Singapore Ballet

What do you enjoy most about dance?

The high that you get from dance. The high that is an accumulation of hard work, preparation, execution of the steps and the pure enjoyment of it all. In addition, dance is the fullest form of expression through the physical body. The feeling of flying through the air while jumping is just pure ecstasy and being fully immersed in a piece just gives a rush like no other.

Interesting fact about yourself

I am left-handed, a dog lover and have been known to dance in my sleep. Guess sleep-dancing is a thing?

When and how did you start dancing?

I started to pick up dance because my mother is a ballet teacher. She used to put me in the corner of the studio with some food and toys while she taught class and as time went on, I ended up in the class myself, dancing with her as my teacher. I can’t really remember when I started dancing, but I was told it was at the age of two and a half. I was probably just prancing around the studio with skips and hops and looking like a foal that just learned how to walk.

Besides Ballet, did you train in other dance styles?

Besides ballet, I did train in modern, tap and folk dancing when I was younger for a short while. I also did contemporary when I was studying in New Zealand School of Dance. I’m still notorious for tapping at times in the elevator!

What and when did you decide to pursue a professional career?

I decided to pursue a professional career when I was age twelve. I won a scholarship for a summer school held in Melbourne, where the days were filled with dance classes and rehearsals. It was then that I realised that I would very much like to do this for the rest of my life and as a profession as well. That was when I started to take things more seriously to be better at my craft to be a professional in this art form.

What do you do out of SDT?

I love to go out on walks and do a bit of “discovery” myself. Getting lost in Singapore is one of the best things to do as I find out more about this beautiful city I live in. During the weekends when I’m not at SDT, I will clean my home, run errands, catch up with friends, go for physiotherapy and nap for hours on end.

What have you sacrificed for dance?

I guess you could say that I have sacrificed a “normal” childhood compared to other people. In all honesty though, I didn’t really feel like I have sacrificed a traditional upbringing for ballet. I had a school life, a supportive family and the support to allow me to do dance as a profession. That is all I could have asked for.

What advice do you have to younger dancers out there?

If you never try, you will never know. I have been told many times that I will not make it and that this profession is too competitive and harsh with little payback. In my opinion, any profession will be too competitive and harsh with little payback if you do not really want to do it. Just stick to it and you will get there. Obstacles are inevitable and the journey should be appreciated to see how far you have come.

I always stick by two quotes. The first one is from Winnie-the-Pooh by A. A. Milne – “The things that make me different are the things that make me, ME”. The next one is from Jimmy Fallon – “You gotta risk it to get the biscuit”.

If you did not pursue a professional career, what do you think you will be doing now?

If I did not pursue a professional dance career, I would probably be pursuing my other childhood dream of being a palaeontologist (specifically dinosaur scientist) or obstetrician/gynaecologist (to help give birth to babies). As a child, I was very interested in scientific and medical stuff, and would often ask about the whys, whats and hows of everything.

Favourite thing about your job?

Being able to point at the Esplanade Theatre and be able to say “that’s where I dance!”

What is your favourite ballet?

Le Corsaire. I find it fascinating because most ballet repertoires are of love stories with the female usually being in the lead. However Le Corsaire is a story about a man, Conrad, and his adventures while saving Medora.

Do you prefer classical or contemporary ballets?

I love both contemporary and classical, but I have trained longer in the classical style so I naturally and instinctively prefer it as I am able to perform classical better.

How much time do you spend dancing a week?

I probably spend about 5 hours dancing a day. I cannot really estimate for a week as each week is different.

What are some of the challenges you have faced so far as a dancer?

Ballet is a graceful art form, however the positions required for ballet dancers to achieve is not natural for the human body. So I would say that one of my biggest challenges is trying to create the perfect classical shape with my body.

Another challenge would be consistency. As a male dancer, we have to get into the routine of strength training every day. Having to train frequently is tough but it is necessary, and is definitely beneficial.

When and how did you start dancing?

When I was younger my mother took me to the musical Lion King and I loved it. Since then, I have always wanted to become a dancer on Broadway. To accomplish that dream, I realised I had to take lessons in ballet, which eventually led me to pursue dance professionally.

What is your favourite piece of ballet learned/performed?

Rimbombo. (This is a comedy ballet choreographed by Simon Dow who is a teacher at The Australian Ballet School.)

This was my first time ever performing a comedy ballet. I had so much fun in rehearsals and practice! We did a total of about 20 shows but I never got bored of it. This was also a show that had a lot of audience interaction and responses, so that was very exciting.

What motivates you when you’re having a bad day?

Lunch and sleep are the two simple factors that can help me get through a tough day.

Have you been injured? If yes, when and how did it affect you?

Yes, I had an ankle sprain about 3 years ago. That injury took about 3 months to heal! Even after the initial 3 months, I had to spend another 4 months training to get back to where I was. Even though I did spend a lot of time recovering, I do not think that it has affected my dancing much. In fact, the time spent to regain the strength in my ankle has actually helped me understand my body better.

What have you sacrificed for dance?

Besides a lot of hard work, dance requires time. The time spent training in the studio or practicing for an upcoming production becomes a priority before anything else, sometimes even my family and friends.

What have you learned about yourself through dance?

Dance makes you learn a lot about yourself. Mine in particular is to face my weaknesses which includes physical strength and patience. Through the hard times I experienced and the mistakes I made, I was able to learn and overcome many difficult seasons.

What do you enjoy most about 2016’s performance season?

The repertoire extends from classical to contemporary ballet so I never feel I am completely stuck in one style. This year we did Don Quixote in March, which is one of my favourite full length ballets, as well as Balanchine’s Theme and Variations at The Moon and The Stars, which is truly a privilege to dance. I also enjoyed dancing in Nils Christe’s Symphony in Three Movements because of the choreography, music, and intensity. Working with Timothy Harbour for Another Energy was a definite highlight as well!

What is your most memorable performance in your life?

I remember when I was 11, my ballet school performed a La Bayadère-inspired piece. I remember thinking that I was not good enough as a dancer because I did not get to join in the group dance, and I had to dance with a boy in this pas de deux instead of dancing with the older girls in the corps de ballet. No one told me I was the main girl. I remember not smiling the entire time I was on stage. (laughs)

What do you think is the most beautiful aspect of ballet?

Seeing a dancer blend technique with grace and power, and also being able to deliver some kind of emotion. That is what makes ballet beautiful.

What motivates you to keep dancing?

The fact that we can’t dance forever, we only have now – the present, one lifetime; and our body ages year by year. It really is a pleasure to have been given this gift that I get to go to work and dance, and I just don’t want to waste it.

How has dance changed your life?

It has changed me so much…Where I live, the people that I’ve gotten to meet and also unfortunately the people I’ve had to leave behind. Dance has also taken me to many places around the world so it has really taken me out of the small town in Malaysia that I was born in, and also the small town of 20 000 people that I grew up in, in Australia. Dance has also taught me so much determination and persistence.

Favourite costume, choreography, performance, dancer?

My favourite costume would have to be the dress from Val Caniparoli’s Lambarena, and the tutu of the Fairy of Abundance from Sleeping Beauty. The dress is dyed so well with amazing colours and the tu-tu is just gorgeous when it is paired with the gorgeous headpiece.

My favourite classical choreography is Theme and Variations by George Balanchine, and contemporary ballet choreography is Symphony in Three Movements. In both of these masterpieces, the movements really reflect the music so well. It’s like watching a physical interpretation of the music; the different tempos, the changes in dynamics, the musical patterns and phrasing, the layers of melodies or instruments.

What is your greatest fulfilment in being a dancer?

The greatest fulfilment about being a dancer is that it really is a lifestyle choice. It is fulfilling being different, and yet being a part of a handful of people that are similar with you. In my previous jobs, I was performing up to 8 times a week every week. So we lived and breathed performing, and always had varying schedules. Often times, when others were working, we had time off. When others had time off, like weekends and weeknights, we would work. While others slept in the comforts of their own beds, we stayed in countless hotels and homestays; I lived out of 2 suitcases for four and a half years. I was always touring or moving around, not knowing where the next job might be. So yes, it really is such a unique lifestyle. Of course in Singapore, it is a bit different, but there are those same elements from time to time. Anyway, I am much happier having unpacked those suitcases and been able to call Singapore home for awhile now.

Interesting fact about yourself

I failed the Elementary grade for my RAD exam, and was completely devastated, but that only made me work harder. So even if you’ve failed, never give up and keep working at it!

Biggest dream or desire? (Travel, where? Things to do, what? People to meet, who?)

I have a desire to trek up a mountain. That would be so amazing! Another thing on my list is also to go to South Africa and experience a true safari.

Quote or motto to live by?

One of the things we can hang onto in the end are memories, so go and experience something and keep creating them.

What do you enjoy most about 2016’s performance season?

I really enjoyed dancing in Don Quixote. I’ve become more familiar with dancing as one of the village women and with story after performing it in 2014, so I find that I am able to improve and perform better. The choreography and style is very lively and cheery, and it is a big ballet that has a convincing storyline, so the audience is able to understand the ballet well.

I also enjoyed dancing Symphony in Three Movements by Nils Christe at Masterpiece in Motion. It is significant to me because it was my first time dancing a contemporary work since joining SDT in 2014. I loved the movement quality as well as the story and meaning behind the work.

What is your most memorable performance in your life?

My most memorable performance would probably be Serenade by George Balanchine, at Ballet Under the Stars 2015. Before performing it last year, I’ve only ever heard of the music, but never watched or dance it before. So when I first learnt the choreography, I was in awe of how perfectly the music synergised with the choreography, and it was incredibly beautiful to watch and perform in.

What do you think is the most beautiful aspect of ballet?

I enjoy the beauty that is displayed through the lines and movements that ballet produces. I also find beauty in the theatrical side of ballet, where one is able to encapsulate the identity of another person and portray that character out on stage with purposed intention.

What motivates you to keep dancing?

I’ve always loved dancing and moving about since I was a very young girl, and it has become an integral part of who I am that I would not know what to do if not for dance. So what motivates me to dance? It’s really my love for it.

What do you enjoy most about class/rehearsals?

Classes and rehearsals are a daily routine, and I’ve came to realise that morning company classes are essential to my day because it prepares my body and sets the tone for what my day of rehearsals would be like. It also decreases the possibilities of injuries.

During rehearsals, I enjoy watching my colleagues dance because I’ve found that I learnt a lot from just observing them, and I get to witness how hard they’ve worked to perform well on stage, which is something that the audience do not get to see.

If a choreographer created a work on you, what do you think it will be about?

I’ve never thought of this before, and it’s difficult to say. But I think the choreographic style would tend towards a sense of peace and tranquillity.

Favourite movie, past-time, food, person, ice cream flavour?

Movie: I don’t have a particular movie that is a favourite

Food: Seafood and hotpot. I still prefer how it is served in my hometown in China, as it is spicier and the taste is different.

Ice cream flavour: I like the Haagen Dazs’s Matcha!

Biggest dream or desire?

I really want to skydive or bungee jump one day, and if possible, I would like to do it in Australia. I find it really thrilling and exciting.

It would also be wonderful if I can have a reunion with my schoolmates and teachers from Liao Ning Ballet School, and of course to meet my family.

Favourite story of your childhood?

When I was 9, I left my hometown in He Nan to further my ballet training in Liao Ning Ballet School, which was a 20-hour train ride away from my home. I remember missing my family so much, and yet I kept persevering in my studies as I dreamt of becoming a dancer one day. So even when I faced difficulties or when I got scolded or hit by my teacher, I did not tell my family, because I know that pursuing dance is the choice I’ve made for myself. This part of my childhood will always have a deep impression in my heart.

What do you enjoy most about 2016’s performance season?

The repertoire is most exciting; dancing new and different pieces is always thrilling and engaging. This year brought a wide range of guest choreographers to the season, which trains us to adapt to different working styles and demands quickly. I particularly enjoyed performing Val Caniparoli’s Swipe, and Nils Christe’s Symphony in Three Movements.

What is your most memorable performance in your life?

I’ve had many memorable performances during my time at SDT, one of them which stands out in my memory is my first show, Swan Lake in 2012.  I was so excited for my first professional performance.

I remember the feeling during the curtain call, looking up at the applauding audience I thought to myself, “Wow, this is amazing”. I won’t be forgetting that moment any time soon.

Performing at the park for Ballet Under the Stars is also very unique in its setting alone.  A full stage outside in front of a beautiful building at the Fort Canning, that is really something – the dancers get a great view too!

What motivates you to keep dancing?

I’ve been dancing for most of my life, for so many years without giving up.  There is definitely an innate drive within me to keep on doing what I am doing, and pushing further.

How has dance changed your life?

Dance has made me a more confident person, I was a very shy boy before I started dancing.  As a child, I was not very sure of myself, but dancing brought me out of my shell quite a bit. My posture has also improved with my dance training.

Favourite costume and choreography?

The costume from Swipe is very cool, I like the open chested shirts the men wear with black pants. The choreography in this piece is among my favourites as well, the arm movements and style really suit the music.

What do you enjoy most about class/rehearsals?

I like the familiarity in classwork, as it brings us back to our basics, enabling us to focus on the refinement of our technique.  On the other hand, rehearsals are very different, often requiring us to learn completely new movements which can be a challenge, but also very satisfying when it comes together.

What is your greatest fulfilment in being a dancer?

Sometimes when learning a new choreography, I come across some routine which can be difficult to master.  Overcoming these difficult challenges is very fulfilling, especially when one of your weaknesses becomes one of your strengths.

If a choreographer created a work on you, what do you think it will be about?

It depends on the choreographer.  They usually try to get to know their dancers strengths and past experiences. As they get to know the dancers better they will draw on those experiences to create a work that is unique, original and showing off the dancers’ best abilities.

Favourite movie, past-time, ice cream flavour?

I really enjoy TV shows such as Game of Thrones and Breaking Bad.  Some of my favourite past times are just relaxing on weekends with friends either watching something good, or playing the occasional game of Poker.  I do love a good mango ice cream…it’s very refreshing.

Quote or motto to live by?

“Never give up and always look to improve on yourself.” This is something that keeps me going, for instance focusing on small details in class are prime examples of improving technique, which goes a long way in rehearsals later.

What do you enjoy most about 2016’s performance season?

I don’t think there is a “most” that I enjoy about 2016’s performance season. I enjoyed the challenge that every role brings and I enjoyed the fact that I could be dancing on stage for an audience.

What is your most memorable performance in your life?

I find it difficult to pick just one, but a performance that is very precious to me was the first time I performed on stage. It was in 2000 when I first danced with SDT in its production of Coppélia. I was cast to dance as a little boy, and that was also the first production I performed on stage with my mother.

What do you think is the most beautiful aspect of ballet?

To me, what is so beautiful about ballet is that it is made up of many different aspects altogether. It can be full of passion and is incredibly powerful, but at the same time it can be very graceful and elegant. Dance is a very physical art form, but more than that, it is also full of soul and spirit.

What motivates you to keep dancing?

Knowing that there are places that I haven’t been and achieved with my body, and that there’s so much more than what I have achieved motivates me to keep dancing.

How has dance changed your life?

I have been dancing since I was young, so it has been a big part of my life. Over all these years, dance has taught me the meaning of many things – what is discipline, what is hard work and dedication, what it means to let go, how to work as a team, how something powerful can also be so beautiful, and many more.

Favourite costume, choreography, dancer?

Favourite costume: Wow, it is hard to pick a favourite. But to name a few, it will be Incomparable Beauty by Ma Cong, Serenade by George Balanchine, Organ Concerto by Nils Christe, and Lambarena by Val Caniparoli.

Favourite Choreography: Again it is hard to pick a favourite, but I enjoyed working with Ma Cong and dancing his movements. I enjoyed Blue Snow by Toru Shimazaki, and I love dancing Serenade by George Balanchine.

What do you enjoy most about class/rehearsals?

This may sound a little fundamental, but I really love the feeling of starting class with pliés and tendus. I like feeling my muscles warm up and start to work – just using my feet in every tendu, really massaging the floor. I enjoy improving my craft every day; truth be told, some days are harder than others, and sometimes it can get frustrating, but that is just part of life.

I also enjoy working with choreographers and seeing how the piece comes together, to see how every joint supplies; how in every rehearsal, little things are being pieced together to make a masterpiece.

What is your greatest fulfilment in being a dancer?

I think my biggest fulfilment is being able to share part of my heart with the audience, and to be able to touch the audience’s heart and soul through movement.

Interesting fact about yourself?

I can’t cycle!

Biggest dream or desire? (Travel, where? Things to do, what? People to meet, who?)

I would love to travel the world. I believe when we travel, we see more things, our perspective gets wider and changes, we understand more; we grow as a person. I wouldn’t say this is my biggest dream or desire but I would like to live life to the fullest, to have an impact to the people around me, to be a bright light to people.

Do you have any pre-performance rituals?

I don’t have a specific routine before a performance, but I always try to get ready a bit earlier so that I have enough time to prepare myself mentally and physically before going onstage. For my warm up, I like to do a bit of barre to get my body going. I also drink plenty of water and I like to eat bananas for the extra energy boost.

What do you think is the most beautiful aspect of ballet?

I think the most beautiful aspect of ballet is the physicality and movement quality of it. I love to watch when dancers experiment and explore with their bodies in motion, and have a really special way of moving. For example, a dancer that I find really inspirational is Tiler Peck from New York City Ballet. She is such a strong dancer, and she is so light on her feet. When she dances, she looks as if she is creating the choreography on the spot. The way she moves is so natural and organic, but she is still doing ballet choreography. I find that really amazing.

How has dance changed your life?

Dance has definitely taught me discipline and caused me to mature much faster than other people my age. I trained at NZSD (New Zealand School of Dance), and that was where I had to learn to be independent, to persevere through the challenges and intentionally push myself. As I was away from home I had to grow up quicker and make smart decisions for myself.

Fill in the blank, “Dance is like ________.”

To me, dance is like speaking, it is the loudest voice our bodies can ever express. In fact, sometimes I find that I am able to communicate much better to an audience through dance, than through speaking.

What do you enjoy most about class/rehearsals?

I love having the time and space to perfect each step, I also love working with my other colleagues as they are such an inspiration to me, they are the ones who keep me striving to do my best.

What is your dream role in a classical ballet?

Rather than a dream role, I would like to have something choreographed on me, so that I can really make it my own. I enjoy dancing contemporary ballet, so probably a non-narrative piece that uses purely movements to speak to the audience.

What are your top three qualities as a dancer?

Versatile – I enjoy dancing both classical ballet and contemporary and feel at ease to switch between the two.

Determined – I believe in hard work. Even the most talented dancer will not make it if they do not work for it. So I really try to push myself everyday in class and rehearsal to try to perfect each step of the choreography. The beautiful thing about ballet is that it can never be perfect, so it keeps me working hard to try to achieve that.

Perseverance – During my time in NZSD, I suffered a few injuries and had to stop dancing for a while. During that time, I had to remain determined and driven in my artistic pursuits, and not give in to giving up just because I felt like I was behind everyone else.

To you, what is the difference between contemporary and classical works?

To me, contemporary has a more organic energy as compared to classical ballet which is more refined and controlled. Both are as unique and captivating, I personally really love both styles of dancing.

What do you want to do after dancing?

I feel like I’ve just begun my journey as a professional dancer, so I have not actually given it much thought, but I would definitely want to do something that is related to dance in some way. I do enjoy Pilates, and am quite interested in teaching ballet. These are some of my options at the moment.

Favourite movie and past-time?

My favourite movie would be the trilogy of Lord of the Rings. My favourite past time is playing with my puppy! His name is Finn and he is a mix between a poodle and Maltese. He is 7 months old and really mischeivious, but so much fun.

Quote or motto to live by?

“Challenge accepted!” For every challenge that I face which I find daunting, I try to keep an open mind and approach it with an unwavering perseverance.

What do you enjoy most about 2016’s performance season?

Getting reacquainted with Swipe by Val Caniparoli was probably the most enjoyable experience this year. I last did Swipe two years ago, and I was a very different person and dancer then. It was an interesting and challenging journey. This piece is technically demanding and quite difficult, and I only managed to get through it because of the help from my fellow dancers and ballet master, Md Noor.  Swipe features 4 males and 3 females, and I had to work closely with Maughan and May for the women’s section. It was really lovely working out the choreography with them, functioning as a team and discussing through various issues for the piece. Working with a new partner, Jason Carter, was also a pleasant change. He brought something very different and personal to the pas de deux which made me seek a new approach. Also, at the back of my mind, I just kept thinking to myself, “I wanted to dance better than last time”.

What do you think is the most beautiful aspect of ballet?

To me, the beauty of ballet lies in the fact that it doesn’t remain stagnant, but it is continuously evolving. New works are being created all over the world, dancers test their limits everyday in the studio, and techniques and styles are perpetually being developed to suit the needs of our time and culture. As a dancer, each day my relationship with ballet varies, and as an audience member, my view on ballet grows with time.

What motivates you to keep dancing?

As cliché as it may sound, it really is my love for dance that keeps me going. It really comes down to having a passion and heart for dance, without that, it is almost impossible to keep persevering through the strenuous trainings and disciplines. It’s amazing how far passion can push you.

How has dance changed your life?

Dance has caused me to become more appreciative. I have met, danced and lived with other dancers who are now dancing all over the world. I have learned from amazing teachers, and worked with many inspiring choreographers and répétiteurs. Some encounters were brief, some for a longer period of time, but all of them made a lasting impression. I do my best to enjoy every experience and opportunity I get, no matter how long our interaction may be, because I know that it can influence and impact who I am and become as a dancer.

What do you enjoy most about class/rehearsals?

I enjoy that classes are never the same. My body feels different each day, so I will always discover and understand myself better after every class that I take. Class is also the place where I am more intentional in trying trickier steps, and exploring various movements and approaches to certain steps.

To you, what is one of your greatest fulfilment?

I think one of my greatest fulfilment is achieving my dream to be a professional dancer. It still amazes me that I get to go to work and do something I love. I remember that when I first started dancing in SDT, life in Singapore seemed a bit surreal and unbelievable. Looking back, I’ve come to realise that I am really quite lucky to be able to dance with SDT.

If a choreographer created a work on you, what do you think it will be about?
I am still growing to know and understand myself better as a dancer, from my personal style to choreographic inclinations. I’ve never had a work created on me, but I do look forward to it. I don’t think I’m good at rapid movements, but perhaps that side of myself can be developed and unearthed through the creation process.

Favourite movie, past-time, food, person, ice cream flavour?

Favourite movie – My Fair Lady. I first watched it when I was around 11 years old. I like the Cinderella feature of the plot. Surprisingly I only read the play it is based on last year. Pygmalion has a different resolution. It’s more realistic. I prefer this ending now that I’m an adult.

Past-time – Crocheting. I learned to crochet in 6th grade home economics. Once I made headbands for my ballet classmates. I was making a placemat and coaster set last year. I gave up on that. Currently I’m working on shawls and scarves for loved ones.

Ice cream – Cookie dough and dark chocolate. After my first company class audition, my sister, mum and I were exploring Singapore. We stumbled upon a quaint ice cream parlour called Merely. I’ve been going there ever since, I think they have the best dark chocolate ice cream.

Food – It’s really hard to choose, but my current top three would be tom yum, the burnt ends of barbecue briskets, and laing (a spicy Filipino vegetable dish cooked with coconut milk)

Person – my older sister, I love teasing her. Apparently my sister hated ballet after her first class. My mum was a bit reluctant to put me in a ballet class because of my sister’s reaction. My sister lives in manila now. We only really started to bond together more when she moved away for university, I guess the separation made me realise how much I value her.

Interesting fact about yourself

I like to name some of my pillows. There’s a Bob and a Ting now. (laughs)

Quote or motto to live by?

Carpe diem. Our time on Earth is fleeting so I want to make every second count instead of letting possibly significant moments slip away.

What do you enjoy most about 2016’s performance season?

It’s got to be the new work, Symphony in 3 Movements, that we are working on at the moment with Nils Christe. It’s quite different from what we have been doing so far in the year and I’m loving the challenge!

What is your most memorable performance in your life?

Don Quixote in 2014. Getting to work and to be coached by Cynthia Harvey was one amazing process and experience that I grew a lot from.

Another memorable performance would be dancing Fate in Romeo and Juliet. Maybe it was Prokofiev’s music, or simply the role, or a combination of both and many other factors, but it was the first time I felt very immersed in a role on stage. I’d love to have a second go at it, it will be interesting to see how I return to it years later.

 What do you think is the most beautiful aspect of ballet?

There are many beautiful aspects of ballet so it’s very hard to choose just one. But I love watching dancers who understand themselves so much that they are able to move other people; these dancers are beautiful to watch.

Favourite dancer?

Marianela Nunez. Not only is her technique remarkable, she is very generous and genuine with her dancing and moves her audiences!

Fill in the blank, “Dance is like ________.”

Dance is like allowing a person to escape; for both the dancer and the audience. When the dancer is able to loose him or herself, he or she draws the audience in as a result. For me, that’s the beauty of it. I always believe the paying audience come to watch performances because they are in for a treat whether or not they are happy or stressed out and want to relax, therefore we owe them only our very best.

What do you enjoy most about class/rehearsals?

I enjoy striving to be better in class everyday and even more so when we have fantastic accompaniment. As for rehearsals, I really enjoy working with the different choreographers. No two creation or staging process is the same and each are all rewarding and special in their own ways.

 What is your greatest fulfilment in being a dancer?

As cliché as it may sound, it is the fact that dance has changed my life that is my greatest fulfilment as a dancer. It is the life I have come to know, and dance has given me the highs and the lows in my journey which resulted in giving me the confidence and independence. It has also taught me self-reliance and encouraged a sense of perseverance within me. These are all qualities that will see me through life. Not forgetting that it has also given me a first career that I love immensely.

If a choreographer created a work on you, what do you think it will be about?

It would be something strong and more dynamic, where the movements are sharper and more dynamic in nature, nothing too sweet. Maybe even… dark? Could be interesting!

Biggest dream or desire – travel, activity, person to meet?

I’d love to travel the world, explore different countries and learn about their culture. At the moment I really want to visit Bhutan!

I’d also love to challenge myself one day perhaps by cycling across a country, all the more better if it’s for a charitable cause.

People? That’s hard! I generally admire people who stand up and believe in what they do and those them give themselves up selflessly. I was very moved after watching ‘The Lady’ which was about Aung San Suu Kyi. On a lighter note, I also follow some Kate Middleton instagram accounts. I think she’s an elegant and classy lady with a wonderful wardrobe!! *Occasional fashion inspiration!

Quote or motto to live by?

Never get ahead of yourself. Everything happens for a reason.

What do you enjoy most about 2016’s performance season?

There are so many works by very different choreographers in this year’s performance season, and each of them have their own unique styles which gives me the opportunity to explore and grow as a dancer. It also gives me the chance to push myself to the best of my ability and to be as versatile as possible, so as to deliver what the choreographers want. Some works are very classical while others are more contemporary; some have a storyline while others do not. We have a wide range of our repertoire which enables me to grow and develop into a multifaceted dancer.

What do you think is the most beautiful aspect of ballet?

Ballet is beautiful because of the strength beneath the grace and elegance of the movements that the audience sees. The core muscles and legs of the dancer have to be very strong so that the upper torso and arms have the ability to be graceful, free and fluid. With strength and stability, dancers can create mesmerising shapes and movements with their bodies.

What motivates you to keep dancing?

It is definitely love and passion for this art form. Only this can cause a person to keep pushing on and never giving up. I believe that when dance is not truly from the heart, then it is almost impossible to persevere on when the body feels like giving up.

Fill in the blank, “Dance is like _____.”

Dance is like a way of life for me. It has become who I am as a person, and defined me in my identity.

What is your greatest fulfillment as a dancer?

My greatest fulfillment is when I can attain what I have set out to achieve. I want to bring enjoyment to the audience while taking them on an emotional journey with me. By exposing my true emotions and inner self, I hope to bring them on a journey to another world, even if it is just for a couple of hours.

What are your top three qualities as a dancer?

I am determined in my character, expressive in my performance, and energetic in my movements. These are three traits that many people can easily see in me, and it truly is who I am within.

If a choreographer created a work on you, what do you think it will be about?

I have never had the privilege of having a new work created on me so I am not very certain of how it would be like. However, I believe the choreographer will first try to get to know me; understand some of my past experiences as well as find out how I move. If there is a story or situation I can relate to, I will be able to put in the same emotions I felt during that time into the movements that they create. In this way, the movements will be very organic, natural and instinctual.

Biggest dream or desire?

When I have the time, I would love to travel more, to widen my knowledge of the world. I want to visit famous cities and eventually get to see the wonders of the world. I have not been able to travel much because of my busy schedules, but I would like to do so someday, perhaps when I retire.

Quote or motto to live by?

“Positivity is the key to happiness”. Being positive is very important because positive minds live positive lives, it really is that fundamental.

How has dance shaped and grown you?

Other than growing in my artistry and techniques as a dancer, I think dance has grown me to be more disciplined and determined as a person. If I can’t do a certain step for a choreography, I will keep practicing till I am confident of it and not simply give up halfway. Likewise, even in life, with every major decision that I make, I will persevere and stick to it till the end. In this way, dance has really shaped me to be stronger in every endeavour in my life.

 What is your most memorable performance in your life?

My most memorable performance would be Don Quixote, as it was the very first production I danced in with SDT. I joined the company at the start of the year, and was cast to dance as part of the Toreadors in Act 1 and Gypsy Boys in Act 2.

Do you have any pre-performance rituals?

Before every performance, I will always make sure I have ample amount of time to stretch while I am backstage as it helps me to relax my body and my mind before going on to stage.

How has dance changed your life?

Every choreography that I come across has allowed me to make many new discoveries about myself, so being able to dance every day has changed my life greatly. Other than that, dance is also really fun to me, and it brings me so much joy. Dance has also given me many opportunities to meet and work with dancers and choreographers from all around the world, and that has changed my perspective of dance and how I am as a dancer and a person.

Fill in the blank, “Dance is like ________.”

Dance is simply like daily life. To some, their daily living means going in to an office and working round the clock, but to me, dance is an integral part of my everyday life, it is what my days are spent on and who I identify myself to be.

What is your dream role in a classical ballet?

My dream role would be Basilio in Don Quixote.  I remember watching Don Quixote when I was a child, and I was really inspired by the character of Basilio and the various technique and choreography of that role. I would love to be able to dance as Basilio in the future.

What are your top three qualities as a dancer?

I think my top three qualities are: I love learning, I do not give up easily, and I give my best in everything I do. These three qualities are definitive of who I am as I believe that as long as I persevere and desire to keep learning and growing, I will continue to develop not just as a dancer, but as an individual.

Who is your favourite choreographer?

My favourite choreographer is William Forsythe, as his works are so unique and breath-taking. I still remember the very first time I saw his choreography on stage, it left such a deep impression in me that I really wanted to dance one of his works one day.

To you, what is the difference between contemporary and classical works?

I’ve danced classical ballet for so many years, so I am used to the structure and movement of classical works. However, contemporary is quite new to me, so it is a bigger challenge to learn and personalise the style and choreography, but to me, that is the exciting and interesting part of dance.

What do you want to do after dancing?

I would like to teach ballet with my sister at the school she’s been teaching at in Hiroshima, Japan. The school is called International Ballet Academy, and it was where I first started learning ballet when I was 7 years old, and my sister was my first ballet teacher! So for me, being able to work with her in the ballet school where I grew up in would be really meaningful and significant.

Quote or motto to live by?

Never give up! Although it is a very common and simple quote, these three words hold so much power for me. It is because of this mentality that I’ve kept the perseverance within me to keep on going on, to never look back, never stop – never give up!

 What is your most memorable performance in your life?

My most memorable performance to date was dancing as Demetrius in Youri Vamos’s A Midsummer Night’s Dream with the National Moravian – Silesian Theatre in Czech Republic.

I will never forget that performance because I only had two days to rehearse due to an injury. But with the help of my dance partners, I managed to press through and perform to the best of my ability for consecutive shows. It was an experience that left a very deep impression in life because through it, I learnt a lot about myself as a dancer, and it taught me how to work faster and to believe in myself, even under difficult circumstances.

Do you have any pre-performance rituals?

I will always do some barre warm-ups and exercises before any performance, whether it is in studio or on stage with a proper barre, or even in the corridor of the theatre with a chair or desk. Also, another habit I have is that I do not do my pre performance preparation to classical music, but to musical soundtracks or whatever song is on the current hit charts, it seems to keep me less nervous before the performance.

After doing my warm-up exercises, I will take some quiet time to do my hair and make-up, put on my costume, and then go through the choreography just a few more times before the show starts.

How has dance changed your life?

Dance changed my life completely. I grew up in a small country town in Australia, and dance gave me the opportunity to move to Melbourne, and to perform in various place all around Australia. Dance also opened the door for me to perform in many other countries like Indonesia, Romania, Czech Republic, and now, Singapore. Without dance, I don’t think I would have had all these opportunities to travel and to see the world, which has opened me to so many different experiences and cultures. Dance has also brought many people into my life, and many of them have become great friends and family. I have dance to thank for making my life so wonderful, and for allowing me to grow as a person.

Favourite costume, choreography, performance, dancer?

I absolutely love Christopher Wheeldon’s Alice’s Adventures in Wonderland, from the sets, to the costumes and choreography, everything is simply so spectacular and amazing.

My favourite dancer is Steven McRae, who is a principal dancer from the Royal Ballet, London. I think that he is a tremendous dancer, performer, and actor, who is so clean, fluid and neat in his movement. His performance in Alice’s Adventures in Wonderland as the Mad Hatter, where he had to incorporate tap dancing in to the choreography, was simply mesmerising. His versatility astounds me too; he can be dancing as a beautiful prince one night, then a modern role like Chroma or Frankenstein on the next night. He is incredibly talented and I really enjoy following him on Instagram as it motivates me when I see all the hard work he puts in to achieve all that he does as a dancer.

What is your greatest fulfilment in being a dancer?

To me, the greatest fulfilment is in causing the audience to feel a certain way without using words, and being able to convey so much emotion through movements in my body. I love the satisfaction I feel when I hear the reaction from the audience after a hard performance. Not every audience member will love every performance, but to know that I have done my best to make them feel something, that is an achievement that fulfils me as a dancer.

What is your dream role in a classical ballet?

I was lucky enough to get to dance my dream role in my last year of schooling at the National Theatre Ballet School, which is Albrecht from Giselle. I think it is such a romantic story and I love the journey he goes through – from loving Giselle, to nearly dancing to his death for her, and finally being left alone upon her grave. I will never forget that after the performance, I was left with so much emotions within me as the role carried so much dynamics. I dream that one day I will be able to dance this role in a professional company.

What are your top three qualities as a dancer?

1. Determination to improve and make things better. I love the feeling of working hard and I am determined to get better.
2. Respect for myself and my fellow colleges. I always have respect for my mentors, idols, teachers, friends, and colleges in and out of the studio.
3. Emotions. I feel that I have a quality in my dancing to be able to use my body in a way that speaks and tells a message, rather than to just work through the steps of a dance.

If a choreographer created a work on you, what do you think it will be about?

Definitely nothing too serious. It would probably be a work that tends towards the fun, bubbly, and light hearted type of choreography, because of my natural personality. But I’m really not sure, and it would be interesting to find out.

What do you want to do after dancing?

I would love to be a Primary School teacher or teach English in a foreign country. I love teaching kids and watching them grow up, so I think it would be amazing if I can inspire and help these young ones in any way I can, whether it be in dance or everyday education.

Quote or motto to live by?

“Good, better, best. Never let it rest, until your good is better and your better is best.” – Tim Duncan

A really simple quote, but one of profound meaning and depth – to always push myself to the limits, to constantly be ready and open to learning and growing, and never settling for anything less than what is my best.

Since you joined SDT as an apprentice in January 2016, what do you enjoy the most?

I must say that I enjoy every aspect of being a professional dancer with equal affection. From taking company class every morning, where I can improve on my technique and learn from other dancers, to rehearsing a piece and working with international choreographers, and all the way to performing, where I am given the opportunity to express myself on stage.

Do you have any pre-performance rituals?

Other than the usual pre-performance preparations like stretching and warming up, I also always say a prayer before I step on to stage, to commit my worries and anxieties to God.

What motivates you to keep dancing?

I am motivated by every aspect of each choreography – the beauty of the movements, meaning behind the creation, music; everything culminates into a driving force to keep dancing. The deep desire within me to express myself through movement, and the knowledge that I am so blessed to be a professional ballet dancer also causes me to keep pursuing this art form, and not to take all these opportunities for granted.

Fill in the blank, “Dance is like ________.”

Dance is like the paint I colour my life with. At this stage of my life, dancing brings joy, colour and meaning to the way I live my life.

What is your dream role in a classical ballet?

Romeo in Choo-San Goh’s Romeo and Juliet. Dancing as Romeo really stretches one to embody emotions that span a very wide spectrum, from intense romance to devastating sorrow. He has such a rich a character that to be able to dance as Romeo well is a great feat that I aspire to attain.

What are your top three qualities as a dancer?

Diligence, sincerity, and a deep desire to express my emotions when I’m performing on stage.

To you, what is the difference between contemporary and classical works?

To me, classical works form the structure that allows contemporary choreography to break out from. Personally, I think both are equally beautiful, deep, and meaningful.

What do you want to do after dancing?

After having received the opportunities I’ve been given as a dancer, I do want to be able to give back to the arts industry in Singapore.

What was one of the most important pieces of advice you’ve received as a dancer?

“You have to dance with personality and passion!” – Ms Sylvia McCully.

Ms McCully was my first ballet teacher when I started learning ballet at the age of seven. Having grown up under her tutelage, I was always inspired by the advice she gave to her students, and still hold her words close to my heart till today.

Quote or motto to live by?

“Your attitude determines your altitude” – derived from an original quote by Zig Ziglar. This quote is important to me because it is the first inspirational quote that left such a deep impression upon me, and also because I have experienced the truth of this quote in my life.

Remembering Our Days; SDT Dance Pioneers

THE CO-FOUNDER – MS GOH SOO KHIM (1944)

Ms Goh Soo Khim is one of the co-founders of Singapore Dance Theatre, and remains to be a highly respected doyen in Singapore’s dance scene

“You have to be burning with an idea, or a problem, or a wrong that you want to right. If you’re not passionate enough from the start, you’ll never stick it out.” – Steve Jobs

Goh’s passion for dance was ingrained in her ever since she was a little girl, her joyous love for movement was undeniable and evident. She grew up with nine other siblings, of which three of them, Goh Choo Chiat, Goh Soo Nee, and Goh Choo San, became world-renowned dancers, choreographers, and teachers themselves.

Soo Khim learnt ballet at Singapore Ballet Academy (SBA) from Frances Poh, Vernon Martinus, and her elder sister, Soo Nee, whom she regards to have the greatest impact on her dance path. Although her father was not very keen on having yet another dancer in the family, Soo Khim’s opportunity to pursue professional dance training came in 1964 when the newly-opened Australian Ballet School (ABS) accepted her into their very first cohort. She was the only Asian student in a class of 20 students, of which one of her classmates was Ms Marilyn Rowe, the Director of ABS from 1999 to 2014.

Goh graduated in 1966, and returned to Singapore where she performed Giselle with her younger brother, Choo San, who was the resident choreographer at SBA then. It is one of her most cherished and fondest memories of her late brother who passed away in 1987.

In 1969, Soo Khim returned to Australia and married Daniel Teo, her childhood sweetheart from Nanyang Primary School. Soon after, Soo Nee decided to migrate to Canada, and Soo Khim took over SBA as the director and principal in 1971. More than her passion to dance, her passion to teach and raise a generation of dancers in Singapore burned even brighter.

In 1984, Goh and Anthony Then were invited by the then Ministry of Culture to be co-artistic directors of the Ballet Group of the National Dance Company. That was the beginning of their work partnership as artistic directors. It was in that Ballet Group that they noticed a handful of individuals who had immense potential and were ready to commit to a career in dance. Goh and Then shared a similar vision and zealousness for the Singapore dance scene, which steered them towards a single mission of building the first professional dance company in Singapore, which we now know as “Singapore Dance Theatre”.

SDT was officially announced in 1987 and opened in January 1988 with three of her students from SBA –  Chantal Pestana, Elizabeth Thng, and Jamaludin Jalil, as well as Ellie Lai from Malaysia, and Mario Esperanza, Donata Ferrer, and Ricardo Culalic from the Philippines. These seven dancers are the founding members of the company. Goh and Then gave all that they had into building a world-class company that could be versatile in both classical and contemporary works. It is because of their tenacity to create a platform for professional dancers that caused the history of dance in Singapore to be changed forever.

Since 1988, Soo Khim was at the forefront of Singapore Dance Theatre’s (SDT) pioneering and maturing years. Despite the many setbacks and challenges she had to battle, her deep desire of seeing SDT successfully established in Singapore was her motivation to press on as the artistic director of SDT, while continuing as the Principal of SBA. For three years, SDT shared SBA’s premise on Lloyd Road, before moving to its own studio at Fort Canning in 1991.

In 1992, the company performed its very first full-length classical ballet, The Nutcracker, which was restaged in 1994. Choreographed and staged by co-founder Anthony Then, the ballet featured a large cast of more than 100 dancers. In 1995, Mr Anthony Then passed away on the evening of the opening performance of Coppélia. It shook the company into a state of grief, but the performances had to go on. That was one of the most difficult periods of Soo Khim’s life, as she soldiered on as the sole artistic director of SDT.

One of Goh’s greatest fulfilment as the artistic director of SDT is being able to bring back most of her younger brother Choo-San’s works to Singapore’s stage, including intimate works like Beginnings, and spectacular choreographies like Momentum and Birds of Paradise. Beginnings was especially momentous as it was gifted to SDT from Choo-San for its debut performance at Victoria Theatre in 1988, and it was performed to much acclaim. Soo Khim also choreographed Brahms’ Sentiments for SDT’s first production, and in 1990, she choreographed Environmental Phases and co-choreographed Motif with Anthony.

Other than Choo-San’s works, Ms Goh also took pride in seeing the value of introducing many internationally renowned choreographers, including those from Asian countries, to collaborate with SDT. To her, it was important for dancers to be exposed to and learn from a variety of dance styles.

Together with the then company manager, Ms Ng Siew Eng, they put SDT on many international stages. The company toured extensively to cities worldwide including Australia, China, London, France, Hong Kong, Indonesia, Korea, Malaysia, Mexico, Philippines, and the U.S.A. It grew as a new company in the region and internationally; garnering much interest and attention within a short span of time. The first 20 years of SDT were the years of exponential growth and maturity as Goh led the way forwards, venturing upon unchartered waters.

In view of the development of the company, Goh also stressed the importance of encouraging and providing a platform for dancers to nurture and discover their creativity and talent in choreography. This has led to many dancers establishing themselves as choreographers today.

Goh was awarded a Fellowship from the LASALLE College of the Arts in 2002, and she has also been honoured with invitations to sit on various dance jury panels, including the international panel for the Asia Pacific Ballet Competition in Japan since 1991, as well as the the Genée International Ballet Competition in Singapore. A notable invitation was when she was the first Asian to be asked to sit as one of the jury members for the prestigious Benois de la Danse Prix in Moscow in 2003.

Goh deeply believes in the value of staying open minded and hearted to other art forms beyond your own. Every artist is inspired by another, and one has to learn and grow as dancers by widening our perspectives of the arts. A painting can inspire movement in a dancer, just like how a dancer can prompt creation of musical scores. Hard work is not enough to refine an artist. It is through greater exposure and experiences that you begin to develop your own sensibilities as a dancer, and grow a deeper understanding of your craft.

It is possible that it is because of Soo Khim’s openness to diversity and opportunities that SDT has come to be known as a company of versatility and adaptiveness. It is a company where the dancers are brought in from many different parts of the world, and yet cohesive as a whole when they perform on stage. Daring to be different, and to go beyond the norms, Goh’s willingness to take up the challenge of pushing the boundaries has put the company out there and propelled SDT to launch forwards.

As Ms Goh would neatly put it, SDT is no longer ‘little’, and neither has it simply remained as a ‘dream’, instead SDT is now a beautiful reality. In a TV interview she did in the 1970s, she told the interviewer, “I would really love to see a professional dance company in Singapore”. But never would she have known that 10 years on, she would be the one who pioneers the dance company in Singapore; never would she have dared to dream that the company would be as big as it is now.

It is evident to everyone, especially the company members of Goh’s leadership, that Goh is a gentle woman of much persistence and passion for the dancers of SDT. In the words of Ms Goh, the company was “a close-knit group and everyone who worked in SDT has become a member of my extended family.” She was not only a mentor in the studio, but a motherly figure fondly remembered by many dancers.

After 20 years of service to SDT, Goh decided to retire as the artistic director of SDT in 2008. She felt that the company was “at its best”, and she could peaceably leave the company to other trusted hands. She continued as the Principal of SBA for another four years, before appointing Jeffrey Tan, an ex-dancer from SDT, as the Principal of SBA. She remembers her years with SDT fondly and reminisces that “not many are able to do what they love so deeply for a lifetime”.

KEY MILESTONES

1956 – Trained at the Malayan School of Dance

1958 – Trained at Singapore Ballet Academy (SBA)

1964 – Joined The Australian Ballet School as a student

1966 – Came back to Singapore, taught at SBA

1966 – Danced Giselle with her brother, Choo-San

1969 – Married Mr Daniel Teo

1971 – Took over as Principal of SBA

1981 – Cultural Medallion winner

1985 – Co-Artistic Director of Ballet Group of the National Dance Company with Anthony Then

1987 – Formation of SDT formally announced

1988 – Co-Founded SDT with Anthony Then

1988 – (12 June) First performance, Beginnings

1989 – Pingat Bakti Masyarakat (Public Service Medal)

1991 – SDT moved to Fort Canning

1992 – SDT’s first full-length ballet, The Nutcracker staged by Anthony Then

1995 – Premiere of Ballet Under the Stars

2002 – Fellowship from the LASALLE College of the Arts

2002 – SDT performed Reminiscing the Moon by Boi Sakti at Esplanade’s Opening.

2003 – Invited to be a Jury Member for Benois de la Danse Prix in Moscow

2008 – Jury member for the Genée International Ballet Competition in Singapore

2008 – Fellowship from the Royal Academy of Dance in London

2014 – Inducted into the Singapore Women’s Hall of Fame

Remembering Our Days; SDT Dance Pioneers
THE BALLET MASTER – MOHAMED NOOR SARMAN (1964)
Mohamed Noor Sarman, who is affectionately known as Md Noor, is the longest-standing member of Singapore Dance Theatre.

“If you feel like there’s something out there that you’re supposed to be doing, if you have a passion for it, then stop wishing and just do it.” – Wanda Skyes

And that was exactly what Mohamed Noor Sarman (Md Noor) did as he sat in Victoria Theatre at ‘Beginnings’, the very first production by Singapore Dance Theatre (SDT), in June 1988. “When I sat in the audience at that performance, I knew deep within me that I had to be up there on stage, and not sitting comfortably in the seats,” said Md Noor as he reached far back into his memory. Brimming with a new found determination and zeal for the stage, the 24-year-old jazz-trained dancer found himself knocking on the doors of SDT, irrespective of his lack in professional ballet training. Call it impulsive or pure bravery, but his voracity saw the door to his lifelong career being flung wide open as Co-Founders Anthony Then and Ms Goh Soo Khim offered him a place in the company.

Years before his entry into SDT, Sarman’s initial dancing days started with his younger sister’s malay cultural dance group, which led to his pursuit of a scholarship at Dance Arts Singapore, where he was given free jazz and ballet classes with Rose Borromeo and Tony Lacer, respectively. At the age of 16, Md Noor owned his first pair of ballet shoes, and he has never given up on them since.

Md Noor danced with the Singapore Armed Forces’ Music and Drama Company in 1982, where he continued to sit under the coaching of Tony Lacer; and in 1984, he earned a scholarship with Singapore Ballet Academy, where he had the opportunity to be under the tutelage of Ms Goh Soo Khim and the late Mr Then, whom he holds dearly to his heart. Md Noor was also a full-time dancer with the Singapore Broadcasting Corporation in 1987, where he danced on the same stage as popular singers like Fei Xiang and on TV programmes like Miss Universe.

Md Noor’s transition from commercial television dancing to professional performance with SDT in 1988 was no doubt an arduous uphill climb. Surrounded by company dancers who were far more developed in their craft, Md Noor’s learning curve was a steep ascend. Trained in jazz dance, he had to trudge forwards against the tides of a less than familiar art form – ballet. It was pure grit and passion that kept his tenacity aflame. He had to pick up technical skills much quicker than others in order to catch up with others, and “missing one class felt like missing an entire year of classes” to him. But no matter how tiring it may have been, all the effort put in was neither burdensome nor dreaded; instead his eagerness to absorb as much as he could stem from a deep longing to learn and grow as a dancer. It was his intense fervor to give all that he had within himself into this art form that set his heart ablaze upon unchartered grounds.

He journeyed with the company through every mountain and valley, and bore witness to the coming together and furthering of our nation’s premier dance company in the past 27 years. From traveling with the company to Paris, China, Japan, amongst many other countries, to being a part of every milestone the company had. Just as he has seen SDT grow from its foundational years, the company has also seen him grown from an amateur dancer to the well-loved Ballet Master that he is today.

The highlights of his professional career are countless; they include dancing for the Presidents of Singapore, meeting Singaporean choreographer Choo-San Goh and taking his class, and receiving a scholarship from the French government to study in Paris, as well as the National Arts Council’s Young Artist Award in 1995. He also had the opportunity to further his dance studies in New York, and attended a summer school in London.

He fondly remembers repertoires like Gemini by Vincente Nebrada, where he did a pas de deux with fellow SDT dancer, Jamaludin Jalil, and Remiscing the Moon at the opening of the Esplanade Theatre, where Boi Sakti incorporated water and other elements in his unique choreography. Md Noor was cast for four different roles in SDT’s first full-length production in 1995, The Nutcracker by Anthony Then; and his choreography, Living Greens, was staged across the world. Choo-San Goh’s Birds of Paradise and Goh Soo Khim’s children production, Peter and the Wolf, are also cherished memories for him, and so was flying across the stage with a harness in Sakiko Oshima’s Whose Voices Cries Out.

His journey is filled with many sentimental moments, far too many for him to count, but one lasting memory that runs deeper than all is the belief and support he has received from the pioneers of this company.

He was given the opportunity to help stage The Nutcracker in 1995, and was asked to be the Assistant Ballet Master in 1997 while still continuing as a dancer. He was later appointed as Ballet Master in 2009, and retired as a professional dancer. It was a transition where he had to change his perspective towards his responsibilities in the company, and he had to learn a different skill set of teaching and guiding younger dancers towards achieving their fullest potential.

These were significant personal turning points for him in his career. Never did the 16-year-old Sarman, who grew up in a traditional Singaporean Malay family, ever dare to dream of being a Ballet Master of Singapore’s national dance company, and much less the privilege to work alongside Mr Janek Schergen. Md Noor’s great respect for Janek is grounded in the years of coaching and guidance he received as a young dancer, and Sarman still finds it difficult to believe that he gets to sit and teach with Janek in rehearsals today. But here he is, fulfilling what he once told a news reporter who asked him what his idea of success would be, “to grow and mature with the company”.

KEY MILESTONES
1980 – Started learning dance at Dance Arts Singapore on scholarship
1982 – Joined Singapore Armed Forces’ Music and Drama Company as a dancer, actor, and singer
1984 – Joined Singapore Ballet Academy on scholarship
1987 – Joined Singapore Broadcasting Corporation as a full-time dancer
1988 – Joined Singapore Dance Theatre as a full-time dancer
1993 – Received a French scholarship for an attachment at I.F.E.D.E.M. Paris
1995 – Recipient of the National Arts Council’s Young Artist Award
1996 – His work, Living Greens, represented Singapore in the 8th ASEAN Dance Festival
1997 – Appointed as SDT’s Assistant Ballet Master
2009 – Promoted to Ballet Master

When did you join SDT?

I joined SDT officially in Jan 2011 as an apprentice.

What were your first few soloist roles in the company, and what was it like dancing those roles?

My very first was Dewdrop in Nutcracker, then Big Swans in Swan Lake and Paquita Pas De Trois the following year. Every role is very different and so it never feels the same. However, some were definitely more comfortable to do than others. Dewdrop was my first and I didn’t see it coming at all! I wasn’t used to having the spotlight on me and thus it took me a while to find the confidence to carry out the role. It was a tiring role that challenged my stamina but I enjoyed it nonetheless – the feeling when you get to the end of the routine and do all those grand jetes, is simply the best! I felt more ready for Big Swans after having done Dewdrop the year before and I can say that it is one of my favourite roles to date! The movements were so expansive and the music so beautiful that I felt I could just let go and let the music lead me! Paquita Pas De Trois was performed during Ballet Under The Stars the same year and again that felt very different to the previous two. I had to do the entrance and adagio section before the Paquita Pas De Trios which itself consists of an entrance, solo and coda so I had to learn to pace myself!

How did the ballets you have danced at SDT developed your artistic abilities?

The more number and variety of ballets you dance, the more experienced you get! We are also lucky that the repertoire here at SDT is versatile so it stretches one’s ability as a dancer.

What is a typical rehearsal day like as a First Artist? Is there a difference between being Artist and First Artist?

I don’t feel much of a difference between being a first artist and an artist apart from the fact that we may have smaller rehearsals with each other and the principals as we are often having to dance together in ballets (eg. Lilac Fairy, Prince, Aurora & Kitri’s Friends, Kitri and Basilio etc) or understudying principal roles. There’s inevitably also more responsibility as a First Artist as you take on more soloist roles. Other than that, class every morning is still together at the same time and I still dance in the corp or understudy so I’m often in all the rehearsals with everyone else if not more!

What is it like dancing with different partners in rehearsal and onstage?

Every partner is different and so it feels different when dancing together. At the end of the day it is about learning to accommodate, remembering various partners’ likes and trusting one another!

What SDT roles are you looking forwarding at dancing again, and why?

I had a great time dancing one of the Flower girls in Don Quixote last year and it’s definitely a role I’m looking forward to perform again. Another role would be Fate because this role is so emotional and dancing it a second time will definitely feel different. It will also be great to revisit this role as it had been more than 6 months since my first time dancing it.

Do you ever make mistakes onstage? What do you do?

Yes I have made mistakes and the best thing to do when that happens is to “KEEP CALM AND CARRY ON”! (laughs)

What costume has been your favourite?

Organ Concerto has got to be my favourite. It’s elegant and stylish!

How do you feel after performance?

Ironically, both tired and energetic at the same time. There are times where it takes me a while to go to bed after a performance although I try to sleep as early as possible because I know I’ll have to pay for it the next day!

Do you attend other dance performances in Singapore or overseas?

Yes I do even if it means buying the cheapest ticket sitting right on top!

Do you have a motto or quote to live by as a dancer?

This is a hard question, but I would have to say: “Work hard and be true to yourself”!

When did you join SDT?

I joined SDT in August 2011.

What were your first few soloist roles in the company, and what was it like dancing those roles?

My first soloist role was Val Caniparoli’s Chant which premiered in August 2012. It felt amazing to have a role created on me, but I remember feeling very anxious. It was definitely very challenging!

How did the ballets you have danced at SDT developed your artistic abilities?

The ballets we get to do here cover a range of styles which require different emotions and intensities. So being versatile and exploring different expressions is important to in delivering a piece. I love that we are able to do both intense pieces like Swipe and also fun and lively ones like ZIN!. Balanchine’s pieces however, require us to express technique with musicality. Doing these very different ballets, requires a lot from us artistically.

What is a typical rehearsal day like as a First Artist? Is there a difference between being Artist and First Artist?

A typical day as a first artist is quite busy as we spend the day rehearsing different ballets at the same time. There is a difference because I feel I have to push myself even more and I hold more responsibility due to the roles I am dancing.

What is it like dancing with different partners in rehearsal and onstage?

It’s always a bit tricky switching partners as each person is different and thus have different execution and timing. So one really needs to communicate well in order to achieve a better understanding of each other.

 What SDT roles are you looking forwarding at dancing again, and why?

I’m looking forward to dancing Diamond again in Sleeping Beauty because it was such a challenge for me the last time and  I hope by having more experience, I will be able to enjoy it more this time. I am looking forward to dancing Diamond again also because it has such a beautiful costume and role.

Do you ever make mistakes onstage? What do you do?

Yes. However, as hard and humiliating as it is, the best thing to do is to keep going as if it never happened.

What costume has been your favourite?

Lambarena, Flower Girl Don Quixote

How do you feel after a performance?

If I have done well, I feel great and have lots of energy until my adrenaline wears off. But if I haven’t done well, I feel a bit disappointed.

Do you attend other dance performances in Singapore or overseas?

Yes definitely. I love the performing arts and also love to be inspired by other companies and artists.

Do you have a motto or quote to live by as a dancer?

Not officially. Just follow your heart, experience new things, never stop learning, and have a thankful spirit.

How old were you when you started ballet? Did you like it?

I started learning ballet at De Souza Dance Centre when I was 12 years old. I can’t say that I liked ballet at first since I quit after learning it for a while, but I started again when I was 14 and have not stopped since.

What was the first ballet you ever saw in a theatre? Who was it by, and what impression did it leave with you?

The first ballet I saw was The Royal Ballet’s Romeo and Juliet at the Royal Opera House in Covent Garden. I was taken back when I saw the scale of what a ballet performance could be and was surprised at how deeply it affected me because I only associated ballet with dancing in a village hall after school. The experience of watching that performance definitely changed my perspective of what ballet means to me.

When did you decide to pursue a professional career, and why?

After performing on a small stage for the first time at my school’s production, I discovered that performing on stage was a completely different feeling to dancing in the studio. The stage gives a dance much more validity because a dancer gets to share their dance with audience. It was then that I decided to pursue a professional career as a dance performer.

Where did you pursue pre-professional training? / Did you enjoy your training at your school?

I joined the Royal Ballet School’s senior associates in 2009, before joining Central School of Ballet in 2011. Moving from an all boys school in the countryside, to a city based ballet school, was a huge change for me. It was quite difficult at times, but ultimately, rewarding and filled with many happy memories

How/When did you become and apprentice at SDT?

I joined SDT in August 2014 after sending my video audition to Mr Janek Schergen after I graduated from my school.

What was your first role in SDT as a professional dancer?

I was a village man in Don Quixote, and it a was fantastic experience to work with Cynthia Harvey who is such an iconic dancer.

How do you learn a new ballet/choreography? Is it different for contemporary and classical choreography?

I have to really make an effort to internalise the choreography into my muscle memory. Some people can watch a phrase or piece of movement and it is instantly set in to their bodies and minds, but I’m not as lucky because I am a kinaesthetic learner, so I have to try a more physical approach in learning.

What is a typical rehearsal day like for you? What do you do during breaks?

We have company class in the morning, and a full day of rehearsals. During my break time, I would usually read, or take a nap to rest.

Do you have any pre-performance rituals?

I try not to do too much before a performance. I would usually listen to music and try to keep my mind as clear as possible. If need be, I may go through a few steps, but I always prioritise maintaining a clear mind and minimal stress without having too many negative thoughts.

What do you eat on a big rehearsal/performance day?

Carbohydrates are good for a slow release of energy, so I would usually have pasta with some sort of meat for protein.

Do you watch ballets from the wings during performance days?

No, I usually try to concentrate on myself and what I need to perform for that day.

How do you feel after a performance?

A drowsy sort of contentment. (laughs) I feel great basically!

What is your most prized possession?

I would say my collection of books, I prefer the palpability of hard copies. To me, it is important to keep hard copies of books, because if I had my library on a memory stick I would probably lose them all at once.

What do you like to do outside of SDT?

I like to listen to music, read and have a drink with my friends.

Do you have a “guilty pleasure”?

If you feel guilty about it, it really is not much of a pleasure, so no, I don’t think I have one.

Are most of your friends dancers?

In Singapore, yes, I haven’t been here for long, so I have not had the chance to plant my roots very deep yet.

How does your family feel about your career?

My family was brilliant about it. They always drove me to classes and supported me all the time, and for that I am incredibly grateful.

How old were you when you started ballet?

I was ten turning eleven when I started taking ballet class. My father was the one who persuaded me to learn ballet, but I was so scared because I was the only boy in a class of more than twenty girls. But over time, I grew comfortable, and made friends with the other dancers as well.

What was the first ballet you ever saw?

The first ballet I watched was Cinderella by my ballet school. I was nine then, and my sister was dancing in it. The first time I watched a ballet by a professional company was Swan Lake by the Stuttgart Ballet. I remember the prima ballerina dancing as Odette and Odile, and she was amazing at both contrasting characters!

When did you decide to pursue a professional career?

I think I was 15 or 16 when I took ballet more seriously. I decided to switch to non-formal school so that I could have more time to practice dancing as well.

Where did you pursue pre-professional training?

I was born and raised in Thailand, so I took ballet classes at the Chiang Mai Ballet Academy on a yearly scholarship from 2005 – 2013, and had the opportunity to perform with the Chiang Mai Ballet. When I was around 18 years old, I did my RAD Solo-Seal exam, and the private lessons from guest teachers helped me a lot in my ballet technique and style. I also trained under Kim Matthews and the Director of the Preeyapun Sridhavat.
I was also honoured to have won the first prize in the 12th, 13th and 14th Asia Pacific Dance Competitions held in Singapore, Bangkok and Hong Kong.

How/When did you become and apprentice at SDT?

I auditioned in August 2013, and joined SDT in January 2014.

My first trip to Singapore in 2013 was at the invitation to perform at a Singaporean dance school, Dance-Pointe.

I had spoken to the owner of the school and shared with her my interest in joining a ballet company. After a few days, I was shocked to hear from her that she had secured an audition in SDT for me on the following week, and I was not ready for the audition.

I was more focused on being a hip-hop dancer at that time, so I really struggled through the company which was part of the audition. After class, I spoke to Artistic Director Janek Schergen and he said that I was not ready to join the company but he saw a talent in me. So he proposed for me to keep taking company classes and evaluate the possibility of offering me a contract as an apprentice after awhile. So I worked as hard as I could even after returning to Thailand when my visa was due, and I practiced every day at my school, watching and learning from Bolshoi classes on YouTube.

When I returned to Singapore at the end of October to rehearse for the show with Dance-Pointe, I travelled from Jurong to Bugis to join the company classes in the mornings, and return to Jurong West for rehearsal, and then back again to Bugis to attend scholars class. During that period, there was one day when Janek called me in to his office and offered me an apprentice place in the company, I just stood there with thinking to myself, “What? Wait, did I just get accepted?” I was super surprised! (laughs)

What was your first role in SDT as a professional dancer?

My first role was in Romeo and Juliet. I was pretty excited, but I was scared of making mistakes and a little stressed as well. It was a challenge for me even though it wasn’t a big role. But I keep trying to do it better every time I dance.

How do you learn a ballet?

Usually our Artistic Director or Ballet Master would teach us the choreography of a ballet. Once we know the steps, it is our responsibility to practice, do them well and be able to perform the dance.

What is a typical rehearsal day like for you?

After company class in the morning, we have a short rest break to catch a breath and get a snack, before we go into a full day of rehearsals. In between rehearsals, we would have our lunch break and I would take a quick nap to recharge. During break time or after work, I would also go the gym to work out, or if I don’t feel like travelling, I would stay in our studio and do my strength and core trainin

Do you have any pre-performance rituals?

I do not have any pre-performance ritual, but most of the time, before I step on stage to perform, I would stand in the wings and meditate to stay focused on my performance.

What do you eat on a big rehearsal/performance day?

I am a vegetarian, and my diet does not vary from what I eat on a daily basis. I do make sure that I do not miss a meal though, which I usually don’t since I am always hungry. (laughs)

Do you watch ballets from the wings?

Yes, sometimes. It’s good to watch your friends and co-dancers perform. You can learn a lot just by watching others.

How do you feel after a performance?

Well, it depends. If I performed well, I would feel really good about it, and would have a drink with my friends to celebrate. But if I didn’t perform as well as I should have, then I would not feel as good, although I would still go for a drink. (laughs) I also feel really relieved if the piece I performed was a very hard or very tiring one.

What is your most prized possession?

Honestly, I do not believe that a man truly possesses anything material. We are born without anything and we die leaving all our material possessions. But for the present, my most prized possession would be my classical guitar, which is handmade from Chile.

What do you like to do outside of SDT?

On most weekends, my friends and I would always have a plan to go out and enjoy ourselves. Most of the time I would go to the cinema with my friends to watch a movie.

Do you have a “guilty pleasure”?

Having too much fun. (laughs) No, I don’t think I really have a guilty pleasure.

Are most of your friends dancers?

Yes, almost all of them are either dancers or they used to be.

How does your family feel about your career?

Great, they are very supportive of me! Except for my mum, she supports me, but not as much I guess.

How old were you when you started ballet?

I did Chinese dance since I was five or six years old, and started learning ballet at Liao Ning Ballet School when I was nine. I started ballet because Liao Ning Ballet came to my hometown to do a performance, and we had the opportunity to perform with them. After the performance, the Artistic Director scouted me out, and asked my mother if I would like to join Liao Ning Ballet School that year. I’m really glad that I was given that opportunity.

What was the first ballet you ever saw in a theatre? Who was it by, and what impression did it leave with you?

The first ballet I watched was Le Corsaire by Liao Ning Ballet when I was about 11 years old. It was my first time experiencing what it was like to be in a theatre and to be in a professional performance. I really enjoyed and adored all the beautiful costume, set, and dancers. It was then that I thought to myself when will I be able to be like them. (laughs)

When did you decide to pursue a professional career, and why?

I guess I decided to pursue a professional career in dance when I decided to go to Liao Ning Ballet School, but I don’t think I actually understood the impact and importance of my decision when that I decided to go to boarding school.  I only realised the extent of my decision when I reached the school and experienced the culture and setting of the school.

Did you enjoy your training at your school?

Yes, I did. Our school bell would ring at 6am everyday, and the whole school will be awake for breakfast. We would then have ballet class in the morning, academic class, lunch, stretching class, dinner, and personal study time in the evening. The bell would ring again at 9pm and everyone would go to sleep. That happens every day. (laughs)

When I was at Liao Ning, I also realised that I could not depend my mother, and had to be really independent with all my responsibilities, from learning how to do laundry, to changing bedsheets. Because I had friends who could go through the journey with me, I really enjoyed my time there and got used to the livelihood at school soon enough.

I was in Liao Ning Ballet since I was nine to 14 years old. After graduation, I studied in Beijing Dance Academy for two years, before coming over to Singapore’s Nanyang Academy of Fine Arts (NAFA) on a scholarship to study for a Diploma in Dance.

I was not used to the year-round Summer and food when I came over to Singapore, but I’ve grown to be accustomed to the culture here over the years. Having to study difficult topics like anatomy, nutrition and dance history in English was a challenge as well, but my classmates really helped me a lot in class.

When and how did you join SDT?

After I graduated, I emailed our Artistic Director Janek to ask for an audition, but I found out that the next audition was at the end of 2013. So I joined SDT’s company classes and scholar’s as well in June 2013, and was given a place as an apprentice in January 2014.

What was your first role in SDT as a professional dancer? Did you like it?

Spanish Girls in The Nutcracker in 2013. It was my first time performing on a big stage, so I felt quite nervous about it before the performance, I felt really happy once the performance was over.

 How do you learn a new ballet/choreography? Is it different for contemporary and classical choreography?

I would first try to memorise the choreography, before analysing each movement and seeing how each step can be further improved. I feel that it easier to memorise classical routines than contemporary because I am more familiar with how each ballet steps transits to another.

What is a typical rehearsal day like for you? What do you do during breaks?

I usually wake up at about 7.30am, and reach the studio at 9am to have my breakfast and stretch before company class at 10am. Depending on my castings, my rehearsal schedule would vary from day to day. But during my break times, I would sew my pointe shoes, or talk with my friends.

Do you have any pre-performance rituals?

I don’t have a fixed pre-performance ritual, but I would try to get ready about 2 hours before performance so that I can take my time to get my make-up, hair, costume, and shoes prepared and done before the performance. Some dancers would have a cup of coffee, or a banana, but coffee doesn’t really have an effect on me and I don’t really like the taste of it, so I don’t take it regularly.

What do you eat on a big rehearsal/performance day?

I don’t eat too much before a performance because I want my body to feel light so that I am able to execute my jumps and movements without feeling too heavy.

What is your dream role?

Theme and Variations by George Balanchine, it was the first work that I watched when I first came in to SDT, and I was an understudy for it then. It would be really nice if I could perform it on stage one day.

What is your favourite costume so far?

Theme and Variations by George Balanchine (laughs), because the costume looks so beautiful! When I first watched this ballet being performed, I remember feeling like I wanted to wear that tutu and be on stage with them.

Who is your favourite choreographer in the works you’ve danced?

Cynthia Harvey, who came to stage Don Quixote last year. Knowing that Cynthia Harvey has danced as Kitri before, I really respected and admired her style of dance. She was very well organised in her rehearsals, and was clear with what she wanted to achieve.

Do you watch ballets from the wings during performance days?

Yes, I do. It is a very different feeling watching from the audience point of view and from the wings, and I really enjoy watching the behind the scenes of a performance, to be able to witness their emotions and preparation just before they get on stage. I am also able to support and cheer on my friends while I’m at the wings!

How do you feel after a performance?

Really happy! I would also feel really relieved and glad that I can take a short break before rehearsals start again for the next performance.

What is your most prized possession?

Time. And vacations back home. I really treasure my time back home when I visit my family back in China every December. Just being able to catch up with friends, and share about how our lives have changed and been, it really warms my heart to spend time with them.

What do you like to do outside of SDT?

I would hang out with my friends, or have a drink at night. I also like watching movie, shopping and just walking around Singapore.

Do you have a “guilty pleasure”?

Shopping! I would see something that I really like, and I would buy it. When in actual fact, I don’t actually need it because I already have something similar at home. It’s quite a dichotomy, because I would be happy that I bought it, but unhappy that the money spent was quite unnecessary.

Are most of your friends dancers?

No, there are some of my friends who are teachers, or work in offices. But of course I have many friends who are dancers as I grew up in a dance school.

How does your family feel about your career?

My parents really respected my choice although I know that they would worry about me, and miss having me at home. But they have been very supportive through these 12 years of being away from home, and I’m very thankful for my parent’s love and support.

What do you want to do after dancing?

I haven’t quite decided if I would stay in Singapore or return to China, but I would love to become a dance teacher.

How old were you when you started ballet?

I was eight when I started learning classical ballet in Japan with my twin sister, Yuu Suzuki. Before that, I also learnt modern ballet at 6, but did not really enjoy it as I found what I was learning to be quite childish.

What was the first ballet you ever saw in a theatre? Who was it by, and what impression did it leave with you?

I don’t quite remember, but I think it was The Nutcracker by Matsuyama Ballet Company when I was about six years old. I remember Act 2 because of the beautiful costumes and set, and I really admired the dancers and wanted to be like the dancers on stage.

When did you decide to pursue a professional career, and why?

When I was 13, I performed as Clara in The Nutcracker with the Asami Maki Ballet Company. It was so fun and enjoyable that I wanted to perform again and again on stage after that experience. I later danced supporting child roles in New National Theatre Ballet Company’s Sleeping Beauty, La Bayadère, Raymonda, Roland Petit’s La Chauve-souris, and Don Quixote. While I was still in Junior High School, I auditioned at New National Theatre Ballet School  (NNT) in Tokyo, Japan, with my sister, and the both of us got in to NNT. We were about 15 years old when we enrolled in to NNT for four years.

Did you enjoy your training at your school?

Yes, I did. At NNT, we did not only learn ballet, but we also had Spanish dance, contemporary, historical dance, and character dance classes. We also studied ballet and music history, Japanese culture, and even acting and drama skills. Through my journey in NNT, I was able to learn how to incorporate what I learnt from school into my own dance expressions, and I think that has helped me a lot in forming the foundations of how I present my dance better.

When and how did you join SDT?

I remember that I was really interested in SDT when I found out about the company’s repertoire, and the dancers’ experiences and exposure at the company, I felt like this was the company I wanted to be a part of, and decided to apply. I auditioned in July 2014, and I joined SDT in October of the same year.

What was your first role in SDT as a professional dancer? Did you like it?

I was a Village Woman, Dryad, and Classical Girl in Don Quixote in December 2014. I enjoyed the process thoroughly, from learning the choreography from Cynthia Harvey to performing it, I found it to be really fun and exhilarating to be on stage.

How do you learn a new ballet/choreography? Is it different for contemporary and classical choreography?

When I learn a new ballet, I would usually listen to the music on repeat so that I am familiar with the timing and rhythms in the song, and I would run through the choreography over and over in my head as I listen to the music. I also try to pick up as much as I can when the choreographer is teaching the dance, and I will attempt to understand what the choreographer wants for each movement, and I learn by watching the other dancers dance as well, especially from those who have already mastered the choreography.

What is a typical rehearsal day like for you? What do you do during breaks?

I usually reach the studio at 9.30am to warm-up for company class at 10am. We would then have a whole day of rehearsals, and an hour lunch break at around 2pm. I would usually sew my pointe shoes, check my phone, and get ready for the next rehearsal during my break time.

Do you have any pre-performance rituals?

I don’t really have any pre-performance ritual, but I make sure that I have enough time to do my make-up and stretch before the show time. I realise that I will also send my family a text message and a photograph of my costume before I perform, it means a lot to me to have my family’s support and love. They would usually reply and tell me not to be nervous, and to try to enjoy myself on stage. (laughs)

What do you eat on a big rehearsal/performance day?

I usually try not to eat too much oily food, and I would eat more fresh vegetables and fruits, like cherry tomatoes. But I would also eat some chocolates (laughs), my favourite chocolate is Lindtt.

What is your dream role?

I have a lot of dream roles, some of them include Nikia in La Bayadère, Raymonda in Raymonda, and Princess Aurora in Sleeping Beauty.

What is your favourite costume so far?

I like delicate and exquisite princess tutus like Princess Aurora’s, but I also like simple costumes like Serenade by George Balanchine.

Who is your favourite choreographer in the works you’ve danced?

Before I came in to SDT, I enjoyed working with Birmingham’s Artistic Director David Bintley when I was with National Ballet of Japen (NBJ) as a Junior Artist, and I also really admire George Balanchine and Roland Petit’s style of choreography.

While I’ve been in SDT, having Cynthia Harvey stage Don Quixote has not only taught and helped me in my ballet technique, but she also guided us in how we could dramatise and act our my roles, especially in Act 1 and the Tavern scene for myself.

Do you watch ballets from the wings during performance days?

Yes, I really enjoy watching other dancers from the wings. However, if I have to get ready for my own performance or if I need some time to prepare my pointe shoe, I would not be able to watch my friends perform.

How do you feel after a performance?

It really depends on how I did for that performance. On days when I know that I’ve danced well, I will be really happy. But if the performance does not go well, I will usually become more pensive, and analyse how I have done to see how I can improve from future performances.

What is your most prized possession?

I think my most prized possessions are my two necklaces which I always have on. One of it is a letter ‘M’ which was given to me by my mother for my 20^th birthday. My twin sister has a similar necklace of a letter ‘Y’, so it is really special to me. The other is a gold necklace that my father gave me when I decided to come over to Singapore; it is a symbolism of protection.

What do you like to do outside of SDT?

I like to walk around Singapore because I love to explore this city and get to discover more about this nation.
I also can get a little obsessed and spend too much time thinking about how I can become healthier. I would do a lot of research about dieting, exercises, nutrition, and would try put some of what I’ve found into practice.

Do you have a “guilty pleasure”?

Coffee! I enjoy a good cup of coffee, but I haven’t found a good café in Singapore yet, so I am still on a personal mission to find a café that I like.

Are most of your friends dancers?

Yes, most of my friends are dancers as we grew up together in the same dance school, and my closest friend is my twin sister, Yuu.

How does your family feel about your career?

My parents have been a very big support to me in my pursuit of dance, and because my twin sister is a professional dancer as well, she is the one person who understands me the best.

What do you want to do after dancing?

I have not quite decided yet, but other than dance, I am also very interested in health. So after I stop dancing professionally, I would like to be able to teach dance and help people lead a healthy and fit lifestyle in one way or another.

How old were you when you started ballet?

I started learning ballet at the age of 10, but before that, I also learnt gymnastics when I was four, and latin dance at the age of eight. I only started ballet when I entered in to Shanghai Dance School.

What was the first ballet you ever saw?

The first ballet I watched was on a DVD when I was about 12 years old, it was Don Quixote by the American Ballet Theater. The first theatre performance was when I was about 16 years old, I watched Swan Lake by the Shanghai Ballet Company. I remember being very impressed by the male lead and felt like I could learn a lot from him just by watching, but did not think too much about how it could have been reflected in my life as I was still young and was only a student.

When did you decide to pursue a professional career?

I decided to enter into Shanghai Dance School at the age of 10, and had to leave home for quite a distance. Initially, I wanted to become a dance teacher or physical trainer. But as I learnt and grew as a dancer, I aspired to become a professional performer because I felt like I have trained so hard and wanted to put what I’ve learnt on stage for an audience. That was when I took ballet a lot more seriously, and strived to become a better dancer in every aspect. I was about 18 years old when I made up my mind to pursue ballet as my professional career.

When and where did you start your training, and did you enjoy it?

As a dance student, it was very pressurising and stressful in Shanghai. As I was one of the shorter male dancers, I always felt like I was weaker and disadvantaged as compared to the taller male dancers. But the positive side of things is that I made it a point to train harder and to spend more time practicing to make up for my height. I enjoyed my training because it brought me to where I am today. I joined the Shanghai Ballet Company as an apprentice when I was 17, and was promoted to an Artist six months later.

When and how did you join SDT?

While I was in Shanghai Ballet Company, I felt a little out of place as a lot of the male dancers are very tall, so I wanted to explore other companies. That was when my fellow schoolmate from Shanghai Dance School recommended and told me about SDT then. I came over to audition in October 2012, and was offered a place and joined the company as an apprentice in November. I was later promoted to an Artist in August 2013.

What was your first role in SDT as a professional dancer?

My first performance with SDT was Sleeping Beauty in 2012. Having seen many different variations of this repertoire, it was interesting to be a part of the staging of SDT’s variation, which was staged by our Artistic Director, Janek Schergen. I don’t usually get nervous about a performance, but I guess I was quite excited about finally dancing as a professional dancer.

How do you learn a ballet?

I learn the movements by first observing, and then incorporating it with the music. Classical works are generally easier to learn as I’ve grown up learning the techniques for it, while contemporary works vary on a very large scale and I will have to adapt to that style and way of movements. I personally prefer dancing classical choreographies than contemporary. But I will strive to give my best in whatever work I am casted for.

What is a typical rehearsal day like?

We start our day with company class every week day, and we have a full day of rehearsals for the upcoming performances. We have short breaks in between rehearsals, and during the hour lunch break, I would usually try to rest my body. To me, it is very important to ensure that I am well rest physically so that I am able to have enough energy to last the day of dancing.

Do you have any pre-performance rituals?

Other than warming up and stretching before going on stage, I do not have any pre-performance ritual. I don’t usually practice before the performance, as I make sure that I have practiced and thought through my dance well before the performance day itself. So once the show begins, it is just about going up on stage with confidence and dancing from my heart. If I ever do get nervous, I would take a deep breath, and I would be good to go! (laughs)

What do you eat on a big rehearsal/performance day?

My diet is as per usual on a performance day. I try to eat well and balanced meals every day, so it does not vary much on a big rehearsal or the day of the show.

What is your dream role?

I would love to dance in Le Corsaire. I’ve already danced this ballet in school, but my dream would be to perform this ballet on a professional stage. I like dancing choreographies that are stronger and more explosive, works that are filled with powerful leaps and faster movements, and I feel that Le Corsaire is such a choreography.

What is your favourite costume so far?

My favourite costume that I’ve seen while in SDT would be Basilio in Don Quixote. It speaks of a strong character although Basilio is not your typical prince or king character. The costume also carries a Spanish flavour and has a very special touch to it, so it looks really unique.

Who is your favourite choreographer in the works you’ve danced?

Cynthia Harvey. Firstly, it is because I love Don Quixote, but more importantly, it is because Cynthia Harvey is very experienced in this repertoire, and so she is extremely confident of what she wants to achieve with this ballet. It was really enjoyable working with her as I learnt a lot from it.

Do you watch ballets from the wings?

No, I do not usually watch from the wings unless I am preparing to go on to stage next. I prefer watching the ballet from the television at the backstage as I like to see the performance from the audience point of view.

How do you feel after a performance?

If there isn’t any movements that are out of my comfort zone, I am generally quite confident of myself, so I won’t worry too much about making mistakes and such. But if there was a challenging movement or series of steps in the performance, like faster routines or lifts, I would analyse how I did and try to improve from there.

What do you like to do outside of SDT?

I am currently taking classes to learn English, and learning about music on my own as well. I also go to the gym to keep fit and train my strength.

Do you have a “guilty pleasure”?

If I know that something isn’t good for me, I wouldn’t do it, so I don’t really have any guilty pleasures.

Are most of your friends dancers?

Not all of my friends are dancers, some of them own businesses and some of them are in other industries as well in America, Hong Kong, and other countries.

What is your most prized possession?

My most prized possession is my memory, because the past is something you can never experience ever again, so holding precious moments in my memory is something that is very important to me. Other than that, my family is really close to my heart as well.

How does your family feel about your career?

They’ve never objected my decisions. Life is for you to discover, to make your own choices and learn as you go along the way. So my parents have always allowed and supported me to be quite independent in my decisions. They haven’t been here to Singapore before, but they should coming soon to visit.

What do you want to do after dancing?

I want to be a dance or ballet teacher in Singapore, but it also depends on the opportunities that come along the way as life unfolds. But I would probably stay in Singapore after dancing because I enjoy this city and environment very much.

How old were you when you started ballet?

I started learning ballet at the age of 10, but before that, I also learnt gymnastics when I was four, and latin dance at the age of eight. I only started ballet when I entered in to Shanghai Dance School.

What was the first ballet you ever saw?

The first ballet I watched was on a DVD when I was about 12 years old, it was Don Quixote by the American Ballet Theater. The first theatre performance was when I was about 16 years old, I watched Swan Lake by the Shanghai Ballet Company. I remember being very impressed by the male lead and felt like I could learn a lot from him just by watching, but did not think too much about how it could have been reflected in my life as I was still young and was only a student.

When did you decide to pursue a professional career?

I decided to enter into Shanghai Dance School at the age of 10, and had to leave home for quite a distance. Initially, I wanted to become a dance teacher or physical trainer. But as I learnt and grew as a dancer, I aspired to become a professional performer because I felt like I have trained so hard and wanted to put what I’ve learnt on stage for an audience. That was when I took ballet a lot more seriously, and strived to become a better dancer in every aspect. I was about 18 years old when I made up my mind to pursue ballet as my professional career.

When and where did you start your training, and did you enjoy it?

As a dance student, it was very pressurising and stressful in Shanghai. As I was one of the shorter male dancers, I always felt like I was weaker and disadvantaged as compared to the taller male dancers. But the positive side of things is that I made it a point to train harder and to spend more time practicing to make up for my height. I enjoyed my training because it brought me to where I am today. I joined the Shanghai Ballet Company as an apprentice when I was 17, and was promoted to an Artist six months later.

When and how did you join SDT?

While I was in Shanghai Ballet Company, I felt a little out of place as a lot of the male dancers are very tall, so I wanted to explore other companies. That was when my fellow schoolmate from Shanghai Dance School recommended and told me about SDT then. I came over to audition in October 2012, and was offered a place and joined the company as an apprentice in November. I was later promoted to an Artist in August 2013.

What was your first role in SDT as a professional dancer?

My first performance with SDT was Sleeping Beauty in 2012. Having seen many different variations of this repertoire, it was interesting to be a part of the staging of SDT’s variation, which was staged by our Artistic Director, Janek Schergen. I don’t usually get nervous about a performance, but I guess I was quite excited about finally dancing as a professional dancer.

How do you learn a ballet?

I learn the movements by first observing, and then incorporating it with the music. Classical works are generally easier to learn as I’ve grown up learning the techniques for it, while contemporary works vary on a very large scale and I will have to adapt to that style and way of movements. I personally prefer dancing classical choreographies than contemporary. But I will strive to give my best in whatever work I am casted for.

What is a typical rehearsal day like?

We start our day with company class every week day, and we have a full day of rehearsals for the upcoming performances. We have short breaks in between rehearsals, and during the hour lunch break, I would usually try to rest my body. To me, it is very important to ensure that I am well rest physically so that I am able to have enough energy to last the day of dancing.

Do you have any pre-performance rituals?

Other than warming up and stretching before going on stage, I do not have any pre-performance ritual. I don’t usually practice before the performance, as I make sure that I have practiced and thought through my dance well before the performance day itself. So once the show begins, it is just about going up on stage with confidence and dancing from my heart. If I ever do get nervous, I would take a deep breath, and I would be good to go! (laughs)

What do you eat on a big rehearsal/performance day?

My diet is as per usual on a performance day. I try to eat well and balanced meals every day, so it does not vary much on a big rehearsal or the day of the show.

What is your dream role?

I would love to dance in Le Corsaire. I’ve already danced this ballet in school, but my dream would be to perform this ballet on a professional stage. I like dancing choreographies that are stronger and more explosive, works that are filled with powerful leaps and faster movements, and I feel that Le Corsaire is such a choreography.

What is your favourite costume so far?

My favourite costume that I’ve seen while in SDT would be Basilio in Don Quixote. It speaks of a strong character although Basilio is not your typical prince or king character. The costume also carries a Spanish flavour and has a very special touch to it, so it looks really unique.

Who is your favourite choreographer in the works you’ve danced?

Cynthia Harvey. Firstly, it is because I love Don Quixote, but more importantly, it is because Cynthia Harvey is very experienced in this repertoire, and so she is extremely confident of what she wants to achieve with this ballet. It was really enjoyable working with her as I learnt a lot from it.

Do you watch ballets from the wings?

No, I do not usually watch from the wings unless I am preparing to go on to stage next. I prefer watching the ballet from the television at the backstage as I like to see the performance from the audience point of view.

How do you feel after a performance?

If there isn’t any movements that are out of my comfort zone, I am generally quite confident of myself, so I won’t worry too much about making mistakes and such. But if there was a challenging movement or series of steps in the performance, like faster routines or lifts, I would analyse how I did and try to improve from there.

What do you like to do outside of SDT?

I am currently taking classes to learn English, and learning about music on my own as well. I also go to the gym to keep fit and train my strength.

Do you have a “guilty pleasure”?

If I know that something isn’t good for me, I wouldn’t do it, so I don’t really have any guilty pleasures.

Are most of your friends dancers?

Not all of my friends are dancers, some of them own businesses and some of them are in other industries as well in America, Hong Kong, and other countries.

What is your most prized possession?

My most prized possession is my memory, because the past is something you can never experience ever again, so holding precious moments in my memory is something that is very important to me. Other than that, my family is really close to my heart as well.

How does your family feel about your career?

They’ve never objected my decisions. Life is for you to discover, to make your own choices and learn as you go along the way. So my parents have always allowed and supported me to be quite independent in my decisions. They haven’t been here to Singapore before, but they should coming soon to visit.

What do you want to do after dancing?

I want to be a dance or ballet teacher in Singapore, but it also depends on the opportunities that come along the way as life unfolds. But I would probably stay in Singapore after dancing because I enjoy this city and environment very much.

How old were you when you started ballet?

I started learning ballet at the age of four in Japan. Since then, ballet became such an integral part of my life. My family moved to live in the USA for two years when I was five years old. As the professional ballet schools only accepted students who are 8 years old and above, I trained at Mary Ann Lajoie-Sandroff Creative Center of Dance. Time spent at her studio really inspired and motivated me to pursue ballet, and I even remember boldly declaring in front of all the pupils at my elementary school graduation ceremony, “I’d like to become a ballerina in the future!” (laughs)

What was the first ballet you ever saw in a theatre? Who was it by, and what impression did it leave with you?

The first ballet I watched was The Sleeping Beauty by the National Theater Ballet of Japan. The guest principal dancer was Miyako Yoshida. I was nine years old then, and I really enjoyed the performance. Even now, whenever I look back on the video of that show, I am so impressed by Miyako, and I have really learnt a lot from her.

 When did you decide to pursue a professional career, and why?

I had to study really hard to enter a high school that encourages students to study abroad as there is no full-time ballet school in Japan. I’m thankful that I passed the exam, and during my third year in high school, I moved to Birmingham, England, to join the upper school of Elmhurst School for Dance, Birmingham Royal Ballet’s associated school.

Choosing Elmhurst meant giving up all other options, and focusing on one path only, so it was rather scary. But I have met many good friends and wonderful teachers along the way, and without any of them, I wouldn’t be where I am right now.

Did you enjoy your training at your school?

For the first few months, I was terribly home sick. I cried every day. Training was hard but I loved the new 24/7 ballet environment and I quickly made friends at school. For the first two years we also did academic studies and I received the Pilates instructor certificate. From the beginning of first year, I was casted in performances both in and out of school. I had rehearsals on top of all my daily training and studies, and also got to watch many performances by Birmingham Royal Ballet (BRB) and the Royal Ballet.

In my third year, I was selected to dance with BRB. I toured around UK with the company for 3 months performing in David Bintley’s Beauty and the Beast and other productions. It was such an eye opening experience to see the professional world. I also got to visit many beautiful cities in UK during the tour. I have so many fond memories from the time in England and I treasure them dearly.

When and how did you join SDT?

In 2009, during my third year in Birmingham, I sent my audition DVD to Artistic Director Janek Schergen and he invited me to be a part in SDT’s Swan Lake as an extra dancer. I arrived in November and after the first week of rehearsals; Mr Janek offered me an apprentice contract which happened to be exactly on my birthday. It was the best birthday present! I officially joined SDT as an Apprentice in January 2010, and got promoted to Artist in September that same year.

What was your first role in SDT as a professional dancer? Did you like it?

My first role with SDT was one of the Willis in Giselle. It was SDT’s last performance at the Victoria Theatre, which was such a beautiful theatre with a history. After the first dress run, I was quite worried about the performance but I’m thankful that it all went well in the end. I enjoyed it very much. I also had a chance to dance one of the village girls in Act 1 because the girl whom I was an understudy for got injured.

How do you learn a new ballet/choreography? Is it different for contemporary and classical choreography?

Generally, classical choreography is easier to learn as I am more familiar with the steps. If it’s a full-length ballet, everyone has their own ways of interpreting each role, and it’s interesting to see how others dance.

For contemporary works, there are various styles and technique so it is more challenging. I will try to pick up the movements as much as I can, before blending the steps with the music.

When working with dance choreographers, it’s important to know what he/she intends to portray. Each choreographer creates their pieces in various ways. Some come with a choreography in mind, while other choreographers will ask us to improvise according to the vision they have of the dance.

What is a typical rehearsal day like for you? What do you do during breaks?

I try to reach work by 9am to do a good warm up including Pilates and body conditioning. Morning class starts at 10am, and we would have rehearsals from 11.30am to 5.30pm. We have an hour lunch break in between. During my breaks, I would snack on something light and try to get some sleep and rest for my next rehearsal scheduled.

Do you have any pre-performance rituals?

I start doing my hair and make-up 2 hours before the show. 30 minutes before the beginners call, I would choose my pointe shoes, and go over my steps on stage. At the 15 minutes call, I would go back to the wings and sit down for a bit to relax and get in the mood. Even if I’m not in the first scene of the ballet or first item, I would do exactly the same routine. Just sitting in the dark and listening to the music playing calms me down.

What do you eat on a big rehearsal/performance day?

I will usually have a heavy breakfast like rice and eggs with miso soup, a typical Japanese breakfast, in the morning. And during the day, I would snack on fruits and muesli bars. Before a performance I would eat a good amount of carbohydrates to give me energy, but I’ll try to finish eating at least 3 hours before performance. During the show, I make sure that I’m hydrated. Sports drinks are my saviour! (laughs) After the show I will have a light meal that has protein for muscle recovery.

What is your dream role?

Kitri in Don Quixote. I really like her bright character. I like the work itself as it is so lively throughout the ballet. Don Quixote is my all-time favorite classical ballet.

What is your favourite costume so far?

I like tutus, especially the
Diamond tutu from Sleeping Beauty. It’s a white tutu decorated with lots of diamonds and bijoux. It’s so gorgeous and almost too sparkly. I often think it should be Aurora’s wedding tutu! (laughs) I like Divertimento No.15 principal ballerina’s tutu as well. It’s simple but has many blue ribbons and it’s very pretty.

Who is your favourite choreographer in the works you’ve danced?

I like working with all the choreographers, but my favorite work is As Above, So Below by Edwaard Liang. I adore the music! When Edwaard Liang came to stage his work, it was my first time working with a choreographer in SDT and I was still an apprentice that time, I really enjoyed working with him.

Do you watch ballets from the wings during performance days?

Most of the time, yes. I like to watch my colleagues dance from the wings, especially the solos and pas de deux. When I have a solo role, I prefer not to as I need to concentrate!

How do you feel after a performance?

Straight after dancing, I feel nothing, I get numb. Sometimes I don’t even remember how I danced. But after a while, I would start thinking and reflecting on what could have been done better. Then I would get hungry and crave a huge piece of steak! (laughs)

What is your most prized possession?

Letters from my family, especially from my grandmother. She started writing to me once a week when I moved to Birmingham. I have been collecting them ever since, and now there are countless of letters.

What do you like to do outside of SDT?

I love being in nature. I live near Bedok Reservoir, so sometimes I enjoy taking a walk by the water. I also like to read, watch other performing arts and meet up with my friends for a nice meal.

Do you have a “guilty pleasure”?

YES. Peanut M&Ms! I know it is bad but I can finish a bag full in one day. My friends from Elmhurst used to call me ‘Peanut M&Ms’. That’s how badly addicted I am to it. (laughs)

Are most of your friends dancers?

Some are, but most of my friends are not dancers, a lot of my friends are from my academic school in Japan. I feel like my roots were nurtured during high school. My friends are very international and active in various fields. They are all over the world, and some of them are even working in Singapore currently. We often meet up for coffee. I think it’s nice to have connections outside the ballet world. It’s very interesting to know other industries and I am very lucky that I have so many friends from different backgrounds.

How does your family feel about your career?

They are very supportive and they are also my biggest fans. Without realising, I had the freedom to make many of my personal life decisions that led me to my career today, and I appreciate that my parents never disagreed. As I look back, I even chose the kindergarten myself. They are very busy, but my mother tries to come over to Singapore to watch our performances as much as she can.

What do you want to do after dancing?

I haven’t really put much thought into what I would want to do after dancing. I’m a late starter compared to many ballerinas; it has only been less than 10 years since I’ve devoted myself to ballet so right now I’m focusing on my ballet career.  I always believe in being grateful for the present, so I would rather dedicate myself to that and look forward to greater experiences.

How old were you when you started ballet? Did you like it?

I started dancing ballet when I was seven years old. I had to really convince my mother to put me in ballet classes as she thought I would not like it since my older sister did not enjoy it. But I love dancing, and I’m glad my mother allowed me to learn ballet since I was young.

What was the first ballet you ever saw in a theatre? Who was it by, and what impression did it leave with you?

The first ballet I watched was Swan Lake in 1996 or 1997. It was in the Cultural Center of the Philippines performed by either Ballet Philippines or the Philippine Ballet Theatre. I remember enjoying the vibrant first act, but I fell asleep during the second act, the white act. I felt really bad when I woke up during the interval because I thought that everyone knew that I had fallen asleep.

When did you decide to pursue a professional career, and why?

There was never really one defining moment when I just knew that I wanted to be a professional dancer. As far as I can remember, I also wanted to be a business magnate; I remember thinking that I can handle two careers – CEO by day and ballet dancer by night. It was only in my last second year of high school that I realised that I can only do one. I think I made the better choice. (laughs)

Did you enjoy your training at your school?

Yes. I’ve always trained in a school that was affiliated with a ballet company. There was always so much to learn just by watching the professionals during their company class, and even more so when they’re in their rehearsals. Houston Ballet Academy was my first full-time ballet school. It was definitely a culture shock for me, and overwhelming to be around so many passionate students, and dedicated teachers who wanted to help all the students achieve their goal.

When and how did you join SDT?

I joined SDT on August 2012. I was interested in the company for quite some time, and I may have submitted my audition materials more than once before I flew in on the summer of 2012 for an audition. I remember being so eager to audition at SDT, but only had the opportunity to come over after I was done with my training in Milwaukee Ballet II.

What was your first role in SDT as a professional dancer? Did you like it?

The first time I danced with SDT was for Esplanade’s Dance Appreciation Series’s (DAS) Sleeping Beauty in 2012. I was an understudy for another dancer who had an injury that required stitches, and the opportunity to dance happened so unexpectedly and quickly. It was fun, and quite challenging at the same time.

How do you learn a new ballet/choreography? Is it different for contemporary and classical choreography?

I don’t have a particular routine or habit in learning a ballet, but I usually leave the studio not remembering much of the choreography. But after a good night’s sleep, I wake up remembering more steps than I had expected. I also often find myself surprised at how steps would come back to my memory during rehearsals even though I had not reviewed over the choreography the night before. Also, for me, contemporary choreography is more difficult to learn as I find that it is easier to memorise classical ballet steps.

What is a typical rehearsal day like for you? What do you do during breaks?

I get up at around 7.30am and have a slow breakfast. At 8am, I would watch the news as I get ready for work, and I usually leave my apartment for the studio at around 8.30am. Warm up class ends at around 11.30am, and we have rehearsals from then till 5.30pm. Recently during the short breaks in between rehearsals, I would study or do my school homework as I have started taking online college classes again. If it the break happens to be longer than 2 hours, I may consider going to the gym to swim, I love swimming! I come from a family of swimmers.

Do you have any pre-performance rituals?

I don’t have a set pre-performance ritual. It varies for every production; however, I generally do the same things in a different order. I like to read or listen to music while waiting backstage. I must have both sweet and salty snacks in the dressing room. Nearing to the performance time, I like to roll on my Yamuna Ball, do a few Pilates exercises and some planks. If there’s time, I will brush my teeth. (laughs)

What do you eat on a big rehearsal/performance day?

I pretty much eat the same thing on a performance day as I would on any other day, but I will eat a heavy meal at least one and a half hour before the show.

What is your dream role?

I have so many. The three roles that are right at the top of my head are the youngest daughter from Christopher Bruce’s Hush, Nikiya from La Bayadère, and any part in Twyla Tharp’s In the Upper Room.

What is your favourite costume so far?

I really like the Nymph’s costume from Act II in Sleeping Beauty. It is almost like a flapper dress yet still nymphlike. Plus, the headpiece is lovely!

Who is your favourite choreographer in the works you’ve danced?

I was really lucky enough to have worked with Val Caniparoli when he came to set Swipe for Masterpiece in Motion. He had so much positive energy that I just wanted to give more back in return.

Do you watch ballets from the wings during performance days?

Not really. I prefer watching performances from the audience’s point of view. I don’t mind watching rehearsals from the wings. But when I’m not dancing and I’m in the wings, I feel like I may be using up valuable space for someone who may want to warm-up before they get on to stage. But that aside, the dancers project so much to the audience, so why not appreciate from the best angle, the front! (laughs)

How do you feel after a performance?

I would probably feel really sore and tired. (laughs) I might also be frustrated if there are any mishaps, and I would nitpick and over-analyse my performance. But overall I am always happy after a performance because I get to do the one thing I’ve always wanted to do – dance.

What is your most prized possession?

I like to send postcards and letters to my friends and family around the world. I keep all my correspondence and birthday greeting cards in a special stack in my bedroom. I even have a torn sheet of paper with a short note I received from a best friend in Houston after a really bad day at school.

What do you like to do outside of SDT?

I like to take long walks, anywhere in the city would do. I don’t mind getting lost and slowly finding my way. I enjoy trying different places to eat. There is a new place in Tiong Bahru called Tiong Bahru Club; I’ve tried their finger foods – samosas and fried okra. Both were good that I want to go back to try their curry. For baked desserts, I really like the bakery, Plain Vanilla, which is hidden at one of the back streets of Tiong Bahru. There is also a small vegetarian restaurant in Little India that I keep meaning to go back to. Unfortunately, I don’t remember its name.

Do you have a “guilty pleasure”?

I like watching TV dramas, and I can watch TV series non-stop. But I don’t really have time for that now, since I started studying again. I like to watch Grey’s Anatomy, Suits, and Sherlock Holmes. I was extremely late to join the Game of Thrones bandwagon, but I watched a very unhealthy amount of its episodes in a very short amount of time. (laughs)

Are most of your friends dancers?

Yes most of my friends in Singapore and America are dancers. My friends in the Philippines are a good mix of dancers and non-dancers.

 How does your family feel about your career?

My family has always been supportive of the choices I make, so I’m very thankful for that. My parents try to come at least twice a year. This year my parents came to watch Romeo and Juliet in March and Masterpiece in Motion in September, and they will be back again for Don Quixote in December.

What do you want to do after dancing?
I like to teach or share whatever knowledge I have so that someone else can benefit from it. I’d either like to teach Mathematics or English or even basic ballet to the children in the countryside of the Philippines. I’d also like to teach gyrotonics, which is a unique and carefully crafted movement exercise which has its roo

How old were you when you started ballet? Did you like it?
I started learning Chinese dance in kindergarten when I was three years old, and started learning ballet when I was 11.

What was the first ballet you ever saw in a theatre? Who was it by, and what impression did it leave with you?

The first ballet I watched was probably The Nutcracker by Liao Ning Ballet Company. I really enjoyed watching the performance; one thing that I remember the most about it is the beautiful costumes that the ballerinas were wearing, and not so much their dancing itself. (laughs)

When did you decide to pursue a professional career, and why?
When I was about 11 years old, I went to various dance schools to audition to join their Chinese dance curriculum. During one of the auditions, a teacher invited me to join The Shenyang Conservatory of Music and Dance School to be a part of their ballet training. Since I joined that school, I knew that I wanted to pursue a professional career in being a ballerina. So I left home at that age, and travelled from my home town in Ji Ling, to Shenyang to join the dance school.

Did you enjoy your training at your school?

It was very physically and mentally demanding, as the teachers gave very little compliments and they are very critical. So I always felt quite pressurised to improve my ballet techniques.

Typically, we woke up at 5am for morning exercise sessions every day. We would then have breakfast, the usual academic classes and dance classes, till about 830pm on some nights. We will return back to our hostels to rest for the night, and the cycle repeats itself day after day, six days a week.

The first two years at Shenyang was very much slanted towards Chinese dance, and we only started to focus on classical ballet techniques, pas de deux, classical works from the third year onwards. Although the training was really tough, I enjoyed myself at school because I made many friends who shared the same passions, and dancing with them made me really happy.

I graduated from Shenyang at 17, and came to Singapore’s Nanyang Academy of Fine Arts (NAFA) after. The culture in NAFA is really different from Shenyang. Here, the teachers were very encouraging and much less critical and strict. Although language was a barrier, especially for my academic subjects like the human anatomy and history, my three years journey in NAFA was a very enjoyable one.

When and how did you join SDT?

NAFA actually sent in my curriculum vitae to SDT after I graduated, and I was given the opportunity to join SDT’s company classes and to perform smaller supporting roles in SDT productions like the Willis in Giselle and the snowflake and flower in The Nutcracker. I was then offered a place as an apprentice, and I joined SDT in March 2011.

What was your first role in SDT as a professional dancer? Did you like it?

My first role as an apprentice was Montagues and Capulets in Romeo and Juliet in 2011.

How do you learn a new ballet/choreography? Is it different for contemporary and classical choreography?

I will usually observe the choreographers’ movements and try to catch and understand the key steps and nuances that he or she is trying to portray. Being an audio learner, the music also helps me to learn the dance better. Generally, I learn classical choreography faster than contemporary works as I’ve grown up learning the syllabus for classical ballet. But I do enjoy both types of dance.

 What is a typical rehearsal day like for you? What do you do during breaks?

I reach the studio at about 930am everyday to warm up and get ready for the day. Company class starts at 10am, and to me company classes are very essential as it prepares and eases you into the day of rehearsals. During my breaks, I would read Chinese novels, have a bite, or talk with my friends.

Do you have any pre-performance rituals?

I don’t have a particular pre-performance ritual, but I always stretch and make sure that my body is warmed up. I prefer not to talk to anyone, and I try to focus on remaining calm and collected in my thoughts. A lot of dancers usually practice their steps before the show, but I do not really do that as it makes me more anxious. Once I step onto the stage for a performance, and the music comes on, I stop thinking about my steps and just dance. The music brings out the movement that is already in me, so practicing without the music before any show just makes me worry more. (laughs)

What do you eat on a big rehearsal/performance day?

I do not eat a lot before performances as it makes me feel very uncomfortable and bloated, so usually a cup of warm Milo and something light would be perfect. I would have a normal sized dinner after the performance though.

What is your dream role?

I don’t really have a dream role, but I strive to do my best with every role that I am given the opportunity to dance and perform in.

What is your favourite costume so far?

The white swan costume in Swan Lake! I really love Odette’s costume.

Who is your favourite choreographer in the works you’ve danced?

Nils Christe and Annegian Sneep from Nederlands Dans Theater were incredibly fun and nice to work with.

Do you watch ballets from the wings during performance days?

Yes I do! I prefer to watch from the audience during full dress rehearsals, but on performance days, I always try to support my friends who are dancing, especially in the major scenes of the dance or the climax of that performance.

How do you feel after a performance?

Relieved! (laughs) If the performance went really well, I will usually go out for a meal with my friends and enjoy the night together. But if I know that I did not do as well as I had planned or intended it to be, I would head home. So if I go out for a meal after any performance, that is a good sign! (laughs)

What is your most prized possession?

My family. They mean the most to me, and their support for me is really encouraging.

What do you like to do outside of SDT?

I enjoy shopping at Orchard Road, or going to East Coast Park for a walk in the park. I enjoy the sound of the sea, so I really love going to the beach.

Do you have a “guilty pleasure”?

Sleeping? (laughs) I love sleeping, some days I would even sleep past my lunch.

Are most of your friends dancers?

Yes, since I grew up in my school’s hostel in China, and immediately came over to NAFA, and then SDT. All the friends I’ve made in my life are all passionate about dance.

How does your family feel about your career?
My parents are very supportive. Although I am the only child at home, they give me the freedom to pursue my dreams ever since I was young, so I have been away from home for years now. They would come and watch me perform once a year, but other than that, I would call home once every two or three days just to update them and talk to them. They really trust me to make my own life decisions since I was young, and I am very grateful for that.

What do you want to do after dancing?
I would probably continue to stay in Singapore, and be a ballet teacher. I have lived in Singapore for almost seven years now, and I have grown so used to the lifestyle here that going back to China would seem very foreign to me.

How old were you when you started ballet? Did you like it?

As a really young girl, I remember watching my elder sister in her ballet classes through the window of the studio. I loved it so much that I would watch her dance for the entire duration of the class. Just like any younger sister would, I wanted to do what she was doing, and that was how I started learning ballet at the age of four.

I was always excited about my ballet lessons every week, especially about putting on my light pink leotard and polka dotted ballet skirt. (laughs) Ballet classes were a lot of fun, and because I had a group of really good friends who were equally excited about ballet lessons, dancing with them made it that much more enjoyable.

What was the first ballet you ever saw in a theatre? Who was it by, and what impression did it leave with you?

The first ballet I went to was Singapore Dance Theatre’s Ballet Under the Stars. At that age, I was more than happy to have a picnic while watching ballet, and I remember the dancers and costumes looking so beautiful on stage. I remember really enjoying myself that night, it was memorable.

When did you decide to pursue a professional career, and why?

Initially, ballet lessons were just about having fun to me. But as I progressed, I found the steps becoming more and more challenging. But then, I had more opportunities to perform on stage which made me realise that I love performing. I do not remember specifically when I decided to pursue a professional career in this field, but I knew from a young age that this is the path I wanted to take.

Did you enjoy your training at your school?

Yes, I really enjoyed my training at English National Ballet School (ENBS). It was very tough because the training was not only physically demanding, but mentally as well. However, because I was surrounded by friends who shared the same dream and aspirations as me, we were able to encourage and support one another through the three years at school. Till now, we are still very close friends.

When and how did you join SDT?
I joined SDT in November 2012. Upon graduation, I contacted our Artistic Director, Mr Janek Schergen, requesting for an audition into the company. He very kindly offered me an apprentice contract then, and I have been in the company ever since.

What was your first role in SDT as a professional dancer? Did you like it?

My first production at SDT was Sleeping Beauty. I was one of the Garland women in Act 1 and a nymph in Act 2. Interestingly enough, I was touring around England with my school just a few months before joining the company, and we were performing Sleeping Beauty. So when I came in to SDT, I knew the music very well and it was fun doing a different version of the same ballet! Having performed many times as a student, I always longed to become a professional ballerina, so the first time that I danced as a member of a professional dance company was a great experience!

How do you learn a new ballet/choreography? Is it different for contemporary and classical choreography?

Every choreographer teaches his/her ballet differently. The first thing I would do is to learn the steps as accurately as possible and pay attention to the details. The movements would usually be taught in smaller segments, and I would try to retain the previous segment in my mind while learning the next segment. Otherwise, there would be a lot to catch up on. After getting my body familiar with the movements, I would try to blend them with the music as seamlessly as possible.

I am more familiar with classical ballet so the steps seem easier to learn. We have learnt all the standard steps for ballet, so it is just a matter remembering the sequence that the steps are being placed. Contemporary, on the other hand, has a very wide vocabulary. Every contemporary choreographer moves differently, and the way they shape their bodies and movements is usually what is natural for the choreographers themselves. At first the movements may not feel very comfortable, and for me it is all about muscle memory. The more I practice, the more natural the movements become.

 What is a typical rehearsal day like for you? What do you do during breaks?

We start our day with a company ballet class at 10am. After a short break, we begin rehearsals from 11.45am till 5.30pm, with an hour lunch break in between. We also get small breaks after every rehearsal, and because I get hungry easily, I will have small bites in between to replenish my energy for the next few rehearsals.

Do you have any pre-performance rituals?

No, I don’t have any pre-performance rituals. But I usually try to get my makeup and hair done early. Sometimes I go on stage early to practice certain steps, and I would go through the movements in my head before the show.

What do you eat on a big rehearsal/performance day?

The company provides us with catered meals when we are in the theatre. I love it as we won’t have to leave the theatre to get our own meals. This really saves us a lot of time. I also have some biscuits and chocolates, and I will try to get a bubble tea if I can. (laughs)

What is your dream role?

During my career, I would like to perform in as many roles as I can. But two of my favourite roles are Aurora from Sleeping Beauty and Juliet from Romeo and Juliet.

What is your favourite costume so far?

My favourite costume so far would have to be the tutu from Theme and Variations by George Balanchine.

Who is your favourite choreographer in the works you’ve danced?

For da:ns festival this year (2014), we performed Shadow’s Edge, a world premiere by Ma Cong. I really enjoyed working with him because he is very specific and has a very clear idea of what he wants.

Do you watch ballets from the wings during performance days?

Yes, I try to watch ballets from the wings as much as I can because I learn a lot from watching others dance, and I want to support my friends who are on stage.

How do you feel after a performance?

When the performance goes well, the encouraging words from my friends and the applause from the audience give me a great sense of satisfaction. I can feel their warmth and enthusiasm through their appreciation and support, and it is a really great feeling having done a good performance.

What is your most prized possession?

I really treasure my photos and notes of encouragement from my friends. I cannot turn back time, so the only thing that remains is these little things that remind me of those special memories. They have great sentimental value to me.

What do you like to do outside of SDT?

Outside of work, I like to go shopping, watch movies and enjoy Singapore’s good food. On the weekends, I try to get a lot of sleep to replenish my energy and to be ready for the week ahead. Having enough rest is very important as it keeps me alert and it is very effective for muscle recovery.

Do you have a “guilty pleasure”?

I guess it would have to be shopping! Shopping makes me happy but there are just too many pretty things out there!

Are most of your friends dancers?

Yes. I spend a lot of time dancing so most of my friends are dancers from the company and friends that I made during my time at ENBS. I still keep in touch with friends from my academic school.

How does your family feel about your career?

I am very lucky to have a supportive family. They don’t say much, but I always know that they will be there for me, cheering me on. My parents just want me to be happy, and they know that dancing makes me happy.

What do you want to do after dancing?

I am still uncertain about what I want to do after dancing, but I know I can only dance while I am young. So the important thing to me now is to be healthy, stay away from injuries, and improve my craft so that I will be able to dance for many years to come.

How old were you when you started ballet?

I was around 3 years old when I first started learning ballet, and I think I must have really liked it ever since I was a young girl because I’ve been dancing for the past 20 years now. (laughs)

What was the first ballet you ever saw?

The first ballet I remember watching in a big theatre by a professional ballet company was The Nutcracker. I was really mesmerised by the dancers, and I remember thinking to myself, “I want to up there one day”.

When did you decide to pursue a professional career?

I think I was about 10 or 11 years old, right before I went over to Canada to train at a professional ballet school. I can’t explain exactly why I wanted to pursue ballet, all I knew then was that I just loved to dance and wanted to dance forever!

Did you enjoy your training at your school?

Yes, I really did! It wasn’t easy, but I enjoyed every moment of it.

I was 12 years old when I first went over to Canada’s Royal Winnipeg Ballet School, and I could not speak a word of English. So I had a hard time communicating for the first three months. But thankfully, because I was so young, I picked up English and adjusted to the culture very quickly.

A typical day at school would include ballet training in the morning, normal academic school in the afternoon, and then character/modern dance class and rehearsals till 8.30pm at night. Even though the training was tough and demanding, I had the best teachers and classmates in Canada.

If I had to do it all over again, I would choose to do the exact same thing!

When and how did you join SDT?

I joined SDT in October 2010. Initially, I came to SDT for a few days in the summer to take company class, and I was originally going to be hired as an extra dancer for an upcoming production of Sleeping Beauty. But I ended up joining the company as an apprentice dancer instead, and I’ve enjoyed being a part of SDT ever since!

What was your first role in SDT as a professional dancer? 

My first role in SDT was one of the lilac fairy attendants in Sleeping Beauty. I remember being nervous about it as I was standing in for a dancer who was injured, but I was also excited at the same time because it was my first performance as a professional dancer. (laughs)
It was such a memorable experience, that whenever I hear the music from Sleeping Beauty now, I still think about my first performance.

How do you learn a ballet?

For me, learning a classical ballet or piece is much easier. I think it’s because classical ballet is quite structured and we’ve learnt all the steps in school. We have all the ‘ingredients’, so it is just a matter of which order and how the steps are put together.

Contemporary works are a little more challenging for me. First, I try to pick up the choreographer’s movement as much as I can, and after that, I try learn it with the music and rhythm. It’s more difficult than classical because there is no textbook for any of the movements, and each choreographer has their own interpretation. But that’s also what I love about contemporary.

What is a typical rehearsal day like for you?

I usually get to the studio around 9.30am and we start our daily ballet class at 10am. We have rehearsals for different ballets at 11.45am and we go home at 5.30pm. We have a lunch break from 2pm to 3pm, I try to squeeze in a 15 minute power nap during lunch time so that I’m more energised for the afternoon rehearsals.

Do you have any pre-performance rituals?

I try not to have any fixed pre-performance rituals because if I do and something goes wrong such that I can’t carry out that usual routine, I’m worried that it will freak me out before a performance. So I try to be flexible and see what my body needs on that particular day. Sometimes I read a book to calm myself down if I’m feeling a little bit nervous, other times I listen to upbeat music if I think I need to be more energised. I would also eat chocolate if I think I need more energy. (laughs)

What do you eat on a big rehearsal/performance day?

I try not to eat too much at any one time because I don’t want to feel sick when I’m dancing. Instead I will snack and have small bites whenever I have the chance. Things like fruits, nuts, crackers, or anything else that would give me energy is great.

What is your dream role?

It’s hard to pick one single role because there are so many classical and contemporary works that I would love to do. But Juliet from Romeo and Juliet was always my favourite since I was little, so I guess that would have to be my dream role!

What is your favourite costume so far?

I don’t really have a favourite costume, but I definitely love the beautiful and elegant tutus that we get to wear when we perform.

Who is your favourite choreographer in the works you’ve danced?

It’s hard to pick a favourite because every choreographer is so different in how they create their work. But I’ve really enjoyed working with Toru Shimazaki and Val Caniparoli because they are full of energy and they’ve inspired me through their work. But every choreographer has definitely helped me to be a better dancer.

Do you watch ballets from the wings during performance days?

It really depends on how I’m feeling that day. I enjoy watching my friends dance, so I try to watch whenever I have the chance. But if I feel like I need to lie down and rest, or if I need to be more focused on my own performance, I will not watch from the wings.

How do you feel after a performance?

If it is the last show, I would thirst for a beer! (laughs)

I usually feel very accomplished after a performance. There are times when I wish I could re-do some parts, but what is done is done, so I try to let it go and learn from that mistake. It is important to me to make sure that the same mistakes do not happen again, but it is also important not to dwell on it so much. It’s a fine balance. (laughs)

What is your most prized possession?

I would have to say that it is my family. They’ve been very supportive of me ever since I could remember and I cannot thank them enough.

I also treasure letters and cards from family and friends, even if it is just a little note. Some are from years ago and I love to read it once in a while to remind myself of how lucky I am to have them in my life!

What do you like to do outside of SDT?

I love trying out new cafes, restaurants and bars with my good friends.

Do you have a “guilty pleasure”?

Online shopping! Actually, I try to pretend that I feel guilty about this, but the truth is I feel great after I’ve pressed the ‘purchase’ button. (laughs)

Are most of your friends dancers?

Some are, but I have some friends who are not dancers as well. I love the dance world, but I think it is interesting to know the world outside of dance.

How does your family feel about your career?

I think they are very happy that I’m happy doing what I love, and they understand that not everyone gets to pursue their passions. So I’m very lucky to be able to pursue my love for dance.

What do you want to do after dancing?

There are many things that interest me, but I still haven’t given enough thought to them. I definitely want to have a family and kids, and I would also love to go back to school. I want to try something completely new, and see what’s out there!

How old were you when you started ballet? Did you like it?

I was 5 years old when I started taking ballet classes, and I was taught by my mother.  I was a very shy boy, and dancing definitely boosted my confidence.

What was the first ballet you ever saw in a theatre? Who was it by, and what impression did it leave with you?

The first ballet I watched was Coppélia, which was performed by The Australian Ballet. I was really impressed by the male dancers, especially their allegro parts, and I remember wondering if I would ever be able to become a professional dancer. It’s funny that I am in a professional dance company now.

When did you decide to pursue a professional career, and why?

I wasn’t sure whether I wanted to pursue a career in music or dance and for most of my childhood, I just saw dance as a normal part of my life.  When I was 15, I started thinking about it more seriously.  After attending a workshop at the Australian Ballet School, from which I really didn’t want to come home from, I then knew dancing was something I really wanted to do with my life.

Did you enjoy your training at your school?

Before I enrolled at the New Zealand School of Dance, I was studying at my mother’s dance school.

I didn’t find it exciting at first, barre work for RAD was boring in my eyes, however the dance routines for the local Eisteddfod were much more thrilling.

Later, I moved to Wellington to study dance full time, which was a much more intense course than I was accustomed to.  The teachers were very demanding of us to do our best, whilst at the same time also being very encouraging.  This was a wonderful experience and while being away from home was exciting, it was also a little bit scary at times.  I made some wonderful friends during this time and I will cherish them for many years to come.

When and how did you join SDT?

Our Artistic Director, Janek Schergen, came down to New Zealand to give classes at NZSD, and I was given the opportunity to audition for SDT. He later offered me an apprenticeship with the company in 2012.

What was your first role in SDT as a professional dancer? Did you like it?

I was a peasant in Swan Lake, which was not a very difficult role, but dancing onstage for the first time with SDT was so satisfying, and I felt very fortunate. I remember during the curtain call on that opening night of Swan Lake thinking, “wow, I made it into a professional dance company”.

How do you learn a new ballet/choreography? Is it different for contemporary and classical choreography?

Most of the time, learning classical ballet choreography is easier than learning a contemporary work because for ballet steps, we have learnt all of them already.  Contemporary is mostly new movement which our bodies have never done before.  Learning new choreography depends heavily on muscle memory, and how your brain links the movements together is also essential.

What is a typical rehearsal day like for you? What do you do during breaks?

Every day we take a ballet class to warm up our bodies and prepare for our rehearsal day, which consists of rehearsals of upcoming performances for whatever we are casted in.  During breaks, I like going down to have lunch, and I would have a coffee before the afternoon rehearsals.

Do you have any pre-performance rituals?

I like to have a powernap before performances; it refreshes my mind and keeps me alert onstage.

What do you eat on a big rehearsal/performance day?

On performance days, the company provides dinner for the dancers.  So I would have things like rice with chicken, fish, and vegetables. I’m not too particular about what I eat on rehearsal or performance days, so I will eat whatever is provided for me.

What is your dream role?
I don’t really aspire to dance any particular role. I just want to keep improving in my craft, and earning myself better roles each season.

What is your favourite costume so far?

The Spanish costume in The Nutcracker was very nice, it is definitely one of my favourites.

Who is your favourite choreographer in the works you’ve danced?

Nils Christe and Annegien Sneep! They are the choreographers of Fearful Symmetries which we just performed in Masterpiece in Motion.

Do you watch ballets from the wings during performance days?

Yes! I like to support my colleagues by watching them perform from the wings, so I try to watch whenever I can.

How do you feel after a performance?

If a show has gone well then I feel relieved and satisfied – it is one of the best feelings after a show is finished.

If by some chance my performance does not go according to plan, I feel quite guilty, as though I have let the company down.  This is a time to reflect on where I went wrong, and how I can prevent something similar from happening again.  It’s all part of improving myself as a dancer.

What is your most prized possession?

My family; the support they give me is invaluable.

What do you like to do outside of SDT?

I’ve been taking an interest in photography, so I enjoy taking photos of Singapore’s sights.  One of my favourite spots is Marina Bay.  Singapore’s amazing city is almost always ripe for a good picture.  The Singapore Zoo is also wonderful, as taking pictures of animals is different every time. You never know what they are going to do next, and getting that perfect shot when they are looking at you is amazing.

I also like to watch movies and play video games to relax.

Do you have a “guilty pleasure”?

No, I don’t feel like I have one.

Are most of your friends dancers?

Yes. I spend most of my time at work in Singapore, so most of my friends are dancers from the company itself. Beyond Singapore, most of my friends are from past dance schools, like NZSD.

How does your family feel about your career?

I am very lucky that my family is very supportive of my dance career, and I really treasure and love them for it.

What do you want to do after dancing?

I would like to do something that is related to music, possibly playing piano for a ballet company someday, we’ll see.

How old were you when you started ballet, and did you like it?
I started ballet when I was 5 years old in the USA, I moved there because my father had to work in the states. My sister started taking ballet classes and I was watching her dance, the male Russian teacher said to me that he would give me a candy every time I took his class… so I started taking ballet classes just to get the candy from every class. The question of liking ballet or not at that age? I definitely liked the candy. (laughs)

What was the first ballet you ever saw?

The first ballet I saw was my first ballet teachers’ performance. They were both from Russia and I remember watching them dance the Pas de Duex from Swan Lake Act 2.
When did you decide to pursue a professional career?

I decided that I wanted to really focus on ballet when I went to high school. Before that, I had learned piano for 12 years, swimming for 11 years, and basketball for three years. I liked to move around.

Did you enjoy your training at your school?

I enjoyed my training wherever I was because I was exposed to different styles in different places, and teachers teach very different things as well.
My two years in The Washington School of Ballet was difficult, but it was during that two years that I learned the most. Upon graduation, I became a professional ballet dancer at The Washington Ballet.

When and how did you join SDT?
I auditioned for SDT in August 2010 and I started working from September the same year.

What was your first role in SDT as a professional dancer?

My first role in SDT was for Passages 2010. One of the dancers could not perform because of his injury, so I had to learn the choreography from the video, and went on stage with only a couple of rehearsals.

How do you learn a new ballet?

Learning a classical ballet is not as difficult because there are names for every step we do. While for contemporary ballets, you need to copy the same movement as what the choreographer is showing, so it needs to be seen from a different angle. Making the unnatural movements look natural is probably the difficult part for a contemporary ballet.

What is a typical rehearsal day like for you?

I reach the studio at around 9.20am, change to rehearsal clothes and get ready for class. Rehearsals are in two sessions having a 1hour break for lunch in the middle.
During breaks, I talk with others or have a short nap before the second half of the rehearsal.
After rehearsal I will ice my muscles; not because there is pain or injury, but if you want to dance longer, you need to take care of your body now or you will regret.

Do you have any pre-performance rituals?
I do not do anything special. When the stage is open before performances, I will go on stage to do some turns and warm up.

What do you eat on a big rehearsal/performance day?

I eat whatever I want to eat before the show, but one thing I have learned is not to eat KFC before a big dancing section because it really makes my body heavy.

What is your dream role?
Hilarion and Albrecht from Giselle. These two roles are familiar but different, being able to express both meanings of love on stage will be something great to do.

What is your favourite costume so far?

Nothing specific but the heaviest costume I have worn in my whole career was a monster from Where the Wild Things Are. It was bigger than 2 metres with the whole set!

Who is your favourite choreographer in the works you’ve danced?

They all have different style of works, so for me I don’t have a favorite choreographer.

Do you watch ballets from the wings during performance days?

It would depend, I do not watch every show but I like to see how others perform on stage sometimes.

How do you feel after a performance?
Hungry. (laughs) When the show is done I focus on what is next. It’s not about the feeling, its what you need to do to make the next performance better, you know for yourself that what should have been better or could be better for the next show so you just work for that.

What is your most prized possession?

My friends.

What do you like to do outside of SDT?

I like to play basketball and have lunch and dinner with friends. I also like cooking, cleaning the house, and sleeping.

Do you have a “guilty pleasure”?

Nothing. I believe that if you feel guilty about it, don’t do it. So I do whatever I want to do, whenever.

Are most of your friends dancers?
I have a lot of friends outside from dance in Singapore, and many of them are my basketball friends.

How does your family feel about your career?

My parents are happy with what I am doing, they enjoy watching me perform.
It is also good that all four of my sisters did ballet so they know what ballet is about. It is really great to have a family who knows ballet well because they are able to give me their opinions.

What do you want to do after dancing?

Start my own ballet school, and to teach ballet with my wife.
So step by step, but I think I should start with finding a girlfriend first. (laughs)