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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
Page 1 and 2: FUSE # 2 Produced by Dance Nucleus
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