Post-production Thoughts
In the spirit of this year’s Halloween, I was part of a dedicated team that curated a ghost-themed Chinese dance production from 27 to 29 October. Titled ‘Love and Destiny: The Enchanting Phantom”, it revolves around some of the iconic scenes adapted from the famous Chinese classical novel, Liao Zhai. The groundbreaking production not only incorporates Chinese dance elements, but also features Malay and Indian dancers. Overall, it seeks to transcend conventional boundaries and break the fourth wall between the performers and the audience.
This production was made extra special as it was staged at Stamford Arts Centre, located at the heart of Singapore’s cultural hub. The fact that this street was steeped in historical art significance added an extra layer of meaning to a performance that is deeply intertwined with Singapore’s art scene. As the narrator of the spectral tale, besides doing my best to deliver the story across to the audience in an engaging manner, I also found myself immersed in a realm where tradition walked hand-in-hand with innovation, leaving me starstruck. The satisfaction of pulling off a successful production was unparalleled, as we managed to sell out all five shows, with each seating around 120 people.
However, not everything was smooth sailing leading up to the production. Envisioning the final product during the many rehearsals was extremely challenging, as the entire process demanded meticulous planning and creativity. As a narrator, I needed to have a keen understanding of how each element contributed to the overall narrative, as a delicate balance needed to be struck between storytelling and the production’s artistic movements. Navigating up and down the buildings also proved to be a challenge, especially when it came to dancing up and down flights of steps. Overall, this was a process that not only tested our artistic abilities, but also our collective determination.
Behind the ethereal beauty of the dance production also lay the harsh reality of the many fund-raising challenges that threatened to derail the project. It was not easy to seek support in terms of sponsorship and funding in resource-scare Singapore, where arts and culture take a backseat. With the lack of financial backing, performance groups and artists often find themselves in a precarious position due to the limited funds that they generate. This then begs the question - how do we then maximise our limited resources in such an environment? Hence, the onus then falls on the artists themselves to be the architects of their own financial destiny. In a landscape that undervalues the arts, carving out their space and proving their craft seem to be the only keys for them to stay afloat amidst this harsh environment.
