Dance in Situ strives to bring dance out into the community. Their works are inspired by the chosen sites or residential areas that they perform in.
For the fifth edition, Dance in Situ has collaborated with choreographer Norhaizad Adam from P7:1SMA and sound designer Chong Li-Chuan to stage a performance walk around Hong Lim Complex.
To find out more about the work, I spoke to Norhaizad Adam about his choreographic process.
Could you describe your choreographic process for this production?
After our team’s first site recce of Hong Lim Complex in February 2019, I am immediately drawn to this space. I decided that it will be my priority to invite others to walk with us. The complex’s architecture brings to my mind a sense of complexity. It may be common flat in plain sight, but a stillness exists. In every decision I make, I refer to the characteristics of Hong Lim Complex.
My choreographic processes are centered on instinct through tasks such as silent walk and artist talk-back. I value my team for considering the site’s presence and behaviour, and how it resonates strongly with each individual. My senses tend to pick up on fleeting and intangible elements which may motivate my choreographic score.
How do you go about choosing the various locations within Hong Lim Complex for performance?
I am attracted to pockets of public spaces that feels poetic and cinematic. My instinct grows as it is loaded with nostalgic stories and the spaces offer different smells, textures and temperatures. It’s hard to describe in words, but I chose locations where its presence can be felt.
I try to avoid locations that are decorated with commercial and modern elements so as to offer everyone a chance to consider the element of time and an alternative vantage point.
How often were you able to rehearse in the actual space? How did you structure your rehearsals?
We had the privilege to rehearse and immerse in Hong Lim Complex. From February to June 2019, all our rehearsals were on-site. At first, we started with a silent walk to huge areas in the complex. Every level, turn, and corner led us to various routes and gave us different sensations. Eventually, the performance walk route developed through the choreographic process. I hope each space will slowly unfold its intentions, revealing secrets layer by layer.
In my practice, I believe that a site-work should be rehearsed on-site to awaken my senses and imagination. Our ‘Complexnya’ team is lucky to exercise and chit-chat with elderly Hong Lim residents during block parties whilst taking in everything that the space provide and hinders.
Another integral part to the performance is sound design. What was your brief to the sound designer? Could you give us some clues as to what sort of soundscape the audience can look forward to?
I am blessed to work with sound designer, Li-Chuan. In addition to creating soundscapes, based on his generous insights he has definitely expanded my impulses in the work. I am open to give full freedom to my collaborators as I trust Li-Chuan’s instinct and reasoning of what Hong Lim Complex is or used to be. He is present through the entire choreographic process, listening to conversations between dancers.
I also value Li-Chuan’s sense of adventure as he often explores Hong Lim Complex to find hidden sounds and ways of making sounds from objects and traffic. I appreciate Li-Chuan as his approach to sound design does feel like it is coming out from within the cracks in the walls or from a far distance. The interplay between the sounds of the place and Li-Chuan’s sonic input heightens the presence of the place, and adds another dramaturgical layer to the piece.
Complexnya runs from 28 May to 2 June 2019 at Hong Lim Complex. Meeting point is at Chinatown Point KFC. Tickets from Peatix.