Five Elements Movement Trailer
Five Elements Movement is a performance concept developed since 2018. The understanding about our Material world characteristics shared by the two world's oldest religions in Asia (Buddhism & Hinduism) is not mere superstition nor monolithic worship.
This work is an introduction to the meditative and contemplative nature of these beliefs. Hopefully through this pandemic that we can realise the irreversible human impact on the material world, and hence offer our sincere apology and tribute.
Five Elements Movement
Pipa / Wind & Fire
Dancer / Fire
Dancer / Wind & Fire
Chin Yen Chien started learning Pipa at the age of 10. Cedric is actively involved in various Chinese Orchestras in Singapore with roles as the plucked-strings sectional instructor of People's Association Youth Chinese Orchestra and ex-chairman of Nanyang Khek Community Guild Chinese Orchestra. He travelled extensively as a pipa player to International festivals & events and performed with traditional Indian musicians. He is a pipa instructor to various schools in Singapore.
Arul Kumaran started Carnatic Music training at the age of 7. At Bhaskar’s Arts Academy he learnt to play the Mridangam under the guidance of the late Sri Santhosh Menon. He completed his first, solo debut performance in 2010 under the tutelage of Sri Harikrishnan. Arul believes that there is no end to music and seeks to explore more on this journey.
Brintha started off her dance journey at age of 4. She did her arangetram also known as dance debut at the age of 9 at Nanyang Academic of Fine Arts (NAFA) in 2007. She further explored under the tutelage of cultural medallion recipient late Smt Neila Satyalingam. She has performed at numerous cultural events at Community Clubs, Temples, and Organisations. In 2013, Brintha together with Sri Warisan represented Team Singapore in the International Folk Dance Festival in Jakarta.
Kalpana began her Bharathanatyam training at 13 years old, under the tutelage of Smt. Neila Sathyalingam (Apsaras Arts). In her 16 years of learning, instructing and performing, she has collaborated with many local and International arts groups. As a dance practitioner, her passion extends beyond just the aesthetics and performance aspects of dance; into its history, evolution and philosophical aspects.
Fu Yi Ren
Chinese Drum / Earth
Pipa / Earth
Recitalist / Wind
Dancer / Wind & Fire
Yang Fan has experience in performing, directing and teaching for more than 40 years, and a highly proficient instructor in drama and language training often commissioned by schools, cultural
organizations, and Television Singapore to serve as instructor of training classes.
Fu Yi Ren or Ah Foo, is an ardent drum-performing artist. With a diverse portfolio from stage managing, recording engineering, music arrangement, drum performing to coaching interest groups, Ah Foo keeps his spirit for the arts pristine yet down to earth.
Priyanggah Sivabalan has been learning Bharathanatyam (Indian Classical Dance) since the age of four. She completed her Arangetram at age 11 Priyanggah joined Apsaras Arts, in 2009 under the tutelage of renowned late Smt Neila Sathyalingam. She represented Singapore for the Jakarta International Folklore Festival in 2013.
Gildon Choo is a pipa performer, instructor and arts conceptualiser. He studied the pipa under Yan Yu at Nanyang Academy of Fine Arts and helped form the Nam Hwa Teochew Music Ensemble and founded Open Score Project. He was recently commissioned at by Esplanade for Huayi 2022 “Get in Touch”a theatrical music concert touching on the topic of mental wellness.
Tabla / Fire
Chinese Drum / Fire
Dancer / Fire
Dancer / Wind & Fire
Hem Kumar is a Tabla graduate from the Temple of Fine Arts International and has performed in numerous music programmes locally and overseas with both traditional and fusion infused musicians. As a performer and tabla teacher, he constantly explores various kind of percussion music forms.
Teiw Hsien Hean first started learning percussion at the young age of 10, from different teachers. He has accumulated fruitful experiences as a permanent and guest musician of many orchestras and had the opportunity to perform in festivals and events overseas. He is also the Percussion instructor for the Chinese Orchestra in various Schools.
Nandhini started learning dance at age 5 and have been trained under various institutions and gurus. She has represented Apsaras Arts, Tatva productions and other institutions, locally and on overseas stages, performing Bharathanatyam and fusion contemporary dance genres. At present she is learning in Geylang West Community Club to pursue the art professionally under Mdm Vijaya’s guidance and teaching of the proper techniques.
Ruby is a Professional Performing Artist with 12 years of experience in performing and teaching locally and internationally in the discipline of Bharathanatyam and other dance forms. She has attained her formal basic training in Kalakshetra Foundation and Apsaras Arts Ltd.
Fero Aldiansya Stefanus
Opening and Space Element
Arrangement Wind Element and Lotus on Fire
Music Arrangement (Wind Element, Lotus on Fire) & composer (Opening, Space Element) Fero Aldiansya Stefanus was born in Jakarta in 1988. Fero earned Bachelor of Music Degree in Music Composition from Universitas Pelita Harapan under guidance of Otto Sidhatra & Prof. Bernd Asmus. Recently, He learned European traditional composition for accordion in Haarlem, Netherlands.
At 11 years old, He started learning music formally in electone & music theory under the Australian Music Examination Board. He continued to learn brass instruments & ensemble conducting under the Canisius Wind Ensemble. Now He is a private music composition teacher & composer-in-residence for Teater Koma, Jakarta Concert Orchestra, The Resonanz Children Choir, & Batavia Madrigal Singers.
For information on works, please Google for "Fero Aldiansya Stefanus".
Dr. Ghanavenothan Retnam
Music Composer/ Improvisation lead/ Flautist
Wind and Fire Element
Five Elements Movement Lead Musician/Flautist Singaporean Indian Classical Musician Dr.Ghanavenothan Retnam has carved a niche for himself in the arts scene not only in Singapore but also internationally. He is the most sought after musician for solos as well as for orchestral performances including cross cultural collaborations. Son of Singapore’s pioneer musician, Sri R Retnam, he was tutored by Pandit M Ramalingam who nurtured the art of playing the Bansuri – Indian Flute. Besides vocal training, he had intense training under many stalwarts from North and South India. Singing, playing the Sitar and Harmonium renewed his skills in ‘folk music’.
He has numerous performances to his credit both as a soloist, accompanist, composer, arranger, conductor and music director. He has accompanied internationally renowned artistes such as Dr Balamuralikrishna, Unnikrishnan, O S Arun, Dr Padma Subramaniam, The Dananjayans, Sreelatha Vinod, Dr Chandrasekar, Anitha Ratnam and Lakshmi Govindasamy to name a few. As the first Singapore Indian artiste to be awarded Singapore's "Young Artist Award" for music, he holds other honorific titles : Sangeetha Kala Nipuna" - exponent in Indian Music, "Singai Venugana Visharada" - Singapore’s prominent flautist, “Mohana Murali“ - a beautiful musical flautist and “Sangeetha Kala Bushana” - an authority in Indian music.
He has received many awards, including a "Lifetime Achievement & Humanitarian Medallion" by the World Peace and Harmony Organization in New York. and serves in the various programming panels at the National Arts Council, People's Association and the National Youth Council. The most recent award conferred upon him is the Honouarable “Doctorate” for his contribution to Music and Excellence in Flute by The International Tamil University,USA.
Imee Ooi (FRSA)
Malaysian music producer, composer, arranger and vocalist.
Founder of IMM Musicworks in 1997, Imee Ooi has now released more than 50 albums of her own, and has produced countless musical works for Buddhist societies and organizations around the world.
A devout Buddhist, Imee’s serenely pure voice and unique sense of musical arrangements has established her own genre, spreading the sounds of Dharma through Sutras, Mantras, and free composition that has transcended religious barriers and touched different cultures and age groups. Her music has also travelled to Europe and Russia, US and Canada, Australia and Africa, soothing and calming many hearts.
Imee’s works have also been regarded as a significant milestone in the development of Buddhist music. With a wide range of composition sung in seven different languages, “The Chant of Metta”, “ Om Mani Padme Hum”, “The Great Compassion Mantra” , “ The Prajna Paramita Hrdaya Sutra ” are among some of Imee’s most praised works. The composer and musical director of the musicals “Siddhartha”, “Above Full Moon- Master Hong Yi’s Biography ”, “Jewel of Tibet- Princess Wen Cheng ” and “ The Perfect Circle”, Imee is also the recipient for the Best Original Music and Music Director awards in the 2009 and 2010 Boh Cameronian Arts Awards musical theatre category.
To spread The Dharma through music has become the life destiny of Imee Ooi.
Wind and Fire Element
Five Elements Dance Choreographer Vijaya Nadesan is the Principal and faculty member of Apsaras Art Academy and the Managing Director of D’vine Creationz which specialises in Arts Education programs for Schools. She started her formal training in Indian Classical Dance in 1987 under the tutelage of the most influential Guru cum a Cultural Medallion Recepient, Mrs Neila Sathyalingam. During her 25 years of dancing , she has also joined the People’s Association (1990-2000) and later became one of their senior dance member gaining experience in Multi Ethnic , Folk and Contemporary dance forms. Her Baratha Natyam Arangetram in 1999 has paved way to her active involvement in many dance productions of Apsaras Arts and People Association. With them, she has travelled to China, Australia, South Africa, Sri lanka, India and many more to promote Indian Dance and Singapore’s Multi Ethnic Dances. http://www.apsarasarts.com/on-re-discovering-the-deep-rootedness-of-dance/
Lee Swee Keong
Dance Choreographer / Performer
Artistic director of Kuala Lumpur BUTOH Festival ( 2008 - 2019) & Nyoba Kan Butoh. In the thirty years of immersive experience in the performance arts, Swee Keong has travelled widely around the globe with his art. Progressing from contemporary dance to ballet to a diverse range of traditional martial arts and different forms of physical training, especially in Qigong, Taichi, Butoh and Yoga, he developed Dhyana Dance, through delving further into buddhism.
Dhyana Dance is a combination of Qi and Quietude, that induces even the audience watching the performance, to heal together. In that same regard, he establishes Mindfulness theatre focusing on Meditative performance. By that wholesome mind in spirit and intention, he has created EARTH WOMB 地藏，MASQUE OF REVELATION, GREEN SNAKE, SPIRITS PLAY & etc.
Five Elements Movement Animator and Background Artist Nicholas Dobkin is a versed independent director of thought-provoking dramatic animations and films. His thesis film at the University of Southern California, a short animation called Pandora's Wake, explored the importance of knowledge and the inner self in an uncaring world through the lens of a science fiction parable, and screened at San Diego Comic Con in 2015. His feature-length documentary Touching Sound, which chronicled the life-long friendships which arose through an arcade video game which was abandoned by its developers, also screened at Comic Con and the premiere film festival at the San Francisco Game Developers Conference in 2018. Through fantasy and majesty, Nicholas seeks to create important stories, and realize beauty in a way that only animation can. HIs art emphasizes hand-crafted painterly qualities and dramatic tone. He is currently directing animation for a short film dramatizing the experiences of people of color in America.
Opening/ Wind Element
Lotus on fire and Space Element
Jesslyn Juniata is a Jakarta born and Indonesian-based producer, post-production engineer, synthesizer player, and singer-songwriter. She first broke out with her duo Jeslla in 2017, and is known for performing as an additional keyboardist for several Indonesian independent bands such as Goodnight Electric, Polka Wars, and Tanayu.
Involved in composing the film score for “Banda: The Dark Forgotten Trail” in 2017, she also one of Goethe Talents 2019, and was granted a short scholarship by Goethe Institute to visit Berlin, and performed at Pop-Kultur Nachwuchs, International Festival. Within the same year, she worked with Harsya Wahono for Goethe-Institut Indonesien's project, ALUR BUNYI. In 2020, she created her independent solo project inspired by mixtures of fantasies, science fiction, electronic music, noise, art-pop, and synthesizers, called LOTUS FROM JAKARTA.
Jessica Fedora Amadea
Jessica Fedora Amadea is an aspiring young Choir Director and Conductor in Indonesia. Currently directing several choirs in Indonesia with different age groups, Purwa Caraka Music Studio Children Choir, 78 Youth Choir, Paduan Suara Tara Salvia, Penabur Children Choir and Paduan Suara Svara Prasetya. With the Choirs, Jessica have actively participated and received numerous awards including Grand Prix Winner, Category Winner, Best Program and others in various International Choir Festivals and Competitions such as in Spain, China, Singapore, Malaysia, Thailand, Croatia, Czech and others.
In 2018, Jessica and Purwa Caraka Music Studio Children Choir was invited by the Distinguished Concerts International New York to perform Alberto Grau’s new composition world premiere “La Avispa Brava” at Stern Auditorium, Carnegie Hall, New York City which was conducted by Maria Guinand. The same year, they receive three awards, including best children album award at Anugerah Musik Indonesia (The Indonesian Music Award).
They were also honored to sing the Indonesian National Anthem at the Opening Ceremony of 2018 Asian Games, Jakarta. In 2019 they also perform Gustav Mahler – Symphony No.3 in D Minor with Jakarta City Philharmonic Orchestra at Jakarta Theater.
Chong Wai Lun
Lotus on Fire/ Space Element
Malaysian born Chong Wai Lun self-taught his way to a scholarship to pursue his Bachelor's Degree at the Yong Siew Toh Conservatory of Music in National University of Singapore. While in Singapore, Wai Lun found his passion for choral music. He later pursued his Master Degrees at the Kodaly Institute of Music in Hungary and also Royal Welsh College of Music & Drama in Wales. During which, he was also selected as an active participant of the Berlin Radio Choir Conducting Masterclass. Upon returning to Singapore, Wai Lun dedicates his time to school choirs in Singapore. He is currently an adjunct academic at Yong Siew Toh Conservatory of Music and Music Director of a community choir called Symphonia Choralis.
Ng Wei Chin
Concept, Editor, Director,
Writer, Translator, Creative Producer
Writer Water, Wind, Fire
Music/lyrics Lotus on Fire
Lyrics Space Element
TVQS Creative Director Ng, Wei Chin is the Founder & Exe.Director of The Very Quiet Studio Ltd. She is a Singaporean who received MFA in 2003 from University of Southern California Cinema-TV Productions & M.Eng & B. Eng Chemical Engineering at National University of Singapore in 1999 & 1995 respectively. Staying creative & inquisitive since young, she continues to pursue how creative endeavours & arts play an effective role in our mental well being, as it does for humanity integration above pleasures or vanity. Her other work is Light Carriage Productions with independent work projects.
The Very Quiet Studio TVQS is founded from that admiration to greater minds in arts, philosophies, science and humanity, and of the treasures asians inherently possessed but have been forgotten or made way for rigid systems. TVQS shall continue to transcend diversities, build the bridge of artistic expressions of different cultures, and create for all ages, in all ages.
Five Elements Movement is a performance concept that she developed since 2018. The understanding about our Material world characteristics shared by the two world's oldest religions in Asia is not superstition nor monolithic worship. Our human impact to our Material world is a direct reflection of our inner well being, either with respect, interest or disregard.
Helen Ing Chew Tieng
In 2018, when Wei Qun invited me to help her in the TVQS events, I know I have to say YES and I have no regrets!
A Malaysian and set her path in Singapore since 12 years old; she is constantly keeping a curious and open mind in all areas. Holding a Bachelor Degree in Marketing and Management, she continued to pursue in the fields that she has no experience, for instance procurement in hotel industry, building maintenance, township
management, events management etc. You will see her face in most of the TVQS events; liaising with people, overseeing logistic issues, mingling with audiences etc.
“Always walk through life as if you have something new to learn and you will.” — Vernon Howard
FIVE ELEMENTS MOVEMENT
“Five Elements Movement – Healing Art” is a creative movement to reveal the potential harmonious resonance across cultural art forms, to build sound resilience and promote mental well-being within self and society.
“Four Elements Movement” received warm feedback from the audience upon its debut at Singapore Tan Tock Seng Hospital in March 2018. It evokes our understanding towards heritage art, cultural harmony, state of mind and public health, and explores the integration between medicine, psychology, and the arts, a topic that has seen growing interest in Western research circles in the recent decade.
The concept of 4 Elements Movement began with original poems that were written for each element, and conceptualized in line with the Older But Wiser Project initiated by The Very Quiet Studio Ltd.
Synergizing Chinese and Indian ancient philosophies, beliefs and aspirations, the creation of “Five Elements Movement – Healing Art” is itself a resilience building process that translates insights of the collaborators into an expression about natural occurrences that are essential to our existence. The Five Elements – Earth, Water, Fire and Wind, and Space – occur in all material states. It is in their balance, that we maintain health, internally and externally.
By balancing our minds, we are able to transcend zeal, feverish passions or grandiose folly. Energy comes only through transformation, not by burning internally with minds of ill-will and destruction.
Expressed through music and dance, the Five Elements Movement conveys the wisdom of the 5 Elements through rhythm, movement, and sound.
The classical Bharatanatyam dance form and equally classic raga music tradition both impose exacting constraints on form while offering extensive improvisatory freedom, mirroring the universal nature of the Five Elements, as well as the power of the individual to effect or affect their balance.
古典印度 Bharatantyam舞蹈形式 以及同样经典的Raga拉格音乐传统，显示亚洲文化传承除于约束化的格式以外，早已涵盖独特自由度兼即兴创作空间的性质。其艺术特质对照自然界四大五界自有其不可驾驭的定律，然而，还有个人力量足以影响或促成自然之平衡, 与之相生相克。
新加坡人的心灵建构 与精神健康 － 运用创意表演结合亚洲古文明智慧、印度拉格古典旋律和舞蹈，进行艺术心灵疗愈。
“《四界进行曲》－心灵疗愈艺术” 是一个结合诗文、音乐、舞蹈的创作，旨在发掘不同文化艺术形式在和谐共鸣中产生的潜力 以达成建设心灵、整合身心健康立身处世。
Earth Element is a musical exposition on the physical characteristics of the earth element: hard rough heavy, soft smooth light, with each musician improvising on the rhythms and melodies of the raga.
An original work based on Carnatic raga ChalaNattai (Southern Indian music form) that brings about Earthly tone of ethnic instruments, with mix of Hindustani raga Jog (Northern Indian music form ) component. A play of Indian and Chinese cultural rhythmic confluences, culminating to a dynamic crescendo.
Earth Element is expressed solely through music, the life giving force of arts which helps make this life of chaos and yet of beauty, acceptable.
原创曲结合南印度古典音律ChalaNattai 和北印度古典音律 Jog。 运用传统民族乐器的“地质”感，交织成此起彼伏的中印文化旋律， 进入律动渐强的音乐交汇高潮。
Water Element is based on a short poem about our consciousness: “One Heart and Mind”, interpreted through the personifications of water in 4 stages: Rippling water (youth), running water (adult), still water (contemplation) and stale water (stagnancy). In ancient Asian religions, water is a metaphor for purification, an offering of virtue. In understanding our state of consciousness, we are able to 'stop' or 'flow' with our thoughtfulness. A thought grows in influence – hence as we mind our state of mind, we learn to act right too. Even a ripple can become a tsunami, one day.
In accordance with the Chinese philosopher老子 Laozi's famous words “上善若水” -- the highest good is like water, pervasive, equanimous and untainted -- the “Five Elements movement” is a continuous exercise in the constant process of self cultivation, to bring about our greater well being.
中国哲学家老子有一句名言－“上善若水” － 意思是最高层次的善，犹如水一样一视同仁地滋润万物、平等而纯净。《五界进行曲》就是一场不间断的自我锻炼：自我提升、净化，就是建立幸福的过程。
One Heart and Mind (Water Element)
Know the sails receding
The waves abiding
See the ships launching
The tides bidding
For the seekers, a harbour is not the end.
No labour in truths,
shall they be bequeathed
A shore for my beloved to find anchor
A lighthouse, a respite.
What boulders we entrenched our hearts?
Puddling round and about stale rocks
Scour for hard reflection yet
Never by our own illuminationThe ocean breath a warm exhale
A ripple at the other land
At the turn of this century, the world continuously was struck with man made calamities, some leading to natural disasters and some leading to hatred and grief.
“Lotus on Fire” is about the hatred in the hearts of men, spilling rage and unrest across borders, social media, and families. The heat that used to warm and comfort, has now set the forest on fire. Everyone is scurrying away, trampling on all in the way, quarreling and lamenting.
Yet unbeknownst to the forest dwellers, a woodcutter had started laying down a bridge during earlier, happier times. In realizing the extent of the fire, the animals are led to safer land by the woodcutter over the bridge. The rain arrives, pouring over the sea of fire, quenching the slashing tongues of flames and appeasing the tired and the distressed.
Heat, Fire, Energy are formed through the transformation of material states – heat is released when our mind falls to a lower state, but why not the opposite: raise our mind to a higher state, and thus gain a good, clean quantum of energy.
In the same way, we may see a message of hope as much as we see a warning: Nature will respond in the way she is treated.
Once upon a time
there is a house by the lake.
A young person lives in this house by the lake.
By the other side of the bank, there is a forest..
The house is alive in the day but quiet after the sunset.
The forest wakes up in the night but sleeps in the morning.
The forest bathes in warm sunshine
The earth embraces and nurtures seedlings in the soil
The warmth of life surrounds the forest.
The breathing of the forest spreads all around and everywhere.
The young person likes to stroll in the forest, knowing the trees, roots and all.
All the buds blossom at the touch of the rays
Smiling in grace brightening a looming forest
The forest is full of living splendour, surprises and awe
Some days the peacock struts around displaying its opulence
The owls hoot in the evening and the deer come by the house.
Other days the elephants will give birth near the lake
The bees flourish with the pollens
The animals carry the seeds and grow with the forest.
The young person knows them all
Small or large, feathered or scaly, spotted or horned
One day, a fire broke out in the forest...
All the animals run but could not get out.
The trees catch fire and the fledglings cannot fly
The bushes are on fire and four legged cannot hide
The land is on fire and elephants run wild.
The young person sees them all on fire
Running blindly panicking and trampling.
The families separated and screaming.
The flames lick everyone alike
Engulfing the skies and leaping onto plains
The warmth of fire becomes scorching pain
The once delightful sparks teased into an inferno
The ring of fire keeps all within but spares no one who tries to leave.
The young person living by the lake watches the holocaust from the other side of the lake.
He called out to his friends and bade them to follow
The house and the forest are connected by a narrow but long bridge.
He ushered the leopard, crawlers, squirrels and the bears
One by one they heeded his call
The animals came to his bridge and marched across to the other shore.
The deer abandoned their fears,
the peacock dropped its pride
The elephant was too angry to heed the young person's advice but finally conceded and swam ashore.
No one trampled nor damaged the bridge that they had never noticed
The bridge does not see night nor day, nor man nor woman, young or old, poor or rich, human or animal.
Anyone can cross the bridge at any time.
The burning of the heat turns all into cold feet
For what was nurturing to life becomes a threat to it.
The embracing arms splinter into piercing and fiery tonguesThe wavering seduction of light and warmth
Scattered in shambles, wild and butcheredA lush lively forest swallowed by its inextinguishable passion.
Strive to the higher mental states
Purify your mind
See the lotus in the fire
火里莲 Lotus on Fire
Wind Element is based on the poem “Wind”, originally composed in Chinese, translated first into English and then to Tamil. In essence, all life forms pass and go, like a gust of wind.
Life happens and life goes on. The wind stops for no one, formless and taintless.
But the question for us all is: “Where are you going?” It is in our understanding of our own present, that we are able to determine our own course. By the time of our last breath, we shall depart. Without the 'pushing and lifting' of the breath, none of us shall be able to walk nor even dance. Yet despite all its importance and strength, no one ever notice until it departs.
但大家都应该问自己：你要上哪里去？而我们只有理解了当前的自己才能决定自己往何处去。在吐出最后一口气之后，我们就得离开 。如果没有风 -- 气息-- 的“推动和支持”，我们路都走不了，更别说跳舞了。可是如此关键的“风“，却只有在离去之时才受到重视。
1) இந்த நடனமணியின் ஆனந்தம் எப்போதும் மங்காதது
இசை சுவரங்களுடன் லயம் இணைந்தாற்போல்
நடனமாடுவோருக்கு தொடர்ச்சி, திரும்புதல், தேடல் தேவை
அதனால் தான் அவரும் தொடர்ந்து ஆடுகிறார்.
2) வந்தார், அடுத்துத்தடுத்து மூச்சிழுத்தார்
இலைகளுக்குத் தெரியக் கூடாது
ஆனால், இந்த ஒரு மூச்சு
கானகம் முழுவதையும் கிழித்தது
மேலுலகையும் பூவுலககையும் சூழ்ந்தது
கவனம் ஈர்க்காமல் விலகினார்
இருந்தும் நடுக்கத்துடன் உதிரட்டும் மலர்கள்
கொட்டட்டும் தங்கள் குமுறல்களை தரையில்
3) வந்தார், அடுத்துத்தடுத்து அலைகள் மீதேறி
நீரின் அந்த நடனமும் அவரது இயக்கமே
ஏனெனில், சிக்கெனப்பிடிக்கும் மைய அச்சு
4) எல்லோரும் காணும் அவருக்கு நிலையான உரு இல்லை
அவரது அசைவுகளே அவரது இருப்பாக அனைவரும் காண்கின்றனர்
நடுங்கும் நிழல்களில் மட்டுமே அவர் ஒளிந்து கொள்வார்
அசையாது இருந்தால் அவர் வேறெங்கோ ஒளிவார்
5) அதுபோன்ற நேரங்களில்
செங்குருதி நடனமணியை ஆட அழைக்கும்
ஆனால், அது யாருடைய தயவையும் முன்னிறுத்துமா?
கால்ங்கள் தோறும் யாருக்காகவும் எப்போதுமே அவர் நின்றதில்லை
ஆனால், பிறருக்கான கெஞ்சல் தவறா?
அதுவும் அவர் நிறுத்துவாரானால்
ஒருவேளை அவர் உண்மையாகவே
6) நடனமணி ஆடியபடி இருக்க வேண்டும்
காற்றோ சுழன்றடித்தபடி நகர வேண்டும்
எப்போதுமே மறைந்து விடுவார்
பிறகு அவரது மறைவுக்கு அனைவரும் துயருறுருவர்
திரும்பிப் பார்த்து வருகிறேன் என்று
அவர் என்றைக்குமே விடைபெற்றதில்லை
அவர் தானே உங்களுடைய மாலுமி
காற்றில்லாவிட்டால் யார் பின்னால் செல்வீர்கள்?
7) வருவதும் போவதும், இணைவதும் பிரிவதும்
காற்று எந்தச் சுவடையும் விடுவதில்லை
ஆதிகாலந்தொட்டே தூர தேசங்களிலிருந்து
எண்ணற்ற கலன்களை அனுப்பினார் அவர்
இருந்தும் வரலாறு அவரது முயற்சிகளை சொல்வதில்லை
ஏனெனில் காற்று எந்தச் சுவடையும் விட்டுச் செல்வதில்லை
8) ஒருவேளை அவர் உண்மையாகவே
காற்று தானா? இல்லையா?
9) அவர் உண்மையாகவே திரும்புவதே
மீண்டும் வரும் உறுதியில் தானல்லவா?
ஏனெனில், இலகுவாக நடனமணி அசைவதே கூட
அவர் விட்டுக் கொடுத்ததனால் அன்றோ
எமது வாழ்க்கை இழைகளைப் பற்றி இழுக்கட்டும் அவர்
நாம் சந்திப்போமா இல்லையா என்ற ஐயங்களை மறந்து
by Jayanthi Sankar (ஜெயந்தி சங்கர்) 13 Jan 2018
他自远古开始 支持帆船 远行出征
25 April 2017
The Wind Element
1) The dancer's joy is never faintly put
Just as musical notes need rhythm
Dancers need extension, reversion,
exploration and heart
So does he...
2) He came, in one breath after another
The leaves weren’t supposed to know
But this one breath
Rippled through the entire forest
Engulfing heaven and earth
So he left surreptitiously
Yet trembling, let the blossoms fall
To pour their hearts out to the ground
3) He came, on one wave after another
That great surge of `water was said to be
his doing too
For the clenching at the axis
Must make waves
And only when driven by him, can the
bellowing take shape
4) Everyone has seen him but he has no fixed forms
Where he goes is known only from his movements
How he holds himself only under tremulous shadows
And when all falls still, he is hidden elsewhere
5) Such times that summon the red-blooded to dance
but does it call forth any person's benevolence ?
Through all time he has stopped for no-one
But is it wrong to press on for others?
And were he to stop
Then is he truly
The Wind, or not?
6) Dancers must keep dancing, the wind must keep moving
At times he plays among delicate nooks,
At times he soothes the breath, delighting the meditator
At times he disappears
And all gather to mourn his departure
He never turns back to say he will return
For he is your Captain
If not the wind, who will you follow?
7) Coming and going, meeting and parting,
the wind leaves no trace
Since time immemorial he has sent countless
ships to distant lands, on hopeful missions
Yet history makes no mention of his efforts
For the wind leaves no mark.
8) or else Is he truly
The Wind or not?
9) And when he does turn around
Is it not in forbearance that he returns?
For don’t dancers move lightly only because
they’ve let go
And so let him tug at the strings of our lives,
fearing not whether we meet or part.
~ Translated by AP Tham Shiao Wei 26 April 2017
1) Kegembiraan sang penari tidak pernah melemahkan.
Sama seperti nota-nota musik memerlukan alunan dan rentak.
Sang penari memerlukan penambahan, pembalikan dan penjelajahan, serta hati.
Tidak terkecuali dia….
2) Ia datang, dalam satu pernafasan bersilih ganti.
Dedaunan tidak seharusnya tahu.
Namun pernafasan yang satu ini,
Membelai menyusup ke seluruh hutan.
Menelan syurga dan bumi.
Ia pun meninggalkannya secara senyap.
Namun gegaran, membiarkan sang kembang berguguran.
Mencurahi hati meliputi dataran.
3) Ia datang dalam satu gelombang bersilih ganti.
Terpaan air yang dasyat itu juga dikatakan atas perbuatannya juga
Atas menggenggam pada satu paksi
Harus melakukan gelombang.
Dan hanya didorong olehnya, dapatkah ngauman terbentuk.
4) Setiap orang telah melihatnya namun ia tidak mempunyai bentuk yg kekal (tepat).
Mana sahaja ia pergi, ia hanya dikenali menerusi pergerakannya.
Bagaimana ia menakluki dirinya dalam germesik (gementar) bayangan.
Dan bila semua gugur kaku, ia bersembunyi di tempat yang lain.
5) Ada ketika seruan yang begitu bersemangat untuk menari, tapi adakah ia membawa kebaikan untuk sesiapa.
Menerusi setiap masa ia tidak pernah berhenti untuk sesiapa.
Tetapi adakah ia salah untuk menekan yang lain?
Dan jika tidak berhenti.
Adakah dia benar, Sang Angin, atau bukan?
6) Sang penari harus terus menari, dan angin harus terus bergerak
Ada kalanya, dia bermain, membuat musik.
Dan ada kalanya, dia membawa ketenangan.
Ada kalanya, dia menghilangkan diri.
Dan semua akan muncul untuk berkabung atas pemergiannya
Dia tidak pernah berpaling untuk berkata yang ia akan kembali.
Kerana ia adalah Kapten kamu
Kalau bukan Sang Angin, siapa yang akan kamu ikuti?
7) Dalam kemunculannya dan pemergiannya, pertemuan dan permisahan, Sang Angin tidak pernah meninggalkan sebarang kesan.
Sejak masa lampau, Ia telah menghantar pelbagai kapal ke dataran yang jauh demi pengharapan.
Namun, sejarah tidak pernah menyebut usahanya.
Kerana Sang Angin tidak meninggalkan sebarang tanda.
8) Kalau begitu, adakah dia benar-benar Sang Angin atau tidak?
9) Dan apabila dia berpaling arah.
Ia tidak kembali dengan penuh kesabaran?
Malah sang penari sendiri bergerak dengan lembut kerana mereka sudah redha.
Jadi biarlah ia bergelut pada tali kehidupan kita. tidak perlu kita risau, jika kita bertemu atau berpisah
by Mokther HJ Hashim June 2019