FUSE#2

More documents

Recommendations

Info

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
Page 1 and 2: FUSE # 2 Produced by Dance Nucleus
Page 3: Foreword Developments at Dance Nucl
Page 7 and 8: Element#2 BAHASA KOREOGRAFI OVERvie
Page 9 and 10: Element#2 BAHASA KOREOGRAFI OVERvie
Page 11 and 12: Element#2 BAHASA KOREOGRAFI ((PRAKT
Page 13 and 14: Element#2 BAHASA KOREOGRAFI (PRACTI
Page 15 and 16: Element#2 BAHASA KOREOGRAFI Malay,
Page 17 and 18: Element#2 BAHASA KOREOGRAFI (PRACTI
Page 19 and 20: Element#2 BAHASA KOREOGRAFI Proses
Page 21 and 22: Element# 2 BAHASA KOREOGRAFI The Pr
Page 23 and 24: Element#2 BAHASA KOREOGRAFI The Pro
Page 25 and 26: Element# 2 BAHASA KOREOGRAFI BODY A
Page 27 and 28: Element# 2 BAHASA KOREOGRAFI Body A
Page 29 and 30: Element#2 BAHASA KOREOGRAFI Lenggan
Page 33 and 34: Element#2 BAHASA KOREOGRAFI The Len
Page 37 and 38: Element# 2 BAHASA KOREOGRAFI Apa ke
Page 39 and 40: Element# 2 BAHASA KOREOGRAFI Apa ke
Page 41 and 42: Element# 2 BAHASA KOREOGRAFI what i
Page 43 and 44: Element# 2 BAHASA KOREOGRAFI Table
Page 45 and 46: SCOPE is Dance Nucleus’ open plat
Page 47 and 48: SCOPE#3 About ‘Unison’ by Ming
Page 49 and 50: SCOPE #3 LA MARIPOSA BORRACHA - the
Page 51 and 52: SCOPE #3 LA MARIPOSA BORRACHA -The
Page 53 and 54: SCOPE #3 LA MARIPOSA BORRACHA -The
Page 55 and 56:
SCOPE#3 There Is Speficifisfety - T
Page 57 and 58:
SCOPE #3 Notes on ‘There is Spefi
Page 59 and 60:
SCOPE #3 Notes on There is Speficif
Page 61:
About Dance Nucleus Dance Nucleus i
show all

FUSE#2

Create successful ePaper yourself

Delete template?

Save as template?