LITHE 2019

Went to watch the eighth edition of 'liTHE', the annual showcase by T.H.E Second Company. It's not like I ardently follow the works of T.H.E Company. I go to their shows if the program is something I'm interested in and the performance dates match my schedule. I'm simply curious to know the state of dance in Singapore now, and how contemporary movements are being interpreted.

I cleverly searched for information to the choreographers and dancers for 'liTHE 2019' before going to the show. Sometimes, for contemporary dance performances, it's necessary to read up about it first. Contemporary dance interpretations can leave me with lots of head-scratching. The progam for the evening had three segments beginning with - 'This Is How We Meet/Part—Phase 3' choreographed by Marcus Foo, then 'Gaps' 《缺口 》choreographed by Goh Shou Yi, and ending with 'Quietly She Treads', choreographed by Anthea Seah. 

For 'This Is How We'll Meet/Part—Phase 3', Choreographer Marcus Foo had this to say, "Over the last three years I have been reflecting on the idea of human connection, in particular the nuances and complexities that occurs when meeting or parting." How we move along our respective life's paths, and whether we meet, walk together or split up, are all dependent on our choices.

'Gaps' by Goh Shou Yi summarized his journey in his practice and interaction with his dancers as "The gap between our thoughts. // The gap between our words. //  The gap between our bodies. // The gap between our worlds. // The gap between us." He made use of the rustling of plastic and costumes in this show to perhaps signify the noise and how busy we are in this world, and often, we allow to come between us in our relationships.

I thought that Anthea Seah's 'Quietly She Treads' was the strongest piece in tonight's performance. It could also be the most obscure. I enjoyed that very much. Her thoughts for her work are, "Fragile, // Malleable // Surely // Unfolding and un-creasing // Each facet grows loud"

I felt that all the dances could have done better with the music. That was very unremarkable and I wasn't taken by the compositions. As much as the music isn't the focus, and the choreographers want the movement to shine through, music is what highlights and brings out the nuances that the choreographers are trying to convey. In that sense, the lighting was more coherent, and the costumes were the best. Imho, the movements were rather conservative and a lot less experimental than it could have been.