Dance Addictions

I've watched all of these videos dozens and dozens of times. They just lift my soullll. c:


Dance Addiction #1.
Style: Contemp/modern & ballet.

The music video to Chandelier by Sia. Maddie Ziegler (who I didn't know of before this video) dances amazingly and really made me nostalgic for my old dance classes. I never thought I'd feel that way again, but... *shrug* life's a bitch.




Dance Addiction #1.
Style: Hip-hop

Found this first on facebook aaaages ago. The choreography is so simple but made powerful by complete synchronisation and loads of energy. And gotta be honest, those girls are just adorable. Double ++ for the kawaii factor.




Dance Addiction #1.
Style: Breakin' and Tricking

When I first found this, I couldn't stop watching it. This is one of those videos that makes you want to tell everyone and then take dance classes. They pull off some phenomenal tricks and also they really look like they're just having fun as well. Love this to pieces.





Star xx

Mackenzi Emory - Gymnast, Dancer, Tricker, Martial Artist, Athlete, and Aged 17.

Kudos to thee, Mackensi. You got mad skills.

Source: twinjabookreviews.blogspot.fr

Star xx
P.S. Interestingly enough, I was thinking about my career choices earlier this week.

Shen Yun 2014 - MUSIC

RUSH POST.

I never get tired of seeing their new yet familiar banner every year!!

I've written about Shen Yun Performing Arts before; first, when I went the first time in 2012, and again in 2013. I simply love the company, from the artistic style to the costumes, to the backdrop to the choreography to the music.

But right now, I just have to talk about that PHENOMENAL music.

I can't explain how much I love it, how much it moves me. Every time I see a trailer or a short clip, the unmistakable sound of merged Chinese and Western classical and folk music. Since Shen yun 2012, I've been trying to get my hands on a CD of the orchestral pieces used in the performance, but I can't seem to buy one anywhere. Not even Amazon!!! Good ol' Amazon!!!

I left a comment on youtube and somebody kindly responded with a link, but it leads to the company site where you can gifts and memorabilia and the like, and the only CD's there at the moment seem to be a DVD of the performance, which of course I can't put on my violet iPod. Booo. Maybe this will change. Hopefully it will. =D





Star xx

This is one of my Rush Posts - when they are all posted, you will find my NOTICE OF SUSPENSION.

Hofesh Shechter's "Sun" (Review? I guess?) =]

You know, there were some parts when people in the audience laughed, and I didn't find it funny at all.

I saw it as a political piece.

But let's go from the beginning; I saw the 1st November performance, it was last Friday. I've finally got around to writing it. Different thoughts have crossed my mind about this piece and it took me a long while to empty it all out. It's occurred to me that I've seen a bucketload of contemporary Dance even though I'm only 20. Hopefully that means I'm not just chatting garbage. I suppose it helps that, studying English Literature at university, I am used to analysing and interpreting works of art to death.

I went with my sister (teaches Dance A Level at college), her colleague, and her colleague's partner, so although it was a 'fun' outing, they were already familiar with Hofesh Shechter's work, they'd seen Political Mother, so they had a certain expectation on going to see Sun.

Okay then.

The beginning confused me. I liked the spontaneity but I was a little anxious as I felt that I was waiting for something. It was episodic and the movement came in snippets, which left me on the edge of my seat waiting for a chunk of choreography that would satisfy me. I felt like (dunno why, but, I felt like) dancers were portraying something that was being repressed. Just my feeling.

I LOVED the part where the dancers were all on one side of the stage in a cluster, no music, simply gestures all done in perfect timing with each other. At some point I was going in my mind 'Oh my God! That's amazing! Somebody MUST be leading! Who's leading?!' That was awesome.

The choreography is soooo lovely, you can see all sorts of fusions and influences, really interesting gestures, and there was such a freedom in the movement, like a release, and so complete and whole that even now I can't be sure that that was A. the style of the dancers', B. Hofesh Shechter's particular choreography and style, or C. my feeling as a result of the atmosphere of the piece, combined with lighting, music, costume, so on.

I HATED

(well not really...)

the sheep/wolf - girl/guy - victim/threat scene, it was excellent but the moment I saw it I knew THIS was, for me, the symbolic climax of the piece, the fact that it returned various times with themes made me feel that even stronger. I felt as if the population, citizens of a nation, they are the sheep. Or should I say, WE are the sheep. The nation. The people. I don't think any Presidents or Ministers will be reading this so I think I can include anybody reading (if anybody does) as the sheep. Sorry. S'what I felt.

Still figuring out what the threat is... I suppose that's why in a way I hated it. The uncertainty made me wary. And afraid. The music had me completely on edge and during the blackout when the music is deafening and terrifying, my heart was racing and I felt really terrified in my chair, and I felt threatened.

I suddenly remembered the music shopping in Primark today and my mild mood disappeared, I just wanted to go home. ANYWAY. Though while I was looking up symptoms of severe depression, I think I saw Irrational Fears listed so i should have seen it coming. My sudden overwhelming fears of monsters in the dark, coupled with my nightmares, probably contributed to that feeling at the show last Friday. Yesterday, I kept imagining the music and then imaging an angel wrapping it wings protectively around me, but then the angel would have sharp teeth like a monster and start biting into my neck and tearing chunks out. Fuck. Damn. I went to see a mental wellbeing institute after that, thank God.

ANYWAY -

Why were people laughing? I don't understand that behaviour. I didn't see anything funny. I felt like shouting, 'Can't you see it?! Can't you see the symbolism?! It's all there! And it's not exactly funny!'

Some parts were funny, the way the sheep placard was being moved by the dancer, turning around and doing all sorts of stuff, but then for example, when the victim comes face to face with the threat and there's a scream, I think the second time round with the girl there was some laughter, and I kind of couldn't believe that people were laughing when I was scared out of my wits, but again maybe it was just me, maybe I didn't 'get' it. Horrible.

At one point, the dancer in the coat twin-tailed coat-thing was screaming, and another male dancer before that I'm pretty sure, a few chuckles at that too. My first thought on seeing it was a frustration, bordering on insanity, so I didn't find it funny becauuuuse as I'd spent a great deal of last week having panic attacks, I felt more or less exactly like that. Maybe people just laughed out of their awkwardness. Children also do that when they see 'weird dancing'.

So, the dancer in the white coat. I felt that he was a... guide, leader, composer, creator, choreographer of some kind, trying to gain a sense of control. But control was in a tug of war with mental stability. The more control he got, the less sane he seemed to be. The less control he got... okay weeeell, maybe that theory doesn't work :3

I loved the marching. It looked fantastic on the stage, very uniform and neat and tidy. You know I like neat and tidy =]

The girls in their underwear made me feel awkward. I was like, 'Oh wait, is something gonna happen? What's gonna happen?' and I'm not sure what the choice for that was. It worked only to a point I think. Something was being revealed but I didn't know what, so it was lost on me... sorry. Maybe because I'm female. I dunno.

Okay, now my FAVOURRRITE part =D

A particular dancer was onstage, in the center, looking up at a lone light. Then there's blackout and the next moment he's circling his arms in the air and following the light's movement, as if he's entranced or worshipping it, then he moved to the front corner of the stage and seemingly meditates. That entire bit was trancelike for me.

We talked about the piece a long while afterwards, I liked hearing the opinions of the other three, there were some things we all agreed on, and other points... not. I think Hofesh Shechter's Q and A at the end helped it to make a bit more sense. I felt a lot like there was glimpses of hope as well as pure terror in the piece. I really like the style, though some parts of the piece was baffling to me... yyyeah.

Ahhh oh yyyeahhh... the 'sun'...

We had a debate about that too. It seemed like a glimmer of hope but... BUT...?! It wasn't a HAPPY sun! It was like a dying sun, blissful and beautiful but bittersweet and just not... all good. It's like waiting for that moment of optimism that he was talking about, but when it finally comes, it's not as perfect as it should have been, there's this ongoing, dark note that persists throughout. Bah. Hm. =/ But it was such a good piece =D




Anyway that was just a snapshot, wanted to write what I remembered before I forgot... my sister is determined to go back and see it again in the Spring, if my crazy mindset lifts, I'll probably go with her. I want to, but man, how that sheep-wolf bit scared me. When I set her the email, I thinks she thought I was joking, she actually had to hear my voice on the phone and then the penny dropped, she was pretty shocked. So am I. Dunno what's wrong with me. I'm glad I'm getting help now. I do need to go to shows more often and get out more though...

Man does life suck. =P



Star. xx
P.S. They may be typos ^ but I don't care. teehee c:

SIRO-A Review :3

Hey dudes, been a while.

I have NO IDEA who Blue Man group are, so let's, for the moment, not compare.

I went to see SIRO-A last Wednesday, it was a matinee performance so the audience was quite a small intimate one, I'd say. If you're unfamiliar, SIRO-A is basically a show that entertains through technology, dance, music, mime, very precise choreography and imaginative visual displays.

The performance was absolutely amazing, from costume to lighting to MUSIC (oh boy, lovedd to the music) to special effects, it was very well synchronised, VERY entertaining and well worth what I paid! I really want to take my younger and older brother to go and see it too.

What I really liked was that there were many references to things that we know well, like videos games of general knowledge trivia or pop songs, so there was a connection or nostalgia element on that level that was really nice. Also, they got the audience involved in ways I didn't expect and it wasn't embarrassing at all, just really funny! (I thought so, anyway.)

And as always, the music was great and well matched to every piece. Or perhaps its the other way around...

My favourite pieces were 'BOX' and the opening pieces, though I liked all of the performances, 'T-Shirt Man' and 'BALL' stuck in my head quite a bit too. Oh, I also liked the one where the guy created a song with a shadow-ball and had his various shadows upholding the different parts, and the dancing in that piece was excellent coupled with the special effects. I want to go and see it again! ^_^



What Else?

Other than that, and other than cutting myself (oh yeah, I didn't mention but I'm back to that) and writing my book (almost finished WHOOOOO!), I'm also working on a new project, this time it's a musical venture. I know.


It's been on my mind for over a week and I've been getting my youtube and blog ready so I can post as soon as its done. I've always loved doing harmonies, but this time I was thinking about merging songs as well as harmonising, which would be really fun but of course there's only one be, so I'd HAVE to film it anyway.

I also want to start a girl group but that's WAAAAY ahead. You know me. Getting ahead of myself.



Star.
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Shen Yun 2013 - London

Oho! I went to Shen Yun again this year, bringing my Mum along with me, heh heh. Some notable differences this year. As I said in my previous post, it was held in The Barbican Theatre, relatively smaller than the London Coliseum, so I ended up getting us £70 tickets. Bit of a blow, but worth it.

First of all, the Barbican Theatre is a bloody MAZE. You just can't find your way around the place at all! It was both fun and frustrating trying to guess the way, and it wasn't as aesthetically pleasing as the London Coliseum, but never mind. You can't have everything. Well, you can... anyway, you understand my meaning.

We were sat in the front row of the upper circle. I was heavily pleased that I was able to see the orchestra this time. They were brilliant. Plus, I saw two other black people! So we weren't the only ones. I will not lie, that kind of made me feel better.

So, the show.

Now, before I get onto the costumes, choreography, themes and the like, something that has never happened to me before... happened. Haha. Well, there was a girl who was sat two seats to our right. She politely asked us where we got our programmes, and my mother and I told her. Then, when the lights went dark and the show was about to start, two women came along and there was a slight fuss as she was in their seat. So she moved along until she sat on my right, and the ladies sat down, and we thought all was fine. A few minutes later, two more ladies came along and then said she was in their seat, stopping right in front of me and my Mum. Heavily confused, she looked at her ticket and said something to them. The people behind us were muttering and sighing now because, don't forget, it was a cramped space, it was dark, and when people were standing up we couldn't see anything. What had happened was, the girl's seat had been taken by someone else, so she had thought she had to sit somewhere else. By now, I was thinking that I was missing a great deal of the first piece so I leaned over to see if I could help. "What's your seat number?" I whispered. "Seat number 50..." she replied, showing me her ticket. Mentally I thought, that's about 11 seats down from us. I glanced down. Sure enough, all of those seats had people sitting in it. I whispered back to her, "Look, you paid £70 for that seat. That was the seat you chose. Nobody else has the right to sit in it but you, so go and tell them to move, because they didn't pay for your seat." She got up, and left.

Me and my Mum were exchanging glances of disbelief. What are the chances of that happening! But it didn't even end there. The lady who finally had her seat, sitting on my right, was SICK. Yes. She really was. Into some sort of handkerchief or something. I smelt it before I realised it, to be honest. I couldn't believe it. I wanted to ask, "Are you okay?" But it was obvious that she wasn't, and as I didn't have any water to give her or any way to help, I kept quiet. She got up and left soon after, and I felt kinda bad for not being able to do something. I hope she feels better now. (In the interval, her friend passed on a apology from her and said she was watching the show from the Foyer.)

So, yes. That took place throughout the first piece. And I could - not - believe it.

So, the show. I will be honest. I will never forget the opening of Shen Yun 2012, because the use of the drums was so original, striking, and dynamic. As excellent as the opening piece was, titled Descending To The World, it didn't have as much of an impact. Even sitting here now, I am struggling to remember it.

Of course, I had my favorite pieces. When Shoalin Monks Protected The Emperor was HILARIOUS. The way the dancers moved together as a body was so, so striking. I loved the sense of community from the monks, plus the fight scene was really great too (the silent anarchist in me wishes it had gone on for longer, heh). The only thing that made me feel a bit... I don't know, uncomfortable? Disconcerted? Was that the monks were granted permission by the emperor to eat meat after they protected him. But is this not against their religious or spiritual practices? I mean, clearly they wanted to, but I felt uneasy about it. Never mind.

My other FAVOURITE one was The Emperor Journeys To The Moon (Are you spotting the recurring theme? Perhaps I am drawn to Emperors!) which was beautifully crafted. Ironically, both pieces were choreographed by the same person, Gu Yuan. Bravo, Gu Yuan! I thought it was wonderfully done. Plus, the dancer who portrayed the Emperor in this piece had excellent classical technique.

Others that I liked a lot were Tang Dynasty Battleground, with the use of their shields and athleticism. Sand Monk Is Blessed had a really imaginative battle between the ogre, Monkey and Pigsy contrasting with the gentleness of the children at the beginning. The female dancer in purple (or was it yellow...?) and pink and the female dancer in  green and blue were very good. As always, the animation on the screen was as funny as it was perfectly timed and original. Dancing For The Gods had some really catchy footwork, A Joyful Harvest had some great choreography, and the story Yang Zhi and his Sabre was portrayed soo well. The dancer playing Yang Zhi balanced the macho and the flowing classical technique really well. I hope that makes sense!

There were some I haven't yet mentioned, which focus on the Falun Dafa practice, and how its practitioners are persecuted in China. It makes me so very sad to think of it. An Unexpected Encounter and Divine Mercy moved me, especially as I have been looking more into Falun Dafa since watching the show last year. Why? Why are people being persecuted for these beliefs? What is so threatening?! There is no word for how appalling it is. 'Appalling' is as close as I can get, and it does no justice to what I mean.

Furthermore.

Some acts were very similar to acts from last year, in costume, choreography, and backdrop on the projected screen, like Ancient Elegance, Inspired Dance Of The Yi, An Unexpected Encounter, An Early Spring (with some impressive throwing and catching of the handkerchiefs ) and Han Imperial Air. Some were completely new, such as the narrative pieces; The Emperor Journey's To the Moon, Yang Zhi And His Sabre, Sand Monk Is Blessed, and When Shaolin Monks Protected The Emperor.

There were also more singers this year! I particularly liked tenor Yuan Qu, who sang the song with the line, 'The great river flows east never to return / Situations change as time passes, never to recur'. As we are talking lyrics, there was a really striking line in the Do Not Lose Your Way piece, 'Atheism is a lie / The theory of evolution is a sham / It is the Creator who made mankind'. Also, Haolan Geng came back for an encore, and she sang this wonderful song which I THINK is called Guided By The Gods, with the lyrics 'choke up the pill of delusion you've been forced to swallow'... ? Yeah, that was deep.

But what really struck me was the performance of Xiaochun Qi on the... erhu? That was so, so brilliant. I wish I could see her performance again. Such skill!

Julie and Jared came back to host this year! Well actually it sounded like he said Jerry, but that could have been his accent. Let's call him Jerry anyway. Like last year, they were great. Julie wore this beautiful orange dress after the intermission - looking at it made me happy. Haha! I don't know why I wasn't jealous  Probably because I wouldn't look as lovely in it as she did! Ah, so pretty.

Now - costumes! One of my favourite things! All of the costumes for each piece correctly corresponded with the theme. In the opening piece, I believe the female dancers wore these yellow and pink dresses that looked stunning. I think it was in Dancing For The Gods, the dancers wore this skirts in really bold colours that gave a particular feeling to the atmosphere. In Sewing The Flowers Of Heaven, I think the dancers wore pink and white. Along with the smoke effect, it made a strong impact. Finally, Phoenix Fairies had on blue and orange costumes, and on the end of the scarves was a little symbol that could have been a pehonix tear... maybe a Phoenix feather? How is it that it was not my favourite costume, but I remember it better than any of the others?!

Well, that's all I have to say, I think.

Once again, the Shen Yun performance has completely made my day, week and month. It was perfection down to the last degree. The orchestra was incredible too. I can barely imagine how much the company had to train to put on a show like that. My Mum loved it too, especially the tiny footsteps the female dancers took when entering and exiting the stage; in their skirts and dresses, it looked like they were gliding.


FUN FACT: During the interval, my Mum told me that a distant-ish relative was making a family tree, and asking my grandmother some questions about it. She told me (and I am stunned by this knowledge as I had thought I was black through and through) that my great great grandmother was a Chinese lady descended from the Ming Dynasty! Something like that! I was stunned. I must find out more.



Star xx

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I didn't have a dream about Shen Yun as I did last year, so i thought I'd write on a piece that sparked my inspiration: Phoenix Fairies. Jerry spoke a little bit about the Pheonix Fairies (So did Julie, but let's stick with Jerry as he was speaking in English.) but I wasn't paying attention because the moment he said Phoenix Fairies my mind was very far away. I imagine that the concept is very different in Chinese, but I was trying to merge my idea of a 'pheonix' and of a 'fairy'. What sort of creature would that be?! What would it look like?

It reminded me of a story I created long ago, of two powerful spirits descending from heaven and taking human forms to restore balance to Earth. One was the dragon, who embodied the human male, an aspect of Yang. The other, taking the form of the human female and projecting Yin, was the Phoenix.


Ruler Of Heaven, Prince Of Earth, and Phoenix Fairies

Grass swayed and stretched to the sky, bending gently for the wind. The lone traveller was completely hidden in the sea of green, so still and silent in his contemplation, that only the spirits would be able to sense him there. Nature ambled aimlessly around him, taking many different forms, rolling like the wind, turning like petals, bending like grass, wandering like deer. It did not merely seem to happen around him, but happen through him. So still was he, that he became a part of nature, and nature saw no difference.

He remembered when he had first begun to meditate - it had been forced upon him by his masters and teachers, who tried as best they could to explain what it meant. At first, it had felt like waiting, counting every minute and second and waiting for it to end. It then felt more like sleeping sitting up. After years of training with his longsword, dreading the day when we would use it against another man for real, meditation suddenly became a reset button. He would refresh himself spiritually, and when he fell back to Earth, he was a man anew.

Sometimes, he would ask the Great Dragon to guide his way.

Endless hours he sat hidden in the grassy fields of Holy Mountain. The waters from the Heavenly Pool had blessed this earth, and life at the very spot would never end. The traveller would not have even noticed if another person walked right up to and him shouted in his face. He was not on Earth now - but somewhere between Earth and Heaven, being purified by the spirits that guarded the path between.

But suddenly, he felt a tug of energy. He was unsure he could even call it energy. It dawned on him as the most beautiful feeling, like falling in love, or experiencing a wave of euphoria. So pure was the feeling, that every earthy concern was immediately released from his body. With nothing now holding him to Earth, his human body slumped between the reeds of grass and his spirit made haste to join those already guarding the path between.

"No!" commanded a voice. "You cannot yet depart Earth, I need you here. Return!"

The merging of his spirit and body was so quick, so fast and jolting that he was gasping for air when his eyes opened, his face against the dirt. He stumbled to his feet and whipped around, his face being beaten by the wind as he finally saw a figure standing a few feet away, dressed in black and red, with a scarlet sash tied around his waist, the ends dancing with the winds. The traveller could made out the small bagua symbol on the end of this figure's scarlet sash. And this figure... radiated the 'feeling'. Even just a step closer made in intensify twofold.

"It is you..." the traveller whispered.

"Yes. It is I. Do you know who I am?"

The traveller bowed, trying to remember respect above his awe. "I know you are a being of great power. That is all I need to know. Was it you who spoke to me, Great One?"

"Yes." The figure lowered it's head. The traveller felt the energy of his companion enfold around him, like a careful stream of fire coursing through space without burning a single thing. "Mortal. You cannot depart just yet. You have something to show me."

"Me, Great One?" The traveller was in disbelief, barely knowing where to look, what to say or how to act. "I have not perfected a single thing I have learnt throughout my life. Surely, I have nothing of value to show you, Great One."

The figure smiled. It was a bemused smile that lit up a godly, perfectly structured face, and beneath brilliant eyes, its expression was complete. "Show me the Dragon's Grace."

The traveller's eyes widened with surprise. He bowed again. "I haven't performed the Dragon's Grace in many years, Great One. But... of course."

The traveller, having no belongings to place aside, began immediately. Dragon's Grace was a very old sequence, and it remained undecided whether it was a fighting technique or a dance. As he moved, each slice and strike of the air that he made with his arms and legs, the traveller grew more exhilarated, honoured and presenting his knowledge to a clearly powerful spirit, so powerful that it could disguise itself in human form so convincingly, save the energy it emitted. When he reached the ending, he stopped with a sudden glance around him. Creatures formed a circle around him, gazing eagerly at his movements. Their skin was coloured amber, their stomachs silky smooth but their backs scaly and tough. Hair cascaded down to the waist of each creature in shades bluer than an iris, bluer than the sea. Their eyes glinted gold and happy.

"More?" the traveller murmured. "Great One, what are these creatures?"

The figure laughed, a laugh so strong and invigorating that the creature shrieked with delight in response  tossing their blue hair and dancing in circles. "The Phoenix Fairies much enjoyed your performance, mortal. I had suspected your spirit had such strength. Your Dragon's Grace drew them closer to you."

"Great One, I am certain that it was your presence that drew them near." the traveller said with a bow, a smile upon his face, both delighted, yet as humble as he could make it.

"No, mortal. They have always been here with you. You see them now because of my presence, but they had already been here with you. They are the servants of my beloved, the Phoenix  They were once part of the Celestial Order that governed the place of mortals, of spirits and of Gods, both on Earth and in each and every heaven. But their love for the Phoenix made them follow her to Earth, and here they continue their heavenly work, keeping harmony, balance and order in a world so bent on descending into anarchy and chaos."

As the figure spoke, it's human shape began to morph into something else, a creature both awesome and terrible, both monstrous and magnificent. Every Phoenix Fairy created noise of such a scale, that the traveller thought it must be a song of worship, perhaps vocal applause. The figure's skin turned as black as night, with those brilliant eyes shifting from oak to jade. The traveller, scarcely daring to breathe, could not stop his eyes following the transformation. Hands became claws, and hair became billowing jet-coloured fire that did not extinguish. The Phoenix Fairies fell silent, but swayed in worship. The figure honestly looked... like a cross between a human and a dragon.

"Your spirit it strong, and pure. You have killed no man, and followed the teachings of Sander the Scholar ardently. I have made you aware of these Phoenix Fairies as very soon, you will need their protection. Continue to remain pure, and you will always be protected by them. For although humans are quicker to recognise a bad moment that takes place in your life - every moment that has been good, that had made you smile, whether you count your blessings or not - they are the cause."



The above work belongs to S.K., written on 11th March 2013.
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As An Ex-Dancer

[An after-thought/continuation of a previous post.]

I should be more specific.

When I say that 'I don't see myself dancing again', I mean in formal education.

For me, dance is a an expression - most would agree. But studying dance at college killed a lot of the love I had for it. Why should I have to forsake my natural way of moving to get some points on a scoresheet that will eventually give me an A Level, and will just about mean a damn thing in The Adult World?  Why do I have to conform to what 'they' (teachers, examiners - whoever, man) want me to do to pass my exam? God, why?

I will tell you something that saddens me. I got a C at Dance A Level. Of all the girls in my class, I was the one who was choreographing in my spare time, I arrived at classes early and left late, I gave Dance A2 more time than any of my other subjects, my teachers and classmates praised my work, the girls who'd so kindly agreed to be a part of it said that they enjoyed dancing my group piece.

But Dance received the lowest grade of all of my A2's. To say that was a blow is more than an understatement.

I was told that (probably because of the tuition fees rising,) grade boundaries has dropped, so everybody got horrendous marks (obviously to make it harder to get the mark we needed for uni.) But it didn't matter. I feel sickened and so, so miserable. All that time, and effort, and eagerness. If I had a passion for Dance, that wouldn't have fazed me, but instead my love of it went down the drain.

I haven't officially danced in two years now, except in my room, in private.

The reason this blog post came about is because Mama began asking me about it. I don't remember how we got on the topic, but I remember getting so upset and angry... and so damn frustrated about it that I just fell into silence and refused to talk on the subject any more. Until then, I hadn't realised that I even felt that way about all this. I thought I'd accepted that Dance was just a part of my life - a phase that spanned 7 years - and that was mercifully over.

And that's fine.

I'm glad I made the last minute decision to not take it at Uni. I was sitting in that Dance field meeting full of horror and fear. I knew I couldn't take that course or I would crack. I already know the limitations of my body, I'm tired of being told what they are, I was just so tired of everything that came with the territory. I'm much happier in English literature.

I know things happen in life for a reason. 7 years of Dance gave me contacts, friends, experiences, self-confidence and creativity in physical form. None of that will ever be wasted.



Star .
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I GOT MAH TICKETS =]

... for Shen Yun 2013 and I am SO EXCITED!

It was a bit of a blow to the stomach to find that I was paying £70 for my ticket (last year I paid £30 for a balcony seat, this year it's a bit closer but the theatre is also smaller. I guess that's why the cheaper tickets sold out so fast.) and I'm also brining my Mum along with me this year, so that £140 gone in puff of smoke.

Trying not to think of the food/books/outings/clothes/games/travel expenses that money could've gone towards because I know Shen Yun will be damn worth it... but really. Next year I MUST BE QUICKER.

(Although saying that, the £40 seats were crap. They're right at the side so you'd only be able to see half of the stage anyway.)

I asked my sister Azure (she teaches dance in a college) to come along and she sounded keen until I told her how much I was paying for my ticket. She point blank refused and didn't mention it again.

I get her point. We - well, more recently 'she' - goes to see shows all the time, and I think the most she's ever paid for a ticket is like £50, and that was in the very front row of the theatre, right in the middle.

Anyway, thinking of it reminded me that I haven't been to Sadlers Well's in a while. God, last time I saw Zoonation perform was yonks ago, it was the very first showing of Into The Hoods. I'm thinking of going to see Some Like It Hip Hop this time, but then there's Matthew Bourne's Sleeping Beauty performed by New Adventures which will also be phenomenal. A few summers ago I did a workshop with the New Adventures company, and I've seen Swan Lake, so I don't think I should miss this one. But then there's Sadlers Well's Sampled. That's always good.

Ah, it's strange doing to see dance and not being a dancer any more. Weirder still as I only made the decision to, er, discontinue... my dance education last year. It's not too late.

And yet, I don't see myself dancing again.



Star xx
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Falun Dafa presents... SHEN YUN :')

I was on my way to work when the exact poster you see above caught my eye. I don't know what it was that triggered such an instant response but I knew I had to see Shen Yun 2012. I saved the details and had it booked as soon as I got paid.

Even though I know people who would appreciate classical Chinese dance, no-one I know loves it as much as I me, so I bought my ticket with the intention that I'd be going alone, although I did ask my eldest sister and my Mama, who said it wasn't their type of thing. But when I showed my mother the trailer, instantly she said 'Ooo, I wanna see that!' I just rolled my eyes. Sometimes I just don't know what to do with my family - especially my eldest sister, who was later annoyed that I supposedly didn't ask her to come to something that supposedly wasn't her thing ANYWAY... (see where I'm going with this...?)... that's why sometimes I just have to shut my mouth and go about my business - because people are f***ing crazy.

The London Coliseum is one BEAUTIFUL piece of architecture, really and truly. Seeing as I was by myself and twenty minutes early, I just bought a programme, went into the theatre and stared at everything, especially the dome in the ceiling, with delicate engraved designs in them. There was a statue of a male holding the leesh of three lions, to which I thought - 'Oo! I have an idea.' In fact, everything I saw inspired me for a book. 

It felt weird at first, being a 19 year old black girl sitting the the middle of a sea of mainly Asian and white adults and children. Maybe I would've felt uncomfortable if it hadn't been for the fact that I was there because I really, really wanted to be there regardless of what anyone else thought, did or said. So, I didn't let myself feel awkward at the composed white lady on my left and the Chinese lady who came with the white gentleman on my right.

When the show started, I was so excited that I kinda had to clench my fists to stop them shaking. My rule of thumb is: You Know That You Absolutely Love A Show When You Want To See It Again After The First Act. I rarely get that, but I got it with this! The opening was dynamic, with the use of large drums that sat on the ground. I was in awe at the precision of the dancers, and also at how incredibly smoothly the transition into various formations - HAVING TO ROLL THE DRUMS AROUND WITH THEM TOO - was executed.

I was like, WOOOOOOOOWWWWWW.........

And suddenly I knew how much I had to improve to achieve highly when I start my Dance degree this year. I don't think I ever perceived formations like that before.

The poise of the dancers was brilliant as well. The female dancers were graceful, the male dancers were noble, all of the dancers had admirable classical technique and agility. The ladies costumes were so pretty! They were vivid, bright and flowing, and very specific to Chinese culture. The combination of some colours like yellow and green, blue and pink and so on, were so nice.

The way props were incorporated in the piece was clever, expressive, and very fluid: staffs, headdresses, Chinese fans, brooms, basins, washcloths, khata, spears, twirl-sequined handkerchiefs and my absolute favourite - water sleeves. They looked like huge ribbons attached to their arms... and you know how I feel about ribbons. :) <3

I really liked the hosts - I wish I knew their names! The lady spoke in Chinese for a lot of it but her presentation was so gracious, while the guy spoke in English for most of it, and he was quite funny. I was unprepared for the American accent the first time he spoke, but then I had a bit of a DURH moment when I remembered that the company is based in New York.

Now, favourite acts. I quite liked An Era Begins, simply because it was so dynamic. Sleeves Of Silk was beautifully choreographed and I adored that one. And God, the music for the Taiwanese Amei Dance was stuck in my head ALL NIGHT, and every time I thought of it I just wanted to dance. I don't even know how I remembered it. The headdresses in that one were very good too, they made a lovely sound whenever the dancers moved their heads. The Martial Arts Training Ground was... I think the one word that can describe it accurately is Supercool, which you won't find in your dictionary, heh. That one was athletic and traditional, and a great way to show off the dancers abilities and technique. I really enjoyed that one. I quite liked Dance Of The Quang People because it kind of reminded me of Taiwanese Amei Dance in the sense of the unity of the people, the sense of culture and community. The choreo was also quite quirky, and that really caught my attention. I loved loved loved Lady Mu Guiying Commands The Troops. The dancer who played Lady Mu Guiying was just incredible, and her movements were strong and proud. I felt so inspired after this piece. Finally, I think Snowflakes Welcoming Spring has got to have a mention because it was sooo CUTEEE.

A lot of the acts were sweet and funny, like How The Monkey King Came To Be and Joyful Little Monks. Others were quite serous and political, like The Dafa Practitioners Magical Encounter and The Choice.

The digital projection used was so clever in how it worked with dancers entering and exiting the stage. The images used were so beautiful, I really want to put huge printed frames of them on my wall so I can feel happily transported wherever I look. It would be great if I could get them. Saying that, it would be doubly great if I could buy a recorded performance of Shen Yun 2012 too. I'd love to watch it again from start to finish.

And or course the MUSIC, which was BREATHTAKING with a LIVE ORCHESTRAAAAA... and that was the only thing I really regretted, that being sat in the third row of the balcony seats meant that I couldn't see hardly any of the orchestra, only a few of the horns. I even considered going to see it again while they're still in London just to sit at the front and watch the orchestra! The music made me so happy. When the host said that it was a mix of Chinese, Classical and Western instruments, my mouth just about dropped open because I've had a fascination for that for the past month and a half since I finished The Legend Of Zelda: Skyward Sword game (which used a full orchestra for the soundtrack.) -sigh- maybe one day.

The opera singers were unexpected, but pleasant to listen to. The lyrics were quite moving too, particularly in Are The Vows Forgotten?, when my mind was filled with wonder at 'We walk the path led by the divine', and 'Have you forgotten the vows made at the creation of the world? They are your hope to return home'.

At the end there must've been about two or three curtain calls, but they should've gotten even more. I only stopped clapping because my arms started to hurt. The guy on my right turned to me and said, "What did you think of that?" and so many words came to mind that after initial stuttering I could only say, "Ah, it was beautiful." Simply put.

I ended up chatting with the lady sitting to my left on the way out, who I at first thought must be some middle-class avid theatre-goer or maybe a journalist. She actually turned out to be a nice lady who enjoyed doing yoga with an interest in dance and how bodies move. She also helped me figure out how to fix my cheapo Primark bag, so I thanked her for that because the zip has been jammed for weeks now.

I feel so inspired to create a classical dance piece. Maybe when I go to university I can find dancers for it. I even knew what I'd like it to be called; Heaven On The Edge Of The Waters. Or something like that. I know what I want it to look like too. I was practically dancing as I got ready for bed, trying to be a little Chinese flower fairy. : )

Then, I had a intriguing dream that fitted perfectly with the title of my Dance-To-Be...

Star's Dream:
(Heaven) On The Edge Of The Waters

After watching Shen Yun, I got back late-ish, went to bed around one in the morning, and then I had the most interesting, curious dream.

It involved me trying to find a home for my people, as their leader. The Earth King refused to have us. The Earth and Air civilisations had rejected us, so I led my group of outcasts into the water, where we could find a home. All of my people were somehow adapted to hold oxygen for a long time if needed, so I had to train them to hold more for longer underwater. I took them further than we had ever been in the depths of the water until turquoise became indigo, and we eventually found a paradise that had reserves of a mystical food that could not be found anywhere else in the world. Once the Air Queen heard, she made a 'casual' visit to see for herself. She requested to take the reserve but we refused her. My people didn't just find heaven of the edge of the waters, we also found our home.

Love and Light,
S.K. xx
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