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 Lenggang Sebagai Permulaan sebuah Penelitian dan Praktek oleh Soultari Amin Farid Cross-dressing dalam sebuah pertunjukan adalah hal umum dalam tarian dan teater dunia Melayu. Pertunjukan komunitas kerabat seperti komunitas etnis di Jawa, memiliki contoh cairnya gender. Ethnomusicolog, Christina Sunardi, memberikan contoh historis dari pertunjukan-pertunjukan ini di awal Indonesia dalam bukunya, “Stunning Males and Powerful Female: Gender and Tradition in East Javanese Dance”, daftar kebiasaan laki-laki yang melakukan peran perempuan di Ludruk, teater Jawa Timur yang populer; laki-laki yang memperankan perempuan dalam tarian Banyuwangi abad ke-19 yang disebut Seblang; tradisi laki-laki yang menampilkan tarian perempuan Jawa Tengah dari abad Saya melihat peran saya sebagai provokator penting untuk terus mengguncang kaidah-kaidah gender yang kaku yang telah menghambat pemahaman inklusif terhadap bentuk-bentuk seni yang mendukung pertunjukan dan pakaian lintas gender. Oleh karena itu dengan adanya penggabungan bahan arsip dan penyelidikan, adalah relevan bagi saya untuk terus bekerja dan mengeksplorasi batas-batas yang membatasi apresiasi kita untuk gagasan-gagasan alternatif dan cara kerja yang “berbeda”. Hal ini merupakan teka-teki yang rumit. Saya memunculkan isu cross-dressing karena ini adalah tindakan yang melibatkan perwujudan karakter / gaya gerakan lawan jenis (penari laki-laki yang mewujudkan karakter/tingkah laku wanita atau penari wanita yang mewujudkan karakter/tingkah laku laki-laki). Indonesia dan Malaysia telah menghasilkan kepribadian laki-laki yang dikenal karena tindakan tari lintas gender dan/ atau perilaku kefemininan mereka: Didik Nini Thowok; Rianto; dan Rosnan Abdul Rahman. Setelah residensi intensif tersebut, saya sempat memikirkan tentang materi penelitian yang saya peroleh untuk penelitian ini. Saya merefleksikan mengapa saya sangat fokus pada Lenggang, terutama ketika menari solo, tidak relevan bagi saya untuk menggunakan frase gerakan ketika saya berimprovisasi. Saya menyadari segera setelah itu saya menggunakan Lenggang sebagai objek analisis untuk memikirkan apa artinya bagi tubuh Unik untuk mewujudkan peran/pertunjukan gender yang kaku dan bagaimana sifat tubuh Unik dapat menantang batas-batas ini. Saya melihat pembelajaran Lenggang sebagai pengetahuan dasar yang diajarkan kepada penari amatir dan dalam pembelajaran frasa gerakan, proses transmisi diisi dengan pengetahuan tentang norma-norma gender dalam tarian. Sumber/Referensi Hamzah, Daud. “Chara Menari Ronggeng dan Mak Inang [Ways to Dance the Ronggeng and Mak Inang]”, Penerbitan Federal, 1965. Mohd Farid, Muhd Noramin. “Serampang Dua Belas: Discourses of Identity in the Contemporary Practice of a Malay Courtship Dance in Sumatra.” Master Thesis, Roehampton University, 2016. Mohd Farid, Muhd Noramin. “Tarian Melayu: Negotiating Social Memory and Constructing a Community through the Nation-State of Singapore.” PhD Thesis, Royal Holloway, University of London, Forthcoming. Mohd Nor, Mohd Anis. “Lenggang dan liuk dalam tari pergaulan Melayu.” Tirai Panggung, vol. 1, 1993. Sunardi, Christina. “Stunning Males and Powerful Females: Gender and Tradition in East Javanese Dance.” U of Illinois P, 2015. 59 60
Element#2 BAHASA KOREOGRAFI The Lenggang as Entry into Cross-Gender Performance 1 Research and Practice The Lenggang I was curious how this pedestrian-like movement phrase, immediately provides information of genre, gender, nationality, history, place. There is something more that is happening amidst the fluid swinging of arms, the pedestrian lifting of feet, the intricate articulation of fingers, the subtle swaying and controlling of hip motions. The expressions exchanged between the male and female partner the excitement of meeting a potential life-time partner, the first meeting that gradually turns bashful moments into a familiar story of courtship in the Malay world. by Soultari Amin Farid I came into the residency with the ambitious intention of investigating about the Lenggang, a typical movement phrase found in various Malay dance genres such as the Asli, Inang and Masri. My curiosity on the subject came about when I had a conversation with one of my dance juniors about the Lenggang. While attempting to find a good one-word English equivalent to the Lenggang, I realise that we were unable to do so. Why? Because inherent in this “walking-like” contralateral motion, at times lateral in the case of Asli, it is a movement phrase that is steeped with symbolisms that complexifies and transcends its functional purpose of just a mere dancing representation of “walking”. Amidst the fluid movement of limbs, and the rhythmic lifting of feet according to the percussive beats of the Malay traditional drum, there lies inherent conventions of gender, nationality, decorum and the taboo. Hence to simplify the movement phrase into the economy of words is in itself, I argue, an act of violence. I had larger questions such as how do we differentiate the Malaysian, Indonesian and Singaporean Lenggang? What makes the Lenggang very different? If drawing upon examples from the Golden Era of Malay film, how has the Lenggang evolved today? Armed with these loaded curiosities, I shared them with my fellow residents, Haizad, Fauzi and Ayu, as well as our mentors, Helly Minarti and Alfian Saat, about this topic. Through the intensive discussions about the practice of our forms, questioning identity, transmission processes and the role of gatekeepers, it was fascinating to see how my frame of mind and initial question has changed. I decided to ponder a little harder about my experience as a dancer in the local art world. 1 Parts of this paper has been adapted from my Master (Mohd Farid 2016) and PhD research (Forthcoming). 61 62
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Element#2<br />
BAHASA KOREOGRAFI<br />
The Lenggang as Entry into<br />
Cross-Gender Performance<br />
1<br />
Research and Practice<br />
The Lenggang<br />
I was curious how<br />
this pedestrian-like movement phrase,<br />
immediately provides information of<br />
genre, gender, nationality, history, place.<br />
There is something more that is happening<br />
amidst the fluid swinging of arms,<br />
the pedestrian lifting of feet,<br />
the intricate articulation of fingers,<br />
the subtle swaying and controlling of hip motions.<br />
The expressions exchanged between<br />
the male and female partner<br />
the excitement of meeting a<br />
potential life-time partner,<br />
the first meeting that gradually turns<br />
bashful moments into a familiar story<br />
of courtship in the Malay world.<br />
by Soultari Amin Farid<br />
I came into the residency with the ambitious intention of<br />
investigating about the Lenggang, a typical movement<br />
phrase found in various Malay dance genres such as the<br />
Asli, Inang and Masri. My curiosity on the subject came<br />
about when I had a conversation with one of my dance<br />
juniors about the Lenggang. While attempting to find a good<br />
one-word English equivalent to the Lenggang, I realise that<br />
we were unable to do so. Why? Because inherent in this<br />
“walking-like” contralateral motion, at times lateral in the<br />
case of Asli, it is a movement phrase that is steeped with<br />
symbolisms that complexifies and transcends its functional<br />
purpose of just a mere dancing representation of “walking”.<br />
Amidst the fluid movement of limbs, and the rhythmic lifting of feet according to<br />
the percussive beats of the Malay traditional drum, there lies inherent conventions<br />
of gender, nationality, decorum and the taboo. Hence to simplify the movement<br />
phrase into the economy of words is in itself, I argue, an act of violence.<br />
I had larger questions such as how do we differentiate the Malaysian, Indonesian<br />
and Singaporean Lenggang? What makes the Lenggang very different? If drawing<br />
upon examples from the Golden Era of Malay film, how has the Lenggang evolved<br />
today?<br />
Armed with these loaded curiosities, I shared them with my fellow residents,<br />
Haizad, Fauzi and Ayu, as well as our mentors, Helly Minarti and Alfian Saat, about<br />
this topic. Through the intensive discussions about the practice of our forms,<br />
questioning identity, transmission processes and the role of gatekeepers, it was<br />
fascinating to see how my frame of mind and initial question has changed. I<br />
decided to ponder a little harder about my experience as a dancer in the local art<br />
world.<br />
1<br />
Parts of this paper has been adapted from my Master (Mohd Farid 2016) and PhD research (Forthcoming).<br />
61 62
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