The buzzword for Yusof Ghani, even after all these years, is Tari (Dance, 1984-1992), never mind that there are two tranches, both shown at the now defunct Galeri Citra. This Tari is unusual in that ít seems to show, in three distinct sections, two camouflaged figures clasping and in close proximity, or it could be a singular figure in dynamic motion or a sequential clip from the first panel. The inspiration first came as a form of the protest movements when he was in the United States. In America he took part in the protests against American intervention in Nicaragua, and had his Protest series. But it could have been as more likely amorous, or figures wrestling in limb locks, or even a dance gyration in joy with its own syncopated rhythms. Gail Enns, the owner of the Anton Gallery in Washington DC, where Yusof Ghani had a solo in 1984, commented: “You can feel his underlying concern for humankind. There are tremendous levels of sublimal content. The dancers are reaching out… for something more.” This is among the Best of Siri Tari. Yusof Ghani worked in art-related jobs for 10 years before his art education in the United States and he started lecturing at the Mara Institute of Technology, and held the rank of Associate Professor. He graduated with a MFA at the Catholic University, Washington (1983), after obtaining his Bachelor’s (Graphic Art) at the George Mason University, Virginia (1981). All his major works were produced after his American exposures: Tari, Topeng, Wayang, Hijau, Segerak, Biring, Wajah and Ombak. In 1985, he won the Minor Award in the PNB art competition in KL. His base gallery, Tapak, organised the Shah Alam Biennale in 2016. Yusof Ghani made his London debut in an exhibition, Segerak VI – Transcendent Figures, at the Asia House in April 2017.