Tuesday, December 30, 2008

wassup, y'all!

indeed, 2008 has brought tremendous blessings to YDANCE!
realising how much this whole crew actually grows really encourages me loads!
Well, God will surely bring this buncha 'jars of dancing clays'
to a higher level of growth in 2009.
YDANCE's gonna touch lives through music and dance!

a shoutout to ALL THOSE WHO JOINED US THIS YEAR:
Angeline! Caryn! Cleo! Joey! Desmond! Peu! Yi Qin!
Guo An! Joshua! Tzelin! Wendy! Yu Jun!

....and CONGRATS TO ALL THOSE WHO GOT THRU AUDITIONS!

want to say a big,
WELCOME 2 THE CREW, Y'ALL!
[sorry, this is the biggest font size already.]

last shoutout is to BOSS, Jia Li!
heys, without you and your investment in YDANCE, it will not be what it is today!
you rock totally!
we are all honoured not only to be dancing with you in this race,
but to serve alongside with you too!

happy new year 2009, crew!

jarsofclay,
'dk'


wassup, y'all!

indeed, 2008 has brought tremendous blessings to YDANCE!
realising how much this whole crew actually grows really encourages me loads!
Well, God will surely bring this buncha 'jars of dancing clays'
to a higher level of growth in 2009.
YDANCE's gonna touch lives through music and dance!

a shoutout to ALL THOSE WHO JOINED US THIS YEAR:
Angeline! Caryn! Cleo! Joey! Desmond! Peu! Yi Qin!
Guo An! Joshua! Tzelin! Wendy! Yu Jun!

....and CONGRATS TO ALL THOSE WHO GOT THRU AUDITIONS!

want to say a big,
WELCOME 2 THE CREW, Y'ALL!
[sorry, this is the biggest font size already.]

last shoutout is to BOSS, Jia Li!
heys, without you and your investment in YDANCE, it will not be what it is today!
you rock totally!
we are all honoured not only to be dancing with you in this race,
but to serve alongside with you too!

happy new year 2009, crew!

jarsofclay,
'dk'


Monday, December 29, 2008

hey yo! just like to pen down a bit of what lyrical is!

Lyrical!
Lyrical dance is a fusion of Ballet and Jazz dance techniques.
Lyrical dance challenges Choreographers and Dancers to use motion to interpret music and express emotion. A lyrical dancer's movements attempt to show the meaning of the Music. Lyrical jazz is a very passionate and emotional dance style. It portrays certain emotions such as love, and tells a story through every movement made.
Lyrical dance has a relatively recent history and a genesis based on the coming together of ballet with rock/folk/pop/alternative music and a variety of jazz dance styles and modern dance. (To a much lesser degree, punk and swing styles have also been a minor influence.) It is mainly performed to music with lyrics, and the song's lyrics are a driving force and key inspiration for the movement. Choreography is often emotional, gripping, and exquisitely delicate, all at the same time.

Lyrical dance gained its name not because the lyrics of a song are indeed sometimes highlighted over the rhythm, but because of the meaning of the word lyrical: having a poetic, expressive quality; musical; characterized by or expressing spontaneous, direct feeling; expressing deep personal emotions or observation; highly rhapsodic or enthusiastic. Lyrical dance is expressive, subtle and dynamic, expressing emotions through movement. It is a combination of intricate, highly technical, and pedestrian/naturalistic moves. Lyrical dance is often choreographed to a song about freedom, of releasing a sad emotion, or of overcoming obstacles, but can be choreographed to any human emotion-related song. Depending on the given song and choreography, a lyrical piece may or may not be graceful, but will always be expressive and unpredictable, particularly in comparison to ballet and other jazz pieces which may have a more presentational quality.

A solid, ballet-based technique is an essential component of this advanced style of dance, as is a facility with various other forms of jazz, some contemporary/modern dance, and proper placement and bodily alignment. Lyrical choreography is often peppered with intentionally pedestrian moves, amid the more challenging movements, to create a simultaneously organic and dramatic feel. Lyrical is based around choreography and the interpretation of the music. Routines are based around feeling and emotion and, though technique is crucial, spirit generally tells where the dance will go.

Musically, the choreography accentuates and/or flows in correspondence with a song's climaxes, but the choreography will also bring out the more nuanced aspects of a song: sometimes a silence between notes in the music, or the breath between words, will be emphasized, possibly with a simple, physical gesture. This may be followed, for example, by a more complex sequence, such as a triple pirouette en cou-de-pied (coupe), or a grand jete, or a series of chaine turns, followed by a cabriole, descending to the floor, only to rise again, and perhaps very casually to walk downstage for a few counts before changing direction once again.

Movements in lyrical dance are characterized by their fluidity and grace. Leaps are often executed high, with a soaring quality; turns are airy, flowy and continuous. However, in some cases, a de-emphasis may provide a more compelling window into a dancer's emotions: a succession of quick, small leaps may be executed low, displaying the ever-evolving traces of a dancer's internal landscape. When the music's tone is angry or frustrated, dancers use sharp, short movements. Anger is also an emotion seen in lyrical dance. In routines with a strong component of anger, it is common for the jazz portions and styles of lyrical to come out. However, a lethargic, drawn-out quality of movement may show a contemplative or hestitant feeling. When the routine is joyful or peaceful, dancers use lighter, more flowing movements.
Of paramount importance in lyrical dance is the continuation of movement, flowing quite seamlessly from one move to the next. The dancer does not simply "finish" a move and be done. A lyrical dancer holds out the move for as long as possible, and has smooth transitions between others. Employing this connectivity of movement, the dancer may periodically stop or incorporate "sharp" moves (such as an abdominal contraction, a sideways glance, or a leg flick) into a fluid routine, for emphasis. Connection to breath, and making sure to breathe, is also essential. In all, the moves are connected to one another, to the dancer's feelings, breathing, and to the music.

Some key dancer-choreographer-teacher notables within lyrical dance include: Suzi Taylor, Tracie Stanfield, Brian Friedman, Mia Michaels.

Although lyrical was originally choreographed to music such as ballads that are slower/downbeat, melodic and sweet-sounding, it is a very broad form of dance including many dynamic, fast-paced and sometimes thrashy pieces. Upbeat, aggressive styles of music are used frequently. Music can be of any genre; pop, rock, and even hip hop/R&B styles, are popular for choreographing. Pop selections, including soulful, powerful songs by emerging artists, are often used in lyrical dance.

Retrieved from "http://en.wikipedia.org/wiki/Lyrical_dance"

hahaha, very wordy i know, but quite cool right. illustrating a song through your dance. really brings life to a song.

this is Suzi Taylor, the lyrical dancer mentioned above. she's really good so watch all the way till the end ya?


you can see too, that the lights play a huge huge part in this. and the choice of song is really important for this performance as she didn't just choose any other 'emo' song, instead she chose one with a really silent start and then a dramatic chorus where she can be explosive with her expressions, then end off soft to let the emotion last in the audience. i mean that's how i felt at least.

and hey ppl, do your stretchings regularly (a reminder especially to myself!) not just to prevent muscle cramps and pulls, but it really helps you in exporing more dances, particularly lyrical which touches, jazz, ballet and contemporary. so stretchhhhhhhhhhhhhhhh!!

bridget!
hey yo! just like to pen down a bit of what lyrical is!

Lyrical!
Lyrical dance is a fusion of Ballet and Jazz dance techniques.
Lyrical dance challenges Choreographers and Dancers to use motion to interpret music and express emotion. A lyrical dancer's movements attempt to show the meaning of the Music. Lyrical jazz is a very passionate and emotional dance style. It portrays certain emotions such as love, and tells a story through every movement made.
Lyrical dance has a relatively recent history and a genesis based on the coming together of ballet with rock/folk/pop/alternative music and a variety of jazz dance styles and modern dance. (To a much lesser degree, punk and swing styles have also been a minor influence.) It is mainly performed to music with lyrics, and the song's lyrics are a driving force and key inspiration for the movement. Choreography is often emotional, gripping, and exquisitely delicate, all at the same time.

Lyrical dance gained its name not because the lyrics of a song are indeed sometimes highlighted over the rhythm, but because of the meaning of the word lyrical: having a poetic, expressive quality; musical; characterized by or expressing spontaneous, direct feeling; expressing deep personal emotions or observation; highly rhapsodic or enthusiastic. Lyrical dance is expressive, subtle and dynamic, expressing emotions through movement. It is a combination of intricate, highly technical, and pedestrian/naturalistic moves. Lyrical dance is often choreographed to a song about freedom, of releasing a sad emotion, or of overcoming obstacles, but can be choreographed to any human emotion-related song. Depending on the given song and choreography, a lyrical piece may or may not be graceful, but will always be expressive and unpredictable, particularly in comparison to ballet and other jazz pieces which may have a more presentational quality.

A solid, ballet-based technique is an essential component of this advanced style of dance, as is a facility with various other forms of jazz, some contemporary/modern dance, and proper placement and bodily alignment. Lyrical choreography is often peppered with intentionally pedestrian moves, amid the more challenging movements, to create a simultaneously organic and dramatic feel. Lyrical is based around choreography and the interpretation of the music. Routines are based around feeling and emotion and, though technique is crucial, spirit generally tells where the dance will go.

Musically, the choreography accentuates and/or flows in correspondence with a song's climaxes, but the choreography will also bring out the more nuanced aspects of a song: sometimes a silence between notes in the music, or the breath between words, will be emphasized, possibly with a simple, physical gesture. This may be followed, for example, by a more complex sequence, such as a triple pirouette en cou-de-pied (coupe), or a grand jete, or a series of chaine turns, followed by a cabriole, descending to the floor, only to rise again, and perhaps very casually to walk downstage for a few counts before changing direction once again.

Movements in lyrical dance are characterized by their fluidity and grace. Leaps are often executed high, with a soaring quality; turns are airy, flowy and continuous. However, in some cases, a de-emphasis may provide a more compelling window into a dancer's emotions: a succession of quick, small leaps may be executed low, displaying the ever-evolving traces of a dancer's internal landscape. When the music's tone is angry or frustrated, dancers use sharp, short movements. Anger is also an emotion seen in lyrical dance. In routines with a strong component of anger, it is common for the jazz portions and styles of lyrical to come out. However, a lethargic, drawn-out quality of movement may show a contemplative or hestitant feeling. When the routine is joyful or peaceful, dancers use lighter, more flowing movements.
Of paramount importance in lyrical dance is the continuation of movement, flowing quite seamlessly from one move to the next. The dancer does not simply "finish" a move and be done. A lyrical dancer holds out the move for as long as possible, and has smooth transitions between others. Employing this connectivity of movement, the dancer may periodically stop or incorporate "sharp" moves (such as an abdominal contraction, a sideways glance, or a leg flick) into a fluid routine, for emphasis. Connection to breath, and making sure to breathe, is also essential. In all, the moves are connected to one another, to the dancer's feelings, breathing, and to the music.

Some key dancer-choreographer-teacher notables within lyrical dance include: Suzi Taylor, Tracie Stanfield, Brian Friedman, Mia Michaels.

Although lyrical was originally choreographed to music such as ballads that are slower/downbeat, melodic and sweet-sounding, it is a very broad form of dance including many dynamic, fast-paced and sometimes thrashy pieces. Upbeat, aggressive styles of music are used frequently. Music can be of any genre; pop, rock, and even hip hop/R&B styles, are popular for choreographing. Pop selections, including soulful, powerful songs by emerging artists, are often used in lyrical dance.

Retrieved from "http://en.wikipedia.org/wiki/Lyrical_dance"

hahaha, very wordy i know, but quite cool right. illustrating a song through your dance. really brings life to a song.

this is Suzi Taylor, the lyrical dancer mentioned above. she's really good so watch all the way till the end ya?


you can see too, that the lights play a huge huge part in this. and the choice of song is really important for this performance as she didn't just choose any other 'emo' song, instead she chose one with a really silent start and then a dramatic chorus where she can be explosive with her expressions, then end off soft to let the emotion last in the audience. i mean that's how i felt at least.

and hey ppl, do your stretchings regularly (a reminder especially to myself!) not just to prevent muscle cramps and pulls, but it really helps you in exporing more dances, particularly lyrical which touches, jazz, ballet and contemporary. so stretchhhhhhhhhhhhhhhh!!

bridget!

Friday, December 26, 2008

dance lesson with Lucy

hey here are a few videos recorded during the dance lesson we had with lucy:)





dance lesson with Lucy

hey here are a few videos recorded during the dance lesson we had with lucy:)





Thursday, December 25, 2008

ydance crew, lemme introduce what on earth 'krump' is..
wahaha, after some research, well..... here is what i found out.

*Krumping is relatively new urban street dance-form that began in South Central Los Angeles and is characterized by free, expressive, and highly energetic moves involving the arms and chest. It has become a major part of hip hop dance culture.

*Krump is one of the dance style similar in form and practice to traditional weapon dances, and for this reason is considered by many African-American krumpers to be symbolic of, or referential to, their tribal roots. Dance "battling," a form of dance where competitors face-off in a direct and aggressive competition, is an integral component of krump in a similar way to the earlier breakdance battles, with "dissing" (mocking), and heightened moments of frantic, aggressive arm and chest movements (known as "buck" moves) being common.

and this is the cool part....it even has CHRISTIAN ELEMENT!

*For many participants there is a strong Christian spiritual element to the dance.
"Tight Eyez", a key early figure and now krump teacher, regularly speaks of Christian healing and gives praise to Jesus for the upbringing of this movement. The backronym "Kingdom Radically Uplifting Mighty Praise" is now often used by him, and this usage has spread widely.

*Krump families stick together, because being in a Krump family makes up for everything youths don't have in the ghetto, and gives them a safe place to thrive outside of gang life.

*Krump even has its own language, with words such as:
  • Get Buck: means to step up your moves a notch. You must be able to do this to succeed in a battle.
  • Get Amped: The next level of intensity. Movements should be off the hook, and off the walls.
  • Beasty: aggressive and beastlike
  • Goofy: animated and comedic krump
  • Hipolymer: copy cats who steal moves
  • Labbin: practicing tricks for a battle
  • Kill off: a combination of moves that end a battle, like the grand finale.
  • New Bootie: Some one new to Krump

references:
http://en.wikipedia.org/wiki/Krump
hubpages.com/hub/What-Is-Krump
,
http://dogtownink.com/02/what-is-krump/



before i end off, i got a treat for u!!!
3 DOPE CLIPS i found. jus wan2 share!

1.below is a clip by TIGHT EYES!



2.more krump moves, this u mus see!




3.krump tutorial by khris khaos for u to check it out!




jarsofclay,
dk...
ydance crew, lemme introduce what on earth 'krump' is..
wahaha, after some research, well..... here is what i found out.

*Krumping is relatively new urban street dance-form that began in South Central Los Angeles and is characterized by free, expressive, and highly energetic moves involving the arms and chest. It has become a major part of hip hop dance culture.

*Krump is one of the dance style similar in form and practice to traditional weapon dances, and for this reason is considered by many African-American krumpers to be symbolic of, or referential to, their tribal roots. Dance "battling," a form of dance where competitors face-off in a direct and aggressive competition, is an integral component of krump in a similar way to the earlier breakdance battles, with "dissing" (mocking), and heightened moments of frantic, aggressive arm and chest movements (known as "buck" moves) being common.

and this is the cool part....it even has CHRISTIAN ELEMENT!

*For many participants there is a strong Christian spiritual element to the dance.
"Tight Eyez", a key early figure and now krump teacher, regularly speaks of Christian healing and gives praise to Jesus for the upbringing of this movement. The backronym "Kingdom Radically Uplifting Mighty Praise" is now often used by him, and this usage has spread widely.

*Krump families stick together, because being in a Krump family makes up for everything youths don't have in the ghetto, and gives them a safe place to thrive outside of gang life.

*Krump even has its own language, with words such as:
  • Get Buck: means to step up your moves a notch. You must be able to do this to succeed in a battle.
  • Get Amped: The next level of intensity. Movements should be off the hook, and off the walls.
  • Beasty: aggressive and beastlike
  • Goofy: animated and comedic krump
  • Hipolymer: copy cats who steal moves
  • Labbin: practicing tricks for a battle
  • Kill off: a combination of moves that end a battle, like the grand finale.
  • New Bootie: Some one new to Krump

references:
http://en.wikipedia.org/wiki/Krump
hubpages.com/hub/What-Is-Krump
,
http://dogtownink.com/02/what-is-krump/



before i end off, i got a treat for u!!!
3 DOPE CLIPS i found. jus wan2 share!

1.below is a clip by TIGHT EYES!



2.more krump moves, this u mus see!




3.krump tutorial by khris khaos for u to check it out!




jarsofclay,
dk...

Thursday, December 11, 2008

hey people, was thinking you guys can try watching this.
http://www.youtube.com/watch?v=OAK3N5v9rvM
hopefully we may merge dance with rope skipping one day. :D
they are good.
-xinru
hey people, was thinking you guys can try watching this.
http://www.youtube.com/watch?v=OAK3N5v9rvM
hopefully we may merge dance with rope skipping one day. :D
they are good.
-xinru

Wednesday, December 10, 2008

this is one of my favourite vids..
makes us think why we dance..
definitely for us,
the main reason would be
JESUS CHRIST`!
[phew...took me a while to do that..]





his vessel,
'dk'..
this is one of my favourite vids..
makes us think why we dance..
definitely for us,
the main reason would be
JESUS CHRIST`!
[phew...took me a while to do that..]





his vessel,
'dk'..

Saturday, December 6, 2008

hey friends, since i'm waiting for my hair to dry right now, thought i might come here and share with you what i shared during our meeting today :D

1. expression matters alot, both bodily and facial

- as we venture into more genres, trying to depict different kinds of stories through our dance... we cannot by default keep to "SMILE AT THE AUDIENCE! SMILE MORE!" anymore! we need to be flexible with our expressions such that we are altogether flowing with the choreography and the music, then it would seem more appropriate. e.g. aggressive, fierce, in love, melancholic, miserable, lost.... many different types we need to learn to portray in different dances.

- like what was shared couple of weeks ago, we cannot keep up with 100% energy through the whole performance. it'll be either too boring for the audience, or we can't keep up with that kinda energy. so we need to know the dance and the music so well, and the story behind it, such that we know when to be soft, when to hit hard, when to extend, when to be nua abit... then there's a kind of journey through the dance. it'll be more interesting that way! both to the dancer and to the audience

- if we want to do something on stage e.g. acting silly, being very serious etc, since you're already on stage, might as well do it 100% all out instead of being shy and doing only 50% of it. by lacking enthusiasm and willingness in executing the action makes it even more awkward and ridiculous cos audience can tell you're nowhere here nor there! so just give it all out! you enjoy it, the audience enjoy it too (:

2. went for a ballet recital just now. not very amazing, but i thought about alot of things through the performance

- i really agree with DK about his point on being familiar with the music, keep listening to it.. something along those lines. during our syf days, when we had breaks or nothing to do, what we did was just to keep playing the music so that it gets locked in our minds. and as the music play we literally visualised ourselves doing the actions. and the more we did it together (we had partner dances then) the more chemistry we developed between ourselves. it's quite fun, cos we had so much chemistry that my partner and i made the same mistakes and stuff like that. i think peu experienced it too xD especially when we do group dances or couple dances, the way the entire show flows together matters alot. if one person is off time or you know, has a different angle or line or something, everything is messed up. there needs to be coordination and chemistry, definitely! so convicted about this. hahaha cos i'm missing my secondary school dance days so much ><

alright that's abt it. share more another time.

ps. tzelin! please post up all the names of all your favourite choreographers over here so that we all can go youtube their videos :D seeyou guys around!

love, chia
hey friends, since i'm waiting for my hair to dry right now, thought i might come here and share with you what i shared during our meeting today :D

1. expression matters alot, both bodily and facial

- as we venture into more genres, trying to depict different kinds of stories through our dance... we cannot by default keep to "SMILE AT THE AUDIENCE! SMILE MORE!" anymore! we need to be flexible with our expressions such that we are altogether flowing with the choreography and the music, then it would seem more appropriate. e.g. aggressive, fierce, in love, melancholic, miserable, lost.... many different types we need to learn to portray in different dances.

- like what was shared couple of weeks ago, we cannot keep up with 100% energy through the whole performance. it'll be either too boring for the audience, or we can't keep up with that kinda energy. so we need to know the dance and the music so well, and the story behind it, such that we know when to be soft, when to hit hard, when to extend, when to be nua abit... then there's a kind of journey through the dance. it'll be more interesting that way! both to the dancer and to the audience

- if we want to do something on stage e.g. acting silly, being very serious etc, since you're already on stage, might as well do it 100% all out instead of being shy and doing only 50% of it. by lacking enthusiasm and willingness in executing the action makes it even more awkward and ridiculous cos audience can tell you're nowhere here nor there! so just give it all out! you enjoy it, the audience enjoy it too (:

2. went for a ballet recital just now. not very amazing, but i thought about alot of things through the performance

- i really agree with DK about his point on being familiar with the music, keep listening to it.. something along those lines. during our syf days, when we had breaks or nothing to do, what we did was just to keep playing the music so that it gets locked in our minds. and as the music play we literally visualised ourselves doing the actions. and the more we did it together (we had partner dances then) the more chemistry we developed between ourselves. it's quite fun, cos we had so much chemistry that my partner and i made the same mistakes and stuff like that. i think peu experienced it too xD especially when we do group dances or couple dances, the way the entire show flows together matters alot. if one person is off time or you know, has a different angle or line or something, everything is messed up. there needs to be coordination and chemistry, definitely! so convicted about this. hahaha cos i'm missing my secondary school dance days so much ><

alright that's abt it. share more another time.

ps. tzelin! please post up all the names of all your favourite choreographers over here so that we all can go youtube their videos :D seeyou guys around!

love, chia

Friday, December 5, 2008


DK's learnings:
wan2 share more practical learnings today..

principles-
-every dancer has his or her own style, one shouldn follow or copy another dancer's style,
but create one on their own
-anyone can dance, our body crave to dance. its our minds that hold us back.
-as long as one can move, one can dance.

stage performance-
-5mins just before each performance, the crew should gather, scrape all the FULL OUT/MARKING OUT but actually let the song play once through in your mind.
THEN, in your mind, actually visualise how are YOU going to portray yourself to the audience.
[like what xinru mentioned]
-every dancer should bear in mind facial expression [avoid looking on the floor, or stressed. if tired, still put on a smile and breathe through your nostrils]
-every dance should put in a personality in your dance moves [be it the cheeky wink [if not sure, ask API] or the cool type]
-every dancer should go up there, dance hard, and enjoy the performance.

warm up-
[what we do in NRA]
-stretching from head to toe [leg bounce, calf stretch, bends]
-crunches [with legs lifted]
-pumping [girls are to do as well]
-body isolations [head, shoulders, waves, chest and body]
-footwork and locking practice [normal training routine]
-frog jump [the one you jump, with hands and legs stretched to max.
its to emphasize exaggerated actions we got to do on stage]
*depends on the choreographer. sometimes we do jazz, ballet, even house warm up as well.


his vessel,
`DK` c",)

DK's learnings:
wan2 share more practical learnings today..

principles-
-every dancer has his or her own style, one shouldn follow or copy another dancer's style,
but create one on their own
-anyone can dance, our body crave to dance. its our minds that hold us back.
-as long as one can move, one can dance.

stage performance-
-5mins just before each performance, the crew should gather, scrape all the FULL OUT/MARKING OUT but actually let the song play once through in your mind.
THEN, in your mind, actually visualise how are YOU going to portray yourself to the audience.
[like what xinru mentioned]
-every dancer should bear in mind facial expression [avoid looking on the floor, or stressed. if tired, still put on a smile and breathe through your nostrils]
-every dance should put in a personality in your dance moves [be it the cheeky wink [if not sure, ask API] or the cool type]
-every dancer should go up there, dance hard, and enjoy the performance.

warm up-
[what we do in NRA]
-stretching from head to toe [leg bounce, calf stretch, bends]
-crunches [with legs lifted]
-pumping [girls are to do as well]
-body isolations [head, shoulders, waves, chest and body]
-footwork and locking practice [normal training routine]
-frog jump [the one you jump, with hands and legs stretched to max.
its to emphasize exaggerated actions we got to do on stage]
*depends on the choreographer. sometimes we do jazz, ballet, even house warm up as well.


his vessel,
`DK` c",)

Thursday, December 4, 2008

souloutcrew!

presenting to you...
all the way from Ngee Ann Poly's NRA..
SOUL OUT CREW!

check out ..
the energy. the sync. the sharpness.
D . O . P . E !!






his vessel,
`DK`
c",)

souloutcrew!

presenting to you...
all the way from Ngee Ann Poly's NRA..
SOUL OUT CREW!

check out ..
the energy. the sync. the sharpness.
D . O . P . E !!






his vessel,
`DK`
c",)

Tuesday, December 2, 2008

weekly learnings
  • inject a story and our personality into the dance. (its much more impt than getting the moves!)
  • we cant just get the dance technically right. we may not get every step right, but if we wanna learn and also inject our feelings into it, we can potray the story to the people. remember, be IN character.
  • dancing requires NOT ONLY COMMITMENT TO SUCCEED, BUT COMMITMENT TO IMPROVE.
  • we can try to venture out into playing with songs so the dance will be better, not only imploring the dance steps
  • be flexible when dance mistakes happen! dont just continue doing your own stuff. try to cover up for the person.
  • a good teacher must have good fundalmentals! be grounded in a specefic genere
  • as dancers, we have to TRAIN LIKE CRAZY! amen? just for that 5mins on stage we have to give our best.
  • maintain eye contact with the audience. then you can get the audience's attention.
  • a good dance performance must have a highlight.

xinru.

weekly learnings
  • inject a story and our personality into the dance. (its much more impt than getting the moves!)
  • we cant just get the dance technically right. we may not get every step right, but if we wanna learn and also inject our feelings into it, we can potray the story to the people. remember, be IN character.
  • dancing requires NOT ONLY COMMITMENT TO SUCCEED, BUT COMMITMENT TO IMPROVE.
  • we can try to venture out into playing with songs so the dance will be better, not only imploring the dance steps
  • be flexible when dance mistakes happen! dont just continue doing your own stuff. try to cover up for the person.
  • a good teacher must have good fundalmentals! be grounded in a specefic genere
  • as dancers, we have to TRAIN LIKE CRAZY! amen? just for that 5mins on stage we have to give our best.
  • maintain eye contact with the audience. then you can get the audience's attention.
  • a good dance performance must have a highlight.

xinru.

Saturday, November 29, 2008

jars of clay




2 Corinthians 4:7 But we have this treasure in jars of clay to show that this all-surpassing power is from God and not from us.

I'm sure people would have asked you yesterday what has dance got to do with jars of clay?
Well basically we are referred to as “jars of clay” because we are ordinary people the extraordinary God has chosen to use to show forth His glory. More than the ability to dance He has chosen to place within us, we are different (from other dancers) because we have the power of the gospel acting in our lives. We are therefore also reminded that it is “through God’s mercy we have this ministry, we do not lose heart” (2 Corinthians 4:1). I would strongly recommend those unfamiliar with this verse to read 2 Corinthians 3:7 – 4:18 before reading the commentary here.

jars of clay




2 Corinthians 4:7 But we have this treasure in jars of clay to show that this all-surpassing power is from God and not from us.

I'm sure people would have asked you yesterday what has dance got to do with jars of clay?
Well basically we are referred to as “jars of clay” because we are ordinary people the extraordinary God has chosen to use to show forth His glory. More than the ability to dance He has chosen to place within us, we are different (from other dancers) because we have the power of the gospel acting in our lives. We are therefore also reminded that it is “through God’s mercy we have this ministry, we do not lose heart” (2 Corinthians 4:1). I would strongly recommend those unfamiliar with this verse to read 2 Corinthians 3:7 – 4:18 before reading the commentary here.

Thursday, November 27, 2008



omg.. look at how the kid ends it off! woots!


omg.. look at how the kid ends it off! woots!

Saturday, November 22, 2008

journal 2.2

Some principles we shared in the journal meeting today which might spark some thoughts or discussion:
- Dance is hard work. Requires commitment. The question is then: how far and how fast do I want to grow?
- When you don't know God, performances are about self-confidence. With God, it's about annointing. (From sermon, it's confidence in your identity in God.)
- Enforcing strict criteria to see greater growth. e.g. no water break throughout entire 2hr rehearsal
- For choreographers (shared in the context of contemporary), can include 'organised chaos' and more dynamics in the movement (e.g a solo breaking out from a group performance)
- Stepping out of comfort zone -> breakthroughs -> influence in more areas
- Being secure in your identity, so can literally dance anywhere (p.s. peu will upload video soon)
- Spirit touches spirit (so if there's spirit of excellence and power of God, people can catch. Conversely, if there's a spirit of 'anyhow' then people can also tell)
- We don't just inspire others with our lives/ dance, but we need to inspire/ encourage ourselves too

journal 2.2

Some principles we shared in the journal meeting today which might spark some thoughts or discussion:
- Dance is hard work. Requires commitment. The question is then: how far and how fast do I want to grow?
- When you don't know God, performances are about self-confidence. With God, it's about annointing. (From sermon, it's confidence in your identity in God.)
- Enforcing strict criteria to see greater growth. e.g. no water break throughout entire 2hr rehearsal
- For choreographers (shared in the context of contemporary), can include 'organised chaos' and more dynamics in the movement (e.g a solo breaking out from a group performance)
- Stepping out of comfort zone -> breakthroughs -> influence in more areas
- Being secure in your identity, so can literally dance anywhere (p.s. peu will upload video soon)
- Spirit touches spirit (so if there's spirit of excellence and power of God, people can catch. Conversely, if there's a spirit of 'anyhow' then people can also tell)
- We don't just inspire others with our lives/ dance, but we need to inspire/ encourage ourselves too

Friday, November 21, 2008

we can maybe do this for ministry drive.. haha. if we are able..



dance need not be just about the lights and the stage, it is a language where we communicate. the above is show in everyday life. I wouldn't mind watching 3 minutes
advertisement if all were like this...
we can maybe do this for ministry drive.. haha. if we are able..



dance need not be just about the lights and the stage, it is a language where we communicate. the above is show in everyday life. I wouldn't mind watching 3 minutes
advertisement if all were like this...

Tuesday, November 18, 2008

Ministry fair updates

The Game Plan for Ministry Fair (291108)

The current situation:
26 dancers (5 Central, 6 East, 8 JC, 2 Minops, 1 NE, 2 North, 2 West)
2009 situation:
4 HS/JC, 9 national exams (3 As, 5 Os, 1 IB), 13 in Tertiary education
The goal/ target group:
2 from each district (non-graduating in 09 + dance experience)

The strategy:
1. Everyone has a part to play (4 slots: 11-11.30, 11.30-12, 2-2.45, 4.45-6)
  • set-up (11-11.30): Christine, yiqin, xinru, Jacq, denise
  • 11.30-12: kangli, api, desmond, wendy, peu
  • 2-2.45: yunian, dk, cher, joey, joshua
  • 4.45-6: jialing, yujun, qixin, yenli, cleo, raph, angeline

  • 2. On the field, listen to the captain (christine, kangli, yunian, jialing)
    3. Know your positions (our counter at reception but our people are mobile)
    4. Dress the same (collect dance tee 11am @ asia room from jacq & denise) *update: for those helping out in last slot, you can collect from the 2 girls 2.30pm at the counter*
    5. Utilize and Improvise (only thing prepared is a short video about the dance team and what we do, so members within the same slot can think of creative means to attract people)

    What's lacking
    - Signboard (simple one will do, volunteer?): We have 1 table, and share the reception with these other ministries - TeamHope & Admin, Ycomm, Media, Decor

    - Laptop (that is very loud): Used to play the video. A very loud laptop, or someone who can bring portable speakers, will be very good.

    jiali :D

    Ministry fair updates

    The Game Plan for Ministry Fair (291108)

    The current situation:
    26 dancers (5 Central, 6 East, 8 JC, 2 Minops, 1 NE, 2 North, 2 West)
    2009 situation:
    4 HS/JC, 9 national exams (3 As, 5 Os, 1 IB), 13 in Tertiary education
    The goal/ target group:
    2 from each district (non-graduating in 09 + dance experience)

    The strategy:
    1. Everyone has a part to play (4 slots: 11-11.30, 11.30-12, 2-2.45, 4.45-6)
  • set-up (11-11.30): Christine, yiqin, xinru, Jacq, denise
  • 11.30-12: kangli, api, desmond, wendy, peu
  • 2-2.45: yunian, dk, cher, joey, joshua
  • 4.45-6: jialing, yujun, qixin, yenli, cleo, raph, angeline

  • 2. On the field, listen to the captain (christine, kangli, yunian, jialing)
    3. Know your positions (our counter at reception but our people are mobile)
    4. Dress the same (collect dance tee 11am @ asia room from jacq & denise) *update: for those helping out in last slot, you can collect from the 2 girls 2.30pm at the counter*
    5. Utilize and Improvise (only thing prepared is a short video about the dance team and what we do, so members within the same slot can think of creative means to attract people)

    What's lacking
    - Signboard (simple one will do, volunteer?): We have 1 table, and share the reception with these other ministries - TeamHope & Admin, Ycomm, Media, Decor

    - Laptop (that is very loud): Used to play the video. A very loud laptop, or someone who can bring portable speakers, will be very good.

    jiali :D

    Sunday, November 16, 2008

    kids

    Razor sharp moves. Killer expression.

    Genre: Horror

    P.S. It's a close fight between the designs for both logo and T-shirt. Because we have to send for printing (very) soon, so please spread the word to the other dancers if you see them online or in your DMM to come vote ASAP. Thanks!

    much love,

    jia

    kids

    Razor sharp moves. Killer expression.

    Genre: Horror

    P.S. It's a close fight between the designs for both logo and T-shirt. Because we have to send for printing (very) soon, so please spread the word to the other dancers if you see them online or in your DMM to come vote ASAP. Thanks!

    much love,

    jia

    here are some of the learnings from team1 this sat:)
    for those who are clueless- we are basically sharing our learnings bout dance once every two weeks.
    • everybody can dance as long as he/she has the passion and desire to do so. there is no one person that canNOT dance!
    • practice is the key to everything! lets not be lazy. dance is not confined to a studio, it's everywhere you go. stretch yourself!(physically&spiritually)
    • we have to give in more than the criteria we're supposed to meet. so that during performances, we can not just barely pass the mark, but ace it.
    • learn basics well! only with good foundation, we can pick up dances easier and faster.
    • we have to look at our performance in the audience's perspective. body control is important.
    just some facts: our stamina drops by 30% every three days. plus the coke, the mac, and everything.... yes. so dancers, lets dance. MORE. and also, do some exercises while watching tv shows! keep training our stamina :)
    here are some of the learnings from team1 this sat:)
    for those who are clueless- we are basically sharing our learnings bout dance once every two weeks.
    • everybody can dance as long as he/she has the passion and desire to do so. there is no one person that canNOT dance!
    • practice is the key to everything! lets not be lazy. dance is not confined to a studio, it's everywhere you go. stretch yourself!(physically&spiritually)
    • we have to give in more than the criteria we're supposed to meet. so that during performances, we can not just barely pass the mark, but ace it.
    • learn basics well! only with good foundation, we can pick up dances easier and faster.
    • we have to look at our performance in the audience's perspective. body control is important.
    just some facts: our stamina drops by 30% every three days. plus the coke, the mac, and everything.... yes. so dancers, lets dance. MORE. and also, do some exercises while watching tv shows! keep training our stamina :)

    Saturday, November 15, 2008



    enjoy.. =D


    enjoy.. =D


    Dance by the guy accompanied with the song ' Wait for you' by Elliot Yamin.
    Really nice. I think that songs like this can bring out a person's feeling and emotion
    into dance as they can tell a story. Similar to songs like Bleeding love and No air
    Performed by 'So you think you can dance' the Mark and Chelsea and Katee and Joshua.


    Dance by the guy accompanied with the song ' Wait for you' by Elliot Yamin.
    Really nice. I think that songs like this can bring out a person's feeling and emotion
    into dance as they can tell a story. Similar to songs like Bleeding love and No air
    Performed by 'So you think you can dance' the Mark and Chelsea and Katee and Joshua.

    Friday, November 14, 2008

    dance tee designs!

    Each person entitled to one vote for the dance logo, and one for the dance tee design. Feedback is welcome. Vote now! :D







    dance tee designs!

    Each person entitled to one vote for the dance logo, and one for the dance tee design. Feedback is welcome. Vote now! :D







    Sunday, November 9, 2008

    hello! this video below is the tutorial video of the dance I was going to learn. The dance is quite good and I feel that the steps are managable:) anyone wants to join me? haha I hope I can master it after 'A's which will be 4 days later!!:):):)


    hello! this video below is the tutorial video of the dance I was going to learn. The dance is quite good and I feel that the steps are managable:) anyone wants to join me? haha I hope I can master it after 'A's which will be 4 days later!!:):):)


    Monday, November 3, 2008

    Ministry Fair 29th Nov 2008

    Hello peeps, had to direct you guys here via sms cos (as usual) I can be super long-winded.

    Anyway, if you have seen your Nov bulletin there's a ministry fair going on this month. Except it is moved from 15th to 29th.

    To go easy on your eyes, details are:
    Date: 29th November
    Venue: Nexus reception or Europe room (the one linked to reception)
    Time: Before 1st service (roughly 11 or 11.30am), Between 1st and 2nd service (2.15 to 2.45pm), After 2nd service (5pm)

    So basically every ministry will have a counter so that people can ask questions about the ministry. And also they can 'sign up' for a ministry at the counters.

    Action points:
    1. For those who have unit members/ know of people who want to join dance
    I've not been responding to weekly auditions because of this upcoming ministry fair. Please let your friends know that they can enquire/ sign up on that saturday. From now till 29th, they just have to wait patiently till that day arrives, as the rest of us continue our learning and existing trainings. They should also be prepared for an audition, so those who have expressed strong interest should start thinking about their audition piece already.

    2. The ministry counter
    Some preliminary ideas. Need volunteers. Need more ideas. Need your vote.
    - Signboard? Basic or elaborate? Those with gift of craftmanship or designer skills pls volunteer.
    - Show our past production or our beautiful photos? If photos need to take this week and next during our various meet ups. I can bring my laptop and CD of dance archives, but api says people won't join if they see our archives. LOL. So he suggested...
    - Live showcases? Afterall, if people want to know what we do, we dance.
    - Pasting footsteps on the ground to lead people to us? Totally random idea
    - Colour code? Dance Tee? *looks to DK for Dance tee progress*

    FYI: That week's journal group 1 will still meet, maybe just a shorter sharing. And christmas rehearsal from 12-2pm still on for that week. We have currently 11 dancers from first service, and 13 from 2nd service. So probably not everyone needs to be at the counter that day.

    jia

    Ministry Fair 29th Nov 2008

    Hello peeps, had to direct you guys here via sms cos (as usual) I can be super long-winded.

    Anyway, if you have seen your Nov bulletin there's a ministry fair going on this month. Except it is moved from 15th to 29th.

    To go easy on your eyes, details are:
    Date: 29th November
    Venue: Nexus reception or Europe room (the one linked to reception)
    Time: Before 1st service (roughly 11 or 11.30am), Between 1st and 2nd service (2.15 to 2.45pm), After 2nd service (5pm)

    So basically every ministry will have a counter so that people can ask questions about the ministry. And also they can 'sign up' for a ministry at the counters.

    Action points:
    1. For those who have unit members/ know of people who want to join dance
    I've not been responding to weekly auditions because of this upcoming ministry fair. Please let your friends know that they can enquire/ sign up on that saturday. From now till 29th, they just have to wait patiently till that day arrives, as the rest of us continue our learning and existing trainings. They should also be prepared for an audition, so those who have expressed strong interest should start thinking about their audition piece already.

    2. The ministry counter
    Some preliminary ideas. Need volunteers. Need more ideas. Need your vote.
    - Signboard? Basic or elaborate? Those with gift of craftmanship or designer skills pls volunteer.
    - Show our past production or our beautiful photos? If photos need to take this week and next during our various meet ups. I can bring my laptop and CD of dance archives, but api says people won't join if they see our archives. LOL. So he suggested...
    - Live showcases? Afterall, if people want to know what we do, we dance.
    - Pasting footsteps on the ground to lead people to us? Totally random idea
    - Colour code? Dance Tee? *looks to DK for Dance tee progress*

    FYI: That week's journal group 1 will still meet, maybe just a shorter sharing. And christmas rehearsal from 12-2pm still on for that week. We have currently 11 dancers from first service, and 13 from 2nd service. So probably not everyone needs to be at the counter that day.

    jia

    Sunday, November 2, 2008

    What we shared in the our first meet up ytd. =D the fact he's already here in Singapore, GOSH!


    Wade Robson brings dance fever to Singapore
    Posted: 31 October 2008 1702 hrs, cna


    SINGAPORE: Dance fever hits Singapore as dance wizard Wade Robson comes to town to judge Danz War 2008, Singapore's own version of "So You Think You Can Dance".

    The 25-year-old has an impressive resume, having choreographed and directed music videos, award shows, and world tours for big-name celebrities such as Britney Spears and Usher.

    The star of MTV hit series, “The Wade Robson Project”, a dance reality television show, also judges the US television competition “So You Think You Can Dance”, for which he has won two Emmy awards for choreography.

    As a mere 5-year-old, Robson had already performed with Michael Jackson.

    “I’m originally from Australia, so the first thing was winning a dance competition when I was five in Australia, and the prize was to meet Michael Jackson. I met him, he asked me if I danced, I said yeah and performed with him the next night at a show,” he explained.

    The dancer-choreographer, who became a dance instructor to adults when he was 12, admitted that it wasn’t an easy task getting the dance students to take him seriously.

    “It was interesting. People would come in, all excited, ready to take class, and they saw this little white boy in the corner and they were like, 'yeah right.' So there were a certain amount of people who didn’t want to give me a chance in the first place, but I think, once they did, they realised I knew what I was doing.”

    To excel in dance, training, style and improvisational expression are crucial.

    "It's important to have your training, it's also important to balance that out with your improvisational expression," Robson said.

    "I think training on its own can go too far, you can become too robotic, or not enough training can go the other way. And whatever style you’re working in is really important. And beyond that, it’s about your style, your flair, and how you separate yourself from the crowd. It’s finding the something that’s raw and individual about your delivery of choreography.”

    And if you're competing in this Saturday's Danz War, Robson has a tip for you.

    “I’m looking for something original, something I haven’t seen before,” he said. “How you are going to separate yourself from the crowd, how you are going to choose a piece of music that’s going to surprise me, (and) how you going to deliver your hip-hop in a way that I’ve never seen.”

    The final dance-off kicks off at 8pm on November 1, at St James Powerhouse. Tickets at S$22. To find out more and to sign up for Wade Robson’s workshops, visit www.danzpeople.com.

    source: http://www.channelnewsasia.com/stories/entertainmentfeatures/view/386731/1/.html

    What we shared in the our first meet up ytd. =D the fact he's already here in Singapore, GOSH!


    Wade Robson brings dance fever to Singapore
    Posted: 31 October 2008 1702 hrs, cna


    SINGAPORE: Dance fever hits Singapore as dance wizard Wade Robson comes to town to judge Danz War 2008, Singapore's own version of "So You Think You Can Dance".

    The 25-year-old has an impressive resume, having choreographed and directed music videos, award shows, and world tours for big-name celebrities such as Britney Spears and Usher.

    The star of MTV hit series, “The Wade Robson Project”, a dance reality television show, also judges the US television competition “So You Think You Can Dance”, for which he has won two Emmy awards for choreography.

    As a mere 5-year-old, Robson had already performed with Michael Jackson.

    “I’m originally from Australia, so the first thing was winning a dance competition when I was five in Australia, and the prize was to meet Michael Jackson. I met him, he asked me if I danced, I said yeah and performed with him the next night at a show,” he explained.

    The dancer-choreographer, who became a dance instructor to adults when he was 12, admitted that it wasn’t an easy task getting the dance students to take him seriously.

    “It was interesting. People would come in, all excited, ready to take class, and they saw this little white boy in the corner and they were like, 'yeah right.' So there were a certain amount of people who didn’t want to give me a chance in the first place, but I think, once they did, they realised I knew what I was doing.”

    To excel in dance, training, style and improvisational expression are crucial.

    "It's important to have your training, it's also important to balance that out with your improvisational expression," Robson said.

    "I think training on its own can go too far, you can become too robotic, or not enough training can go the other way. And whatever style you’re working in is really important. And beyond that, it’s about your style, your flair, and how you separate yourself from the crowd. It’s finding the something that’s raw and individual about your delivery of choreography.”

    And if you're competing in this Saturday's Danz War, Robson has a tip for you.

    “I’m looking for something original, something I haven’t seen before,” he said. “How you are going to separate yourself from the crowd, how you are going to choose a piece of music that’s going to surprise me, (and) how you going to deliver your hip-hop in a way that I’ve never seen.”

    The final dance-off kicks off at 8pm on November 1, at St James Powerhouse. Tickets at S$22. To find out more and to sign up for Wade Robson’s workshops, visit www.danzpeople.com.

    source: http://www.channelnewsasia.com/stories/entertainmentfeatures/view/386731/1/.html

    Monday, October 20, 2008

    8th november 2008, 7pm at SP. $10 per ticket.
    choreographer: ryan tan and daniel.
    this is widely publicized in my sch. hurhur.

    jacq
    8th november 2008, 7pm at SP. $10 per ticket.
    choreographer: ryan tan and daniel.
    this is widely publicized in my sch. hurhur.

    jacq

    Saturday, October 18, 2008

    Danzation tickets

    Tickets for Danzation
    Date: 19th & 20th December
    Venue: Ngee Ann Polytechnic Convention Centre
    Time: 7.00pm
    Price: $15 (Free seating)

    DK's performing so I suggest we go down and watch his performance together! :D
    20th December (sat) is Youth Christmas service so might be a little hard for us to leave our visitors and group. So I'm proposing we go down on 19th Dec (Fri) instead.

    DK gotta book tickets for us, so those interested pls leave a tag and we will make necessary arrangments. :D

    Danzation tickets

    Tickets for Danzation
    Date: 19th & 20th December
    Venue: Ngee Ann Polytechnic Convention Centre
    Time: 7.00pm
    Price: $15 (Free seating)

    DK's performing so I suggest we go down and watch his performance together! :D
    20th December (sat) is Youth Christmas service so might be a little hard for us to leave our visitors and group. So I'm proposing we go down on 19th Dec (Fri) instead.

    DK gotta book tickets for us, so those interested pls leave a tag and we will make necessary arrangments. :D

    Wednesday, October 15, 2008

    Journals and Bboys

    It's 16th October, exactly mid-oct! So it's time I post a reminder on journals. As discussed on 4th Oct, we are embarking on a journaling project to encourage self-learning and specialisation. You can write (pen and paper) or blog (for techies) or video (super techies) your dance-related learnings, but important thing is to come prepared to share during the bi-weekly sharing sessions. For lack of creativity, these sessions would be called journal meetings (till a better name proposed); and would start in Nov. All meetings are held 10-11.30am at Asia Room.

    As promised, I've mixed the groupings such that each session will have people from all available platforms, so we can learn from each other. For now, here are your groups and dates till camp:

    Nov 1, 15, 29 - Api, Denise, Desmond, Jacq, Wendy, Xinru, Guo An, Kangli, Caryn, Yiqin, Christine, Peiyu (welcome!)
    Nov 8, 22, Dec 6 - Joshua, Yujun, Cher, Tzelin, Qixin, Yenli, Chia, DK, Cleo, Raph, Yunian, Joey (welcome!)

    FYI - There's a ministry fair scheduled on 15th Nov. Most prob nothing much on our side, but will let you know of any updates.

    Bboys in the house, the 1st session is next Thurs (23 Oct) 7-8.30pm at America Room. I can only get the room on 23/10, 30/10, 6/11, 13/11, 4/12 and 18/12. We might have to hit the streets on the weeks without the room. Field trip! :p

    Mid-oct, time to start your 1st journal entry already. Please don't wait till the night before the first journal meeting then start scrambling for learnings. Let's stretch ourselves a little to grow a little bit more. I believe that God is preparing each and every individual one of us for great things. As a group, let's continue to pray for God to be the center and Leader of this ministry, as we move from glory to glory.

    by faith,
    jiali

    Journals and Bboys

    It's 16th October, exactly mid-oct! So it's time I post a reminder on journals. As discussed on 4th Oct, we are embarking on a journaling project to encourage self-learning and specialisation. You can write (pen and paper) or blog (for techies) or video (super techies) your dance-related learnings, but important thing is to come prepared to share during the bi-weekly sharing sessions. For lack of creativity, these sessions would be called journal meetings (till a better name proposed); and would start in Nov. All meetings are held 10-11.30am at Asia Room.

    As promised, I've mixed the groupings such that each session will have people from all available platforms, so we can learn from each other. For now, here are your groups and dates till camp:

    Nov 1, 15, 29 - Api, Denise, Desmond, Jacq, Wendy, Xinru, Guo An, Kangli, Caryn, Yiqin, Christine, Peiyu (welcome!)
    Nov 8, 22, Dec 6 - Joshua, Yujun, Cher, Tzelin, Qixin, Yenli, Chia, DK, Cleo, Raph, Yunian, Joey (welcome!)

    FYI - There's a ministry fair scheduled on 15th Nov. Most prob nothing much on our side, but will let you know of any updates.

    Bboys in the house, the 1st session is next Thurs (23 Oct) 7-8.30pm at America Room. I can only get the room on 23/10, 30/10, 6/11, 13/11, 4/12 and 18/12. We might have to hit the streets on the weeks without the room. Field trip! :p

    Mid-oct, time to start your 1st journal entry already. Please don't wait till the night before the first journal meeting then start scrambling for learnings. Let's stretch ourselves a little to grow a little bit more. I believe that God is preparing each and every individual one of us for great things. As a group, let's continue to pray for God to be the center and Leader of this ministry, as we move from glory to glory.

    by faith,
    jiali