Lumpur Lagoon Journey

ethel deidre
Jul 14, 2023
8 min read

Updated: Nov 11, 2023

Welcome to My 1st Blog!

I've been documenting my choreographic journey, especially focusing on a piece in a genre that, in my opinion, is challenging to execute well. This particular piece holds a deep place in my heart. Just strolling along the pavements of Padang Merbok brought tears to my eyes as it reminded me of it. It's hard to believe that I completed my PeTA just this July, as the entire journey feels like it only began yesterday.

Many people have been surprised that I rehearsed in the mud every week. To answer that, yes, I did. Rain, heat, jogging marathons, rugby practices nearby, storms— you name it, I persisted through it all. (no means to kekwat) For PeTA, I crafted a site-specific piece. If you're curious and wondering why, feel free to come and hang out with me. I know that if I say 'I don't know,' it'll only prompt more 'whys' from you. But I can tell you that part of it was actually inspired by my internship place, where I always woke up to the sight of ocean waves in the morning.

4 senses Activate!

In the initial weeks of acquainting ourselves with the site, it was an exhilarating and enjoyable experience. The dancers and I freely delved into exploring what we could feel, see, hear, and even smell in the surroundings. We saw a hill with a slope that oddly resembled a waterslide. It got me thinking: why shouldn't we, as city kids who often miss out on the simple joys of nature, feel comfortable just playing around in the dirt to truly connect with the site?

Exploration of the space involved moments of resting while lying down on the hill, gazing up at the sky, all while accompanied by the ambient sound of a backpack bush cutter's engine.

I thought to myself, "Indeed, it's a beautiful space with so many possibilities and things I could explore. Wanting to cover every inch of this site was tempting, yet narrowing down what I truly wanted to focus on was a challenge because everything seemed appealing!"

Gravity & Grounded

"Harini kita explore jadi haiwan dalam lumpur."

While simply exploring the space, the dancers encountered a few worms and frogs in the mud, to which they reacted with "Eeeeeee!" That reaction sparked an idea in my mind. To truly connect with the site, the idea was to embody and imitate the creatures found within it or as Pak Suhaimi would say "Guna daya khayal kamu" to play with your exploration. Anything that crawled or hopped on four limbs, we attempted to replicate it using our own human way of mimicry.

After a few previews, I made the decision to focus on ground-based movements. I realized that attempting movements on trees and other elements wasn't the best choice for what I wanted to achieve. Crafting a dance within the mud is undeniably challenging, especially when you attempt to move or travel within it. However, it's undeniably an ideal space to attempt stunts. (I mean if you don't mind the mud) The dancers became quite enthusiastic upon seeing some of them successfully execute specific stunts in the mud without any fear. At this point, it becomes evident that the symbolism of mud plays a dominant role in elevating the entire piece. This isn't the typical craft I usually showcase on stage, so my methods can't always be fixed. I also have to let the environment influence the dancers' mood and emotion to execute movements within the mud. I give the dancers the freedom to interpret the meaning of the mud as they move. If you were one of them, how would you choose to engage with the mud?

I almost always ended up with a sore throat because I had to project my voice far enough for the dancers to hear me hahaha.

We look just like water buffaloes in heat.

This is our 9-month PLKN, led by a choreographer who is small in stature but possesses the energy and agility of a monkey.

While exploring movements with the dancers, I observed that their playfulness could escalate into aggression and mischief. They would throw mud to tease each other or perhaps slide their hands, covered in mud, onto someone who is 'clean'. At times, the dancers react to abang rugby who are training on the opposite side. Anyone watching us would surely label us as monkeys, given the playful and lively interactions. Hahaha!

Monkeys. Padang Merbok. Near to government building.

This seems to suggest a theme worth exploring, one that delves into power, authority, and related concepts.

Puzzling?

If you were to ask anyone close to me at ASWARA, they would know about my Bible—a book filled with my formations and notes for every piece I create. I invested numerous hours structuring this site-specific piece within those pages. However, after a few months, I came to the realization that this specific piece doesn't need a book to guide its choreography. By letting go of constraints and immersing myself in the natural elements, such as watching my dancers roll in mud, intuition guided me on where to start and how to conclude the piece. In several rehearsals, Pak Suhaimi joined me, becoming my third eye as I dashed around the mud, guiding the dancers through movements in the space. His advice and opinions opened my eyes to a perspective I had never considered. Given Pak Suhaimi's experience of dancing in the mud back in Indonesia, his brief guidance in those rehearsals paved the way for me in creating this piece. During his last visit to my rehearsal, he said, "Jangan kau risau, makin ada sudah tu." That statement gave me hope, especially after some challenging previews, that this piece has the potential to improve.

Dancers trying hard on not to think what to eat for lunch while listening.

Words of encouragement from the pioneer in Site Specific Malaysia.

Mud spa every week. As Nazrul said, the lumpur has become a part of our genetic.

Cue Music

In the beginning, I had the idea to experiment with students from other faculties to create a soundscape choir, but I think I'll save that for another piece. Instead, I spent several months crafting with nature sounds around the site. It was only a month before PeTA that I decided to give playback music a try. When the theme became clear to me, I scrolled through Spotify in search of a classical song to try. Eventually, 'Voices of Spring' became the chosen 'aural landscape' to the dancers. Say hello to juxtaposition.

Plotting speakers and setting up the generator became my next challenge! Agh!

Almost

With the generous help of an artist, I managed to promote my piece with a trailer recorded and edited by Pyutla. (Check him out!) I didn't have to give my dancers instructions for the camera; they instinctively knew what to do. #gilapanggung Videographer had a hard time taking good shots since everyone just burst out laughing.

Behind the scene. Iqma making sure he got his screentime.

If it was a movie, what genre would it be?

Counting Days

As the day of PeTA approaches, I can't help but feel anxious about the technical aspects and the unpredictable weather. Despite being cautiously optimistic, my piece has gradually improved after previews. However, I can't help but wonder what the audience will have in their minds while watching the performance. Many people have asked me about my backup plan if certain things don't go as expected. In the worst-case scenario, my plan B is to send a recording from the last preview to the panels. However, I strongly prefer not to resort to that, as I've dedicated months of rehearsals to deliver a live performance to the audience. The dancers deserve the opportunity to perform live! They almost die for their art. (sometimes the dancers get cuts from all the cans and glass bottle thrown in the mud) First aid kit became the clinic express.

Cikgu Murni giving her final encouragement to the dancers before PeTA week started.

Pose! then lari cepat mandi!

First to receive baju PeTA :)

The technical team has been incredibly helpful, tirelessly running back and forth between the site and ET. Ensuring both sides are well-prepared, they have alleviated any concerns. Despite my occasional bouts of anxiety, I find it hard to sit still, but their competence provides a reassuring backdrop. They also provided suggestions on what to prepare in case of any inconvenience. I cannot thank these people enough, as setting up things on the hill and figuring out how to conceal the generator to avoid disrupting the overall ambiance of the piece is undoubtedly exhausting.

Led by taiko in red pants. I know it's in good hands.

Just few more days left, I engaged in a children's game with the dancers, encouraging them to roll, fall, and play in the mud. In those moments, they became like kids who haven't grown up or are still imaginative children at heart. My heart refuses to beat normally as I contemplate how PeTA is just a few days away, marking the end of our PLKN training at this site. I feel a mix of happiness and reluctance to let go, not quite ready to bid farewell.

No more going home to sental mud stain clothes!

D-Day!!

With only a few hours of sleep due to overwhelming anxiety about the PeTA presentation in front of the panels, my mind is flooded with thoughts about the technical aspects both in ET and Padang Merbok. The excitement is palpable, but so is the nervousness! I can feel my heart racing, and I'm sure the dancers sense it too! I can't afford to cry before the show starts! It would kill the overall excitement for the dancers as they take the stage. I was thinking, finally, I get to showcase this piece on a good weather day. Thank goodness it rained before the show; at least the mud is mud-worthy. With just a few minutes left before it starts, I can already see a few audiences gathering in front of the dancers as they immerse themselves in the mud. Trying to control my breathing, I feel the nervousness rising.

Then the MC begins, and the crowd erupts in cheers. My heart starts to flutter as I watch the dancers about to start.

Videography by AAShots

Photography by AAShots.

What surprises me is the dancers' full commitment, truly immersing themselves in the mud, leaving no trace of their clothes' color visible. Why am I not seeing this during rehearsals? Helloo? Hahah. When it finishes, I wanted to embrace all my dancers, but instead, they pull me into the mud, saying, 'Last masuk lumpur!!! Lepas ni Ethel dah tak masuk dahhhh!!' and continue to push me down. Wow, I feel so touched.

It's as if I have exhaled all kinds of weight out of myself, knowing this piece has been served well. I found the rough phase surprisingly exciting; this entire experience wouldn't have shaped up the way it did without the dancers' dedication, time, energy, physicality, and imagination. Personally, it's a fantastic experience for me as it pushes me to step outside my usual way of choreographing. Would I do it again? Well, maybe not, hahaha.

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