In June 2026, Art Project Bora came to Singapore for the first time. From June 19–21, they put on the world premiere of O:ro at the Esplanade’s Theatre Studio. The choreography by Kim Bora was said to look at bodily memory and what she calls the “physics of mourning.” This is an idea that sounds vague until you see modern dance built around it, at which point the physical language feels surprisingly exact. The concerts marked the end of the 8th Asia-Europe Cultural Festival, which is a significant spot on the schedule.
The Esplanade – Theatres on the Bay doesn’t take its Closing Curtain slot lightly. One of Singapore’s most famous cultural landmarks is the building itself, with its unique durian-skin facade facing Marina Bay. Inside, the Theatre Studio is a small room designed for work that rewards close attention. Putting the international debut of a South Korean company in that room as the last event of a festival that brought together Asian and European arts says something about how the festival’s programming committee thought about what Art Project Bora was bringing.
Working together with T.H.E Dance Company, Singapore’s own modern dance group, added something that touring alone doesn’t do. T.H.E. also had a week-long residency with South Korean dancer Do Hyoyeon, which ended with a first-draft showing of ante-space on June 21 with Singaporean artist Kwek Yixuan. When an outside artist stays with a local business for a week and then shows what they made, that kind of structured creative exchange usually leads to more interesting work than an imported show that only lasts one night. It also helps organizations get to know each other better so they can work together on events on a regular basis instead of just for one event.
In 2026, South Korea was present in Singapore’s performing arts calendar in more ways than just the Esplanade. Avantgardey, a comedic dance group with a lot of fans in Japan and Korea, brought their synchronized work to The Theatre at Mediacorp earlier in March. This is the kind of well-executed group performance that goes viral online and then surprises people by being really interesting in a real theater setting.
Dance Dance Hallyu, a K-pop competition held at *SCAPE Ground Theatre in June, was a way for local artists to get ready for the K-Pop World Festival in South Korea. South Korean dance culture in Singapore in 2026 is not just one thing, but many things at once. There is high-concept contemporary choreography at the Esplanade and competitive K-pop performances in an arts venue for young people.
This is a good place to sit down and think. South Korea has put a lot of money into cultural export over the past 20 years, and contemporary Korean dance has become well-known around the world thanks to both sustained institutional investment and unique creative voices that don’t just copy work from Europe or North America. Avantgardey’s viral comedic precision is not the same conversation as Kim Bora exploring grief through movement. Competitive K-pop training is also not the same discussion. They all have a strong commitment to the craft, no matter where that skill is aimed.
If Art Project Bora comes back to Singapore after this first run, it will depend on how well it did and whether the partnership with T.H.E. turns into something that lasts. These kinds of first visits—a world premiere, a new collaboration, or the last show at a festival—don’t always lead to long-term presence. On the other hand, the time is better now than it was even five years ago.
