Nijinsky Revisited

By Soultari Amin Farid

noramin_dd@yahoo.com

I spend my nights reading about you, Vaslav NIJINSKY. Trying very hard to somehow bring myself into your little realm where you first found your inspiration for the "Rites of Spring" and how you must have felt to be hissed and cursed at by the very public who have once regarded you as a dance god.

Reading accounts after accounts, introduced to various media that still exist of this dance performance that caused a stir within the "civilised" arts world just before the WW1. I am undoubtedly intrigued by the passion and desire to change, to break the hegemony of what was considered beautiful. Vibrating bodies, deformed limbs and constant stamping, these was some of the components that caused the audience to exclaim, "Nijinsky has committed a crime against grace".

After all this reading and multiple documentaries, I am propelled to think further. What must it have felt for Nijinsky's dancers to be dancing that opening night on 29 May 1913 at the Théâtre des Champs-Élysées? To be placed in such a stressful situation, when audiences were hissing and cursing at them while them are dancing, practically straining their ears to hear the music.

But despite all the disturbance, the performance went on and was allowed to finish. Today, after a 100 years later, this performance -- once perceived as provocative and primitive -- continues to live on through many different adaptations and interpretations.

Such moments in dance history make me think a little harder about what it means to be a choreographer. Amused, I will never thought I will make any reference to a Western choreographer in my life, let alone be caught reading books about ballet which I detest because of its hegemony in the world -- and particularly in Singapore. But I have changed, especially when I realise that every form of art provides lessons to be learnt.

Truly I am grateful to my many students who believed in me and remained faithful even when it seems the choreography I have given was challenging or my ideas out of the norm. Wholeheartedly, a dancer's belief in his/her choreographer is crucial. Nijinsky's dancers kept on going even when they initially rejected his ideas/concept/techniques. And I am thankful, that my dancers who stayed on and continuously believed in me when my work seems a tad too out of the norm.

Thank you to the many dancers who have graced the stage and completed the productions for your commitment is reflection to your belief and support in my work. I hope such strong commitment continues to be evident throughout my artistic journey.

Marrakech

By Soultari Amin Farid

noramin_dd@yahoo.com

Lost in the haphazardness of Marrakech trying very hard to find the entrance into Palais Royal, we chanced upon an elderly couple walking the opposite way. We were tired and I decided to just ask them where the darn entrance was. A few exchanges later we found out that there was no entry into the palace (furious, why is it even a Tourist site) and they suggested other places for us to go.

Soon we were talking about our experiences, as we walked back together the route we came from. A nice English couple they were.

The elderly lady said that her tour guide, the day before, shared a piece of history while showing them around. He shared that Hitler, at his height of his Nazi propaganda, had written to the Sultan of Morrocco to expel Jews out of his country and deport them to Nazi Germany.

The Ruler responded, much to Hitler's humiliation, that there were no Jews here in Morocco except for Moroccans.

The elderly lady said, "if only the world still reacts like this now, it will be better place...". I couldn't agree more.

Disclaimer Note: Although there have been claims refuting the late ruler's treatment towards Moroccan Jews, my concern here is more about the idea, or the possibility, of people helping one another and the emphasis on states/leaders to care for and protect the individuals under their rule.

Even if this piece of history turns out false, it's tale about the love for humanity regardless of faith is worth pondering upon.

Surely, There Are Less Provocative Methods of Expression, No?

By Soultari Amin Farid

noramin_dd@yahoo.com

I returned to Clermont Ferrand last night and was greeted by my group of friends at one of the kitchens. As much as we were eager to share about our recent escapades, a discussion about the recent terrorist attack in Paris became the main subject.

I was touched, somewhat, by my friends intention to talk about the matter. It was interesting for me to know that we all do not necessarily need to agree with one another. And what I appreciated most, was that they really valued and wanted to hear my view.

I told them how this has become such a repetitive task for me, as a Muslim, to denounce such attacks which I personally I feel I don't need to. I shared my view about the cartoons and why I was not offended by it because devout muslims living in this day and age will never know how our beloved Prophet looks like. When I look at these cartoons, I laugh because they were funny but I was not offended because even if it is to poke fun at Muslims, these cartoons don't look like me and I don't think it reflects what Islam truly is.

But a comment made by a Brazilian friend of Arab descent, struck me and I am made to rethink again about it. She said, "Probably those cartoons do not reflect who you are because you are Southeast Asian but for some I think those cartoons reflected features of Arabs (albeit exaggerated) and was mocking them".

Without having to go deeper into what she said, I am made to reflect whether I would have reacted differently if these cartoons was wearing Malay traditional wear (e.g baju kurung and a songkok). How would I have felt? To be mocked like that by people who don't (or maybe refuse) to understand who I am and what my religion/culture stands for.

Yes, those terrorists had no right to take the lives of these human beings for their desire to express (rather plainly) what they think of Islam. But the truth is, in cartoons or otherwise, surely there are ways we can try to express ourselves without such intent to provoke? Or maybe not.

I think we will always be stuck in this conundrum. But I am grateful that through such tragedies, I find discussions with educated and empathetic friends to be comforting and assuring. Probably, our mode of discourse is too traditional for the creative, but we don't provoke. Even if we did, we do it with a tinge of respect and love for humanity.

Two Thousand Fifteen

By Soultari Amin Farid

noramin_dd@yahoo.com


Truly recent tragedies in the world has somewhat obstructed me from writing a joyful year end message because this backpacking journey around some cities of West Europe has brought me more reflections about life than the pictures I am posing for.

Every city I've been to in this escapade has given me many lessons about our collective human experience, let alone the volumes of history, human's desire to conquer savage lands, acquire materials, exert control only to be "colonise" yet again by the colonised.

But what I found even more intriguing is human's desire to survive regardless harsh circumstances: be it peasants surviving a gruelling dictatorship or kings/queens/noblemen desire to "survive" in history books through overt display of finest statues and monuments.

What is it about this lifetime that makes us so desire to survive? Is death truly the end?

As I continue to indulge in this question about life after death, I encourage my friends, family and students to have a good reflection about their lives and appreciate the goodness that has been bestowed upon us, embrace our faults and continue to develop ourselves in becoming better individuals.

May the year ahead offer us greater prospectives on our lives and understand our role as humans to fellow humans. Restore faith in humanity.

Happy New Year :) 

On I Went To Meet My Southeast Asian Hero, Dr. Jose Rizal

By Soultari Amin Farid

noramin_dd@yahoo.com

It felt like a mini-pilgrimage for me. Taking that 1 hour walk from my hostel to a place where I would meet a statue of a personality I so admire. When I finally came face to face with him at the midway of a street called "Av. De Filipinas", I knew I was face to face with someone I truly admire.

I first came to know about Dr. Jose Rizal during a research about postcolonial independence for an undergraduate essay in Australia a few years back. Back then, being so motivated by postcolonial theories and fuelled by my frustration with the ongoing discourses about what it means to be a Malay in Singapore and the Malaysian-Indonesian feud about who should lay claim to the origins of the song, "Rasa Sayang", I (re)turned to history to find out more about our common nationalistic aspirations and cultural affinities.

Through my research I found out about Jose Rizal and his desire to unite the Malay world. He was not a warrior but he fought through his books and intellect. His words spurred on the independence movement against the Spanish which eventually reach fruition, unfortunately only after his brutal execution, in 1898. The Filipinos were the first in Southeast Asia to get a taste of independence from their colonisers and established a republic.

Today I stand in front of his monument recalling my first encounter with this brilliant man, my Southeast Asian hero. Through him, I know it is possible to create change with words. And interestingly, I am here in the capital of one of the European colonisers standing proudly looking at the monument that was erected in remembrance of this intellectual individual.

30th December marks his 118th death anniversary.

“On this battlefield man has no better weapon than his intelligence, no other force but his heart.” 

― José Rizal

That French Cafe Meet-up

By Soultari Amin Farid

noramin_dd@yahoo.com

In a French café replete with cultural texts and posters of arts events, quietly tucked in the corner of Clermont Ferrand’s heartland, three dance researchers with teacups in hand are completely absorb in lively discussion about CHOREOMUNDUS.

Their laughter and enthusiasm about topics ranging from sharing about life experiences and perspectives on dance anthropology add to the sprightly ambience of the meeting space: the palpable joy one gets from stimulating intellectual discussions.

In attendance are Ipshita Rajesh, Bharatnatyam practitioner and arts education advocate from Mumbai, India; Signa Schiavo-Campo, dance therapy advocate and contemporary dance enthusiast from Milano, Italy; and Amin Farid, the one from that overcrowded Island in Southeast Asia.

Truly it is a special moment for these seekers of knowledge who, although strangers, embrace at first meet with such familiarity and found instant comfort from the transaction of information between each other, learning more about the world: its complexities, its endless possibilities and, most important, its shared humanity.

They realise thereafter, although they might have already known individually, that this shared love for dance and their believe in its power to heal, educate and bring people together does exist away from complicated academic jargon and overwhelming theories which serves only to distract and mask the common man from something that, although admittedly can be complex, should simply be enjoyable.

“The friendship I gained from this programme is truly something that I treasure most.” says the bespectacled lady who is from the senior cohort of the programme. Her two contemporaries nod in agreement and start sharing about the fun times their cohort had performing in Norway during the Orientation week.

“Honestly, I would not have imagine all of this,” shares the Singaporean about the programme, “being here and the possibility of being in an European café talking to my Italian senior about my perspectives on dance. I feel that world has shrunk that I am able to just leave home to meet someone who shares the same experience and engage in such exciting discussions for hours on end”.

The petite lndian lady shares eagerly, “I feel even more calm now knowing that our seniors have gone through similar paths as us”.

Truly, the experience of tearing one’s hair when thrown into the sea of anthropology and the confusing concepts that hinders you from moving forward is not something to be reckoned with: let alone the Eurocentric views and examples that reminds one of a lingering colonised past.

Such is the experience a seeker of knowledge gets from a meeting with like-minded, like-experience people at a café nestled in a quiet street in the heartland of this French town.

Surely one cannot help but wonder of how it will be when eventually individuals, steeped in experiences and influences reaped through CHOREOMUNDUS, will meet one day in a gathering of sorts? A conference, maybe?

Hopefully it will be as lovely as this one.

Poetry (3): March On, Bruises and All...

By Soultari Amin Farid

noramin_dd@yahoo.com

March On, Bruises and All

And so we fall...Time and time again, to the same tune.Oh, the bruises.

I've seen better days, but today that eventful fall...a reminder: victim of circumstance.

But I'm sure, it's clearI'm no pushover.Because every tune must have an end.

So I choose to end it,Without hesitation,On a high note, this time!

I stand up,dust myself off,And march on.

Marching on to a better tune, this time.A tune that I created,Empowering me as I hum it.

Because after that eventful fall,I must stand up and march on,bruises and all.

- Soultari Amin Farid25 November 2014