Unpretentious and unapologetic.
Passages started off on a personal note when the artistic director, Mr. Janek Schergen, began sharing his vision for the repertoire with the afternoon crowd. Given the fluidity of the identity of Singapore Dance Theatre (SDT), Schergen spared no effort in addressing SDT’s heart for the art form. Simply put it, SDT “has one foot firmly rooted in tradition and the other placed forward toward innovation.” This is evident in their continual efforts to host the Passages Contemporary Season which began as a choreographic workshop but has now developed into a full-fledged series of repertoires that partners with new choreographers, adding a new unique flair to the mix each time. This allows SDT to explore new expressions unceasingly without losing their traditional roots.
Likewise, Passages started off with a classical piece, Piano Concerto No.2 Opus 102 by renowned choreographer, Edmund Stripe. The repertoire proceeded to take a wild turn to explore expressive pieces like Another Energy by Australia’s homegrown favourite, Timothy Harbour and Unfounded by Christina Chan. The show then ended off on a heartwarming note, titled Jabula by Natalie Weir.
Piano Concerto No.2 Opus 102 can be called the exemplary piece to traditional ballet, out of all the performances. The choreography was uncomplicated and minimal yet emanated breathtaking grace and poise. Dancers moved with such precision and were always on the beat, not to mention, on pointe.
On the other hand, Another Energy was creative and contemporary. The piece was inspired by the erratic effusion of emotions that we as humans experience, and follows the array of expressions we feel. Personally, it was unsettling to watch and unpredictable, which appropriately mimics the volatility and fluctuations that emotions essentially are. The circular beam of light that shone in the backdrop added a nice touch to the piece, leaving more room for the audience to interpret; perhaps it illustrates the fact that energy, as physics supports, can never be created or destroyed but only transferred or converted into another form. Likewise, this could suggest that our emotions are only so often, conveyed and shared with the people around us.
Unfounded was an eccentric piece through and through, such that even the costumes were bright purple casual wear instead of the traditional leotards and tutus. It was refreshing to watch Chan’s creative explorations with two dancers in this 10-minute piece, making it an overall fun number.
Lastly, the show ended on a heartwarming note, with Jabula being an African word for joy. Weir’s work was inspired heavily by traditional tribal dances and costumes. It was an overall theatrical and explosive piece that generated a seamless flow of movement that seemed to represent “a rite of passage or celebratory ritual”.
And with that, SDT has once again outdone itself in pushing the creative boundaries of contemporary ballet with the Passages Contemporary Season.
By Tay Jia Een
