Modern twists to tradition
New ways to reinvent traditional dance for a globalised world is part of the challenge institutions like Aswara with Jamu 2018 are up for, writes Subhadra Devan
JUST as Tevye, the father in the classic movie Fiddler On The Roof, found that he can no longer be rooted in tradition when changes are all around him, exploring where traditional elements can be used to form contemporary dance works can help in cultural continuity.
It can lead to a variety of different dance styles and a richer dance vocabulary, reaching a wider audience.
Under Aswara’s annual dance showcase called Jamu, the lecturers-choreographers have been consistently offering such explorations. It is a concept started by Prof Dr Joseph Gonzales in 2001 for the institution.
For the National Academy Of Arts, Culture And Heritage’s upcoming showcase called Tradition in Contemporary Dance, eight original and new performances are on the bill from Norsafini Jafar, Mohd Yunus Ismail, Mohd Seth Hamzah, Zamzuriah Zahari, Norbaizura Abdul Ghani, Ng Xinying, Faillul Adam and Murni Omar. Mohd Seth is well-known for his work on Malay traditional dances.
After working as a choreographer in Yayasan Warisan Johor and The Petronas Performing Arts Group, the Aswara dance faculty deputy dean has participated in many dance programmes, locally and internationally, including the Asia-Pacific International Dance Conference 2011, and World Dance Day Surakarta Indonesia 2013.
In addition to creating works that have elements of Malay traditional dance, he has also expanded contemporary works from the roots of traditional dances.
One such example is Bercelak Seni. Bercelak means to put on eyeliner, says Seth, and in any performance when we put on eyeliner, it will change the dancer/performer’s face, character, soul, and feeling.
“Arts is a very subtle form. It requires a very sharp eye and thought to understand and receive the message of the arts maker.”
Norbaizura is no stranger to dance enthusisasts. The Kuala Lumpur-born performer turned heads when she performed her arangetram in bharatanatyam, in 2011.
For Jamu 2018, she is putting on Tantrum where she explores Negri Sembilan’s traditional plate dance movements.
In it, she is looking at our frustration when unable to release our anger, at our loss of words in situations.
She promises Tantrum to be energetic, powerful and vigorous.
Batu Pahat native Mohd Yunus is quite the laureate when it comes to dance today. Tucked in his waist belt after completing his arangetram in 2011 under the guidance of the Temple of Fine Arts is the Boh Cameronion Arts Award for Most Promising Artist in 2009.
He has since performed internationally including with the Maya Dance Theatre in Singapore and at festivals around the world as well as with London’s Shobana Jeyasingh Dance Company.
From Mohd Yunus for Jamu 2018 comes Qiam. “In Malay culture in Malaysia, we put our two hands together (right hand up, left hand down) on the belly of the person who has died. This posture is called qiam,” says Mohd Yunus.
Inspired by this posture, he says while it shows respect to the dead, it also symbolises a beginning and an ending.
“The person who dies will begin his/her ‘new life’ in the other world, although his/ her life ends because he/she is dead.
“We also can find qiam in silat. Before the Malay martial art exponent starts the
practice, he stands still and puts both hands on the belly as a sign of being ready to begin.”
In Qiam, Mohd Yunus wants to question our repetition of a daily routine or whether we can change it a little.
It’s a constant challenge for dance choreographers to ensure traditional dance can survive in the Age of Knowledge, and beyond. Much rides on artistes, local festivals, and institutions like Aswara, but like Tevye, all must find that “without tradition, our lives would be as shaky as a fiddler on the roof”.