Azizan (left) and Nazri of Tagaps want more youngsters to learn about traditional dances. — LOW LAY PHON/The Star
Being a male traditional dancer can prove to be quite a challenge, especially if you’re looking to build a professional career out of it.
Sabahan dancer Nazri Adam, who has been performing for more than 15 years, hopes to reshape people’s perception of professional male dancers in the industry.
When he first started to show an interest in dancing, a lot of people had discouraged him from doing it, telling him that it will make him effeminate as it was considered “unmanly”.
“My chosen path was definitely not smooth sailing. There’s still a negative label on men pursuing a career in the performing arts in Malaysia, particularly in traditional dances. Male dancers are often regarded by local society as ‘unmasculine’,” said Nazri, 27.
Although the stigma is still present nowadays, Nazri takes it as a driver to keep pushing himself forward and further, and to show others the need to embrace our cultural heritage.
Nazri is part of Tagaps Dance Theatre, an independent dance company in Sabah that was founded by another male dancer, Azizan Danial, in 2018.
Azizan, 29, is also a choreographer who’s working towards drawing the younger generation to learn about the traditional dances of Sabah, as well as other cultures in Malaysia.
He embarked on his dancing journey when he was just nine, and has participated in many competitions over the years. He has won several awards and competitions, including at the Dance World Cup events in London (2013), Romania (2015) and Spain (2017).
Dance, dance, revolution: Tagaps was crowned champion at the 2019 Sabah International Folklore Festival. — AZIZAN DANIAL
Azizan originally started Tagaps with his friends in secondary school, but they “abandoned” it after leaving school. Two years later, he decided to revive it, and that’s when things started falling into place for him.
He formed a few teams of dancers within the company, and each one brought home numerous awards from dance competitions around the world. Their outstanding achievements have helped Tagaps to establish a presence not just in their community, but throughout the nation too.
Nazri’s dancing story began when he was a teenager, where he would hone his skills in contemporary dancing. He said that it was Azizan who inspired him to learn more about traditional dances.
“I did a lot of breakdancing back in secondary school, and the skill came in handy when I met Azizan,” said Nazri, who is a full-time dancer with Tagaps.
“Training with Azizan not only brought out my creative side, it helped to fine-tune my skills too. And having danced on international stages, I’m motivated to persevere,” said Nazri, who took part in his first international dance competition 11 years ago in Austria.
He added that dancing is not just a source of income for him, but it is also a big part of his life.
Team Juh Battle is one of the teams in the Tagaps dance company. — AZIZAN DANIAL
Azizan however, feels that the pandemic has changed the way people perceive professional dancing. “Many people are reluctant to take up dancing as a career as they are not confident that it’s financially sustainable,” he shared.
Nazri added that with the current economic climate, not many will choose to stay in the performing arts scene.
“As Tagaps is a self-funded group, we rely a lot on sponsorships, and winning competitions. But joining competitions would also require money, as we usually have to travel,” said Nazri. When the group won the chance to compete in Europe some time ago, Nazri and Azizan had to find ways to ensure they had enough money to cover their expenses during the trip.
“I worked at a veterinary clinic to get more funds for the group while Azizan and others in the team took up odd jobs,” Nazri explained.
After not being able to join competitions for nearly three years due to the pandemic, Tagaps will finally hit the stage again in September, competing in Labuan.
The team came in third at the Borneo Arts Festival in Labuan last year. — AZIZAN DANIAL
Although the spend most of their time training, Azizan gives free dance lessons to primary school kids in remote villages and areas around Sabah, just so that they can learn a skill that’s not part of their formal education.
“I teach in rural schools as a way to contribute to the community. Most of the kids that live on the outskirts have little to no access to basic necessities. They are deprived of even water and electricity, what more a chance to dance.
“I want to use this opportunity to spread my knowledge of Sabah’s musical heritage to preserve it,” he shared.
Azizan’s studio frequently receives students who are interested in learning these dances. “The interest in learning about our roots is growing as more young ones are curious.”His dance choreographies integrate the old and new, and blend Sabah’s many folk dances with today’s contemporary styles, including hip-hop. Azizan said he does this because it somehow garners more attention from people. “I combine different genres to inspire the young generation, and to give the dances a new lease of life,” he concluded.
