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 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
- Page 1 and 2: FUSE # 2 Produced by Dance Nucleus
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Element# 2<br />
BAHASA KOREOGRAFI<br />
Pre-Presentasi<br />
BODY ARCHIVE<br />
by Fauzi Amiridin<br />
Semasa di dalam proses ini, saya tidak cuba mengingat keseluruhan tari piring itu<br />
sendiri. Ianya lebih kepada struktur dan koreografi di atas kertas dan juga<br />
imaginasi.<br />
Post presentasi<br />
Banyak feedback yang saya dapat di dalam presentasi kali ini dan banyak<br />
persoalan yang saya dapat. Hal ini membuatkan saya berfikir untuk melanjutkan<br />
lagi research saya tentang tari piring dan juga body archive.<br />
Semua ini lebih kepada perasaan dan juga persediaan tubuh badan dalam<br />
melakukan persembahan. Pada ketika ini juga saya tidak banyak menumpukan<br />
kepada piring itu sendiri.<br />
Presentation<br />
Ianya bermula dengan pergerakan pergelangan tangan dimana pada bahagian ini<br />
merupakan penghubung kepada piring dan tubuh.<br />
Pada ketika ini, memori lama tentang tari piring berlegar di<br />
dalam fikiran saya. Ianya lebih memikirkan keywords yang telah<br />
kita bincang semasa di dalam studio. Dalam masa yang sama<br />
juga, saya mula memegang dan cuba bereksplorasi dengan<br />
piring. Semasa prose situ berlaku saya dapati, skill dan juga<br />
pergerakan saya agak terbatas dan tidak lancar. Ianya<br />
menampakkan saya tidak tahu apa-apa tentang pergerakan<br />
tari piring. Tetapi lama-kelamaan, dengan fikiran yang<br />
berimaginasi tentang memori dan kinestetik memori dan<br />
muscle memori tentang tari piring, akhirnya saya<br />
mengambalikan skill dan juga melancarkan pergerakan piring di<br />
tubuh saya. Dalam masa itu juga, saya mengingatkan kembali<br />
tentang kesakitan dan kepayahan ketika mempelajari tarian ini..<br />
saya mengambil semiotic perasaan itu kepada pergerakan<br />
dengan menghempaskan tubuh ke lantai berulang-ulang kali.<br />
Phrasa yang terakhir di dalam presentasi kali ini adalah saya<br />
mengawal dan bermain dengan piring dengan olahan badan<br />
serta apungan dan lambungan piring. Di sini saya menciptakan<br />
pergerakan yang lebih kepada BLURRED dan peersoalan<br />
kepada tubuh badan saya sendiri.<br />
47 48
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