya sendiri memiliki kegelisahan tentang konsep

“menari dengan hati”. Banyak orang yang mengatakan

“menarilah dengan hati”, namun seperti apa kedalaman menari

dengan hati tersebut? Saya bertanya-tanya pada diri saya

sendiri, apakah saya sudah menari dengan hati atau hanya

dengan pikiran. Selain kalimat “menari dengan hati” saya juga

memiliki kegelisahan dengan pembendaharaan gerak yang

ada di dalam tubuh saya. Saya merasa bosan dengan

ketubuhan tari yang saya miliki, sehingga saya membutuhkan

asupan yang lain untuk perbendaharaan gerak pada tubuh

saya sendiri. Dua kegelisahan saya tersebut saya temui di

penonton dangdut. Dangdut adalah musik pop khas Indonesia

yang merupakan akulturasi dari budaya Arab, India dan

Melayu. (Akan saya cantumkan bagan di halaman akhir untuk

proses saya menemukan konsep ini.)

Konsep karya dangdut tersebut saya tandai dengan istilah

ruang antara. M,endengar penjelasan tersebut, Amin

memberitahu saya tentang konsep liminalitas. Sejak itu saya

mencari arti dari kata liminalitas dan bagaimana “proses” dari

liminalitas itu sendiri. Karya yang akan saya presentasikan ini

saya beri judul TubuhDang TubuhDut. Karya ini sudah pernah

di presentaskan di festival Jejak Tabi Exchange: Wandering

Contemporary Asian Performance, di Yogyakarta bulan Juli

2018. Saya mencoba menceritakan alur dan pemanggungan

karya ini. Untuk bagian awal saya menggunakan video

sabagai pengantar, namun banyak pertanyaan muncul seperti

seberapa penting video itu diadakan. Helly dan Alfian

menegaskan tentang penonton karya TubuhDang TubuhDut,

sejauh mana penonton karya TubuhDang-TubuhDut

mengakses dangdut, dan ditanyakan ulang kepada diri sendiri

(saya) niatnya apa dalam menciptakan karya ini.

Terdapat waktu satu minggu sebelum hari presentasi yaitu tanggal

21-22 september 2018. Pada tanggal 15-20 September 2018 kami

para peserta berproses secara mandiri. Pada awalnya saya

menggunakan studio untuk proses latihan, namun pada hari terakhir

pertemuan tanggal 14 September 2018, saya mengubah konsep

latihan saya dari dalam studio ke ruang publik seperti MRT, Mall,

Pusat berbelanja seperti Bugis, pinggir jalan atau di persimpangan

jalan/area lampu tanda lalu lintas. Meskipun cukup susah meminta

izin untuk menari dengan petugas keamanan setempat. Sesekali

waktu saya pun menari sendiri tanpa meminta izin atau istilah lainnya

“tembak tempat” namun saya melihat terlebih dahulu kawasannya,

apakah aman atau tidak untuk saya menari, karena takut ditangkap

polisi yang mungkin berpikir bahwa saya orang gila. Saya melatih

kepercayaan diri saya dalam bergerak di ruang publik.. Gerak-gerak

penonton dangdut yang cukup terlihat memalukan sering kali

membuat saya kurang percaya diri untuk bergerak, sehingga saya

harus melatih kepercayaan diri saya di ruang publik.

Tanggal 21-22 September 2018 presentasi Dance Nucleus di

laksanakan. Tidak hanya kami berempat yang mempresentasikan

karya, tetapi juga seniman-seniman lainnya yang juga presentasi

pada hari tersebut. Presentasi karya TubuhDang TubuhDut

memdapat nomor urut kedua di hari pertama tanggal 21 September

2018. Pengalaman yang berbeda ketika saya mementaskan karya ini

di Yogyakarta sebelumnya. Di Yogyakarta semua penonton yang

hadir 90% mengetahui Dangdut, sehingga suasana pementasan cair

dan semua orang tau konteks yang sedang dituju. Berbeda dengan

di Singapura dimana penonton tidak mengetahui apa itu dangdut

sehingga cukup sulit menyerap energi penonton meskipun ada satu

orang yang ikut bergoyang. Pengalaman penonton pada presentasi

di Dance Nucleus ini, mereka menginterpretasikan saya memiliki

ruang sendiri dalam menikmati musik dan mereka takut

mengganggunya meskipun mereka ingin ikut bergabung serta

interpretasi tentang ketidakpedulian dengan sekitar. Daniel Kok

menegaskan kepada saya, bagaimana membuat penonton

mengetahui bahwa ini adalah soal penubuhan. Pekerjaan rumah

bagi saya dalam mencari sebuah pengantar yang tepat untuk

memulai pertunjukan karya ini

33 34


Element#2

BAHASA KOREOGRAFI

Proses “Bahasa

Koreografi”

oleh Ayu Permata

Selain mendapatkan masukan yang sangat baik untuk karya TubuhDang

TubuhDut, saya juga mendapatkan banyak pengalaman menonton yang beragam

pada Residensi Dance Nucleus ini. Banyak bentuk penyajian karya yang belum

pernah saya lihat, dan saya sangat senang memiliki sebuah pengalaman baru

dalam hal menonton ataupun dalam hal mengenal budaya berkesenian di

Singapura.

Embodiment of the

movement of the

dangdut audience

Move freely

Really

enjoy it

Answer A

dan B

Not think

of form

Before heading to the concept,

these 2 issues that led me to the dangdut point.

Unique

movement

When is the dancer

moving with heart.

Saturated with body

movements that are

always done.

TubuDang Tubuhdut

DungduT

TRANSIT ROOM

Daily Activities (Pre Liminal)- dangdut

as a space to release fatigue.

Liminal - Back to the routine again

with a better feeling.

Alcohol

Audience

Biduan,

female singer

Musical

instrument

Interview- about the background

of the vistor’s life and the reason

they came to the dangdut

performance.

Brawl

Emcee

Stage

Many man

35 36


Element# 2

BAHASA KOREOGRAFI

The Process of

‘Bahasa Koreografi’

by Ayu Permata Sari

Before I write about my experiences during this residency, I wish to express my

biggest thanks to God, those around me and also Dance Nucleus, who have given

me the opportunity to meet, discuss with and work with those who are experts in

their fields.

At the early phase of the process we were introduced to the

works of the various artists. This was done to learn more about

one another’s personalities, viewpoints and thought processes.

Apart from sharing two selected works from our resumes, we

also described what motivated our dance creation process,

either arising from something personal or influenced by

situations in our respective countries. This is because our life

backgrounds would have a profound impact on our works.

Participants also led warm-up exercises before we began

discussions. On the first day Norhaizad shared techniques on

how to be sensitive to space. On the second day I shared

some movements from dangdut and on the third day, Amin

shared motivations from movements which originated from a

single point and on the fourth day Fauzi shared some

stretching and massage exercises.

For the process of the residency which was named Bahasa

Koreografi, there were 2 mentors and three artists of Malay

lineage from three different countries. The two mentors were

Helly Minarti from Indonesia, a dance researcher and curator,

and Alfian Sa’at, a theatremaker based in Singapore. The 4

participating artists were Amin Farid, a choreographer and

dance researcher from Singapore, Norhaizad Adam a

choreographer and dance researcher from Singapore, Mohd

Fauzi Amirudin, a choreographer and dancer from Kuala

Lumpur and Ayu Permata Sari, a choreographer and dancer

from Lampung, Yogyakarta, Indonesia.

After getting acquainted with the works from each participant,

we then started to focus on the works that we would present at

Dance Nucleus. Each of us explained the source and

inspiration for why we chose our concept. I explained about the

work which has occupied me since early 2018, which was the

embodiment of the movements of an audience that watches

dangdut. I have been intrigued by the concept of ‘dancing from

the heart’; many have mentioned the instruction to ‘dance from

the heart’, but I often ask myself what does this entail exactly?

Do I dance from the heart or is dancing for me a cerebral

activity? Other than the phrase ‘dance from the heart’, I was

also getting restless with the ‘standard’ (cliche and overused?)

repertoire of movements within my own body. I was becoming

bored with the dance body that I possessed, such that I

needed some new input to add to my movement repertoire.

These two ideas were reflected to me in the image of the

dangdut audience, some of whom would dance without any

seeming self-consciousness. Dangdut is a traditional pop form

in Indonesia that is influenced by the musical cultures from the

Arab, Indian and Malay worlds.

37 38


Element#2

BAHASA KOREOGRAFI

The Process of

‘Bahasa Koreografi’

by Ayu Permata Sari

The concept of my dangdut work was articulated through the term

‘in-between space’. After hearing my explanation, Amin shared with

me the concept of ‘liminality’, and ever since then I have been

researching more on the term and its applications to my process.

The work that I eventually presented was entitled ‘TubuhDang

TubuhDut’ (DangBody DutBody), which had been presented at the

Jejak tabi Festival in Yogyakarta in early July 2018. I tried to describe

the structure and the staging of my work. In the beginning I used a

video as a form of introduction, but many questions were raised,

such as how important the video really was. Helly and Alfian

emphasised the importance of the demographics of the audience

that would be watching ‘TubuhDang TubuhDut’, the extent to which

they could access dangdut as a form of shared cultural knowledge,

and I was asked again my intention in creating the piece.

On the 21-22 September I made my Dance Nucleus presentation; it

was not just 4 of us who presented our works, but other artists as

well. The presentation of ‘TubuhDang TubuhDut’ had the second slot

on the schedule of 21 September 2018. It was a different experience

from my initial showing in Yogyakarta. In Yogyakarta, around 90% of

the audience was familiar with dangdut, such that the atmosphere

was relaxed and people knew the context that was being addressed.

In Singapore, the audience was less familiar with the dangdut form,

so it was difficult to absorb the energy from the audience, even

though there was at least someone who was swaying

unselfconsciously to the music. The experience of the audience

during the Dance Nucleus presentation was that they interpreted me

as claiming my own personal space in my enjoyment of music and

they were concerned about interrupting this world-abnegating

self-absorption. Even though some of them did feel like joining in my

interpretation of a state of ‘obliviousness’ to my surroundings. Daniel

Kok felt that an important task of the work was to give the audience

some context that I was exploring embodiment and mimicry, rather

than merely presenting a ‘show’ for the audience.

I had a week to prepare for the presentation on 21 to 22 September.

From the 15-20 September the participants were left on their own to

conduct independent research. In the beginning I used the studio for

my rehearsals, but on the final day of our meeting, I decided to

change my rehearsal space from the studio to public spaces such as

the MRT, shopping malls, outdoor shopping areas such as the one at

Bugis, on pedestrian walkways or intersections such as traffic light

areas. Even though it was difficult to seek permission to dance in

public from local security officers. At times I would dance without

obtaining permission or in other words “play by ear”. But I would

always survey the area beforehand, assessing whether it was safe for

me to dance, as I was worried that I would be arrested by the police

if they assumed that I was a lunatic. I eventually trained my

confidence in dancing in public areas. The movements of dangdut

audiences, often seen as embarrassing, often make me feel less

confident, so I had to build up this confidence in public spaces.

In addition to receiving great input for my work ‘TubuhDang TubuhDut’, I also also

gained a lot of experience watching diverse presentations during this Dance

Nucleus Residency. There were many forms of works which I had not seen before,

and I enjoyed new experiences as both an audience member and as someone

who is getting acquainted with the culture of art and dance-making in Singapore.

Refer to page 36 for diagram

39 40


Element#2

BAHASA KOREOGRAFI

The Process of

‘Bahasa Koreografi’

by Ayu Permata Sari

About

AYU PERMATA

SARI

From the Pepadun muslim tribe, born in Lampung

(Sumatra), Ayu Permata Sari is the second child of

Suherman and Zilhayah, with 3 other brothers.

Ayu Permata Sari fell in loved with dance in

primary school and joined in Cangget Budaya

studio in North Lampung from 2000 until now.

Between 2010 and 2014, Ayu moved to

Yogyakarta to deepen her dance training at the

Indonesian Art Institute of Yogyakarta Faculty of

Performing Arts, Department of Dance Creation.

She then continued with the Masters in Dance

Creation programme in the same school from

2014-2016. In 2016, she founded the Ayu

Permata Dance Company in Yogyakarta

establishing her own dance community in order to

spur her creative drive. In 2017, Ayu was invited to

an artist residency in Leuven (Belgium) for the

Monsoon program in the Europhalia Festival. One

of her works received the Bakti Service Charter

Award at the Asia Technology Festival in Johor,

Malaysia 2018.

41 42


Element# 2

BAHASA KOREOGRAFI

Body Archive

Body archive sebagai subjek utama dalam eksplorasi pencarian

maksud dan identiti di sebalik tarian piring dan zapin. Di sini saya

menghubungkan kedua-dua bentuk (form) ini dengan pergerakan

silat. Memang secara dasar dan tunjang utama kedua bentuk tari

ini adalah silat. Hal ini saya menghubungkan bentuk ini kepada 3

serangkai. Tujuan utama dalam eksplorasi ini mencari garis

BLURRED di antara 3 bentuk ini untuk di ketengahkan untuk

memberi nafas baru kepada pergerakan itu. Pergerakan yang

dimaksudkan adalah dari kosa kota gerak, artikulasi bentuk, idea,

ruang dan image serta keseluruhan persembahan

Bermulanya dengan apa yang hendak dieksplore, saya memilih

karya stalemate iatu karya tradisi yang diberi nafas contemporary.

Dalam penghasilan karya ini, saya terjemahkannya dalam bentuk

yang lebih segar lebih kepada visual di dalam konteks

persembahan. Apa yang saya maksudkan adalah dari segi kostum,

props, artikulasi gerak dan juga penatacahayaan. Sebab yang

kukuh kenapa saya memilih tari piring itu kerana ianya lebih dekat

dngan saya kerana saya membesar dengan tari pring.

oleh Fauzi Amiridin

Dalam masa yang sama, saya cuba menghubungkan bentuk ini dengan zapin

kerana bentuk ini mempunyai struktur yang boleh dikembangkan dan diberi nafas

baru. Hal ini, kerana teras zapin dan tari piring itu sendiri adalah pergerakan asas

silat.

Apa yang cuba dirungkaikan dalam bentuk ini adalah mencari titik garis yang

samar-samar dan BLURRED. Bagaimana ianya akan berubah bentuk yang lebih

relevan dan terkini. Ianya lebih kepada INVESTIGATE the movement.

Sepanjang proses diskusi dan perbincangan ianya bermula

dengan topik iatu apakah menjadi practise based dan lineage

pada sesorang performer/choreographer. Topik ini lebih kepada

sharing session. Di dalam proses ini saya banyak memikirkan dan

membicarakan tentang memori. Memori ini lebih kepada

informasi tentang bagaimana saya bermula dan terlibat di dalam

bidang seni. Selepas itu, ianya berkembang menjadi muscle

memori di mana saya mengingati kesemua bentuk tari yang saya

pelajari. Di dalam proses mencari identiti di dalam berkarya saya

lebih memikirkan bagaimana pencarian gerak itu berlaku dalam

bentuk improvisasi, komposisi dan koreografi. Bagi saya amat

mudah dan tidak perlu berfikir tentang pergerakan apa yang

hendak ditunjukkan tetapi lebih kepada imaginasi dan juga

memori di dalam badan saya ketika bergerak. Apa yang saya

sedar, proses research saya ini bermula dengan memori ingatan

(tarikh bermula, lebih kepada informasi terdahulu) seterusnya

kepada memori muscle( muscle memories) dan tujuan utama

pada pencarian, eksplorasi adalah BODY ARCHIVE.

Dalam perbincangan yang selanjutnya adalah, pelbagai

persoalan yang telah diajukan. Seperti ekplorasi konsep, karya

dan juga ideology itu ditahap mana? Apakah bahan

rujukan(references) yang digunakan dalam research yang telah

dibuat? Disini saya tertarik kepada memori performer. Di sini saya

merujuk kepada diri sendiri begaimana tubuh badan(body

archive, memory) saya sendiri telah mendalami (embodiement)

setiap gaya tari yang dipelajari. Perkara ini menjadikan saya

seorang yang peka (awareness) terhadap pergerakan yang

dilakukan. Pergerakan yang dimaksudkan adalah ketika

melakukan eksplorasi saya masih ingat gerak dasar tetapi saya

memilih untuk bergerak di ruang blurred, di antara tradisi dan

kontemporari. Dalam pada masa yang sama, saya cuba

memikirkan identity saya sebagai seorang choreographer.

Apakah peranan saya dalam mencari makna dan tujuan di ruang

gap/ blurred itu sendiri.

43 44


Element# 2

BAHASA KOREOGRAFI

BODY ARCHIVE

by Fauzi Amiridin

Seterusnya dengan perbincangan yang lebih mendalam apa yang

perlu diutamakan. Apa yang dimaksudkan adalah dari segi IDEA,

IMAGINASI (konsep, struktur persembahan) PROSES, eksplorasi

kupasan dan terakhir PERSEMBAHAN, presentation. Bahagian

yang sangat penting dan lebih kepada pwmbentukan sesebuah

karya. Dengan adanya Guideline dan method seperti ini sejauh

manakah tahap eksplorasi saya ketika ini. Dalam menjawab

persoalan ini, saya juga terfikir identitiy saya sebagai seorang

pengkarya. Tentunya dalam berkarya saya lebih memilh kepada

pemerhatian, penilaian(observation) , eksplorasi gerak dan tools

yang digunakan dalam koreografi. Di sini saya membuat satu

guideline kepada diri sendiri aitu kosa kata gerak saya lebih kepada

Grounded( lower level, lebih kepada membumi) bentuk artikulasi

lebih mengalir, keras dan paling penting adalah pernafasan sebagai

tunjang dalam proses ini. Saya mememilih memori saya sebagai

panduan dan juga tubuh badan (Body Archive) iatu dari ritual,

bentuk persembahan dan seterusnya ke bentuk yang lebih

eksperimental.

Di sini saya meletakkan beberapa KEYWORD dalam proses research

saya iaitu,

identiti

tubuh badan

memori

Ruang, bentuk

keseimbangan badan

tari piring dan zapin serta silat

negeri sembilan

pernafasan

Di dalam keyword ini lah saya telah membuat eksplorasi dengan

memilih konsep BLURRED sebagai eksplorasi dari sudut apa

sahaja.

Selanjutnya memilih terus bahasa tubuh (body archive) sebagai

rumah (home) dari segi konsepsual dalam proses niat mencari

identity dan memberi nafas baru dalam sesuatu gerak tanpa lari

dari tujuan asal. Sejauh mana eksplorasi tubuh badan (body) itu

sendiri pasti akan ingat(memori) semua practise yang telah di

embodiement. Dalam langkah seterusnya, mencari sesuatu yang

fresh(segar) dari segi feeling dan movement di ruang

persembahan.tersebut. bagaimana body akan react dengan task

yang diberikan ketika di ruang persembahan. Selain itu juga, apa

yang diakseskan kepada penonton dan diri sendiri juga penting

bagaimana konsep yang Blurred itu dipersembahan kan. Disini

kita akan melihat sejauh mana tubuh badan itu lari dari ruang yang

selamat. (avoid from confort zone). Selain itu, kalau ingin bergerak

dan berubah apa yang perlu difikirkan dengn memikirkan sesuatu

yang ada tapi tiada. Cuba untuk break the boundaries tapi tidak

sampai berubah. Dalam pada masa yang sama menghargai

kesamaan dari segi ideology atau bentuk bersifat dalaman

(pernafasan, artikulasi pergerakan). Seterusnya mencipta sesuatu

garis di antara konsep blurred(pergerakan dan bentuk). Apakah

yang akan terjadi jika eksplorasi itu lebih organik serta adanya

inbalance dari segi kedua-dua konsep blurred ini akan membuat

kan persembahan atau eksplorasi itu lebih fresh. Dan yang terakhir,

memasukkan teknik chance yang lebih bersifat spontan, dalam

presentation kali ini. Bagaimana konsep Blurred ini dimasukkan dari

segi perlihatan dan pandangan, bentuk, ruang, bahasa, kuasa dan

identity.

45 46


Element# 2

BAHASA KOREOGRAFI

Pre-Presentasi

BODY ARCHIVE

by Fauzi Amiridin

Semasa di dalam proses ini, saya tidak cuba mengingat keseluruhan tari piring itu

sendiri. Ianya lebih kepada struktur dan koreografi di atas kertas dan juga

imaginasi.

Post presentasi

Banyak feedback yang saya dapat di dalam presentasi kali ini dan banyak

persoalan yang saya dapat. Hal ini membuatkan saya berfikir untuk melanjutkan

lagi research saya tentang tari piring dan juga body archive.

Semua ini lebih kepada perasaan dan juga persediaan tubuh badan dalam

melakukan persembahan. Pada ketika ini juga saya tidak banyak menumpukan

kepada piring itu sendiri.

Presentation

Ianya bermula dengan pergerakan pergelangan tangan dimana pada bahagian ini

merupakan penghubung kepada piring dan tubuh.

Pada ketika ini, memori lama tentang tari piring berlegar di

dalam fikiran saya. Ianya lebih memikirkan keywords yang telah

kita bincang semasa di dalam studio. Dalam masa yang sama

juga, saya mula memegang dan cuba bereksplorasi dengan

piring. Semasa prose situ berlaku saya dapati, skill dan juga

pergerakan saya agak terbatas dan tidak lancar. Ianya

menampakkan saya tidak tahu apa-apa tentang pergerakan

tari piring. Tetapi lama-kelamaan, dengan fikiran yang

berimaginasi tentang memori dan kinestetik memori dan

muscle memori tentang tari piring, akhirnya saya

mengambalikan skill dan juga melancarkan pergerakan piring di

tubuh saya. Dalam masa itu juga, saya mengingatkan kembali

tentang kesakitan dan kepayahan ketika mempelajari tarian ini..

saya mengambil semiotic perasaan itu kepada pergerakan

dengan menghempaskan tubuh ke lantai berulang-ulang kali.

Phrasa yang terakhir di dalam presentasi kali ini adalah saya

mengawal dan bermain dengan piring dengan olahan badan

serta apungan dan lambungan piring. Di sini saya menciptakan

pergerakan yang lebih kepada BLURRED dan peersoalan

kepada tubuh badan saya sendiri.

47 48


Element# 2

BAHASA KOREOGRAFI

Body Archive

Body archive was the main subject in my exploration of the

meaning and identity behind the dance forms of tari piring (saucer

dance originating from the Minangkabau people) and zapin (a

Malay dance form with Arab influences). I linked these two forms

with the movements of silat (a martial arts form). Fundamentally,

the main basis for these two dances is silat. My main objective in

this exploration is to find the ‘blurred’ space between these three

forms and to breathe new life into those movements. The

‘movements’ referred to include movement vocabulary,

articulation of form, idea, space and image as well as the totality

of the performance.

The starting point of my exploration was one of my works called

‘stalemate’ which was a traditional dance piece that was given a

contemporary treatment. In creating this work, I interpreted tari

piring using a more unconventional approach by paying close

attention to its visual aspects. Specifically in terms of the

costumes, props, movement articulation and also lighting design.

But the crux of why I chose to base my dance on tari piring is

because I grew up and was trained in that particular form.

by Fauzi Amiridin

At the same time, I tried to connect tari piring with zapin because they had

structures that could be elaborated and creatively reinterpreted. This is because

the core movements in zapin and tari piring are also the basic movements in silat.

What I am trying to discover are the points and lines which are vague and ‘blurred’.

And how these can create forms that are more relevant and contemporary.

As part of the process of discussion, we began with the topic of

what it meant to be practise-based and also the lineage attached

to a performer/choreographer. These topics were explored during

our sharing sessions. During the process I reflected a lot on the

issue of memory. These memories are related to the process by

which I first become involved in the arts. And then it evolved into

discussions on muscle memory, in which I recalled the various

forms of dance that I have studied. In the process of finding my

identity through my work, I thought about how my search for

movements forms took the form of improvisations, composition

and choreography. Personally, I don’t over-think about what

movements to show when I move, but am guided more by my

imagination and also the memories in my body. What I realised

was that my research process began with memory (the starting

date of my encounter with the dance) and then on to muscle

memories and then narrowed down to the main objective of my

search, which is the exploration of a ‘body archive’.

In our subsequent discussions, various questions were raised,

like how far we were into our respective explorations into the

concepts and ideologies informing our works. What were the

reference materials that we had used for our research? I was

especially drawn to the notion of the performer’s memories. This

is specifically with reference to my own self and how my own

body (as an archive) has recorded, and stored for retrieval, every

dance form that I have learnt. This has made me more aware of

each movement that I produce. These movements are based on

those which I remember but which I choose to reproduce in a

‘blurred’ space, between the space of tradition and the space of

the contemporary. At the same time, I tried to think of my own

identity as a choreographer. What is my role in finding the

meaning and purpose in that ‘blurred’ gap?

49 50


Element# 2

BAHASA KOREOGRAFI

Pre-Presentation

BODY ARCHIVE

by Fauzi Amiridin

During the process, I did not try to memorise the entirety of the tari piring dance. I

relied more on its structure and choreography on paper as well as my own

imagination. All of this was geared towards the feelings of my body and the body

preparing for the performance. At that time I did not pay much attention to the

saucers.

Post Presentation

There was a lot of feedback that I received from this presentation and many other

questions as well. This has made me think more deeply on how I should continue

in my research on the tari piring and also the body as an archive.

Presentation

I began with wrist movements as the wrists are important points of connection and

articulation between the saucer and the body.

AbouT

FAUZI AMIRIDIN

At this time, old memories about the tari piring played in my

mind. They gravitated towards the keywords that we had

discussed in the studio. While this was happening, I began to

hold the saucers and began my exploration with them. During

the process I found that my skill and movements were quite

limited and not smooth. It seemed as if I did not know anything

about tari piring. But gradually, as I thought about and imagined

the memories—kinesthetic and muscle memories—attached to

the tari piring, eventually my aptitude returned to me and I was

able to execute the movements with greater ease and fluency.

At the same time, I recalled the pain and difficulties I had faced

while learning the dance. I turned that emotion into a sign—in

which I smashed my body against the floor repeatedly. The final

phase in this presentation this time was when I tried to control

and play with my body’s balance while juggling with and

throwing the saucers. Here I created movements that tried to

conform to the concept of ‘blurred’ while asking questions

about my own body.

Fauzi is currently a principal dancer at ASK Dance

Company (ADC). His achievements include representing

Malaysia at the World Championship of Performing Arts

(WCOPA) at Los Angeles in 2011 and won 3 gold

medals. In 2014, he also won the BOH Cameronian Arts

Award for “Best Choreographer” in a mixed bill for his

work 2 by 2 produced by ADC. Fauzi produced and

choreographed his production Pit –Stop, an evening of

his own choreography in 2015. In 2016, Fauzi was

selected to represent Malaysia as part of top Japanese

choreographer Un Yamada’s double bill showcasing her

professional troupe and rising Malaysian dancers. They

trained rigorously in Japan for One Piece; and in 2017,

he was invited again to join Un Yamada Dance Co. to

perform her piece A City Without Seasons at Tokyo.

Recently, he took part in International Young

Choreographer Project 2017 (IYCP) in Taiwan this year

and performed in 3 Faces for the Vietnam International

Dance Festival 2017. In 2017, he was selected as one of

the Top 10 Cultural Dancers by Top 10 Magazine.

51 52


Element#2

BAHASA KOREOGRAFI

Lenggang Sebagai Permulaan

sebuah Penelitian dan

Praktek Tarian Lintas GendeR

Lenggang

Saya ingin tahu bagaimana

frasa gerakan seperti pejalan kaki ini,

dapat dengan segera memberikan informasi

genre, jenis kelamin, kebangsaan, sejarah, tempat.

Ada sesuatu yang lebih dari yang terjadi

di tengah-tengah cairnya ayunan lengan,

pejalan kaki mengangkat kaki-kaki mereka,

artikulasi jari-jari yang rumit,

goyangan halus dan pengendalian gerakan-gerakan pinggul.

Pertukaran berbagai ekspresi antara

pasangan pria dan wanita

kegembiraan bertemu seorang

mitra potensial seumur hidup,

pertemuan pertama yang berangsur-angsur berubah

saat-saat yang tidak menyenangkan menjadi kisah yang

sudah dikenal

dalam pacaran di dunia Melayu.

Refer to page x for original text in English.

oleh Soultari Amin Farid

1

Bagian-bagian dari makalah ini telah diadaptasi dari penelitian Pembimbing (Mohd Farid 2016) dan PhD (yang akan

datang).

1

Saya mengambil residensi dengan niat ambisius untuk

menyelidiki Lenggang, sebuah frasa gerakan khas yang

ditemukan dalam berbagai genre tari Melayu seperti Asli,

Inang dan Masri. Keingintahuan saya tentang topik itu

muncul ketika saya berbincang dengan salah satu junior tari

saya tentang Lenggang. Ketika mencoba untuk menemukan

satu kata bahasa Inggris yang setara dengan Lenggang,

saya menyadari bahwa kami tidak dapat melakukannya.

Mengapa? Karena dalam gerakan kontralateral "seperti

berjalan" ini, terkadang dalam kasus Asli, frase gerakan yang

penuh dengan simbolisme yang mengomplekskan dan

mentransendensikan tujuan fungsionalnya hanya

representasi belaka dari "berjalan".

Di tengah cairnya gerakan berbagai anggota tubuh, dan ritmik pengangkatan kaki

pada ketukan perkusi drum tradisional Melayu, terdapat konvensi yang melekat

pada gender, kebangsaan, sopan santun dan tabu. Oleh karena itu, menurut

pendapat saya, penyederhanaan frasa gerakan ke dalam kata-kata itu sendiri

adalah suatu tindakan yang tidak tepat.

Saya memiliki pertanyaan yang lebih banyak seperti bagaimana cara kita

membedakan Lenggang Malaysia, Indonesia dan Singapura? Apa yang membuat

Lenggang sangat berbeda? Jika menggunakan contoh-contoh dari Era Emas

perfilman Melayu, bagaimana perkembangan Lenggang saat ini?

Berbekal dengan rasa keingintahuan ini, saya berdiskusi dengan sesama residen,

Haizad, Fauzi dan Ayu, serta pembimbing kami, Helly Minarti dan Alfian Saat,

tentang topik ini. Melalui diskusi intensif tentang praktik bentuk-bentuk,

mempertanyakan identitas, proses transmisi dan peran para gatekeeper,

sangatlah menarik untuk melihat bagaimana kerangka pikir saya dan pertanyaan

awal saya pun berubah. Saya memutuskan untuk merenungkan sedikit lebih

keras tentang pengalaman saya sebagai penari di dunia seni lokal.

53 54


Element#2

BAHASA KOREOGRAFI

Lenggang Sebagai

Permulaan sebuah

Penelitian dan Praktek

oleh Soultari Amin Farid

Saya bertanya-tanya tentang diri saya yang unik dalam pementasan Lenggang

terutama karena saya berpendapat bahwa sifat feminin saya memberikan akses

dan kompetensi untuk melakukan variasi gender dari "Lenggang". Pada saat yang

sama melalui pandangan sebagai penari dan koreografer dalam dunia seni tari

Melayu Singapura, saya sangat mengetahui konvensi dan tabu tentang bagaimana

Lenggang seharusnya dilakukan. Isu gender menjadi penting karena konvensi

gender yang kaku dan narasi heteronormatif tentang pacaran antara remaja pria

dan wanita.

Saya menunjukkan beberapa contoh dari buku-buku panduan tari yang diterbitkan

pada awal 60-an tentang tarian sosial Melayu dan tarian pasangan yang

dikoreografikan. Di dalam buku tersebut, notasi dari ikon sepatu ballroom

menunjukkan tempat di mana kaki harus bergerak tetapi tidak ada indikasi tentang

bagaimana anggota tubuh bagian atas seharusnya diletakkan. Namun, deskripsi

gerakan tangan dan lengan ditulis sebagai teks.

Salah satu buku petunjuk berjudul “Chara Menari Ronggeng

dan Mak Inang” (1965), memberikan contoh ini. Di dalam

buku itu tertulis bahwa,

Diharapkan bahwa Lenggang wanita dapat menunjukkan

kualitas seorang perempuan Melayu yang ideal yang sopan,

rapuh dan berhati-hati dari setiap gerakannya. Dia

mengambil ruang yang lebih kecil sehingga gerakannya

tidak boleh besar (tidak sebesar rekan prianya), dia tidak

melihat langsung ke arah rekan prianya tetapi dapat

memperlihatkan tatapan sesekali - sebagian besar matanya

diarahkan ke bawah. Pinggul merupakan asetnya yang

paling penting, dia mengendalikannya dan melakukan

manuver sesuka hati - sejauh mana gerakan pinggulnya

akan memberikan gambaran yang dikenakan padanya.

Gerakan pinggul halus menggambarkan wanita suci, lain

kata gerakan kuat yang dapat memberi kesan seorang

Lenggang pria mengabil ruang yang lebih besar dengan

ayunan lengan yang lebih lebar dan gerakan telapak kaki

yang agresif. Dia memusatkan perhatian pada rekan

wanitanya yang memberikan kesan bahwa rekan wanita

tersebut adalah ‘apel dari matanya’ (wanita yang

dicintainya). Gerakannya berkisar dari gerakan tajam yang

ditemukan dalam Silat, seni bela diri Melayu, dan berubah

menjadi cair ketika ia mengkomunikasikan kasih sayangnya

kepada rekan wanitanya melalui gerakan-gerakan dekoratif

yang menggambarkan mekarnya bunga.

“Saat menari tolong jangan biarkan tangan menjadi kaku.

Menari berarti bergerak dengan seluruh tubuh dengan

anggun. Jadi ketika kita bergerak maju dengan kaki kanan,

tangan kanan harus bergoyang ke belakang, seolah berjalan.

Tangan kiri kemudian harus bergoyang ke depan, ketika kaki

berada di depan seperti yang disebutkan. Saat bergoyang

tangan, bahu harus mengikuti arah tangan yang bergoyang.

Setiap kali kita mengayunkan tangan kita, pastikan tangan

ditekuk sedikit. Jangan membuatnya terlalu lurus, sehingga

2

tidak terlihat kaku.” (2)

Selain itu, disarankan juga bahwa, “langkah-langkah para

wanita mirip dengan para pria. Satu-satunya perbedaan

adalah ketika langkah awal pria berada di sebelah kanan,

para wanita akan mundur ke belakang. Wanita perlu

3

melakukan tarian dengan anggun”.

2

“Waktu menari jangan-lah di-biarkan tangan kita kaku sahaja. Menari bererti bergerak dengan keadaan seluruh tuboh

kita lemah-gemalai. Jadi apabila kita maju sa-langkah ka-hadapan dengan kaki kanan kita pula hendaklah di-hayunkan

ka-belakang, sa-akan2 kita berjalan. Tangan kiri pula hendak-lah di-hayunkan ka-hadapan menurut langkah kaki

kanan ka-hadapan tadi. Waktu menghayunkan tangan, bahu kita hendak-lah ikut ka-arah tangan yang di-hayunkan.

Apabila kita menghayunkan tangan biar-lah tangan kita di-bengkokkan sadikit. Jangan terlampau lurus, supaya tidak

kelihatan kaku”

3

“Gerak langkah bagi penari perempuan pun sama juga dengan gerak langkah untok lelaki. Hanya yang berlainan ia-lah

apabila lelaki memajukan langkah pertama ka-hadapan dengan kaki kanan, penari perempuan mundor dengan kaki

kiri sa-langkah ka-belakang. Hendak-nya penari perempuan melakukan tarian ini dengan lemah lembut”(2)

55 56


Element#2

BAHASA KOREOGRAFI

Lenggang Sebagai

Permulaan sebuah

Penelitian dan Praktek

oleh Soultari Amin Farid

Ethnochoreolog, Mohd Anis Mohd Nor (1993) menulis,

“Dalam semua jenis tarian sosial Melayu penari laki-laki tidak diizinkan menari

seperti perempuan. Keindahan tari Melayu menempatkan penari laki-laki sebagai

pelindung dan pendukung penari perempuan. Meskipun tangan mereka tidak

saling bersentuhan, pasangan menari memberi kesan bahwa ada pemahaman

melalui eksekusi gerakan dalam tarian. Kompetensi penari laki-laki terletak pada

gaya tingkah laku yang bangga dan gagah dan tidak meniru keanggunan wanita ...

Langkah-langkah dan gerakan pergelangan tangan penari pria diperbesar dengan

kedua tangan terbuka lebar ke sisi tubuh dan bergoyang seolah mencoba

mempertahankan ruang dansanya agar tidak diterobos oleh para pesaingnya”. (33)

4

Saya menggunakan kata-kata ilmiah Mohd Nor untuk memikirkan apa artinya

melakukan Lenggang secara holistik (bukan hanya konsentrasi gerakan kaki) dan

pada saat yang sama mengkritisi bentuk dengan pengalaman unik saya sendiri

dalam melakukan Lenggang. Saya bertanya apakah deskripsi Mohd Nor tentang

kinerja gender-kaku dalam tarian sosial dan seni tari Melayu menyediakan ruang

bagi seseorang yang tidak selalu setuju dengan penerapan tingkah laku gender

yang kaku di tubuh.

Saya mungkin setuju dengan peran gender yang kaku ketika pasangan menari

bersama-sama tetapi dalam kasus seorang penari laki-laki diperbolehkan menari

solo (yang sebenarnya bukan konvensi dalam tarian Melayu karena sebagian besar

tarian dilakukan secara kolektif), bukan seharusnya tidak ada konsesi untuk inklusi

gerakan yang dapat dianggap "perempuan" tanpa harus dianggap sebagai tabu?

Selain itu, jika tindakan seperti itu dilihat sebagai pelanggaran, lalu di mana kah kita

menempatkan tradisi pertunjukan yang didasarkan pada seni kinerja dan tata rias

lintas gender?

4

“Dalam kesemua jenis tari pergaulan Melayu penari lelaki pula tidak dibolehkan menari seperti seorang wanita.

Keanggunan tari Melayu telah meletakkan mertabat penari lelaki sabagai pelindung serta pendamping penari wanita.

Walaupun masing-masing tangan tidak bersentuhan dengan bahagian tubuh penari saingan, kedua-kedua penari

seolah-olah kelihatan bersefahaman dalam perlaksanaaan gerak dalam tari. Kejaguhan penari lelaki terletak kepada

gaya kelakuan yang megah dan jantan dan tidak yang meniru keayuan gemulai wanita. … Langkah dan lengangan

tangan penari lelaki sentiasa menguak dengan membuka lebar-lebar kedua tangan ke samping tubuh beserta hayunan

seolah-olah mengepung ruang tarinya dari di cerebohi oleh lawan…”

57 58


Element#2

BAHASA KOREOGRAFI

Lenggang Sebagai

Permulaan sebuah

Penelitian dan Praktek

oleh Soultari Amin Farid

Cross-dressing dalam sebuah pertunjukan adalah hal umum

dalam tarian dan teater dunia Melayu. Pertunjukan komunitas

kerabat seperti komunitas etnis di Jawa, memiliki contoh cairnya

gender. Ethnomusicolog, Christina Sunardi, memberikan contoh

historis dari pertunjukan-pertunjukan ini di awal Indonesia dalam

bukunya, “Stunning Males and Powerful Female: Gender and

Tradition in East Javanese Dance”, daftar kebiasaan laki-laki yang

melakukan peran perempuan di Ludruk, teater Jawa Timur yang

populer; laki-laki yang memperankan perempuan dalam tarian

Banyuwangi abad ke-19 yang disebut Seblang; tradisi laki-laki

yang menampilkan tarian perempuan Jawa Tengah dari abad

Saya melihat peran saya sebagai provokator penting untuk terus

mengguncang kaidah-kaidah gender yang kaku yang telah

menghambat pemahaman inklusif terhadap bentuk-bentuk seni

yang mendukung pertunjukan dan pakaian lintas gender. Oleh

karena itu dengan adanya penggabungan bahan arsip dan

penyelidikan, adalah relevan bagi saya untuk terus bekerja dan

mengeksplorasi batas-batas yang membatasi apresiasi kita untuk

gagasan-gagasan alternatif dan cara kerja yang “berbeda”.

Hal ini merupakan teka-teki yang rumit. Saya memunculkan isu

cross-dressing karena ini adalah tindakan yang melibatkan

perwujudan karakter / gaya gerakan lawan jenis (penari laki-laki

yang mewujudkan karakter/tingkah laku wanita atau penari

wanita yang mewujudkan karakter/tingkah laku laki-laki).

Indonesia dan Malaysia telah menghasilkan kepribadian laki-laki

yang dikenal karena tindakan tari lintas gender dan/ atau perilaku

kefemininan mereka: Didik Nini Thowok; Rianto; dan Rosnan

Abdul Rahman.

Setelah residensi intensif tersebut, saya sempat memikirkan tentang materi

penelitian yang saya peroleh untuk penelitian ini. Saya merefleksikan mengapa

saya sangat fokus pada Lenggang, terutama ketika menari solo, tidak relevan bagi

saya untuk menggunakan frase gerakan ketika saya berimprovisasi. Saya

menyadari segera setelah itu saya menggunakan Lenggang sebagai objek analisis

untuk memikirkan apa artinya bagi tubuh Unik untuk mewujudkan

peran/pertunjukan gender yang kaku dan bagaimana sifat tubuh Unik dapat

menantang batas-batas ini. Saya melihat pembelajaran Lenggang sebagai

pengetahuan dasar yang diajarkan kepada penari amatir dan dalam pembelajaran

frasa gerakan, proses transmisi diisi dengan pengetahuan tentang norma-norma

gender dalam tarian.

Sumber/Referensi

Hamzah, Daud. “Chara Menari Ronggeng dan Mak Inang [Ways to Dance the

Ronggeng and Mak Inang]”, Penerbitan Federal, 1965.

Mohd Farid, Muhd Noramin. “Serampang Dua Belas: Discourses of Identity in the

Contemporary Practice of a Malay Courtship Dance in Sumatra.” Master Thesis,

Roehampton University, 2016.

Mohd Farid, Muhd Noramin. “Tarian Melayu: Negotiating Social Memory and

Constructing a Community through the Nation-State of Singapore.” PhD Thesis,

Royal Holloway, University of London, Forthcoming.

Mohd Nor, Mohd Anis. “Lenggang dan liuk dalam tari pergaulan Melayu.” Tirai

Panggung, vol. 1, 1993.

Sunardi, Christina. “Stunning Males and Powerful Females: Gender and Tradition

in East Javanese Dance.” U of Illinois P, 2015.

59 60


Element#2

BAHASA KOREOGRAFI

The Lenggang as Entry into

Cross-Gender Performance

1

Research and Practice

The Lenggang

I was curious how

this pedestrian-like movement phrase,

immediately provides information of

genre, gender, nationality, history, place.

There is something more that is happening

amidst the fluid swinging of arms,

the pedestrian lifting of feet,

the intricate articulation of fingers,

the subtle swaying and controlling of hip motions.

The expressions exchanged between

the male and female partner

the excitement of meeting a

potential life-time partner,

the first meeting that gradually turns

bashful moments into a familiar story

of courtship in the Malay world.

by Soultari Amin Farid

I came into the residency with the ambitious intention of

investigating about the Lenggang, a typical movement

phrase found in various Malay dance genres such as the

Asli, Inang and Masri. My curiosity on the subject came

about when I had a conversation with one of my dance

juniors about the Lenggang. While attempting to find a good

one-word English equivalent to the Lenggang, I realise that

we were unable to do so. Why? Because inherent in this

“walking-like” contralateral motion, at times lateral in the

case of Asli, it is a movement phrase that is steeped with

symbolisms that complexifies and transcends its functional

purpose of just a mere dancing representation of “walking”.

Amidst the fluid movement of limbs, and the rhythmic lifting of feet according to

the percussive beats of the Malay traditional drum, there lies inherent conventions

of gender, nationality, decorum and the taboo. Hence to simplify the movement

phrase into the economy of words is in itself, I argue, an act of violence.

I had larger questions such as how do we differentiate the Malaysian, Indonesian

and Singaporean Lenggang? What makes the Lenggang very different? If drawing

upon examples from the Golden Era of Malay film, how has the Lenggang evolved

today?

Armed with these loaded curiosities, I shared them with my fellow residents,

Haizad, Fauzi and Ayu, as well as our mentors, Helly Minarti and Alfian Saat, about

this topic. Through the intensive discussions about the practice of our forms,

questioning identity, transmission processes and the role of gatekeepers, it was

fascinating to see how my frame of mind and initial question has changed. I

decided to ponder a little harder about my experience as a dancer in the local art

world.

1

Parts of this paper has been adapted from my Master (Mohd Farid 2016) and PhD research (Forthcoming).

61 62


Element#2

BAHASA KOREOGRAFI

The Lenggang as Entry

into Cross-Gender

Performance Research

and Practice

by Soultari Amin Farid

I questioned about my queer self in performing the Lenggang

especially since I contend that my effeminate nature gives me

access and competency to perform the gendered variations

of the “Lenggang”. At the same time via an emic lens as a

dancer and choreographer within the Singapore Malay

dance art world, I am very informed about the conventions

and taboos of how the Lenggang should and should not be

performed. The issue of gender takes prominence because

of its gender-rigid conventions and the heteronormative

narrative of the courtship between an adolescent man and

woman.

It is expected that the female Lenggang demonstrates the

qualities of an ideal Malay woman who is demure, fragile and

cautious of her every movement. She consumes smaller

spaces thus her movement should not be big, i.e. not as big

as her male counterpart, she does not look directly at him

but offers occasional glances of interest -- most times her

eyes are directed downwards. Her hips are her most

important asset, she controls it and manoeuvres it at will –

the extent of her hip motion provides labels to be imposed

on her. The subtle hip motions depict a chaste woman as

oppose to vigorous motions which may give the impression

of a woman who is wild and flirtatious.

I showed examples later from dance manual books published in the early 60s of

Malay social dances and choreographed couple dances. Within the book, notation

of ballroom shoe icons showed where the feet should move but there was no

indication about how the upper limbs should be. Instead the descriptions of hand

and arms gestures are written as text.

One of the manuals entitled “Chara Menari Ronggeng dan

Mak Inang” (1965), provides this example. In the book it is

written that,

“when dancing please do not allow hands to be stiff.

Dancing means to move with the whole body gracefully. So

when we move forward with right feet, the right hand must

sway to the back, as if walking. The left then must sway to

the front, when the feet is in front as mentioned. When

swaying hands, the shoulder must follow the direction of the

hand that is swaying. Whenever we sway our hands, ensure

2

that the hands are bent a little bit. Do not make it too straight,

2

so that it does not look stiff.” (2)

In addition, it is advised too that, “the steps of the ladies are

similar to that of the gentlemen. The only difference is when

the gentlemen’s initial step forward is on the right, the ladies

will step left backwards. It is necessary that the ladies

3

perform the dance gracefully” (2).

The male Lenggang is executed big with wider swinging

arms and rigorous feet motions. He focuses is vision on his

female counterpart giving the impression that she is the

apple of his eye. His movements ranges from the sharp

motions found in Silat, Malay martial arts, and turns fluid

when he communicates his affections to her through floral

gestures depicting the blossoming of flowers.

2

“Waktu menari jangan-lah di-biarkan tangan kita kaku sahaja. Menari bererti bergerak dengan keadaan seluruh tuboh

kita lemah-gemalai. Jadi apabila kita maju sa-langkah ka-hadapan dengan kaki kanan kita pula hendaklah di-hayunkan

ka-belakang, sa-akan2 kita berjalan. Tangan kiri pula hendak-lah di-hayunkan ka-hadapan menurut langkah kaki

kanan ka-hadapan tadi. Waktu menghayunkan tangan, bahu kita hendak-lah ikut ka-arah tangan yang di-hayunkan.

Apabila kita menghayunkan tangan biar-lah tangan kita di-bengkokkan sadikit. Jangan terlampau lurus, supaya tidak

kelihatan kaku” (2)

3

“Gerak langkah bagi penari perempuan pun sama juga dengan gerak langkah untok lelaki. Hanya yang berlainan ia-lah

apabila lelaki memajukan langkah pertama ka-hadapan dengan kaki kanan, penari perempuan mundor dengan kaki

kiri sa-langkah ka-belakang. Hendak-nya penari perempuan melakukan tarian ini dengan lemah lembut” (2)

63 64


Element#2

BAHASA KOREOGRAFI

Lenggang Sebagai

Permulaan sebuah

Penelitian dan Praktek

oleh Soultari Amin Farid

Ethnochoreolog, Mohd Anis Mohd Nor (1993) menulis,

“in all types of social Malay dance the male dancer is not permitted to dance like a

woman. The beauty of Malay dance posits the male dancer as the protector and

supporter of the female dancer. Even though their hands don’t touch each other,

the dancing couple gives the impression that there is an understanding through the

execution of movement in dance. The competency of the male dancer lies in the

style of mannerism that is proud and manly and does not mimic the gracefulness

of the woman… The steps and wrist motions of the male dancer is enlarged with

the both hands opened widely to the sides of the body and swaying as if trying to

4

defend his dance space from being invaded upon by his competitors” (33).

Cross-dressing in performance is a common occurrence in the

dance and theatre of the Malay world. Performances of kindred

communities such as the ethnic communities in Java, have gender

fluid examples. Ethnomusicologist, Christina Sunardi, provides a

historical sampling of these performances in early Indonesia in her

book, “Stunning Males and Powerful Females: Gender and

Tradition in East Javanese Dance”, listing the customs of males

performing female roles in Ludruk, an East Javanese popular

theatre; males personating females in a 19th century Banyuwangi

dance called Seblang; the tradition of males performing central

Javanese female court dances from the 18th century till the 20th

century; and the possibility of females performing male characters

in the masked dance of Cirebon, just to name a few (20-21).

I use Mohd Nor’s scholarly words to think through what it means to perform the

Lenggang in holistic manner (rather than just concentration of foot movements) and

at same time critiquing the form with my own embodied queer experience of

enacting the Lenggang. I ask whether Mohd Nor’s description of the gender-rigid

performance in social and art dance of Malay dancing provides space for someone

who does not necessarily agree with the imposition of rigid gender mannerisms on

the body.

I may agree to the rigid gender roles when a couple dances together but in cases

when a male dancer is allowed to dance solo (which is actually not a convention in

Malay dance since most dances are performed collectively), should not there be

concessions for the inclusions of movements which may be deemed “female”

without having it be relegated as taboo? In addition, If such an act is seen as a

transgression, then where do we place performance traditions which predicated on

art of cross-gender performance and dressing?

4

“Dalam kesemua jenis tari pergaulan Melayu penari lelaki pula tidak dibolehkan menari seperti seorang wanita.

Keanggunan tari Melayu telah meletakkan mertabat penari lelaki sabagai pelindung serta pendamping penari wanita.

Walaupun masing-masing tangan tidak bersentuhan dengan bahagian tubuh penari saingan, kedua-kedua penari

seolah-olah kelihatan bersefahaman dalam perlaksanaaan gerak dalam tari. Kejaguhan penari lelaki terletak kepada

gaya kelakuan yang megah dan jantan dan tidak yang meniru keayuan gemulai wanita. … Langkah dan lengangan

tangan penari lelaki sentiasa menguak dengan membuka lebar-lebar kedua tangan ke samping tubuh beserta hayunan

seolah-olah mengepung ruang tarinya dari di cerebohi oleh lawan…” (33)

This is definitely a complex conundrum. I bring up the issue of

cross-dressing because it is an act which entails the embodying of

a character/movement style of the opposite sex (male dancer

embodying a female character/mannerism or female dancer

embodying a male character/mannerism). Indonesia and Malaysia

have produced male personalities who are known for their

cross-gender and/or effeminate dance acts: Didik Nini Thowok;

Rianto; and Rosnan Abdul Rahman.

After the intensive residency, I had time to think about the research

materials I have acquired for this investigation. I critically reflected

on why I am very focus on the Lenggang, especially when in

solo-dancing, it is not pertinent for me to employ the movement

phrase when I am improvising. I realized soon after that I was using

the Lenggang as an object of analysis to think through what it

means for the Queer body to embody rigid gender

roles/performance and how the nature of the Queer body may

challenge these boundaries. I see the learning of the Lenggang as

foundational knowledge taught to amateur dancers and in the

learning of the movement phrase, the transmission process is filled

with knowledge about the gender norms in the dance.

65 66


Element#2

BAHASA KOREOGRAFI

Lenggang Sebagai

Permulaan sebuah

Penelitian dan Praktek

oleh Soultari Amin Farid

Saya melihat peran saya sebagai provokator penting untuk terus

mengguncang kaidah-kaidah gender yang kaku yang telah

menghambat pemahaman inklusif terhadap bentuk-bentuk seni

yang mendukung pertunjukan dan pakaian lintas gender. Oleh

karena itu dengan adanya penggabungan bahan arsip dan

penyelidikan, adalah relevan bagi saya untuk terus bekerja dan

mengeksplorasi batas-batas yang membatasi apresiasi kita untuk

gagasan-gagasan alternatif dan cara kerja yang “berbeda”.

Sumber/Referensi

Hamzah, Daud. “Chara Menari Ronggeng dan Mak Inang [Ways to Dance the

Ronggeng and Mak Inang]”, Penerbitan Federal, 1965.

Mohd Farid, Muhd Noramin. “Serampang Dua Belas: Discourses of Identity in the

Contemporary Practice of a Malay Courtship Dance in Sumatra.” Master Thesis,

Roehampton University, 2016.

Mohd Farid, Muhd Noramin. “Tarian Melayu: Negotiating Social Memory and

Constructing a Community through the Nation-State of Singapore.” PhD Thesis,

Royal Holloway, University of London, Forthcoming.

Mohd Nor, Mohd Anis. “Lenggang dan liuk dalam tari pergaulan Melayu.” Tirai

Panggung, vol. 1, 1993.

Sunardi, Christina. “Stunning Males and Powerful Females: Gender and Tradition

in East Javanese Dance.” U of Illinois P, 2015.

About

Soultari

Amin Farid

Soultari Amin Farid is a choreographer, arts educator

and researcher from Singapore. He is currently based in

London where he is a PhD candidate in Theatre, Drama

and Dance studies at the prestigious Royal Holloway,

University of London, UK. His recent choreographic

credits in UK & Europe include: Bhumi (Edinburgh

Fringe Festival, UK); (Mis)fits (Footprints Festival, UK);

Maa, What If… : The Mother in Tagore’s Poems

(Commissioned by Mora Ferenc Muzeum, Hungary)

and Unity in Diversity (University of Szeged, Hungary).

Some of his notable works as Artistic Director in

Singapore include:Touch: Identite (Collaboration with

Sonic Artist, James Lye, and Hip Hop Artist, Fasihah);

Mother Earth: Diminishing (Commissioned by Temasek

Arts Centre, Temasek Polytechnic); GAIA: Pudar

(Supported by Malay Heritage Foundation & the Malay

Heritage Centre); and Padi Kuning [Yellow Paddy]

(Supported by National Arts Council Polytechnic

Initiative). Amin’s academic investigations into

postcolonial theory and anthropology provides the

impetus for him to produce artistic works which

constantly questions and challenge the normative

notions of class, ethnicity, identity and gender. Amin

believes that young arts practitioners must take

ownership of their cultural traditions but must also

become leaders in creating artistic works that are

innovative and relevant to an evolving landscape.

67 68


Element# 2

BAHASA KOREOGRAFI

Apa kegunaan

diri saya?

Apa kegunaan diri saya? Apa yang saya wakili?

Apa sesungguhnya arti tradisional dan kontemporer bagi saya?

oleh Norhaizad Adam

Dari tahun 2004 dan permulaan saya sebagai seorang penari Melayu Singapura di

Azpirasi, saya sering mengingat berlatih di sebuah studio di pusat komunitas

setempat. Saya ingat mengalami dilema dengan harga diri saya. Seringkali haus

untuk mencari pengakuan dari ahli-ahli tarian Melayu. Selalu aktif mendengarkan

sebagian besar kekhawatiran yang bias dan menyerahkan diri pada panggilan

tugas yang tidak masuk akal semua atas nama ‘keikhlasan’, yang diterjemahkan

sebagai ketulusan.

Setelah saya membedah karya-karya saya dan desain koreografinya, istilah

'ditengah' sering muncul sebagai motif yang berulang.Hal itu secara sengaja

membentuk bagian dari praktik artistik saya. Saya menantang diri saya sendiri

untuk mengatasi masalah tersebut menggunakan pandangan yang kuat dan tak

berdaya. Saya mulai mempertanyakan berbagai aspek pasangan seperti

tradisional - kontemporer, panggung - di tempat, pemain - penonton, salah –

benar.

Ketidaknyamanan kadangkala diperlukan. Jadi, saya menggunakan rasa

ketidaknyamanan itu. Saya menggunakan pengalaman saya yang menyenangkan

dan juga penderitaan untuk mengumpulkan kata kunci visual dalam membentuk

praktik artistik saya. Saya bangga dalam mendengarkan dan mempercayai naluri

saya. Saya tidak tertarik untuk memberontak, mematahkan norma-norma dan

menjadi kontroversial. Saya tidak ingin karya-karya saya tampil sebagai sarana

yang mementingkan diri sendiri karena saya adalah pribadi yang tertutup. Jadi,

sebagai strategi yang berbeda, saya menghubungkan ide-ide saya dengan isu-isu

di Singapura.

Kredit foto: Bernie Ng

Karena mudahnya dipengaruhi and tanpa disadari, saya

sendiri telah menciptakan 'beban' sebagai seorang penari

tradisional Melayu. Ini terbukti dari tanggapan-tanggapan

yang berbeda terhadap karya saya: dorongan, kehati-hatian,

perasaan khawatir, motivasi, dan kesalahpahaman dari

perspektif murni tradisi dan budaya Melayu.

69 70


Element# 2

BAHASA KOREOGRAFI

Apa kegunaan diri saya?

oleh Norhaizad Adam

Kata Kunci Visual yang direkam dari Silat

Duduk dengan fasilitator dan seniman di

ELEMENT#2: Residensi Bahasa Koreografi:

● Drama sosial, proses sosialisasi

● Tubuh sosialis

● Transit dan transmisi

● Melayu Transnasional, kritik nasionalisme modern

● Konsep rumah

● Bagaimana saya memiliki tubuh kontemporer ini?

● Hak bumiputra

● Teks, Extratext, Paratext, dan Metatext

● Performativitas yang ironis

● Demokrat dan kehendak Mayoritas

● Hak minoritas juga penting

● Budaya Pop Melayu Singapura

● Negosiasi tarian sosial atau pertemuan sosial Melayu

● Kebisingan suara Asiatic: manajemen, penjajah, gatekeepers, dll.

● Ketegangan antara Mayoritas dan Minoritas

● Koreografi sebagai latihan kritis

● Diaspora memiliki kekuatan, ekonomi dan uang

● Nasionalisme telah mempengaruhi apa itu bahasa Melayu?

● Translokal ketimbangTransnasional

● Tanggung jawab artis tradisional lebih berat daripada selebriti populer

● Kompleksitas minoritas

● Daniel: Apa hubungan menari dengan Anda sekarang?

● Ming Poon: Seberapa jauh Anda bersedia pergi? Temukan Instrumentalisasi

Anda

● Orientalisme

● Normalisasi

● Identitas minoritas

● Tubuh Melayu sebagai tubuh simpati

Pasal 152

Untuk residensi ELEMENT#2 di Dance Nucleus, firasat saya

mengatakan bahwa Pasal 152 dari Konstitusi Singapura akan menjadi

alat yang diperlukan untuk menyusun proses penemuan dan ide saya.

Dalam perspektif saya sendiri, artikel ini dimaksudkan untuk melindungi

hak-hak kaum minoritas di Singapura dan mengedepankan 'posisi

khusus orang Melayu'.

Saya ingin sekali membayangkan keadaan yang sebenarnya dan

mungkin mengungkap klausa tersembunyi yang keluar melalui

celah-celah yang ada. Saya ingin tahu apakah kata-kata yang dimuat

seperti ‘yang berkecukupan’, ‘yang berkekurangan’, ‘mayoritas’ dan

‘minoritas’ dapat muncul dalam percakapan sehari-hari orang-orang

Singapura dan konteks sosial, ekonomi dan politik Singapura saat ini.

Dari sudut pandang saya, saya mempertanyakan tentang diaspora

Melayu di zaman modern.

Bagaimana nasionalisme dan tradisionalisme selama pemerintahan

kolonial mempengaruhi apa artinya menjadi orang Melayu?

Apa artinya menajdi seorang Melayu di Singapura?

Apa artinya menjadi seorang Melayu di Malaysia?

Apa artinya menjadi seorang Melayu di Indonesia?

Apa kekhawatiran dan kelalaian minoritas Melayu di Singapura?

Saya membayangkan ulang Artikel 152 dengan mengubah skala

minoritas menurut demografi sosial, politik dan ekonomi di Singapura.

Kemudian, saya menyadari bahwa kekhawatiran dapat secara langsung

mempengaruhi saya. Namun, ada ketegangan antara mayoritas dan

minoritas sebagai seniman Anak Melayu Singapura. Saya memetakan

pemikiran saya tentang perbandingan status minoritas yang berbeda.

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Element# 2

BAHASA KOREOGRAFI

Apa kegunaan diri saya?

oleh Norhaizad Adam

Tabel 1. Tingkatan Organisasi Sosial

MAKRO

MESO

MIKRO

Dunia

Regional

Negara

Provinsi/kota

Komunitas Wilayah/kecamatan

Desa

Rumah tangga/keluarga

Individu

Pasal 152 yang sebenarnya diambil dari Konstitusi. Dimulai pada

tanggal 9 Agustus 1965

Minoritas dan posisi khusus orang Melayu

152. - (1) Ini akan menjadi tanggung jawab Pemerintah untuk

senantiasa peduli dengan kepentingan ras dan agama minoritas di

Singapura.

(2) Pemerintah akan menjalankan fungsinya untuk mengakui

posisi khusus orang Melayu, yang merupakan penduduk asli

Singapura, dan karenanya akan menjadi tanggung jawab

Pemerintah untuk melindungi, menjaga, mendukung, membina

dan mempromosikan politik, pendidikan, agama, ekonomi, sosial

dan budaya minat dan bahasa Melayu.

Berdasarkan penelitian tingkat organisasi sosial, saya menggambarkan 3 tingkat

status minoritas:

1) Tingkat Makro – Dalam Dunia & Benua: Orang Melayu Singapura vs Melayu di

Kepulauan Melayu

2) Tingkat Meso – Dalam Komunitas: Warga Melayu vs Warga Singapura

3) Tingkat Mikro – Dalam Rumah Tangga / Keluarga dan Individu: Melayu

Kontemporer vs. Melayu Tradisionalis

Konsep Rumah (Rumahku)

Naluri pertama saya adalah berfokus pada level Mikro. Saya membuat analogi

dengan Pasal 152 ketika saya mengetahui bahwa saya mengendalikan percobaan

head-heart. Mempertanyakan relevansi saya sebagai minoritas dalam komunitas

minoritas. Saya merasa terhibur oleh penjabaran ironis ini.

Artikel 152 versi Norhaizad Adam

Minoritas dan posisi khusus penari seniman kontemporer

Melayu

152. - (1) Akan menjadi tanggung jawab komunitas tari Melayu

untuk secara terus menerus memperhatikan kepentingan

minoritas kontemporer di Singapura.

(2) Komunitas tari Melayu harus menjalankan fungsinya untuk

mengakui posisi khusus dari praktisi kontemporer Melayu, yang

merupakan penduduk asli Singapura, dan karenanya akan

menjadi tanggung jawab komunitas tari Melayu untuk melindungi,

menjaga, mendukung, menumbuhkan dan mempromosikan ide

mereka, tesis, koreografi, latihan, gerakan kosakata dan bahasa

dan penampilan mereka.

73 74


Element# 2

BAHASA KOREOGRAFI

Apa kegunaan diri saya?

oleh Norhaizad Adam

Dengan menggunakan komunitas saya sebagai landasan

kerangka kerja koreografi saya, saya akan mengamati secara

dekat pertemuan sosial Singapura khususnya budaya

seremonial dan komersial. Saya menganggap ini sebagai

diaspora Melayu dalam konteks bangsa, dan diaspora memiliki

kekuatan, ekonomi dan penganut. Saya tertarik untuk

menempatkan tubuh kontemporer Melayu saya dalam proses

sosialisasi ini dan memperlakukannya sebagai dramaturgi

sosial.

Bagaimana saya menggunakan tubuh kontemporer Melayu ini?

75 76


Element# 2

BAHASA KOREOGRAFI

what is the point of me?

by Norhaizad Adam

What is the

point of me?

by Norhaizad Adam

Imperfection is necessary. Thus, I feed on insecurities. I use

my pleasant and afflicted experiences to collect visual

keywords to shape my artistic practice. I take pride in

listening and trusting my instinct. It is not in my interest to be

rebellious, break the boundaries and to be controversial. I do

not desire for my works to appear self-indulgent as I am a

private person. So, as a divergent strategy, I relate my

ideations with the affairs in Singapura.

What is the point of me? What do I represent?

What does the traditional and the contemporary really mean to me?

From 2004 and in my humble beginnings as a Singapore Malay dancer in Azpirasi,

I fondly recall rehearsing in a studio in a local community centre. I remember

experiencing dilemma on self-worth. Often hungry to seek affirmation from Malay

dance gurus. Always actively listening to mostly biased concerns and giving in to

senseless call of duty all in the name of ‘keikhlasan’, translated as sincerity.

Impressionable and unconscious, I myself had created my

‘baggage’ as a Malay traditional dancer. This is evident from

listening to disparate responses to my works: encouragement,

caution, misgivings, motivation and misconceptions from a

purist perspective of Malay traditions and culture.

After I dissected my works and its choreography design, the

term ‘in-between’ often crops up as a recurring motive.

Threading this along, it purposively forms a part of my artistic

practice. I challenge myself to zoom in on issues using

powerful and powerless lenses. I begin to question binaries

such as traditional - contemporary, stage - on-site, performers

- audiences, wrong - right

Photo credit: Bernie Ng

77 78


Element# 2

BAHASA KOREOGRAFI

what is the point of me?

by Norhaizad Adam

Visual Keywords recorded from Silat Duduk

with facilitators and artists at the ELEMENT#2:

Bahasa Koreografi Residency:

● Social dramaturgy, process of socialization

● The socialist body

● Transit and transmission

● Transnational Malay, critics of modern nationalism

● Concept of home

● How do I own this contemporary body?

● Bumiputra rights

● Text, Extratext, Paratext and Metatext

● Performativity of the ironic

● Democratic and Majority will

● Minority rights is important too

● Singapore Malay Pop culture

● Negotiation of Malay social dance or social gathering

● Noise of the Asiatic soundscape: management, coloniser, gatekeepers etc.

● Tension between Majority and Minority

● Choreography as critical practice

● Diaspora has power, economy and money

● Nationalism has affected what Malay is?

● Translocal rather than Transnational

● Responsibility of traditional artist is heavier than popular celebrities

● Minority complex

● Daniel: What’s the relationship of dance to you now?

● Ming Poon: How far are you willing to go? Find your Instrumentalization

● Orientalism

● Normalisation

● Minority identity

● Malay body as sympathy body

Article 152

For the ELEMENT#2 residency at Dance Nucleus, I knew by

instinct that Article 152 of the Singapore Constitution will be a

necessary tool for the crafting of my discovery and ideation

process. In my perspective, this article is intended to protect the

rights of minority races within Singapore and puts forth ‘special

position of the Malays’.

I am curious to imagine in between the lines and maybe uncover

a hidden clause that seeps through cracks in the wall. I wonder if

loaded words such as ‘privileged’, ‘underprivileged’, ‘majority’

and ‘minority’ can come out in an everyday Singaporean

conversation and Singapore’s current social, economic and

political context.

From my standpoint, I question about the Malay diaspora in modern times.

How nationalism and traditionalism during colonial ruling affects what being a Malay is?

What does being a Malay in Singapore mean?

What does being Malay in Malaysia mean?

What does being a Malay in Indonesia mean?

What are the concerns and negligence of Malay minorities in Singapore?

I reimagined Article 152 by changing the scale of minority

according to social, political and economic demographics in

Singapore. Then, I realize that the concerns may directly affect

me. However, there is an air of tension between majority and

minority relevance as an Anak Melayu Singaporean artist. I map

out my thoughts on the comparisons of different minority status.

79 80


Element# 2

BAHASA KOREOGRAFI

Table 1. Levels of Social Organisation

what is the point of me?

by Norhaizad Adam

The real Article 152 extracted from the Constitution. Commencement

9th August 1965

MACRO

MESO

MICRO

World

Region

Nation

Province/city

Community District/town

Village/suburb

Household/family

Individual

Minorities and special position of Malays

152.— (1) It shall be the responsibility of the Government

constantly to care for the interests of the racial and religious

minorities in Singapore.

(2) The Government shall exercise its functions in such manner as

to recognise the special position of the Malays, who are the

indigenous people of Singapore, and accordingly it shall be the

responsibility of the Government to protect, safeguard, support,

foster and promote their political, educational, religious,

economic, social and cultural interests and the Malay language.

The Norhaizad Adam version of Article 152

Based on studies of levels of social organisation, I visualise 3 levels of minority

statuses:

1) Macro level – Within World & Continent: Singaporean Malays vs Malays in the

Malay Archipelago

2) Meso level – Within Community: Malay Citizens vs Singapore Citizens

3) Micro level – Within Household / Family and Individual: Contemporary Malays

vs Malay Traditionalists

Concept of Home (Rumahku)

Minorities and special position of Malays contemporary

dance artist

152.— (1) It shall be the responsibility of the Malay dance

community constantly to care for the interests of the

contemporary minorities in Singapore.

(2) The Malay dance community shall exercise its functions in such

manner as to recognise the special position of the Malay

contemporary practitioners, who are the indigenous people of

Singapore, and accordingly it shall be the responsibility of the

Malay dance community to protect, safeguard, support, foster

and promote their ideation, thesis, choreography, rehearsals,

movement vocabulary and language and their performances.

My first instinct is to focus on the Micro level. I created an analogue to Article 152

as I find comfort in knowing that I am in control of a head-heart experiment.

Questioning my relevance of being a minority in a minority community. I feel amused

by this ironic juxtaposition.

81 82


Element# 2

BAHASA KOREOGRAFI

what is the point of me?

by Norhaizad Adam

By using my community as the foundation of my choreographic

framework, I will observe closely at Singapore social gatherings

particularly the ceremonial and commercialised culture. I

consider this as a Malay diaspora in a nation context, and

diaspora has power, economy and followers. I am interested to

place my Malay contemporary body in this process of

socialization and treat it as a social dramaturgy.

How do I own this Malay contemporary body?

AbouT

NORHAIZAD ADAM

Norhaizad Adam is a dance artist based in Singapore.

Currently, he is the Artistic Director of P7:1SMA (Prisma),

a contemporary dance company rooted in the wisdom

and embodiment of Malay philosophy, tradition and

histories. Trained as a Traditional Malay dancer and now

exploring contemporary ideations. His curiosity leads

him to explore the equilibrium between traditional and

contemporary, yet relating to his urbane living. He

desires to create works that connect and questions the

complexity of feelings. Investigating the essence of

human conditions and interventions. Norhaizad is an

avid coffee drinker, fond of aromas and believes in the

philosophy of balance.

83 84


SCOPE is Dance Nucleus’ open platform for artists’ informal

presentations. Associate members of Dance Nucleus as well as other

invited guests conduct discussions, workshops, jams, readings,

screenings, open studio and work-in-progress showings as ways to

articulate their practices and to foster discusive exchange.

In FUSE#2, three projects that were presented in SCOPE#3 are

featured:

Ming Poon (Berlin/Singapore) was invited to a residency at Dance

Nucleus as a collaborative effort with the Nanyang Academy of Fine

Arts (NAFA). Ming choreographed a new work with the students of

NAFA for this year’s da:ns Festival at the Esplanade. ‘Unison’, the

resultant work based in the iconic image of the Tank Man who

protested at the Tiananmen Incident, was presented at SCOPE#3 as

an exposition of Ming’s creative proposal and pre-rehearsals

preparations, while in FUSE#2, he provides here some reflections and

notes post-premiere.

SCOPE # 3

ABOUT

SCOPE#3 is Shanice Stanislaus’ (Singapore) second presentation

at Dance Nucleus this year. Over 2018, she has been developing ‘La

Mariposa Borracha’, a community performance project that sees her

collaborating with caregivers of people with terminal illness through

clowning as an interactive and movement practice, in order to

approach the idea of the ‘sick body’ in performance. In FUSE#2, she

documents her working process for the year, as she prepares to go

further with the project in 2019.

Lee Mun Wai (Giessen/Singapore) and Lee Ren Xin (Kuala

Lumpur/Singapore) reconvened to further develop ‘There is

Speficifisfety’ for SCOPE#3, a work that began in 2017 before Mun

Wai left for his post-graduate studies in Giessen, Germany. The

updated iteration of the performance work also saw a touring

presentation to the Five Arts Centre in Kuala Lumpur. Here, Mun Wai

and Ren Xin share their individual notes and reflections on their

collaborative encounter.

85 86


SCOPE#3

about ‘Unison’

by Ming Poon

Unison

● A dance term commonly used to describe a group of people

dancing together with the same movements and moving at the

exact same time.

● A choreographic device that organizes human bodies to move in

synchrony.

The research looked at the body politics of the individuals within a unison.

These questions form the basis of the research.

1.

2.

3.

4.

What do we have to do in order to be in unison?

Is dancing in unison a force of unity, or is it a form of

conformity?

Are we empowered by being in unison or merely hiding

behind it, abdicating our responsibility?

When unison turns into forced homogeneity, how do we

create space for individual voices and alternative existence?

Footage of the Tank Man at Tiananmen Square in 1989.

For this research, I worked with 16 dance students from NAFA.

The movements used in the unison were based on the footage of

the Tank Man at Tiananmen Square in 1989. Other than my

interest in its choreographic composition, I chose the Tank Man

because for me, his actions embodied the quintessential conflict

between the individual body and the collective body, expressed

through the refusal of an individual to stay within the collective and

the disruption he caused to the hegemonic power. The idea was

to use the Tank Man as a starting point for us to look at the political

potential contained within the individual body. In addition to that,

in executing the movements in unison, the students were also

confronted with the body politics involved in the choreographic

device of unison and the role they play in their participation of it. In

a society like Singapore, where social unity, cohesion and order

are prioritized over other social values and are meticulously

engineered and maintained, I wanted to find out the students’

relationship to these values and where were their personal voices.

I employed unison as a base from which to start a discourse about

the wider socio-political context that the students lived in.

As the research progressed, it became clear to me what the students’ relationship

to being in unison was, whether as a choreographic device or a social apparatus.

So I decided to shape the end performance in such a way that it portrayed the

students’s state of mind and their predicament. Through the experience of these

young people, I hope the performance would capture a glimpse of the zeitgeist of

Singapore in 2018.

87 88


SCOPE#3

About ‘Unison’ by Ming Poon

Notes From The Residency

Day 3: Embodying the Tank Man.

Our 3rd day trying to embody the movements of the Tank Man.

Other than the political context, we are also studying his

movements from a choreographic angle. After watching the

footage repeatedly, I have come to the conclusion that it is an

example of very good choreographic composition. It has very

nuanced musicality, makes great use of level and space, and

plays with contrasts, tension and suspense very effectively. The

Tank Man's movements show very clear intention, economy of

effort, groundedness and a precise yet unpredictable musicality.

Day 4: Social reality has entered into the rehearsal space.

Today I received news that the footage of the Tank Man cannot

be used in the performance. The reason being that some

audience members might be offended by it.* This new

development brings the research questions closer to home for

the students.

● What do we have to sacrifice in order to stay in unison (as a society)?

● Are we empowered through our unity or made to conform?

● What are the consequences if we fail to stay in unison with the rest of the society?

● Most importantly, where do we go from here?

The students were asked to think about their role as artists/dancers and how they

would like to respond to the situation.

* Note: A few days later, the school further clarifies that the use of the footage may

cause problems for the students from China.

Photo credit: Ming Poon

89 90


SCOPE#3

About ‘Unison’

by Ming Poon

Day 7: Disempowering of movements.

Dancers learning to move in sync to texts, instead of the

Tank Man video. The text describes the physical actions of

the Tank Man. The image of a group of dancers moving in

sync to texts gives a different meaning. It now feels more

militant and mechanical, because the human intention

behind the actions is no longer there. They are reduced to

movements for movements' sake. The power of the Tank

Man's movements has been uprooted, appropriated and

tamed, so that they are safe for public viewing and

consumption.

Day 12: Tank Man or the Tank.

I ended the residency by asking the students to what purpose

they intend to put their training and knowledge and what roles

they play as dancers.

When the time comes, will you become the Tank Man or the

Tank?

Thank you all for your commitment and believing in the process.

It is interesting to see how dancers are co-opted to be agents through which

movements become disempowered in this situation.

Day 10: Tank Man is closer to home than we think.

I brought up the on-going court cases of both Seelan Palay

and Jolovan Wham for discussion. It made the students

realize that the theme of the Tank Man is still relevant and

happening today. While the tank does not take on any

physical form, it is not less present and felt.

We discussed these questions:

● Are you aware of the power under which you operate as artists?

● How do you as artists and individuals negotiate with this power?

● What can you do to change the situation?

The students had no answers to the last 2 questions. They have never thought or

been asked to think about them. The sense they gave was a mixture of frustration

and resignation. It became very obvious that they were badly equipped to deal

with these issues as future dancers and dance artists.

About

Ming Poon

Ming began his career as professional dancer in 1993,

and started to develop his choreographic practice in

2010. He sees movement not only as a physical

activity, but also as a social and political one. To move

is to relate and to strive for change. His approach to

dance is one where there are no dancers, only people

in a constant process of negotiation as they reach out,

converge, meet and separate. His performances

explore themes of vulnerability, intimacy, peripherality

and failures. They are interactive in design and often

require the collaboration of the audience or performers.

By interrogating and shifting the politics of their body,

he hopes to bring about an embodied and empathic

relationship to his works.

www.mingapur.de

91 92


SCOPE #3

LA MARIPOSA

BORRACHA - the process

by Shanice Stanislaus

Do you stop dancing when you become ill?

‘La Mariposa Borracha’ began as an investigation on the theme of the exhausted

body. This a particularly relevant question to me both as someone who loves to

dance while experiencing the impact of sickness taking a toll on my physical body.

In the past three years, this issue struck me hard after losing dear friends and after

watching them struggle with illness both physically and mentally. I then became

curious to explore the effect of illness on the body, the relationship, almost like a

dance-like battle with sickness and the fight to get better through movement and

laughter.

Of course, I didn’t want this to be a work where we focus on the

negative aspects of sickness instead I wanted to present the

journey, the ups and downs, the surprises, the dissonance and the

emotional roller coaster that often accompanies an illness. Sick

people don’t need to be reminded that they are sick and hence, I

wanted this to be an experience, almost like a painkiller. This

concept came about when I was in a clown class and was in

immense pain but found laughter to relieve or distract some of that

pain away. Supported by research showing the effectiveness of

humor in pain relief, the art of clown became an important guiding

principle for the work. The work would also not function without

humor and a little party because often with suffering, I found it

important to embrace the celebratory aspects in life.

Photo credit: Shanice Stanislaus

Le Jeu as a research tool

My research in Dance Nucleus focused on how do we find the greatest pleasure

in the way we move despite the experiences of illness or exposure to illness

(caregivers, watching others suffer with illness) that may influence the way we

move.

‘Le Jeu’ (The game) became an important philosophy and tool in exploring this

concept. This is often used as a foundation for clown work and training, created

by clown master Philippe Gaulier. In this work, I was interested in using the

principles of Le Jeu to explore creating choreography. In the Gaulier mode of

thinking, pleasure can only be achieved by playing and the only way to play is by

creating a game. The game has a set of rules in it in which, we find ourselves

abiding by it, breaking it or creating new rules. In the first half of the year, we

explored the creation of games that could help us generate movements,

emotions and eventually choreography to explore this journey of illness.

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SCOPE #3

LA MARIPOSA BORRACHA -The process

by Shanice Stanislaus

What became fun, simple games that would usually induce much laughter would

be flipped to explore an emotional scenario/a situation in an illness setting. The

lightness we had with ‘Le Jeu’ allowed us to safely tap into unpacking the emotional

complexities with discussing and researching illness as a journey allowing us

always the opportunity to return to the laughter that begins the games.

Exploring with the local community

After researching on our own in a group of 4 with individuals who

experience illness and individuals who are caregivers, we decided to

take the investigation to local communities who may better add to

our curiosities.

We worked with the Singapore Association of Mental Health (Youth

Reach) and Caregivers Alliance using Le Jeu as a tool to explore the

journey of illness along, how that translates into the body and the

dissonance of illness in their own lives. It was an amazing time

getting to know these individuals, playing and dancing with them.

Through the games, we uncovered how one can move with great

pleasure despite a physical and mental illness or even the limitations

of having to always stay home to be a caregiver, especially as for

some of these individuals it was their first time dancing.

In terms of exploring the journey of illness the stages of the Kubler Ross model was

often brought up. The Kübler-Ross’ model was based off her work with terminally

ill patients and has received much criticism in the years since. Mainly, because

people studying her model mistakenly believed this is the specific order in which

people grieve and that all people go through all stages. Kübler-Ross now notes that

these stages are not linear and some people may not experience any of them. Yet

and still, others might only undergo two stages rather than all five, one stage, three

stages, etc.

Denial, Anger, Bargaining, Depression and Acceptance were the common

emotional states that were brought up by almost all the participants through the

games played. However, they would also bring up various other emotional states in

their journey of illness that were never explored by Kubler Ross and also rarely

acknowledged in many academic and formal conversations of illness in institutions.

These states of Playfulness, Encouragement, False Hope, Emotional Disconnect

(numbness) and the Celebration. It was only through these games we managed to

uncover the emotional significance of these stages that were nuances to be added

to the current Kubler Ross stages.

These new discoveries added to the work helping us reframe this journey of illness

we would present exploring the dissonances between the phases or the

development of the phases in a real-life scenario when one has to deal with illness

in their own personal lives.

Photo credit: Shanice Stanislaus

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SCOPE #3

LA MARIPOSA BORRACHA -The process

by Shanice Stanislaus

Choreographic research in slum

communities

After the first two years of writing and performing this work, I

wanted to take this investigation outside of my own personal

experience. I wanted to find the communities where this work

would resonate and present a narrative that belonged to a

larger community. In the past year, I have been very lucky that

the work has taken me to communities of individuals who

experience physical illnesses, mental illnesses and their

caregivers whose narratives have greatly informed the

narrative of the work.

The research of the work also took me to the poorest of

communities internationally, from the Kibera slum in Nairobi,

Kenya to the Battambang slums of Cambodia where illness

was the everyday narrative of the individuals who live

amongst unpiped sewage and piles of loose trash, with a

constant exposure to cholera, typhoid, malaria and various

It was in my time in these communities in the past three years, I found the power of

dance and community to keep everyone going despite the harshest of conditions in

their poverty.

Music and dance was the one tool that kept these

communities together. In the past three years, I studied each

community intensely and found the similarity between both

slum communities in different parts of the world, they all

celebrated life in music and dance despite the harshness that

their environment brought, even in its widespread illness.

Photo credit: Shanice Stanislaus

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SCOPE #3

LA MARIPOSA BORRACHA -The process

by Shanice Stanislaus

Even in their mode of movements, hugely similar, there was a certain uninhibited

groove and bounce to the movements. There was a certain aerobic styled structure

to all their popular dances where everyone in the whole village would leave their

homes and come dance out in the school/plaza where the popular songs would

play. From grandmas in Kibera to little children in Battambang, the desire to move

and dance despite having no shoes or some being very ill was extremely present.

While these famous set dances are not carefully choreographed technically, their

movements carried a sense of their soul and ritual which can traced back to tribe

communities in the past which now have evolved into popular culture in slum

environments. No one taught dance there. Dance was raw, it was pleasure. It was

a communal celebration in response to the harsh reality of death and illness.

Photo credit: Shanice Stanislaus

Photo credit: Shanice Stanislaus

This was a philosophy that grounds the choreographic work and

has been key in the genesis of the work and why we still dance

despite illness.

The work continues to redevelop and grow as it has been

evolving since July 2016 and it is set for a restage in 2019. My

hope is to keep researching this work of what it means to be ill

on the deepest and most sincere level. With every community or

individual that has helped to co-create this work, it has

constantly reminded my team and I of what we are constantly

unearthing; the importance to feel this myriad of emotions, the

connection to our own humanity through laughter and play and

the importance to connect, grief and even celebrate with others

especially in the darkest of times.

‘My body is now beginning to be falling apart, but I will do it to the end.’

- Marina Abramovic

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SCOPE #3

LA MARIPOSA BORRACHA -The process

by Shanice Stanislaus

AbouT

Shanice Stanislaus

Shanice started as a performing artist with Flamenco

Dance Theatre company, Flamenco Sin Fronteras, and

has since worked internationally with esteemed

practitioners such as Antonio Vargas, Sue Samuels and

Alberto Velasco in New York and Spain. She is an

international Zumba Fitness presenter for Move to

Empower, supported by the United Nations. Her work

includes developing and training new choreographers

and dance instructors in impoverished communities

internationally. She is the founder of Creatives Inspirit, its

mission to nurture a community of socially responsible

artists and creative changemakers. She is also a

film-maker and has had her films premiered at the Guam

International Film Festival, Info Cinephone Festival,

Evolution Mallorca Film Festival and Colortape Festival

Australia.

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SCOPE#3

There Is

Speficifisfety

- The Work As Scribed Text.

by Lee Mun Wai

In this written contribution to FUSE#2, I would like to use this

opportunity to (finally dare to make an attempt to) write about this

work. I would like to (finally dare to) transfer some of my thoughts

and feelings (a lot of them still very hazy) about There Is Speficifisfety

into words.

It is about encounter and what an encounter produces.

This is the first time that I have embarked on a creative journey

where it has been so hard for me to say in words what exactly it is

about. Of course I know it is about something. But for a long time I

had been hiding behind the convenient disguise of pretending that

this work has no about-ness to it. How can that be?

Perhaps I find it difficult to write about the work because its

about-ness is so different from the previous works I had done.

Previous works sought to describe or analyse certain world-views or

topics using the contemporary dance form. Thus, choreography,

movement and the bodies in space served to make these topics

visible to the audience.

With the Speficifisfety project however, the focus falls directly on the

act and the situation itself – the very encounter between Ren Xin

and I so to speak. It is the first time a project I am involved in ended

up being about itself and nothing else but its very self.

As the project began taking shape from 2016, Ren Xin and I soon found out that

with every meeting or rehearsal, we were trying to find ways to encounter each

other. Though we both share a great interest in each other’s practices and bodies

of work, it is clear that our approaches are very different.

Initially, this created some minor personal crises. I was not used

to this non-deterministic way of working, where each rehearsal

/ meeting began and ended with as many, if not even more,

options, directions and unanswered questions. My headspace

and my being were constantly splintering off in different

directions instead of streamlining themselves into a sense of

organised linearity. The questions that arose from our process

kept looping back to ourselves and our encounter. We were

questioning all our working habits and the personal practices

that each of us had grown used to.

Rehearsing not to determine or foreclose, but instead, to learn how to navigate and

negotiate.

Because of the way we were working, the very meaning of rehearsal – what was

being rehearsed – changed drastically. No more was I rehearsing in order to set in

stone a certain kind of spatial, temporal and bodily organisation that would be

replicated on stage for the audience. No more was I rehearsing in order to make

invisible a process wrought with surfeit and hiccups. Instead, rehearsals were

about honing a sensitivity towards our encounter. Rehearsals were about learning

how to tune in to the plethora of sensorial and tactile information arising from our

encounter; which ones to listen to, which ones to discard, which ones to ignore,

which ones to develop. Rehearsals were about learning how to negotiate our

partnership actively throughout the work. Rehearsals were less about attempting

to flatten unevenness and difference in favour of showing a smooth, uninterrupted,

culminated singularity, and more about training our bodies to readily face the

clashes and disruptions arising from the meeting of two very different bodies.

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SCOPE#3

There Is Speficifisfety

- The Work As Scribed Text.

by Lee Mun Wai

Some questions I posed to myself during rehearsals include:

What are the ways of acknowledging the other bodies?

How many relations can I handle?

What is the nature of each relation?

How am I gazing?

How am I being gazed at?

What is moving the body?

What am I acknowledging?

When do shifts happen?

What happens when a shift happens?

How long does it take for a thing to become something else?

The answering of these questions then becomes the doing of the dance.

The answering then becomes the performance.

One thing that was mentioned a lot in our rehearsals was the idea of

a mode of inhabiting and a mode of achievement. These modes

were modes of performance and they could be treated as opposite

ends of the spectrum that Ren Xin and I were modulating ourselves

within. A large part of what I have described above – about learning

how to listen, navigate and negotiate – exists closer to the “mode of

inhabiting” end of the spectrum. That is not to say that the “mode of

achievement” end is not important. We soon realised that the work

would tend to meander unendingly and uninterestingly if we only

parked ourselves on the end closer to “mode of inhabiting”. Perhaps

it might then be of interest to unpack the idea of what constitutes as

“uninteresting”. What did it mean to say that a part of our dance was

uninteresting? Uninteresting to whom? To us? To the audience? And

by subsequently trying to negotiate these uninteresting parts, what

kinds of pressures could we have been acquiescing to? Were we

giving in too easily to a kind of conventional mode of watching? What

alternative strategies did we have to get around these uninteresting

parts? Could one of the strategies have been staying steadfast in

this uninteresting part, to resist the want to get rid of it as soon as it

appeared, in order for something to organically appear later on?

Occupying either end of the spectrum was not useful to the work.

Instead, we were modulating appropriately within the spectrum

throughout the work, understanding that at some points, it would be

necessary for certain situations to peak, and at others it was

imperative to dissolve something that had been going on for some

time even though it felt like it had some relevance. Indeed, the

knowledge of how and when to employ these strategies of

negotiation were honed during our rehearsals.

I see you see her see them see us see me.

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SCOPE#3

There Is Speficifisfety

- The Work As Scribed Text.

by Lee Mun Wai

Throughout the work, the various modes of inhabiting

between Ren Xin and I allowed the audience to have varying

degrees of concentration and viewing. Because of these

varying degrees, everything in the performance space

became visible. Our performance created a keen sense of

attention not only towards Ren Xin and I, but to the entire

space as well. Sometimes, when the encounter between

Ren Xin and I became too tedious or boring to watch, the

audience’s gaze and attention would shift towards other

things or people in the room. Also because, with such a high

level of attention in the space, a small shift in any part of the

space - be it an audience member sweeping one’s hair, or a

sudden flicker of a fluorescent light tune - would cause

people to divert their attention to that shift momentarily. I

quite like this idea: that the encounter between Ren Xin and I

was not the only thing to be looked at in this performance.

Our encounter could also serve as a thing or a gesture to

make other aspects of the space, or other people, visible to

the audience. Yes, at times, Ren Xin and I were undoubtedly

the ones being watched, but there were also a lot of

instances where we were acting as conduits to redirect the

audience’s gaze and attention to the rest of the space.

About

Lee Mun Wai

Lee Mun Wai is an independent dance artist from

Singapore. He has been spending the past 3 years

performing in and creating works that try to speak

about performance and choreography in a much more

expanded sense.

Prior to becoming an independent dance artist, he was

one of the founding members of the Singapore- based

T.H.E Dance Company (2008 – 2015). With the

company, he has performed extensively in festivals

such as Les Hivernales in Avignon, France, as well as

the Oriente Occidente festival in Rovereto, Italy. He has

also performed in China, South Korea, Poland, India,

Indonesia and Malaysia. In 2014, he received the Young

Artist Award from the National Arts Council of

Singapore.

He is currently pursuing his Masters in Choreography

and Performance at the Institut für Angewandte

Theaterwissenschaft in Giessen, Germany. In March

2018, he performed in Claudia Bosse’s Last Ideal

Paradise at Tanzplatform In Deutschland 2018.

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SCOPE #3

Notes on ‘There is

Speficifisfety’

by Lee Ren Xin

Briefly, before coming to Singapore for SCOPE#3 at Dance Nucleus:

1.

2.

Meeting Mun for the first time since our show Where’s The Speficifisfety in

July 2017: Our two bodies in present time encountering the two past

bodies in 2017 (in the videos). Us now encountering us then.

How to collaborate with Mun?

Photo from Lee Ren Xin

3.

4.

5.

6.

Since so much is about that present time, present space, present energy,

present history, presence, I sometimes have doubts about if I am conflating

all things or motivation into an instant performance/composition (different

from improvisation). And if so, what then are the two of us doing, spending

hours together each day over a month? What (other) ways could we work

in? What are we working on, when we work? And so, what is that work that

will be performed on 28-30 September at KOTAK @Five Arts Centre in KL?

It’s hard for me to orientate towards something if I’m in a place that’s open

to everything. There is no more motivation to make the next step, to

continue. Where’s the speficifisfety of this piece?

What is at stake? This is also the guiding line for me to make decisions

when performing.

I appreciate that Mun and I are coming together with differing

interests/inclination as we infer differently and also employ different

research trajectory, when faced with the same task or proposition.

7.

8.

9.

In an effort to break our habitual default responses and kinetic tendencies,

we practiced outside of our existing politics. Yet, in an effort to find

alternatives beyond distinct polarities, are we blanding unnecessarily? That

seek for alternative spaces may be a meaningful part in our working

process. But just because it was what we were interested in excavating, is

it necessarily the piece? Two years ago, I once wondered aloud in

rehearsal, could we meet at 50-50? What does it mean to meet at

mid-point, in terms of energy, timing, intention, pathway? Henceforth, there

began this jokingly-serious challenge for what we think is impossible i.e. to

meet equally. What is the work now, anyway?

Because of my habitual practice inclination to find hard-to-lock-down

spaces, I may be overlooking the richness of simple ways things are and

could be, too…to just acknowledge, and also allow space for such

polarities.

Our principles in life are not necessarily what is desired as content of the

piece.

Whose desire, anyway?

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SCOPE #3

Notes on There is Speficifisfety

by Lee Ren Xin

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

21.

22.

Allow inequality.

Post-moment or post-happening: how one re-/contextualizes it or unfold

from that moment.

Pre-run, I have a notion of the piece. During run, the notion of the piece is

not useful.

Meaning: An arrival made by all parties: Mun, Ren Xin, the audience.

Politics: Testing and negotiating boundaries between the two bodies.

I think sometimes when we think we know the work, and we perform with

that notion we think is the work, the work’s life actually dies. Because we

might just be performing an impression of the work, and so the experience

becomes a non-situated memory of the work. I feel that impressions are

generally set (fixed/dead) things. They feel like a mushed

color/image/notion. So, if we work from such a place, the distinct colors or

shades that maketh the work would be lost.

Really, what are we doing??

How do we feel, about what we are doing?

What feelings/thoughts are we encountering right now where we at, at this

juncture?

What is this unconvinced or non-belief that I am feeling?

What have I been avoiding to address about this work?

How do we want to work, for this phase, from next week onwards?

I can’t help but notice our bodies relating to each other subconsciously

whenever we are talking or discussing things in rehearsal.

The following dots the 5 days at Dance Nucleus, 17-21 September 2018:

23.

24.

25.

26.

27.

28.

29.

30.

31.

32.

33.

34.

35.

36.

Apart / a part of

Synchronicity that does not come together.

What is casual? Is that casual? Does it matter?

Let the audience rest. Let the audience breathe. For a bit. OK.

This is just one way.

Why perform? There is no reason to perform.

There is reason to perform.

No need reason to perform.

What do I recognize? What do we recognize? Do we recognize that we

recognize?

Why take risks? Because I want to please the audience.

The need and attempt to choreograph happens whenever we are stuck.

Bodies of thought.

Bodies of idea.

Bodies of ambition.

Body of the task.

Body of the situation.

Body of sound.

Body of anxiety.

They are like bodies. Some sexy, some uncomfortable, some unidentified.

Body within body.

Body of this building.

Body of this work.

The survival program in us prescribes hierarchy to what we encounter e.g.

prioritizing living bodies or “brain-bodies” over other (inanimate) bodies in

the space.

When do I refer to it as ‘the work’, and when do I say ‘the piece’? Does it

matter?

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SCOPE #3

Notes on There is Speficifisfety

by Lee Ren Xin

After SCOPE#3, the final week in KL:

45.

In this work, I sometimes feel our tasks are really not that meaningful.

However, they are important for us as principles which we have found to

produce or allow for results which we recognized to be desirable as

content of the piece. I’d rather the audience not know too much what our

tasks are.

46.

47.

Sometimes, the tasks is not what the piece is. The tasks allows the piece

to take form in real time. But they are not what the piece is about. It is

important that we do not mistake the tasks as the piece. There are times

when a particular task is no longer relevant or no longer works for the piece,

because of the changed way we perceive or treat the task. Sometimes, the

task is what the piece is. Some other times, simply just do the task.

I wish we could be as sensitive to shifts in the everyday life as we are with

performance.

37.

38.

39.

40.

41.

42.

Simply, come together. Simply, don’t come together.

Simply, meet.

Photo from Lee Ren Xin

I need to meet the audience. And allow the audience to meet us.

When does it become a collective of people trying to figure out and arrive

somewhere together?

After such long conversations and working time, there is yearning for—as it

also becomes increasingly challenging to relocate—discreteness between

us.

Sometimes, being too brainy forms inertia to move, to respond, to live, to

listen.

48.

49.

Observation, in retrospect: There Is Speficifisfety definitely is less playful

and less personable than Where’s The Speficifisfety. Even the titles reflect

so.

I felt there is some sort of “same-zoning” happening to Mun and I when we

came together this time to work, compared to last year. Perhaps, in future

if we want to live this work again, we need to work differently e.g. not spend

so much time working together, or not spend any time at all and just meet

and perform, from whatever part of life or the world each of us is coming

from. In other words, there is either too much shared ground right now—as

of the KOTAK version, or there is a need to bring it even more

extreme—allow even much more shared ground next time—then maybe,

an inevitable fissure (desirable) can happen. Perhaps, this is also the nature

of the collaboration between Mun Wai and Ren Xin—as of now.

Carrying forward:

We were very invested in the questions and laboratorial processes between us,

but where does it go?

43.

44.

If the dance is independent of music, then what would be the role of the

music in this work?

When is the work about sharing with the audience our journey of figuring

out, and when is simply a closed and unspoken contract, pre-agreed-upon

between Mun and I.

If possible, I would like to explore with different bodies/persons in this

work—whatever retains as “this work”.

What is the work, beyond the two of us?

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SCOPE #3

Notes on There is Speficifisfety

by Lee Ren Xin

AbouT

Lee Ren Xin

Ren Xin's current research locates in her neighbourhood

in Malaysia. She uses walking and dance rituals as ways

of corporeal mapping and observing what needs to

occur subsequently in the environment and in what

forms she can respond to facilitate it. Her interests

include the various gaps between people who live in

vicinity, the mythical position of the local/outsider in

relation to the increasing migrant workers population,

and the in/visibility and dis/appearance of women and

women’s body in spaces.

Prior, her work series B.E.D., supported by the Krishen

Jit Astro Fund 2014 in Malaysia, was invited to

presented in BO:M Festival (Seoul, 2015) and

Festival/Tokyo 2016. She studied at Nanyang Academy

of Fine Arts, Singapore and Purchase College (BFA),

New York.

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About

Dance Nucleus

Dance Nucleus is a space for practice-based research, creative

development and knowledge production for independent dance.

Dance Nucleus fosters a culture of critical discourse,

self-education, artistic exchange and practical support. Our

programmes are designed to respond to the needs of our

members in a comprehensive way. We build partnerships

in Singapore, Southeast Asia, Asia & Australia, and

internationally.

Dance Nucleus is an initiative of the National Arts Council of Singapore.

Team

Artistic Director

General Manager

Operations Manager

Publication Designer

Address

Daniel Kok

Freddy Lai

Dapheny Chen

Rae Chuang

90 Goodman Road, Goodman Arts Centre, Block M,

#02-53, Singapore 439053

Website

www.dancenucleus.com

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