Long before alphabets and scripts, humans understood one another through gestures and motion; and the craft of dance remains humanity’s oldest language. From classical forms passed down through centuries, to contemporary movements born of urban streets, dance encodes memory, history, and identity. At its highest form, the body becomes the canvas and instrument, fine-tuned to perfection. It was this innate sensibility that drew Datuk Ramli Ibrahim to the world of dance, a calling that had subtly flowed through his life since childhood.
Dance was never an accidental discovery for Ibrahim; it was a certainty that required no epiphany. He often quotes American dancer Martha Graham: he did not choose dance; dance chose him. What moved him was not ambition but a heightened awareness of beauty in the world around him—from flowers and animals to the sheer presence of nature. This spirit has carried him through more than five decades on stage across ballet, modern, and Indian classical traditions. Today, his artistry is enshrined in the Sutra Foundation, whose pillars—performance, exhibitions, and teaching—continue to inspire and shape Malaysia’s cultural heritage.
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“In the earlier days, Sutra was always a struggle. But when you are young, you don’t really feel the struggle as much; it feels like a privilege. I never thought about our fee for performances or anything like that; we just performed. That was a period where I allowed the universe to look after me. You just have to go there, and let the people and the universe guide you. It’s like free fall—you have to trust. Seeing it grow and realising that the place has become almost an oasis, with gates always open to people, is very rewarding. I don’t feel the need to have a family in the traditional sense, because people come in and out, and they find something creative here. For me, that is very affirming.
“The biggest difference between dancing back then and now is probably youth. That’s why I exhausted myself—I exercised my body much more when I was young. I was dancing a lot, even at very late hours sometimes. But because I’ve already pushed myself and done so much, I don’t miss it if I don’t dance every day. I’m not trying to be youthful again, but, at the end of the day, dance is about youth. A lot of my dancers are holding on, and I tell them, ‘You absolutely dance now while you can; don’t wait until it’s too late.’
“I feel like a beginner all the time. In dance, you might think you know the ropes, but every project is different. Each project has its own compartments, its own pressures, and its own barometer of problems. When you’re dealing with humans and creativity, it’s not possible to replicate it with AI or technology. So, most of the time, even with experience, you are beginning again. You have to study, observe, and anticipate how the audience will perceive your act.
“To me, renaissance means a continuous exploration of my own potential and creativity. It’s about bringing out the best of one’s potential, absorbing the energy around you, and remaining in resonance with it. In that sense, I stay relevant, even as one of the longest-standing members of Malaysia’s artistic fraternity. When I first started out, I never expected to receive accolades. I’ve never asked for them, but it’s nice to be recognised. At the end of the day, though, these awards don’t define you. Deterioration happens when people lack a proper core—they become a persona rather than authentic. I’ve always stayed secure in myself, true to my work, and that is what counts.
“As a dancer, life demands that you move. If you don’t move, or if you have an injury and aren’t careful, you literally start sinking. It’s tough. But what keeps me moving is life itself. I celebrate life, with all of the responsibilities and sacrifices that come with it. Some might think they’d be better off elsewhere, but forget it. This is where your world is, and this is where you act. I believe the more you give, the more you get, and the more your environment responds to you.
“Time is a killer. But the fact is, the only constant is change, and everything is always changing. If you don’t go with that change, you struggle to keep creating. You have to accept your age, accept that your memory won’t be perfect, and learn to laugh at it. I have to rely on my team to remember all the details, because there are so many things to keep track of as I age. I make the final decisions, but they prepare everything for me. Otherwise, the whole thing could collapse. But the remarkable thing is that, despite being older than many fathers, I’m still dancing.”
Illustration by Tan Eng Huat
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