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3rd/ 7th/ 10th/ of July 2013 
ECHO. It's just a temporary thing.
Riki von Falken and Naim Syahrazad (Malaysia)

Kuala Lumpur / Penang

 

25th/ 26th/ 27th/ of June 2013 
ECHO. It's just a temporary thing.
Riki von Falken and Naim Syahrazad (Malaysia)

Uferstudios  (Berlin)

 

25th of October 2012 Opening Night
ECHO. It's just a temporary thing.
Riki von Falken and Naim Syahrazad (Malaysia)

EDEN ***** (Berlin)

 

19th of July 2012
The Geometry of Separation
Festival ABOK I NGOMA (Cameroon)
Institut Francais

20th + 21st of July 2012
Workshop with Riki von Falken
Goethe Institute in Cameroon

19th to 22nd of January 2012
John Cage's Song Books
Academy of Arts

What bears a meaning
what is meaningless.
Everything is equally meaningless
And therefore strongly searching for meaning
Navigate
"... Never stops!" (John Cage)
Nothing’s wrong.
"I'm doing nothing wrong" (John Reynolds).
What will be the source
of this work?
Is it important to know
The context in which I
Opt for something?

08th to 10th of December 2011
ECHO II

Kuala Lumpur

The language of my body echoes a special experience: working with the students at the ASWARA, the national arts academy in Kuala Lumpur, in 2010. For me, there is a connection between the energy of the martial art Silat and my abstract form in dance. I use the particular expressions of the dancers for a meeting of cultures in these two different forms.

Performed by Bilqis Hijjas, Dayang Norinah, Khairi Mokthar, Naim Syahrazad, Ng Xin Ying, only Ekmal bin Yusof, Pengiran Khairul Qayyum & Rabiatul Alawiah.

Experimental Theatre, ASWARA, Kuala Lumpur

Produced by Rimbun Dahan. Sponsored by the Goethe Institute in Kuala Lumpur

4th of October 2011

ECHO I

Southern Lights Dance Company
Tempo Festival
Auckland

30th of September & 1st of October 2011

Opening Night ECHO I

Southern Lights Dance Company - Body Festival
Christchurch

31st of July 2011

My body language is turning to an ECHO of a time which I have experienced in its extreme as something special. The newfound places of work in New Zealand and Kuala Lumpur are the sources of the idea, to delve within the clash of cultures into the different languages of form.
Eighteen months ago, I taught at the Academy of Arts in KL ASWARA contemporary dance and choreography.
In New Zealand, the rehearsals for a play with the Southern Lights Company in Christchurch have been canceled due to the earthquake on 4th of September 2010.
For me there is a connection between the tradition of the Malay, Indian and Chinese dances and my abstract form of dance.
For work in Malaysia/KL I wish to put the tradition into a contemporary context and give room for the potency of dance material which leaves its marks into each other and goes forward. I am thinking particularly of the Silat martial arts, which I use in its expression and with its unique energy to mix it with my abstract language.
What might happen to the dance material, if the context in which the material is placed, will be changed?
I will use the quotations of the traditional dances for my associations.
ECHO is a reminder.
There will stay a trace, but its interpretation is different.
If the SPACE breaks ...
In NZ through my experience of the earthquake, more than 30 seconds of intensity 7.1.my awareness of the perception of space has been sharpened tremendously, maybe because I got an idea that space can break.
At 4:35 a.m. it has happened, from Friday to Saturday. I was torn from my sleep, I could not move. Tied to my bed I sat upright and watched the back and forth of the walls, which was accompanied by a frenzied sound.
There was a movement in the room.
The sound was swallowed by a sudden silence.
The movement of the space was no longer perceptible.
The silence was like a hole.
Not tangible it swallowed my sense of orientation.
The room had changed. Though it looked the same as before, except for a few cracks in the walls, something had happened to it:
As the vibration and the moving of (the space) had caused it a wound.
The SPACE was my MIRROR.
I had become part of the room. '
I want to develop an acoustical and choreographic landscape that stores the images during the earthquake for each dancer.
Thus, the movement or the movement materials will be reminiscent by one so called limited space:
The “construction” of the movement will be detected accurately in its detail,
i.e. by the sharper sense there will develop a dialogue which will construct the body in its variety of possible movements constantly, redefining and reassembling.
Our production will be shown at a marquee event in Christchurch (also at the festival in Aukland), as the city centre of CHCH has been damaged and destroyed by another earthquake in a very heavy way.
In the stage area of
the tent I plan to install a photo which I took of the ECHO sculpture by New Zealand sculptor Neil Dawson.
For me this “suspended house”, developed in 1981 for the Arts Centre in CHCH, is an image of my theme: when the room stops ...
The “house” has been built by Neil Dawson only with the help of lines, it could be a drawing: It floats, it has no basis, some of the walls are lacking and so are parts of the roof. Depending on the location of the recipient the focus changes and a game of shifting perspectives starts.
Last year, when we began rehearsing, very sparingly we draw lines with the help of ropes into the room as verticals and horizontals on the ground.
This was our “limited” space.
I plan to use this correspondence of these lines with the rope and the lines of the sculpture ECHO I.

 

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