Hwa Wei-An

Hwa Wei-An

Wei-An started dancing because he thought it was cool. He enjoyed watching the dancers in music videos that played on loop in the mornings on ntv7, back when he was supposed to be doing his homework. And so he copied moves from the videos he watched, eventually gained some friends and learned some moves from them, and slowly fanned the little spark of “I want to be cool” into “I want to use my life to dance.”

A graduate of the Nanyang Academy of Fine Arts in Singapore, Wei-An’s dance journey has taken him to places like Paris, Shanghai, Hong Kong and around Southeast Asia, performing works by choreographers such as Albert Tiong, Pichet Klunchun, Wu Chien-Wei, Matej Kejzar, Noa Zuk and Ohad Fishof, Ole Khamchanla, Christina Chan, Lee Mun Wai, Gabrielle Nankivell & Luke Smiles, Shahar Binyamini and Sita Ostheimer.

Recently, Wei-An has embarked on the journey of an independent artist, as he seeks to create more and take greater control of his own direction. As he moves forward, he seeks to draw from his interests in the flow state (see the work of Mihaly Csikszentmihalyi), action sports and street dance styles in the development of a personal choreographic methodology. Over the past few months, this has led to the piece entitled Battling Myself and a residency at Dance Nucleus in Singapore during which Wei-An explored the idea of a rhythm section, taken from free-ride mountain-biking.

Wei-An is also the organiser of Paradigm Shift, a contemporary-based dance event held in Singapore that is built as a platform to encourage exchanges between contemporary dancers and dancers of different dance backgrounds.

Wei-An is our resident artist from 9 April 2018 to 6 May 2018. You can follow him on his instagram and found out more on his website.

 

 

“Cut!” choreographed by Hwa Wei-An under Frontier Danceland’s platform Dancers’ Locker

 

“Falling Into Flow”

 

“I Don’t Have Any”

 

Paradigm Shift Trailer

 

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.

 

Citra Pratiwi

Citra Pratiwi

Citra Pratiwi (b. 1981 in Pati, Indonesia) works intensely between body, story, movement and  expression — presented in her works in dance and theater. She’s a founder of Migrating Troop Performing Art Network, a hub for artists who want to work in multi and interdisciplinary art to refresh their work and expression. Citra is a graduate of Ethnomusicology from Indonesia Institute of Art Yogyakarta, and was one of the awarded artists for Empowering Women Artists by Kelola Foundation. She is an art-activist, engaging her work to speak about women’s issues, especially women’s issues in Indonesia and she’s also worked as a curator at Padepokan Seni Bagong Kussudiardja, a private cultural centre in Yogyakarta.

During her one month residency at Rimbun Dahan, Citra will be developing her new project named Finding Stillness. It will be a research project exploring body memory, conscious and unconscious body, using Jathilan or Kuda Kepang folk dance as entry material.

I want to research what is stillness in the unconscious and bring this concept into contemporary dance work.

Natalie Kim Kyungmi

Natalie Kim Kyungmi

n6

Korean artist Natalie Kim Kyungmi began to explore her interests in contemporary dance during a stay in Malaysia in 2010. She performed in Dancing in Place in August 2010, followed by a brief mentorship at Rimbun Dahan with Japanese-Australian butoh dancer Yumi Umiumare and an appearance at the Melaka Art & Performance (MAP) Festival in November 2010. Natalie moved back to Korea in 2011.

Here Natalie discusses her experience of the mentorship and the festival, accompanied by photos by Anthony Pelchen.

n4“Just before the festival, I was privileged to have a personal mentoring workshop with Yumi, supported by Rimbun Dahan. We started the workshop by previewing my work and it was a truly valuable and thought-provoking process with lots of mutual brainstorming and discussion. Her methodology was inspiring as she never imposed any answers or theory but just threw questions at me to look into and explore. Her tremendous mentoring helped me focus on natural strength and emotion while understanding the virtues of dance performance.

Personally we’ve became very close friends with extra gin and tonic sessions every night during festival and her enthusiastic mentoring has never had a break since the festival till now!”

n2“Here I am performing ‘Mapping’ with Agung Gunawan (Indonesia) in one of the site-specific performances around Melaka town.

Each performer performed twice a day in different sites, either solo or in collaboration. I was lucky to get to perform with performers from diverse backgrounds such as Malaysia, Vietnam, Australia and Indonesia. It was a valuable learning collaboration process, seeing how my emotion and body could react and tune into all the different energies and movements, and, finally, with the audience.”

n3“Before the festival, I had come across news about a women executed in public in Iran by stoning to death. This piece was dedicated to her and all women who are still oppressed in many ways. It also reflects my personal experiences encountering different cultures which have different values and perceptions of gender.”

 

prophecy“Here I am performing my solo ‘Prophecy’, as part of the Cerita Pendek (Short Works) program. In this performance dance work I explore the hope of transformation across the passage of time.”

“This picture, and the one at the top left of this page, shows Eulogy for the Living, the group performance at the finale of the festival. I am with with Ikko (Japan), Agung (Indonesia) and Tho (Laos-France).

n1The process of creating this work was very inspiring as each performer had his or her own solo, yet needed to tune into others’ independent parts in an improvisational way until the final group encounter. During every rehearsal there was lots of discussion and experimentation to make this finale a ‘community-like’ performance.”