{"id":2203,"date":"2024-01-26T20:32:17","date_gmt":"2024-01-26T12:32:17","guid":{"rendered":"https:\/\/www.hiistheory.com\/dancetalkgather\/?p=2203"},"modified":"2026-04-29T11:49:34","modified_gmt":"2026-04-29T03:49:34","slug":"the-dance-society-of-malaysia-my-thought-processes","status":"publish","type":"post","link":"https:\/\/www.hiistheory.com\/dancetalkgather\/2024\/01\/26\/the-dance-society-of-malaysia-my-thought-processes\/","title":{"rendered":"The Dance Society of Malaysia & My Thought Processes"},"content":{"rendered":"

Background<\/strong><\/p>\n

I remember it was August 2018, shortly after the conclusion of the annual national ballet competition, I was occupied with my dance recollection trip at North Penisular Malaysia. Amidst my settling down from dance history, I received a message from Mr. Sunny asking if I could choreograph two pieces of “Chinese dance en pointe, new works with Malaysian elements.\u201d Intrigued yet apprehensive, I replied “I’ll try my best”, envisioning that this endeavour will mark a significant turning point in the development of ballet in Malaysia.<\/p>\n

TDS (The Dance Society of Malaysia) serves as a vital platform for the advancement of classical ballet in Malaysia. As researcher Kat Chew (2018) mentioned, it is a significant driving force in attracting and uniting ballet aficionados in the country. Through the dedication of the chairperson and voluntary committees, TDS dance competitions have successfully nurtured numerous ballet enthusiasts and propelled exceptional Malaysian ballet dancers onto the international stage.<\/p>\n

From a technical perspective, I believe that ballet allows Malaysian dancers to align more easily with the aesthetic standards of the global dance community compared to other genres. This is thanks to the rigorous guidance provided by numerous ballet teachers in the country and the mature development of various ballet examination systems. However, amidst the opening of the \u201cinternational gateway\u201d, the decision to cultivate a “new” local dance vocabulary that reflects Malaysian identity demonstrates the foresight and vision of its proponents, deserving admiration including mine.<\/p>\n

Thoughts<\/strong><\/p>\n

As choreographer with a background in Chinese dance and limited experience in ballet, I spent nearly a month contemplating the feasibility of merging ballet and Chinese (Malaysian) dance before embarking on the choreography process. I grappled with the challenges and potential of this fusion, realizing that our aim at this time and space extended beyond mere technical alignment, accuracy, difficulty, or technical specifications. I believe that we sought to convey a deeper level of cultural significance, contemporaneity, locality, and adaptability.<\/p>\n

Considering that these works would become designated repertoire for future ballet competitions, they needed to embody not only ballet technique but also withstand the challenges posed by “repeated practice.” They had to be enjoyable to rehearse repeatedly, suitable for both experienced and novice dancers, showcasing technicality while exhibiting cultural charm, adaptable to accommodate dancers’ conditions or emotions, and showcasing dancers’ technical and internal expressions.<\/p>\n

Consequently, the creative thought process became more rigorous. However, two complex and ambiguous core questions emerged during this reflection: Should the competition pieces highlight dancers’ technical abilities or their expressiveness? And in the pursuit of a Malaysian-ballet exemplar, should the focus be on the cultural aspect of Malaysia or the standardization of the ballet? These questions have been silently contemplated even until now.<\/p>\n

Creation<\/strong><\/p>\n

To accommodate participants of varying age groups (16-23 years old) and dance proficiency (equivalent to RAD Intermediate to Advanced levels), I deliberately created three distinct pieces: the lively and spirited “Coy,” the gentle and flowing “Home,” and the powerful embodiment of masculine energy, “Voyage.” Each work emphasizes different aspects of technique.<\/p>\n

Built upon the foundations of ballet’s aesthetic and technical prowess, “Coy” demands dancers to execute movements crisply and with lightness while expressing the shy and coquettish charm of young Chinese girls through their understanding of the theme and characters. “Home” requires dancers to showcase stability and control in fluid and circular motions, conveying the inner conflict, emotional transformation, and resolute decision-making associated with choosing between rooting at far home or new land. In “Voyage,” dancers are challenged to demonstrate unwavering national spirit through a series of demanding technical movements, encompassing the boldness of trailblazers and the tenacity of heroes.<\/p>\n

Those interested in the issues surrounding Chinese Malaysian culture may find the thematic backgrounds of these three pieces familiar. Instead of rigidly merging Chinese dance with ballet vocabulary, I prefer to incorporate more local cultural elements into the works, including the extensive use of local (artists\u2019) music in the choreography. Through this approach, my personal interpretation and commitment to the keywords “Chinese,” “Malaysian,” and “Ballet” become evident, aiming to enrich the direction and objectives of ballet in Malaysia as envisioned by TDS.<\/p>\n

Argument<\/strong><\/p>\n

From the choreographer’s notes, it is apparent that specific counts or the strict binding of movements to music are deliberately absent. This choice allows some space and flexibility for dancers to interpret the artistic essence and context of the pieces. While it may not be ideal for dancers accustomed to practicing with a strict beat, it can be advantageous for those who prioritize expressive performance.<\/p>\n

Allowing for “freedom of interpretation” in a competition can occasionally lead to ambiguous areas and subjective differences in perception. Conversely, adhering too rigidly to prescribed routines can hinder the exploration of limits and the cultivation of creative interpretations. From a competition perspective, determining “how to perform a piece well” versus “how to showcase one’s individuality” can be two distinct criteria, remain crucial consideration for participants, instructors, and judges.<\/p>\n

Can dancers truly convey their understanding of the piece through the language (technique) of ballet? Can Malaysian cultural identity be exposed through generations of ballet dancers? Patience and ongoing experimentation are required to answer these questions. But whenever I express my concerns, Mr. Sunny consistently offers an optimistic response: “As choreographer, it is your vision that guides the arrangement. Any aspects that prove ineffective can be modified by future generations.” However, when it comes to the pursuit of Malaysian ballet’s identity, he remains resolute: “We must proceed in this manner.”<\/p>\n

As for the doubts raised, such as whether assigning two designated choreographed pieces in a dance competition that promotes artistic expression might stifle dancers’ freedom or the advantages and disadvantages of blending ballet with Malaysian cultural elements, I believe it is appropriate to leave these matters to future committee members to decide. Ultimately, this platform aims to foster dancers or choreographers, promote ballet or classical ballet \u2013 these are considerations that carry both temporal and cultural significance. Once the objectives are clearly defined, I trust that they will help bridge conceptual gaps and reduce misunderstandings.<\/p>\n

Conclusion<\/strong><\/p>\n

The history of ballet in Malaysia can be traced back to the 1950s (Joseph Gonzales, 2011). Through the dedicated efforts of numerous ballet teachers, academies, examination systems, and professional ballet companies, classical ballet has firmly taken root in this land. Along this journey, there have been thousands of accumulated classical ballet works. However, the exploration of ballet with Nanyang or Malaysian characteristics is still in its early stages, despite early attempts to blend ballet with Malaysian culture elements dating back to the 1970s or even earlier. Today, we eagerly anticipate the pivot of these firmly grounded pointe shoes, spinning out dance movements that truly embody our culture. So let’s look forward, take a deep breath, and\u2026 pli\u00e9!<\/p>\n

Written, 08-12-2021<\/p>\n

\u00a0<\/em>Note 1: Since 2019, the TDS competition has required participants in the first and second categories to present two compulsory pointe ballet variations – classical ballet in the elimination round, and a contemporary or Malaysian cultural ballet piece in the final round.<\/em><\/p>\n

Note 2: At the end of this article, I would like to provide some additional insights into the presentation of my works. I hope this will help dancers delve deeper into the understanding and interpretation of the choreographies. Thank you.<\/em><\/p>\n

\u00a0<\/em>\u00a0<\/em><\/p>\n\n\n\n\n\n\n
Description
\n<\/em><\/strong>(please refer to TDS webpage for more details)<\/em><\/strong><\/td>\n		Add-Ons<\/em><\/strong><\/td>\n<\/tr>\n
\u00a0“Voyage” or “<\/strong><\/em>\u6e21<\/em><\/strong>” <\/em><\/strong>portrays the experience and spirits of local Chinese, who has gone through a long journey and faced many difficulties before settling down. The (grounded) movement rhythm is rooted, based on the Chinese’s physical body experiences on the voyage and also their traditional agriculture roots. Persistence and perseverance through hardship is the characteristics of the Chinese community portrayed here, and the dance aims to project this optimistic and energetic spirit. <\/em><\/td>\n>In the piece, the dancers can symbolize both individuals and a collective nation. <\/em><\/p>\n

>Physical dynamics: masculine and powerful, with grounded strength in their lower body and fluidity and resilience in their upper body. They can bend and stretch, fearlessly venturing into the unknown.<\/em><\/p>\n

>Scene: The dancers resemble navigators\/pioneers, standing at the forefront, ready to forge a path while also calling upon those behind them. They may carry a heavy ship, a group of successors, or a tradition passed down through generations, but they tirelessly inspire progress with unwavering courage.<\/em><\/td>\n<\/tr>\n

“Coy” or “<\/em><\/strong>\u7f9e\u7b54\u7b54<\/em><\/strong>” <\/em><\/strong>portrays a bride’s feeling at a traditional wedding chamber. In a Chinese traditional wedding ceremony, the bride will wear a red wedding veil that covers the head entirely, and wait for the groom to remove it, as a symbolic gesture in seeing the bride for the first time. The red veil is also a signifier for the bride\u2019s shyness, and beneath this veil hides her excitement and imagination.\u00a0 <\/em><\/td>\n>Pay attention to the age range and thematic background of the characters \u2013 the anticipation of a young bride. <\/em><\/p>\n

>Character traits: innocent, lively, and virtuous.<\/em><\/p>\n

>Scene: A young girl sits quietly on a chair\/bed, waiting. The noise of guests outside the room constantly reaches her ears, and her heartbeat quickens with the passing of time. Occasionally, she tries to peek outside through the window, fantasizing about the scene of meeting her unfamiliar groom for the first time. She is excited, nervous, and mostly shy.<\/em><\/td>\n<\/tr>\n

“Home” or “<\/em><\/strong>\u4e61\u60c5<\/em><\/strong>” <\/em><\/strong>is a piece portraying affections towards one’s homeland. The question of home and identity has always been relevant to the Chinese diaspora in Malaysia. Rooting (<\/em>\u624e\u6839<\/em>) and integration (<\/em>\u878d\u5165<\/em>) are the basic movement intentions of the piece that affect the center, gravity and quality of body language, whilst traditional movement elements like twist (<\/em>\u62e7<\/em>) and circular (<\/em>\u5706<\/em>) of the body remain as implicit connotation of Chinese culture. <\/em><\/td>\n>In the piece, the dancers can symbolize individuals who have left their homeland or the ethnic Chinese who have travelled to the south by sea.<\/em><\/p>\n

>Scene: Above the stage at 6 o’clock (Vaganova ballet corner) is a virtual “distant place” (or hometown). When uprooted from their homeland and settling in a foreign land, individuals inevitably experience nostalgia for their old home, inner conflicts and reluctance at parting, as well as a commitment to their new residence. Cultural sentiment represents personal experiences and choices, and the rise and melting of the pointe shoes will reflect the dancer’s distance from either faraway lands or the new ground. In the end, she can only gaze at her homeland, take a handful of soil from the ground, and move towards her new home (stage at 2 o’clock).<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u00a0<\/em>References\uff1aHsuen, C. Y. (2018). Solidarity in dance: The Dance Society of Malaysia (TDS) and the development of ballet in the Klang Valley from 1986 to 2017<\/em>\u00a0 [Unpublished Undergraduate thesis]. University of Malaya.<\/p>\n

Gonzales, J. (2011). Dancing The Malaysian<\/em>. Strategic Information and Research Development Centre.<\/p>\n

 <\/p>\n

Published:
\nTDS Newsletter (Issue 01\/24)<\/p>\n

<\/p>\n

\u6211\u8bb0\u5f97\u90a3\u662f2018\u5e748\u6708\uff0c\u4e00\u5e74\u4e00\u5ea6\u7684\u5168\u56fd\u82ad\u857e\u821e\u6bd4\u8d5b\u624d\u521a\u7ed3\u675f\u4e0d\u4e45\uff0c\u6211\u6b63\u5fd9\u7740\u624b\u8db3\u821e\u8ba1\u5212\u7684\u5317\u9a6c\u821e\u8ff9\u91c7\u96c6\u4e4b\u65c5\u3002\u8fd8\u672a\u4ece\u5404\u79cd\u821e\u8e48\u5386\u53f2\u8bb0\u5fc6\u6062\u590d\u8fc7\u6765\uff0c\u4fbf\u6536\u5230\u9633\u5149\u5148\u751f\u7684\u7b80\u8baf\uff0c\u95ee\u6211\u80fd\u4e0d\u80fd\u7f16\u6392\u4e24\u652f \u2018Chinese dance en pointe, new works with Malaysian elements\u2019\u3002\u5e26\u7740\u597d\u5947\u4e0e\u4e9b\u8bb8\u4e0d\u5b89\u56de\u5e94\u4ed6 \u2018I’ll try my best\u2019 \u7684\u540c\u65f6\u6211\u4e5f\u77e5\u9053\uff0c\u9a6c\u6765\u897f\u4e9a\u7684\u82ad\u857e\u821e\u8e48\u53d1\u5c55\u5373\u5c06\u8fce\u6765\u53e6\u4e00\u4e2a\u8f6c\u6298\u70b9\u3002<\/p>\n

TDS\u662f\u9a6c\u6765\u897f\u4e9a\u53d1\u5c55\u53e4\u5178\u82ad\u857e\u821e\u7684\u4e00\u4e2a\u91cd\u8981\u5e73\u53f0\uff0c\u4e5f\u662f\u7814\u7a76\u8005 Kat Chew (2018) \u6240\u8bf4\u7684\u2014\u2014\u662f\u7b3c\u7edc\u4e0e\u51dd\u805a\u9a6c\u6765\u897f\u4e9a\u82ad\u857e\u821e\u53d1\u70e7\u53cb (aficionados) \u7684\u91cd\u8981\u63a8\u624b\u3002\u4e00\u76f4\u4ee5\u6765\u5728\u4e3b\u5e2d\u548c\u6267\u59d4\u4f1a\u7b49\u4e49\u52a1\u56e2\u7684\u52aa\u529b\u4e0b\uff0cTDS\u00a0 dance competition\u5df2\u6210\u529f\u57f9\u80b2\u4e86\u4e0d\u5c11\u82ad\u857e\u821e\u7231\u597d\u8005\uff0c\u4e5f\u5c06\u4e0d\u5c11\u4f18\u79c0\u7684\u9a6c\u6765\u897f\u4e9a\u82ad\u857e\u821e\u8005\u63a8\u5411\u56fd\u9645\u821e\u53f0\u3002\u6211\u76f8\u4fe1\u4ece\u6280\u672f\u5c42\u9762\u6765\u770b\uff0c\u9a6c\u6765\u897f\u4e9a\u821e\u8005\u900f\u8fc7\u82ad\u857e\u8fd9\u821e\u8e48\u79cd\u7c7b\u4e0e\u4e16\u754c\u5ba1\u7f8e\u6807\u51c6\u63a5\u8f68\u4f1a\u6bd4\u900f\u8fc7\u5176\u5b83\u821e\u8e48\u79cd\u7c7b\u6765\u5f97\u5bb9\u6613\uff0c\u8fd9\u5f52\u529f\u4e8e\u591a\u5e74\u6765\u56fd\u5185\u4f17\u591a\u82ad\u857e\u821e\u8001\u5e08\u5bf9\u53e4\u5178\u82ad\u857e\u8bed\u6c47\u7684\u4e25\u8c28\u6307\u5bfc\u4ee5\u53ca\u56fd\u5185\u6570\u4e2a\u82ad\u857e\u821e\u8003\u7ea7\u4f53\u7cfb\u7684\u6210\u719f\u53d1\u5c55\u3002\u7136\u800c\u5728\u2018\u56fd\u9645\u5927\u95e8\u2019\u5df2\u5f00\u901a\u7684\u5f53\u513f\u6bc5\u7136\u9009\u62e9\u5728\u5730\u624e\u6839\u53d1\u5c55\u2018\u65b0\u2019\u7684\u821e\u8e48\u8bed\u6c47\uff0c\u6211\u4e0d\u5f97\u4e0d\u4f69\u670d\u63d0\u5021\u8005\u7684\u524d\u77bb\u4e0e\u8fdc\u89c1\u3002<\/p>\n

\u4f5c\u4e3a\u4e00\u4e2a\u53d7\u4e2d\u56fd\u821e\u542f\u8499\u3001\u4e13\u7814\u534e\u65cf\u821e\u4ee5\u53ca\u82ad\u857e\u821e\u7ecf\u9a8c\u6709\u9650\u7684\u521b\u4f5c\u8005\uff0c\u6211\u7528\u4e86\u5c06\u8fd1\u4e00\u4e2a\u6708\u7684\u65f6\u95f4\u5728\u601d\u8003\u8fd9\u4e2a\u65b9\u5411\u7684\u53ef\u884c\u6027 i.e. \u7ed3\u5408 ballet & Chinese (Malaysian) dance\uff0c\u7136\u540e\u624d\u8fdb\u5165\u7f16\u521b\uff0c\u4e5f\u603b\u4e0d\u7531\u81ea\u4e3b\u5730\u5728\u53cd\u601d\u8fd9\u9879\u7ed3\u5408\u7684\u6311\u6218\u548c\u6f5c\u80fd\u3002\u82e5\u5355\u7eaf\u5730\u8fdb\u884c\u52a8\u4f5c\u7ec4\u5408\uff0c\u8fd9\u5176\u5b9e\u53ef\u4ee5\u662f\u5341\u5206\u5feb\u901f\u4e0e\u7b80\u5355\u7684\u51b3\u5b9a\uff0c\u4f46\u6211\u76f8\u4fe1\u5728\u8fd9\u4e2a\u65f6\u4ee3\u548c\u73af\u5883\u4e0b\u6211\u4eec\u60f3\u6446\u4e0a\u53f0\u9762\u6b23\u8d4f\u4e0e\u8bc4\u8bba\u7684\uff0c\u5df2\u4e0d\u4ec5\u4ec5\u662f\u7ebf\u6761\u6216\u6280\u672f\u7684\u51c6\u786e\u6027\u3001\u5e45\u5ea6\u3001\u96be\u5ea6\u3001\u89c4\u683c\u6027\u7b49\u8bdd\u9898\uff0c\u800c\u662f\u66f4\u6df1\u4e00\u5c42\u7684\u6587\u5316\u8574\u542b\u4ee5\u53ca\u5b83\u7684\u65f6\u4ee3\u6027\u3001\u5728\u5730\u6027\u751a\u81f3\u662f\u53ef\u5851\u6027\u7b49\u3002\u7279\u522b\u662f\u8fd9\u4e9b\u4f5c\u54c1\u5c06\u4f1a\u6210\u4e3a\u6765\u5c4a\u82ad\u857e\u821e\u6bd4\u8d5b\u7684\u2018\u6307\u5b9a\u821e\u7801\u2019\u4e4b\u4e00\u3002\u8fd9\u610f\u5473\u7740\u8fd9\u4e9b\u4f5c\u54c1\u4e0d\u4f46\u5f97\u5177\u5907\u82ad\u857e\u7684\u6280\u672f\u6027\uff0c\u4e5f\u5fc5\u987b\u7ecf\u5f97\u8d77\u2018\u53cd\u590d\u7ec3\u4e60\u2019\u5e26\u6765\u7684\u5404\u79cd\u8003\u9a8c\uff0c\u4f8b\u5982\uff1a\u80fd\u91cd\u590d\u953b\u70bc\u4e5f\u4e0d\u4e4f\u8da3\u5473\u3001\u80fd\u6311\u6218\u9ad8\u624b\u4e5f\u9002\u5408\u65b0\u624b\u3001\u6709\u6280\u672f\u6027\u4e5f\u4e0d\u4e4f\u6587\u5316\u97f5\u5473\u3001\u80fd\u88ab\u7b80\u5316\u6216\u8c03\u6574\u4ee5\u8fc1\u5c31\u821e\u8005\u7684\u6761\u4ef6\u6216\u60c5\u7eea\u3001\u80fd\u5c55\u793a\u821e\u8005\u7684\u6280\u672f\u8868\u73b0\u548c\u5185\u5728\u8868\u73b0\u7b49\u7b49\u3002\u4e8e\u662f\u521b\u4f5c\u7684\u601d\u8003\u7a0b\u5e8f\u53d8\u5f97\u4e25\u8c28\uff0c\u7136\u800c\u5728\u8fd9\u4e9b\u601d\u8003\u4e2d\u6700\u590d\u6742\u4e5f\u662f\u6700\u6a21\u7cca\u7684\u4e24\u4e2a\u6838\u5fc3\u95ee\u9898\u662f\uff1a\u2018\u4f5c\u4e3a\u6bd4\u8d5b\u4f5c\u54c1\uff0c\u5b83\u8be5\u51f8\u663e\u7684\u662f\u821e\u8005\u7684\u6280\u672f\u80fd\u529b\u8fd8\u662f\u821e\u8005\u7684\u8868\u73b0\u529b\uff1f\u2019\u3001\u2018\u5728\u8ffd\u6c42 \u9a6c\u6765\u897f\u4e9a-\u82ad\u857e\u821e \u5178\u8303\u65f6\u6211\u4eec\u8be5\u5173\u6ce8\u524d\u8005\u7684\u6587\u5316\u6027\u8fd8\u662f\u540e\u8005\u7684\u6807\u51c6\u5316\uff1f\u2019\u3002\u6211\u9ed8\u9ed8\u601d\u8003\u81f3\u4eca\u3002<\/p>\n

\u4e3a\u4e86\u914d\u5408\u6bd4\u8d5b\u9009\u624b\u4e0d\u540c\u7684\u5e74\u9f84\u6bb5 (16-23\u5c81) \u4ee5\u53ca\u821e\u8e48\u6c34\u5e73 (\u7b49\u540cRAD \u8003\u7ea7 \u2013 \u4e2d\u7ea7\u81f3\u9ad8\u7ea7)\uff0c\u6211\u7279\u610f\u5b89\u6392\u4e86\u4e00\u9996\u8f83\u4e3a\u8f7b\u5feb\u7684\u201c\u7f9e\u7b54\u7b54 (Coy)\u201d\u3001\u4e00\u9996\u6bd4\u8f83\u67d4\u7f13\u7684\u201c\u4e61\u60c5 (Home)\u201d\uff0c\u4ee5\u53ca\u80fd\u4f53\u73b0\u7537\u751f\u9633\u521a\u6c14\u8d28\u7684\u201c\u6e21 (Voyage)\u201d\u3002\u53ef\u4ee5\u8bf4\uff0c\u8fd9\u4e09\u4e2a\u4f5c\u54c1\u7684\u6280\u5de7\u5176\u5b9e\u90fd\u7740\u91cd\u5728\u4e0d\u540c\u7684\u70b9\u4e0a\u3002\u5728\u82ad\u857e\u821e\u5e94\u6709\u7684\u5ba1\u7f8e\u4e0e\u6280\u672f\u57fa\u7840\u4e0a\uff0cCoy \u9700\u8981\u821e\u8005\u5e72\u8106\u3001\u8f7b\u5feb\u5730\u6267\u884c\u52a8\u4f5c\uff0c\u5e76\u900f\u8fc7\u821e\u8005\u5bf9\u9898\u6750\u4e0e\u89d2\u8272\u7684\u7406\u89e3\u6765\u5c55\u73b0\u534e\u65cf\u82b1\u9f84\u5c11\u5973\u7684\u542b\u7f9e\u97f5\u5473\uff1bHome \u9700\u8981\u821e\u8005\u5728\u6d41\u52a8\u3001\u5212\u5706\u7684\u8fc7\u7a0b\u4e2d\u5c55\u73b0\u7a33\u5b9a\u4e0e\u63a7\u5236\u529b\uff0c\u5e76\u4e14\u80fd\u591f\u8868\u73b0\u51fa\u8981\u9009\u62e9\u5f52\u6839\u6216\u624e\u6839\u7684\u7ea0\u7ed3\u3001\u5fc3\u91cc\u53d8\u5316\u4ee5\u53ca\u9009\u62e9\u540e\u7684\u7b03\u5b9a\uff1bVoyage \u9700\u8981\u821e\u8005\u5728\u4e00\u8fde\u4e32\u7684\u6280\u5de7\u52a8\u4f5c\u4e2d (\u540e) \u4f53\u73b0\u4e0d\u5c48\u4e0d\u6320\u7684\u6c11\u65cf\u7cbe\u795e\uff0c\u6709\u5f00\u62d3\u8005\u7684\u679c\u6562\u4e5f\u6709\u52c7\u8005\u7684\u575a\u97e7\u3002\u5bf9\u9a6c\u6765\u897f\u4e9a\u534e\u4eba\u8bfe\u9898\u6709\u6240\u5173\u6ce8\u7684\u670b\u53cb\u4eec\u6216\u8bb8\u5bf9\u8fd9\u4e09\u4e2a\u4f5c\u54c1\u7684\u9898\u6750\u80cc\u666f\u5e76\u4e0d\u4f1a\u611f\u5230\u964c\u751f\uff0c\u6bd4\u8d77\u523b\u677f\u5730\u878d\u5408\u4e2d\u56fd\u821e\u4e0e\u82ad\u857e\u52a8\u4f5c\u8bed\u6c47\uff0c\u6211\u503e\u5411\u4e8e\u5728\u4f5c\u54c1\u91cc\u7eb3\u5165\u66f4\u591a\u5728\u5730\u7684\u6587\u5316\u5143\u7d20\uff0c\u8fd9\u5305\u62ec\u6211\u5df2\u5c3d\u53ef\u80fd\u5730\u4f7f\u7528\u672c\u5730\u6b4c\u66f2\u6765\u521b\u4f5c\u3002\u4ece\u8fd9\u91cc\u53ef\u4ee5\u770b\u5f97\u51fa\u6211\u5bf9\u2018Chinese\u2019\u2018Malaysian\u2019\u2018Ballet\u2019\u8fd9\u4e09\u4e2a\u5173\u952e\u8bcd\u6240\u4f5c\u51fa\u7684\u4e2a\u4eba\u8be0\u91ca\u4e0e\u575a\u6301\uff0c\u4ee5\u671f\u5bf9\u5e94TDS\u6b32\u4e30\u5bcc\u9a6c\u6765\u897f\u4e9a\u82ad\u857e\u821e\u7684\u9762\u5411\u548c\u76ee\u6807\u3002<\/p>\n

\u53e6\u5916\uff0c\u4ece\u7f16\u5bfc\u7b14\u8bb0\u91cc\u6216\u8bb8\u53ef\u4ee5\u770b\u5230\u6211\u5e76\u6ca1\u6709\u5217\u4e0b\u660e\u786e\u7684\u62cd\u5b50\u6216\u5c06\u97f3\u4e50\u4e0e\u7279\u5b9a\u52a8\u4f5c\u7ed1\u5b9a\uff0c\u5176\u5b9e\u5c31\u662f\u5e0c\u671b\u53ef\u4ee5\u4fdd\u7559\u4e00\u4e9b\u7a7a\u95f4 (\/\u65f6\u95f4) \u8ba9\u821e\u8005\u81ea\u884c\u8be0\u91ca\u4f5c\u54c1\u7684\u610f\u5883\u548c\u8bed\u5883\u3002\u8fd9\u5bf9\u4e60\u60ef\u6309\u7167\u62cd\u5b50\u6765\u7ec3\u4e60\u7684\u821e\u8005\u6765\u8bf4\u6216\u8bb8\u4e0d\u662f\u4e00\u4ef6\u597d\u4e8b\uff0c\u4f46\u5bf9\u91cd\u89c6\u8868\u6f14\u529b\u7684\u821e\u8005\u6765\u8bf4\uff0c\u8fd9\u4e5f\u8bb8\u6709\u52a9\u53d1\u6325\u3002\u5728\u6bd4\u8d5b\u91cc\u2018\u81ea\u7531\u8be0\u91ca\u2019\u5bb9\u6613\u5f62\u6210\u7070\u8272\u5730\u5e26\uff0c\u5f15\u8d77\u4e3b\u89c2\u611f\u53d7\u7684\u5206\u6b67\uff1b\u7136\u800c\u8fc7\u4e8e\u6309\u90e8\u5c31\u73ed\u5730\u8df3\u821e\u4e5f\u4f1a\u5f88\u96be\u7a81\u7834\u6781\u9650\u3001\u9020\u5c31\u6709\u521b\u610f\u7684\u8be0\u91ca\u3002\u7ad9\u5728\u6bd4\u8d5b\u7684\u89d2\u5ea6\u6765\u770b\uff0c\u2018\u600e\u6837\u8df3\u597d\u4f5c\u54c1\u2019\u548c\u2018\u600e\u6837\u5c55\u73b0\u81ea\u5df1\u2019\u53ef\u4ee5\u662f\u4e24\u4e2a\u4e0d\u540c\u7684\u6807\u51c6\uff0c\u4e5f\u4f1a\u662f\u53c2\u8d5b\u8005\u3001\u6307\u5bfc\u8001\u5e08\u3001\u8bc4\u5ba1\u56e2\u5404\u81ea\u8c28\u614e\u62ff\u634f\u7684\u51c6\u5219\u3002\u6211\u4eec\u662f\u5426\u80fd\uff1a\u4ece\u4e00\u4e2a\u53c2\u8d5b\u8005\u8eab\u4e0a\u770b\u5230ta\u900f\u8fc7\u82ad\u857e\u8bed\u8a00\u6765\u53d9\u8ff0ta\u5bf9\u4f5c\u54c1\u7684\u7406\u89e3\u4e0e\u523b\u753b\u3001\u4ece\u4e00\u5c4a\u53c8\u4e00\u5c4a\u7684\u82ad\u857e\u821e\u8005\u8eab\u4e0a\u770b\u5230\u8fd9\u4e00\u4ee3\u4eba\u5bf9\u9a6c\u6765\u897f\u4e9a\u6587\u5316\u7684\u8ba4\u540c\uff1f\u6211\u60f3\u8fd9\u662f\u9700\u8981\u6211\u4eec\u8010\u5fc3\u7b49\u5f85\u4ee5\u53ca\u7ee7\u7eed\u5b9e\u9a8c\u7684\u4e8b\u60c5\u3002\u6bcf\u5f53\u6211\u63d0\u51fa\u6211\u7684\u79cd\u79cd\u987e\u8651\u65f6\uff0c\u9633\u5149\u5148\u751f\u603b\u662f\u5f88\u4e50\u89c2\u5730\u5bf9\u6211\u8bf4\uff1a\u4f60\u4eec\u90fd\u662f\u7f16\u5bfc\uff0c\u8981\u600e\u4e48\u7f16\u6392\u4f60\u8bf4\u4e86\u7b97\uff1b\u4efb\u4f55\u884c\u4e0d\u901a\u7684\u5c31\u8ba9\u672a\u6765\u7684\u4eba\u518d\u51b3\u5b9a\u6539\u53d8\u4fbf\u53ef\u3002\u4f46\u5bf9\u4e8e\u8ffd\u6c42\u82ad\u857e\u821e\u7684\u9a6c\u6765\u897f\u4e9a\u7279\u8272\u4ed6\u5012\u662f\u5f88\u65a9\u9489\u622a\u94c1\u5730\u5f3a\u8c03\u8fc7\uff1a\u6211\u4eec\u5fc5\u987b\u8fd9\u4e48\u505a\u3002\u81f3\u4e8e\u6240\u9762\u5bf9\u7684\u4e00\u4e9b\u8d28\u7591\u5982\u2018\u5728\u63a8\u5e7f\u821e\u8e48\u7684\u6bd4\u8d5b\u91cc\u5b89\u63922\u652f\u6307\u5b9a\u7684\u6210\u54c1\u821e\u7801\u662f\u5426\u4f1a\u62b9\u6740\u821e\u8005\u7684\u81ea\u7531\u2019\u2018\u5c06\u82ad\u857e\u821e\u4e0e\u9a6c\u6765\u897f\u4e9a\u6587\u5316\u5143\u7d20\u76f8\u878d\u7684\u5229\u4e0e\u5f0a\u2019\uff0c\u6211\u60f3\u6211\u4eec\u786e\u5b9e\u53ef\u4ee5\u5c06\u8fd9\u4e9b\u95ee\u9898\u629b\u7ed9\u672a\u6765\u7684\u6267\u59d4\u4eec\u51b3\u5b9a \u2013 \u8fd9\u4e2a\u5e73\u53f0\u6700\u7ec8\u5e0c\u671b\u57f9\u80b2\u7684\u662f\u821e\u8005\u8fd8\u662f\u521b\u4f5c\u8005\u3001\u662f\u82ad\u857e\u821e\u8fd8\u662f\u53e4\u5178\u82ad\u857e\u821e\u7b49\u3002\u8fd9\u4e9b\u601d\u8003\u90fd\u5c06\u5177\u6709\u65f6\u4ee3\u548c\u6587\u5316\u610f\u4e49\uff0c\u4e00\u65e6\u76ee\u6807\u660e\u786e\uff0c\u76f8\u4fe1\u662f\u53ef\u4ee5\u51cf\u5c11\u89c2\u5ff5\u5dee\u5f02\u6216\u8bef\u89e3\u7684\u3002<\/p>\n

\u9a6c\u6765\u897f\u4e9a\u7684\u82ad\u857e\u5386\u53f2\u821e\u8d77\u6e90\u4e8e\u4e0a\u4e2a\u4e16\u7eaa\u4e94\u5341\u5e74\u4ee3 (Joseph Gonzales\uff0c2011)\uff0c\u5728\u4f17\u591a\u82ad\u857e\u821e\u8001\u5e08\u3001\u5b66\u9662\u3001\u8003\u7ea7\u4ee5\u53ca\u4e13\u4e1a\u82ad\u857e\u821e\u5355\u4f4d\u7684\u52aa\u529b\u4e0b\uff0c\u5982\u4eca\u53e4\u5178\u82ad\u857e\u7684\u8db3\u5c16\u53ef\u8c13\u5df2\u7a33\u7a33\u5730\u624e\u8fdb\u4e86\u8fd9\u5757\u571f\u5730\u3002\u8fd9\u4e00\u8def\u4e0a\u6240\u7d2f\u79ef\u7684\u53e4\u5178\u82ad\u857e\u821e\u4f5c\u54c1\u6216\u53ef\u4ee5\u6570\u4e07\u8ba1\uff0c\u7136\u800c\u5177\u5357\u6d0b\u6216\u9a6c\u6765\u897f\u4e9a\u7279\u8272\u7684\u82ad\u857e\u821e\u8fd8\u6709\u5f85\u6162\u6162\u62d3\u5c55\uff0c\u867d\u7136\u5c06\u82ad\u857e\u821e\u4e0e\u9a6c\u6765\u897f\u4e9a\u6587\u5316\u76f8\u878d\u7684\u5c1d\u8bd5\u65e9\u5728\u4e03\u5341\u5e74\u4ee3 (\u6216\u66f4\u65e9\u4ee5\u524d) \u4fbf\u5df2\u5b58\u5728\u3002\u5982\u4eca\u6211\u4eec\u671f\u5f85\u8fd9\u5df2\u624e\u6839\u7684\u8db3\u5c16\u4f1a\u5f00\u59cb pivot\uff0c\u5e76\u65cb\u8f6c\u51fa\u5c5e\u4e8e\u6211\u4eec\u6587\u5316\u7684\u821e\u8e48\u98ce\u59ff\u3002Let me look forward, take a deep breathe, and\u2026 plie!<\/p>\n

\u6ce8<\/em>1: 2019<\/em>\u5e74\u8d77<\/em> TDS <\/em>\u6bd4\u8d5b\u89c4\u5b9a\u7b2c\u4e00\u4e0e\u7b2c\u4e8c\u7ec4\u53c2\u8d5b\u8005\u9700\u5448\u73b0\u4e24\u652f\u6307\u5b9a\u7684\u8db3\u5c16\u82ad\u857e\u53d8\u594f\u66f2<\/em> (compulsory variation) <\/em>\u2014\u2014<\/em> \u5728\u6dd8\u6c70\u8d5b\u73af\u8282\u987b\u4ee5\u53e4\u5178\u82ad\u857e\u4f5c\u4e3a\u53c2\u8d5b\u821e\u7801\uff0c\u5e76\u5728\u51b3\u8d5b\u73af\u8282\u4ee5\u5177\u9a6c\u6765\u897f\u4e9a\u5143\u7d20\u7684\u521b\u4f5c\u821e\u7801\u6216\u73b0\u4ee3\u82ad\u857e\u53c2\u8d5b\u3002<\/em><\/p>\n

\u6ce8<\/em>2: <\/em>\u6587\u7ae0\u7684\u6700\u540e\u6211\u60f3\u6839\u636e\u8fd9<\/em>2<\/em>\u3001<\/em>3<\/em>\u5e74\u7684\u89c2\u5bdf\uff0c\u9488\u5bf9\u6211\u7684\u4f5c\u54c1\u7684\u5448\u73b0\u65b9\u5f0f\u4f5c\u51fa\u4e00\u4e9b\u8865\u5145\uff0c\u5e0c\u671b\u6709\u52a9\u821e\u8005\u6df1\u5165\u4f53\u4f1a\u66f4\u6df1\u3002\u8c22\u8c22\u3002<\/em><\/p>\n\n\n\n\n\n\n
\u4f5c\u54c1\u7b80\u4ecb\uff08\u7ec6\u8282\u89c1TDS\u7f51\u9875\u7684\u7f16\u5bfc\u7b14\u8bb0\uff09<\/em><\/strong><\/td>\n\u8865\u5145<\/em><\/strong><\/td>\n<\/tr>\n
\u00a0“Voyage” or “<\/strong><\/em>\u6e21<\/em><\/strong>” <\/em><\/strong>portrays the experience and spirits of local Chinese, who has gone through a long journey and faced many difficulties before settling down. The (grounded) movement rhythm is rooted, based on the Chinese’s physical body experiences on the voyage and also their traditional agriculture roots. Persistence and perseverance through hardship is the characteristics of the Chinese community portrayed here, and the dance aims to project this optimistic and energetic spirit. <\/em><\/td>\n><\/em>\u4f5c\u54c1\u4e2d\u821e\u8005\u53ef\u4ee5\u610f\u5473\u7740\u4e2a\u4eba\u4e5f\u53ef\u4ee5\u7528\u4ee5\u8c61\u5f81\u4e00\u4e2a\u96c6\u4f53\u7684\u6c11\u65cf\u3002\u8eab\u4f53\u52a8\u5f8b\uff1a\u9633\u521a\u4e0e\u5927\u6c14\uff0c\u8db3\u4e0b\u6709\u624e\u6839\u7684\u529b\u5ea6\uff0c\u4e0a\u8eab\u6709\u5706\u878d\u7684\u529b\u9053\u548c\u97e7\u6027\uff0c\u80fd\u5c48\u4e5f\u80fd\u4f38\uff0c\u6562\u4e8e\u5728\u672a\u77e5\u91cc\u52c7\u5f80\u76f4\u524d\u3002<\/em><\/p>\n

><\/em>\u573a\u666f\uff1a\u821e\u8005\u50cf\u662f\u9886\u822a\u8005<\/em>\/<\/em>\u62d3\u8352\u8005\uff0c\u7ad9\u5728\u524d\u65b9\u8981\u5f00\u8f9f\u51fa\u4e00\u6761\u8def\uff0c\u540c\u65f6\u4e5f\u547c\u5524\u7740\u8eab\u540e\u7684\u6765\u8005\u3002\u4ed6\u62d6\u7740\u7684\u53ef\u4ee5\u662f\u4e00\u6761\u6c89\u91cd\u7684\u8239\u3001\u4e00\u7fa4\u540e\u6d6a\u6216\u4e16\u4ee3\u76f8\u627f\u7684\u4f20\u7edf\uff0c\u4f46\u4ed6\u90fd\u4e0d\u8f9e\u8f9b\u52b3\u5e26\u7740\u65e0\u754f\u7684\u6c14\u6982\u9f13\u821e\u524d\u8fdb\u3002<\/em><\/p>\n

\u00a0<\/em><\/td>\n<\/tr>\n

“Coy” or “<\/em><\/strong>\u7f9e\u7b54\u7b54<\/em><\/strong>” <\/em><\/strong>portrays a bride’s feeling at a traditional wedding chamber. In a Chinese traditional wedding ceremony, the bride will wear a red wedding veil that covers the head entirely, and wait for the groom to remove it, as a symbolic gesture in seeing the bride for the first time. The red veil is also a signifier for the bride\u2019s shyness, and beneath this veil hides her excitement and imagination. \u00a0<\/em><\/td>\n><\/em>\u7559\u610f\u89d2\u8272\u7684\u5e74\u9f84\u5c42\u548c\u4e3b\u9898\u80cc\u666f<\/em> \u2013 <\/em>\u5f85\u5ac1\u5973\u513f\u5fc3\u3002\u89d2\u8272\u6027\u683c\uff1a\u5929\u771f\u3001\u6d3b\u6cfc\u548c\u8d24\u6dd1\u3002<\/em><\/p>\n

><\/em>\u573a\u666f\uff1a\u5c11\u5973\u9759\u5750\u6905\u5b50\u4e0a<\/em>\/<\/em>\u5e8a\u8fb9\u7b49\u5019\uff0c\u623f\u5916\u5bbe\u5ba2\u7684\u55a7\u95f9\u58f0\u4e0d\u65ad\u4f20\u5165\u8033\u4e2d\uff0c\u5979\u7684\u5fc3\u8df3\u968f\u7740\u65f6\u95f4\u7684\u6d41\u901d\u800c\u6025\u9aa4\u3002\u5979\u4e0d\u65f6\u60f3\u900f\u8fc7\u7a97\u6237\u7aa5\u63a2\u5916\u9762\u7684\u70ed\u95f9\uff0c\u4e0d\u65f6\u72ec\u81ea\u5e7b\u60f3\u7740\u4e0e\u964c\u751f\u7684\u65b0\u90ce\u521d\u6b21\u89c1\u9762\u7684\u573a\u666f\uff0c\u5979\u65e2\u5174\u594b\u53c8\u7d27\u5f20\uff0c\u66f4\u591a\u7684\u662f\u7f9e\u6da9\u3002<\/em><\/td>\n<\/tr>\n

“Home” or “<\/em><\/strong>\u4e61<\/em><\/strong>\u60c5<\/em><\/strong>” <\/em><\/strong>is a piece portraying affections towards one’s homeland. The question of home and identity has always been relevant to the Chinese diaspora in Malaysia. Rooting (<\/em>\u624e\u6839<\/em>) and integration (<\/em>\u878d\u5165<\/em>) are the basic movement intentions of the piece that affect the center, gravity and quality of body language, whilst traditional movement elements like twist (<\/em>\u62e7<\/em>) and circular (<\/em>\u5706<\/em>) of the body remain as implicit connotation of Chinese culture. <\/em><\/td>\n><\/em>\u4f5c\u54c1\u4e2d\u821e\u8005\u53ef\u4ee5\u610f\u5473\u7740\u79bb\u4e61\u80cc\u4e95\u7684\u4e2a\u4eba\u4e5f\u53ef\u4ee5\u7528\u4ee5\u8c61\u5f81\u98d8\u6d0b\u8fc7\u6d77\u79fb\u5c45\u5357\u65b9\u7684\u534e\u65cf\u3002<\/em><\/p>\n

><\/em>\u573a\u666f\uff1a\u821e\u53f0<\/em>6<\/em>\u70b9<\/em> (Vaganova ballet corner)<\/em>\u4e0a\u65b9\u662f\u4e00\u4e2a\u865a\u62df\u7684<\/em> \u201c<\/em>\u8fdc\u65b9<\/em>\u201d<\/em>\uff08\u6216\u5bb6\u4e61\uff09\u3002\u8fdc\u79bb\u6545\u571f\u5230\u5f02\u5730\u624e\u6839\uff0c\u5c11\u4e0d\u4e86\u7684\u662f\u4e2a\u4eba\u5bf9\u65e7\u4e61\u7684\u601d\u5ff5\u3001\u79bb\u522b\u65f6\u7684\u5fc3\u91cc\u7ea0\u7ed3\u548c\u4e0d\u820d\uff0c\u4ee5\u53ca\u5bf9\u65b0\u5c45\u6240\u7684\u627f\u8bfa\u3002\u6587\u5316\u60c5\u6000\u662f\u4e2a\u4eba\u7684\u9645\u9047\u548c\u9009\u62e9\uff0c\u8db3\u5c16\u7684<\/em>\u2018<\/em>\u7acb<\/em>\u2019<\/em>\u548c<\/em>\u2018<\/em>\u6c89\u4e0b<\/em>\u2019<\/em>\u90fd\u5c06\u4f53\u73b0\u821e\u8005\u5bf9\u4e8e\u5929\u6daf\u6216\u54ab\u5c3a\u7684\u8ddd\u79bb\u3002\u76f4\u5230\u6700\u540e\uff0c\u5979\u53ea\u80fd\u7559\u4e0b\u51dd\u671b\u6545\u4e61\u7684\u773c\u795e\uff0c\u7136\u540e\u5e26\u8d70\u5730\u4e0a\u7684\u4e00\u628a\u571f\uff0c\u8fc8\u5411\u65b0\u4e61\uff08\u821e\u53f0<\/em>2<\/em>\u70b9\uff09\u3002<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

References\uff1aHsuen, C. Y. (2018). Solidarity in dance: The Dance Society of Malaysia (TDS) and the development of ballet in the Klang Valley from 1986 to 2017<\/em> \u00a0[Unpublished Undergraduate thesis]. University of Malaya.<\/p>\n

Gonzales, J. (2011). Dancing The Malaysian. <\/em>Strategic Information and Research Development Centre.<\/p>\n

\u6587\uff1a08-12-2021<\/p>\n","protected":false},"excerpt":{"rendered":"

Background I remember it was August 2018, shortly after the conclusion of the annual national ballet competition, I was occupied with my dance recollection trip at North Penisular Malaysia. Amidst my settling down from dance history, I received a message from Mr. Sunny asking if I could choreograph two pieces of “Chinese dance en pointe, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[46,73],"tags":[48],"class_list":["post-2203","post","type-post","status-publish","format-standard","hentry","category-notes","category-73","tag-hif"],"_links":{"self":[{"href":"https:\/\/www.hiistheory.com\/dancetalkgather\/wp-json\/wp\/v2\/posts\/2203","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hiistheory.com\/dancetalkgather\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.hiistheory.com\/dancetalkgather\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.hiistheory.com\/dancetalkgather\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hiistheory.com\/dancetalkgather\/wp-json\/wp\/v2\/comments?post=2203"}],"version-history":[{"count":8,"href":"https:\/\/www.hiistheory.com\/dancetalkgather\/wp-json\/wp\/v2\/posts\/2203\/revisions"}],"predecessor-version":[{"id":2226,"href":"https:\/\/www.hiistheory.com\/dancetalkgather\/wp-json\/wp\/v2\/posts\/2203\/revisions\/2226"}],"wp:attachment":[{"href":"https:\/\/www.hiistheory.com\/dancetalkgather\/wp-json\/wp\/v2\/media?parent=2203"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hiistheory.com\/dancetalkgather\/wp-json\/wp\/v2\/categories?post=2203"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hiistheory.com\/dancetalkgather\/wp-json\/wp\/v2\/tags?post=2203"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}