My journey into researching Dreams as a movement and performance study began as I started exploring and creating solo works. Such as Berkumandangnya Qasidah, Stirrings and Feast of Fools. At that period of time while I was absorbed in creating those works, I was not at all conscious that my creative process were indirectly a kind of predictive journey symbolizing signs of what was coming (akan datang) - the future happenings that were going to take place in my future. As the years passed by, and as I reflected and gazed back into time, I realize that the emotional and creative pre-experiencing and process of dramatizing my inner thoughts and dreams into my solo performances, was not only an accidental and unconscious journey that was telling me what lies ahead, but it was also coincidentally shadowing and shaping out the chapters of my life. As though offering clues of the coming challenges that I will have to endure towards learning and discovering balance and harmony. It may sound totally absurd to you. And I am not at all suggesting that I am a fortune teller or a clairvoyance through my artistic work. And I am not able to explain nor wish to share with you what were the choreographic signs and codes that I chose to use, that could convince me or you to believe my theory today - as I am myself trying to codify the secrets of performance and a performer's state of being. Even though at the time of creation - I was probably not knowing what the future holds or that I was actually weaving my future through my dances. I was in the moment of creative process, or what performance theories refer to as an artistic experience of 'dream-travel'. When I look back at the choreographies, some essence of it was realized. For example, Stirrings (created in 2002), and within a year after creating it. I found myself the asian washer woman, working in homes, cleaning to survive and provide myself and my daughter money - as we were cut off from any financial help when I began to plead for separation and divorce. And years after, I experienced in my life the 'mahsuri tragedy', that was the very root of my choreography in Feast of Fools - Copenhagen version (2003) - (of course in reality minus the hukum mati, the sumpah and death). My tragedy was not as catastrophic as Mahsuri, but even so it was almost as dramatic. I made it through a struggle for divorce, amidst accusations and attempts to slander me and my role as the wife, and as a mother to my daughter (which is regretfully a common way for most divorced man, regardless of religion and race - to continue digging, accusing or find every little fault of mothers, even if they have to lie or exaggerate every detail that could make the mother look bad to use it against her so as to gain absolute custody, and cut her from her rights to share in the care and upbringing of her children).
Jung developed his idea of archetypes mostly as a way of finding meaning within the dreams and visions of the mentally ill: if a person believes they are being followed by a giant apple pie, it's difficult to make sense of how to help them. But if the giant apple pie can be understood to represent that person's shadow, the embodiment of all their fears, then the psychotherapist can help guide them through that fear, just as Yoda guided Luke on Dagoba. STAR WARS - The hero's journey. If you think of a person as a computer and our bodies as "hardware," language and culture seem to be the "software." Deeper still, and apparently common to all homo sapians, is a sort of built-in "operating system" which interprets the world by sorting people, places, things and experiences into archetypes.