K-pop Dance Groups Seek New Spaces After Marina Bay Sands Ban

K-pop dance crews in Singapore are on the hunt for new venues after Marina Bay Sands implemented a ban on unauthorized performances. The popular outdoor fountain area, once a vibrant hub for dance groups, has been restricted since August 2023. The integrated resort now requires prior approval for all choreographed performances and filming on its premises, a move prompted by a significant increase in requests from dance teams.

The fountain area had become an unofficial stage where K-pop cover crews showcased their routines, particularly appealing for those creating content in the “K-pop in Public” style. This global trend involves performers recreating music video choreography in public settings. Jasmine Ng, a member of Z-Axis Dance Crew, which boasts over 300,000 subscribers on YouTube, remarked, “We thought it was already becoming something like street busking, like a tourist attraction.”

New Regulations and Community Impact

Under the new regulations, Marina Bay Sands evaluates performance requests based on several criteria. These include the need for extensive equipment setups, potential disruptions to visitors, and the likelihood of drawing large crowds. All performances now necessitate an arts entertainment licence. A spokesperson for the venue stated, “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.”

Members of the dance community learned about these restrictions when a fan filming performances was asked to leave by security personnel. Ng expressed her disappointment, noting that audience feedback indicated a preference for their previous filming location. Renee Han, a fellow dancer with Z-Axis, acknowledged the resort’s right to impose such regulations, stating, “They own the place.”

While the dancers have often performed in public areas and faced removal in the past, they are now grappling with the challenge of finding new places to express their passion.

Challenges in Finding Alternatives

Identifying suitable alternative venues has proven difficult for many dance groups. Most locations require permits or licenses, which can be time-consuming to obtain, while others come with unaffordable rental fees for hobbyists. Pearly Wong from Roxo Crew expressed frustration, saying, “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.”

Ng emphasized the sense of community that the Marina Bay Sands area fostered, where crews often collaborated and supported one another. Now, competition for available spaces has led to tensions among the groups. Chong Yuki, also from Roxo Crew, noted that the fountain’s popularity created practical challenges, such as lighting equipment obstructing tourists’ paths.

Despite these tensions, some crews have successfully secured new filming locations. Roxo Crew has received approval from the Urban Redevelopment Authority to film at an outdoor area near Black Tap Craft Burgers & Beers, while Z-Axis is now permitted to perform at Bugis Junction.

Potential for Tourism Growth

Dancers remain optimistic that public K-pop performances could enhance Singapore’s tourism appeal. They point to how international dance groups film at iconic locations like the Eiffel Tower or Times Square, showcasing their cities. Han suggested that allowing crews to rotate performance slots on weekends could serve as a viable compromise.

Jesslyn Khoo, who filmed a performance with 24 other dancers earlier this year, highlighted the promotional value of such content for Singapore. She believes eliminating the need for permit applications could facilitate the growth of K-pop performances and attract more tourists. “People will always know this is the place where you can watch K-pop group covers,” she said. “Now you ask, where’s the next place? I have no idea.”

As K-pop continues to gain traction globally, the search for new performance venues underscores the challenges faced by local artists and the evolving landscape of public performances in Singapore.