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Element# 2 BAHASA KOREOGRAFI Apa kegunaan diri saya? oleh Norhaizad Adam Dengan menggunakan komunitas saya sebagai landasan kerangka kerja koreografi saya, saya akan mengamati secara dekat pertemuan sosial Singapura khususnya budaya seremonial dan komersial. Saya menganggap ini sebagai diaspora Melayu dalam konteks bangsa, dan diaspora memiliki kekuatan, ekonomi dan penganut. Saya tertarik untuk menempatkan tubuh kontemporer Melayu saya dalam proses sosialisasi ini dan memperlakukannya sebagai dramaturgi sosial. Bagaimana saya menggunakan tubuh kontemporer Melayu ini? 75 76
Element# 2 BAHASA KOREOGRAFI what is the point of me? by Norhaizad Adam What is the point of me? by Norhaizad Adam Imperfection is necessary. Thus, I feed on insecurities. I use my pleasant and afflicted experiences to collect visual keywords to shape my artistic practice. I take pride in listening and trusting my instinct. It is not in my interest to be rebellious, break the boundaries and to be controversial. I do not desire for my works to appear self-indulgent as I am a private person. So, as a divergent strategy, I relate my ideations with the affairs in Singapura. What is the point of me? What do I represent? What does the traditional and the contemporary really mean to me? From 2004 and in my humble beginnings as a Singapore Malay dancer in Azpirasi, I fondly recall rehearsing in a studio in a local community centre. I remember experiencing dilemma on self-worth. Often hungry to seek affirmation from Malay dance gurus. Always actively listening to mostly biased concerns and giving in to senseless call of duty all in the name of ‘keikhlasan’, translated as sincerity. Impressionable and unconscious, I myself had created my ‘baggage’ as a Malay traditional dancer. This is evident from listening to disparate responses to my works: encouragement, caution, misgivings, motivation and misconceptions from a purist perspective of Malay traditions and culture. After I dissected my works and its choreography design, the term ‘in-between’ often crops up as a recurring motive. Threading this along, it purposively forms a part of my artistic practice. I challenge myself to zoom in on issues using powerful and powerless lenses. I begin to question binaries such as traditional - contemporary, stage - on-site, performers - audiences, wrong - right Photo credit: Bernie Ng 77 78
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
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Page 47 and 48: SCOPE#3 About ‘Unison’ by Ming
Page 49 and 50: SCOPE #3 LA MARIPOSA BORRACHA - the
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Page 55 and 56: SCOPE#3 There Is Speficifisfety - T
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Page 61: About Dance Nucleus Dance Nucleus i

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