Asialink Rimbun Dahan

Over six weeks I was gifted an Asialink Arts grant to create in the most gorgeous residence I have been privileged to visit!

Working alone in the studio, exploring my ‘sound’ i.e. what that can mean for musicality, body weight falling through space, suspension and fall, finding where movement and sound connect in my body, rather than existing material from flamenco repertoire. Loving every minute.

I was soon joined by artist, Ruby Jayaseelan from Singapore to participate in the invited exchange. We caught up to where I had advanced DanceDNA process since we last met in 2017 in Singapore. We nuanced it further, I guided her and at times she worked to guide me. Two more invited locals dancers, Zulkarnain Zuber and Chan Kar Kah joined our exchange. We launched into DanceDNA and Mother Tongue scores for Act 4. Along the way, several resident artists helped us in the studio; Cheryl Salvador (Philippines) Molly Murphy (USA), Beh Chin Lau (Malyasia).

Our studio sharing was held in the evening in the dance studio and art gallery. Bilqis Hijas had carefully invited a range of artists, academics, educators to Rimbun Dahan plus staff and friends of the dancers. There were about 35 people who came out to Rimbun Dahan, which is about an hour out of KL. I presented some solo material and gave a small demonstration of flamenco with the 4-year daughter of Molly Murphy. Basil, had learned some flamenco with me one night impromptu and was confident enough to demonstrate this to the entire audience without a rehearsal! I found out later, she had been practising on her own, whilst watching the monkeys, iguanas and wildlife inside the house and out.

We presented DanceDNA process and Mother Tongue material as a work-in-progress. The three dancers, Ruby, Zulkarnain and Kar Kah, talked about what it meant for their own practice. It was so important to hear how useful this process is for deepening of understanding traditional practices but also as a choreographic tool, especially as they have their own approaches to contemporising their traditions.

I returned to my solo practice with a lot of new information, I was able to explore some different themes I had begun to play with in Spain a year ago and even some I had been working on for Self Portrait over the last two years. New resident artists, Lada Dedić, Cheryl Salvador, Linh Valerie Pham and Rimbun Dahan's administrator, Xeem Noor came to watch and feedback, which was very affirming.

After the five weeks, I travelled to see some of Malaysia. Penang, a UNESCO heritage listed city for arts and culture is simply divine. Street art and architectural delights everywhere, renowned for its food and night life. I am determined to return with a project (watch this space) and then I was invited by Kasturi Hijas to spend two days on exotic Langkawi island, a short ferry trip from George Town.

In the final days I gave a workshop in DanceDNA for movement, theatre and dance practitioners at Five Arts in Kuala Lumpur. Organised by Bilqis Hijas, we explored DanceDNA with appx 22 professional practitioners who do not have a traditional dance background, and had some amazing discoveries! I also gave a Flamenco workshop for Dance tertiary students at University of Malaysia. Organised by Professor Premalatha Thiagarajan, appx 25 students attended, no-one had danced Flamenco before but they did extremely well and the University lecturers were keen to have me back if I return to Kuala Lumpur. Fingers crossed.

Thanks to Asialink Arts for this incredible opportunity.