ATRIKA DANZFEST ‘14: A Perspective
By Soultari Amin Farid
noramin_dd@yahoo.com
KOLAM Ayer Community Club
was filled to the brim last night, with mostly youths, in support of dance
groups who were involved in this year’s Atrika Danzfest organised by Atrika
Dance Company. This writer has seen this annual festival evolved since its
early years and to some extent for many occasions has been involved as a crew,
guest performer and master of ceremony.
Throughout the years it is
clear that this dance company has stayed true to its objective of providing a
platform for external dance groups to showcase their work. However there has
been a stark shift in the festival’s direction along the years, noticeably in the
dance genres featured and also the festival’s “look & feel”.
The groups involved in
this year’s festival could distinctly be categorised into 2 dance camps:
Traditional Malay Dance and Non-Traditional Dance.
Groups featured from the
former ranged from familiar names in the Malay arts circuit such as Attri Dance
Foundation, Singapore; Ayunda Lestari Group of Cultural Arts; Kres Dancers and
Sri Anggun Performing Arts as well as institutional groups such as Gentari (ITE
West) and Tra’irat (ITE Central).
(1) Traditional Dance Groups
Ayunda Lestari’s Lenggok Ayunda, choreographed by Ahmed
Azri Bin Mohamed, was a befitting start to the festival. The graceful ladies of
this dance managed to emphasize the much needed lenggok* absent in other traditional items in the event. Although
there was lack of ingenuity in the use of their selendang*, the dancers’ smooth execution and clear floor patterns
made this item a joy to watch.
Attri Dance Foundation’s Semarak Zapin Attri, choreographed by Rasidin
Rasem, was a performance that showed the richness and colour of the traditional
Zapin genre. The group’s intelligent utilisation of both the main and down-stage
made this piece an amiable one. Boasting the largest number of dancers from the
Malay dance camp, the group has proven well that they are proficient in the
traditional dance genre.
Badaruddin Hassan’s Raga Al Zafana by Gentari was an upbeat
and swift routine that provided audiences with contemporaneous Zapin movements
with a dash of middle-eastern zest. Although creative and artistic, the
frequent re-positioning of dancers from the main stage to downstage, vice-versa,
proved rather strenuous for the performers as certain obstacles on stage made
it difficult for them to commute smoothly thus affecting execution flow.
The two items choreographed by Azhar Bin
Hamidon, Joget Kenangan Manis and Semarak Zapin, for Tra’irat and Kres
Dancers respectively were applaudable for their efforts in executing proper
technique and feats. The male dancers, particularly in his latter piece, were
promising as they demonstrated masculinity built on agility and finesse – with
allegros and leaps that were synchronised and kuda-kuda or plié that
were defined. The ladies on the other hand despite not posssessing the degree
of gracefulness – as demonstrated by their counterparts from other groups –
fared equally well in execution as well as synchronisation.
However a
recommendation is to ensure that dancers work on their characterisation and
understand the intention behind the choreography. Pleasant to the eyes, Azhar’s
pieces managed to establish clear gender dynamics that are prevalent in
Traditional Malay dance.
Lastly Zapin Budaya by Sri Anggun Performing
Arts was lacking that much needed pabulum of its counterparts. Some areas to
work on are their costume choice and styling: this call for further
consideration and thought. But despite their lacklustre showcase, one must
commend them for their efforts. They have managed to ensure that their Zapin
performance, at the very least, were within the constructs of what is
acceptable as Zapin, proving that they have taken into account proper Zapin
techniques as compared to other young and establishing groups in the scene that
may have taken this too lightly.
(2)
Non-Traditional Dance Groups
This year too saw a hike
in the number of Non-Traditional Dance groups as compared to various years. The
groups involved were DirtBoyz; JungleBeats; SWAT Crew; TeamEV; TeamOTHY and
WADDUP.
In general the Non-Traditional
Dance Groups managed to showcase power-pack performances that were both
commendable and inspiring. This writer was very impressed by the sheer
ingenuity of the teams and the works showcased last night. However with this
impressive entourage of performances, one – with limited knowledge of hip hop
and its scene –must mention some performances that managed to catch the eye of
this writer.
Red
Carpet by TeamOTHY, performed by a group of 4 ladies clad in black blazers was
notable for their technically sound movements and good command of the stage
despite their small numbers. Ever promising, these ladies proved that they were
able to do just as well as their counterparts that were privileged by their
large numbers and which more often than not weere fore-fronted by male dancers.
Another item worth
mentioning is R.I.P MJ by
JungleBeats. Impressed by the boys’ skilful use of comedy (involving some
characterisation & lipsyncing), this engaging performance managed to
attract huge laughter amongst the audience. By sheer coincidence and without
any influence to the critique, this team was also wearing blazers in their
performance.
(3)
Atrika Dance Company’s Involvement
Also involved was the
host, Atrika Dance Company, which provided performances in both traditional and
contemporary dance forms. Although the external dance groups did well to make
this event an exciting one, the host
managed to perform about 5 routines last night to add to the youthful
exuberance.
A notable creation was the
duet Say Something performed by Afiq
and Geraldine. This duo’s love story within the few minutes of its presentation
managed to impress audiences with their technically sound bodies and character.
This dance was strikingly memorable as it did not fall into the typical style
of performance that night i.e a mere showcase (frontal and showy). This dance
rendition to the Say Something cover
was artistic and genuine.
Another commendable feat
by Atrika Dance Company was the Kurik
Kundi dance by Muhammad Nur Haziq. Although an atypical presentation of
various Malay Dance genres, a calibre of creativity and choreography can be
found here. Garnished with a Mazlina Buang
styling of choreography, this dance managed to reclaim, albeit little, the
“Malayness” that was gradually fading in some of Atrika’s Malay dance
repertoires that night.
This writer is very
impressed by the dancers who started as budding dancers in Atrika Darlings.
Many have rose in the ranks to dance alongside their seniors in various dance
items. It is heartening to have seen their progress along the years and one
believes that the company will continue to nurture these budding artists
further.
Indeed, the troupe has
demonstarted their capability to perform in two distinct genres. This is
evident in the few items that were steeped in an amalgamation of traditional
and contemporary movements. Although some of the attempts seemed lumbering and,
at times, disjointed, they should be commended for their valiant efforts.
(4)
Looking Forward
The organiser’s decision
to intersperse the performances of both traditional & contemporary is a
commendable one as it allowed performances from both camps to be equally appreciated
and highlighted. However some other things must also be said about some lacking
technicalities in this festival and its contents.
The low laying movable
lights became more of a hindrance than a highlight. There were many times
performers were disturbed by the moving lights that were shining at high
intensity directly at them. Also the perpetual movement of lights, at times
were not in sync or complementing the dance thus causing audiences to be
distracted. At times the lights created an ambience that were befitting of a
club event than it was an event celebrating performative dance.
Furthermore the opening
and closing of curtains are deemed unnecessary and could have stayed opened
throughout the show in order not to disrupt the flow of performances.
About
Atrika Dance Company
Atrika Dance Company, led
by Mdm Mazlina Buang, since its humble beginnings 20 years ago have purported
the concepts of post-traditional Malay Dance which saw the incorporation
of western dance elements such as Jazz
and Ballet whilst retaining the Malay essence which makes it different and
fresh. Some of her memorable works would include Jelingan Manja; Imbangan; Inang Berputik and Arah.
Today Mdm Mazlina has imparted this responsibility to her sons, Afiq and
Haziq, to succeed her in the creative endeavours of the team. Although both are
talented with strengths in various dance genres ranging from Ballet, K-Pop, Hip
Hop and Modern Contemporary, one must attest that these two aspiring creators
have yet to master their mother’s ingenuous post-traditional Malay dance style
that is contrastingly contemporary yet classic.
One will never know if this Post-Traditional Dance Style will remain a signature of Atrika Dance Company. However we should find comfort in one thing, wherever the tides might bring this dance company, Atrika will continue to promote dance, whichever the genre may be.
