3rd International Music and Performing Arts Conference Proceedings (13-15 November 2018)

ISBN 978-983-2084-43-3

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Cenderawasih Birds of Paradise: Dancing in Place 2018 – A Site Specific

Performance at Rimbun Dahan, Kuang

Azura Abal Abas

University of Malaya, Malaysia e-mail: alla69@gmail.com

Cite this article (APA): Azura Abal Abas (2018). Cenderawasih/birds of paradise: Dancing in place 2018

– a site specific performance at Rimbun Dahan, Kuang. In Mohd Kipli Abdul Rahman, C.S.C. Chan, Zaharul Lailiddin Saidon, C. Augustine & S. Maniam (Eds.), Proceedings of the 3rd International Music

and Performing Arts Conference (pp. 15-25). Tanjong Malim: Faculty of Music and Performing Arts,

Universiti Pendidikan Sultan Idris, Malaysia

Abstract

Dancing In Place 2018 - A Site Specific Performance at Rimbun Dahan, Kuang Cenderawasih applied a dance motives from Joget Gamelan Timang Burung & Asyik Sasang dance. This dance work was presented at Site specific

performance - Dancing In Place 2018 on the 19th and 20th January 2018. This is a yearly site specific performance

at Rimbun Dahan, Kuang organized by Rimbun Dahan and MyDance Alliance Malaysia. Cenderawasih being

performed by three dancers (Azura Abal Abas/writer, Muslimah Saptuang and Munireh Jebeni) on the tree top and

the surrounding area at the Rimbun Dahan main entrance gate. This paper will discuss about taking birds motives as

the main subject to create new work inspired by the Malay Classical dance and combination with modern dance

technique at Rimbun Dahan site specific area. This paper will share the process of creating a contemporary dance

work inspired by dance motives from Joget Gamelan Timang Burung and Asyik Sasang dance. Historically and

empirically the Malay Court/Classic dance is created & inspired by observation of the surrounding natures and

inspired by animal’s behaviours. Therefore this dance piece being created and inspired by the selected site specific

area at Rimbun Dahan by the choreographer/writer choice. This paper hopefully can give an idea how to

choreograph a contemporary dance work and how to used Malay Classical/Court dance motives and give a Malay identity to contemporary dance work in Malaysia.

Introduction

Contemporary dance is not new to Malaysia art scene, since 1970’s - 1980’s contemporary dance already exist (Joseph Victor Gonzales, 2000) and it flourish in middle of 1990’s when National Arts Academy

start established in 1994. Contemporary dance in Malaysia context is to create new dance/choreography

that applied elements either from traditional, modern dance from the west or combined both (Azura Abal Abas & Premalata Thiagarajan, 2017).

Cenderawasih a contemporary dance piece is inspired by a Malay Court/Classical dance Joget

Gamelan Timang Burung and Asyik Sasang. This two particular Malay court dance movement is about

imitating the bird and other animal movement and created dance. (Mohd Anis Mohd Nor and Tharuwat Ismali Bakti, 2011). Cenderawasih is a contemporary dance version of imitating the bird’s movement

inspired by Malay Court dance and made it into contemporary dance. In Cenderawasih we create dance

movement by exploring the nature in the bird natural habitat. This writing is about the process of creating a contemporary dance inspired by the Malay court dance. This dance piece is choreographed base on the

Cenderawasih myth with injection of the Malay court/classic dance Timang Burung and Asyik Sasang

and a touch of modern dance technique. Cenderawasih is performed at the site specific area at Rimbun

Dahan, Kuang for Dancing in Place 2018 on 13th and 14th January 2018. This paper will discuss in detail about the choreography process, there for hopefully will be more contemporary dance piece created base

on traditional dance in the future.

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Cenderawasih is a unique gorgeous birds & hardly found, myth about this bird said that

this bird are from heaven and they come to earth only to die …’ (Cenderawasih synopsis, 2018).

Choreographer is a person who composes and choreographs the dance piece. They will inject all

choreography elements to their work, from scratch until it is ready to show. What are choreography elements and tools? What are choreography context and content? Before we start with the choreography

process, choreographer must choose:

1. Title, theme and concept

2. The site

3. The dancers

The choreographer must apply and explored all this and transform idea/concept into performance;

theme, concept, background and synopsis, style and form, etc. Using improvisation before composing

usually leans on ideas, music or any kind of associations referred to the piece that is being created. Composition process is when we talk about dance composition, we mean that we choose a choreographic

material, we arrange it according to an aesthetic idea or project and we fix it. To do that, we need first to

have some choreographic fragments to work such improvisation approach. Improvisation element is one of the best tools to start the choreography process. This process will naturally build up chemistry between

choreographer and dancers, there for they will also be able to combined competences of the

choreographer and the dancers. Improvisation is a way of tapping the stream of the subconscious without intellectual censorship,

allowing spontaneous and simultaneous exploring, creating, and performing. Improvisation

emerges as an inner-directed movement response to an image, an idea, or a sensory stimulus

(Bloom, L.A & Chaplin, L.T, 1982).

In contemporary dance, one of the most common methods for producing that first content of choreography is the practice of improvisation. In Cenderawasih choreography, choreographer choose few

movement motive from Timang Burung and Asyik Sasang dance to be explore by the dancer in the

improvisation process. Choreographer also explains about the significant of the Cenderawasih bird as a main focus in this choreography. It is very important to get dancer understanding what they are doing, so

they can embody the movement and put their soul while dancing. Choreographer also must have

understanding about idea and element such choosing the dance tittle, theme and concept of their new work.

Title: Cenderawasih / Birds of paradise

Choreographer must get and collect information about the selected birds, such search in the website. Analysing the birds and it character. This is very important input for the choreography process.

Once they get the information they must share with their dancer, so they can work on the same direction

of understanding.

Penduduk Tanah Melayu pada zaman dahulu dihebohkan dengan kewujudan seekor burung yang

kononnya berasal dari kayangan tetapi turun ke alam bumi untuk mati. Burung berkenaan

dikenali sebagai 'Cenderawasih' dan bangkai haiwan itu dicanangkan memberi pelbagai

kesaktian kepada sesiapa yang memilikinya. Ada banyak kisah pelik dan mistik mengenai

Cenderawasih, antaranya burung berkenaan pada asalnya didakwa sebagai makhluk 'syurga' dan

sering berdamping dengan wali. Disebabkan burung itu bukan berasal dari alam manusia, maka

Cenderawasih akan mati apabila turun dan menjejakkan kaki ke bumi. Mengikut cerita lagi,

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sebaik tiba di alam bumi, Cenderawasih mati dalam pelbagai keadaan, antaranya ketika sedang

terbang, beristirehat dan dalam keadaan tidur..1

Theme

Choosing bird as theme /the main focus in the dance piece. Analyzing how bird movement can be imitate

and make it as dance by looking at Malay Court Dance, Timang Burung and Asyik Sasang. How they imitate bird movement and created the Malay court dance.

Concepts

Make new dance piece inspired by Malay Court dance and make it contemporary. To make it new and

contemporary this dance piece taking myths statement about the Birds of Paradise. This dance piece

representing the ritual process of the dying bird. Dance sequence in order:

Figure 1. Starting from the tree to representing heaven as the three dancers hanging on the tree while singing the

Joget Timang Burung song2 from Joget Gamelan repertoire.

1 Cenderawasih - https://www.bharian.com.my/node/59499 2 Timang Burung melody and lyric - https://www.youtube.com/watch?v=YaObro2T5M8

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Figure 2. The journey from heaven to earth – from the tree area to pathway between a row of trees and the grass field.

Figure 3. The garden on earth – grass field area a circle of dried leaf

Figure 4. The chosen site for Cenderawasih/ Birds of Paradise and after some artistic touch.

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The rehearsal process.

Choose the suitable site base on title, theme and concept. For Cenderawasih, choreographer choose the

Rimbun Dahan entrance pathway with a row of trees and the grass field areas which is also have bird

natural chipping sound. The Site specific performance is special because it is a chosen site to perform and

it is unconventional stage and not like stage in the theatre, which are conventional and more comfortable to perform. Choreographer usually will inspired by the site they choose. They must have rehearsal at the

actual space to blend with the space, embodied the space and inspired by the space. Cenderawasih start

with dancer hanging on the tree top at different level. This position need to explore to create a dance movement. Besides doing their movement, the dancer also singing while the hanging on the tree top. That

is the challenge in this choreography beside the environment, which is a bit muddy, slippery, wet and

surrounded with insect. It is best for the choreographer if they familiar with the dancers that they choose or else more

work to do when they first meet. Choreographer must have knowledge and inputs to create work, in other

words choreographer must be competence to deliver their task. The chemistry between choreographer and

dancers will make the work success full. From ideas - intangible, the dance piece will turn to presentable - tangible. When I choose my dancer I basically knows their background and I know their capability. Lily

and Munirih are both experiences dancer, which involved in local musical theatre and both have very

strong Malay Traditional dance basic, since both are from ASWARA3 and exposed to local and abroad performing arts scene.

Choreographer and dancer: Alla @ Azura Abal Abas

An independent artist, which involved in the Performing Arts industry more than 25 years as dancer,

dance instructor, choreographer, artistic director, dance jury and dance facilitator. Diploma holder from

ASK4, degree and master holder from University of Malaya in performing arts majoring dance. Part time lecturer at University of Malaya (2011-now). Teaching Malay Classical dance and Malay Traditional

dance. Starting career as a traditional dancer with Petronas performing Arts (1991-1994) before she

pursuing her first study in Performing Arts at Universiti Sains Malaysia (Sijil Seni Kreatif - Theatre 1994/95). She never stop involving in the arts scene since then, performing locally and abroad. During

study in Ask (1995-2000), she get involved as dancers in Shakti Dances an independent dance group lead

by Aida Redza and Judimar together with Arifwarran and few others. Year 2000-2007, she actively

involved in creative industry, such for reality TV show and commercial TV show. When she start her degree study she choreograph; Qudus, Munajat Betari, Seven. 1 Roh 1 Jasad, Missing you.. Rusuk,

Nature...Nurture... and her latest work – Cenderawasih/Birds of Paradise.

Dancer, biodata, background and thought: Muslimah Saptuang @ Lily Terindah

Dance diploma holder from ASWARA (2006). Performed extensively in an international events, such

Andong Mask Festival in Korea, Airasia to London program, held in Amsterdam, Food Festival in Laos, Festival Nusantara (Indonesia), Asia Arts Festival in Beijing, China and CRRC Annual Dinner in China.

Intensively ivolved in local arts scene such in Musical Theatre; Puteri Gunung Ledang the Musical

(season 2), P.Ramlee the Musical (season 2), Lat the Kampong Boy, MUD our story of Kuala Lumpur and

Bangsawan Dendam Laksamana.

I manage to get a new experience because this is my first time dancing at site specific. The process

of the choreography very challenging because of the surrounding area such mosquitos and others

insect. I hope this kind of concept will continued (Lily @ Muslimah, 2018).

3ASWARA - The National Academy Of Arts, Culture And Heritage (2006-Now) 4 Akademi Seni Kebangsaan (1994-2005) Now Known As ASWARA (2006)

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Munirih Jebeni

A native girl of Iban descent born and raised in Kuching, Sarawak. Graduated in Bachelor of Dance (with

Honor) from ASWARA in 2014. Started perform as a professional performer locally in 2012 and

internationally in 2016 - China, Mongolia, Korea, Hong Kong, Vietnam, Australia, Thailand, Singapore,

Taiwan and Zimbabwe. Used to work with Enfiniti Vision Media, owned by Puan Sri Tiara Jacquelina, Producer of Mud: Our Story of Kuala Lumpur the Musical which was held at Panggung Bandaraya, Jalan

Raja since 2015 to 2016 as a full time musical theatre stage performer, playing a main role character of

Zhao Xiao Yen. Currently, work as a freelance performer.

When I was offered to be part of the piece by the choreographer, I was wondering what it is about.

During our first meeting, she explained to me that the character of the bird is so unique. The myth

of the story is when the bird is about to die, it will come down to earth. It is the beliefs that this

bird are from paradise. What I feel about the piece as one of the performer, it's all about freedom,

relationship and togetherness. Why I said relationship is because of the lyric of Timang Burung

song stated about a female bird is missing her male bird. This piece accompanied by Gamelan

song played by Sape' which is another different of combination. Sape' produced a music that related to rainforest which is suits to the place that we performed in Rimbun Dahan. It calms,

sooth and mesmerized. Meanwhile gamelan music is from palace. This is what I meant about the

difference. There is a lot of challenges during the learning process yet it so meaningful and good

experience. Once a philosopher name Rumi said, 'Birds make great sky-circles of their freedom.

They fall and falling, they are given wings'. (Munirih Jebeni, 2018)

Choreography Dance Style and Form

This choreography applied traditional dance basic movement as a tool to choreographed and get inspired.

In particular, Timang Burung and Asyik Sasang dance motive. Using body as main tools to create

movement. Applied dynamic element in movement which taken from modern dance technique as injection to the dance movement; staccato for head movement, flowy and fluidity for arms movement,

sharp for leg movement, sustained and extend the selected body parts and the dance movement. This

quality of movement is to emphasize the bird characteristic.

Choreography Tools

Moving and speaking body. In composition and choreography, dancer body is an important tool to start

with. Understanding dancer capability, background and experience. Moving body is main tool to

manipulate and to be explore to create dance motive and turn it into dance movement.

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Dance motive from Malay Classic/Court Dance. Using selected dance motive to create new movement:

Figure 1. Mengayak/ meliuk/ melemak – swaying of upper body in the court dance and inject with movement quality such extend, sustained, fluidity and flowy to represent and imitate bird movement.

Figure 2. Arm swaying – extended the arm with hanging long cloth to represent bird wing and flying moment.

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Figure 3. Grounded leg position – lower body ‘membumi’ to create Traditional dance base and adapt the bird

characteristic, which contra with upper body which is more free flow.

Movement imitate the bird movement and characteristic.

Figure 4. Flying and floating: Dancers used upper body especially arm position and movement spread out and

extend like a bird wing.

Figure 5. Head movement: Head movement with extended chin used sharp and staccato quality movement to

emphasized and imitate bird movement.

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Figure 6. Leg movement: Most of the time using grounded (membumi) position and movement, and some time

jumpy and move freely like flying.

Choreographer also play with canon and repetition elements in dance movement. This are tools in

choreography to make the work more exciting and meaning full. Used tempo as a tools to work with, either go with the beat or some times against the beat. This are the thing which make the new dance piece

difference from other work. Space also as a choreography tools, where we have kinesphere space within

dancer body introduced by Rudolf Laban. “The sphere around the body whose periphery can be reached by easily extended limbs without stepping away from that place which is the point of support when

standing on one foot5” Beside kinesphere space, choreographer also use exist space surround them and

space that they created by imagination to create dance movement. Music

Cenderawasih used traditional Timang Burung melody and lyric with the new touch. Timang

Burung melody for this dance piece played with Sarawak traditional music instrument

Sape' (sampek, sampeh, sapek) is a traditional lute of many of the Orang Ulu or ‘upriver people’, mainly the ‘Kayan’ and ‘Kenya’ community who live in the longhouses that line the rivers of Central Borneo.

Sapes are carved from a single bole of wood, with many modern instruments reaching over a metre in

length6. It was a bonus for the choreographer when one of the dancers (Munirih Jebeni) can play Sape and she also can sing. This dance piece applies recorded life Sape played by Munirih and life singing. Hence,

all the dancers singing the chorus part together.

5 Kinesphere - https://thespaceintherelationship.wordpress.com/kinesphere/ 6 Sape - https://en.wikipedia.org/wiki/Sapeh

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Costume

Figure 7. Cenderawasih costume colors are black, brown and yellow to represent Cenderawasih bird refer to the

photo given. Material chose is Net, which give frill impact, and Chiffon, which give flowy impact.

Costume Design

Tutu skirt alike with frill to represent bird lower body, and bird upper body using Lycra material on the arm with hanging Chiffon to represent the bird wing. Head and face covered with Net material to hide

human face and expression, and also to create more mystic and mystery as the bird characteristic as photo

below.

Cenderawasih received a good formal and informal review after the show. This is something new

for Dancing in place at Rimbun Dahan to get youngster audience to come and witnesses the bird dance

piece. Both day on 13th and 14th of January, we have kids in the audiences, and they show their interest and curiosity throughout the performance. Site specific performance is special because it always give us

new perspective and interpretation on the issues and the space.

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References

Azura, Abal Abas and Premalatha, Thiagarajan. (2017). Pengkaryaan feminisme dalam karya tari kontemporari Aida

Redza: Ta’a 1995 & 1997) dan Zik’r (1996), Tirai Panggung, Jurnal Seni Persembahan, 13, 92-112.

Birds of paradise. Retrieved from https://en.wikipedia.org/wiki/Bird-of-paradise Bloom, L.A & Chaplin, L.T. (1982). The intimate act of choreography. Pittsburg: University of Pittsburg Press.

Craine, D. & Mackerel, J. (2010). Oxford dictionary of dance.contemporary dance (2nd Ed). New York, NY:

Oxford University Press. D’Cruz, M. (2011) Joget Gamelan: The royal dance of Pahang and Trengganu courts. In Mohd Anis Md Nor &

Burridge, S. (Eds.). Sharing identities: Celebrating dance in Malaysia (1-23). New York, NY:Routledge. Dance composition. Retrieved from https://www.contemporary-dance.org/dance-composition.html Gonzales, J. (2000). Making contemporary dance contemporary in Malaysia in 1990’s. In Mohd Anis Md Nor (Ed.).

Asian dance: Voice of millennium (53-64). Kuala Lumpur: University of Malaya. Mohamed Tharuwat Ismail Bakti & Mohd Anis Md Nor. (2011). Asyik dance from Kelantaness palace to a national

heritage. In Mohd Anis Md Nor & Burridge, S. (Eds.). Sharing Identities: Celebrating dance in Malaysia

(24-36). New York, NY: Routledge: Nasron Sira Rahim (6 June 2015). Siri misteri: Burung dari kayangan. Retrieved from

https://www.bharian.com.my/node/59499