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!