Wednesday, August 17, 2016

YSDAF 20 & 21 August 2016


Performance slot: Site specific performance

Gala Night - Master + Murid

21 August 2016  (Sun) 8:30 pm Pentas 1 @ KLPAC  

Tuesday, July 12, 2016

The Plots of A Tyrant 另一夜,暴君的阴谋

As the world celebrates Shakespeare’s 400th Anniversary, Nyoba Kan has conceived a production based on William Shakespeare’s Richard III — with a Butoh injection and interpretation.

As passionate Butoh practitioners in Malaysia, we have a strong desire to communicate and interact with Japanese Butoh Artistes; to work, to collaborate and learn from one another, in an effort to achieve the best possible outcome in our work. Thus this year we have invited a young, up-and-coming Butoh artist Nobuyoshi Asai to work with us in this production, together with composer Yii Kah Hoe (Malaysia) & Max Riefer (Germany) and musician Ming-Yung Lee(South Korea) & vocalist, Anna Harley from USA.

The Plots of A Tyrant 另一夜,暴君的阴谋
based on William Shakespeare's Richard III

A reimagining of William Shakespeare’s Richard III — through the marriage of Butoh, music and classical theater.

The Plots of A Tyrant is presented with a non-linear narrative but nested structure, to reveal the truth of humanity.


22 – 23 July (Fri – Sat) 8:30pm
Pentas 2, Klpac


Choreographer / Dancer-Nobuyoshi Asai & Lee Swee Keong

Creative Advisor - Foo ChiWei

Composer / Musician
Yii Kah Hoe (Xiao)
Max Riefer (Percussion)

Min-Yung Lee (Cello)
Anne Harley (Voice)

Guest Performer
Tung Jit Yang


Partner :
Shakespeare 400 The Actors Studio
Presented by
The Actors Studio

Supported by :
Asia Center, Japan Foundation
The Kuala Lumpur Performing Arts Centre

Genesis · Antithesis
Inspired by Richard III ’s monologue
初生 · 两极

Photo By Foo ChiWei

Lady in Black
Inspired by the Widows

Photo By Foo ChiWei

The Dagger
Inspired by Wars of the Roses

Photo by Jiet Wong

Photos by Foo ChiWei

Chorus of Grief
Inspired by the Spirits

Photo by Yii Kah Hoe

Photo by Jiet Wong

Inspired by the defeat of Richard III
Photo by Jiet Wong

Wheel is Come Full Circle
Absolution for all sinners

Photo By Foo ChiWei

The performers
Photos by Jiet Wong

Thursday, June 2, 2016

Laments of The Dead 这个夜,灵的告白

Programme 1 of Nyoba Kan Butoh Festival 2016
Laments of The Dead

based on 取材自莎士比亞的理查三世
William Shakespeare’s
Richard III

FB Event link

Approximately 90 min

A staging of William Shakespeare’s Richard III — with a Butoh theater injection and interpretation
Laments of The Dead is presented with a non-linear narrative but in a nested structure, to uncover the truth of humanity. The director, Lee Swee Keong does not emphasize on the deformity of Richard III, but applied the philosophy of life from Butoh and humanity, seeking to restore the innermost desires of human. “It is tragic when one is manipulated by the infinite desires” is the key message of the production. For Swee Keong, the characteristic of Richard III is closely related to us — the rich and complex humanity.


『这个夜,灵的告白』,这作品里以非线性叙事法和嵌套结构, 揭露一个真实的人性,而以舞踏对生命的哲理,人性的真实,还原了人内心深处的欲望,当人被无限欲望所操控而走向毁灭的悲剧里提出了一个关怀人性的主题。

  • Concept, directed & choreographed by Lee Swee Keong
  • Dramaturg & narrator – Lim Kien Lee (English) & Anthony Lee (Mandarin) 
  • Performed by Foo ChiWei, Arson Ong, Jess Liew, Hana Nadira & butoh trainees (Jiet Wong, Ray Fernandez, Lee Kien Fei, Ho Mun Hann, Ho Su Chuin & Andy Poon) 
  • Composer - Kenneth Wong 
  • Lighting – Tan Chun Ying 
  • Video – Will Chong 
  • Costume – Lagenda Leng & Lee Swee Keong 
  • Stage Manager-Hoe Hui Ting 
  • Make up & hair for female performers – Jamie Chu
  • Mask Painter-Loh Bok Lai
Partner with
MAP, Publika

Photos credit-Jiet Wong
The Crowning
The Widows

The Widows
The Spirits

The Coffin

Butoh Workshop by Nobuyoshi Asai

Programme 3 of Nyoba Kan Butoh Fest 2016

Butoh Workshop by Nobuyoshi Asai

Conducted by
Nobuyoshi Asai

Nobuyoshi Asai practiced street dance at an international level during his youth. For a year, he joined the Alvin Ailey American Dance Theatre in New York. He started his own company, Sudbury, in Japan where young artistes joined their creative resources giving international performances. In search of a more profound interior approach, he joined Dairakudakan butoh company in 2005 before becoming a permanent dancer at Sankai Juku with whom he performed all over the world. In 2011, the Pola Art Foundation provided him grants to pursue his choreographic and artistic researches in Berlin. The following year, he obtained the Japanese Government Study program for Artists and spent a year in Tel Aviv, attached at the Batsheva Company and also collaborating with the alternative artists of Clipa Theatre. Striving to embrace a freelance career — in order to explore dance and choreography further and also collaborations / creations on photography and plastic arts — he now lives and works in France.
transform yourself into a flower

Demonstration from Nobuyoshi Asai

Saturday, April 16, 2016

Butterfly Lovers - re-stage 梁祝 (李瑞强独舞与音乐会)

Butterfly Lovers - re-stage



Live music and dance

6 & 7 May2016 8:30pm
8 May 3pm

03-4065  0001/0002

RM68 / RM61(DPAC Member)

Music cleans the soul; Drama reflects the voice
In dance, Zen prevails; We explores the legend of the butterfly lovers
As love parts as well as the perils of hate, we experience it together.

Monday, July 27, 2015

The Coffin is Too Big for the Hole 棺材太大洞太小


Any standard does violence to the individual insofar as it ignores the complexity of being human. Seeking solace in the suppression of heterogeneity, in the containment of diversity, the authority congratulates itself for its mastery on trivial things.

Standardisation, if anything, is imposed to satisfy the libido of power and control. In Malaysia, how often is someone penalised for not conforming to an expectation, for being different, and simply for being herself or himself? They said our idea is too seditious for the country, our narrative is too dissimilar to the official history, our multiplicity is too burdensome for the statecraft, and our questionings, too big.

Based on Kuo Pao Kun's The Coffin is Too Big for the Hole written in 1984, Nyoba Kan revisits its absurdism in a Malaysian context. What happen when the coffin of your late grandfather cannot fit into the hole especially dug for it? One body. One coffin. One hole. One Malaysia? Perhaps, it is time to subvert Kuo's polemics: Is not the hole too small for the coffin? Is not our standards too oppressive? And our laws and regulations, too restrictive? Rhetorical questions nonetheless, they point to a conundrum between a country and its people.

1. Free Performance

14(Sat) & 15.8(Sun) 3pm
The Boulevard, Publika

2. 21(Fri) & 22.8 (Sat) 8pm

Black Box, MAP
RM48(student,senior and disabled)

Enquiry :
Kiea Kuan Nam 012-6560812
Lee Swee Keong 012-300 8255

Facebook: Nyoba Kan Butoh Fest 2015