Wednesday 29 October 2014

Poetry (1): The People of That Ship - A SSEAYP Poem





By Soultari Amin Farid

noramin_dd@yahoo.com


A SSEAYP Poem, I wrote in my diary a year ago during my PPA engagement with Bugkos Lahi (Philippine Participating Youths) and the people of Lakewood, Zamboanga.

THE PEOPLE OF THAT SHIP

Every year during this time.

End of October. I am reminded - even when I don't want to.

I am made to relive the 50-odd days when (wo)men and water become one.

When we bared our hearts and fell victim to the temperament of the waves: both when its calm and when its tumultuous.

Moments when star-gazing and corner-hunting were our past-times.

When costume exchange were our mode of currencies in the hallways.

When clinical masks became fashion statements.

No one can fully understand the impact the "people of that ship" has had on a person - unless if they were to experience it themselves.

That fateful evening my heart was stolen, the moment our shadows collide during sunset.

Every year during this time, I am reminded of the eventful moment I became one with the sea

When we became the "people of that ship".

14 June 2013

Saturday 25 October 2014

Conscious In The Unconscious








By Soultari Amin Farid

noramin_dd@yahoo.com


I found it interesting that during one of our classes when we were asked to provide some words to describe dance, which we would eventually translate in French, none of my classmates and mentioned "the body".

We were very engrossed in talking about dance of being in a state of transcendence, its ephemeralness and its emotive function. But we, probably, must have seen dance beyond its physicality that to an extent we, without realising it, have casted aside the one "vehicle" which allows us to create that movement.

And I find this "occurrence" to be something interesting, although commonplace. As artists, sometimes, when we dance we regard the body as a medium, or a tool, to transport us to that experience which once engulfed within it only then would we consider ourselves "to dance".

I personally think that utilising our body and moving does not constitute dance - not enough. I believe there is something more and it usually involves going "beyond the self" which the body is main component of.

That state of being conscious in the unconscious. Hmm...

Sunday 19 October 2014

Bahasa Menunjukkan Bangsa (Language Portrays One's Race)







By Soultari Amin Farid

noramin_dd@yahoo.com


Sewaktu pulang dari Universiti tadi saya amat teringin untuk meluahkan diri saya dalam bahasa ibunda saya yang saya tetap hormati walaupun sudah sekian lama tidak saya amalkan.

Ada kalanya saya merasakan tahap kemahiran saya yang tidak mencukupi ini telah membuat saya agak tidak berani untuk menulis ataupun bertutur dalam bahasa Melayu.

Lagi-lagi sebagai seorang penggiat aktif dalam seni persembahan kebudayaan Melayu, saya mengakui bahawa kemahiran dalam penggunaan bahasa Melayu itu amat penting terutamanya untuk memahami dengan lebih dalam lagi budaya Melayu.

Di sini saya berhujah bahawa pepatah, "Bahasa menunjukkan Bangsa" itu adalah benar dan harus dipraktikan. Dalam kajian saya tentang antropologi, saya telah mendapati bahawa ahli antropologi telah banyak membuat perhubungan antara "kegiatan kebudayaan" dan bahasa yang digunakan oleh sesebuah masyarakat itu untuk menamakan atau menerangkan tentang kegiatan tersebut.

Misalnya kegiatan yang sekarang difahami oleh "menari", dipanggil dengan istilah "bermain" oleh segelintir masyarakat dunia -- termasuk orang melayu juga yang pernah seketika dahulu memahami kegiatan menari itu seperti bermain.

Phew... sesungguhnya saya telah mengambil lebih kurang dari satu jam untuk menyusun kata-kata ini dengan baik. Dan saya pasti ungkapan kisah saya ini penuh dengan kesalahan dalam segi struktur ayat atau kefahaman. Haha!

Satu titik permulaan untuk saya. Saya akan menyambung kisah-kisah saya ini dalam masa yang akan datang. Minda saya sekarang telah dilandai kosa kata bahasa Perancis dan German kerana sedang dalam proses memahami karya-karya ahli antropologi perintis yang kebanyakkan adalah orang Eropah.
 ____________________________________________
English Translation:

Returning home from University, I had this desire to express myself in my mother tongue that I revere very much even though I have not spoken it very often.

At times I feel that due to my inefficiency in my mother tongue, I feel rather afraid to write or even speak in the Malay language.

Especially when I am an active activist in the Malay performing arts, I admit that a strong efficiency in the Malay language is very important for us to understand in greater depth about the Malay culture.

Here, I would strong agree that the saying, "Language portrays the essence of one's Race" is true and must be embodied. In my studies of anthropology, I have found that anthropologists have found realtions between "cultural activities" and the language used to name or describe these activities.

For instance, the activity that we term as "dance" is known as "play" to a few communities in the world -- this includes the Malay people as well since dance was once understood as "play".

Well, this is a beginning step for me. I will continue to write about my experiences (in Malay) in time to come. My mind is currently invaded with many French and German vocabulary since I am in the process of understanding the works of past anthropologists who are/were mostly European.

Phew, it took me close to an hour to arrange these worlds well (in Malay). And I believe these piece of expression is replete with mistakes in terms of sentence structure and comprehension. Haha!

Friday 17 October 2014

Re-visiting "Traditional"





By Soultari Amin Farid
noramin_dd@yahoo.com


The more I think about it, the more I question this term "TRADITIONAL". Why do we define Malay dance as traditional? I feel that this labelling only serves to make the art form subservient to western-derived art forms.

I feel that by terming a dance as Traditional, we are placing it in a hierarchical structure or even a chronological order that should not exist.

How is the Asli / Inang / Joget / Zapin / Masri of lesser status to Hip Hop or Modern Jazz?

Should being popular equate to higher status?

Should an art form when labelled traditional which produces connotations of being "passé", "not current" or "unfashionable" be understood as irrelevant today?

Is Malay dance something of the past and not practised today?

Going to start being careful when using "TRADITIONAL" as of today.

It might just be a futile play of words for some , but for me condoning such labels is subjecting something I hold dearly to the politics of subservience.

This imperialism must stop.

Sunday 12 October 2014

The Challenge for Traditional Arts in Singapore






By Soultari Amin Farid
noramin_dd@yahoo.com


Yesterday, we had an insightful and thought-provoking session with my friends in class. We were asked to share definitions of dance - our own or by an academic - and explain about it.
I felt that it was really great to engage with my fellow coursemates intellectually and gained better perspective on how one particular definition is not able to encompass every aspect of what is perceived as dance.
I can't wait to listen to all of us again at the end of this two years: I wonder if our definitions will be any different (mine will!).
Personally, I am actually very happy that in this process of becoming an anthropologist of dance I will be able to debunk the myth that all popular and/or western forms of art are superior to traditional/"ethnic" ones.
"Je souhaite defendre l'idée que la danse traditiônnelle mèrite un statut égal."
(I wish to defend the idea that traditional dance deserves equal status)
Though I have yet to determine what "equal" means, in general I desire for traditional arts groups and artists to be afforded better funding and support in terms of recognition for their works by the government, media and the public. In addition, institutions of education should also provide access to the learning of these art forms and platforms for it to thrive.
And yes by stating this, I am arguing there is a hierarchy within the classification of arts forms which privileges western and/or popular art forms above traditional/ethnic ones.
Yes, we are looking towards a modern and cosmopolitan outlook. But to do it in the expense of "compromising" traditional arts is to discard "aspects of life" that are integral to certain communities: values which recognises the "richness" of our human diversity in a post-colonial environment.
(Some words are in quotation marks because I am a skeptic of the political ideology we call "multiculturalism")
In a less academic jargon I would say, "Hidup jangan boring, please".

Saturday 11 October 2014

Embracing Change Moderately To Attain Success







By Soultari Amin Farid
noramin_dd@yahoo.com


A friend was chatting with me and he said that he has seen a lot of my achievements since my studies abroad some 5 years ago. And he asked whether "one must relocate overseas" in order to attain success.
My answer to him is, "I am grateful that every moment I've lived has been filled with both happy and unhappy moments. Success is not only the achievements I've faced but it is also the moments when I failed. Times when people would belittle your aspirations and doubt your capability.
God has planned out our lives for us and what is meant to be for us has been written. Success in another land does not mean success that is prescribed for all. Find comfort in the most simplest of things: time with your parents; moments up on stage; a day out with someone you love.
Success is to live that very moment happy and ready for any opportunities ahead - however small it may be. What may be deemed as success now for someone, could may be yours in the near future: it will not be identical and it could be in another shape or form. Embrace change (moderately) and allow yourself to live life to fullest.
And always remember that it is only He who opens these doors for you, if He wills. Thus remember Him and be ever grateful for every single great and devastating moment, and ask for the strength and humility to go through every event modestly".

Friday 10 October 2014

Choreomundus Activities In Norway :) - Video



Created a video to summarise the Intensive week Choreomundus Cohort 3 went through in Trondheim, Norway in late August 2014. Something for us to keep for memories sake.

I created this video with the sincerest of hearts.