Elizabeth with the SCGS dancers

Having just turned 20 this year, Elizabeth Chan (陈美锜) has spent most of her life dancing. Following her interest in Chinese dance at a young age, she went on to complete the Chinese Dance Examination Syllabus under the Beijing Dance Academy. Since then, she has also taken up classes in ballet and contemporary dance and in 2007, Elizabeth represented Singapore at the Gyeongju World Cultural Expo.  

She received a Diploma in Performing Arts from the Hong Kong Academy for Performing Arts (HKAPA) in June this year and is currently pursuing a Bachelor of Fine Arts degree in Dance at the HKAPA, majoring in Chinese dance.  

We caught up with Elizabeth in Singapore Chinese Girls’ School (SCGS), where she was training the girls for the opening item in Cadence 《舞韵》, an upcoming showcase of Singapore’s very own young talents in Chinese dance.  

(Dansing) Which Chinese dance form do you like most? What attracted you to it?  

(Elizabeth) I actually started dancing when I was really young, I started classes at that time because my mum was doing Chinese dance too. I was 4 years old and thought it was really pretty.  

I guess I love classical Chinese dance because of the culture. The difference between classical and contemporary dance is that classical Chinese dance has history behind it; Chinese history has many different periods and is very unique.   

Also, I enjoy classical Chinese dance because I think it’s very beautiful, I like the lines, the aesthetics and the different props that we use, for example the sword, the fan and the umbrella.  

Training the SCGS dancers.

What’s your training in Hong Kong like? How different is it from Singapore?  

I studied a year in LaSalle doing contemporary dance before going over to HKAPA. I think the most obvious difference is the size of the school, in APA I have more people in my class, which is both a good and bad thing.   

Training wise the schedule’s probably the same; academic classes, rehearsal. The hours are normally from 9am to 5 or 6pm.   

Was your family supportive of your decision to pursue a professional career in Chinese dance?  

Yes, because they know that this is what I want. I brought up the idea of doing dance professionally quite early, when I was in secondary school. I had time to think about it and after doing my research, they knew that it was more than an impulsive decision on my part so they were very supportive about it.  

What do you feel are the differences between the Chinese Dance scene in Hong Kong and that in Singapore?  

Chinese dance is more developed in Hong Kong.They have a full time professional Chinese dance company that does shows on a regular basis.   

 Also, there are many small studios as well that teach Chinese dance, more than what we have here in Singapore.  

Rehearsing for the opening item

What do you see yourself doing after graduation? Do you intend to develop overseas or come back to Singapore?  

I’m interested in teaching, I think teaching is nice; I’ll probably look towards that unless I’m offered other opportunities, like if I’m offered a place in a company. I hope to come back to Singapore to work, but if there are more opportunities overseas I’m not against working overseas as well.  

What advice do you have for youths that are interested in or currently doing Chinese Dance?   

I think it is very enriching to learn Chinese dance, because you not only learn the movements, but also about the Chinese culture. If you’re learning a folk dance, you learn about the different ethnic minorities as well. It’s a very performative as well as technical art so it trains you on both ends.  

Running through the opening item

What do you think people should look out for in this upcoming performance?  

The 4 of us who are undergoing Chinese dance training overseas- Serene, Ruimin, Yong Xin and I will be presenting a series of short solos that depict the 4 seasons. Also, Ruimin, Yong Xin and I will be performing a trio and Serene a solo item.  

We are quite nervous because it’s our first performance in Singapore after studying overseas; but it’s always nice to come home to do something, whether it’s to perform or teach. We hope that the audiences will enjoy the show.  

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Cadence – A Chinese Dance Showcase of Young Talents《舞韵》  

The showcase will feature four outstanding Singaporeans who are currently pursuing professional Chinese dance training overseas as well as selected SYF award-winning Chinese dance groups from primary and secondary schools and a local tertiary institution.  

Date: 15/9/10  

Time: 8pm  

Venue: University Cultural Centre Hall  

Tickets: $10 available at SISTIC

Come and take part in A Celebration of Chinese Dance! Held in conjunction with the Chinese Cultural Festival 2010, there will be a series of Chinese dance programmes happening from 28 August till 15 September 2010.

To find out more, please click the following for details：

http://www.dansing.org.sg/wp-content/uploads/2010/08/A-Celebration-of-Dance-Details4.jpg

Celebration of Chinese Dance programme details

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2 pairs of tickets to Cadence- A Chinese Dance Showcase of Young Talents 《舞韵》on 15 September 2010 up for grabs!

To win a pair of tickets to the performance, answer the following question:

Where will Cadence- A Chinese Dance Showcase of Young Talents 《舞韵》be held?

Just send your Answer, Full Name, IC Number, Contact Number and Mailing Address to singaporedansing@gmail.com, and indicate “Cadence” as your email subject.

Closing date: 27 August 2010.

Themed “Unleashing the Potential of Dance Education”, DEC 2010 will feature both international and Singapore’s own dance professionals and trainers. The conference revisits key pedagogical issues such as the value of dance education as well as the approaches (and associative challenges) to effective dance teaching. Aspects of dance psychology examined include motivational strategies for teaching dance to students of different age groups, helping students cope with dance stress accruing to preparations for performance and fostering a safe dance learning environment.

The Guest-of-Honour for DEC 2010 will be Mr Benson Puah, Chief Executive Officer (CEO) of the National Arts Council (NAC) and The Esplanade Co Ltd. The Keynote Speaker for the General Assembly is Dr Miriam Giguere, Dance Programme Director, Department of Performing Arts, Drexel University (Philadelphia). More information regarding the speakers and overall progamme of the conference can be found at the online portal, http://dance.itspirals.com/.

Heads of Department, dance CCA teachers-in-charge, dance instructors and dance practitioners are strongly encouraged to attend DEC 2010. The cost per participant is $50. Registration is online via our portal at http://dance.itspirals.com/. Applications will be considered on a first-come-first-serve basis.

The closing date for application is Friday, 13 August 2010.

DEC 2010 is organised by the Co-Curricular Branch, Ministry of Education and supported by a team of dance professionals and educators in Singapore.

Dansing: We understand that the original Old Sounds was performed in 2008 and it was your company’s first full-length work. How was it selected to be performed again at this year’s Singapore Arts Festival and why was it chosen for your international tour?

Mun Wai & Anna: Despite overwhelming response from the audience and great reviews from critiques in 1998, Swee Boon was dissatisfied with the original Old Sounds. While trying to put up an exceptional show to establish the company and display its capacity, he felt that he added too many elements to the show which distracted the audience from the essence of the work. It was, in his professional opinion and in his pursuit for perfection, not up to his expectations.

Anna: I watched the piece on screen, and felt that the original piece was too chaotic as there were too many things happening simultaneously. There were definitely strong and awe-inspiring moments but I prefer the re-work of it.

Mun Wai: I felt that it lacked editing, in addition to being raw and unpolished.

Both: This is a significant piece of work to Swee Boon and T.H.E.. It is likened to the cornerstone of the company. Hence, the Arts Festival and the world tour were seen as a great opportunity for the development and improvement of the piece of work.

Dansing: What is the significance of this particular piece of repertoire? What is the story behind it?

Both: This dance explores the tension and complexities arising from the erosion of tradition in our endless quest for progress. It represents our struggle in trying to maintain the fragile balance between retaining the essence of who we are and our insatiable desire for progress to a better end that is somehow, never in sight.

It raises questions such as how much of our tradition we can afford to lose, how much we have already lost and how we will be able to regain what we have lost or have merely seemed to lose.

Dansing: What differences can audience who have watched the original Old Sounds before expect from this new interpretation?

Both: Basically, the audience can expect new choreographies, new music, new sequences of the multimedia. In fact the entire first section was re-choreographed; Darren Ng who composed the music for Old Sounds was brought back to edit the music; about 30% of the Brazilian video art was removed.

Generally, the core intention and the essence of original piece remain, but audiences can expect something simpler, more direct, and focused. There will also be more contemporary costumes and a good mix of dance with the video art. We are very pleased with this improved piece of work.

Mun Wai: If you watched and liked Old Sounds, you definitely have to watch O Sounds!

Dansing: What can audience who have not watched it before look forward to in this piece of work?

Both: Audience who did not manage to catch Old Sounds certainly cannot miss this re-work. They will be in for a visual treat that is never like any of the contemporary dance pieces they have ever seen before.

In fact, O sounds received a standing ovation in its premiere in Jakarta just last week. The audience was full of praise and was captivated by the performance.

So, if you haven’t purchased your tickets for O Sounds, you should get it now!

Dansing: Anna, you’ve been a lighting designer for various shows around the world. Tell us more about what you do? What made you decide to be T.H.E’s Resident Artist?

Anna: I initially specialised in drama theatre back in Finland even though most people wanted to do dance. It was in Hong Kong when I joined Hong Kong Academy of Performing Arts that I experimented with lighting design with dance and it was there that I met Mun Wai. I was introduced to T.H.E. Dance Company and decided to do the lighting design for Within.Without, which was my first collaboration with T.H.E. in 2009.

Partly why I decided to stay in Singapore was the warm weather and the good food(laughing). Jokes aside, I feel a sense of commonality with T.H.E.. I feel that Swee Boon and I share similar aesthetics and that it is easy to work with him as he leaves me the freedom to create the effect I deem appropriate and he trusts my professional judgment while clearly expressing his expectations.

Dansing: Tell us about your lighting design for O sounds.

Anna: I go for simplicity in my designs. The main difference O Sounds has from the other dance pieces is that there are the video art sections which require minimal lighting to bring the attention to the screen. Other than that, there is a general contrast in lighting between the scenes of city life in Singapore and the scenes that depict the memories and the lost tradition.

Dansing: We were immensely impressed with how talented the young choreographers were from the recent ‘T.H.E Emerging Choreographers II’. Mun Wai, how long have you been dancing and choreographing? Maybe you can tell us more about the company dancers and choreographers in your company.

Mun Wai: I have always loved to move my body. I truly started dancing only when I was 17. I gave up my university studies for a diploma in dance in LASALLE and thereafter pursued a degree in Hong Kong. I first professionally choreographed with T.H.E. and have since been choreographing for several other projects. I identify most with existential philosophy which provides inspiration for my works. I am currently working on a choreography for Platform Campus, a performance that will be showcasing dancers from some of the institutions in Singapore namely NUS, SMU, RP and ITE College East.

T.H.E. Dance Company is made up of about seven company dancers aged between 25 to late thirties. We undergo a very rigorous training regime of a minimum of five hours a day, five times a week. We share the same burning passion for contemporary dance and the arts, and are fighters, not just dancers. 

We laugh, we have fun and we can be full of nonsense, but when we’re dressed in our dance attires we are dead serious and we fight till the very end.

 Dansing: Your youth dancers also impressed us with their great artistry and stamina. How are their trainings like and who qualifies for this youth dance group? I’m sure there are many young dancers who are aspiring to be like one of you.

Mun Wai: The youth dancers have to attend trainings at least once a week and they train together with the company dancers. Swee Boon expects as much commitment from them as the company dancers. He looks out for not only technically strong dancers with established dance foundations, but more importantly the passion and the sincerity in their dancing as well as their individual styles.

Dansing: What are T.H.E’s plans for the future?

Both: T.H.E. wants to continue to spread its passion for contemporary dance to Singaporeans through its sincere performances.

Mun Wai: Though the local arts scene is growing, I feel that right now there is no lack of platform, but a lack of viewership.

I recall that I was very disappointed to learn that my friends would rather spend their time and money on clubbing and going for parties than on a dance performance. I urge more young people to view art as a new form of entertainment. In fact, art can be entertainment and more than that.

Anna: In Finland and in many other countries, there are different dance performances every day and people there watch performances as frequent as they watch movies. Singapore has a long way to go before art becomes more than entertainment and an integral part of people’s lives, but I believe that it will happen if Singaporeans continue to strive for it.

Both: There is a common misconception about contemporary dance being too abstract or technical for the mass public. Swee Boon’s works are very visual and well-poised for the mass public and he uses music that is beautiful and strong.

We hope that more people in Singapore can learn to appreciate dance and the arts and only then can the art scene in Singapore develop further.

 Dansing: Other than the upcoming O Sounds, what other productions by THE can we look forward to in the near future?

 Both: The Man in the Center will be a new piece of work by Swee Boon to look forward to in August. The audience will be expecting a piece of choreography with a totally different style – something that is happy and out of the norm. It is always hard to associate contemporary dance with the word “happy”, so prepare yourself for an entirely new and stimulating experience by T.H.E. in August.

In December, T.H.E. will be initiating a week long dance fiesta in Singapore. It will be a week jam-packed with lots of fun and dance. Unlike the current dance festivals we have right now in Singapore where the primary focus is on bringing in great performances for us, Contact 2010 aims to engage all Singaporeans, dancers or not, to get up on their feet and dance and to talk about dance. In short, Contact 2010 wants everyone in Singapore to experience dance.

It will be like the American Dance Festival, where there will be exciting performances, dance workshops and classes for different levels or simply a place for you and me to just dance.

The Man in the Center will be performed from 12 to 14 August, and Contact 2010 will be happening from 11 to 18 December this year. For more details, please keep a lookout on Dansing.

O Sounds(originally Old Sounds), choreographed by Artistic Director Kuik Swee Boon, first premiered at the Singapore National Museum’s Gallery Theatre in September 2008, as T.H.E’s inaugural work.

Photograher: Robin Chee

T.H.E Dance Company Presents O Sounds by Kuik Swee Boon: Singapore Arts Festival 2010 and a world tour

T.H.E Dance Company will be revisiting the work that gave birth to the company in 2008. O Sounds (originally titled Old Sounds) – first premiered at the Singapore National Museum’s Gallery Theatre, September 2008, as T.H.E’s inaugural work – will be performed at this year’s Singapore Arts Festival. In addition to this, a four-city international tour has also just been confirmed for O Sounds throughout 2010.

DATE: 29 May 2010

TIME: 3pm (open rehearsal) and 8pm

VENUE: Victoria Theatre

PRICES: $12 (open rehearsal) / $20 – $50 (8pm show)

Tickets can be purchased at Sistic. For more information, please call 6348 5555 (Sistic hotline).

FRONTIER DANCELAND presents

02-SQUARE SERIES 10

DANCERS’ LOCKER 舞格子

Threading Frontiers of Creation

Dancers’ Locker is a choreographic platform that aims to promote the development of contemporary dance in Singapore and nurture emerging young choreographers. Featuring Chiew Peishan, Ang Ai Jia, Zhang Xue Song and Wu Yixin in their creation and presentation of original works, this nurturing process is facilitated under the guidance of Artistic Director and Mentor, Low Mei Yoke.

DATE

21, 22, 23, 28, 29 & 30 May 2010

TIME

8pm

VENUE

Frontier Danceland 02-Square Studio Black Box

155 Waterloo Street, Stamford Arts Centre, Frontier Danceland, #02-02

TICKET PRICE

$18

TELEPHONE BOOKING

6336 1526

EMAIL BOOKING

info@frontierdanceland.com

Venue: The Garden Studio, 126 Cairnhill Road, Cairnhill Arts Centre

Wanted: Apprentice with opportunity leading to full-time position offer

Requirement:

• Male/Female dancers with professional diploma or degree qualification

• Age 18 – 30

• Solid training in contemporary dance technique, prior performance experience and knowledge of other traditional dance training an advantage

What to bring for audition:

• 1 head-shot photo and 1 dance movement shot photo

• Resume with personal particulars

• A solo dance of 2 minutes

Please contact Ms Scarlet Yu to register your audition slot:

Telephone/Fax: 6 238 6469 or

Email: tafcl@singnet.com.sg

Website: www.artsfission.org

 SPROUTS- NEW WORKS PLATFORM FOR BUDDING CHOREOGRAPHERS 

The National Arts Council together with Frontier Danceland are proud to present the second edition of SPROUTS to be held 7 August to 18 September 2010.

SPROUTS aims to identify budding choreographic talent and to provide a platform for the creation of new and original concepts and ideas for dance that will serve as a starting point for further development. 

SPROUTS comprises a pre-selection and two rounds of showcases; a Preliminary Round and a Final Showcase. Both rounds of the event will be performed before a live audience, as well as a jury comprising invited members of the performing arts world.

Members of the jury will select the works for the Preliminary Round based on the applicant’s proposal. Choreographers will be contacted no later than 7 July 2010 with the results of the selection for the Preliminary Round.

Pieces selected for the Preliminary Round will be presented on 7 August 2010 at the Frontier Danceland Studio. Admission for audience to the Preliminary Round showcase will be free. Pieces selected for the final showcase will be presented on 18 September 2010 at the University Cultural Centre, Theatre. Ticket sales will be open to the public.

Interested parties should send in their applications via email to sprouts@newworksplatform.sg and a DVD of the work they wish to submit or a recent work along by 30 June 2010, 5pm to:

SPROUTS                                                                                                                                    Wu Zhining                                                                                                                          Manager (Arts Development)                                                                                                 National Arts Council                                                                                                                  140 Hill Street, #03-01                                                                             MICA Building                                                                                                                                          Singapore 179369

Please click here to download the application form.

For any queries, please contact  Zhining at 68379516, or email them at sprouts@newworksplatform.sg

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Timeline

30 June                        Application Closing date

1 – 6 July                     Shortlisting of works for Preliminary Round

7 July                           Announcement of Results

4-5 August                   Rehearsals at Venue

6 August                      Full Dress Rehearsal

7 August                      Preliminary Round of up to 20 Shortlisted works

17 September              Rehearsals at Venue

18 September              Finals Showcase of up to 10 works

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Criteria and Conditions of Entry

i)  All applicants/choreographers must be Singaporean or PR to be eligible.

ii)  Proposal of New Work

-   Submission of a concept paper of no more than one A4-page (as indicated in the application form) of your proposed choreography which should include artistic concepts, details of your technical requirements, props, set and other relevant details and your dance CV.     

 -   Proposed work must possess strong concept and clear choreographic content. 

iii)  The works presented should be between 4-10 min performed by no more than 8 dancers for both rounds of the competition.

iv)  It should be a completed work or a completed section of new work* that has the potential to be further developed into a full-length work.

* the work should not have been presented on a public platform before 

v)  All dance styles and genres are accepted.

vi)  No sets, smoke, haze-effects are allowed. Only hand-held props are accepted.  No live music allowed. Only music on CD format is accepted.

vii)  Each applicant is allowed to submit no more than 2 works per season.

viii)  Applications must be received by 30 June 2010, 5pm

ix)  The application must include a DVD of the work that you wish to present at the New Works Platform 2010 or a DVD with one recent work by the applicant. DVDs will not be returned. All DVD submissions must be in MPEG format.

x)  A pre-jury will decide the admission to the first round of the competition based on the concept paper and DVD submissions. Those shortlisted for the Preliminary Round will be informed no later than 7 July 2010

xi)  A panel of judges at the Preliminary Round showcase will select the works for the Final Showcase to be held on 18 September 2010. Finalists will be informed no later than 10 August 2010.

xii)  Those selected for SPROUTS should be available for performances and necessary rehearsals from 4-6 August 2010and if selected for the final showcase, the 16-17 September. This includes any possible radio/TV interviews and press conferences.

xiii)  Candidates will be provided with one technical rehearsal slot and a full dress rehearsal prior to the performance for both rounds.

xiv) The decision of the Jury is final.

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Prizes and Production Fees

Prizes will be given out for:

1. Most Promising Work will receive the following:

• Cash prize of $2,000                                                                                             
• Arts Professional Development Grant of up to $3,000 to pursue further training in choreography                                                                      
• An opportunity to perform a new work at the Final Showcase of SPROUTS 2011.

2. Most Popular Work

• Cash prize of $1,000 (based on audience’s votes at the Final Showcase)

3. Best Dancer

• Cash Prize of $500 (to be selected by the panel of judges at the Final Showcase)

4. All Finalists will receive a production fee of $500 for their participation in the Final Showcase.

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Technical Arrangement

Preliminary Round:

Location: Frontier Danceland studio, 155 Waterloo Street, #02-02 Stamford Arts Centre              

          I.    All works to be presented with a black backdrop

        II.    All works to be presented with minimal lighting and technical set-up

 -  A tour of the venue will be organized to familiarize candidates with the space and technical equipment available*.

       III.    Music: CD format only.

Final Showcase:        

Location: University Cultural Centre, Theatre

        I.    Lighting : A detailed lighting plan will be required from all shortlisted works.

       II.    Music: CD format only.

*Simple lighting arrangements can be set up during rehearsals Please refer to attached venue floor plan of Preliminary Round Location.

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About the National Arts Council

The National Arts Council (NAC) was established in September 1991 to spearhead the development of the arts in Singapore. To realise its vision of developing Singapore into a distinctive global city for the arts, NAC provides total support to nurture artistic talent, promotes the practice and appreciation of the arts among Singaporeans, builds up capabilities and resources, facilitates internationalisation and advocates the value of the arts. Through its holistic range of programmes and initiatives to develop the entire arts value chain, the Council champions the growth of a vibrant arts sector where the arts is accessible to all, and the community of artists, arts groups and arts businesses can innovate, excel and achieve sustainability in the long term.

About Frontier Danceland

The present Artistic Director, Low Mei Yoke, together with Tan Chong Poh, founded Frontier Danceland, a non-profit dance company, in July 1991. The artistic goal of the company is to crystallize both Eastern and Western cultures, to depict a multiplicity of emotions and varied human activities that characterise contemporary life in Singapore.
The company puts up major productions at least twice a year and has toured several international and regional festivals, including Bangkok International Dance Festival 2010, Tari 2000 Dance Festival (Malaysia), Asian Youth Festival (South Korea), ASEAN Dance Festival, Dance Festival 1999 in Philadelphia, USA.

Over the years, Frontier Danceland has made many efforts to drive new local contemporary dance content. Their ongoing 02 Square series, a presentation platform for new works held in Frontier Danceland’s black box studio, have presented 14 new works by 11 choreographers since 2007.

In line with their continuous effort to drive new content for contemporary dance, Frontier Danceland will work with National Arts Council to co-present SPROUTS.