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 what is the point of me? by Norhaizad Adam By using my community as the foundation of my choreographic framework, I will observe closely at Singapore social gatherings particularly the ceremonial and commercialised culture. I consider this as a Malay diaspora in a nation context, and diaspora has power, economy and followers. I am interested to place my Malay contemporary body in this process of socialization and treat it as a social dramaturgy. How do I own this Malay contemporary body? AbouT NORHAIZAD ADAM Norhaizad Adam is a dance artist based in Singapore. Currently, he is the Artistic Director of P7:1SMA (Prisma), a contemporary dance company rooted in the wisdom and embodiment of Malay philosophy, tradition and histories. Trained as a Traditional Malay dancer and now exploring contemporary ideations. His curiosity leads him to explore the equilibrium between traditional and contemporary, yet relating to his urbane living. He desires to create works that connect and questions the complexity of feelings. Investigating the essence of human conditions and interventions. Norhaizad is an avid coffee drinker, fond of aromas and believes in the philosophy of balance. 83 84
SCOPE is Dance Nucleus’ open platform for artists’ informal presentations. Associate members of Dance Nucleus as well as other invited guests conduct discussions, workshops, jams, readings, screenings, open studio and work-in-progress showings as ways to articulate their practices and to foster discusive exchange. In FUSE#2, three projects that were presented in SCOPE#3 are featured: Ming Poon (Berlin/Singapore) was invited to a residency at Dance Nucleus as a collaborative effort with the Nanyang Academy of Fine Arts (NAFA). Ming choreographed a new work with the students of NAFA for this year’s da:ns Festival at the Esplanade. ‘Unison’, the resultant work based in the iconic image of the Tank Man who protested at the Tiananmen Incident, was presented at SCOPE#3 as an exposition of Ming’s creative proposal and pre-rehearsals preparations, while in FUSE#2, he provides here some reflections and notes post-premiere. SCOPE # 3 ABOUT SCOPE#3 is Shanice Stanislaus’ (Singapore) second presentation at Dance Nucleus this year. Over 2018, she has been developing ‘La Mariposa Borracha’, a community performance project that sees her collaborating with caregivers of people with terminal illness through clowning as an interactive and movement practice, in order to approach the idea of the ‘sick body’ in performance. In FUSE#2, she documents her working process for the year, as she prepares to go further with the project in 2019. Lee Mun Wai (Giessen/Singapore) and Lee Ren Xin (Kuala Lumpur/Singapore) reconvened to further develop ‘There is Speficifisfety’ for SCOPE#3, a work that began in 2017 before Mun Wai left for his post-graduate studies in Giessen, Germany. The updated iteration of the performance work also saw a touring presentation to the Five Arts Centre in Kuala Lumpur. Here, Mun Wai and Ren Xin share their individual notes and reflections on their collaborative encounter. 85 86
- 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 29 and 30: Element#2 BAHASA KOREOGRAFI Lenggan
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- Page 43: Element# 2 BAHASA KOREOGRAFI Table
- 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 59 and 60: SCOPE #3 Notes on There is Speficif
- Page 61: About Dance Nucleus Dance Nucleus i
Element# 2<br />
BAHASA KOREOGRAFI<br />
what is the point of me?<br />
by Norhaizad Adam<br />
By using my community as the foundation of my choreographic<br />
framework, I will observe closely at Singapore social gatherings<br />
particularly the ceremonial and commercialised culture. I<br />
consider this as a Malay diaspora in a nation context, and<br />
diaspora has power, economy and followers. I am interested to<br />
place my Malay contemporary body in this process of<br />
socialization and treat it as a social dramaturgy.<br />
How do I own this Malay contemporary body?<br />
AbouT<br />
NORHAIZAD ADAM<br />
Norhaizad Adam is a dance artist based in Singapore.<br />
Currently, he is the Artistic Director of P7:1SMA (Prisma),<br />
a contemporary dance company rooted in the wisdom<br />
and embodiment of Malay philosophy, tradition and<br />
histories. Trained as a Traditional Malay dancer and now<br />
exploring contemporary ideations. His curiosity leads<br />
him to explore the equilibrium between traditional and<br />
contemporary, yet relating to his urbane living. He<br />
desires to create works that connect and questions the<br />
complexity of feelings. Investigating the essence of<br />
human conditions and interventions. Norhaizad is an<br />
avid coffee drinker, fond of aromas and believes in the<br />
philosophy of balance.<br />
83 84
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