Dance in the soul

YOU can always spot a dancer, not just because of her inherent grace. There is something in the way she carries herself that gives her away.

Perhaps it is because, of all the art forms, dance is the most physical and as such, dancers carry their art form with them all the time, even when performing the most mundane tasks.

There is a poise about them, a certain refinement, and if their art is steeped in tradition, they become almost like mythical beings who do not seem to be a part of this modern, chaotic world.

This is especially true of Datin Azanin Ezane Ahmad, founder of Suasana Cultural Centre. For the past 30 years, Azanin has brought Malay traditional dance to the fore through a series of elaborate dance dramas that have enthralled audiences locally and abroad.

Azanin personifies the prima donna – minus the negative connotation and tantrum-throwing, of course. And it is a term she is not averse to, since she embodies the definition of the “leading lady”.

Over the years, Azanin has come to epitomise the many characters that she has brought to the stage. At times, she is the graceful Dayang Sari, on other occasions, you spot the coyness of Siti Dewi, and when in passionate discussion, you see the resolve of Tun Fatimah.

“When I go on stage, I feel for my characters,” she explains. “I live and breathe them.”

Indeed for Azanin, art and life have become one, as each of her productions seems to have a symbolic significance.

It was in 1978 that Suasana staged its first production, Dayang Sari, at Universiti Malaya’s Experimental Theatre. The dance drama revolves around the legend of a mythical princess who marries a mortal. Unable to bear him a child, she visits a lake that was said to grant women children.

“That in a way symbolised the birth of my productions spiritually,” she says.

She tells the story of the Malay bird Jentayu, and the production named after it eventually led to Suasana’s international debut in Berlin and London.

“The bird wanted to fly and so it did,” she says with a laugh.

Soon after came Puteri Sa’dong, the tale of a princess who embarks on a peace mission only to find, upon her return, that her husband had married another. When the production was shown on television in 1983, it became known as the “election stopper” as many chose to stay home and watch it rather than go out to vote in a by-election in Kelantan.

Since then there have been numerous productions – Seri Rama Siti Dewi which was staged in major cities in Japan, and Kunang Kunang Gunung Ledang, staged in Spain at the invitation of the Spanish ambassador.

Over time, the productions evolved and Azanin found herself assuming a warrior-like role in her later productions, staged in the late 1990s. Keris and Tun Fatimah were perhaps telling of how much harder it had become to fight for the preservation of traditional theatre.

“The economic mood was different and the corporate sector had changed. Individuals like the late Tan Sri Zain Azraai were no longer around. These were elder statesmen who were passionate about the development and preservation of the arts.”

Subsequently, Azanin opted for smaller productions. In 2001, she and her music ensemble performed at Womad in Johannesburg, South Africa.

“It was interesting for them because they experienced music through dance,” says Azanin.

Since then, the activities have quietened. Partly because Azanin was focusing on her daughter Shein Shanin, who is now an undergraduate at London’s School of Oriental and African Studies. Another reason is that Azanin has plans that go beyond performing. She is intent on taking Suasana to another level. So over the past few years, she has been building a cultural centre that will ensure Suasana’s existence well into the future.

“I have always wanted to do this,” she says. “Suasana must have a home and this will ensure that it carries on after me.”

Azanin viewed close to 30 plots of land before settling for one located at Hulu Langat, Selangor. Following numerous discussions and disagreements with her architect, she decided to conceptualise it on her own. While much of the design is influenced by her native Perak, it also incorporates elements from other parts of the country.

Located together with Laman Tari Azanin (Azanin Dance Garden), the main building houses a museum of performing arts which displays items from Azanin’s past performances, from costumes to musical instruments.

Adjacent to the main building is a patio which looks out to the stage where dance classes and performances are held.

The main building is a wooden structure with traditional Perak-style “umbrella” roof. The dance floor is an open area reminiscent of “old style” dance training.

Enhancing the ambience of the building is a lush garden that lends the place an air of tranquillity. The garden also reflects Azanin’s strong views on cultural preservation, and feature local flora like kenanga, melor, melati and cempaka.

The centre, located along Sungai Langat in Hulu Langat, aims to continue Suasana’s tradition of promoting the cultural heritage of the region. But it will no longer be only about staging productions. With the establishment of Laman Tari, Azanin plans to document the various aspects of her art form.

Chalets have been built to accommodate those who wish to research the cultural heritage of the region, as the complex will also serve as a resource centre.

“With the centre, Suasana moves into a different era,” says Azanin. “From now everything will be held here.”

Azanin’s plans for the centre include staging elaborate dance dramas, possibly some of her past productions as well as smaller ones featuring the mak yong, wayang kulit and dance performances of the ancient royal courts.

She also intends to start teaching again and organise summer camps for students during the school holidays.

Few have remained as committed to their chosen art as Azanin, but for her there was never any need to explore or experiment with different genres. “I have always been very clear about my interest and I have maintained that till now.”

Because of her unwavering devotion to her art, Azanin has an intolerance for those who do not get it right. During performances, Azanin observes all the details, from the angle of your hands to the colours of your costume.

“Some of the colours are so garish. The colour of the songket must go with the colour of the flora and fauna. If you use purple, for example, it should be the purple you see in mangosteens.”

Azanin studied Economics and Politics at Monash University in Melbourne. Her time there only served to reinforce her interest in dance. There she formed a friendship with another Malaysian dancer, Zamin Haroon, who later became the renowned Indian classical dancer, Dr Chandrabhanu. It was with him that she made her debut as a professional dancer in the production, Indera Putera.

It was also there that she met her husband, Datuk Dr Shaharil Talib, a former professor of History at Universiti Malaya, who was doing his PhD at the time.

Upon graduation, Azanin joined Bank Bumiputera, eventually heading its public affairs department. But she always knew that dance was her calling.

Dance to her is something spiritual. Till today, she practises the rituals of the ancient court dancers. That means rising at dawn and performing breathing exercises. This discipline was cultivated at an early age. She points to early influences by her great-grandmother.

“I was brought up with traditional songs and even as a baby, I was cradled in kain tenun, not the usual kain pelikat.”

Her great-grandmother’s influence was further cemented when Azanin, as a child, learnt dance under the exponents of mak yong and wayang kulit from Kelantan and Terengganu.

Despite the vast age gap, Azanin found a connection with these old gurus and musicians. It is a connection that is charged with energy, and it is this energy that spurs her on to this day.

Those interested in attending Suasana’s classical dance classes or auditioning to be a part of its productions can call 03-9021 6088 or e-mail suasanaculture@gmail.com