Back of the Bus
Java Dance Theatre (with local artists)
15 March 2020
Various places in Bukit Panjang
14‒22 March 2020
Part of Arts in your Neighbourhood 2020
In the dreariness of our lives, some of us might wish that life could be a musical or a dance piece, even for a brief moment. New Zealand-based Java Dance Theatre grants such a wish to their audience, as we wonder how much dancing one can do on an ordinary moving bus.
The repertoire on this journey consists of character dances in relation to bus rides, contemporary work that takes place outdoors, and endearing moments of human-to-human connection which is part of the company’s ethos.
In this whimsical ride, we get a trio of dancers. Choreographer and performer Sacha Copland brings in the laughs with her rambunctious energy; her effort to pretend to struggle on the bus while ensuring she could actually balance is no mean feat. She also throws in a couple of surprises that are simple, but creative.
With her striped top and breezy movements to French music, Lauren Carr evokes the bliss of the French Riviera. While her movements are fluid and free-flowing, they are anchored by a certain precision in her extensions.
As a counterpoint, local dancer Adele Goh’s staccato movements relays the tension we feel on public transport in peak hour. In another piece, we see her display her contemporary dance pedigree in a heartfelt duo with Carr that seems to hint at longing and connection.
The pieces which sees the trio dancing together not only entertain but impress as the dancers perform athletic feats on the bus.
All this is complemented by local accordionist, Syafiqah ‘Adha and a cheerful host, Sabrina Sng.
The tour brings audience to various parts of Bukit Panjang which they might not know about. While the pit stops are relatively familiar to me, it allows one to look at the place in a fresh perspective.
While much more can be said about the planned bits of the show, the unplanned elements of the show do add to the experience.
The occasional honk of a car or scampering of a passer-by alerts one to the contrast between the performance and the quotidian. But it also emphasises what more can be experienced if one is simply open to the rhythms and atmosphere of wherever one is.
Throughout the trip, I have lost count of the number of drivers who stopped beside our bus, but their eyes were dead set ahead; completely oblivious to the seeming mayhem and wonderment that is happening right beside them. If only they looked up.
So it turns out that one could do a whole lot of dancing on a moving bus. And, to borrow a comment uttered by a French audience member, “c’est magnifique!”