Why, and such

I don’t know who will read this, but hello.

This blog will be about (hopefully) dance, and a little about books and music. I’ve left off movies for now, because I do get a bit heated when it comes to movies, and that’s not really the focus here.

Why this blog?

I like watching dance, and it gives me such joy that I want to talk about it. I’ve been fortunate enough to catch a number of Singapore Dance Theatre (SDT) performances last and this year, more than I ever had in my life before this, and I’m just so grateful, and glad, and I’ve had such fun that I feel I need to share. To be honest, sometimes, I read reviews about SDT that I don’t quite agree with. This sounds odd and terrifying, but I want to write up a storm of positivity. Everyone works hard to put together a performance, and I’m going to write about how much I liked it. I’ve read reviews I’ve disagreed with. I will write about the things I enjoyed.

I don’t know much about dance. Only what little I’ve read and am still reading about, and things I try to pick up from SDT’s amazing One @ The Ballet sessions (hopefully, I’ll get to talk a little about that). But sometimes–I feel I’m in a little bit of heaven, just before a performance starts.

I googled SDT this year, to see what I’d missed over the years. I’d missed a great deal.

I’d been lucky enough to catch a few performances here and there previously–Swan Lake with Xia Haiying in the middle-late 2000s, Jeffrey Tan’s version of Nutcracker in 2008, Sleeping Beauty in 2010 with Rosa Park in the lead role and Shimizu Sakura as Cerberos), Romeo and Juliet in 2011 (Rosa Park and Chen Peng; Chen Wei as Paris, and Timothy Coleman as Mercutio, and Zhao Jun as Tybalt, and Iori Araya as a sinuous, fluid Fate), Coppelia in 2013 (18 years after I’d yearned to catch it when it came to Singapore) with Nakamura Kenya and Uchida Chihiro, the Nutcracker again in 2013 (before Chen Wei left SDT dancing; Heidi Zolker as Sugarplum Fairy with Timothy Coleman as her Cavalier). A long time ago, in 1999, I did get to watch Red Shoes in Singapore. I suppose this part is for myself to remember, too.

I’d missed a great deal of other wonderful performances, though, and there are only so many reviews out there. I don’t even know if this will ever be seen…but I suppose I just want to put something positive out there, on things that I’ve not missed.

A few brief words.

The URL: It has the word “ballet”, but it will cover non-ballet dance, of course. I just wanted alliteration. The word “belated” represents how slow I am to catch up on things. Edited to state that real life sometimes intrudes.

I would like, very much, to add honorifics, because I’ve grown used to them, in that without them, I feel like I’m not being polite, or being too informal. But it’s quite odd also, to add them on. In my heart I am using -san.

As at this time, the SDT artistes … there are quite a number. What I do know is that Tanaka Nonoko has just left. She was brilliant in 2014’s Masterpiece in Motion; she had a lovely pas de deux with Nazer Salgado; I remember her drifting backwards effortlessly, like a ghost, across the stage, in Fearful Symmetries, away from Nakamura Kenya; and left bereft amidst the white box-chairs like tombstones, also in Fearful. I will miss watching her dance. Oh, and I remember her in Winds of Zephyrus too, in Ballet Under the Stars 2014 – the desert wind pas de deux, with Timothy Coleman (“desert wind” is just what I call it–it sounds that way and looks that way, too). Wishing her all the best…

I found out about the word “balletomane” when reading Ballet 101. I don’t think I know enough to be considered one. But I do take comfort in the existence of a word (whatever its implications, since “mane” can only come from “mania”) that means that there are others who are quite enthusiastic about ballet.

That’s all for now.


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