Dipika Mukherjee

Dipika Mukherjee

Dipika Mukherjee (Malaysia) is an author and sociolinguist. Her work, focusing on the politics of modern Asian societies and diaspora, is internationally renown. In the past years, she has given a keynote at the Asia Pacific Writers and Translators Conference (Bali, 2017), juried at the Neustadt International Literary Festival (USA, 2018), spoken at the Hearth Festival (Wales, 2018) and the Singapore Writers Festival (Singapore, 2017); she has also given public talks at the University of Stockholm (Sweden, 2018) and the International Institute of Asian Studies (Netherlands, 2017).

I have a very personal stake in telling Malaysian stories, especially those that promote social justice. I believe that the growing intolerance of our world today (in Malaysia, India, and the US) requires voices to advocate for tolerance with stories that span our imperfect, violent world and not merely shine a light on a particular region or nation or race.

Ode to Broken Things, Dipika’s Man Asia Literary Prize-longlisted debut novel, is set against the religious and ethnic conflicts simmering in politics and explores notions of nationalism and citizenship in Malaysia.

During her residency here at Rimbun Dahan, Dipika will be conducting a workshop called A Picture; A Thousand Words. Reviewing ekphrasis (the art of writing about images), this workshop will look at how art has inspired writers in the past by focusing on writing inspired by paintings and imagery. Then participants will review a number of Malaysian visual art on display at the Rimbun Dahan gallery to write poems and short prose. All writing levels welcome.

 

Dancing in Place 2019

Dancing in Place 2019

Photo by Nazir Azhari.

The tenth edition of our popular site-specific dance event, 26-27 January 2019 at Rimbun Dahan. This edition featured restages of work by local dance artists, as well as newly created work through international collaborations by alumni from the Southeast Asian Choreolab.

Program:

A1. Bumbu Goyang
Ingredients

Sensation
∞mg Newspapers
2 Chairs
3 cup Nylon
100g Post it
1/2l Folding
1 cup Tracing
200ml Drawing

2 Marker pens
Perspective
1 tsp SR
1 tsp Mental Music
20ml Replacing
3/4 tsp Touching
50ml Tearing
10 pinch Toes
1 tbsp LangserP/s: How many kg of shadows?
Choreographed & performed by Fitri Anggraini & Lau Beh Chin.

Special guests: Students of the Dance Department of University of Malaya, and Kakak Ayu Lestari.
Thanks to the exhibition and workshop of Chuah Shu Ruei.

Fitri Anggraini graduated from the Art Institute of Jakarta (2016), and choreographed KABA for Indonesia Dance Festival the same year. She has since collaborated with choreographers Mikuni Yanaihara and Ismaera Takeo, received the prestigious Hibah Seni Inovatif Award from Yayasan Seni Kelola, and participated in the Asian Performing Arts Forum in Japan.

Lau Beh Chin, from Penang, has a degree in chemical engineering, spent a year at Fontys Hogeshcool Voor de Kunsten in the Netherlands, and finally graduated from University of Limerick with a Master’s in Contemporary Dance Performance. She produced “Where Two Seas Meet” and “Your Memories, Our Identity” focusing on intercultural dialogue.

 

A2. tree.time

We went digging for roots. We found layers – layers of earth on concrete on plantation on roots on grass on skin on leaves.

This is a durational work where we grow with the space for 3 hours each on 26 and 27 January. The first day is focused on growth and the second on disintegration. The audience is invited to enter the space to look more closely at the installation and texts.

Choreographed & performed by Chan Sze-Wei & Hii Ing Fung.

Hii Ing Fung is a Sarawakian based in KL-Selangor, experienced in Chinese classical & folk dances, ballet, Hua Zu Wu, and contemporary dance technique, and active in performance, education, creation and research. She holds a Master of Performing Arts (Dance) from University of Malaya (2014).

Blending conceptual, interactive, improvisatory and cross-cultural approaches for theatres, public spaces, video installation and film, Chan Sze-Wei’s work is grounded in perception, sensation and the organic knowledge of the human body. Her work has shown in Singapore, various Southeast Asian cities, the UK, Taiwan, Croatia, the USA and Brazil.

 

A3. Canvas

A work originally created for the second chapter of《游云》project. Each chapter is specifically accordant with ancient Chinese philosophy, “Tian Shi”, “Di Li”, and “Ren He”.

“Di Li” is cultural transformation due to a shifting environment. The existing dissimilarities between Southeast Asian dance and traditional Chinese dance are indeed profound evidence of cultural assimilation amongst the Chinese during and after their migratory voyage to Nanyang. This chapter combines the elements of totems prevailing in the language of Southeast Asian dance and the emphasis on coherence and curve in every movement of the dancer, to accentuate the sparks arising from such cultural distinctions.

Choreographed by Chan Kar Kah

Performed by Ker Yee Teng

Chan Kar Kah is a Chinese dance-based freelance dancer, choreographer and instructor. She studied for her Bachelors for Dance at Beijing Normal University, and performed and choreographed for cultural festivals, International Students’ Night, and Collegiate ASEAN Games. She joined Han Fong Dance Ensemble in 2012, and is now lead dancer and ensemble choreographer.

 

A4. Within

“The human animal needs a freedom seldom mentioned, freedom from intrusion. He needs a little privacy quite as much as he wants understanding, vitamins, or exercise, or praise.” – Phylis McGinley

‘Within’ is a piece about the aesthetic element of the animal that is confined and forgotten within the human animal. The animal that has succumbed to society, race and tradition.

Choreographed by Kenny Shim

Performed by Lim Pei Ern
Originally performed by Linda Telek

Kenny Shim completed his BA in Contemporary Dance at Trinity Laban Conservatoire of Music & Dance, and his MA in Contemporary Dance Performance at London Contemporary Dance School. Kenny produced his debut production in 2018, featuring Winged Wolves and the Bamboo Mew, Pieces of Three Movements, and a restage of Rite.

 

B1. Where Have All the Flowers Gone?

Hopeful but then days are young, so who knows how the tale will end?

Created & performed by Tan Bee Hung & Chung Ping Wei

Chung Ping Wei is a Malaysian saxophonist performing classical and pop jazz. After a distinction in the ABRSM London Board Exam major, his diverse interests have led him to play in Birdian Saxophone Quartet, Klpac Symphonic Band and Klpac Orchestra. He runs The Saxophone Store in Kuala Lumpur.

Currently a dancer, choreographer, dance and Pilates instructor, Tan Bee Hung holds an LLB, and has performed locally and internationally for Kwang Tung Dance Company, as well as in her own solo work. A firm believer that humans are natural movers, she hopes to bring dance closer to people’s lives.

 

B2. Darah

I would be more comfortable if I were accompanying you.

Choreographed by Norsafini Jafar

Performed by Dalila Abd Samad & Nadhirah Rahmat

Norsafini Jafar holds a Diploma and Degree in Dance from ASWARA, majoring in joget gamelan, and works as a lecturer in the Faculty of Dance. An award-winning choreographer, with an MA from University of Malaya. She is a member of the Asian Dance Committee in Korea in 2019.

 

B3. A Strange Meeting

What can be seen if the hidden parts of our memories are uncovered?

Choreographed & performed by Nurulakmal Abdul Wahid, Fauzi Amirudin & Vidura Amranand

Nurulakmal Binti Abdul Wahid holds a Bachelors and Masters from University of Malaya. She has performed and choreographed for many site-specific works at Dancing in Place, George Town Festival, and Butterworth Fringe Festival, which informs her current PhD research. She currently works as a dance lecturer at the Faculty of Music and Performing Arts, UPSI.

Vidura Amranand is a contemporary dance artist and teacher based in Bangkok, Thailand. She has performed extensively with B-floor Theatre and director Thanapol Virulhakul. Her most recent directorial works are One Night Stand and The Floating Project. Vidura studied dance at Sarah Lawrence College in New York and continues to teach and develop her movement practice in trance, visualization, and awareness.

Fauzi Amirudin is a graduate from ASWARA and a principal dancer at ASK Dance Company, awarded Best Choreographer at the BOH Cameronian Arts Awards. In 2018, he and Naim Syahrazad presented their first full length production The iProject: Between Self and Others. His current interest is research into tari piring and the body archive.

 

INTERMISSION PERFORMANCE. While in RD

This is the visualisation of our collaboration process, related to this specific site during our stay at Rimbun Dahan as it is like an open ‘home’ for us to create a dialogue between the negotiation and curiosity from one to another. The presence of time and space, the unity of modern life and natural environments, the reflection of materials and rituals.

Choreographed & performed by Sherli Novalinda & Nguyen Chung

Sherli Novalinda is a choreographer, performer and lecturer at Indonesian Institute of Arts Padangpanjang. Her works have been featured in several international events, including Europalia Arts Festival in Belgium (2017). She is currently working on a dance trilogy which began with Meniti Jejak (2016). She has been interested in the negotiation of body, culture and gender.

Independent Vietnamese dance artist Nguyen Chung is interested in the connection between people and familiar objects used in everyday life and the transformation of their functions into his work through arrangement and movement of the body, in combination with performance art and conceptual art to expand the creative process and discover new movements.

 

FINALE. Henjut

A work that explores how people enjoy themselves with the act of bouncing. Every individual has their own style of “henjut” that represents themselves.

Choreographed by Khairi Mokthar

Performed by Noel Thomas, Shuvaseni a/p Ramasamy, Nurhaziyah Bt Salikin, Muhammad Azzarulhafiz Naiem bin Muhammad Shafari, Mohamad Shahfik bin Abd Aziz, Visalini a/p Kumaran, Yashini a/p Sivaraman, Karthini K Chandran, Moch Jack Zhong, Hafidzah Abdul Hamid, Vieazley Michael, Saiful Adwa bin Ahmad Rudin, Amiira Natasya binti Othman, and Tee Kai Ling.
With thanks to the Dance Department, Cultural Centre, University of Malaya.

Khairi Mokthar holds a Bachelor of Dance from ASWARA, where he presented his bharatanatyam arangetram, and an MFA in Dance Performance from Korea National University of the Arts. Khairi has worked for Shobana Jeyasingh Dance Company (UK) and ASK Dance Company. He currently performs with TFA Inner Space Dance Company and works in the dance faculty at University of Malaya.


Dancing in Place is a production of MyDance Alliance and Rimbun Dahan.

The collaborative component of Dancing in Place is supported by an Emerging Artist Incubation Funding grant from CENDANA, the Cultural Economy Development Agency.

Producer: Bilqis Hijjas

Applications Open For Southeast Asian Choreolab 2019

Applications Open For Southeast Asian Choreolab 2019

 

Please note: SEA Choreolab 2019 dates have been changed to 6-14 July 2019!

We invite emerging contemporary dance choreographers (or performance artists or physical theatre creators) from Southeast Asia to apply for the Southeast Asian Choreolab 2019.

This international choreographic laboratory will take place at Rimbun Dahan, outside Kuala Lumpur, Malaysia, from 6 – 14 July 2019, facilitated by Australian choreographer Liesel Zink.

Due date for applications: 30 November 2018.

This is a joint project of Rimbun Dahan, MyDance Alliance, and World Dance Alliance Asia-Pacific.

For more information, see below, or download the SEA Choreolab 2019 Call for Applications [PDF 1MB]


Project Format

14 chosen choreographers will live, work and explore together in the arts community of Rimbun Dahan for 9 days, with guidance from our international facilitator, Australian choreographer Liesel Zink.

The program will consist of 7 work days with 2 days of study-tour. Work days will take place in the dance studio at Rimbun Dahan and will consist of sessions exploring choreographic methods, analysis and movement techniques led by Liesel Zink and the participants themselves.

Other activities include artists talks by invited guest artists, live performance viewing, and informal socialising and discussions.

The first study tour day will explore major arts institutions in and around Kuala Lumpur. The second half-day study tour day will travel to a nearby green space for rest and relaxation.

The exact program may evolve during the choreolab, to remain flexible, organic and response to the specific profiles of the participants. The program may include an informal sharing and showing event at the end of the choreolab.

Project Aims

To support and enable emerging Southeast Asian contemporary dance choreographers to

  1. Adopt new choreographic tools and physical, thematic and conceptual approaches to enrich their artistic practice;
  2. Develop regional networks among their peers and with regional dance institutions, for knowledge sharing, future artistic collaboration and touring;
  3. Experience works of art, cultures, places and histories beyond their home, to increase international understanding and to help contextualize their artistic practice.
  4. Work closely with an established choreographer (Liesel Zink), to participate in her particular artistic approach, and to benefit from her insights, advice and experience.

We hope you will have a positive and enjoyable experience at the SEA Choreolab, which will reenergize you and help you reaffirm your commitment to your artistic practice. We would like the choreolab and the networks you establish here to be an ongoing resource to which you may return for inspiration, refreshment, respite and a sense of continual community.

Who we’re looking for

  • Emerging contemporary dance choreographers, aged 35 or under, or who began creating contemporary work within the last five years. Artists who create performance art or physical theatre works are also eligible.
  • You should have established a professional or semi-professional practice, and have created at least 3 short works or 1 full-length work.
  • Citizen of and resident in an ASEAN country (Indonesia, Malaysia, the Philippines, Singapore, Thailand, Brunei, Burma/Myanmar, Cambodia, Laos, Vietnam) or Papua New Guinea or East Timor.
  • Able to communicate functionally in English.
  • Excited to increase your knowledge base, share your practice and establish networks with your international peers.

What the project will provide

  • Twin-share accommodation at Rimbun Dahan.
  • Entry to all the project activities, including classes, study trips, facilitated sessions, and performances.
  • 3 meals per day during the project.
  • Transfer to/from airport or bus terminal (subject to conditions).

What you need to provide

  • Return airfare to Kuala Lumpur (the city is well-connected by low-cost airlines).
  • Travel insurance (and visa for Myanmar, East Timor & PNG only)
  • One session during the project (maximum 1 hour) in which you will lead the other participants through a choreographic method, thematic exploration, dance technique or artistic question. This session will be discussed and developed with the choreolab organisers.

To apply

Download the application form here:

SEAChoreolab2019ApplicationForm

Return the completed form to: contact@mydancealliance.org by the end of Friday 30 November 2018.

For questions or more information

Contact Bilqis Hijjas, MyDance Alliance, Malaysia
contact@mydancealliance.org, +6017 310 3769

About Rimbun Dahan

Rimbun Dahan, the home of renowned Malaysian architect Hijjas Kasturi and his wife Angela, is set on fourteen acres of land outside Kuala Lumpur, Malaysia. The compound is a centre for developing traditional and contemporary art forms. Its facilities include a dance studio, underground gallery, visual arts studios and artists’ accommodation, as well as two Malaysian heritage houses, in a Southeast Asian indigenous garden environment.

Since 1994, Rimbun Dahan has hosted hundreds of artists in various disciplines. The residency program at Rimbun Dahan aims to give international artists an opportunity to experience Malaysian culture, and to help Malaysian and other Southeast Asian artists engage with artists from the region and beyond. For more information, see http://www.rimbundahan.org/.

About Liesel Zink, facilitator

Liesel Zink is an Australian choreographer interested in the body as a tool for socio-political and environmental expression. With a focus on site-specific work, Liesel seeks to engage new and diverse audiences in meaningful contemporary dance experiences. Liesel was awarded the 2017 Australian Dance Award for Outstanding Achievement in Independent Dance for her work ‘The Stance’, which has been performed at Sziget Festival Hungary 2017, Ansan Street Arts Festival South Korea 2017 and several cities around Australia. Prior to that her site-specific work ‘fifteen’ (Next Wave Festival VIC 2012 & Brisbane Festival QLD 2012) won two ‘best of’ awards both for Melbourne’s Small to Medium dance work and Brisbane Time Out’s dance award.

She is currently developing ‘Balloons & Granite’ (a large scale dance installation exploring the body in shifting landscapes) and recently premiered ‘INTER’ (a science, dance and spoken word collaboration).

Liesel has been commissioned to choreograph works for Australian dance companies including Expressions Dance Company, Tasdance and LINK Dance Company. Her choreographic style has evolved from her postgraduate research on body language and her ongoing interest in social psychology.

She was a lead artist in the creation of Force Majeure’s new site-specific work FLOCK (Commonwealth Games 2018) and has performed for Polytoxic Dance Company and independent artists including Liz Lea, PVI Collective and Dave Sleswick. As well as producing her own work she produces for dance artist Michael Smith, and co-produces The IndepenDANCE Project (Phluxus2 Dance Collective) and Angry Mime evening of experimental art.

More information: www.lieselzink.com

Introducing Xeem, Rimbun Dahan’s New Arts Manager

Introducing Xeem, Rimbun Dahan’s New Arts Manager

Greetings! My name is Xeem Noor and I’ll be the new Arts Manager in Rimbun Dahan.

I’m a writer, ethnographer, researcher, artist and designer with degrees in Architecture and Fine Arts and currently pursuing my PhD in Anthropology in the Australian National University. Prior to starting my PhD, I worked as a lecturer and tutor in some architecture schools in Malaysia and as a writer for several architecture and design magazines. Taking on this mantle of Arts Manager is an exciting new adventure for me!

I’m interested in research on architectural pedagogy, phenomenology, visual culture, visual/ sensorial ethnography, ethnographic fiction, urban studies, and spaces and places. As an artist, I try to incorporate ideas of intersubjectivity, lifeworlds and structures in my work which consists of patterns, natural elements, abstract and geometric. I’m also interested in crafts (ie. embroidery, knitting, crochet) and journaling. You can see more of my personal works at my website and on my Instagram account.

For me, this is a leap onto a branch of the art world with an opportunity to engage with various artists and art communities through a prestigious and inspiring artist residency program. Not only does Rimbun Dahan offer ample inspiration for the artistic soul but it also provides the perfect space and environment for many interdisciplinary or cross-cultural collaborations and conversations to flourish. I’m honoured to be part of Rimbun Dahan and will give my utmost in assisting our resident artists to make the best of their stay as well as contribute to a wealth of connections in the art world. I hope to facilitate a smooth sailing residency period for the artists and may we be blessed with bountiful artistic endeavours both within and without the compounds of this beautiful space. You can reach me at arts@rimbundahan.org

 

 

Dancing in Place 2018

Dancing in Place 2018

Dancing up a tree. On a sculpture. Underwater. Underground. Dancing in Place is back!

A fun excursion for the family, Dancing in Place features 10 short dance works performed outdoors in the tranquil tropical garden at Rimbun Dahan.

3-5:30pm
Saturday & Sunday, 13-14 January 2018 (same program both days)
Rimbun Dahan, Km 27 Jalan Kuang, Daerah Kuang, Selangor, 48050.
Google Maps location: https://goo.gl/maps/Xu1UxnfH2g72
FREE ENTRY, donations welcome.

Featuring works by local dance artists:
++ Alla Azura Abal Abas, a veteran of site-specific dance, returns with her team, taking birds from classical Malay dance and putting them in trees.
++ Sharm Noh presents his captivating spider work, last seen in the Gala Night of Short+Sweet Dance 2017 at Kuala Lumpur Performing Arts Centre.
++ Balletbase dancers present “Reflets Sur l’Eau”, a lyrical modern dance work by French/American choreographer Patrick Suzeau.
++ JS Wong restages his meditative but physically challenging solo with bamboo pole, performed by Tau Chun Wai.

This year, we welcome a special program of new collaborative creations by teams of Southeast Asian choreographers, working together for the first time:

++ Chai Vivan (Malaysia) and Otniel Tasman (Indonesia)
++ Colleen Coy (USA/East Timor), Eng Kai Er (Singapore), Lee Ren Xin (Malaysia) and Ong Nitipat Pholchai (Thailand)
++ Fadilla Oziana (Indonesia), Citra Pratiwi (Indonesia) and Sonoko Prow (Thailand)
++ Fauzi Amirudin (Malaysia) and Sarah Maria Samaniego (Philippines)
++ Al Bernard Garcia (Philippines) and Siko Setyanto (Indonesia)

Plus Joelle Jacinto (Philippines) returns to Malaysia with her sister Jacqui, to perform a duet choreographed by her father, Eli Jacinto.

The event will continue, rain or shine! Please wear shoes that can get wet/muddy, and bring umbrellas and mosquito repellent. Refreshments will be available for purchase, but feel free to bring your own picnic.

Sorry, Rimbun Dahan is not a wheelchair-accessible venue, and Dancing in Place is not open to pets.

Dancing in Place is a production of MyDance Alliance, World Dance Alliance Asia-Pacific, and Rimbun Dahan.
Producer: Bilqis Hijjas
Production assistance: Stephanie Ho, Joelle Jacinto, Susan Chee
SM: Keilly Lim
Graphic designer: Grey Yeoh

Carlos Carvalho

Carlos Carvalho

Originally from Brazil, in the last three years Carlos Carvalho has been living in Asia, first India, now in Indonesia. Using crafts techniques and everyday materials, like textiles (mostly felt), paper, cardboard and paint, he builds topographies. Those topographies are found through the combination and juxtaposition of shapes cast from his body. His process is time consuming and repetitive, almost meditative.

My body is the center of my work, my body is queer and I’m gay. Thinking queerness in places where it’s not welcome or allowed is what is going through my mind. Especially because Brazil is also facing a conservative wave right now that is pressing against women, LGBTIs and the African-Brazilian population.

At Rimbun Dahan, being in the middle of all this green I wonder about things that hide in the vegetation, in the bushes. Being mostly by myself, this also brings about the idea that things that we fear hide in the dark, among the plants. I decided to play with the idea of camouflage as a starting point, as we can think of animals that hide. I mock the hunter animal print over the casts taken from my own body – I fear they are part of each of us, that they are constituents of our minds. This is supposed to be a turning point of the dynamics of fear. The body parts originating from the queer-gay body to become the element that hides and hunts, I put the body in a position of power and control, which is what the queer body needs to have in today’s reality.

Find more of Carlos’s work at his website, and his instagram accounts: @carhencarvalho and @carloscarvalhoart

Southeast Asian Choreolab 2018

Southeast Asian Choreolab 2018

From 23 June to 1 July 2018, 13 selected choreographers from Southeast Asia lived together at Rimbun Dahan, exploring choreographic practice with guidance from our international facilitator, German choreographer Isabelle Schad, with assistance from Claudia Tomasi.

The program consisted of 7 work days with 2 days of study tour. During the Choreolab, each participant presented their own participant session, sharing their own choreographic methods, repertoire or movement techniques with the rest of the group.

Half of every work day was spent with Isabelle Schad, as she shared her artistic approaches and ways of looking at dance with the participants.

The program concluded with an open showing of movement tasks from the Choreolab. The open showing was attended by the general public and members of the local arts community, outside in the gardens at Rimbun Dahan.

Participants

  • Lau Beh Chin, Malaysia
  • Nurulakmal Abdul Wahid, Malaysia
  • Jereh Leung, Singapore
  • Josh Marcy, Indonesia
  • Fitri Anggraini, Indonesia
  • Sherli Novalinda, Indonesia
  • Mee Soydala, Laos
  • Noutnapha Soundala, Laos
  • Vidura Amranand, Thailand
  • Nguyen Thanh Chung, Vietnam
  • Gebbvelle Ray ‘Dingdong’ Selga, Philippines
  • Nicole Primero, Philippines
  • Eva Wegener, Sri Lanka/Germany

Project Aims

To support and enable emerging Southeast Asian contemporary dance choreographers to

  1. Adopt new choreographic tools and physical, thematic and conceptual approaches to enrich their artistic practice;
  2. Develop regional networks among their peers and with regional dance institutions, for knowledge sharing, future artistic collaboration and touring;
  3. Experience works of art, cultures, places and histories beyond their home, to increase international understanding and to help contextualize their artistic practice.
  4. Work closely with an established choreographer (Isabelle Schad), to participate in her particular artistic approach, and to benefit from her insights, advice and experience.

About Isabelle Schad, facilitator

Isabelle Schad studied classical dance from 1981-90 in Stuttgart, and from 1990 to 1996 she danced in various classical companies. She began creating her own choreography and extending her dance education through diverse workshops and scholarships, was a member of Ultima Vez / Wim Vandekeybus in Brussels, and worked with / danced for Olga Mesa, Angela Guerreiro, Felix Ruckert, and Eszter Salamon.

Since 1999, she has developed numerous projects and dance performances of her own, in close collaboration with choreographers, performers, musicians and visual artists, which have been presented internationally in theatres, alternative places, galleries or festivals such as Tanzplattform, Tanz im August Berlin, Internationale Tanzwochen Wien or Dashanzi International Arts Festival Beijing.

The pieces California Roll and Still Lives – a community project that has been realised in more than 12 European cities – have been presented at Tanzplattform Germany 2006 and 2008. The community project TÜDDELDÜDDEL-LÜD has been presented at Tanzkongress 2009 in Hamburg.

Isabelle Schad regularly shows her work at Hebbel-Am-Ufer in Berlin. Since 2008, she has developed an ongoing project in collaboration with visual artist Laurent Goldring, followed by the solo Der Bau (2012) and the group work Collective Jumps (2014), which were both invited to Tanzplattform.

She is teaching in Berlin at the Inter-University Centre of Dance Berlin, and internationally in the frame of workshops or short period projects mostly supported by local Goethe-Institutes. She is actively engaged in the free dance scenes of many Balkan cities / countries, including Zagreb, Sofia, Skopje, Bucharest, and Belgrade.

In her work, Isabelle Schad explores relationships between the body, its languages and representations. She focuses on working methods that privilege exchange, the sharing of ideas, practices and knowledge as a tool for circulation, for continuity in learning and cooperation with other artists.

Isabelle is co-organizer of the working space Wiesenburg-Halle in Berlin, and a Zen-Shiatsu practitioner who practices Aikido on a daily basis.

More information: http://www.isabelle-schad.net/

About Claudia Tomasi, assistant facilitator

Claudia Tomasi first studied dance and choreography at PEPCC in Forum Dança, Lisbon. In 2013 she concluded her Bachelor of Dance, Context, Choreography at HZT / Berlin. She has been studying visionary craniosacral work at the Milne Institute in Berlin since 2017.

Great influence and inspiration on her work as a dancer and/or choreographer have been Deborah Hay, Shannon Cooney, Francesca Pedulla, Frey Faust (Axis Syllabus), Elisa Ricci, Philipp Gehmacher and Isabelle Schad. Since 2007 she has been working on her own pieces as well as in various collaborations as an interpreter and artistic assistant for other choreographers and artists, including Shannon Cooney, Isabelle Schad, Ingrid Hora, Claire Waffel and Julian Weber.

She is currently working with her brother, the audiovisual artist Benjamin Tomasi, in cooperation at the interface between contemporary dance, sound art and fine art.

 

The Southeast Asian Choreolab 2018 is a joint project by

In partnership with

Morganne Mazeika and Zach Khoo

Morganne Mazeika and Zach Khoo

apparatus dance collective, consisting of dancer-choreographers Morganne Mazeika and Zach Khoo are currently at Rimbun Dahan developing a new work called “discussions with”. The intention with the residency is to explore human interaction through a physical means of communication. Their method of movement invention is extrapolated into a thematic focus of the work: how does one communicate.

As the founders of apparatus they attended The University of Texas at Austin. During their time there they danced in the projects and residencies of established international choreographers. Their research that led to the creation of the company began in the studio that gave way to their current process; incorporating multidisciplinary approaches into dance and the method of dialoguing movement.

At their recent open studio, they spoke about collaborating long distance by sending each other videos of themselves dancing, and how to now translate that exchange through verbal and nonverbal communication when in the same physical space.

 

Dancing in Place 2017

Dancing in Place 2017

A weekend of short contemporary dance works performed in the gardens at Rimbun Dahan, open for free to the general public.

18-19 March 2017
Produced by Joelle Jacinto and Leng Poh Gee for MyDance Alliance.

Photos featured on this page by Nazir Azhari, Tony Tan, Mohd Nor Azmil Abdul Rahman and Huneid Tyeb. Many thanks to the photographers.

Program

I March

Location: Brick fence / Reflective pond
Choreographed and performed by JS Wong
Music composed by Thong Yoong How

I march forward or backward, in or out and here or there.

He Simply Disappears

Location: Front porch of Penang House
Choreographed by Nurulakmal Abdul Wahid
Performed by Nurhanis binti Yahya and Jazali bin Mohamad of UPSI

“It’s hard being left behind… It’s hard to be the one that stays…”  – Audrey Niffenegger 

Dis-location Series

Location: Rumah Uda Manap
Choreographed and performed by Chantal Primero and Nicole Primero of Airdance Philippines

“Achieving the end of the exercise was never the point of the exercise to begin with, was it.” -Adam Savage

Pinwheel

Location: Playhouse and the path where it leads
Choreographed by Kathyn Tan Chai Chen
Performed by Kathyn Tan, Eden Lim, Lee Ren Xin, Leo Yap, Lim Hwang King.

The unseen energy that causes movement. They spin and stop and start again, as if without permission. The wind is like a child that wants to play.

Special thanks to Now Theatre, Mr & Mrs Choo

Faux

Location: Sakinah sculpture / Bulatan Plong
Choreographed by Chai Vivan and Fione Chia
Performed by Chai Vivan, Fione Chia and Kyson Teo of Kwang Tung Dance Company

We are currently living in a world where the Artificial is becoming Natural, and Nature is becoming more and more Artificial. There are times where our eyes are unable to identify true and false. There are things that stand in between the real and the fake. Does that matter anymore?

Rebab

Location: In the forest beside the dance studio
Choreographed by Rathimalar Govindarajoo
Performed by Rathimalar Govindarajoo and Wei Jun, with Amirul Said, Yap Chiw Yi, Gwen Ng, Wong Yi Juan and Karthini Chandran of UMa Dance Company

Rebab – inspired by the Main Putri and the Makyong. The concept dwells around the word “Gerhana” as the churning of the ocean where immortality is obtained, and Gods dance where the Moon is eaten by the snake, and a dragon is split to two as Rahu and Kethu…

Female. Solo Dance Series

Location: Underground Gallery
Director / Choreographer: Loke Soh Kim
Photography Director: Kim Teoh
Soundscape Designer: Goh Lee Kwang
Dancers: Rachel Chew, Hoi Cheng Sim , Lee Ren Xin, Loke Soh Kim, Wong Man Chui

To capture the beauty and the feminine qualities of dancers, choreographer Loke Soh Kim decided to make a video series for five different dancers. Restrictions of video shooting have been set between the choreographer and the photography director to minimize the interruption to the pure dance improvisation that based on environmental stimulus; long-take in the film making, no pre-context communication with the dancers, and no disturbance from the camera. Female. Solo Dance Series is a dance video that depicted the interaction of sites, dancers, photographer and soundscape designer. The series consisted of five female solo dance with different ages and backgrounds, who wish to share their stories.                       

Supported by:  PCP Publications, Little Planet Lab, Sekeping Kong Heng, Damansara Performing Arts Centre, Oriental Art & Cultural Association, and EPSON Malaysia.

Fulfillment Needs

Location: Main plaza driveway
Choreographed by Fairul Zahid
Performed by Syafiq Kamarul, Zaidyansjah, Nur Syafiqah Najwa and Fatin Nadhirah

Naesting

Location: Red sculpture under the trees
Collaboration by Tan Bee Hung, Mamad Samsuddin and Al Bernard Garcia, alumni of the Southeast Asian Choreolab.

Search. Fit. Build. Settle. Trap.

My Alay

Location: Reflective pond
Choreographed and performed by Rithaudin Abdul Kadir

Based on the traditional Pangalay dance of the Suluk (Tausug) from Sabah, this piece is reconstructed with a contemporary vocabulary to accommodate the site. By experimenting and exploring the use of the Gong and the Turung, it is a journey of self-discovery. The use of the gong symbolises the wealth and of late, the burden of the Suluk people.

The LEF

Location: 60 Turns Lawn
Choreographed by Kyo Hong
Performed by Kate Soon and Jazz Ter

As time flew away, as the leaf scattered away so do our pathways.

When They Ate The Apple

Location: 60 Turns Lawn
Choreographed by Yunus Ismail
Performed by Maria Devonne Escobia

For the good that they were promised, they chose to disobey.

Clockwork

Location: 60 Turns Lawn
Choreographed by Fauzi Amirudin
Performed by Denise Tan, I-Lyn Tan, Joelle Jacinto, Joyce Chan, Lee Jia Xi, Regina Toyad, Ving Yee of Balletbase

We negotiate between tradition and the modern; we try to find a balance between the two, until they are harmonious – “like clockwork”. Yet there is also an effort to stop time, and we try to make that universal pause before coming into a hopeful, uncertain, inevitable future.

Everlasting Love by Azliza Ayob, Rimbun Dahan Residency Exhibition 2016

Everlasting Love by Azliza Ayob, Rimbun Dahan Residency Exhibition 2016

everlasting-love-azliza-ayob-website-image

Rimbun Dahan presents Everlasting Love, a showcase of recent works made by Malaysian artist Azliza Ayob who, in her 16 year career, has worked in many mediums such as collage, painting, sculpture, and installation. She has spent her year in residency exploring the possibilities of creating art from discarded and unwanted daily items to sustain and survive in the field that she loves most, which is making art. The exhibition also ties together the themes of labour, community, tradition, and sustainability.

DATES: 27 November – 4 December 2016

OPENING HOURS: Weekends 10am – 6pm, Monday to Friday by appointment

Admission is FREE. For the event page on Facebook please click here.

There will also be a free guided tour of Rimbun Dahan’s grounds and traditional village houses at 9am on 27 November, conducted by Angela Hijjas. Our other current resident artist, Si Jie Loo, will also be having an open studio 10am to 6pm on Sunday, 27 November.


Nature plays a strong part in her work and like many previous Rimbun Dahan resident artists, Azliza took inspiration from the surrounding grounds and the various types of flora and fauna growing in the gardens, using her time cleaning the lawns in front of her cottage to understand different types of leaves. In that process, she also got acquainted with the inorganic things accumulating (and “growing”) within the grounds as well as in the surrounding village. Azliza started out with one studio and a small collection of plastic bottles made of polyethylene terephthalate (PET). One year on, the scale of her work has required her to utilize two studios to house pieces made from an estimated 2000 PET bottles and other materials. The bottles were either handpicked from the roadside and the trash or donated by fellow artists, friends, family, and eateries and shops from Kuang all the way to Kuantan.

“I am fascinated with the transparency of PET bottles,” says Azliza. “I’m fascinated by its longevity and how it’s so easily accumulated to the point where it is ‘haunting’. [Through working with the material], I became more sculptural. The process is so tedious, but the result is satisfying.”

Azliza learned various traditional crafting techniques from a young age and put this knowledge to use to both figuratively and literally weave together her unconventional and modern materials into softer forms, organic shapes, and detailed sculptures and collages. She has used plastic bottles in an interactive site-specific installation titled For Our Daughters (2011), glitter to fill thousands of mushroom forms and pink rain drops for her residency exhibition at Fukuoka Art Museum in 2012, and paper collages in her 2014 solo at Wei-ling Gallery, All That Glitters. New materials joined her repertoire in making work for Everlasting Love.

“I made weavings by substituting plastic strips, wires and wire mesh for traditional mengkuang, I incorporated glass and plastic beads, rhinestones, oil paints mixed with spray paints, recycled printed items, glitters, stuff from local hardware stores and all-in-one convenience shops. The materials [I use] must be considered trash, unwanted, or too ordinary and unimaginable to create art, it must show the laborious process of art.” She supplements these with the inclusion of a more sentimental material – batik cloths from her own personal collection, mostly wedding presents from her mother-in-law’s Kelantanese family. Ordinary perhaps, but certainly not trash or unwanted. “These batik cloths have gone through and withstood the vigorous activity of a mother, wife, artist, and best preserved in art.”

The use of everyday materials was both a matter of principle and necessity. Azliza says, “I find being creative is somehow connected with being frugal. Working with limited finances is possible with good interpersonal skills and when you work together in a supportive community. In this way, I think of creating art as a way to empower our economy, to live cleaner and greener, to help us think of sustenance and sustainability as a way to maintain our freedom (to love, to be, to do).”

Rimbun Dahan is also a proud participant of Gallery Weekend Kuala Lumpur, a festival tour of the rich and innovative arts and culture scene of the city happening 25 – 27 November 2016.

Gallery Weekend Kuala Lumpur 25 to 27 November 2016