WOULD you believe that the shape of Penang’s Goddess of Mercy temple, the wrist movements of a wantan mee seller or the gait of an old lady walking with an umbrella could be translated into dance movements?
Or that the everyday sounds of char kuih teow sizzling in the wok, ‘service unavailable’ message from a mobile provider and the jingling of coins being exchanged could be harmoniously combined into background music for a dance performance?
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