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-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
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Element# 2<br />
BAHASA KOREOGRAFI<br />
Pre-Presentation<br />
BODY ARCHIVE<br />
by Fauzi Amiridin<br />
During the process, I did not try to memorise the entirety of the tari piring dance. I<br />
relied more on its structure and choreography on paper as well as my own<br />
imagination. All of this was geared towards the feelings of my body and the body<br />
preparing for the performance. At that time I did not pay much attention to the<br />
saucers.<br />
Post Presentation<br />
There was a lot of feedback that I received from this presentation and many other<br />
questions as well. This has made me think more deeply on how I should continue<br />
in my research on the tari piring and also the body as an archive.<br />
Presentation<br />
I began with wrist movements as the wrists are important points of connection and<br />
articulation between the saucer and the body.<br />
AbouT<br />
FAUZI AMIRIDIN<br />
At this time, old memories about the tari piring played in my<br />
mind. They gravitated towards the keywords that we had<br />
discussed in the studio. While this was happening, I began to<br />
hold the saucers and began my exploration with them. During<br />
the process I found that my skill and movements were quite<br />
limited and not smooth. It seemed as if I did not know anything<br />
about tari piring. But gradually, as I thought about and imagined<br />
the memories—kinesthetic and muscle memories—attached to<br />
the tari piring, eventually my aptitude returned to me and I was<br />
able to execute the movements with greater ease and fluency.<br />
At the same time, I recalled the pain and difficulties I had faced<br />
while learning the dance. I turned that emotion into a sign—in<br />
which I smashed my body against the floor repeatedly. The final<br />
phase in this presentation this time was when I tried to control<br />
and play with my body’s balance while juggling with and<br />
throwing the saucers. Here I created movements that tried to<br />
conform to the concept of ‘blurred’ while asking questions<br />
about my own body.<br />
Fauzi is currently a principal dancer at ASK Dance<br />
Company (ADC). His achievements include representing<br />
Malaysia at the World Championship of Performing Arts<br />
(WCOPA) at Los Angeles in 2011 and won 3 gold<br />
medals. In 2014, he also won the BOH Cameronian Arts<br />
Award for “Best Choreographer” in a mixed bill for his<br />
work 2 by 2 produced by ADC. Fauzi produced and<br />
choreographed his production Pit –Stop, an evening of<br />
his own choreography in 2015. In 2016, Fauzi was<br />
selected to represent Malaysia as part of top Japanese<br />
choreographer Un Yamada’s double bill showcasing her<br />
professional troupe and rising Malaysian dancers. They<br />
trained rigorously in Japan for One Piece; and in 2017,<br />
he was invited again to join Un Yamada Dance Co. to<br />
perform her piece A City Without Seasons at Tokyo.<br />
Recently, he took part in International Young<br />
Choreographer Project 2017 (IYCP) in Taiwan this year<br />
and performed in 3 Faces for the Vietnam International<br />
Dance Festival 2017. In 2017, he was selected as one of<br />
the Top 10 Cultural Dancers by Top 10 Magazine.<br />
51 52