experimental theatre aswara

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A very malaysian mob: a review of ‘in transit’.

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6-8 March 2020 Experimental Theatre, ASWARA Choreographed by Faillul Adam

Review by bilqis hijjas.

Faillul Adam has a recognizable style. The recent mid-career retrospective of his dance works was full of slapstick humour and manic energy. Jerking heads and bopping hips collide with expansive movements like flexed-footed roundhouse kicks and sudden collapses to the floor. Large groups climax in synchronised forward-facing attacks of jigging, bouncing, kicking, and wacking. Crowds rush about and struggle against each other, now cooperating, now competing. Faces work overtime: grimacing, goggling, grinning and eye-rolling. The overall impression is one of jittery claustrophobic intimacy.

Faillul’s style is oft imitated by his students at ASWARA, perhaps because it meets them where they are. Many ASWARA students come from backgrounds with no dance training or artistic exposure, but they bring with them plenty of pluck, humour and enthusiasm. At ASWARA they learn to live in close quarters like a pile of puppies: sharing accommodation, meals, rehearsals and shows as well as classes. They play, work, fight, fall in love, seek comfort and pick fights, while simultaneously exploring the boundaries of their adult world. Because Faillul’s style doesn’t require the kind of technique that takes years to acquire, he welcomes the less experienced and less elegant of the students. In return, their lives become his raw material.

This is evident in most of the In Transit works, which are performed by, and made with, ASWARA students and graduates. The earliest work is ‘Under One Roof’, made in 2008, when Faillul was still a student at ASWARA. The original cast of Faillul and fellow faculty member Yunus Ismail is joined by Khairi Mokthar, one of their student cohort. They may all be teachers now, but they remember all too well the dynamics between housemates.

‘Nasi Ekonomi’, made in 2015 with Suhaili Micheline highlights both choreographers’ taste for quirk. To dramatise the rising cost of living, dancers mime scooping rice into their mouths off the floor and jogging in a dogged mob. In ‘Backbiting’, male dancers in pink t-shirts show how to deal with a fake friend, to the sound of a chirpy American self-help mantra. This rather feminine concern is depicted with characteristic savagery and literal stabs in the back.

2019’s ‘The Curtain Fall’ is a classic showcase for final-year students, with dancers attacking acrobatic tricks to a pounding orchestral score, but flecked with dark and intriguing notes of oppression. ‘Rewang’, from 2018, makes a fitting ending, amping up the atmosphere of a traditional gotong-royong event, with an enormous group of hyperactive dancers in chequered sarongs charging about. They might be preparing for a neighbourhood wedding, but it might as well be a glimpse backstage at an ASWARA performance.

The odd piece out is the new work ‘Nuansa’, created with dancers mostly drawn from the local Chinese contemporary dance community. The style here is more elongated, with pointed feet and high extensions, but otherwise familiar. Faillul throws in some more challenging moves, including a slide into split so fast that the dancers bounce when they reach the bottom, and a knee-killing twist and drop into sitting position.

But even with these comparatively accomplished dancers, Faillul can’t resist a gimmick: the whole piece is a long phrase of movement, performed twice, to the same music. The challenge to the audience was to spot the difference – the nuance of the title – between the first and second rendition. But I am bad at this sort of thing, so I roundly refused to play. Instead, I contented myself with thinking that it is not the dancers but the audience which is different the second time around – we cannot step in the same river twice, because we ourselves have changed. From this viewpoint, it was fun to see how much satisfaction I got from anticipating – and then receiving – those little points of pleasure that punctuated the work for me: Joelle Lee’s head thrown back to balance her outstretched leg on a whipping turn, Lim Hong Jie high-fiving another dancer as he enters for his solo, and JS Wong leading the charge into that murderous drop split.

The danger of Faillul’s democratising style, even in ‘Nuansa’, is that it suffocates individuals. Swallowed by the mob, the experienced and outstanding dancers are indistinguishable from those 10 years younger, with a third of the training and talent. [A few dancers remain notable in his works, namely the incorrigible Mohd Iqram Azhar, whose explosive aggression is whetted by his deadpan contempt, and Douglas Labadin, who has a winning earnestness underlying his raised-eyebrow campiness.]

Just as individuals are downplayed in Faillul’s work, so are encounters between them. Relationships hardly develop, and moments of tenderness are often conflicted. In the collective madness at the end of ‘Rewang’, Iqram starts whalloping Hidayat Abdul Rahman, the pale wide-eyed boy next to him, with his sarong. The attack is vicious and sustained. Then, as suddenly as it began, Iqram stops, drags Hidayat off the floor, kisses him firmly on the cheek and hugs him. Both times that I watched, the audience was horrified and transfixed, and Hidayat apparently as stunned by the hug and kiss as by the unmerited violence. We have so many questions – but then the dance whirls on.

One element from  In Transit stands out: a single figure walking very slowly amid the hullabaloo, a Zen-like foil to the collective madness. In ‘Under One Roof’, Faillul enters behind his two feuding housemates, humping a chair like a patient sherpa. In ‘Nasi Ekonomi’, a slim figure bearing a plate advances ceremoniously. When the mob nicks his plate, the boy marches into the fray, snatches it back, and resumes his measured pace. In ‘Rewang’, ASWARA faculty member Seth Hamzah treads the periphery wielding a giant yam leaf like the scene-marking gunungan in wayang kulit. These figures appeared to me like a modest version of the German choreographer Pina Bausch’s famous processional lines: a reminder of calm and order, of steadfastness in the face of the howling storm.

Artists rarely change radically over time. Their predilections as young adults often remain until old age (which is another reason why Faillul’s impact upon his students today may turn out so substantial). The risk – or the appeal – of a restrospective is that it allows us to see the elements that recur in an artists’ works over time. You could view this as the performance of a one-trick pony, but I choose to see it as a signature style – a thought developing slowly across a career.

Faillul’s abiding concerns are domestic ones: how to buy enough food, deal with toxic friends, share a home, or prepare for a wedding. In the world of his works, people are not expected to achieve heights of heroism and grace. There are few grand gestures. Life is busy and messy, full of small movements and plenty of people. It’s not terribly articulate, and yet it has charm and warmth, a sometimes juvenile sense of a humour but a sense of humour nonetheless. With its moderate ambitions and general get-along spirit, even in very close quarters, it strikes me as very Malaysian. And perhaps, with its willingness to have the same argument over and over, and never to win, Faillul’s style is like the secret of a good marriage. It might be what we need right now.

All photos courtesy of  LH Tang.

Bilqis Hijjas is the founding editor of Critics Republic. A producer, lecturer and community organizer in contemporary dance, she believes the main purpose of criticism is to enhance the audience’s appreciation of art.

One comment

Lee Jia Xi of Tarinao has also published a review of ‘In Transit’ on her blog. Check it out!

https://www.tarinao.com/post/a-real-live-performance-at-the-nick-of-covid-19-time-a-review-on-in-transit

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Weekend for the arts: 'Mat Solo' makes stage debut, Canto Yay fest beckons

Friday, 20 Oct 2023

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Muhammad Ibrahim (as Mat Solo) is seen during a rehearsal of 'The Amok Of Mat Solo' at Aswara in Kuala Lumpur. Photo: Patblascreative

THEATRE: THE AMOK OF MAT SOLO

Venue: Experimental Theatre, Aswara, Jalan Tun Ismail, KL

Date: ends Oct 22

Aswara (National Academy of Arts, Culture and Heritage) in Kuala Lumpur is debuting a new theatre play The Amok Of Mat Solo, a 2011 work written by the late poet Salleh Ben Joned (1941-2020).

The walk-in show, directed by Syafiq Syazim and organised by Aswara’s Faculty of Theatre and Patblas Creative, is currently showing at the Experimental Theatre, Aswara in Kuala Lumpur until Oct 22.

Earthy yet scathing, The Amok Of Mat Solo is an expansion of the author Salleh’s The Ballad Of Mat Solo, a poem first published in 1987. It presents a dark play about Mat Solo, a Malay academic, who veers into the state of “amok” after becoming increasingly alienated from those close to him.

The character is known to use raw language and humour to criticise societal issues. The theatre show (listed for mature audiences only), offers a searingly tragic tale of a man’s mental breakdown, told with no-holds-barred honesty.

Among the leading cast featured for this play is Muhammad Ibrahim (as Mat Solo) and Sri Irdina (the wife character), who both completed performing arts studies at Aswara. They will be joined by Jerrica Lai, a seasoned actress who has appeared in more than 40 stage productions.

This play is also a tribute to Salleh, a poet, essayist, playwright and actor, who wrote in both English and Bahasa Malaysia. He was known for challenging racial, religious, sexual and cultural norms as well as power structures in his work. His first collection of bilingual poetry, Sajak-Sajak Salleh, was published in 1987, followed by a book of essays, As I Please (1994) and Nothing Is Sacred (2003).

For ticket bookings, contact: 014-753 3796.

More info here.

THEATRE: 'LE TABOURET'

Venue: Five Arts Centre, GMBB, KL

This Hokkien/Mandarin stage adaptation of Le Tabouret , featuring actors (Teoh Siew Thung, Fred Chan, and Lim Li Jun) and Potehi puppets, is inspired by the absurdist play Les Chaises by the Romanian-French playwright Eugene Ionesco.

It presents the story of two elderly glove puppeteers lamenting the decline of the traditional puppetry art form. The show's script also adds on the backstory of Potehi puppet culture and performances.

"Through this show, we want to give the audience a chance to understand how glove puppeteers make a living and how these traditional art forms in Malaysia are slowly dying," says Dylan Yeo, playwright and director, who realised the intriguing parallels between the original script of Les Chaises and the lives of traditional glove puppeteers in Malaysia.

Coupled with the observation that the glove puppet shows Yeo used to watch at many temple festivals in his childhood are gradually disappearing, he decided to explore further into this subject and use it as the creative direction to create his script.

Le Tabouret , supported by the Krishen Jit Fund, also features Mandarin and English surtitles.

CANTO YAY FESTIVAL

Venue: Zhongshan Building, KL

Date: Oct 21

Canto Yay is a mini-festival of Cantonese culture happening tomorrow at the Zhongshan Building in Kampung Attap, Kuala Lumpur. Events - a mix of free admission and ticketed - start from noon onwards.

The Payung Attap collective, the festival organisers, is set to give visitors a full day of Canto goodness. Come and explore the complexities of Cantonese culture over time and across the diaspora through different entry points that include: the visual arts, film, language, music, street culture and style, music, games, rituals and of course, food.

The mini-fest will also be headlined by a gig in the evening, featuring Cantonese Soundcloud rap legend $alty Chick, KL’s very own Dametrill, and Typo D on the decks.

NIRMALA DUTT: 'STATEMENTS' EXHIBITION WALKTHROUGH

Venue: Ilham Gallery, KL

Date: Oct 21, 11am to noon

Here's a chance to view Ilham Gallery's current exhibition Nirmala Dutt: Statements together with the show's curators Beverly Yong, Rahel Joseph, Snow Ng and Ellen Lee. It's an opportunity to get to know the late artist's works in more detail and to understand her visual language.

Beginning her career in the 1960s, Nirmala was one of the few prominent Malaysian women artists to have emerged at that time. The exhibition, which ends on Dec 24, is the first survey of Nirmala’s works from across her practice over four decades, spanning documentary photography, painting, silkscreen, collage, and public art. It hopes to explore the resonance and significance of her work, which consistently addressed social injustice and human suffering, in the contemporary frame, as well as its art historical context.

"Wayang Tek-Tek: Presentation and Workshops" with Fairuz Sulaiman is an additional programme tomorrow at Ilham Gallery. Nirmala studied wayang kulit in Jakarta and incorporated elements of wayang into some of her works. In this spirit, Ilham Gallery is inviting artist and researcher Fairuz to present the outcomes of his "Wayang Tek-tek" project, a theatre education programme for teens from indigenous communities in the country.

The curatorial tour at 11am tomorrow and the Wayang Tek-Tek workshop (1pm-5pm) are free admission events, you just have to register at: [email protected], and state which event(s) you plan to attend.

OPERA: THE ELIXIR OF LOVE

Venue: Pentas 1, KLPac

Date: Oct 20-22

Italian composer Gaetano Donizetti is known for nearly 70 operas, but his legendary work The Elixir Of Love is regarded as one of opera’s most heartwarming comedies, filled with passionate music. Kuala Lumpur City Opera (KLCO) is celebrating this beloved Donizetti opera at Pentas 1, KLPac this weekend.

The Elixir Of Love is a comic opera, in two acts, by the Bergamo-born master composer that premiered in 1832. It tells a story about Nemorino, a young villager, who is madly in love with the beautiful business owner Adina, who he thinks is beyond his reach. At KLPac, The Elixir Of Love is being helmed by renowned conductor Kevin Field, who will lead an orchestra ensemble of over 25 players.

KLCO also welcomes back stage director Christopher Ling to once again direct this opera. The opera show features a double cast for the principal roles. Soprano singers Ho Chi Mei, and Tan Sin Sim are playing the role of Adina, while tenor singers Tan Chee Shen and Heo Yueh Ren are playing the role of Nemorino. Baritone singers Seow Chee Chuan, and Samuel Lim are taking on the role of Sergeant Belcore, while baritone duo James Long Cai Hunt and Wilson Loh are playing Dr Dulcamara.

EXHIBITION: 'BAPAKU PULANG'

Venue: Temu House, Petaling Jaya

Date: ends Oct 29, 10am-5pm (weekends)

Bapaku Pulang is a visual art exhibition featuring selected Malaysian artworks from the collections of Nazura Rahime and Sharmin Parameswaran, the daughters of the late art collectors Rahime Harun (1954 –2008) and Datuk N. Parameswaran (1948–2022) respectively.

The exhibition - open on weekends - features modern and contemporary art works by 39 artists, offering a glimpse into the artists and topics/themes favoured by both Rahime and Parameswaran, who actively collected art and participated in the local art scene from the early 1980s.

Curated by Sarah Abu Bakar, this selling exhibition features 53 artworks spanning from the Wednesday Art Group contemporaries Peter Harris, Grace Selvanayagam and Dzulkifli Buyong, to the Anak Alam artists of the 1970s with Mustapa Haji Ibrahim, Maryam Abdullah, and Ali ‘Mabuha’ Rahamad, as well as early works (drawings, prints, photographs) from Ahmad Zakii Anwar, Eric Peris, Juhari Said, Nik Zainal Abidin and Yau Bee Ling.

Together with the exhibition, there will also be additional programming, including a panel discussion with Nazura and Sharmin; a session with storytelling, short films and songs; and a panel discussion with art collectors.

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Tags / Keywords: Exhibition , artist , theatre , Ilham Gallery , GMBB

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Portal Penerbit ASWARA

Antologi Skrip Teater Runcit 2021

“Antologi Skrip Teater Runcit 2021” is a compilation curated by the Faculty of Theatre at ASWARA, aimed at integrating ideas and writings from theatre practitioners. This book collects 10 of the best scripts from 10 different writers with diverse backgrounds. Among them are Ib, Jalwa Johari, Han Zalini, Sadiq M. Jamil, Ridhwan Saidi, Fattah Fawzy, S. Syazan, Naque Ariffin, Aliff Adzham, and co-writers Zulhelmi Zainal and Azna Azmi. These top 10 scripts underwent several stages of evaluation by appointed judges and were also presented online in a 10-minute theatre competition. The issues highlighted in this book reflect the Covid-19 situation that has affected the world. The publication of this book provides an opportunity for artists and students, in particular, to refer to and use these scripts for performances.

Compiler: Hanura Akbar & Iefiz Alaudin

Price: RM33 ISBN: 978-9-83-253882-0 Size: 8×5.5″ Pages: 85

Antologi Drama Dunia (Siri 1)

The Faculty of Theatre has taken the initiative to publish translated works done by the esteemed Ahmad Yatim as an important documentation not only at ASWARA but also in the performing arts scene in Malaysia. The Faculty of Theatre believes that significant works from around the world should be translated to provide access to the knowledge of drama and theatre worldwide to local students. These works are valuable not only for production and performance purposes but also for understanding Western dramaturgical conventions, the ideologies and philosophies of writers, theatrical conventions, and most importantly, societal issues beyond the realm of drama. With these translated works, readers can observe and explore cultures of societies worldwide through drama.

Translator: Ahmad Yatim Compiler: Shahrul Mizad Ashari & Fasyali Fadzly

Price: RM45 ISBN: 978-9-83-253882-0 Size: 8×5.5″ Pages: 85

Antologi Drama Dunia (Siri 2)

The Faculty of Theatre believes that significant works from around the world should be translated to provide a foundation in the knowledge of drama and theatre worldwide to local students. Therefore, the World Drama Anthology: Series 2 continues with the presentation of three translated works, namely Miss Julie, Arms and the Man, and Ghost. These scripts were chosen by different writers to explore the ideologies and thoughts they wish to convey. The compilation of these three scripts as an anthology aims to expand the collection of translated scripts, enrich thoughts, and cultivate an environment of ever-evolving knowledge.

Translator: Ahmad Yatim Compiler: Shahrul Mizad Ashari & Rime Nazren

Price: RM58 ISBN: 978-629-7549-10-1 Size: 9×6″ Pages: 186

Antologi Skrip Pesta Teater Runcit 2022

The Anthology of Scripts from the Runcik Theatre Festival 2022 is a compilation effort by the ASWARA Theatre Faculty to integrate ideas and writings from various theatre stages. This book has gathered the top 10 scripts from 10 different writers with diverse backgrounds. Among them are Ira Rizal, Prof. Shark, Hannan Barakbah, Alfidzi, Amirul Hakim Dalail, Amar Asyraf, Fattah Fawzy, Fatema Sani, Yusuf Zalfakhar, and Raimi Jaafar. These top 10 scripts have undergone several evaluation stages and were presented at the Experimental Stage, ASWARA, through a short theatre competition. The chosen theme is “Past Time, Future Time.” With the publication of this book, it provides an opportunity for art practitioners and students, in particular, to refer to and use these scripts for staging, as well as for creatively and critically developing ideas.

Compiler: Hanura Akhbar & Lefiz Alaudin

Price: RM45 ISBN: 978-629-7549-06-4 Size: 9×6″ Pages: 84

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The 60 second plug: aswara’s “asyik”.

December 13, 2007

Besides guiding, training and inspiring young minds towards greater things, the lovely folks at ASWARA have also been at the forefront of preserving our Malaysian arty traditions. The dance department at ASWARA continues with this very own tradition of theirs, in “Asyik.”

Co-choreographer Wong Kit Yaw tells more about this simple, yet mesmerizing dance drama.

Tell us about yourself.

I was born in a small town in Kampar. I studied and trained professionally at the Nanyang Academy of Fine Arts in Singapore. I am single and available. I turned 50 this year — the same as Malaysia, though all my friends say I look 35! I travel everywhere by bus, taxi, commuter and LRT.

Who or what made you first fall in love with dance?

When I was in Standard 2, I was roped in to perform for the school concert, and I was bitten! I used to enjoy watching the seniors dancing and I really loved all the costumes, music and dance.

How did you first get involved in the local dance scene?

I was a member of the Chinese-Hokkien Association in Form 5 and they performed a lot. But after that I went to Singapore to work in a construction company.

Tell us about some of your more memorable or favourite projects from the past.

The time I represented Singapore at an International Dance Festival for Cultural Exchange in Denver City, Colorado was very memorable for me.

Another project that I really loved was when I worked with solo dancer Tan Suk Ling to create a full-length performance at the Temple near Stadium Merdeka. It was beautiful because I used the pillars and the ornate architecture in my choreography. It was one of the earliest explorations in site-specific work in Malaysia in the ’80s.

Do you have a day job? Tell us a bit more about what you do.

Teaching and choreographing dance is my day and night job! It is my love, my passion and my hobby.

Tell us more about ASWARA’s production of “Asyik”. It is a showcase of classical dance repertoire, yes? Why classical?

The idea is to promote all kinds of classical forms of dance. Before this, we had presented ”Tapestry” and “Jendela” as our traditional shows, but those saw us working more with folk dance styles.

Of course, ASWARA also presents Makyung, Bangsawan, Randai and Wayang Kulit. This time Joseph Gonzales’s idea is to focus on classical dance styles, and I agree because we need to expose the audience to all the different styles, so that they learn to appreciate the beauty of each.

Can you give us a brief rundown on the origins of the “Asyik” dance?

Actually Asyik is the name of a dance from Kelantan but here the name was chosen by Joseph because the meaning is to be mesmerized and fascinated — almost like going into a trance.

That is what it feels like when you dance and even when you watch the show.

You are one of the choreographers in this production, yes? What have you and the rest of the gang put together for us?

The script and the original flow was decided by Joseph, but all of the choreographers contribute ideas to make the performance smoother and more interesting to the audience.

We look at the entrance and exits of the dances, the story-line and the music, and we see how to blend everything into one performance, and not just present it piece by piece.

You’ve worked on both professional and student productions, yes? What is it like working with students, as opposed to the “pro’s”? Who gives you more of a headache?

I feel that there is no difference, because in both cases, we need to teach.

The students at ASWARA are however very busy with classes, exams and assignments, so it is sometimes easier to manage the professionals, who can arrange their own time-tables.

It might take longer to teach the students who are slower but that is normal and to be expected.

That said, sometimes everyone gives me a headache and sometimes no one gives me a headache! It all depends on their attitude and how much they want to learn – not on whether they are a student or a professional.

And what has it been like working with the students involved in “Asyik” in particular?

It’s been fine, I enjoy working with them because I know them so well. I recently worked with the Theatre Department also on “Si Yatim Chao” which was very interesting. Of course, the standard of the Dance Department is getting higher, so our choreography can also be more complicated and challenging.

Any funny or strange stories from rehearsals to share?

No — but the students are always funny!

What has the whole “Asyik” experience been like, for you?

Very good because all the teachers and students are like one big family — we eat together and work together. Real muhibbah! No politics.

Who or what inspires you? Everything, every place and everyone! What’s irony to you?

Aiyooo….l don’t understand-lah!! (Joseph’s two cents: Who would have thought that a construction worker can turn into a dance educator!)

What are you up to next?

I am going on holiday to China!!

“Asyik” will play at the Experimental Theatre, ASWARA from Fri 14 – Sun 16 Dec 2007 (8.30pm; with additional 3pm shows on Sat & Sun). Tickets are at RM20 and RM10 (concessions).

First Published: 13.12.2007 on Kakiseni

• Joseph Gonzales
• Wong Kit Yaw

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Menempa Tari Tradisi

ASK DANCE COMPANY

Date :  24 – 25 /12/2022

Time :  3:00PM, 8:30PM

Language :  English

Category :  Dance

Duration: 70 - 90 minutes

RM25.00, RM35.00, RM55.00

All Fees Included

3:00PM (GMT+8)

Watch at Venue

8:30PM (GMT+8)

The Menempa Tari Tradisi dance production is a collection of multiracial Malaysian dances that aims to showcase the richness of the arts and culture in Malaysia. This performance will feature folk dances of various races such as Sabah ethnic dance, Sarawak ethnic dance, Chinese dance, Indian dance and Malay dance. This performance will last from 70 minutes to 90 minutes and will be performed by members of the ASK Dance Company as well as students from the ASWARA Dance Faculty, and will feature the Malaysian Art School Kuala Lumpur and the Malaysian Art School Johor giving performance opportunities to the younger generation to experience an artistic production.

This performance will feature ethnic dances from Sabah and Sarawak featuring folk themes from various races in Sabah and Sarawak. This dance is often performed during public events and folk festivals such as the Harvest Festival for the purpose of celebrating the rice harvest season and thanksgiving ceremonies with the harvest. Dances such as Datun Julud, Alu-alu, Tandak, Kokos, and Magunatip will be presented.

This performance will feature traditional and folk dances in Peninsular Malaysia, especially the Malay, Chinese and Indian communities such as the Chinese Handkerchief dance, Plate Dance, Zapin Dance, Garba Dance and many more.

Production Team

Founder & Artistic Director of ASK Dance Company Joseph Gonzales

Managing Director & Creative Producer of Menempa Tari Tradisi Imran Syafiq Bin Mohd Affandi

Assistant Producer Kimberly Yap Choy Hoong Mohd Zulkarnain Bin Zuber

Performers ASK Dance Company Kimberly Yap Choy Hoong  Fatin Nadhirah Binti Rahmat Wong Shan Tie Imran Syafiq Bin Mohd Affandi Mohd Zulkarnain Bin Zuber Mohamad Adlan Bin Sairin

ASK Dance Company Guest Artist Wong Chi Ying Joey Mak Chee Teng Maddie Gan Ning Xuan   Mohd Shafiq Bin Md Yussof Muhammad Aiman Yusuf Bin Roslan Muhammad Zul Adha Bin Muhammad Nazry

Faculty of Dance ASWARA Ng Yu Jun Muhammad Nur Hilmi Bin Rosli Mohammad Nazrul Bin Munir Jamaluddin Bin Darvis Chai Xin Yi Muhamad Aiman Bin Azizi Low Xin Ping Mah Shu Ci Woo Yi Xin Siew Ying Chenn

Sekolah Seni Malaysia Kuala Lumpur Rozmin Syazlin Binti Mohd Salmi Muhammad Nor Danish Amani Bin Nor Arazman Muhammad Nazhan Bin Nasir Hanie Yasmin Binti Khairul Ma'rof Husna Hazirah Binti Khairul Iskandar Muhamad Shafi Danial Bin Yusrizal Muhammad Zafran Bin Ramli Arni Syazwani Binti A Halim Aidid Hezry Muazzam Bin Atan Hawa Najieha Binti Zulkarnain Nur Aina Binti Abdul Razak Ahmad Uzair Iskandar Bin Roslan Teachers Fatin Nabylah Binti Fadzil Ervinar Nirshahtiqah Binti Samsulrizal Mohamad Shahfik Bin Abd Aziz Mimi Syafinie Binti Samsudin Nur Azriana Binti Md Sakek

Sekolah Seni Malaysia Johor Nur Aidil Hakim Bin Jamaludin Harith Aiman Bin Anas Zamharil Muhammad Nazim Hakim Bin Mohd Shalabi Muhammad Al-Zidane Bin Mohamed Hanifah Muhammad Rasyid Bin Zulkarnain Muhammad Raziq Farhan Bin Muhammad Farid Sufiya Nabila Binti Aszua Nur Anis Fatiha Binti Mohd Faidzul Nur Isma Alya Binti Azman Syaidatul Qhairunisya Binti Abd Aziz Naeema Alesha Binti Fahmi Azril Nur Afifiy Amanda Bini Saifulazuan Teachers Datu Sabri Bin Datu Alawiddin Fadzrizzal Bin Hudzuri Kana Anak Jana

Choreographers/ Dance Arrangement Wong Shan Tie Mohamad Adlan Bin Sairin Mohd Zulkarnain Bin Zuber Kana Anak Jana Ervinar Nirshahtiqah Binti Samsulrizal Harshini Sukumaran Imran Syafiq Bin Mohd Affandi Fadzrizzal Bin Hudzuri Dayang Norinah Binti Datu Gastan Mohamad Shahfik Bin Abd Aziz

Lighting Designer & Technical Director Mohamad Fahim Bin Mohammad Ali

Stage Manager Hasmizan Abdul Hamid

Ass. Stage Manager

Technical Crew

Front of House Ferra Lenny Robert Chrisdayanti Ling Noraini Ngau Madrigal Sagario

Costume/ Wardrobe Wong Shan Tie

Ticketing Kalaivani Subramaniam Cloudjoi

Marketing Wong Shan Tie Zulkarnain Zuber Imran Syafiq

How to get to Akademi Seni Budaya dan Warisan Kebangsaan (ASWARA)

Driving: You can either use Google Maps or WAZE to ASWARA .

Address: 464, Jalan Tun Ismail, Kuala Lumpur, 50480 Kuala Lumpur, Wilayah Persekutuan Kuala Lumpur

There is no parking available in ASWARA. However if it is drop-off, please inform the guard that you will be dropping off the passenger at the lobby/art gallery. 

Recommended:  Park at Padang Merbok.  Park along the roadside near the front main entrance (Gate 1) of ASWARA

How to get to the Experimental Theatre

1) If you parked at Padang Merbok: Enter Gate 2 and turn right. You should see the front porch which will lead you to the lobby / art gallery. 

Lift: Walk to the left to take the lift up to Level 3.  Exit the lift and turn right. Walk straight until you find Experimental Theatre on your left. 

Stairs: Walk to the right to take the staircase up to Level 3.  At Level 3, turn right and walk straight to the Experimental Theatre.

2)  If you enter from Gate 1: Walk in and you will see a small pathway leading you down a small hill. Walk round the curb and you will see a glass door that leads you to a corridor. Go through the corridor and walk straight until you see the Orchestra Hall on your left.  Turn left and walk straight until you see the Experimental Theatre.

Please bring your umbrella just in case it rains. ASWARA is undergoing some construction work so some pathways may be blocked or filled with some rubble. It is advisable to wear comfortable sneakers or shoes to the show (especially if you are coming from the main entrance). Please wear suitable clothing. No miniskirts, shorts, singlets, sleeveless allowed. 

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