Thus, it is not wrong to say that in Singapore, the hip hop youth has to work within the confines of his socio-geopolitical framework.
Most children/teenagers in Singapore, regardless of race, language and religion will have to contend with factors such as compulsory education, a generally middle-class background (where parents earn a stable income that filtrates down to a steady monthly allowance for them.
Spatially, there are limited places for the teenager to ‘hang out’.
There is Orchard Road with its various shopping centres for the teens to work on their peer relations (their own brand of ‘PR’) or the designated Youth and Skate Parks along the Somerset stretch of town for teens involved in other element of hip hop; graffiti art and the street sport of blading and skate-boarding.
The space of the Esplanade is a unique one, as it is a public domain that is not specifically set aside for any stated cause.
Unlike The Youth Park or Skate Park where government boards manage them, the underground space seems to evade official management on the surface.
This could be due to its transient quality, its sole purpose of construction was to connect the ‘Durian’ arts hub and Citi-link Mall. Like the section of a tunnel, it is meant to be a place constantly in flux and thus unlikely a place for sub-cultural identity to take place.
However from the physical-geographical point of view, we can see exactly why the vast and sparse space is exactly what drew forward the hoards of b-boys and others.
Well lit, air-conditioned and sheltered by rain and shine. The perfect rehearsal space.
Beside the two signs in place, there is no indication of what one can or cannot do in that space. Thus we can consider this place liminal, a place where boundaries dissolve.
From this thread taken from an online forum from www.youth.sg, the place is clearly open to anyone and everyone with the key interest to learn break-dancing. In such an unrestrictive and almost ‘rules-free’ space, this is how subculture blossoms.
+See http://youth.sg/forum/showthread.php?t=2519&page=2
Without participating, I observed the physical environment and all the interactions that take place all in that one liminal, self-definitive space.
There are mainly 4 different groups of occupants in the space.
There are the separate Malay and Chinese groups of b-boys ranging from the ages of 14 and right up to a few seasoned old pros at the age of 28.
There are a group of stunt bikers who are between 24 to 30 years old and during my interview, revealed that they have been utilizing the space for practice ever since it was open to the public years ago.
There are the ‘hanger-ons’, who go there to socialize and sit cross-legged across each other in circles. Interestingly, the ‘hanger-ons’ are mostly female.
Lastly, there are the 'homeless' sleeping men in the corners. By not actually physically doing anything but sleep, he is ironically the undesirable transgressor in the space, as clearly stated by the signs.
Various groups come and go from this open environment.
Defining Liminal Space:
It can be a space where a threshold of ambiguity and ambivalence co-reside. The in-between-ness of this space allows the active exchanges of ideologies, concepts and methods of working/performing to take place.
This can be seen through the open and free nature of Esplanade Underground’s space, where most I have interviewed told me that the only unspoken rule is as long as there are no fights or act of public disturbances, anyone or any group is able stay till the lights go out at midnight.
As a researcher, my role of observer progressed unconsciously into interviews with the different groups of b-boys ranging segregated by race and age, but not interest. It has been observed that these groups do interact once in awhile, as they take time to warm up to each other as well.
Playing the role of an NUS student on a research project, I revisted the place over and over again as my interest on the liminality of the space grew.
I found out that should there be trouble, the figures of authority that appear are not the Esplanade security but rather the Police and thus reaffirming the underground transit space as an open though sheltered public arena.
I have sent an email to Esplanade regarding the jurisdiction, maintenance and management of the space but received no reply.
It must have been dismissed as a prank, I presume.
Interestingly, the space was not limited to local youth.
On my last visit, I interviewed a group of 3 youths practicing their dance moves on a Saturday afternoon and they revealed that they were Chinese students studying in Singapore. They had break-dancing experience from back home and thus when they re-located to Singapore, they asked around for a place where b-boys would congregate and thus found their way down to Esplanade Underpass.
It is most evidently that they found each other due to their nationalities but according to the boys, in their 2 months using the space, other b-boys have been friendly towards them and bonds have been quickly established as they learn and impart moves to each other.
Another local group of 14 year olds from Tampines Secondary School started using the space as one member had an older brother that was into break dancing. Thus it was through his family ties that the space was introduced to him.
In Summary:
Overall, the ‘liminal’ quality of Esplanade can be seen as a metaphorical realm where ideas and concepts of a performative subculture, both artistically and socially, are in constant states of contestation and negotiation.
The emphasis is on the skills and learning curve of the b-boys and thus performance is everything here.
To gain access and to participate in the subculture working at the Esplanade Underpass, the youths will have to work with what ever resources available to them.
In my interviews, I structured my questions to find out what are the factors they have to deal with to remain in the space.
Is it legal to practice here? Any brushes with the law before?
The first straight-forward answer was to not be a public nuisance as there is a constant awareness of the invisible police presence. That presence is made felt once in awhile, though very rare. (So Singaporean don’t you think?)
Is everyone welcome in this space?
The users of the space are extremely friendly and easy to talk to. Most project a wholesome identity, where there is a conscious effort not to litter the place and bonds are built all in the trading of skills in their craft.
There is also a hierarchy system in place, where the youths show reverence for an older and more skilled b-boy who has been frequenting the space for years.
What do you wear when you come here to practice?
In the context of style, the Tampines Secondary School and Chinese youths I have interviewed both concurred that they basically wear anything they like when they visit the space for although it is a performative space; they are performing a state of constant rehearsal.
If there was an occasion to dress up and polish up the b-boy veneer, they would head to Bugis Village for hip hop apparel that is made in Thailand and far more affordable as compared to the underground shops like Surrender (the newer and chic-er version of the now defunct Hypno) or even street apparel chain 77th Street.
+See http://www.surrenderous.com/store/
+See http://www.77thstreet.com/AboutUs/tabid/54/Default.aspx
Nevetheless, in my research I found no sense of competition for space as at the Esplanade Underpass, space is surprisingly plentiful for a transit area. The liminality is also not compromised by any form of authority as the presence of the police is a liberal and generally accommodating one.
Thus we can say that our local youths, though partaking in a subcultural activity, is not viewed as an ‘at risk’ child but rather a child enjoying his creative side in his leisurely hours.
Mostly with a huge dose of dedication as well!
