As humans , we all grow and learn differently. Scientists and psychologists have developed a number of different models to understand the different ways that people learn best. One of the most popular theory, the VARK model, identifies four primary types of learners: visual, auditory, reading/writing, and kinesthetic
The body is a communication tool by which is carried out through body language.
Body language is the conscious and unconscious movements and postures by which attitudes and feelings are communicated.
Part of my documentary required me to film for Lion City Throwdown. An international dance event that is organized by Flair Brothers , one of Singapore’s most well known dance crew. This is the 6th and the last LCT and by far the biggest of it series. I had the privilege of filming alongside RP productions for this and am very thankful that the organizers have allowed me to film this event, given that the camera I was using [SONY PMW-200] was bulky and that it could have been dangerous for the dancers there. Fortunately , there were no injures to my film crew nor to any dancers and some of the shots I took were really nice!
I’ve compiled some of the shots together for your viewing pleasure. But I’ve still got much data to sort through! Can’t wait to show the final product!
Ps. The only sad thing during the event for me was that I could not dance. 🙁
A dance cypher is a cyclical freestyle and usually involves a ring of people taking turns to dance in the center. Basically during the event, there will be many cyphers ongoing and the judges will walk around and give scores, from there, they tally the scores and choose the top 16 dancers for each categories , out of more than 200 dancers.
But as seen in the video , it looked more like a party than a competition. Which is amazing, but now my challenge then is setting up the context of how this event works and what exactly are the rules to abide by. I will be interviewing Daniel and Jeremy from Flair Brothers [ the organizers] , so hopefully their interview can establish some from of context on LCT!
A movement initiated by the National Art Council , Got to Move, is an annual nationwide “move”-ment to celebrate Singapore’s diverse dance scene and get Singaporeans “MOVING”
Submissions of any dance-related activity are welcomed. Some examples of activities include:
talks, sharing sessions on dance related topics
open houses to dance studios, open dance rehearsals
free dance classes for the public,
free public showings,
flash mobs, mass participation events
dance film screenings,
dance publications – print and media-based
mini dance- themed competitions
All Got To Move ISLANDWIDE activities must be free and open to the public.
50 successful applications will be provided with a fixed sum of $500, $3,000 or $5,000 each. Priority will be given to proposals that are creative and unconventional. Dance activities that are not funded may still be acknowledged as a Got To Move ISLANDWIDE project under Got to Move.
Here’s a video of the many #gottomovesg videos published
What I like about this is that it encourages people of different demographics.
What is good about this initiative is that it consist of a larger group of individuals, rather than confining movement to just dance , movement is also considered in Yoga , sweeping the floor or serving coffee. It takes a very light approach to movement and the element of fun is very obvious and heartening.
However as seen in the video above and below , it showed that there is a more favorable response from the younger generation to move as compared to the older generation. Something really contradictory.
Upon this , there are other question to ponder and think about:
Why must there be a “movement” or an ‘Event’ to celebrate and commemorate movement , when by right , movement should be an everyday lifestyle?
Does moving more necessarily translate to body Awareness ? Does moving more allow one to appreciate music and develop confidence? Does moving more make one understand bodily expression?
What are some of Singapore’s cultural constraints that prevents this movement from being a full blow lifestyle?
Recently interviewed Xiao Mei who has street dance experience of about 9 years. I ended up not only interviewing her but taking shots for two of her classes and joined her kakis for supper later on! Total of 4 hours spent! This are some of the raw clips I took of her [ Interview , dance segment and supper conversations excluded!]
Love how her music kept changing but still flowed into each other. This will make the editing easier! Some of the visual noise I shall need to edit over premier cc!~ Feedback on angles and shots will be great. Did a hasty job placing this together cause I just wanted something that flowed in some sense.
The Street Dance Culture in Singapore. A dissection. Just a bunch of research, reflections and issues!
Street dance is the term used to describe vernacular dances in an urban context. Vernacular dances are often improvisational [ Freestyle] and social in nature, encouraging interaction and contact with spectators and other dancers. While many associate street dance culture with the Hip Hop Scene , street dance culture consists of a mix of other dance genres such as Popping ,Locking , House and Waacking. Though it is notably true that it was through Hip Hop that Street dancing was popularized.
But before we can dissect the issues of Street dance Culture in Singapore, we must first understand its history and the stories behind its birth. Below is a documentary of the beginnings of Hip Hop and how it has changed over the years.
Hip Hop was a revolution and a peaceful one at that. Here’s another link on the history of Hip Hop , and the evolution of the street dance culture!
So as seen in the documentaries above , the essence of street dancing is not just a form of art but its more cultural than anything. For the OGs [Original Gangsters – A term for the first generation or people of a particular style or gang] the Hip Hop culture saved them from the violence and destruction that was common for the people in the Bronx. So one can only imagine how significant and important it was for the people living there during the 1980s. Afrika Bambata , turned from being a notorious gangster to being the founding father of Hip Hop , a culture that stood for peace , Love , Unity and Having Fun through the means of four forms of self expression. Also Commonly known as the four Pillars of Hip Hop.
These are Graffiti , B-boying [Dance] , Rap and DJ. These forms of expression enable the artist to express themselves though different mediums .
Visual aesthetics was expressed through Graffiti.
Body awareness and movement was expressed through dance.
Poetry ,philosophy, language and thought was expressed through Rap.
And lastly , rhythm and music was expressed through DJ.
All these allowed anybody to “fight” with each other without the violence. Thus, it is so, that Hip hop was as much way of life and a way out of violence back then. For some, especially the OGs who are still alive , it is Still so.
THE SINGAPORE INPUT
Jump forward 20 -30 years and Hip Hop has taken over the world. Different cultures have uniquely adopted Hip Hop and evolved it into something they can own. [ie. Street dance culture in Korea is very different to the street dance culture in LA. Just google it.] However, the key essence of the culture still remains the same throughout, social in nature, encouraging interaction and contact.
Through dance we express and focus on the voice we wants to bring out. Should one be into the Hip Hop culture, they will realize the need to have a backbone when it comes to an opinion or truth, is essentially crucial.
If you are a Lioncity kid, You’ll have an inkling where this is headed. Singapore isn’t very well known to be too expressive. Most locals know that we rather keep to ourselves in the comforts of silence and its sadly, very typically Asian. We are told to follow the rules and behave within a social norm as if all cultural rules made any logical sense in such a globalized world. I cannot comprehend how much richer the Singapore dance culture would be if we didn’t have these Culturally-imposed-everyday restrictions. Everyone knows that the only way to grow is to be uncomfortable. So sometimes breaking a social norm , that’s not against the law, would do us really good.
Over categorizing of space or shyness? : No doubt in a modern society, the availability of facilities have increased and since been catered to different needs. More and more dancers are able to use studios available for rent. In fact, the lack of affordable studios was one key driving factor to the popularity of street dance in the past. So having studios to dance in is good! But in the scene, some dancers are being firm that the definition of street dance is that it still needs to be in the streets from time to time. This is because the essence of the art is that it should be made public. Yet, the go by the book society in Singapore finds dancers a nuisance should they dance in public areas.
Dancers have also been chased away on occasions too. Below is a thread that mirrors the claim above. [ A screenshot of a conversation started by a well known street dancer in Singapore.]
Apart from the strict rules about what we can and cannot do in public spaces, another reason why dancers may not want to dance on the streets is because they are shy of judgement from other dancers and passer-by. As a street dancer myself, one of the frequent questions I’ve been asked is “Don’t you feel weird dancing in public like that?” most of the time it implies that it is weird to dance in public. Rather , that I am weird to dance in public. So it seems that the push for street dance to be done on the streets is not merely for tradition’s sake, but rather for statement and personal voice. Essentially, street dancing is tantamount to performing for a public audience and that requires immense confidence and emotional strength. If dance is communication then shouldn’t it be important that we have such confidence?
So a few question are , should the traditions and essence of the street dance culture be respected and kept? or should dancers adhere to what is expected within Singapore’s social culture?
2) Choreography , Freestyle or both? : Dance to me is a communication. You could say a choreography is like an essay that is planed and written while free styling is more of a casual talk with friends and the everyday chit chatter. Both are important and both are useful, but not mutually exclusive. Yet there has been a lot of flak between the dancers in the community. Usually, dancers either stick with choreography or freestyle but rarely both. So this is an issue worth investigating, after all, dance IS dance and should dance be pursued as an art , one would think to perfect it in both areas to the best of one’s ability. I notice a lot of politics in the scene of what is considered dance Culture or not. And also questions raised about weather the new style is an elevation of the old or just “Trash” as some of the OGs have already stated. Where exactly do dancers draw the line when it comes to genre? When asked , many of my dancer friends would state that as long as one would be happy, let them dance the way they want to.
3) A mere hobby . an Art or Career ? : Another issue raised is about the appetite of dancers today for learning and improving. As seen in the documentaries shared above, the street culture was a reaction culture and when people wanted to learn and improve, they would have worked hard and cherish whatever lessons they could get because unlike today, classes and dance events were not as easily available as it is today .
This was quoted in a recent blog post by Marzipan , a well know street dancer:
“I don’t rant that often on social media but here is an exception, there’s one thing that’s really bugging the hell out of me right now and that is the state of the street dance scene in Singapore. Yeah it’s all flowery and good and everyone is happy right now but here’s the thing. That IS the problem- where is the struggle, the hardship, the tears, the sweat and blood?
Yin and yang is so important in this world and if you are in a relationship with only smiles everyday, you know there’s something not right and waiting to blow up. The “new” generation is now built on a bed of roses and given so much support, guidance, positive words and sweets that they forgot what it’s like to be hungry. Maybe it’s our fault for indulging them. Maybe it’s because we grew up hungry ourselves that now we are stuffing the new generation with food for thought.
A hungry man will fight harder than anyone else for a piece of the pie.
We are being served so much that we don’t care about food anymore.”
Perhaps other questions to ponder about are: Is having so many dance classes at the fingertips making dancers of today less driven to work hard and push themselves during classes? Have dancers started to rest of their laurels? Should a hobby be an excuse to not do the best we can?
4)The representation of women: This perhaps is one of the main issues I would like to focus on. Based on personal experience, many female dancers have expressed that the “Battle grounds” is an unfair playing field, stating that men are equipped to be physically stronger and therefore better at dance. I for one, would disagree about the strength because girls have already been proven to be able to attain strength that is equal to men, no doubt that is subjected to differ on a case to case basis. Also another reason as to why I would disagree would be that the quality of dance should not and cannot be defined by strength alone.
Yet, in the hip hop scene, girls win lesser and I suspect it is not due to a bias , where men are being preferred but rather due to another form of cultural resistance. Asian girls are expected to be demure and feminine. I have been told many times by my mother that the way I dance is very “rough” and “aggressive” and more so , I have been labeled as “one of the guys” because society believes I am “manly” when I dance. Despite the fact that I am considered quite feminine in terms of the Hip Hop culture. It is obvious that the definition of femininity clashes head on when the Singapore Culture is introduced to the Hip Hop Culture.
From what I see, most girls in Singapore prefer to dance genres that emulate femininity. Genres such as street jazz or waacking is considered more sexy and girly. That being said, I cannot help but ponder if the preference of female dancers for such genres is shaped and somehow subconsciously dictated by a cultural construct.
I also wonder if females who do battle with Hip Hop lack confidence and hold back their full potential because of the narrative that females have to be demure.
What I like about this documentary is that it uses juxtapositions to bring the audience into the shoes of the main character. To be honest, though the film was beautiful it was hard to watch. It portrayed clearly how many obsess over perfection in the ballet community. Though it is for practical reasons because the academy wants only the best of the best, it is not necessarily healthy to young children who have innocent dreams and aspirations, such as Alla. It is no doubt brutal to the child’s self esteem, who may see her worth solely based on her acceptance into the academy.
As for the cinematography and aesthetic, I felt that the film was amazing. One that is obvious is the use of juxtaposition. The line of old judges contrasting the line of young dancers. The childishness of Alla contrasts her mature determination. [ Sense of adult dream Vs. Childish distractions]
Another point to note would be the camera angles used. The close up shots that depicts the physical closeness of Alla to the people around her, from the medical check up scene to the intimate moments between her and her mother ironically are also filmed in moments of discomfort for Alla. Perhaps this is a reason as to why it was so upsetting to watch. Because though the audience are presented with the rawness of her discomfort and pain, we have no choice but to agree that it was necessary for her to pull through with it in order to achieve her dreams.