Aspiring Dancers Confront Cultural and Financial Hurdles in Pursuit of Their Dreams
Ballet has always been a part of my life, a passion nurtured from childhood in Moscow, where I dreamed of performing at the prestigious Bolshoi Theatre. But the physical demands of the art led me to abandon my aspirations. Yet, my love for ballet remained alive, even when I relocated to Singapore.
Upon arriving in Singapore in 2021, I was excited for the city’s ballet scene. However, I soon realised that something was missing. The Nutcracker, a holiday classic, lacked a distinctly “Singaporean” flavour. It became clear that Singapore’s ballet industry was heavily reliant on international talent, with most of the dancers hailing from countries such as Japan, China, and the UK. Of the 38 dancers in the Singapore Ballet, only nine were born locally, prompting me to question why, despite a growing number of young Singaporeans taking ballet lessons, homegrown stars were rare.
A Personal Struggle with Ballet
Yvonne Ow, a former Singaporean ballerina, shares the challenges she faced in pursuing ballet. Starting her training at 15, an age considered late by current standards, Yvonne’s parents were unsupportive of her desire to dance. “They didn’t think ballet was a stable career,” she recalls. As she grew older, Yvonne realised that practicality took precedence over her passion, leading her to focus on a diplomatic career instead.
At that time, ballet wasn’t viewed as a viable profession in Singapore, a society that prioritised careers in fields like medicine and law. However, Yvonne observes that the mindset has shifted in recent years. Despite the change in perspective, she believes the perception of ballet as a low-paying career still poses a barrier to nurturing local talent.
Shifting Parental Views on Ballet
Evelyn Kow, a mother of 11-year-old Rei, a ballet dancer, has a more supportive view. While Evelyn acknowledges the competitive nature of ballet, she encourages her daughter to pursue her passion as long as it remains Rei’s own choice. “I’ll support her if it’s what she truly wants,” Evelyn affirms. Yet, Evelyn also recognises the pressure ballet places on her daughter’s time, with Rei balancing ballet, gymnastics, school, and other activities. Despite the challenges, Evelyn is committed to providing her daughter with opportunities she didn’t have growing up.
However, Evelyn’s supportive approach still doesn’t address the wider issue. Elena Kanevskaia, a former ballet instructor, highlights the prevalent view among parents that ballet is just an enrichment activity rather than a career. “Parents are more focused on securing a stable future for their children, and the arts don’t align with that vision,” Elena explains.
Challenges for Singapore’s Ballet Scene
While Singapore’s ballet scene has expanded with more schools and competitions, the art form still faces significant challenges in a society driven by commercial success and financially stable professions. Elena stresses that government support is essential for ballet to thrive. Without financial backing, the sector risks stagnating in comparison to higher-paying industries.
Young talents like 11-year-old Daena, who has shown impressive potential, are unsure about pursuing ballet professionally. “It’s hard to find a ballet company here,” she confides, reflecting the lack of opportunities for aspiring dancers in Singapore.
The Cultural Struggles of Ballet
Both Yvonne and Elena agree that ballet, like many other forms of art, faces difficulties in a society that values tangible success and financial stability. “In Singapore, academic achievement is the top priority,” Yvonne observes, urging a broader definition of success that includes creative pursuits. Elena calls for more state-driven initiatives to foster a thriving arts culture, suggesting that government funding could create a stronger ballet scene.
The Road Ahead for Ballet
Though Singapore’s ballet scene is gradually evolving, it still faces considerable obstacles. Parents are more open to supporting their children’s ballet ambitions, but for many, it remains a secondary pursuit. To allow ballet to flourish, both financial and cultural support are crucial. Making ballet more accessible in public spaces, such as through performances in parks or malls, could engage people and introduce them to the art form without the pressure of formal theatre performances.
Ultimately, a cultural shift is needed, one that redefines success beyond monetary achievements and embraces creativity and passion. As Yvonne poignantly reflects, “Success shouldn’t be just about commerce; it should nurture the soul as well.”
