What does being a Performance-Maker entail? Was it something you’ve always wanted to do?
My work involves strong conceptualisation and a deep understanding of my body to explore sensations, dynamic shapes, and geometry through dance and movement.
So far, I’ve worked with Cont·act Dance Festival and other dance theatres across Singapore. One of my biggest joys of performing is to be able to take on many different skins; I’ve even embodied strange creatures like lizards.
I was studying dance at School of the Arts (SOTA) but left school last year to become a freelancer. It’s definitely something I plan to continue in the foreseeable future, and I’m hoping to study photography and dance-making to evolve my practice in the near future.
Tell us about your experience studying the arts in Singapore.
One thing that I was made very aware of is Singapore’s tight-knit art ecosystem in terms of trends and popular modes of creation. However, I found myself navigating towards things that reside outside of the local scene, which have shaped a lot of my experiences as a choreographer, creator, and queer artist.
My favourite body part is:
My spine. To me, it’s like a long rope that I can whip around, with lots of ridges and textures. And because of my slim frame, my spine juts out of my back like the spine of a book; it’s very prominent.
Have you tried your hand at modelling?
No, I’ve always been apprehensive about modelling even though many people have been persuading me to go for it. I’d love to give it a shot this year, so if anyone has more information about how to get started, do share!
Has your height been a point of contention in both your personal and professional life?
I’ve always had a complicated relationship with my height. When I first started school, I struggled as a tall dancer with longer limbs, as it’s easy to look floppy and gangly. But once I had a certain understanding of my body, I’ve grown to recognise the potential for very nice lines, shapes, and form.
Outside of performance, it’s impossible to go anywhere without getting strange looks. Furthermore, Singapore’s public infrastructure is built so tiny that I often bonk my head on ceilings. So I do feel an alienation from the typical Singaporean experience, not just physically but also spiritually.
How has 2023 been for you so far?
To be honest, it’s been very jarring, like I’ve been slapped in the face! Since I’m 17 and on the younger side of the freelance pool, I’ve had to be assertive in the way I approach my practice, but I’m also starting to learn what I want to do and finding the courage to do it.
P.S. Enjoy free admission to the Singapore Biennale 2022 at Tanjong Pagar Distripark till 19th March 2023—your last chance to do so!