On February 11, NUS Dance Synergy will present The Steps, a full-length contemporary dance piece choreographed by Albert Tiong that narrates the personal tales of Synergizers about their everyday school lives — stories of romance, of joy and of heartbreak. Known for his strict and draconian style of teaching, Albert has a reputation that most would tremble at the thought of interviewing him. Yet, all fears were laid to rest once he started speaking about dance — his passion and experience in dance definitely stood out.
The Ridge had the privileged opportunity to interview choreographer Albert Tiong and the NUS dancers of The Steps, and here’s what they have to say about the performance:
Could you share with us the inspiration behind The Steps?
Albert: I knew I wanted to create a piece that Synergizers could resonate with. At the same time, I had watched the movie So Young and I found its theme and narrative to match perfectly with what I had intended.
What is your choreographic process like?
Albert: I usually give dancers a theme to work with to come up with content for improvisation. From there, I will then edit and develop their movements.
What do you hope audiences will take away from the show?
Albert: Everyone has different interpretations and understanding of dance. Thus, I would not dictate what the audience should take away. However, I do hope that they will form their own opinions, observations and understanding of the dance.
What do you think is the role of the arts in society?
Albert: It plays a highly important role. Art is everywhere and all-around us — only if one takes the time to notice.
What advice will you give young dancers today?
Albert: Societal and technological changes have resulted in young people today having different opinions and tastes about dance. Compared to dancers in the past, I think dancers today lack a strong drive to work really hard and make sacrifices for what they are passionated in. A huge amount of time, energy and effort is required to attain great achievements in any field.
What would you say to your younger self if you had the chance?
Albert: I would tell myself to start dancing earlier and to get more exposure to dance especially overseas. (He began dancing only at the age of 21.)
Any interesting or funny memories to share?
Jonathan, year 3 pharmacy major: After late night rehearsals, we often carpool and many of us would squeeze into a car!
Chuch, year 3 economics major: During the first rehearsal, everyone was told to choreograph hand movements to interesting and memorable snippets of our school life. It can be anything that takes place in school, such as a scolding from your form teacher for handing in your assignments late, or the ecstasy when you receive your report book. This was a really interesting segment, as we were all trying to decipher what each other is trying to say. Some of our interpretations were spot on, while others were completely off, even absurd, thus we often end up laughing non stop.
Xanthe, year 1 accountancy major: Yes! The movements involved numerous hip shaking!
Mei Xuen, year 1 real estate major: The funniest part occurred when Albert Laoshi was choreographing the duet section and the guys complained that the girls “are too heavy”. One of the guys was then assigned to say “ALAMAK!” while carrying one of the girls — it sounded so real that everyone burst into laughter!
Were you involved in the choreographic process? If so, how?
Chuch: We were each supposed to pen down a summary of our love story, and I was asked to tell my story with body movements which became my solo. Together with another dancer, Jonathan, we came up with a Contact Improvisation to tell his love story as he narrates it. He remains stationary throughout, while I dance around him, sharing his love story together in this duet.
How has this experience changed the way you think about or approach dance?
Chuch: This experience has definitely expanded my knowledge and experience on choreography and taught me the possibility of amalgamation between theatre and dance. My non-dancer friends have never failed to ask what were the different items are about at the end of every contemporary dance production. Most of the time, they could not understand anything which made the concert less enjoyable than if they had full or at least 80% comprehension. However, this production combines narration, from both the dancers ourselves and the music (excerpts from a movie). Not only does this help set the mood but serve as a verbal signals for our audience. I believe that this would be immensely helpful in getting our messages across, making the production a more wholesome and relatable experience.
Xin Yi, year 1 in FASS: Every dancer has a responsibility in the piece.
What have you gained most from this experience?
Xanthe: I’ve learnt be to more fluid when dancing and the importance of smooth transition.
Xin Yi: There is no limit to improving the quality and execution of our movements even if one might have believed he or she had repeated the routine for the umpteenth time. There’s always something to learn from fellow dancers around us, to see their interpretations and improve ourselves along the way. Always strive for betterment. Also, constant vigilance.
Jonathan: The improvisation experience has been invaluable to my development as a dancer.
Chuch: I have gained a lot from this experience but if I am forced to pick one, I would say, the confidence to express myself. Coming up with a choreography, and telling one’s story before many experienced dancers is not easy. I often questioned myself if my choreography is up to standard, and I always wonder if it is even worth watching. All these fears tend to hold you back from dancing something that’s your own. But I learned that sometimes, I should my brain rest, worry less, and just let the body move, and let the emotions flow.
Renee, year 1 Law major: The style of this dance leans towards dance-theatre. Learning how to cope with the articulation of words and the body simultaneously is something I have gained from this experience.
Do you think you have gained more from being part of a full-length performance than a concert with many items?
Xin Yi: Every performance is an invaluable opportunity to grow and learn as a dancer. Being in a full-length production definitely requires a longer and more tenacious focus during the entire length of piece, in order to sustain the myriad of emotions, energy and stories throughout. Spatial awareness is vital, especially when there are multiple groups of dancers on stage simultaneously, each telling a different story of their own.
Chuch: Yes. For a concert with many items, each item is quite short. While in a full-length item, we need to work with each other to sustain that emotion and build up the story together, slowly but surely, which forced me to stay focused all the time so that the body will not lose the feeling suddenly as this is like arbitrarily adding in colons and full stops in an essay.
Renee: Being in a full-length piece gives me an opportunity to observe how an artist uses the “bigger canvas” he now has to express his thoughts and develop his movement vocabulary. It gives the artist a choice between choreographic techniques or artistry.
Writer’s note: The interview with Albert was conducted in Mandarin with the help of Renee Tan.
Tickets are free will be released at the door an hour before the show begins. Grab yours before they run out!
The Steps 前脚走，后脚放
By NUS Dance Synergy
11 Feb, 8pm
UCC Theatre, NUS