FUSE#2
FUSE is a bi-annual publication that documents the projects at Dance Nucleus . FUSE is a bi-annual publication that documents the projects at Dance Nucleus .
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
- Page 1 and 2: FUSE # 2 Produced by Dance Nucleus
- Page 3 and 4: Foreword Developments at Dance Nucl
- Page 5 and 6: As BAHASA KOREOGRAFI was conducted
- Page 7 and 8: Element#2 BAHASA KOREOGRAFI OVERvie
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- Page 17 and 18: Element#2 BAHASA KOREOGRAFI (PRACTI
- Page 19: Element#2 BAHASA KOREOGRAFI Proses
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- 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
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- Page 59 and 60: SCOPE #3 Notes on There is Speficif
- Page 61: About Dance Nucleus Dance Nucleus i
Element#2<br />
BAHASA KOREOGRAFI<br />
Proses “Bahasa<br />
Koreografi”<br />
oleh Ayu Permata<br />
Selain mendapatkan masukan yang sangat baik untuk karya TubuhDang<br />
TubuhDut, saya juga mendapatkan banyak pengalaman menonton yang beragam<br />
pada Residensi Dance Nucleus ini. Banyak bentuk penyajian karya yang belum<br />
pernah saya lihat, dan saya sangat senang memiliki sebuah pengalaman baru<br />
dalam hal menonton ataupun dalam hal mengenal budaya berkesenian di<br />
Singapura.<br />
Embodiment of the<br />
movement of the<br />
dangdut audience<br />
Move freely<br />
Really<br />
enjoy it<br />
Answer A<br />
dan B<br />
Not think<br />
of form<br />
Before heading to the concept,<br />
these 2 issues that led me to the dangdut point.<br />
Unique<br />
movement<br />
When is the dancer<br />
moving with heart.<br />
Saturated with body<br />
movements that are<br />
always done.<br />
TubuDang Tubuhdut<br />
DungduT<br />
TRANSIT ROOM<br />
Daily Activities (Pre Liminal)- dangdut<br />
as a space to release fatigue.<br />
Liminal - Back to the routine again<br />
with a better feeling.<br />
Alcohol<br />
Audience<br />
Biduan,<br />
female singer<br />
Musical<br />
instrument<br />
Interview- about the background<br />
of the vistor’s life and the reason<br />
they came to the dangdut<br />
performance.<br />
Brawl<br />
Emcee<br />
Stage<br />
Many man<br />
35 36
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