K-Pop Dance Crews Seek New Venues After Marina Bay Sands Ban

K-pop dance performances that once filled the outdoor fountain area of Marina Bay Sands in Singapore have been halted following new restrictions imposed by the popular integrated resort. As a result, dance crews are now actively searching for alternative venues to showcase their craft. In August 2023, Marina Bay Sands announced that all choreographed performances and filming on its premises would require prior approval, a move that came in response to an increase in requests from various dance groups.

The fountain area, known for its stunning backdrop, had become a vibrant gathering spot for K-pop cover crews on weekends. These performances attracted both participants and onlookers, creating a lively atmosphere for those involved in the “K-pop in Public” trend, where dancers recreate choreography from official music videos in public settings. “We thought it was already becoming something like street busking, like a tourist attraction,” remarked Jasmine Ng, 26, a member of the Z-Axis Dance Crew, which boasts over 300,000 subscribers on YouTube.

New Regulations and Impact on Dancers

Under the new regulations, Marina Bay Sands assesses performance requests based on several factors, including the need for professional lighting setups, potential disruption to visitors, and the likelihood of attracting large crowds. All performances are now also subject to an arts entertainment licence. “While we appreciate the growing interest and participation within the local community, we remain mindful that these are shared public spaces intended for the enjoyment of all,” a spokesperson for Marina Bay Sands stated.

Members of the dance community first learned about these changes when a fan filming performances was approached by security and told to leave. Ng expressed her disappointment, stating, “Even the online comments … they are also asking us to go back to our previous filming location. I think the audience really liked what we were doing when we were filming there.”

Another member of Z-Axis, Renee Han, 25, acknowledged the resort’s right to implement such rules but conveyed her disappointment. “They are within their rights to do that. They own the place,” she said. Many dancers from Z-Axis have extensive experience performing in public spaces and have learned to adapt to changing circumstances. “For me, I just enjoy dancing with my friends, and whether or not the location draws a huge crowd it’s just a plus for me,” Han added.

At its busiest, four to five different dance crews would perform simultaneously at the fountain. Dancers recognized that the new restrictions are partly aimed at addressing crowd control in the bustling area. Chong Yuki, 24, from Roxo Crew, acknowledged the practical difficulties that arose from the fountain’s popularity, noting that lighting equipment and crowds could hinder tourists wanting to enjoy the fountain and light show. “There are a lot of people who want to walk around, and because we place all the lights there, it can block people’s way,” she explained.

Challenges in Finding New Venues

The search for alternative performance venues has proven to be a significant challenge for the dance crews. Most locations in Singapore require permits or licenses that can take considerable time to secure. Additionally, some venues charge rental fees that hobbyist dancers cannot afford. “It’s very troublesome for us to find other places because everywhere in Singapore, you’ll need to apply for a permit or licence to film,” said Pearly Wong, 28, also from Roxo Crew. “It was only Marina Bay Sands that allowed us to film without worrying so far.”

The displacement from the fountain has created new tensions among the various dance groups. Chong mentioned that the Marina Bay Sands area had fostered a sense of community where dancers collaborated and supported each other. “Now … everyone has to snatch the spots. Sometimes, it’s difficult to avoid some drama,” she noted, reflecting on the disagreements that have emerged over sharing resources and securing spaces.

Despite the challenges, some groups have successfully found new locations. Roxo Crew has received approval from the Urban Redevelopment Authority to film at an outdoor spot near Black Tap Craft Burgers & Beers, while Z-Axis has secured a permit to perform at Bugis Junction near the mall’s fountain. Han noted that the audience for Z-Axis performances has grown significantly over time, stating that the group now often attracts crowds exceeding 100 people during festive periods, a stark contrast to the fewer than ten attendees in their early days.

Dancers believe that public K-pop performances could provide a boost to Singapore’s tourism sector. They point to examples of international dance crews filming at iconic landmarks such as the Eiffel Tower and Times Square, showcasing their home cities. “I thought Marina Bay Sands could be the Singapore one; it’s like a good way to recognize where each group is from,” Han suggested. She proposed that allowing crews to rotate weekend performance slots could serve as a compromise that benefits everyone involved.

Filmmaker Jesslyn Khoo, 28, who previously filmed a video featuring her and 24 other dancers covering Jennie from Blackpink at the Marina Bay Sands fountain, emphasized the promotional value these performances bring to Singapore. “The government should do away with having to apply for permits because dance crews help attract tourists to Singapore,” Khoo argued, noting that public K-pop performances are gaining popularity worldwide. “People will always know this is the place where you can watch K-pop group covers. Now you ask, where’s the next place? I have no idea.”