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Standing In Line In Order Of Height

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STANDING IN LINE IN ORDER OF HEIGHT explores individuals’ journey in our modern society in search for success and does success permits us to find our ‘true’ selves and allow us to breathe in our own skin beyond the facades that we create to survive? Presented through a hybrid of a fusion of modern dance styles with Asian ethnic dance form and Australian Aboriginal contemporary dance within a contemporary design. Standing in Line in order of Height aims to showcase the amalgamation of ethnic and modern in an artistically strong and yet relevant manner to expound the subject matter.
 
Truly a cross-cultural collaboration, the choreographers for this project work from three different countries: Singapore, Australia and the UK. From Singapore, Maya’s Creative Director Kavitha Krishnan has worked in both traditional Asian and contemporary forms, and her work has been presented in Singapore, Bali Indonesia, Australia Taipei and South Africa. From Australia, Quantum Leap’s Artistic Director Ruth Osborne is recognised within Australia and internationally for her choreography for stage, film, television and major events, as well as her collaborative work with young people. Working from London, Liz Lea is an award-winning choreographer specialising in contemporary dance and Bharata Natyam classical Indian dance. The dancers are also from diverse dance backgrounds, from Australian and Indigenous Australian to Southeast Asian dance heritages and modern dance origins. The project was directed by Ruth Osborne Quantum leap, Australia and Kavitha Krishnan of Maya Dance Theatre, Singapore.

Osborne says, “We want to encourage audience appreciation of cross-cultural presentation in Singapore and in Australia. We also want to excite audiences with thoughtful themes and challenging dance works, where the hearts and minds of young people speak through their bodies and creativity.”

This dance production employs a cross-cultural dance vocabulary that includes classical Indian, contemporary indigenous Australian, contemporary Asian and modern dance forms. As the individuals seek for their true selves in modern society, their journey is explored in five dance segments


Cast & Crews

Artistic Director
Kavitha Krishnan (Singapore)
Ruth Osborne (QL2, Canberra)
Choreographers
Kavitha Krishnan (Singapore)
Ruth Osborne (QL2, Canberra)
Liz Lea (Australia)
Dancers
Shahrin Johry (Singapore)
Sufri Juwahir (Singapore)
Adeline Ee (Singapore)
Samantha Teo (Singapore)
Sheriden Newman (Australia)
Hannah Peake (Australia)
Jason Wood (Australia)
Robert King (Australia)
Nor Liyana bte Mohd Zakii & Prathima Singh (Singapore cast from Aspire Dance Programme)
Rehearsal Master
Juraimy Abu Baker
Lighting Designer/ Technical Manager
Zaw Min Oo
Music Composers
Adam Ventoura (Australia)
Nicholas Ng (Singapore)
Rupak George (Singapore)
General Managers
Imran Manaff (Singapore)
Gary Barnes (QL2, Canberra)
Administration & Liasion
Sarah Kaur (Australia)
Photographers
Lorna Sim
Lau Lik Phong
Videography
Mohd. Yassir (Singapore)
R. Suppiah (Singapore)
Sarah Kaur (Australia)
Designer
Saleem Hadi
Presented At
Gorman Arts House, Canberra, Australia
Esplanade Theatre Studio, Singapore

Reviews


The energy and commitment of the young dancers in this collaboration between Singapore's Maya Dance Theatre and the Australian youth dance ensemble QL2 was unquestionable as they grappled with issues of identity, life choices, conformity and the search for individual expression in our fast paced global world. .... The most interesting sections were the transitions where the groups sought some common ground before each performed the lengthy dance sections that they had obviously devised apart. The last dance In your Skin, in particular, was a joyous celebration of rhythm as the group let go and had fun together on stage.

Stephanie Burridge - The Flying Inkpot, Singapore, 17 June 2010

One or two pieces were danced by either QL2 or Maya dancers, but the mostly it was a dazzling combination of modern western and eastern dance, with tantalizing glimpses of, for example, eastern foot and finger work, The use of music and spoken word added a deeper significance to the work, which, I might say, was performed with no intervals for about ninety minutes; I don’t believe I have ever seen such prolonged energy. They had learned this complex and difficult choreography in about two to three weeks, yet they all succeeded in conveying the underlying theme with a deep inner response besides an amazing accuracy and apparent ease in movement.

Stella Wilkie - Canberra Critics Circle, Australia, 11 June 2010

The two male dancers from Singapore, Sufri Juwahir and Khairul Shahrin... shone through as they engaged the audience superbly. Their string skills in traditional Indian dancing were a highlight of the performance-graceful and complex arm movements accompanies by strong rhythms beaten out with their feet.

Roslyn Dundas - The Canberra Times, Australia, 12 June 2010


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