Written by Azeera Az.
Tell us a little about yourself.
I was born and raised in Kota Kinabalu, the fourth of five siblings and the only one in my family to choose this path, despite coming from a completely different background. Growing up, I never imagined dance and music would become such a big part of my life. I was more into sports – handball, football, and even representing my school in badminton and rugby. Back then, performing on stage wasn’t even on my plan.
Was dancing and music part of you since childhood? How did it begin?
Not at all. Dance and music weren’t really part of my life growing up. I had a pretty normal, adventurous childhood. I was, and still am, very close to my grandparents. And after primary school, I spent most of my time with them. We went everywhere together, especially fishing in different places. Those childhood moments shaped me more than I realised at the time.
Which came first, Music or Dance?
Dance came first, but music was always there. You can’t really separate the two, you can’t dance without music. Then I discovered rap when I was nineteen, and that opened up a whole new world for me. From there, I started exploring music more seriously and learning about music production.
Tagaps is known for infusing traditional dance moves and making them contemporary. Tell us more about this.
Tagaps Dance Theatre is grounded in tradition, but we present it in a contemporary way. It’s not just about keeping traditional movements as they are; we take time to understand the meaning, the stories behind them, and their cultural value. From there, we reshape them so they can connect with today’s audience.
We study the basics of each movement (its purpose, feeling, and intention), then rework it using modern movement, new music, and current ideas. This helps tradition stay alive and evolving, instead of feeling stuck in the past.
For us, traditional dance isn’t something distant or only meant for ceremonies. It’s alive, adaptable, and able to stand on international stages while still holding on to its roots. In this way, it becomes a bridge between generations – where heritage isn’t just remembered, but truly experienced.
What would you advise aspiring dancers or rappers on paving a way in being professional?
Be clear about your intention and your identity. Technique can be trained, and trends will always change, but knowing who you are as an artist will keep you grounded in the long run. Take time to understand your foundation, whether it’s your culture, your story or your personal experiences, because that is what will make your work authentic and distinctive.
Most importantly, be patient with the process. Growth takes time and the journey will not always be easy. There will be moments of doubt, but those moments are part of shaping your character as an artist. Stay open to learning, stay humble, and never stop creating. When passion is supported by discipline and purpose, you are not just chasing a career, you are building a legacy.
A memorable moment in your career.
2019 was the peak year for me. I won three international trophies with Tagaps Dance Theatre within a single year and also received the Best Choreography award. It was the most challenging journey, but it shaped us into who we are today. Leading the team through that season of pressure, discipline, and belief remains one of my proudest milestones.
In 2021, I had the opportunity to collaborate with Yee I-Lann for her powerful work Lalandau Strawhats. The series was exhibited across Southeast Asia and was recently showcased at ILHAM Gallery in Kuala Lumpur. Being part of a body of work that traveled regionally and reached such respected platforms expanded my artistic perspective beyond performance. It deepened my understanding of cultural narratives, visual storytelling, and interdisciplinary collaboration. Working alongside her allowed me to grow not just as a choreographer but as a thinker and cultural practitioner.
In 2022, I was selected alongside Ghidd for the 16 Baris Programme hosted by Joe Flizzow. Being part of that platform exposed me directly to Kuala Lumpur’s rap scene and gave me first-hand experience observing some of the country’s strongest lyricists at work. It challenged me to sharpen my pen, strengthen my delivery, and grow seriously as a rapper.
Each of these milestones represents a different phase of my evolution, from leading internationally, to collaborating across disciplines, to refining my voice in hip-hop. Every chapter pushed me higher and shaped the artist I am today.
What do you enjoy most about what you do?
I value the space and freedom to create. Meeting new people and exchanging fresh ideas through collaborations with other artists is always inspiring, and most importantly, it allows me to maintain a healthy balance between my work and my family.
A donor gives you RM10,000. What will you use it for?
I plan to use the fund to support the experimental work I am currently developing. I am preparing to showcase traditional stories through my own choreography, set to an original song that I will produce for my EP. I’m writing, producing, choreographing, and directing every part of this project myself, so the fund would help me bring the whole vision together.
Music and Dance in Sabah: Can it be a full-time profession? Or do you think it’s still insufficient to survive on?
It all depends on the career path you choose. Some people do it just to earn a living, without aiming to grow further. Others commit fully, using music and dance as a way to build a sustainable career and platform in Sabah.
For me, yes, it’s possible to make it a full-time profession. But it will never be easy. In the long run, however, it becomes possible. Your results will always be defined by the quality of your work and by how much time, discipline, and effort you are willing to invest in your journey.
If you were not a dancer or singer today, what do you think you’d be (profession)?
If I wasn’t a dancer or rapper today, I think I would be a creative director or cultural researcher.
I’ve always been drawn to storytelling, identity, and preserving tradition. Even without the stage, I would still find a way to express culture maybe through visual arts, filmmaking, or documenting indigenous stories.
For me, it’s never just about performing. It’s about creating meaning.
Top 3 places you encourage ppl to explore. In Sabah or an activity to try.
I would recommend Kundasang and Semporna if you’re looking for cool air, breathtaking nature, and island experiences. For calm and laid-back nights, Kota Kinabalu is the perfect choice.
We all love food!
What are your top three must-eat dishes or favourite places to eat in Sabah?
Welcome Seafood and Sup Ikan Sabah is a must! And also my favourite one is Sinalau Daging at Kalisah Restaurant, kundasang.
List recent awards you have received.
Bronze Prize – Cheonan World Dance Festival Korea
Finalist – Super 24 Dance Competition, Singapore
2nd Runner Up – Borneo Arts Festival, W.P Labuan
Follow Azizan’s music through Isobahtos and dance through Tagaps Dance Theatre.
I Am Series brought to you by Hello Sabah.
