CATALYST is an annual incubation programme for P7:1SMA associates that supports research process and performance-making. We hope to inspire artistic practices that grow and embrace failures. Personalised support is given to artists such as unlimited studio time, mentorship circle, feedback with community and administrative support. Since 2018, there have been 4 local artists who have shared their works and creation process with the community.
Read more about shared works and artists here.
Embedded writing and personal response
by Alyah Amani
This marks the first day of Catalyst where 7 artists will be sharing their works and creation process to the community. As I sit here watching Rumah slowly come to life, I take in the calm energy of the room, the silent anticipation and busy hands. Coloured boxes line the floor as the first performer prepares her stage.
by Valerie Lim & Melinda Lauw
Introduction to Tape Town and how the idea was formulated
The gloomy atmosphere of covid gave them the inspiration for this work
- Play on COVID restrictions
- Finger dance & Choreography
- Given time to decorate and create our own finger costumes
- Performance Time!
Mood : Playful, Light hearted, Engaging
Is this meaningful enough for you as the public to continue the movement?
“There is something flirtatious about the way my hand was dancing within and outside the box. If we did it with our bodies, we would attract attention and trouble but with our fingers and hands, it doesn’t seem wrong to do.”
“ There is potential for this project to grow. Tik Tok or other trendy social media platforms could be considered in marketing Tape Town.”
Basics of movement
Imitation through movement
Reminds me of when i was a child using my hands and fingers to mimic and create scenarios for play time.
by Ismail Jemaah
Garap // Work on // Work // Cultivating
An interactive work that uses the ideas of the audience to formulate a performance. Elements of sound and movement are woven into this piece to create an immersive experience.Ismail was attracted to the intangible feeling of sensing each other’s presence during a live performance. He created this work for the sole purpose of enjoying the vibe a live performance gave off.
Draw one thing that you saw today
Use a Google app to create a melody of your own
Create a sculpture from the responses
Find a way to connect these sculptures aka responses
Write down the first word that comes to mind
Shout the word out loud ( Verbs, Adjectives, Nouns )
The use of instruments such as the Triangle are introduced
Hold up a hand sign to the performers
“Sufi and Syimah (dancers) are seen gracing the makeshift stage with their smiles and erratic movements. As the audience feeds the dancers their words and sounds, I become highly aware of my surroundings and what I was witnessing in front of me. The intangible feeling the artist was trying to get across finally relayed to me. The light hearted atmosphere of the room coupled with the air of playfulness got me feeling pumped and excited.”
“The dancers have stopped closely interacting
Now they are dancing individually
Their movements are slow unlike previously where they were erratic
Watching them move i find myself smiling
As the rhythm picks up, their movements get faster and more frantic.
They move in accordance to the tempo and beat
There is an air of playfulness.
Even though they are not touching it feels and looks as if their bodies are moving as one
The barricades are then removed signaling the end of the performance.”
The inside of a child’s mind. Bringing back fond childhood memories.
Resurfacing past experiences.
by Jonit On & Syarifuddin Sahari
“Dressed in white cropped tops
Jonit carries a laptop around with a blue screen with what appears to be coding of some sort? She moves in slow calculated steps
In a cat pose she slowly plays an audio of high pitched noise
She is seen observing the computer.
I can feel and hear the ringing in my ears i think it makes me feel nauseous
Like a sharp long lasting prick
Jonit addresses the audience as she moves to center space.
She then lies down in the middle of the white plastic
Syariffudin pours the blue paint on Jonit then proceeds to lay on her.
Now both bodies are stained in blue.
They slowly move in unison, almost mechanical.
The paint gets rubbed onto their bodies as they move in slow erotic movements.They keep a stoic face. Not particularly making eye contact with anyone. Staring into nothing.
Occasionally, lumps of paint falls off their bodies
I hear the sound of their feet covered in paint crumpling the plastic.
I smell the pungent smell of the acrylic paint.
The performance has come to an end.”
Audience body language
“I see a man covering his ears probably as bothered by the sound as i am
I see a man in a bucket hat unable to keep eye contact with the performance, he often glances about. Everybody is captivated by the performance.”
A transmission of data is taking place
Used more paint during the second performance
Movements changes due to paint
There is a certain anticipation and thrill watching the performers trying to move in swift motions without falling.
Did not want to make much meaning out of the creation
Left it to the imagination of her viewers
She intended the capture the little space in between moments
The space between realities
“ When your computer dies on you and you start having an existential crisis.”
Mood : Alienistic Foreign Bodies, Futuristic yet Primal, Melancholy, Calmness
It felt surreal
Reminded him of the “Blue screen of death”
The alien aspects reminded him of the Matrix skin
The blueness of the paint reminded him of laundry detergent
Reincarnation and death of sorts
by Sharul Mohd, Nurliyana Shukor, Geraldine Tng
How can the intangible be felt throughout the body? Death is inevitable
In order for something new to surface many things have to die.
A Soul Body Connection.
Layout of performance
Video - Performance - Artist QnA
Relying on sense of hearing and sight observation
Collaborative process took a longer time
Allowing his counter parts to be involved
Indonesian Vocalist, Peni Candra
Developing asian contemporary dance in Singapore
Layout of set
A single red rope separating sharul from the other two performers
Wooden box placed away from them
Traditional malay container
Store fancy food offerings
Batik used for deaths
The two bodies are interacting with each other
They take in deep breaths
A type of possession is taking place
Entering a trance
Sharul sits on a white platform where the rope is tied from
It feels as though he is the one singing
There is a hierarchy in the roles
“I can hear the sound ringing in my ears. The occasional sound of Sharul hitting the white platform breaks the silence. The two dancers are entering a sort of trance. The music sounds absolutely terrifying. With every beat of the platform, the two dancers fall deeper into their trance. I feel like I'm watching a ritual of sorts taking place. Sharul’s body answers to the calling of the music. His body contorts and moves as he slowly unveils a piece of batik from the wooden box. The batik now becomes an extension of his body as he twirls and becomes one . He handles the cloth delicately at the same time he tosses it about.”
Clapping - Water trickling
Heavy breathing - Melodic Humming
Stomping - Chanting
Skirts flowing - Summoning
“The rain downpour is significantly heavier today. As the performances take place, a sense of tranquility takes over Rumah. The swaying of the trees and the occasional sweep of breeze changes the direction of the performance completely. In comparison to the first performance where the two dancers were worshiping Sharul, in this rendition all three performers are seen gathered praying to a higher being together. What felt dark and sinister yesterday is overwhelmed by a sense of peace and calmness today. The music is melodic and the performers enter a trance humming and breathing rhythmically.”
Visual Image Response to performance
by Syimah Sabtu & Merissa Tan
Describing the performance to me in three words
Raw, Cathartic, Transient.
The set consists of a large scroll of paper smeared with what appears to look like charcoal, the performer is seen donning a red silk dress. She wriggles her body in accordance to the music as she drags herself across the white sheet of paper. Moving in calculated steps the relationship between her body and the music creates a tense and suspenseful atmosphere. A single light illuminating the start of the scroll, the light bleeds onto her skin. There is a single projection on the window. I am unable to fully make out an image nor decipher the words behind the audio. The muffled sounds coming from the speaker along with the hazy projection creates a simulation of the performer’s mind. Her movements change in accordance to the beat and tempo of the music. As the performance peaks, she is seen to be moving more frantically, dragging herself through the charcoal.
A form of surrender
Towards the end she unrolls the scroll and holds it against herself. Lastly she covers the light with the scroll. Movements started from fetal position - crawling - standing
Tense, rigid, frantic, calculated, broken (movements),
Sounds (what I can hear)
Intense ritualistic music
The sound of her feet hitting the floor
Crushing the charcoal
Her palms rubbing the charcoal in
Instrumentals accompanied by chanting? Voices?
Audio of a woman talking
“The dark and gloomy ambience initially gave off a sinister almost suffocating vibe. As the performance progressed it felt more like she was regurgitating her past experiences using her performance as a form of catharsis. The relationship between her body and the music - visually, her movements looked restricted, rigid and minor. During the climax of her performance, her movements grew messy and she moved in a chaotic and turbulent way. Towards the end of her performance, the artist is seen making movements revolving her hands and stomach going around in circles.
It felt to me like she was externalising the internal.
Inner turmoils, inner conflicts and doubts, are now aired out for the world to witness.
It was an intimate part of the performance that I felt connected to. It was as if I had dipped my feet into her mind for a short fleeting moment.”
Circle time between Artist & community
Why did the artist choose to shine the projection onto the window?
The decision gathered mixed responses. Some loved the ambiguity it held, others could not connect to the performance.
The part of the performance where the artist is seen lifting up the white sheet creates a new horizontal plane which adds dimension to the performance.
The positions where you witness the performance from makes a huge difference. Different focus points.
by Syarifuddin Sahari
“What do you see in the music?
What do you hear in the movement?”
What I see (What do you see in the music?)
An old house with wood creaking floors someone pacing up and down
Tension in hand movements almost like the arms wants to run away from the body
Movements get more frantic
The body is slowly transforming into a white being
Movements go from one arm to the other
His body parts are isolated but coming to life individually
Almost as if they have a mind of their own
As if his body is an anchor to his limbs
What I hear (What do you hear in the movements?)
Occasional foot on wood
Knocking of bones on the floor
The squeaking created by rubbing// mopping cloth on floor
Accompanied by silence
A strong sense of wanting to run away
What I feel
A strong sense of nostalgia
Viewing the body and its limbs as separate entities
“Oddly enough it reminds me of when you’re to be questioned in the here after, your limbs will speak for you. Your hands will speak of all the things they’ve touched and done while the legs will speak of all the places they’ve come across.”
Visual Image Response to performance