A Curious Dreamer. Dulu, Kini dan Akan Datang

OMBAK-OMBAK turun menurun Storm In A Box

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).

The choreography Feast of Fool focuses on how a woman continues to fight to defend the truth despite the lies, the taboos, the accusations(fitnah) that are made against her by evoking and awakening the rebellious power within her.

Through my work in Berkumandangnya Qasidah, I expressed a being holding on to her faith, through hardships, struggles and challenges, the being has faith in Allah, and by believing, with wings in hand,... the being continues on to recite the Dua Kalimah Syahadah seeking for the rightful path towards transcendence.

And many years after, today I find myself standing strong and still, and in perfect balance - still living and still dream working. Observing my past works and tracing back the path I have chosen to take in life, has given me the opportunity to be grateful and thankful for having this third eye, to reflect on my creative works that opens up a dimension within me to receive a revelation or even to stir a revolution........ allowing me to embody courage, joy and passion of recovery and change.

Many years after those works were created and performed (dulu), it has inspired me further to dwell and investigate research on the power of dreams. Dream as a message from our unconscious self expressed in codes. Dreams as our inner wishes and hopes for the present (kini) and the future (akan datang), if you can dream, you can do. And dreams as a wish-fulfillment, that can lead to the creative integration of the personality ... a spiritual healing, a transcendence and change. So there I was and will always be, manifesting and pursuing my dreams as well as help others. I was curious if I could use this theory of dream travel, dream power, dream journey through the practice of dance/creative arts as a way to outreach individuals and community, to provide all people regardless of race, religion, age, status, needs and abilities, a platform to unlock God's potential to shape positive social integration, spirituality, balanced health and mental wellness.

I continued walking through the years from 2002 with curiosity - eager to seize on making sense and impressions of dreams in dance, as a magical space and moment, a state of the human journey seeking, struggling and grasping the beautiful sublime of the essence and being, looking for heaven (syurga) or wherever the destination of our dream that God is leading us to and pointing us towards. Expressing human courage and passion to work, fight and strive through the unknown and the living. With that, Dream Trilogy was created between 2004 - 2006 at Codarts in Rotterdam to test drive my theory, Jadi-Jadian was inspired from this curiosity. 7 woman dreaming, each one narrating their journey towards finding the warrior or hero within them. I was exploring Carl Jung's theory;

that everyone in the world is born with the same basic subconscious model of what a "hero" is, or a "mentor" or a "quest," and that's why people who don't even speak the same language can enjoy the same stories.

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.

I wanted the opportunity of conducting the Trilogy as a built-in operating system. Jadi-Jadian was an attempt to discovering the archetypes in movement within the 7 woman's dream, and how in a group process could use the authentic and metaphoric elements of the movement to transcend ourselves from the Wounded-Healer Paradigm, by associating ourselves with the hero journey of these archetypes. A process I found that I could use on the performers to lead them towards making a dream dance and choreography as a performance 'therapeutic' experience not only for themselves but hopefully for the audience too. It was my first attempt to create a group dance with dancers since my last group work was created with Shakti Dances. And a year later, followed by Guna-Guna 2005. Turun - Menurun 2008 was to be the end of the Trilogy,... but till today I am still convinced that Turun - Menurun that was created for Storm In A Box - A dance installation produced by Ombak-Ombak has a further journey to take, and what was made was only a skeleton since there was a dateline for production. The choreography needed more in-depth study and time for me to gaze and reflect on a shared dream - of the people I work with for the choreography. And I have yet to continue seeking how to apply this dream process with the performers to complete and make a final closure of the research. I am also eager to embark on a different journey with Dream Trilogy as a process of compiling Jadi-Jadian, Guna-Guna and Turun-Menurun into a choreographic work that promotes inclusion, and eventually a celebration of shared dreams and hopes for a new community of dance expressing power, identity and belonging - that stirs a change to include everyone, and where each and every person is counted.

Reflecting on my early days of solo choreography, I as the Shakti warrior, the Urban Shaman inspiring a group and community,.... a dream worker and activist,.. I will continue holding on to the Senoi Tribe principles of dream theory. That we, can learn to control our dreams to reduce fear and increase pleasure and passion,... that dreams can be shaped and controlled through positive group experience as a source of wisdom and personal growth and with hope for positive transformation. And so I will continue dreaming and for this year in April 2009, I initiated and embarked myself into another Dream project, and this time produced by BOLD in collaboration with Disted-Stamford Penang. We had on our team great creative friends and Play Therapist Dr. Tan Liok Ee, Priscilla Ho, Leong Min See and the facilitators Ho Sheau Fung, Junita Batubara, Yasu, M.Hanif, Ni'sya, Aida Redza, Kang Hooi Keng, Joie Koo, Doris Lee, Eng Hee Ling and not forgetting Ombak-Ombak Lee and Advising Consultant Alex Chew, in producing Dream A Dream (DaD) PHASE 1 Pilot project - a creative process program that promotes inclusive arts among young children of different needs and abilities.

I dedicated this DaD proposal and initiation of the program through BOLD as a platform for voicing children's hope for all parents, teachers and guardians, to instill tolerance, understanding, compassion, love and joy towards children's emotional, physical, creative and spiritual needs,. Focusing on father's to work hand in hand with mothers and carers, to provide and fulfill children's wishes and dreams for a balanced, safe, peaceful and complete living that they deserve.

My work this days and for the future are as simple as that.

Vibrating the chakras

Un-Cut Malaysian Art Festival. August 09

Blind Spot. Metropolis Biennale, Copenhagen August 09


Storm In A Box. Sonata Tropica. 2008 Picture by Goh Hun Meng
Fly jentayu Fly. Picture by Leonard Kong. March 09

Anne James, Seven Skins

The Light Show, April 2009

Below I have pasted an article on Chakras. Please read it at your own discretion. I have included it in my blog as it has proven to be a good educational reading for all, as it is the vibrating energy that keeps my passion alive. Dance in its many manifestations I believe vibrates the chakras of the doer, and in turn inspire a carthatic experience to those observing or experiencing with the doer their vibrating psycho-physical dimension, by participating in the act of whirling, twirling, circling with dance physically and emotionally. This sharing or counter-transference between doer and participants will simultaneously stimulate their own chakra points, to a balance. I embody this principle of vibrating the chakras within my approach of dance not only to stimulate creative dream-travel in my solos, but also as a teaching methodology to inspire the spark of creativity among all that i teach, young and old. Although the principle of vibrating the chakras via dance and movement - is an unspoken goal within my approach (i do not preach it), and even though considered a jaded approach in performance studies but I believe it requires a new breath of revival, application and appreciation. In the context of applying my technique, it is a study that explores 3 R in authentic and metaphoric with emphasis on adaptive body system and expressions within a creative healing ritual performance process. I will begin to introduce and weave this principle of approach in a group work in the Year 3 & 4 of the New DanceLEAPS workshop - LIVING EXISTING in ART PLAY STORYTELLING

What are Chakras?

An article presented by KayahRa of Spiritual Network

http://www.spiritualnetwork.net/chakra/index.html

The word 'chakra' is derived from a Sanskrit word meaning 'wheel'; but perhaps even a better translation would be spinning wheel. If you could see chakras (as many of us whom work with them do) you would be able to see each primary chakra as a spinning vortex or wheel of energy; spinning inward from the front of your body towards the center point of that chakra on the kunilini and then spinning outward from that same point from your back.

Chakra Locations
The chakras start at the base of the spine and go up through the head on the kunilini which is located almost on your spinal column. The kunilini is shaped like a staff and many have mentioned that the Twenty-third Psalm of The Bible is speaking of the kunilini. Almost all religions believe in the spiritual and energy power points within the human body and these power points are called chakras.

There are seven primary or main chakra points with about a hundred smaller secondary chakras. The smaller points are often called meridians and are used during acupuncture to attune the Chi flow. The secondary chakra points are influenced with action and physicality while the seven primary chakras deal with emotions and spirituality. The primary chakras influence your health greatly, the health concerns related to them are caused by an unbalance in the chakra itself, from an emotional or spiritual cause, which then manifests into a physical ailment. Chakra Healing Each chakra relates strongly to a specific part of the body, specific emotions, mental, and spiritual concerns. Seven Chakras Health/Body Collation Chart

Vibrations of Chakras
Each chakra has a different frequency of vibration, symbol, color, and sound that it is attuned to. When the chakra is balanced, clear, and energized it would be in tune and play the most wonderful sound of it’s own, emitting the proper vibration for that chakra. Many things can effect the vibrations including sounds of voice, drums, music, chants, mantras, the vibrational energy of colors, and of course gemstones. All colors and sounds are vibrations and using the sounds and colors of the chakras assist them in becoming aligned and balanced. The colors of the chakras are that of the rainbow; starting at the root chakra black/red, orange, yellow, green/pink, light blue, indigo, and violet/white for the seventh chakra.

Each chakra needs to be able to function at the correct frequency independently. Each needs to be balanced, clear, energized, and properly spinning. Each time all the chakras reach a level of unison the entire physical vibration of the human body is raised.

Think of a scale of one to ten, with ten being the highest and best. Next, think of each chakra needing to be at the same number on that scale. Once each individual chakra is at the same number your entire physical, emotional, mental, and spiritual body raises into its own new vibrational level to match that of the chakras. The more chakra energy work you do the higher your whole body will be raised on this scale with ten being enlightenment while still in this physical human form.

Unbalanced and Blocked Chakras = Illness
When your chakras are not vibrating or spinning properly you are unable to move your physical, emotional, and mental body onto a higher spiritual level. When we are born we can have a perfect balance or have an imbalance from the past lives we bring with our spirit. Although the human body is just a vessel and a machine it is seldom broke from manufacturer reasons and natural biological causes. Each chakra effects different parts of the body and almost all illness is caused by poor chakra health. Chakra Healing Illness is usually for us, or those around us, to learn higher lessons. You are given intuition and hints all the time about what you should be doing and how you should be living but we often ignore the words from Spirit and our higher selves. We are too often stuck in the reality and physicality of life to listen to our inner selves. Eventually, the chakras become out of balance and since you are stuck in the reality - the chakra manifests the energy imbalance into the physical; the health of your physical body.

When you have chakra blocks you slow down the Chi, the life force, and the spiritual connection. You may feel depressed, out of touch, like you lost something, tired, unable to clearly think, or listless. You may get angry for no reason, be afraid, be unsure of yourself, lack self-confidence, be unhappy without a direct understood reason, and have a general negative outlook on life. All of these are indications that you have a problem to resolve that is chakra based.

Balanced Chakras = Happiness & Health
Universal Love, Energy, and Knowledge (ULEK™) flows through the chakras. It is important that you try to maintain the correct energy flow through each chakra since you could also negatively be effected by a chakra being too open. Remember that balance in each, and balance in all in comparison to one another is what you seek. When the chakras are aligned on the kunilini and balanced the energy flows freely from the primal base to the spiritual chakra allowing us a grounded connection to a higher spiritual communication. Think of each chakra as a water valve and your goal is to have each on the same amount so the ULEK flows through the kunilini, uninhibited and constant.

Cure Yourself through Chakras
Chakra Healing Most major illnesses and ailments are chakra based. Think about how when you feel uncomfortable and almost scared how your stomach gets in an uproar. This is your emotions, your chakra emotions, manifesting into your physical form. When you are no longer scared your stomach eases and returns to normal. Your whole body can be effected depending on the emotions and concerns you carry with you. Childhood and past life issues that you may not be consciously aware of could be the cause of your illness now. I am not saying that every single thing wrong physically is a chakra issue because we are human physical beings that is effected by nature and flukes happen. But on a spiritual level we choose the body we are in this time, or Spirit choose this body for us, for a reason and for lessons to be learned. Chakra work is not easy or painless. We often think we have resolved an issue mentally when there may still be emotional garbage attached to the chakra. We also have a tendency to bury things and those emotions are transferred to a cellular level in our bodies, so clearing those issues may take a lot of work to resurface and resolve.

Any of us who have done major chakra work will tell you that "Gee, I got it all fixed." We then raise to a new physical vibrational level and cope with those feelings of being in two places at once before we settle into our new physical vibrational level. Then just as we think we have it all together we will find more chakra issues to deal with. Often we can not see all the issues because something will be in the way. Once you remove that thing you can see what is behind it, more issues! You will know when an issue is totally cleared when you experience the release on all for levels; physical (you will feel it physically), emotionally (usually crying or screaming), mentally (understanding it like never before), and spiritually (feeling it transmuted into pure unconditional love). But fair warning... even after you think it is gone it can come back or you may not have resolved all the associated emotions, reasons, or spiritual concerns connected with the issue. So perhaps you can never really know if it is totally cleared but you will understand when that part of it is embraced and released.

As you progress to higher levels you will probably need assistance to bring the issues to the surface. We all need help and that is why people have talents for assisting others. Psychologists and psychiatrists help us with our mental and emotional problems which in turn assist the chakras. Our preachers, priests, rabbis and spiritual leaders assist us on the spiritual level. Our doctors help our physical being. So each in turn assist a minor part of the chakra healing and advancement work. But when you can incorporate all those things and healings into the focus of the problems - to each chakra, then you are making true advancements for your whole being.

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.

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/

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.

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.

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.