The Dance Pilgrim

  Wong Kit Yaw is described by those who know him, have met him or have heard of him in many, many different ways. He is an artist who is a fount of knowledge, a disciplinarian, a tyrant, a gentle giant, dramatic, fun-loving, lovable, hysterical at times, and an always generous man. He is a choreographer, educator, director and a dance pioneer in Malaysia who entered the world of dance in a most unusual manner – leaving the passion for performance nurtured in high school in Teluk Intan for a career in construction and as a site supervisor in Singapore in the late 1970s. He then chose a path less travelled, and relinquished greater financial security of construction work for the love of dance. He enrolled in full-time training at the Nanyang Academy of Fine Arts (NAFA), Singapore in 1980. Here he underwent a comprehensive program of training in Chinese classical and folk dance, Indian classical dance, Malay folk dance and contemporary dance. Over the last decades, he has continued to en

This edited article shares the journey of Malaysian dancers not of Indian ethnicity or Hindu faith who completed their Arangetram which is a solo debut performance that announces the presentation of the trained Bharatanatyam dancer on stage to the public. In Malaysia, dance is often viewed as the performative symbol of ethnic identity, and national unity, or as a tourist attraction. This is showcased at all government-sponsored platforms including global summits, sports spectacles, and state banquets. Against this social and cultural landscape in Malaysia, this article focuses on and highlights how the practice of Bharatanatyam by non-Indian, non-Hindu dancers trained at ASWARA, blurs boundaries of race and religion in embodied ways. Norbaizura Abd Ghani, Mohd Yunus Ismail, Mohammad Khairi Mokthar, Imran Syafiq Mohd Affandi, and Fatin Nadhirah Rahmat who are Malay Muslims; four Chinese namely Elaine Ng Xinying, a Roman Catholic, Kimberly Yap Choy Hoong, a Protestant Christian, Madeline

From 25 April-2 May 2009, the ASWARA dancers were in the Philippines for the 1 st International Dance XChange Workshop and Festival 2009. This event was organized in conjunction with International Dance Day, which was instituted by UNESCO in 1982 and falls on 29 April each year. This event was organized by the National Committee for Dance, which is a division of the National Commission for Culture and Arts (NCCA) and is similar to the Ministry of Culture and Arts here in Malaysia. The entourage of ASWARA consisted of four male dancers and five female dancers who were students of the Year Two Diploma Programme, and myself as the Head of Delegation. This was a trip of many firsts. This was my first visit to the Philippines and I was naturally filled with anticipation, both about the country and the actual festival. I did not know what to expect as the scope and intensity of the festival were not mentioned in the letter of invitation. As always, I called on my ‘go with the flow' me

The 2nd. National Chinese Cultural Dance Competition organized by the Chinese Language Society of Malacca and Multi-Media University was held at the Taman Budaya, Department of Arts and Culture, Malacca from Friday to Sunday, 10-12 Mar 2006. A total of 45 groups, consisting of Chinese dance associations, secondary schools, cultural clubs and private dance schools, including seven from Singapore, took part in the exhausting three-day event. Although I am personally not in favour of competitions, primarily because of issues of judging, or the inevitable feelings of disappointment when dealing with losses, and equally, the inappropriate sense of over-estimating ability when emerging champions. I do understand that there are many benefits and I attempt to stay focused on the potential to develop a sense of teamwork, and improve the performance quality. Therefore, for the first time, I decided to enter the dance students of ASWARA in this event, to gauge the level of achievement and eff

I borrow and paraphrase from Neil Armstrong, the words he uttered when he set foot on the moon on 20  July 1969, as 75 young men and women enrol for ASWARA’s first intake of degree program  students on the 6 January 2008. Of these, 18 will pursue a Bachelor of Dance with Honours majoring in either performance or choreography, and the rest in Music, Theatre, Film and Writing. It is a historic day for ASWARA (that began as ASK in 1994) in particular, and for the arts in Malaysia in general. It is even more historic as I remember the total enrolment of merely 10 full-time students 8 years ago in the Dance Diploma program that has now swelled to 80 - how we have grown! While there is a deep sense of awe and satisfaction with the journey thus far and the growing numbers, there comes with it a great sense of responsibility as I look ahead to the delivery of fresh content and subsequently to the finished products of these programs. I ponder the industry and wonder how education and profession

Fig. 1: With peers Wong Kit Yaw, Mohd Seth Hamzah in the opening of Menempa Tari Tradisi. 2022.   I am Dean of the Faculty of Dance at the National Academy of Arts, Culture and Heritage Malaysia, (Akademi Seni Budaya dan Warisan Kebangsaan) better known by its acronym of ASWARA. Although I have done this work since 1998, it is still seems surreal because the journey has been completely  unexpected.  I never aspired to become a performer or choreographer or pursue a career in the field of performing arts although my involvement began incidentally at the age of 10 when my La Salle Primary School, Petaling Jaya (LSPJ) teacher, Celine Vincent organized end-of-the-year performances in the classroom. We had to draw, paint, practice elocution and create short skits that nurtured our creativity, collaborative and leadership skills. However, I suspect it was primarily designed to keep 40 boys occupied and out of mischief! This introduction to theatre  grew to become a large part of my school-li