It's A Small World After All

A snapshot of the festival's event poster. (Photo Credits: Miho Higuchi / JAYL 2012)

By Soultari Amin Farid noramin_dd@yahoo.com

 I stood there cringing to the sheer pain of that misstep. As my body reacted to the amalgam of sting and shock, I knew instantaneously that the Japan trip a few days away was a no-go. True enough the next day the soft tissues near by ankle had ballooned twice its size and a trip to the hospital garnered a bandaged leg, two weeks MC and a new bosom buddy: my crutches.

I was looking forward to the trip to Shichigahama, Miyagi Prefecture, Japan. It felt good to be commissioned by the Singapore Tourism Board (STB) to promote Singapore in a town that has benefitted from Singapore’s post-Tsunami recovery aid and efforts. Furthermore my spirit was equally dampened as I had to abandon my intent to meet a group of SSEAYP friends from Japan, who had plan to visit the town to join in the celebrations.

But they made the trip despite my absence. After a train ride from Tokyo, they arrived in the little town to join in the festivities. What was heartwarming was that they documented their journey there and took photos with my dancers. They participated in the audience interaction – danced the various movements of the different ethnicities in Singapore – and played traditional games with the local children.

Multiple shots of the various activities at the festival. Top left: Miho & Yoshiko playing five stones with local kids and Hani facilitating the games. Top Right & Bottom Left: DIAN Dancers' teaching local folks and SSEAYP JPYs Chinese and Indian movements. Bottom Right: Yazid and Kakamu assisting a child playing zero point.                                                  (Photo Credits to Yuta Arafuka, JPY 2012)

Although they were having fun, I was grateful they did not forget their old friend who was at home. I received a Line text from them and it bore videos and pictures of their moments with my dance troupe. They complimented on how beautiful the dances were and  expressed their appreciation to the great effort the organisers and performers put in to make the event a success for the local folks. Most importantly, a particular fan dance reminded them of the fan dance I choreographed for the Youth Leadership Summit and the National Day Presentation onboard M.S Fuji Maru Ship.

"Unity in Diversity". Choreographed by Soultari Amin Farid. Performed by SPYs onboard M.S Fujimaru.  (Photo Credits: Vidalath Vongnalaysane / LPY 2012)

But what touched my heart about this whole experience was the fact that the world has somehow shrunk with their presence there. It felt good to know that you have friends in places that you’ve never been. It felt good knowing that people from two sides of the world can congregate and be instantenous friends because they know a common person. I hope my Japanese friends made my dancers feel at home in a foreign land, vice-versa. For truly, the Japanese hospitality is "not to be reckoned with". Till today, the memory of my hospitable host family in the Japanese prefecture of Nara remains fresh in my mind and warm to my heart.

Sakamoto Family! I Miss You Okasan, Otosan, Ken and Kanna. Most of all I miss you Vijay. (Photo Credits: Vijay Ratinam / MaPY 2012)

I would like to say Thank You to my Japanese buddies for making the trip to Miyagi Prefecture. I pray to meet you guys soon. Love you all: Miho; Kakamu; Yuta; Jo; Angie; Yoshiko.

From Left to Right: Miho Higuchi; Yoshiko Ogawa; Jo Wakamatsu; Rie Angie Anzai; Narumi Kakamu & Yuta Arafuka (Photo Credit: Miho Higuchi)

Not forgetting DIAN Dancers, for the great job in the festival. I believe the people of Shichigahama were very touched by your performances! Congrats team Japan!

Truly, the saying, "It's A Small World After All" rings true.

DIAN Dancers Opening Item "Harmony". From left to right: Ezad Hieqal; Nadya Hassim; Abdul Yazid Juhuri; Siti Nurhidayu; Nurhani (Photo Credits: Jessica STB, Japan)

Sexism in Dance?: The Case for the Malay Dance Scene

"Tari Tudung Saji" choreographed by Suleha Jumaat from Perkumpulan Seni and performed during  Muara: Malay Dance Festival 2012.

By Soultari Amin Farid noramin_dd@yahoo.com

I read The Guardian’s article, “Sexism in Dance: Where Are All The Female Choreographers?”, about the gender gap prevalent within UK’s Ballet scene and I could not help but ponder about the local Malay dance scene in Singapore.

I ask: are we facing the same predicament here in Singapore? And if so, what are/ have practitioners done to condone such gendered disparities?

In my recent involvement in two Malay dance events,  a showcase of emerging choreographers at a Malay Dance festival and a dance production involving some of the biggest names in the industry, I have observed that this patriarchal affinity is indeed commonplace.  Moreover, these two events provided an interesting look into two different demographics – the veterans & the emerging choreography circles – and how less receptive they were of female creative involvement.

 In fact the former had no female creative representation at all and the latter had only the active participation of one female veteran choreographer with minimal supporting inputs from two other female veterans.

With such discouraging numbers of female participation so where then are our aspiring female choreographers?

I find this really surprising especially when a majority of dance troupes/schools here are always filled up to the brink with girls and ladies.

Is the looming presence of male choreographers making it difficult for women in the Malay dance scene to break the glass ceiling?

I, for one, believe the scene has become somewhat a 'League of Gentlemen' and female choreographers are overshadowed by the male prominence. However, I believe that this glass ceiling can indeed be overcome because young female choreographers have great role models to motivate and support their aspirations to make the voices of female creativity matter.

  

Mdm Som Said has carved that path and broken that glass ceiling for aspiring female representation in the scene. Her Cultural Medallion honour in 1987, is testament that women leadership in the Malay Dance scene does and must matter! 

Mdm Mazlina Buang’s commitment and contribution to the 'female voice' is one such example that should not go unnoticed as well.  She has continuously made her establishment, Atrika Dance Company, a reflection of her desire for a more equitable gendered representation in the scene. Working alongside prominent male names in the arena, this lady has tirelessly made her creations relevant and significant to a progressive community.

Male choreographers/leaders should not be intimidated by the 'female voice'. Alternative perspectives to dance making and creation should provide holistic viewpoints to many issues commonly portrayed through dance. Male choreographers must recognize that 'thinking' about the experiences of women is very different from 'being' the women within the experiences. Perhaps they must consider gender mainstreaming: a public policy that assists policy makers, in this case choreographers, to assess the implications their decisions/actions will have on both male and female partakers.

One can only hope that female choreographers in the Malay Dance scene will realize and revive their importance in the dance scene and cease to provide excuses to their prolonged absence and inactivity in the choreographic high table. Seize the opportunity to make the dance scene an inclusive arena for future generations!