From what aspects did Singapore dance develop?

Like drama and music, dance has played an important role in stabilizing and promoting the symbolic concept of multi-ethnic groups in Singapore. In 1950s, the slogan of "creating a new Malay subculture" was put forward. The new culture consists of three parts: China culture, Malay culture and Indian culture. Programs with elements of folk dance arranged by Singaporean dancers are very popular. The performance form of national dance fusion makes all participants feel friendly to each other, and the harmonious social relationship is impressive, which helps to establish friendship between different nationalities. From the audience's point of view, this symbolic relationship is also very important, because it vividly shows the diversity of Singapore culture composed of many ethnic groups. Singaporean multi-ethnic dance refers to the simultaneous appearance of China, Malay and Indian dances in one program, which expresses the theme of national harmony through performance. There are three levels of multiculturalism in Singapore dance: one is multi-ethnic dance. Secondly, choreographers and dancers learn the dances of other nationalities, such as Malays learning China dance, China learning Indian dance and Indians learning Malay dance. Third, dancers use the themes of other nationalities to create.

After Singapore stepped into the process of modernization, dance became an important part of cultural expression and the main medium to unite many ethnic groups. Dance, like language, is an important way of communication, and the integration and infiltration of culture is often formed naturally. In every performance, the choreographers of different ethnic groups have demonstrated their traditional cultural spirit, aesthetic concepts, dance movements and skills. In the communication with other dancers, this subtle influence will open a new world for their dance creation. For example, Malay dancers are influenced by China dance, and they also use fans of red silk or Jiaozhou Yangko in the dance. The choreographer combines the choreography ideas absorbed from other cultural resources and uses them. This creative technique of learning from others is reflected in many choreographers' dance creations. Yan, a pioneer dancer, is one of them. She studied Indian dance, Malay dance and ballet, and firmly believed in the importance of learning and arranging multi-ethnic dances. She put forward: "Learning the performance knowledge of Malay dance or Indian dance will help us understand the value of our cultural tradition." In order to promote the development of a multicultural society, the Singapore government has established an official multicultural dance troupe. 1970, the Singapore Ministry of Culture set up a national dance troupe, 197 1 year, and the People's Association set up a professional cultural troupe to perform China dance, Malay dance and Indian dance. Ms Li Shufen, the first choreographer of the National Dance Company, is from Taiwan Province. She received dance education in Japan and devoted herself enthusiastically to the creation of multi-ethnic dances. After the establishment of the National Dance Company, she created a large number of works for the company, which have distinctive local colors in theme and style. For example, in the commemoration of Singapore150th anniversary, she arranged "Ode to the Motherland" for the Association for Democracy and People's Livelihood, which showed the historical process of Singapore's development from a fishing village to a modern seaport. During her stay in the National Dance Troupe, she and her colleagues created several works with the same style, among which the most popular ones were Rhythm of Unity, Hu Jihua and Dance of Fisherman, which showed the solidarity spirit of different nationalities through thick and thin. These multi-ethnic dance works all present a new look of multi-ethnic dance, which embodies the collective wisdom and hard work of Chinese, Malays and Indian choreographers. From 65438 to 0987, a professional ballet company was established in Singapore. Under the leadership of founder and artistic director Wu and Deng Tianfu, Singapore Ballet strives to innovate and explore Singapore's multicultural ballet art, and has accumulated many different forms of classical and modern ballet repertoire. In order to better develop dance in Singapore, the Singapore National Drama and Dance Association invited a group of excellent teachers from abroad to guide and preside over the work. These specially invited choreographers include AbaySubardja, a West Java noodle dancer, DeddyLuthan, a Sumatran dancer, NasrunDarussalam, a Badong dancer, TomIbnun, M.Miroto of Yogyakarta School in Java, and Amano, a Malay dancer from the northeast of the Malay Peninsula. These choreographers from Indonesia and Malaysia have injected fresh blood into Malay dances in Singapore, such as Sunda Dance, Minangkabau Dance, Java Dance, Bali Dance, Malay Folk Dance and Kelantan Palace Dance. Encouraged by foreign dancers, Singaporean Malay dancers have innovated the traditional Malay dance, extensively absorbed the essence of other national cultures and arts, and gained more freedom in their creation. In addition to official dance troupes performing multi-ethnic dances on various occasions, many folk groups also spontaneously perform multi-ethnic dances. For example, Singapore Phoenix Dance Company, Jinjiang Club Dance Company, China Dance Company, Juwufang Dance Company, Lin Ji Dance Company, Fujian Club Dance Company, wuyue Dance Township and Bukit Batu Dance Company have all achieved success in the creation of multi-ethnic dances to varying degrees. The unremitting efforts of these dancers have promoted the steady development of Singapore's dance industry. In Singapore, not only professional performance groups support the activities of multi-ethnic dance integration, but also many schools encourage students from different ethnic groups to perform multi-ethnic dance together. Since 1966, the Ministry of Education has held a "Youth Festival", which provides opportunities for school children to enjoy other ethnic dances and learn many ethnic dances. Schools in Singapore celebrate racial harmony on July 2 1 every year. On this day, students will enjoy China dance, Indian dance and Malay dance, as well as the "multi-ethnic dance" jointly performed by the students of the above three ethnic groups. In addition, a dance festival will be held in Singapore, covering ballet, modern dance, flamenco, alternative experimental works, traditional dance and other dance types. Compared with other performing arts forms in Singapore that have cultivated a stable audience for a long time, dance is still a "minority", but some people have gradually sprouted their enthusiasm for dance through the performances and activities of the dance festival.

Multi-ethnic dance has gone a long way in the cultural process of Singapore, and its symbolic significance has been understood and supported by the participants. Multi-ethnic dance is a symbol of multi-ethnic unity and mutual assistance, and expresses friendship with different ethnic groups through dance. As a cultural symbol, dance is widely used by Chinese, Malays and Indians in Singapore, and its meaning varies according to the dancers' own understanding. It can be seen from the dance that the relationship between the individual and the whole is harmonious. The symbolic significance of multi-ethnic dance in Singapore reflects the individual dance style while retaining differences, which is more inclusive. Nowadays, under the framework of the cultural symbol of "* * *", dancers in Singapore strive to create dances with individuality and constantly turn differences into artistic unity. Cultural symbols unite the participants in the dance performance, namely the performers and the audience. They use dance as an expression to show the audience the same values and cultural identity. Undoubtedly, multi-ethnic dance has deepened the understanding between different races and religions in Singapore and enhanced social cohesion. Nowadays, various dances in Singapore are emerging on the world stage. The directors let the audience feel the information, energy and emotion conveyed by the works through dance, and reflect the reality in a mirror image way through dance, keeping close to the pulse of the times and keeping watch on the world trend. The spirit of pluralism inspires dancers from different ethnic and cultural backgrounds to innovate and develop, and to build a multicultural stage art with Singapore characteristics.

modern dance