A letter to Hasyimah: We do not want to ‘dance’ anymore



『 當我在回顧駐村期間我的身體從你身上所收穫的,好像都無關乎舞蹈動作或身體技巧,而是藝術家如何透過直覺地實踐去建立和社會的關係,因而「創造」藝術作品,而非「製造」。



We do not want to ‘dance’ anymore 因為我們的生活,或是說藝術實踐,本身就是一種舞蹈性的存在。 』


When I reflect on what I gained during the residency, it seems to be unrelated to dance movements or physical skills. Instead, it is about how artists establish relationships with society through intuitive practice, thus “creating” artworks rather than “manufacturing” them.

Despite many similarities with you, such as exploring related issues and teaching traditional dances from our respective cultures, we care about different generations and physical conditions. However, as artists, we come from very different backgrounds. Compared to you, I am still in the early stages of finding my artistic practice, and in you, I see the possibilities I aspire to.

The most memorable experience for me was the week spent during the residency, where I immersed myself in your daily life. It involved getting to know what are traditional Malay dances, participating in your workshops, accompanying the elderly and children in the community, and attending seminars on disability arts, among other activities. Instead of choreographing movements in a studio, most of our time was spent moving between the city center and its outskirts, observing different bodies, and attempting to create the space that exists between our differences while listening and accompanying. I witnessed how a choreographer uses their body as a vessel for inheritance and transformation. With the body at the center, they create space or accompanies as a existence to allow space to be transformed. Dance for you, is not about technique or aesthetics; it is a fluid relationship with oneself, family, and community, which is reflected in your teaching and artwork.

We do not want to ‘dance’ anymore because our lives, or rather our artistic practices, are inherently dance-like existences.

Kuan Jou