I Have A Dream...

I do what I do, simply because I have a dream. Sometimes I forget, but I want to remember, and I want to share it with people, with people who may be dreaming the same dream as I do...

• I dream of making this world a better place, where people live in peace and love one another.
• Where people are not so rushed or hurried to pursue the riches in life, but take their time and feel one another, and feel the world, feel their existence in the world.
• I live, in a slower pace than most people around me. Perhaps I could slow down the hurried, the overly rushed, and make them feel and think, and enjoy their presence, here in the world... just like how nature, moves slowly, but surely.
• I dream that we would be kind to one another, that we would make decisions that considers the best interests of one another, that understand its effects and consequences to one another, that we do not simply take from others, what is not ours.
• I dream that we could live in harmony with nature, that we learn to realise that it is nature that offers us the greatest abundance, enough for all of us to share, that there is no need to fight or to steal or to compete.
• That our need for abundance does not need to be in conflict with the very nature of the universe, of our existence...

Some learning quotes, some food for thought

"Learning is to be aware of what is already inside of us." Bob Proctor

"To dis-cover is to remove the cover of." Jack Canfield

Sound and Movements

There are many ways of creating dance - or rather "there are many sources of inspiration" for creating dance. Some create based on a storyline, a character, an image, an emotion, a life event, a music, etc..

I personally love creating dance based on music. Music moves me, like perhaps you have seen how  Gangnam Style move this baby.

I am one of those very kineasthetically responsive individuals, and was particularly reactive to pulsating pop beats when I was in my childhood all the way through my teens and early 20's, with pop being a huge influence in my interest in dance as mentioned here. Of course I'm not about to burst into a Gangnam "horse ride" the moment I hear the song now, but you get the idea.

Then as I mature, I find myself responding more towards subtle, meditative tones of Asian classical music, or strong orchestral harmonies, including western classical, new age and contemporary genres - such as the soundtracks of Hans Zimmer.

Music gives me vision. I see movement, feel movement, and I am driven to move. Music sometimes drowns me. I can become drunk in music, even when I'm not drinking. Itut is where my most passionate pieces come from.

However, there are school of thoughts who decides that dance should be independent of music. On a moderate scale, it should be telling a story beyond what the music is telling - which has a good point. But on an extreme level, choreographers are purposefully using music or sound just as a backdrop or "noise," and having the dancers dance in a way that completely ignores the rhythms and flow of the music.

Some dances are performed in silence.

I haven't done the extremes yet. For now, I am still very much attached to my music... like a lover...

Moving to sound

In my practice of dance and improvisation, I have found spaces where certain movements and exact matches for certain sounds and certain notes, where our body acts like an instrument, like a recorder with its holes along our torso, or a drum set, with sounds at different spaces.

It may take a more auditory person to be able to "hear" sounds in their body, just as it may take a more visual person to "see" movements in space.

"Seeing" movement

In most of my dance teaching, it is very common for me to give instructions to my students, such as in children's creative dance and improvisation classes to "paint in the sky." This is where you imagine that your hands become paint brushes, and that your sweeping movements create colours where the air is your canvas. You can really have lots of fun, "painting" the world around you with the sweep or your hands, your feet, and other body parts. It is usually important to "see" where your movement is coming from and where its going, partly also to be able to decide on the aesthetic result you are trying to achieve and to fill in the space with the presence of your movements.

The non-visual dancer

However, during my course of teaching, I had encountered one student who was particularly gifted in his hearing. He is a natural musician and composer. He can play any instrument he tries, and any tune he hears in his head - or at least that is what I have observed. However, he was struggling in my class, which was unfortuantely compulsary for him to complete as a part of his IB MYP program.

After struggling for some time, I finally had a chance to work with him personally.

I figured that since he can't "see" movements, perhaps he can "hear" them.

I began working by opening up his body through the sound of my voice, moving through different notes to stimulate different joints in his body.

It immediately worked! His hardened, skinny body suddenly is able to start moving fluidly, and he suddenly understood improvisation in a way he never had before!

Finally, he was able to create a solo piece to submit as a final work to complete his program. It was not perfect, but it was good progress.

And I finally understood now, that some people cannot "see" movements, but perhaps, they can "hear" movement.

If you are a teacher, what difficulty have you encountered with students learning dance?
How do you overcome them?

Until next time,

Take care.

Dances of Nature: Let Me Help You Realise Your Dream

Now, I'm not much of a producer. At most, I can plan, choreograph, direct, teach, polish, basically putting up everything from scratch - student up.

My job, as a teacher, is to take a newbie, who is passionate and has some talent, and bring him/her up to a performance level within my choreography, or beyond.

Constraints are actually fun to work with - What I am asked to do, what limitations we have, what requirements to meet - with that, I work out something that is good for all, and makes everyone happy. Like give me a theme, give me a number of people to work with, give me the things you would like to have in, even throw in a few music you would like to see danced to (no, don't do that, let me sleep over that one)  - and I'll whip something out for you.

I've been brewing this idea in my mind for a long time, to choreograph a collection of dances that revolves around natural elements, or better still, a full length storyline. After all, it has been my inspiration, and a running theme in may of my works thus far.

So yea, my heart is eager to create something beautiful, something that reminds people of the wonders and serenity of nature, to continue to cherish it, because there is so much magic around us.

So, tell me. I want to work with you. I want to work with your students. I want to fit your requirements. Just throw them to me. I want to see what I can do. Ok?

Contact: movenphil@gmail.com

Alright, take care, bye!

About Me: The Long Story - My Love Affair With Movement

If you had read my about page, you would probably know a thing or 2 about me and my practice. But here, I will share the in-depth story of how I came to where I am at today.

I love movement

I have been studying movement all my life.

From dance, martial arts to sports, I have observed movement from a range of aspects and attempted to recreate them, to understand how movers move - how the best dancers dance, how actors act, how atheles jump, how action is created and how movement flow.

As I study these people more, I began to understand that there is a state of being in which these people had created, a stage persona in their performances. It is beyond what is taught in most lessons, what you see in the apparent.


In my career as a dance teacher, I had taught this method to my students in rehearsing for their dances. The difference is between a mediocre or technical performance, and an emotionally impactful performance.

What kind of dancer am I?

When most people ask me, "When did I first started dancing?" I didn't know how to answer them. Like most people, I started dancing when I was little, I mean baby. Unlike most people, I continued dancing and believing in dance, through adulthood.

I revel in art - I sing, play music, draw, paint, occasionally build or sculpt things, and I aspire to act.

I started off mostly as a self-taught dancer, emulating my idols from music videos and concert recordings, and just moving to the beat to music. I start off with dancing Canto-pop like idols Leslie Cheung, Aaron Kwok, Jimmy Lin and Dicky Chueng, during the late 1980's to the early 1990's, a time that could be described as the peak of the genre. It was a time of elaborate costumes, grand concert stadiums, world class  performances, and of course, superb dance performance and choreographies. The passion in the music and the moving beats sparked my interest in singing and dancing. Of course, the genre also occasionally offered its share of ballads and culturally influenced tunes, along with accompanying performances, sparking my interests in more traditional and lyrical dances.

In the late 1990's, I started paying more attention towards western pop culture. Dancing girl and boy bands - i.e. Spice Girls, Backstreet Boys, N'Sync - became a scarce oasis of reference towards stylistic physical expression. And then Britney Spears, and there were no others like her.

At that time, we have no MTV and there was no Youtube. Even my VCR at home was spoilt and not replaced. What you see on TV is what you get. As much as I wanted to dance along, I couldn't reference well enough, so I had to pick up the dances as I go. Even if there were good references, they were not like today's K-pop where they have complete dance videos. I had make up my own steps in betweens.


But of course, I was too ashamed to let anyone know I love to dance. People make comments. You are a bad kid if you shake your body. You can't really dance if you don't go for classes, but there were no classes to go for. Children are expected to sit still.

So, I practiced in private, when my parents were not around, when no one was watching.

I wanted to do everything. I loved moving, I indulged in martial arts and gymnastics. And as you can imagine, I simply couldn't sit still.

Training hard

It started with a discovery of my enthusiasm towards chinese period dramas with kungfu/wire-fu. It served to tie me towards deeply exploring my cultural roots, which led to my interest in spirituality. The visuals that I see in these stories triggered a sense of stories untold so full in my heart, that I had to express it out in some form of mono-acting, and I started practicing martial arts for the parts I play. I was mesmerised by the visuals of female-wirefu, which resembles a dance more than fighting, hoping to someday float, glide and display such grace and power at the same time. This eventually covered more female heroine characters, that are technically tomboys of period dramas. I started dreaming of becoming an actress, and at that time, Michelle Yeoh emerged as an icon of my dreams.


Immediately, I wanted to sign up for wushu classes to get started on my basics. Unfortunately, things didn't quite happen for me. I ended up settling for taekwando classes which were offered in my school. I didn't like sparring, but instead I trained hard to make sure my kicks and my taegeuks look good and perfect, all the way up to my black belt in year 2000.

Later, when I entered university, I finally got the chance to approach wushu and taichi. It was a wonder that the techniques are so different, so much more complex even on the lower level, but it also means much more variety in movements. I get to practice movement patterns that I had always wanted to do, it was something that I wished I had started earlier on, for the basics in taekwando didn't prepare me for this. I managed to do a few performances with the team, one which included using sticks. Unfortunately, I did not stay long enough to learn weapons which I had wanted so much years ago. My body was getting tired of the brutal hardness of learning martial arts. It is not what I want to do. However, the years of training had further developed the tough body that already was.

Bending soft

During my early childhood, I was exposed to an international aerobics. I was mesmerised with the participant's flexibility and ability to perform acrobatics like cartwheels and walkovers.

Then during the 1992 Olympic games, I fell in love with rhythmic gymnastics. But it was not until the next Olympic in 1996 that I get to watch it again on TV. I loved the grace, flexibility and dexterity of gymnasts. I also learned to pick up on the flow of their movements, which sparked my interests in gentler forms of dance.

Unfortunately, there were no known gymnastic classes at that time, or would it have been a worthy investment as by then, it would've been too late for me to start (it is important to take advantage of early childhood to develop the extreme flexibility required). But I never gave up on the dream of performing, so I resorted to self-training at home.


I became obsessed with stretching. My amateurish attempts at self-training were somewhat successful - I managed to achieve over-splits, a good level of back bend, and walkovers - but it had also left me riddled with injuries. I developed a lower back pain, and hip joint pain. I also learned that lack of proper warm up could result in torn hamstrings.

The body in conflict

Other than the activities I mentioned above, I was also a competitor in the school's high jump events. I started in my upper primary school, but did not do it again until my upper secondary years. Again, I worked very hard to train myself to jump higher, but in spite of the lower-body strength I developed, my achievements were limited and inconsistent. I was frustrated and didn't know what to do. My knees were aching. I didn't know what I did wrong.


Over the years, I kept pushing through in spite of my injuries so that I can do the things I loved. I kept fighting with my body to make it do better splits, but it seemed to have come to a plateau, while my hip joint became riddled with pain. My body no longer wants to put out the brute strength I was forcing it to. I was abusing my body, pressing on my spine, trying to tear my joints apart, punishing it when it doesn't give me what I want. My performance dropped. My body felt so heavy. All these training must have failed, I thought. I must be getting old. I was 20.

By year 2003, more injuries, coupled by other lifestyle factors had left me with little motivation. I stopped practicing wushu.

Going easy

Aside from the occasional music video dancing, a stretch or two here and there, I was no longer doing any serious physical training in the years that ensues. I swim, go to the gym, played badminton and took up archery to keep myself happy in between struggling through university coursework. Any serious endeavour towards physical achievement seemed out of reach by now. I will settle with being a multimedia designer.

Starting Over

So when I began working for a few months, and life seemed miserable and meaningless.

I asked myself, what would I have to do, that if I don't, I would die? Dance.
If I don't start dancing, I would die.

So I started searching through the net for dance courses that rings a bell to me, and in a convenient location. I wasn't driving at the time, and relied heavily on the LRT system. I took some trial classes in a few separate location, and I still haven't found what I want, until I happened upon Rivergrass Dance Academy and attended classes by it's founder/director, Ms. Mew Chang Tsing.

A new philosophy

The first thing that is very different from anything I have learned before is the attitude towards the body and towards movement.

The first was, to love our body, to treat it with kindness and respect. To not force the body to do something when it is already hurting, because when guided, gently, it will still be able to do what we want it to, without the unnecessary pain.

Second, is to listen to the body. The body has intelligence and it has movement, movement that is different from what is in the mind. If we can let go of the controlling mind, to be quiet and observe, the body will speak its language and give us it's answer.

Learning these two principles are a continuous process, but by first understanding its concepts and applicability, it is the first steps in the right direction.

Creating dance

As the process of our learning is mostly improvisational, very soon, I am creating dance. Its was like a burst pipe, where all my desires and longings for dance expressions finally found an outlet. Very soon, I was performing on-stage with the group, with my favourite, Lady In Red - a piece which carries a passionate, tango-flamenco tone with the music Assasins Tango.

It then followed by more and more pieces, and greater involvement within the contemporary dance community as a whole, a course on dance composition which led to my first solo piece, The Tree of Life, and the rest was history.

Aside from the influences mentioned above, I also came from a national school system with a heavy Malay cultural influence. at a very young age, I was exposed to Malay classical and folk dances, but I was most taken by Gamelan, Ulek Mayang, Asyik and Inang, because of how ethereal the dancers look on stage, with elaborate costumes, and hypnotic music.

I didn't know how I pick up on the love of spanish-influences dance, but the passion and sensuality speaks to me.

Teaching dance


This burst pipe of creativity eventually flooded into my dance teaching in the international school, where I choreographed pieces for the school production which I directed, working with other dance and music teachers, and the high school students who were given the freedom to create their own - it basically unleashed my creative monster - a playground where pop, contemporary, and cultural performance items co-existed and weave itself into a story of growing up, learning and living in harmony.

The result was, the students get to learn something totally new, the school get to see something new, and expose itself to various forms of dance, and with my performing experience, I helped the students polish their performance quality to a whole new level.

Teaching dance became something that I had-to-do!

What was most satisfying, was not about the choreography process or the performances themselves. But the growth and connection that came during and as a result of the production was where it was most beautiful.

During classes and rehearsals, I have worked with students of various levels, most do not have dance training outside what the school was able to provide. They spent many years not having a teacher who was actually trained in dance, as had been creating dance for performances on their own. I worked to create dances that is suitable for different age groups, different talents and capabilities, and together, I brought them to a level of performance that is entertaining and emotionally satisfying for both participants and audience.

Beauty in a dance performance had to first come from performance quality and polish.
These had to be a result of meticulous training and even nit-picking. Movements were cleaned up.

Then, there is a very basic but impotant element of appearing larger on stage that performers need to be aware of. Movements have to be larger, more lengthened. Students need to expand themselves into a space slightly beyond themselves. This often challenge people in their comfort zones.

Also, there is the element of eye-contact. Eyes needs to be looking in the right places. It was very difficult for students to look up when dancing initially. Most adolescents and teenagers have self-esteem issues. Dancing on-stage and looking up at the audience was most terrifying and unthinkable of. Eyes wander as a result of a wandering mind too. So much training was centered on them being focused and present in the performance itself.

Last but not least, the importance of emotional interaction. Students need to know what their dance is saying, or what they actually wanted to say to the audience in their dance. They learned to accept it, to be honest about it, about themselves and what they wanted to express, or what I needed them to express in their dance.

I talked to these dozens and hundreds of performing students, some on a deeper level. I got to know them on a personal level to understand their unique challenges, and coached them to overcome their own obstacles, bodily, mentally and emotionally.

What's next?

I believed that the training had challenged them to a greater level, but I believed that more people, young and old can benefit from learning dance and training for performance, and overcoming personal obstacles, moving out of their comfort zones. It is my wish to reach out to more people on the same, deep, soulful level, without the constraints of academic curricula which I had to juggle with in school. I wish to create for, and to spread the knowledge of using the body, and healing its injuries.

The healing process

Over the years, I began studying more about the body as I continue studying alot of personal-developement materials. I wanted to heal, not just physically, but mentally and emotionally.

When I stumbled upon the works of Tony Robbins and understood how much body language affects a person. I saw a video and was very surprised he spoke to one of his workshop participants, and immediately see shifts in their body when their mindset changes. I began observing body language more deeply, and employed questioning techniques to heal my body and let my body work in a more harmonious way.
Many of these techniques were helpful when I was working with my students. I was very enthusiastic about the results that I got and I am determined to practice further and broaden my reach.

Who am I?

I see myself as a life-long learner and teacher. I love to coach people, to help bring out the best in them, in what they do, whatever it is they want to do, to connect with who they are, and find that creative side of them.

As a teacher, I believe that no one is too bad to learn, and no one is too good not to learn.

It is a matter of desire - do we wish to do it or not?

The jewel is inside everyone of us. You just have to draw it out of each person.

It gets personal


I employ techniques from life coaching and strategic intervention, understanding body language  from dance and improvisation, energy chakras and self-healing in my teaching. I do not believe in a sterile teaching environment. A teacher teaches best when she knows her students well, and directly meet her needs and deliver at her level.


For me, I keep learning from personal experiences, my meditations and my readings. I believe everyone should.


I hope to someday connect with you on our journey, where we can share and exchange in mind and creativity.

Love,

Why I Hated School and My Search for Happiness

This is to all my dear students who are still struggling through school, through teenagehood and those who are still struggling to find themselves. 

I've always remembered that as a child, I wasn't one who is very much a fun one to be with, nor have I found much capacity to have fun with other little kids.

Growing up into adolescence, I became one of those strange kids that people never liked. I talked about things that they don't care about, I behave in ways that they disapprove of, I was hyperactive, hyper emotional, super dreamy, and always in love with somebody I shouldn't.

There were years when I was socially ostracised, became the joke of the class or just simply became invisible. I was the ugly girl who was a little overweight, having too dark a skin, and not cute enough to deserve to be in the spotlight.

I didn't dare to be myself, and when I wanted to, I hardly got the opportunity. At first, I didn't dare to be too good academically as a few jealous kids will say mean things about it, think that I would be too proud, too full of myself. I had subconsciously lowered my scores eventually, just to fit in. Making a few mistakes in exam was more normal. Being too perfect was not.

Singing, dancing and acting was something I really liked, but never made it to the school choir, dance team or have more than a few lines to say in the class drama.I loved drawing and painting all my life, but somehow most of my art teachers in school never quite approved of my artistic tastes - except for one Puan Asnah.


I struggled to find physical and artistic expression - inside me was a monkey who wanted to burst out and jump across the streets, over the rooftops, summersault down the hallway, slide down the stair handles and take over the stage and be the perfect superstar!
But years of training have had it perfectly restrained.

I managed to find some relief in doing some high-jumping (which I wish I proper coaching for), taekwando (as a substitute for my kung-fu movie star/Michelle Yeoh dream) and very lousy basketball playing.

In the mean time, I also streched at home, danced to music videos, watched rhythmic gymnastics and trained myself in such, effectively turning my bed into a crashmat, with bad technique causing an injury or two. When all else fails, I punch pillows and walls and scream like a mad monster.

I was a super sensitive, super emo and constantly in need of love and craving for some warm displays of affection. but coming from a traditional Chinese family, affection is something that was not within the vocabulary. Spanking is what you get.

As it turns out, banging doors, crying, screaming out and withdrawal wouldn't get you the love you want. Comfort and affection might just very well be something you learn through your good friend.

I wanted to find peace. I tried meditation, but it took me to wierd places - at one time, I find myself stopped breathing, so I stopped. I loved nature, and had the chance to follow only 2 school expeditions to the wilderness over the years. I wished I could hide and stay there forever.

Life was super hard, I didn't see much meaning in life. I didn't know how to be happy. It was all dark and gloomy. I seek comfort in bonding with the school counsellor, Puan Siti Halimah. It was unfair because surely, she had many more students she would need to support, but I I studied religion - mostly Buddhism. I was always on the lookout for the love of my life, hoping that he would magically change my life and give me happiness, but its all just fantasy. I was completely incompatible with the school system and with my family culture.

The counsellor believed that I was having depression, but I didn't know what it was. A visit to  clinical psychologist was recommended, but back then, the stigma was still too strongly attached to psychologists, so I didn't.

My last 2 years in school slowed down as subjects became tougher, I became more lost, more drowned in the sea of syllabus. I didn't know what I was doing, I became even more of a zombie, but feigned humour and laughter to pass off as being sociable, if not to cheer myself up. I was secretly in love with a young taekwando instructor (my age) for years, until I was eventually exposed and coldly rejected. I procrastinated in all my homeworks and studying, except when I occasionally the strong motivation, flow or a sudden deep interest in certain topics. Some natural talent helps too. With factual topics like history, I was able to absorb I was hoping that college life would be outlet, but until then, I'll just have to pull through.

And pull through I did, as if with a noose around my neck, just slipping through the gates as it closes in.

Glad I am to be out of it. I hated school with a vengeance.

Life after school

Life after school has its ups and downs too, although I must say that it is a fairly pleasant one, or even way better compared to those school days.

During my university years, I get to move out of the house to live first in the campus hostel, then nearby the campus. My day to day living became independent of my family culture, and in fact, the family dynamics had positively changed, due to my absence. I felt missed and move loved because I am no longer always there, though I do go back on most weekends. I get to study in a course I had chosen for myself, which is creative multimedia and only need to bother about subjects that are relevant. As a design course, I bother mostly with practical design works which are much more interesting and easy for me to perform than reading endless loads of arbitrary information. Most textbooks or notes that we have to study can be directly applicable in practical work, or is somewhat relevant to my field of interest. Life, needless to say, became much more pleasant.

Socially, I also get to start over with groups of new people, who are more similar than me, rather than different. Some more "extremely strange" that I thought I was, but there is a positive sense of appreciation in these eccentric self-expressions. I also managed to get into a relationship which lasted throughout my university years, and beyond.

Of course, not all are a bed of roses. As the course got tougher in the second year, bad habits, unproductive behaviour and dysfunctional personality traits starts to surface.

For the first time, we were presented with unlimited broadband internet, now wired 24/7 - with a myraid of video files shared, games, internet mini games, MMORPG, endless instant messaging, Friendster, Google, Wikipedia. Too many distractions that proved to be more fun and exciting that coursework, unfortunately - and I'm only human. Staying up till dawn and chit-chatting with roommates are some of the most enjoyable things to do during those times.

As expected, I started to not perform as well as I could have. As I struggle to pick myself up again, fighting the distractions, procrastinations, I started to turn my work in late. I didn't feel good about it at all. I had my depressive mood swings again, anxiety attacks and inferiority complex. I struggled with myself, I badly wanted to learn how to deal with myself, because I knew I could do better than this, but I didn't know how to. I was falling behind, further and further. I wasn't happy in my relationship, yet I don't know what to do, or... I just simply didn't have the balls to do what I should do.

In search of happiness

In spite of the lack of external stressor such as family and undesirable study subjects, I still wasn't a very happy person. There was always something wrong somewhere. I always didn't want to do my coursework, even when the rush and excitement of internet and video games reduced. And all these addictive activities didn't exactly make me very happy either. They were just addictive and somewhat pleasant.

I kept myself productive with abit of choir, wushu (continuing my dream of succeeding Michelle Yeoh) and taichi (I wanted to be a kungfu master for real), some organising and comittee work, and a little dancing here and there.

I was constantly stressed and somewhat not quite happy, sometimes without good reason. I wasn't happy in my relationship, but I couldn't understand why. I wanted to understand more about my self, and how to make the best of it. I wanted to be productive, but most of all, I wanted to be happy.

It was then that I began my long search for happiness.

In search of the meaning of life

One issue that had plagued me for a very long time was finding the meaning of life. I wanted to find a reason to live. But most of all, I wanted to know how people live happily, because I felt that if I wasn't happy, then life is not worth living. And I was unhappy so much of the time, I wanted to change that.

I have learned about Buddha's search for happiness when I was in school, and I researched more during these times. I had a picture of the concept, and had contemplated the monastic path, but I didn't think it was applicable at this point. I kept looking.

I search internet for psychology and self-help articles. They helped me understand depression and some other such conditions. I find it comforting to know that there is an explanation for how I feel.


I began consulting the University counsellor too, who encouraged me to push on.

My then boyfriend also borrowed me books on self help.
Life Strategies for Teens was a good workbook style book which introduced to me the concept of "pay-off", understanding that there is a reason why we do what we do, even if we know it was a negative behaviour. It is one that I would recommend to young people who are struggling to understand their own negative behaviour.

The 7 Habits on the other hand, is a timeless guidebook on personal development, on the self, and our role within our surroundings. It was a book that I knew I had to buy and keep my own copy and reread it after I finished reading the borrowed one.
Years after reading it, I somehow would still mentally refer to some of it's concepts when encountering challenging life-situations. True principles never fail the tests of time. In fact, time strengthens principles, and this book is all about it.

I came into the concept of happiness coming from pleasure, engagement and meaning, in which true happiness has to come from engagement and meaning.

Then, I came acorss Viktor Frankl and his search for meaning. He came to the conclusion that the lack of meaning is the cause of unhappiness and inner conflict in people, that people need to find meaning in their lives, no matter what their circumstances.

I hadn't had a very clear sense of meaning yet by then, but I suppose that one pain suffered is a lessons for another.

Finding the flow

I initially enrolled myself in a majoring subject which I knew would be difficult for me, Flash scripting and all. I thought that it has more job options for me in the future and that the (in)famously strict lecturer would motivate me to do well. Unfortunately, it ended up back-firing. I was already dropping out, half-way through. The kind of work also proved to be not my cup of tea.

I lost confidence in myself, took a break from studies and worked part time before I can start a new academic year in a new majoring course. This helped reset things for me again.

I finally decided to take up virtual reality when I returned. 3d seems fun, the interaction didn't seem as complicated as the Flash stuff, my confidence was low, so I thought I'll just take it slow, in a new environment, new coursemates. New beginnings are always good, always hopeful, always fresh. I tried harder this time, did better, and started to find a little flow in my work.

During our final year, we were set to go for our intership training, before we return to complete our final year projects. During the internship training, my boss at the architecture firm, Mr. Ahmad where I was learning to do architecture visualisations guided me through patiently. He supported me and guided patiently in the process, that I begin go have confidence in my ability to work and produce efficiently again in my final year and in my future workplace. This gave me momentum to do well in my final projects for my university degree. I pushed harder, learned from my course mates, I was enjoying the flow of seeing my work improve, I liked the idea of my project, and I liked the process of creating it. It was fun, it was engaging, and I was close to success.

I was very focused on it, and by then, was not participating in any more co-curricular activities other than the one last thing I wanted to do before I graduate - archery.

But it wasn't easy. Just like in archery, my aiming skills are pretty rubbish. My perfectionism proves to be a dangerous ally and enemy. It was with alot of help, alot of push and encouragement from people around me that I had finally made it through my degree. It wasn't bad though, my portfolio earned me an employment in a multinational game company. I expected the employment to be a start of an exciting journey.

What is life about?

But after a few months, something in me started dying inside.

I started to question myself, what is it? What would I need to do, to not die?

Dance. It says.

Yes, I had not been dancing for quite a while. In fact, I was hardly moving ever since I started working here.

I started searching for a place to learn dance for real, and I found my teacher, Mew Chang Tsing. 

I didn't really know much about her back then, or what to expect in her class. I just went to her website, I liked the pictures I see there, I felt good about doing contemporary dance, I called up to ask about the nearest upcoming class, attended it as a trial class, and jumped straight in. I knew it was exactly what I need, what my soul needed. No questions about that.


So, I was enjoying what I do. I had a job that I sort of enjoy doing, and I have a hobby which I really love, but somehow, something still doesn't feel quite right. Weekends, week night, I still don't feel quite happy about where I am at. I didn't like my environment, although I work around the very nicely built KL Sentral area. It was too polluted, too much concrete.

I went for a trip to the Taman Negara, fell in love with the jungles all over again, and had bouts of depression by the time I return.

My company produced nice racing games, won an award or two, but unfortunately, I wasn't as enthused or excited or happy as I was supposed to be. It didn't matter to me. It was meaningless to me. I think of the time when I was addicted to video games, and I felt guilty for making one.

Man's search for meaning

It was then that I reminded myself that I could be doing much more than what I am doing - something closer to what I would wish for the world to be - a utopia of nature preserved and of caring people.

By then, I was working with a coach to help me find an outlet to this dilemma. As fun as 3D was, it didn't quite provide that meaning necessary in finding lasting happiness.

I wanted to change the world. I wanted to change its people. And the way for me to do?

I wanted to work in an NGO, but I was too emotionally vulnerable at that time. You got to be strong if you are doing advocacy.

I wanted to be a forest ranger, but then, I would still miss some of the luxuries of city life - nice dresses to wear, looking pretty and all.

Well, maybe I can be a teacher!


The love of teaching


The people who knew me and the people who had taught before would know how difficult yet fulfilling the profession is. It was challenging to the core, and somehow, I get to be a dance teacher, which also provided me with some of my most engaging experiences.

Seeing people grow and improve before your eyes, under your coaching was one of the most beautiful things one can do. It was a time when I got to expand my creative flair and had greatly strengthened my core values - self-honesty and capacity for love.

And sometimes, it was the most difficult students who touches your heart most deeply.

And then, I get to tell young people stories about life, about the "real world" outside, about saving the world, about finding themselves, loving themselves. Work was wonderful.

Love and truth

Most of all, I learnt about love. To love all, to love people as people, to connect with people, soul to soul, to tell people the truth, to be honest with ourselves and with the people we talk to. I found that it is only at this level of honesty that the heart can be touched, that lives can be changed. There is no other way.

Eventually, this path of love and truth has brought me to the next step. As much as the work was fulfilling, the school environment was still very limiting towards love and truth. I believed that I can do better beyond the boundaries of the school gates. I believe that there is more to dance, than just learning to dance.

Happiness is being able to express one's self to the fullest

My search for meaning began with the search for happiness. And my search for happiness became synonymous with the search for meaning.

In life, we are not here just to make ourselves happy, or please ourselves. By just pleasing ourselves, indulging in superficial activities of fun and enjoyment, we can be happy in the moment, but feel bored and empty soon after.

True fulfillment comes with overcoming challenges. True fulfillment requires passion - doing what we truly love. Doing the things we truly love may be a challenging task, whether it is to hike up a mountain, learn to dance, teaching children, create something new, writing a song, or anything. But there are things in this world that are worth doing, even if it is difficult and challenging, because it gives meaning to us.

Some people said, we are here to serve others. But what I found to be most true is that we are here to express our fullest self, and when we do so, we touch others as well, for within us, is an unlimited potential, which wants to be expressed, just like a seed holds the potential to become a full grown tree.

One does not feel fulfilled unless he/she is able to do to things he/she wants, and express love to loved ones the way he/she wants.

As my journey continues on, I seek to continually express my truest self, to share my soul with others, and to engage the souls of others. We are not perfect, we are growing together, each at our very own pace. If we stop growing, we are dying.



I believe that I can reach out through my dance and my teaching, and I am always grateful for those whose souls I have engaged in the past. I know that this is what I must do, because I love you. Because I love myself, because I want to make myself happy, I love you.


Do you know who you are?

Do you know who you are?
Do you love yourself inside?
Would you give love to the one inside?
You should, because you deserve to. When was the last time you gave yourself love?
You, my dear, could do nothing wrong, for you are only love. To deny love, is to deny you.
Love you, be you, and peace be you. You deserve to be you and nothing else, like no one else, so stop trying, and just start being.

Express yourself the way you need to express you.
Pick up the right skill if it helps you.
Speak your mind, make your statement if you have to.
Never stop believe in the voice inside you.

Dig deeper and you will find your core, of who is truly you. Love, accept, be.

Love,

You Want Change

You certainly want change.

If you're not living a GREAT life, if you're not actively contributing to society, if you're not doing meaningful work, if you're not having an abundance of material wealth, if you're not experiencing spiritual peace and alignment, if you're not healthy and fit, if you don't feel loved and have so much love for what you do and the people around you, if your environment is not wholesomely beautiful, you will WANT change.

But not many people make it to change. Everyone knows what they want to do, should have done, should be doing, the right thing to do, but so few actually stepped it up and do it anyway - giving a multitude of excuses to yourself. You know what they are.

Lets get honest. You also know how to change it. You're just not willing to take the effort.

So few are willing to accept who their true self is. So few are willing to answer that call, to do what is right to do, that voice that keeps calling behind their ears, in their hearts, in our hearts.

We know what to do. Yet we don't do it. Excuses. Why?

Because it is easy to deny. Because change takes effort. Doing the right thing takes effort. It is too much trouble. It was well worth it, but we are too lazy anyway.

Let's face it, we are all guilty of it.

Try it: Let's just listen to it for once. Let's just get up and do the right thing for once. See what happens. And then another, and then another. It will certainly lead to a very different place.

I'm sure.

Why you can dance, and why you cannot dance

Sometimes you see people dance effortlessly, carelessly

Children, drunk people and old people can dance. Sometimes, in-love people. And people who think (know) they are good.

Why? Because they don't care what people think about them, what people say about them, who will laugh at them. They just do it, for the sake of doing it. They feel it in their body, and they answer that call to move! It's very simple.

How do you dance? You just move! Listen to the music, feel it in your body, follow the beat/flow.

All babies and little children can dance. Most just lost that ability as they grow older.

Same applies to drawing/painting, making music and other artsy stuff.

Why you cannot dance?  

Because at some point in your life, someone tells you that you can't, or make you think that way, or you grew up got too self conscious about your self and your body to just let it move, and when you needed to be cool, and letting your body to just move wasn't cool.

Because at some point, people start to make you think that dancing has to be in a certain way, a certain steps, a certain style, attend a certain class, follow a certain teacher, be in a certain group, using a certain kind of music, confining you to these so-called standards, instead of allowing your personal style to be expressed.

Because, you haven't moved listening to a music since you were 3 years old, because people ask you to sit down and be quiet, or just follow what they do. Any skill unpolished is not surprisingly rusty. If the last time you actually tried to dance was during your kindergarten concert, don't be surprised if you still dance like a 5 year old. You're not untalented. You just didn't.

Life Lessons from Dance Improvisation

Stop thinking and let your body do the dancing

Authentic improvisation comes from the body, not the mind. You do not think about what move you are gonna do. You just get your mind out of the way and let your body move. Set steps, techniques and movement sequences are not necessarily you. They may not be true to the moment, or your mood, or the music you are dancing to. They may not even be true to how your body should move! To find true movement, sometimes you may have to unlearn what you practiced, and let the movement from your body flow through...

You may have been taught about what you should do or how you should be, but that may not be necessarily true to you. Sometimes, you may have to let go of conscious thought and let your heart go. Then can you live true to yourself.

Be conscious of the body and space in the current moment  

One movement may lead to a shape. From the shape, a new movement awaits.
If you find yourself following up with the same kind of movement every time, perhaps you have "automated" your dancing. You are dancing by memory, you are not really improvising at the moment. Choose to be conscious about your body, and discover other potentials of movements following the previous movement, and you may discover something totally new!
The process is a partnership of the body and mind - body exploration, mental consciousness. A good balance produce wonderful results.

Just as many processes and risk-taking require both instinct, strategy and self-awareness. A combination of both gives the best results.

Go the distance

Being conscious of the moment also mean going the distance with each move, maximizing the extends of each shape or movement, be it an extension, a contraction, a release, or a fall. Then only can you truly enjoying the dancing, in addition to appearing more dynamic and interesting.

If you haven't gone the distance in the endeavours you undertake, you probably haven't truly discovered your true potential in it, and learn to truly enjoy it. People say, do it well before you give it up.

Don't take yourself so seriously

Let go and have fun! Jump like a kid in a puddle. Skip around, sway, fall, act and be playful! There are no rules when it comes to improvisation. You can do just about anything. Only thing is, you need to take risks and let yourself go. Try movements you've never done before. Do things you would never think of as a dance. No one can tell you what you can't do. Most importantly, people will notice it if you're enjoying yourself, and they would have so much fun watching you too!


People love to see people who make them happy. Afterall, who can tell you how to live your life?


I would love to hear about the principles from other disciplines as well. Do you have any?

The Edge of Competency

 Many times, I am given a task to do something, I hesitate. I hesitate to start and I hesitate to finish. Some people call it procrastination. Some people call it lazy. I call myself both. Add it bits of perfectionism, and it's very close friend - feeling not-good-enough.

A Chronic Case of Feeling Not-Good-Enough

Looking back, I find myself being very attached to this feeling not-good-enough. It is as though I'm really that bad at doing anything, that I didn't want to do it at all. Or if I started, I am too ashamed to submit it or post it up anywhere.

I tried a few methods to work myself out of it. This blog being one of it.

Finding reasons to be not good

So I had this habit of constantly finding people and things that are leagues above me, and comparing myself with them. I know that the feeling is partly rational. Looking around me, I certainly know who I am better compared with, but my mind and emotions are fairly focused on the people who are better than me.

I initially started off with people who are just a bit better than me, but I gradually worked up to those of world class standards.


While technically, it is good to aim high and to develop some constructive criticism of ourselves, you know what people say about aiming too high.

Not only that, I also find myself constantly searching for something new to do, some new skill set to develop, and something that I am not good at.

Not that it's bad to challenge yourself with learning a new skill or pushing your standards, but I came to find that it's really not helpful to do everything at the edge of my competency. In fact, this edge has become some sort of a comfort zone, which acts as an excuse for me to not do anything substantial, to push further up on expertise in one skill set, but rather meddle with many.

*Ironically, my writing of this former paragraph still lies within the same pattern of judging myself towards incompetency.

Focusing on strengths

Positive psychologists found that managers who focused on their employee's strengths are able to significantly increase employee productivity. People who have a good understanding of themselves and constantly work on developing their talents were able to achieve more success compared to those who are more focused on improving their weaknesses.

Not only is working on something that you are already talented at improves productivity, it also opens up the avenue for you to push it to a higher level of competency (metaphor: climbing the hill of competency), as opposed to staying mediocre, and needless to say, it is also much more helpful for your self-esteem, passion and desire to do more!

*Which leads me to some new questions:
- Which "hill of competency" should I climb?
- Should I be an expert "meddler"?

I am a hill

So, to ask  "Which hill of competency should I climb" already made an assumption that "I am incompetent."

A more positive approach would be:

     I am a hill, I become more of myself.

But to "become more of myself" implies that I am not "myself enough".

     I become myself

To have to "become" myself implies that I am not myself. 

    I am myself.
     I am who I am.
....It's who I really am...
 

What Education

So the question about education is a hot topic now, brewing somewhere just below the surface of other concerns like the economy and the environment. But in fact, it is the foundation in which all these factors were laid.

If the world is wrong today, so what happened in education for the last 10, 2- to 40 years that made it wrong? Is it getting increasingly wrong? Will the nest 10, 20, 30 years be even worse than where we already are? What about some of the mini revolutions that were so strongly advocated as the new order thinking, providing a great leadership future for the next generation, holistic education and all.

But what's the hit? And what's the miss?

Why is traditional schooling and exams irrelevant?

Lets be honest. How many of us did not agree that 90% of what we studied in school is no longer used in the working world, except for that rare group of people who actually went back to school and teach the exact same things to kids as a job?

Some of those 10% were expanded upon in college, and depending on what course you major in and what job you end up taking, many more were thrown away.

Simple fact that everybody knows.

So school subjects are useless?

Well, I'm not saying that we shouldn't learn about our bodies and how the heart pumps blood through our blood streams that runs through our bodies or how rain cloud is formed and why there is rainbows.

In fact, I'm all for science and knowledge gathering, if just to understand our world a bit more - which certainly helps for us to function a little better. Takes some of the fairy tales and guessing games away as we grow up, didn't it?

And who can deny the importance of literacy? If we are to gather more knowledge through reading, surely the mastery of its language is of foremost importance.

Well, of course we use math on a day-to-day basis. You count your money, you count your time. You count your people, you count your percentages, your probabilities... and that's probably as much as the average usage of maths on a day-to-day life. And that's math up to... lower secondary school.

So what are we missing out on?

Most of us who went through formal education would emerge through life to find ourselves barely prepared for certain things in life, things that we didn't know we didn't know, until we are face to face with situations which slams on our face, making us begin to question things like:

• Life and death, the spirit and the meaning of our existence
• Relationships and social skills
• Psychology, mental-emotional health
• Happiness and satisfaction in life
• Health care and medicine
• Management and leadership
• How money works, economy and finances
• How to survive in the modern world
• How to survive if you're thrown into the jungle
• How to survive a disaster/accident/outbreak
• Questioning, reasoning, critical thinking
• Curiosity and investigation
• Fun, play and humour
• Sex, marriage, childbirth, child-rearing
• Personality building
• Human rights, criminality and justice
• Love, conscience and compassion
• What we really want
• How to care for wildlife and the environment
• How to care for other people
• Culture, history, human nature and it's implications

While knowledge covering these subjects are occasionally touched on these in certain subjects, or you hear that very thoughtful teacher of yours speak about, to a school kid, it certainly isn't as important as finding "x", ripping their hair off memorising the 72 "moral values," which year did the Sultan sign the treatise with Britain, or which side to put the date in the formal letter.

A human or a photocopier?

How students are assessed and evaluated determines the outcome of an education. Whatever the desired outcome is, the students and teachers will work towards.

In the traditional sense, parents, teachers and the students themselves want more As. And in most education systems, having more As mean memorising tons of factual information, calculation formulas and rediculously, entire sentences of fact, word for word. Some even go to the extend of memorising entire essays, so that they could score a language subject!


Technically, what the exam system asks of is for a student to be a photocopier! That students spend most of their time memorising and using various techniques to remember whole text books.

Then why do we need a human brain when there is a text book?

The human brain is made to think. It is made to be capable of exceptional cognitive abilities; gathering multitude amounts of data that we don't even realise we are gathering, processing these information into personalised meaning, weighing its pros and cons and delivering its results to you, all in a split second...

Like why you would smile and make friends with this other person, why you would tell them your deepest darkest secrets, why a baby would keep crying until he is delivered to his mother.

Why you just have that gut feeling that this sales man is lying to you, or when you should switch lanes on the road.

Things like how to write a new story, how to create a new device, who to marry, how to solve the current economic crisis, how to save the world...are questions that have no answer in the textbook.

So why all the emphasis on what's on the textbook?

OK, I guess I have spoken enough and I will not prescribe what's best for the next generation/your child here.

But I do invite all of you to stop, think and reconsider, why we study what we study, or why the next generation should continue what we have done.

Feel free to share.

Why Dance Education?

During my time as a full time teacher, I was asked many times, "Why do we have to learn dance?" by my students. Some parents ask the same, even many teachers do. My subject was considered unimportant in school, especially when other than the International Baccalaureate students, they are not taking any formal examinations for it.

So why am I teaching it? Why is the school offering it? Why does all the students up to year 9 have to do it?

Well, at first, I even questioned myself. I did not grow up in a different environment from them. I went to government school, where language, math and science were given top priority. Subject like art (specifically visual arts), were looked down upon as unnecessary, an extra A for the gifted and that's about it. It was simply my love for the art form that caused me to take it seriously. But yet, it still appear very co-curricular and seemingly exists in the realm of leisure and entertainment.

Why? "I don't know."

"Because you are in this school and the school wants you to."

"Because you need to move and get some exercise."

"So that you can relax and take your mind off the books for awhile."



"Because you have a body..."

But really. "We all have a body, don't we?" as Sir Ken Robinson mentions in his speech in TED, which beautifully and humourously illustrates the importance of dance as an arts education.

So well, as long as we have a body, and we live in/with it until the day we die, shouldn't we learn more about it? Learn how to use it, take care of it, get creative and have fun with it? (in many more ways...)

And learning dance is more than just learning to use it athletically like in PE, but the benefits of learning dance includes those of learning music and visual arts.


From simple dance exercises, students learn to listen, pay attention to and respond to music, its beats and nuances.

In a creative dance or improvisation class, students learn to create and express their emotions through a healthy physical channel, and learn to develop a aesthetic considerations in the process. This kind of class is also very therapeutic.

And not to forget, it is also a fun way of getting to know your friends and yourself!

But one of my biggest reasons for loving and teaching dance was simply about connecting with the body, the anatomy, the movements, the sensations, and wonder.


So, as I often say, learning dance is not just about another subject in your time table. Learning dance is learning about yourself, your body, your emotions. It's your life...


So? Do you have other great answers to this?

The Child Who Defies

Children.
I have been dealing with children in my profession about 3 or so years ago,ever since I started teaching at an international school.

At the first glance, most children seem simple, shallow-minded, innocent. What care do they have in the world?

However, as every educator of children would, I soon faced with problems of misbehaviour. Distruption of the classroom, defiance of instructions, hurting others, destroying properties, all are but a few of very common behavioural problems within a classroom.

Having found myself in situations where I feel trapped in a classrooms full of destructive kids and just struggling to survive, I have certainly learned a thing or two about them.

I have learned that...

They are not monsters at all, they are just kids.
Kids whom you can talk to, listen to, chat with, share things in common with.
Kids with stories to tell - sad, joyful, funny, inspiring - yes, even the worst ones.

If they misbehave in your class, they probably have deeper problems outside of the classroom.
Some could be dealing with friend issues - like bullying, acceptance, self-esteem issues, among others - but most commonly problems at home.

Family problems affect younger children the most.
Among the dozens of students I've spoken to regarding distruptive behaviours in and outside of the classroom, many have problems within their families such as divorce or an absent parent (may be due to frequent travelling, tight working schedules or living with a guardian).

Problems such as divorce affect younger children the most. The sudden change in family dynamics, or the prospect of it can cause drastic changes in behaviour, causing them to be destructive or attention seeking.

Many kids are overly pressured these days.
Perhaps you might have seen an "unhappy child". This is not your kid who throws a tantrum in the mall when the parents won't buy that candy bar.
Unlike most kids, they hardly get excited over the little things that excite most children like a toy or a candy bar.
When they can barely hold up their heavy school bag, they are already too worried about their test results next week, going to one tuition after another, and taking multiple language lessons, music, art, ballet, taekwando, swimming, badminton, mental arithmatic, computer... and the list goes on and on. Some superkids.

Simply put, they were expected to achieve too much for too young an age.

Encouraging children to aim for excellence and develop skills and interests outside of the classroom is not a bad thing at all. Infact, it helps build a child to become a better person.

But the problem starts when parents make demands for them to perform, in ways that they couldn't, and as a result, withdraw love from them.

We as a society have become so associated with quantitative achievement, failing which may result in a scolding, nagging, corporal punishment, cold treatment, ostracising, shaming, etc. so much that it makes a child believe that they have to earn a parent's love, affection and attention. And that there is no such thing as an unconditional love. Yes, not even a parent's love.

What kind of person will that become? In my opinion, either one who lacks self-worth or is overly materialistic.

Kids that are the most problematic as the ones who need most of our love.
Their problematic behaviour is often a sign that they are lacking in love somewhere - could be at home, could be the school, could be their social circle.

But we as educators, the least we could to for them is to give as much love as we can to them. To see them as people, whom we want to understand and help, and not just mindless animals we need to try to control.

Many destructive behaviour are either imitations of behaviours they have witnessed in adults, an expression of the hurt, pain and anger they felt inflicted by others, or an outlet to release pent-up frustrations from pressures around them - an expression of their unmet needs.

Speak to them and empathise with them by learning their back story. You'd be surprised how mature they really are, how complex their emotions can be, how observant they are of the world, and how sensitive they are to the little things that matter - things that makes us all human.

Children are just children
They are people, just like you and me, only in a smaller body, and probably a more limited vocabulary.
But they are also here to learn, for they don't know.
They have hopes and dreams, ambition and disappointment.
They have the most desire to please, to love and be loved. Otherwise, they just want you to pay attention!
They may not be the way we want them to be, but they have to be allowed to be who they are.

Children need to be allowed to be children - to learn through play, to make mistakes, to be allowed to fail to learn, to find their natural strengths and talents, to love and be forgiving by being loved and being forgiven.

There is no one way to raise a child. Like they said, "Treat your children equally by treating them differently."

Each child is different and unique, and responds differently to different forms of upbringing. But one can only know what's best by giving your full love, attention and acceptance of who the child is and have the potential to be.

No one is perfect, but everyone is trying their best.
Everyone, young and old, including ones who seemed to be failing at what they do, really are trying their best. 
Every parent, every teacher, really are doing what they think is best for the children.

Just that sometimes, what we think is best may not be the best.

But we keep trying, we keep learning, asking, observing, hopefully, it's as close to perfect as we can get.  


So, what have you learned about children and people?

Mind or Body?

Like most people, I used to think that choreograping a dance is about converting the image in my mind to the physical world. When I was teaching myself dance as a kid, I would see movements in my head, probably something similar to what I've seen on TV and will try to perform it by myself. For the most part, it works ok. It's how most people do it anyway, when they want to create/imitate/learn a dance.

However, things changed when I first started class with my teacher, Ms. Mew. She taught me that dance doesn't come from the mind, it comes from the body. And you just have to let your body do it, and you would know how to dance.

In our classes, we worked mostly on improvisation, where each of us get to interpret the music given according to our style, with her guidance. Of course, as most people would, I just danced in the ways that I think dance should be. When I listen to music, I often had images in my head, and I will just try my best to imitate it, and hopefully learn how to execute more complex moves in the future, those jumps and spins and tumbles that I wouldn't dare to try now.


Letting the body do the dance

Many years passed since then. Now I've learned that the body really does very different, sophisticated things when you let it, that the key is to let go of control. Sometimes, we are so stubborn and egoistic of what we want, we just failed to listen - and in this case, listen to our body.

Personally, not only I've discovered that it dances very differently and develops completely unexpected movements, in flow with one another, I've also discovered that it gives you flexibility, alignment and healing, just as you let it. There is also a lesser tendency to feel incapable of performing what I think I "want" to do, than what I am really doing.


Being a choreographer

However, being a choreographer brings out a different set of circimstances. Very often, the choreography for a group of more than 2 dancers will involve some measure of mental visualisation.
 
In an improvised dance piece, I am able to choreograph using my dancers' bodies, directing them for the artistic outcome I would like to achieve.

However, choreographing for more structured dance steps require a closer blend of my own body movements and my imagination. But it is still much more helpful to be able to play with spacing and arrangements when there is an opportunity to work with the dancers present.


Dancing with mind or body?

So, do dance with your mind or your body?
Have you talked to your body and connect closely with your body?
Anything new you discovered about it lately?

A Good Philosophy

A good philosophy or principle, should be one which serves you well, and one which you can apply to multiple areas - be it a philosophy in dance, movements or in life.

I find that once I build a philosophy, situations in life will challenge it. The challenges mostly serve to strengthen or debunk my believes. In other areas, they caused me to question if I should continue pursuing an activity which appears not to be in-line with my principle or philosophy.

Why develop philosophies?

Because it is easier to navigate the complexities of life once you have a central belief system to be your guide, your core value, your compass. A strong belief system can guide you anywhere in life.

Just like how you can perform any dance well, with a well developed core.

And like in life, once you understand how movement aesthetics can be achieved, it is easy to learn and perform all kinds of dance gracefully - because all well-developed artforms would have eventually arrived at the same conclusion about its aesthetic philosophies,

A good teacher

A good teacher should be able to teach movement based on priciples; the origins of movement, how to use your core for support, how to genuiely look relaxed yet large on stage - and will not make you do multiple mis-aligned movements at a time.

A good dance technique should be sustainable; can be practiced for long periods and mutliple times without causing injuries (as long as your mind remains focused), keeping both performance aesthetics and your well-being in mind.

The catch

If you are a ballet dancer dancing on point, you may find that no amount of technique mastery can alleviate the pain of the pressure being put on your toes. However, the right technique should significantly minimise the pressure by effectively distributing the load throughout your body.

So

What philosophies have you developed about your dance and your movements?
Do you learn multiple types of dances? What philosophies or principles about movements that may have helped you navigate across the various genres?

Reinventing me and my dance...

Hi all,

Here I am, with my newly set up blog-site. I feel so grateful to be able to share my thoughts, ideas and works with people from these wonderful services we get from the internet.

First of all...

Who am I? I am a dancer, a teacher, choreographer. I also consider myself an educationist and a social activist. I am an idealist, a perfectionist, always seeking to improve myself and the world around me, a big fan of personal coaches and a very feeling person who is passionate about what I do and the people around me...

Tony Robbins said, what differentiates one person from another is the questions we ask ourselves. What are the questions I like to ask?

- What kind of dancer am I?
- What kind of teacher am I?
- What is best for the young people?
- How can we change the world/create more awareness about environments/human empathy/quality education, etc.?

It is challenging to be growing up on the less popular side of society - ending up with an unusual career choice, of a yet very much unexplored segment of the arts in this country, with an uncommon personality type and learning style - being a feeling/kineasthetic learner is certainly not very popular with our traditional education system. But I strongly believe that every talent, personality type or interest has a place to contribute to society, that all is created for a reason.

And the more we know about ourselves, the more we can learn to make better decisions in our lives. And I believe that dance has a way of reaching into the soul, finding out who we truly are deep inside, and bring it into the open for all to revere in its beauty... and that, is the art dance.

So until more updates on my thoughts and works, here a thought for the day...

"When you are dancing, you are in a space and time beyond what is apparent. You embody the world that you have created, and bring it before the very senses of your audiences..."