Malaysia - The dragon cometh

TWO majestic creatures, all scales and fangs, swirl into the sky in a ferocious battle of strength and wits.

Both are after the dragon pearl - an iridescent orb that dances just out of reach from their snapping jaws. Egging them on are the piercing glares of seven other beasts, slithering to a standstill amidst the clouds.

The scene, a cacophony of multi-hued serpentine bodies, bulging ruby-red eyeballs and lion-like heads, is a snapshot of a nine-dragon traditional dance choreographed by the Khuan Loke Dragon and Lion Dance Association in Selangor.

In ancient times, dragons were revered as the governors of rainfall. Legend has it that the dragon dance was first performed to appease the "dragon king" into releasing rain during a time of drought-triggered famine. While the exact date of its origins cannot be determined, some believe that the dance begun as part of the agricultural advancement in China during the Han Dynasty (206 BC-220 AD).

Dragons soon came to signify imperial authority, and were known as harbingers of power, goodness, wisdom, fertility, vigilance and dignity. The dragon dance is now a long-running tradition that reinforces the ethnic identity of the Chinese, who regard themselves to be "descendants of the dragon".

However, it is not uncommon for one to mistake a lion dance for a dragon dance, since both performances are believed to bring good luck and ward off evil spirits. But that's where the similarities end.

If you're witnessing a dragon dance for the first time, the experience may be a tad perplexing. The dragon, held up by poles, gives the audience a clear view of the dancers in motion. What ensues is a group of people hurrying, one after another, swinging their arms about in synchronised discord.

To an untrained eye, each dancer will seem like he's in a world of his own - stepping to the left when another steps to the right or twirling the pole upwards instead of downwards.

But that's all part and parcel of "puppeteering" a dragon, says Khuan Loke chief instructor and deputy president, Albert Fong, 37.

Fong is a 20-year lion dance veteran. In 2001, he co-founded the association's dragon and lion dance division with his father, Fong Ting Low. Since then, he has been developing the dragon dance into a state-recognised sport, catering to youths who crave for a fresh perspective on traditional performances.

"Unlike the lion dance where you only need two people, the dragon dance requires the teamwork of nine dancers. Everyone has a specific role to play," he explains.

The length of the dragon's body is usually about 21.3m, but can be adjusted to accommodate the number of dancers in a troupe, which can sometimes be reduced to seven, five or even three, as Khuan Loke has done for its nine-dragon showcase.

The ensemble usually travels in a group of 15, which consists of one dancer each to play the "dragon pearl" and the "dragon head", eight dancers responsible for animating the dragon's body and a five-man instrumental band.

For technical purposes, members of the dancing troupe should ideally be of the same size and height, though different roles call for different abilities. The dragon "head" is often the leader of the pack.

"He must have a very good memory. The dragon head is like the pilot of a plane. If he forgets what his next move is, the plane is doomed to crash," Fong observes.

The second-line dancer, he adds, is just as important.

"He needs to be strong enough to help pull and swing the dragon head in the right direction. If his efforts are weak, the dragon will exhibit a slow, feeble demeanour," he adds.

Dancers Number Three and onwards need to be light on their feet - sprinting, kneeling and jumping is an essential part of the performance, which usually lasts for about eight minutes. Nevertheless, one doesn't need to be a kungfu expert to be a part of the troupe. This, according to Fong, comes as a relief to parents who aren't too comfortable about letting their children join a stilt-prancing lion dance troupe.

"To them, the dragon dance is less dangerous," he says.

Perhaps due to this, Khuan Loke has dancers as young as 12 and has even attracted female participants to its cause.

Synchronised discord

Performers start off by mastering the instruments that produce the music accompanying the dance.

"Every performer, no matter what role they take on later, must know how to play the drum as well as two different-sized pairs of cymbals and gongs. When they get the beat of the music, they'll get the moves of the dance," says Fong.

But that's easier said than done, of course. Learning the moves is but one small part of the challenge.

"The moves can be learnt easily. It's the dance that's hard to master simply because you need everyone's co-operation to make things work. What happens when one dancer can't make it for training? Well, the session just won't happen. That's one of the biggest challenges that we face," Fong reveals.

Dragon dance troupes run a tight ship. The dancers, having to move in a Mexican wave-like fashion, go by a buddy system to help them gauge what and when their next move should be. Taking one person out of the equation will certainly change the troupe's entire gameplay.

"Music can also influence the dance. Powerful drum beats can serve as a morale boost for the team, acting as a cue for the dancers to go faster. Traditionally, though, the drummer depends on the dragon for rhythmic direction," says Fong.

Still, mistakes happen, and when they crop up during a performance, it is the dragon, not the dancers, that end up in a tangle of sorts.

"In order to put on a very good show, you need everyone to be in a synchronised mood. If one or two dancers aren't giving their 100%, that's when problems occur and we have to launch into damage control," Fong explains.

Not surprisingly, one of the first things the troupe has to learn is how to untangle the dragon, which, if carried out sinuously, will blend seamlessly and seem like a part of the act.

In the opinion of Eugene Ng, founder of the Sheng Wai Dragon and Lion Dance group in Kuala Lumpur, many still disregard the intricacies inherent in a dragon dance troupe.

"This is the year of the dragon, yet people are still more inclined towards choosing the lion dance over the dragon dance. I guess lions are generally friendlier and are made to interact with the audience. Dragons, on the other hand, can't exactly hand out Mandarin oranges, or play with the kids. They can only go about their own business, and some may regard this as too 'cold' for their liking," says Ng, 26.

Involvement in the sport comes with sacrifices, as internal auditor Donovan Quek, 24, came to realise when he joined the Khuan Loke dragon dance troupe in 2008.

"Training takes up a lot of time. We don't only meet up during festive celebrations to practise, since we get requests to perform all year round. Practice is usually three times a week after work, from 8pm to 10pm," he says.

During the busier seasons, the troupe gathers on a daily basis. This, Quek says, requires him to give up sleep.

"Both my arms would be hurting in the morning, but I'm OK with that. At the end of the day, it boils down to a love for the art, and a love for wanting to put on a good show for the benefit of the audience. For dragon dances, you can never 'over-practise'. You might be good at what you do, but you need everyone else to be good at it too. Practising together is the best way to achieve that."

Khuan Loke's Fong says: "Sure, the lion dance may seem to require more skills and abilities. But it is the dragon dance that is so much harder to plan for."

And this is precisely what makes it so much more intriguing and exciting to watch.

Lee Mei Li

The Star/Asia News Network

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