Men’s Folio sits down with Norhaizad Adam and DUDE.SG, one of the three artist-AR-creator duos involved in Meta’s Art Reimagined Exhibition to talk about the traditional arts, the future of AR and what happens when both intersect.
In today’s extensively connected information generation, negotiating a distinct personal identity is becoming more and more difficult. Not only are we shrouded by the collective control of AI suggestions on social media, the upkeep of the cultural roots that ground us are becoming increasingly degenerate as more of the world looks forward, as opposed to back.
Understandably, that is how progress works. Novelty can only be found when we embrace the unknown future. But distance can only be sensed when there is an anchoring point of comparison. Hence, tradition, and more importantly the traditional arts that encapsulates a community’s shared experiences, is something we must actively engage in to preserve the cultural currency that distinguishes us from the rest of the world, and even within our own multicultural society.
Norhaizad Adam, Dance Artist; Senior Minister of State Tan Kiat How; Kumari Nahappan, Artist & Sculptor; Goh Beng Kwan, Painter. Photo credit: Meta
One of the notable projects that aims to do so is Meta’s Art Reimagined, an initiative that took place locally earlier in November that empowers traditional artists to break down physical boundaries by inviting augmented reality (AR) technology into the conversation — letting their art be experienced in a whole new way. We chat with one of the three artist-and-AR-creator duos, traditional Malay dancer and choreographer Norhaizad Adam and AR artist DUDE.SG, about their collaboration, this new intersection of heritage and AR, as well as what this relationship could mean for the future of traditional art and the digital creative space.
Norhaizad Adam
In 10 or less words, what do you do for a living?
I create performances using Malay traditional dance with contemporary sensibilities.
You are a dancer trained in Malay folk dance. What led you to develop a practice that transforms the Malay folk form into a medium to explore issues like morality and behaviorism in Malay culture?
Reflecting on my lived experiences, I’ve observed that Malay is often understood as a racial grouping. This creates a false perception that Malays only have one cultural identity. In reality, there are diverse factions in the Malay archipelago, such as Bugis, Javanese, Bawean etc., and this results in differing customs and social identities. In my artistic practice, I am always curious to see if dance and performance can shape a discourse about being a Singaporean Malay today. I am interested in exploring the complex and contemporary issues related to cultural lineages, rituals and habits that have sustained, or were lost through time.
How has this changed your understanding of the Malay or minority identity in Singaporean culture and in the arts community here?
I am more mindful of different privileges that one has as a Singaporean. And as a choreographer, I believe it’s important to encourage critical discourse through performances. This can be done by reimagining the Malay cultural systems. Art promotes connections, and it’s crucial to harness these connections by updating and reminding each other about humanity.
What is a typical choreographic process for you like?
I begin my choreographic process with research on a subject matter that I am interested in. This involves gathering data and embodying it through movement experiments. Next, this involves a non-linear distillation of the choreography of what is necessary to be performed. The work and its purpose will influence the planning of workout and rehearsal sessions. For me,It’s important not to over-choreograph as my dance methodology usually evolves from structured improvisation.
Photo credit: Meta
How did that change while working with AR creator DUDE.SG?
In this collaboration, I’m extending the life of my work titled ‘Longgok’ which was first conceptualised in 2018 and inspired by Malay superstitions. I wanted to highlight the rigour and vocabulary of Zapin footwork in the movement score. By using AR, users are encouraged to engage with the filters and learn the footwork.
In the choreographic process, as I value the conversations and active negotiations with my collaborators, DUDE.SG generously shared ideas of mapping digital possibilities with performance.This has helped me learn about the visual considerations and design planning of AR creators and how they have a clear artistic process as well.
With the access to AR/VR in this collaboration, what was something you wanted to highlight in your practice or in your continual exploration of the Malay identity this time that you might not have considered otherwise?
Through AR technologies, my artistic work is able to access new digital audiences, allowing even more people the chance to experience this form of traditional art in different ways.
The last two years of the pandemic have significantly impacted our arts and culture scene. Through this project, more people will be able to appreciate the history and wisdom of Malay culture and dance, wherever they are in the world.
In your opinion, should more traditional art forms also be more open and accepting to these kinds of multimedia collaborations? Why or why not?
It really depends on the artistic purpose and relevance of the multimedia collaboration. In this multimedia collaboration, I really valued being part of Art Reimagined Singapore as it aligns with my philosophy of reimagining how traditional arts intersect pervasively with our everyday routines and habits. By crossing physical boundaries, it gives more people the opportunity to experience their art through emerging technologies – such as AR and VR.
DUDE.sg
In 10 or less words, what do you do for a living?
I create interactive and innovative experiences through art and tech.
What led you to VR and AR? How was working with a traditional art form for this project?
I went into VR first making my first VR game on mobile phones that you slot into those plastic VR contraptions. I first started experimenting with AR when the Singapore Tourism Board and Chan Hori commissioned me to create AR out of my old photography artworks.
Working with a traditional art form isn’t alien for me because I’m fine arts trained – my work usually has influence from various art forms including the traditional.
How does it change your usual creation process?
My usual creation process is way quicker, diving straight into development and producing work within the week. For Art Reimagined, even though we had a fixed timeline, I felt it important to take our time, and for me to get to know Norhaizad and his work. It’s always a bit trickier when working on a traditional art form that is from a culture that isn’t my own, we have to be respectful in ensuring that the story is told accurately, and not in a way that becomes patronizing. Norhaizad was really open to all our ideas, and it was a great experience working together and seeing our ideas and collaboration come to life through technology.
What was the most surprising thing you learned about dance through this project?
The Malay dance step titi Batang is inspired by people walking on logs.
Do you think there will be room for more collaborations of this nature for DUDE.sg?
Of course!
What do you think is the best thing VR and AR can do for the traditional arts? Any upcoming projects we can look forward to?
Some traditional arts are not widely accessible because less people are practicing it today. With VR and AR it can be introduced to more people and perhaps preserve it in a more immersive experience – in the case of Art Reimagined, it can bring an art exhibition right into your living room!
With new trends coming up everyday in this fast evolving world, VR and AR can breathe life into these art forms to pique the interest of young people of this generation.
Take part in the Longgok AR experience and all the other artists’ Instagram AR contributions here. Once you’re done with this story, click here to catch up with our December/January 2023 issue.
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