Without Vision, the People Perish

Once again, I am at this moment in life, where I contemplate the purpose for which I have been created. I want to counted in this life, not just to have existed but to have made a positive difference in this world. Yet this cannot happen without the interaction with people because positive difference is measured based on the value another places on your contribution.


I re-read a dance review and realize that it may take years before any positive "fruit of one's labor" can be seen. For example, it's been more than a decade since I actively participated in the dance world. Throughout my absence from the Malaysian dance world, a few hearts have continued to pray, believe and paved the way for future dancers to be recognized as professional dancers of international or regional caliber.


"For I know the plans I have for you, says the Lord. Plans to prosper you and not to harm you. Plans to give you a hope and a future." - Jeremiah 29:11


I received these words decades ago. Today, I stand and say, "Lord, clarify and confirm that purpose and plan you have placed in my heart, in my life. May two, right hearts come together that we may recognize your hand upon our lives and pave the way for more miracles to happen in and through our lives."

*****************************************

Danceworks’ Don Quixote - Keeps Malaysian Dance Aspirants’ Dreams Alive
Istana Budaya, Kuala Lumpur
14 & 16 January 2011

By Michele Lum

The age-old proverb “without vision, the people perish” rings true for Malaysian dancers today. Without dreams to guide us, we dance in circles thinking highly of our achievements when in fact, the world is passing us by. Fortunately for young Malaysian dancers today, Danceworks Production’s arduous task of promoting dance culture within Malaysia in this last decade has borne some fruit.

Malaysian dancers have come a long way from the days of once-a-year ballet school concerts to the privileged few, who have ventured beyond Malaysian shores to the United States, Europe, Australia, and other Southeast Asian nations to pursue dance careers with full-fledged dance companies.

Towards the end of 2010, 26 international dancers from Japan, Australia, Germany, Austria, USA and Thailand flew into Kuala Lumpur and began working together with more than 30 Malaysian dancers and performers, in preparation for Danceworks’ fifth production – the full-length ballet Don Quixote scheduled on 14 and 16 January 2011 at Istana Budaya, Kuala Lumpur. 

Danceworks’ production of Don Quixote was staged after Mikhail Baryshnikov’s (possibly the greatest ballet dancer in the 21^st century) version which was first performed by the American Ballet Theater in New York City in 1980. The core dancers comprised principal artists from the Australian Ballet, dancers from the Ena Ballet Studio Company in Nara City, Japan, and the Bangkok City Ballet in Bangkok, Thailand.

According to Danceworks Artistic Director and Choreographer Jie Choong Wan Chin, the ballet production was made possible within a short lead-time due to the preparedness of the Ena Ballet Studio Company (where Choong is also the co-artistic director). “We already know the steps and have performed Don Quixote before.” Such partnerships help provide local dancers the opportunity to work with other professional dancers and be further exposed to the higher standards of international ballet.

The female lead role Kitri was performed by Ena Hirose, also the founder and co-artistic director of Ena Ballet Studio Company. Petite Hirose’s love for dance was evident in her spritely performance, creating a stage presence that was difficult to dismiss. Although, better control of her occasional flailing arms and distorted body lines during huge extensions would enhance her performance as a ballet artist.

Australian Ballet Principal Artist Robert Curran’s careful performance of the male leadBasil, on the other hand, demonstrated the wisdom of a seasoned artist, polished in every way. Curran was the typical gentleman on stage being careful not to outshine his partner Hirose’s performance, and as such, Curran’s performance was technically precise and acceptable, but not exceptional.

Worth noting was the eccentricity and humor of Gamache, a rich nobleman, played by Choong, While make-up can do wonders to change the facial expressions of stage characters, the maturity of a performer and the acute understanding of the ballet enabled Choong’s character performance to tickle the hearts of her audience, eliciting giggles and much laughter throughout the matinee performance.

Perhaps the most outstanding performer was 16-year-old Yui Sugawara, who danced the role of the Queen of Dyads in Act 2, Scene 2 of the ballet. The setting was of Don Quixote’s dream, where he sees a vision of his true love Dulcinea. Sugawara’s dancing showed great maturity for one so young. Her lithe physique and precise technique exuberated great strength, yet ethereal and with breathtaking beauty often associated with one’s figment of imagination. 

Sugawara also danced the role of street dancer Mercedes, while the other Australian Ballet Principal Artist, Kevin Jackson danced the role of Espada, Mercedes’ boyfriend. Both Jackson and Sugawara gave a spirited performance that drew great applause from the audience.  

Overall, the Don Quixote ballet was a good start to 2011. The successful collaboration of returning Malaysian dancers, professional artists from within the region, as well as local dancers raised the standard and expectation for greater dance performances to be staged within Malaysia in the years to come.

Note: A synopsis of the Don Quixote ballet can be obtained at http://www.abt.org/education/archive/ballets/don_quixote.html