AI.DA

AI.DA
Advocating for an All Inclusive Dance Action for everyone

Wednesday, September 2, 2009

The beauty of dance and pure Islam



Ever since I left home to live, school and work independently away from my parents at 20, and throughout my first marriage, I have never been blessed to have an elderly imam friend visit our home. Besides, on occasions like family kenduri's held at family and relatives.

On 31 August 2009, we were pleased to have Haji Abdul Majid come to Rasmus and my home for buka puasa and in conjunction with Hari Merdeka in far away Copenhagen, organized by us with our good and dear friends Aisah Hashim and Radin Kasbani. He came with so little words, but he touched me with his open heart and mind, when he came and thank me personally for my art and dance, and that he has heard so much about me and came on behalf of everyone who has told him about me in Malaysia to say that they were proud for all that I have achieved and what I have been doing. His one advice was for me to continue,.... and jangan sekali-kali terasa terpinggir by those who do not understand what you do and what you are fighting for. I do not know why he spoke to me especially when I do not know how much he knows of me and my art, and if he was just making up what he was telling me (which i doubt so), but I was very touched and humbled by his comment and felt the warmth of Allah, that I am being recognized as an open but yet sincere believer in making art that expresses my faith and trust that beauty exist within Islam and that the art of energy in body expression for spiritual development towards our relationship with the world around us and the divine (or at least that is how I perceive the dance I do), .... i have never ever doubted it,.... dance has always been validated.....

I have added an article from http://www.beautyislam.org/practices_of_sufism.html on sufism. The beauty of it all is that Sufism is about spiritual development and integral part of its spiritual work is psycho-energetic/psycho-physical practices and its relation to the chakra points.


Sufism is an ancient tradition of spiritual development. It is widespread at present.

Sufism originated inside Islam. Some Sufi teachers-sheikhs say, however, that Sufism cannot be limited to a particular religion, historical period, society, or language. They call Sufism “the pure essence of all religions” and believe that Sufism existed always.

The Sufis, who often call themselves “people of true beingness”, from age to age bring to the world together with their teachings their art, which reflects their perception of the beautiful. The Sufi symbolism, images, and themes are found in a significant part of the oriental folklore, literature, especially poetry. Such is almost all Persian-Iranian classic poetry, which is recognized throughout the world. Widely known are the names of Sufi poets: Sanai, Rumi, Hafiz, Jami, Nezami. One can say the same, though to a smaller degree, about the Arab and Turkic literature, poetry, folklore.

What is Sufism?

The root Sufi means “pure”. It corresponds to the essence of the Sufi teachings and spiritual appearance of its best representatives. The true masters of Sufism, the true Sufis* are indeed pure from the dogmatism and fanaticism, are free from confessional and national prejudices.

Let us talk about the fundamentals of the Sufi teachings:

— Sufism holds a belief that the universe consists of 7 “planes of existence” [2]. This concerns multidimensionality of space.

— The subtlest dimension, which the Sufis call Zat, is the Abode of God in the aspect of the Creator. The Creator and the whole diversity of His Creation (Sifat, in Sufi terms) compose the Absolute. The Creator pervades the entire Creation with His Love.

— The multidimensional human organism, which is similar in its structure to the multidimensional structure of the Absolute, can reveal in itself more subtle forms of beingness. One realizes this by cognizing and perfecting oneself.

Thus only by knowing his true essence man can achieve the direct perception of God and union with Him. This is expressed very laconically in the hadith of Sunna* which reads: “He who cognizes himself cognizes God”. On the final stages of such cognition, the individual human consciousness merges with the Divine Consciousness. This final goal is described in the Sufi tradition as the highest state of consciousness Baqi bi-Allah (Eternity in God). Hindu and Buddhist synonyms of this term are Kaivalya, Mahanirvana, Moksha.

The foundation of Sufism is love (mahabba, hubb). The Sufis even say of their teachings as of “hymn to the Divine Love” and call it tassawuri — love-vision. Love is considered in Sufism as the power which strengthens one’s feeling of being contained in God. This process results in understanding that in the world there is nothing but God, Who is the Lover and the Beloved at the same time.

One of the tenets of Sufism is “Ishq Allah Mabud Allah” (“God is Lover and the Beloved”).

A truly loving Sufi gradually submerges, sinks, and becomes dissolved in the Creator — in his or her Beloved.

The principle of regarding God as the Beloved originated from the Sufi direct experience. The Sufis describe this in the following way. When man traverses a certain part of the Path of Love, God begins to help him more actively by drawing him to His Abode. And then man begins to feel more intensely God’s Divine Love.

Let us see how such love, leading man to God, develops according to the views of Jalaluddin Rumi [10].

This happens:

1) through the development of the emotional, cordial love for all the beautiful and harmonious in the world;

2) through active, sacrificial love-service to people;

3) and then — through extending this love to all manifestations of the world without discriminating between them; the Sufis say: “If you make a distinction between things originating from God — you are not man of spiritual Path. If you think that a diamond can ennoble you and a stone lowers you, then God is not with you” [5];

4) such developed love for all elements of the Creation is redirected then to the Creator — and man begins to see that, according to Rumi, “the Beloved is present in everything” [4,10].

Obviously, this concept of love is identical to the one described in the Bhagavad Gita and the New Testament: it has the same milestones and accents. The true love is regarded in Sufism in the same way as in the best spiritual schools of Hinduism, Buddhism, Christianity — as the only power capable of bringing man to God.

Quite often Sufi sheikhs live in the world being occupied with common worldly activity. They can operate a shop, workshop, smithy, can compose music, write books, etc. The Sufis believe that one does not need seclusion to go to God. They say that the worldly activity by itself does not separate you from God if you are not attached to its fruits and if you remember about Him. Therefore on all steps of the spiritual ascent, man may be involved into social life. Moreover according to Sufism, it is social life that provides one with the possibilities for perfecting oneself. If every life situation is considered as educational, then one can live side by side with the most awful and despising people. One can be subjected to the most coarse influence — and do not suffer from it; on the contrary, one can be joyful and calm, and perfect oneself through these social contacts given by God.

The sphere of the Sufi teachings includes both esoteric and exoteric sides. That is, murids develop not only ethically, intellectually, psycho-energetically: they also master the methods, the secrets of their sheikh’s craft or art. Later this helps them in life.

An integral part of the spiritual work on all stages of murid’s spiritual ascent is psycho-energetic practice, which significantly accelerates the processes of ethical and intellectual self-development. Let us talk in more detail about psycho-energetic methods of tariqa.

The psycho-energetic teaching in Sufism is performed so that all students receive special tasks from the sheikh, according to their individual peculiarities and capability of comprehending. At the same time, the sheik gives psycho-energetic training for groups of students.

On the initial stages of psycho-energetic practice, the sheik suggests to murids many different exercises for development of the ability of concentration, for stopping the flow of thoughts and achieving the “mental pause”; they also work with images. After that, various psycho-physical exercises are used: rhythmic movements to music, Sufi whirling, etc.

The use of the whole spectrum of these means creates a remarkable purifying effect, develops the energy structures of the organism (anahata, in particular). Some of these exercises cause “subtle attunement” of the body, mind, and consciousness, and bring the participants to the ecstatic state which the Sufis call hal. There are different kinds of hal. Most often the student gains the following kinds of this state: kurb — feeling of the nearness of God, mahabba — felling of the fervent love for God, khauf — deep remorse, shauq — passionate longing for God, etc.

Let us consider some of such practices.

Dances of dervishes, for example, require absolute relaxation of the body and achievement of the full mental pause. Against such background of relaxation and meditative attunement of the consciousness to the Creator, harmonious spontaneous movements of the body occur. They are not planned; they do not originate from the mind, but as if occur spontaneously, Usually, the dances of dervishes are performed with use of meditative music or meditative singing. This ensures proper attunement of all dancers and brings all ready participants to the state of hal.

Another interesting technique is Sufi whirling. It allows one, in particular, to move the consciousness out from the head chakras, what facilitates entering the state of hal. There are various modifications of this technique. Whirling can be performed to music or without it, with use of mantras, with concentration in certain energy structures of the organism. In the latter case, whirling contributes to the development of the chakras. The general rules of performing this exercise are the following:

1) one can start whirling not sooner than three hours after meat meal;

2) whirling is performed to any convenient side, against the background of full relaxation of the body;

3) the eyes are opened and fixed on one of the raised hands or not fixed on anything at all;

4) whirling is performed in individual rhythm, with as smooth beginning and end of the exercise as possible;

5) in case of falling during whirling, one has to turn on the stomach and relax;

6) after performing the exercise, it is necessary to relax;

7) also one needs to be fully confident in the technique, fully “open” when performing the exercise. The duration of the exercise is individual and can vary from several minutes to several hours.

On the “mature” stages of tariqa, one performs intensive work on developing, perfecting the energy structures of the organism. In Hindu terms, this concerns, in particular, the chakras and nadi (meridians). In this work, a special emphasis is put on developing the anahata — the chakra responsible for producing the emotions of cordial love.

One of the techniques of this kind is the meditation of laugh. Its participants lay on the back and completely relax. After meditative attunement, they place one hand on the region of anahata, and another hand — on the region of muladhara, to activate these chakras. Then they begin to move through the organism waves of soft light-laugh (from muladhara — to the head chakras). The meditation of laugh creates a purifying effect and contributes to the development of the chakras, the middle meridian, if it is performed on the due level of subtlety*.

Another technique used in Sufism is zikr. There are many variations, modifications of zikr — according to the traditions of the brotherhood or order, the sheik’s mastery. Zikr is performed in the following way:

All participants stand or sit in a circle. The sheik gives meditative attunement and then, by his instruction, the participants begin to perform a series of consecutive exercises. These exercises are rhythmic movements performed in ever-increasing tempo (for example, bows, turns, sways of the body). With movements, the participants chant praying formulas.

In some orders, they attach a great importance to music, to singing in meditation classes. They believe that music — the food of the soul (ghiza-i-ruh) — is one of the very powerful means contributing to spiritual progress. They widely use music that makes the body move spontaneously (tarab), facilitates entering deep meditative states (saut), etc. In some orders and brotherhoods, they have everyday listening to music, collective classes with singing of mystic verses (sama), ecstatic dances to music, etc.

The effectiveness of these techniques consists, in particular, in the fact that meditations are performed not only in motionless positions of the body but also against the background of movements.

Thanks to the complex use of different methods, one activates several “centers” of the organism: emotional, moving, intellectual ones*. Coordinated, harmonious work of these centers makes possible a quick change in the student’s psychoenergetic state.

Apart from ordinary methods, in Sufism there are “accelerated” techniques of spiritual development. By means of these secret techniques, murids can make very fast advancement. These techniques are given only to those who possess very high psycho-energetic readiness.

The Sufi meditation tradition is very rich and multifarious. It accumulated vast experience of work with the body, mind, and consciousness. The Sufis developed the ways of cognizing Wajd (Samadhi, in Hindu terms), the techniques for accomplishing correct “crystallization” of consciousness in the higher spatial dimensions, and methods for mastering Fana-fi-Allah (Nirvana in the Creator).

In Sufism there are many original things. However, one can see its remarkable similarity to the spiritual traditions of other best religious schools and directions — the similarity of goals, the ways of their realization, and even of the methods. This indicates an important thing: that Sufism, Hesychasm, Taoism, Buddhist mysticism, classic Hindu yoga, the way of the Mexican school of Juan Matus, and some other directions are based on the same laws of spiritual development. It is only the realization of these laws that can be different in different cultural and historical conditions. And always there are people who — independent of their spiritual traditions — can successfully walk the Sufi path.


Saturday, August 8, 2009

Question post40

FlyJentayu Fly - International Women's Day. Pictures by Joie Koo


I was aiming that by May 4th 2009,... as I turn 40, I would be back on my feet to make a spectacular comeback by leaping into action and creating a storm in KL. But as the first half of the year passed by, ever so quickly with chaos and continued war, disasters, recession, the world celebrating Barack Obama, political turmoil in calm and harmonious 1 Malaysia, our new Prime Minister,... and the second half is fast moving towards the end of the year, I see more poverty in the news, the tsunami, earth quake and typhoon disasters, H1N1 Flu, the slain lembu, and the world mourning over the lost of MJ, dance losing Merce and Pina, film industry losing Yasmin Ahmad? I am speechless, motionless - I could not find any reason to go on stage, in a black box with light and effects, to present .... intellectual, abstract-lah, neopop, political-lah, serious dance, exclusive high art revolutionary dance -kah... samada modern, post-modern or avant garde ..... must be traditional Melayu dance and making a dance that must represent 1 Malaysia. POoh. ... kiri pooh kanan, bomoh cure and orang masuk rasuk dance. Dance to talk about oneself and ones past. I found it an aimless and empty work task. What was most important to me is whether,

I CAN make A CHANGE and help others through my dance, can I heal the sick, can I save the dying, can I cure and protect ...... can my dance eradicate poverty, how about the babies, .....
or can I make people see beyond their anger, fear and discrimination ..... can I ease the angry earth?
what can i do to make a difference? will i end up dying before i achieve all this? Its a whole lot of work to. So ambitious, yet
Speechless, Motionless. I am 40, i have a lifetime of dance to do and yet so little time to impact a change. Question 40, Where should I StART?

Looking back i started the year after Opera Pasar, working with Gunild Symes of Norden Dance Theater with two Royal Danish Ballet dancers in a Ballet Dance Film project in Copenhagen, followed by The Light Show in KL, Fly Jentayu Fly at the International Women's Day and DaD Phase 1 A Pilot Project for Inclusive Creative Arts Program. And then off to Blind Spot for the Kobenhavn International Theater Metropolis Biennale, Un-Cut Malaysian Art Festival in Copenhagen and Mabok at the Danish Film Institute for a Malaysian Evening, with the Malaysian Danish Association.

And out of all the full year of work, dancing with the children of the shelter home at Shan and Ramakrishna, the Special Need kids, and my typical kids from Ombak Rentak and the possibility to involve my family and children, though so challenging, have touched my heart as well as my artistic passion. So this is it. This will be my second wind in life and art, and so, even how little I can help to make a change, here is where I will StART or continue, at least before i end 40 and move on to 41 ........ and i don't intend to finish just there. As I have more to outreach ......... more than my heart and spirit can travel in one leap. But if I can move, spark and inspire children to share, integrate, to love, to care, protect and have empathy, to help, to be aware, to understand and have tolerance, to activate and support, to be responsible, and more too many. To become the wiser adults of the future. Question Post40,.... do I have more than a lifetime to achieve all this? All I have to say is, Insyaallah.

Let me start by sharing with you the light show we made in April 09. Not so helpful to the welfare of the society but at least it is about up-cycling and re-using thrash for light design - or click on related bloggers above page left;
The Light Show April 09
http://thelightshow09.blogspot.com/





Monday, February 2, 2009

Working with Gunild Park Symes (Nordendanse Teater)




I have been back with Rasmus and Marjaan in Copenhagen for the Winter holidays since mid Dec last year, and was only planning to stay till January 2 if Maya was with us, but since she wasn't given the permission to come with us, we decided to extend our stay as we did not need to rush back. And so Rasmus, Marjaan and I spend wonderful quality time together. While enjoying the woods and the beach at our summer house (in the winter?? ya, since it is warmer with the fire oven than the heaters at home at the Linnesgade apartment). I took the opportunity when I had the chance, to develop some proposals for Ombak-Ombak, arrange some projects with children to work on in Penang, while enjoying my time out with my Malaysian friends, Amir and family, and Aisah. It was great that coincidentally Gunild Park Symes of Norden Danse Teater whom I used to work together in 2004, invited me to help out in her current project - which was to create a Ballet film with two very talented Royal Danish Ballet dancers, Alex and Chris. Before the scheduled date, she was invited by the Kobenhavn Teknisk Skole to present a workshop lecture on Dance and Film, in exchange and collaboration to use their studios, tech equipment - cameras, lights etc and the help of the students to produce the film. I presented a 10 min excerpt of Jadi-an, as a solo work for the students, where they were asked to observe and later discuss how they would film, create scenography and lights for the solo. It was a great workshop and I enjoyed working with the media students through exploring basic dance positions, shapes and use of Laban movement qualities that Gunild introduced and later instructed them to create their own short choreography. It was also wonderful to see Gunild at work and listen to her lecture on camera and film for dance. I did not manage to take pics during the workshop but below are some shots of the Royal Danish Ballet dancers working during their one day rehearsal. They will meet again Feb 15 to do the shooting of the film at the Kobenhavn Teknisk Skole, and unfortunately i will not be able to be part of that process, as Marjaan and I are leaving for home Feb 12 to be with Maya. I found that no matter what we decide to do in life and work, we have to find a comfortable balance where both passion and responsibilities as artist and mother are fulfilled. And this was what I appreciated and learned most from this trip back, and home again.













I was very honored and privileged to have been able to observe and work just a little with the two wonderful dancers from the Royal Danish Ballet. They make every movement look so simple. The marvelous thing about watching them, is their profound commitment and dedication to give in to the essence of dance - making each execution of a movement a new discovery, gives you the sense that nothing in the world is impossible. And so I leave Copenhagen again with lots of faith that, no matter how we keep crashing into dead ends in all the struggles and difficulties we experience in life, we must make it a learning discovery each time, and to believe that it is never ever impossible, to find a solution or resolution out of all challenges.

Friday, January 30, 2009

Sedikit Tulisan Tentang Aida Redza


A new beginning ...


Writing slows us down just long enough to consider our emotions, body sensations and thinking. Clarification helps us live a more spiritual life because we don't have to behave in a knee-jerk reaction in defense. But rather to take flight to a higher knowing. Just to write can give us the pause to take a deeper look into our lives. Writing helps us vent, explore practice, clarify, and even heal feelings. It often helps us act in a way that reflects the spiritual path we have chosen. And it is an art in itself, just as the dances we make.

Writing takes time and a lot of silent contemplation especially for those like me, without the raw and inborn talent for it. Sometimes we must write awhile, read it over, rewrite, delete, thrash and rewrite again to get closer to our truth. Just like in dance. When one is in a position, where writing is rushed between our hectic daily activities and responsibilities, and without time to dwell and ponder on further, these writings are regarded as drafts. And so after nearly half a year since my last entrance on the blog (besides the short info on Opera Pasar and appearing on So You Think You Can Dance) I now have a little time to sit and ponder on my postings again, realizing it has been mostly incomplete drafts when i posted them, and so today, I have started again, learning to write and rewriting, scripting words like choreography. These writing may be changed and reworked or readapted again. As words are so sensitive and when put together into sentences, it can give all kind of wrong meanings and interpretations. So one has to be very wise with choosing the right words to find a creative and honest voice through our writings. And so please consider me a learner, correcting myself as we move along, and minta maaf kalau ada yang tersinggung atas silap dan salah, atau terkasar bahasa.


Below I have included a short tulisan by Dr. Zul Mohamad regarding his perception of me. I am most grateful and honored by his sincere description on where I stand as an artist.


AIDA REDZA


Aida Redza adalah seorang koreografer, seorang artis yang digelar seniman kalau di Indonesia, kerana kalau di Malaysia artis itu merujuk kepada artis pop yang menjadi penyanyi atau pelakon televisyen atau filem. Penari pun merujuk kepada yang menarikan tarian-tarian joget, inang, ballet atau penari yang menari di rancangan hiburan televisyen atau di kelab. Sedangkan seniman tari itu seperti seorang pelukis atau lebih tepatnya seniman visual yang bukan hanya menggunakan kanvas, tetapi lebih dari itu, juga mengguna kamera, bahan-bahan lain yang boleh dijadikan skulptur atau instalasi. Seniman mempunyai konsep-konsepnya yang tersendiri yang lebih mendalam pemahamamnya. Begitulah juga dengan Aida Redza, dia seorang seniman visual yang menggunakan tari dan anggota badannya untuk mengekspresikan pemikiran dan falsafahnya. Suasana tari kita di Malaysia masih berada jauh terkebelakang, seperti masih dijajah, seperti tidak membentuk pemikiran seorang warga yang merdeka. Karya-karya Aida Redza dilihat seperti avant-garde di Malaysia dan dia terkenal di Malaysia kerana itu. Karya-karyanya diterima di barat kerana setanding dengan mereka, tetapi berbeza kerana karya Aida Redza masih bersifat Melayu, Islam dan Malaysia, bukan kerana fizikalnya tetapi pemikiran dan falsafahnya. Dia banyak bermain dengan watak-watak yang berbeza yang kadangkala boleh menimbulkan kontroversi yang sengaja dilakukan untuk menimbulkan perasaan-perasaan tertentu di dalam menyampaikan idea, konsep dan falsafahnya. Jadi kita tidak bole melihat karya-karyanya secara terpisah-pisah, seperti apapun juga, termasuk mengambil sesuatu ayat yang tidak lengkap. Kita harus melihatnya secara total untuk mengerti falsafahnya. Kita juga jangan sekali-kali menghukum pandangan dia kerana dia ada konsep, pemikiran dan perasaanya yang tersendiri. Aida Redza seperti sudah menjadi ikon dalam karya-karya tarinya seperti yang digambarkan di dalam rancangan televisyen di 8 TV dan TV 3 yang disiarkan di seluruh Malaysia dan mungkin juga kawasan-kawasan yang sewaktu dengannya. Pemikirannya sudah diterima ramai kerana itulah dia ditampilkan di televisyen Malaysia. Tetapi untuk lebih mengerti pemikiran, falsafah dan idea dalam karya-karya tarinya, dia mengadakan cetusan-cetusan pemikirannya di blognya sendiri di internet agar senang kepada pelajar-pelajar universiti terutamanya untuk membuat rujukan atau juga penganjur festival serta juga teman-teman seniman tari untuk berkongsi pengalaman dan pemikiran. Maka itulah Aida Redza seorang seniman tari yang jarang ditemui, yang sering menampilkan idea tari dari watak-watak kehidupan kita di Malaysia.


Dr.Zulkifli Mohamad - Pensyarah Kanan di ASWARA, Akademi Seni Budaya dan Warisan Kebangsaan, Kuala Lumpur. Seorang seniman tari, aktivis seni, penulis dan kolumnis akhbar KOSMO.

Tuesday, November 11, 2008

On The Move with the Ombak-Ombak Rentak Kids 2008


Opera Pasar. Ombak-Ombak Rentak Kids - pictures by Edwina Michelle Augustin

I have been back and working on the Rentak Penang New Dance Workshop for the young Ombakians since early August this year. After 2 series of 6 week workshop, the children begin to work towards developing a collection of compositions for the Rentak December workshop showcase based on their tour and impressions of the Campbell Street Market. It has been an enjoyable learning process for the kids. We chose Market as the theme and subject for our final expedition study to explore memory capture of movement and daily working and effort actions of the market to inspire simple dramatic compositions. Market is the thematic direction of the Anak-Anak Kota Music Rentak Workshop proposed by Sooi Beng, and the dance group were asked if we could also develop the workshop showcase towards a similar theme, and the kids and we agreed. So below are pictures of the initial process of developing short compositions for Opera Pasar that was presented on Dec 6 and 7 along the Campbell Street Market and at the Little Penang Street Market.




A TRIP TO THE CAMPBELL MARKET OCTOBER 2008





THE KIDS BEGIN TO CREATE A MINIATURE PASAR WITH PLASTICINE.



WORKING ON OUR FIRST CHICKEN SCENE. The kids were well aware that Chicken Fights are not legal and never conducted in a local Malaysian Market, but they were happy to say that they were representing a scene of a Market in Indonesia for example.... they were very imaginative. We had a wonderful playtime. It is simply fantastic to be able to give our adult self up to Play with children and experience to be the child they are. And it is just awesome, to have absolutely all the time in the world to give, serve, educate, develop and create .... watching and absorbing their learning process, their confidence build and insecurities overcome. Such intimacy, sharing and bonding with the kids about life and struggles, work and survival and about the cycle of birth and death. I was proud of them, like a sports coach, I had to be stern and disciplined,... but like a mother, I engaged them to indulge in appreciating the beauty and benefits of mental, physical and spiritual health thru relating dance with the living nature. Something, a child can never get if left facing the computer, tv or going to the mall daily and living in a world of materialistic values, or drilled only intellectually, without the opportuity for participation or integration of senses and awareness of others.

I care for the mental health of our kids today. Not so much in producing them to be excellent performers, but to understand the responsibility, commitment, team work spirit, give and take, tolerance, respect and understanding ... and more, the challenges they have to experience to attain the qualities to be a great and successful individual. I am proud when I see my kids growing into a towering personality. To achieve that,... we have to commit ourselves entirely into the mission. Thank you children for being patient, thank you Ombak-Ombak and thank you parents. I wished my son Marjaan was part of the workshop too, but his time will come, soon.






































Thursday, August 14, 2008

NEVER AGAIN!!! at sytycd,....don't know why I agreed to appear as Guest Judge.

Watch if you have time,... at me babbling....getting nervous by the second that my periodic latah will menjelma tiba-tiba and overwhelm me to bezerk. Which it did happen, and unfortunately - if  you know what latah is,... well, watch aida in the show. I tried very hard to suppress the latah, by enjoying the music and dancing a lil on the sit to relax myself and trying to keep cool. But instead,... the latah kept coming back in electrical jolts. And it did not help that Aishah kept asking me suddenly,... and what do you think Aida?!! ...... , secara terkejut.
Not my kind of space and environment, the crowd, the noise, the camera and lights .... was much too much .... that I could not focus at all on the comments I really wished to say to the competitors, and can you imagine, they wanted me to put on false eyelashes..... (which i am glad i did not), so di dum di dum, everyone has the right to their own opinion - and its always best to be honest. Why i did it?... well, not for the survival factor, nor the glamour or the lime light - actually my husband encouraged me to do so - thank you ras for having faith in me but sorrylah, (memang its not the money nor fame for contemporary performers/choreographers, and especially for guest judge - infact our expenditure to attend this event is more, than the small honorarium they provided) But yes, I wanted to experience the new environment, and to test and challenge myself as an artist, if I am capable, to sit and speak my opinions in a setting such as this popular live broadcasting dance competition. Definitely I was no Paula Abdul, but I did the best I could to entertain, as what the Director had directed me. Make it exciting for the audience and the competitors, and so I did. (although i was wondering - why do we need to entertain?) With my 'terlatah' periods that had to happen especially when the camera was on me,... so uncomfortable. Anyways, it was worth it,... we learn from our discovery and mistakes, if we never try, we will never know how for the next time. Life is a pleasurable learning. 

Well, nothing to do about it now,... so instead enjoy the performance by this talented Top 6 Malaysian dancers at So You Think You Can Dance Season II - Episode 13

http://www.8tv.com.my/Shows/EpHighlight.aspx?MasterID=299&ShowID=332&MenuID=2&SubMenuID=1&TemplateID=1&EpID=10469&VideoID=11798#anchorVid

Thursday, May 15, 2008

AIDA REDZA - A SHAKTI DANCES ALONE from 2003 -2005

You can view some old and new works of Shakti Dances Alone from 2003 -2005 at

http://www.youtube.com/user/shaktidancesalone

or check out the Dare to Dream Documentary Part1,2 -3 on the 8 TV Malaysian Program at

http://video.google.com/videoplay?docid=-4535350275939905137

and look into my working collaborations with the Ombak-Ombak Artstudio in Penang at

http://www.storminabox.blogspot.com/ or http://www.ronggengmerdeka.blogspot.com/


ENJOY!!!