ArtJam Issue 24 by Mohit Mehrotra

Dear Readers, Coming this February, kicking off the rabbit year’s excitement will be M1 Singapore Fringe Festival 2011! It is an annual festival of theatre, dance, music, visual arts and mixed media, and this year’s theme is close to our hearts - Art & Education. There are many interactive events and artistic exchanges all over Singapore which will definitely blow your mind away. (p20) Campus life have been very exciting as we were very privileged to have local singers The Freshman (Carrie Yeo 杨佳盈 and Chen Diya陳迪雅) and Serene Koong 龔芝怡 to join us at NTU for an entertaining sharing session. (p4). Not only that, we also had a song writing workshop by the School of Music and Arts. (p6) Or perhaps you could make a date with Romeo and Juliet at the Esplanade theatres in this romantic month. (p12) Finally, many thanks to our readers for sending in their Postsecrets. Check out on page 28 to see what secrets others have to divulge. If you’ve enjoyed them and have a secret to share, hesitate no longer and please send it to cac_publication@ntu.edu.sg. Wishing all readers a happy and prosperous new year! Best Regards, Victor

Editor-In-Chief Victor Tan Yian Liang Editor Ho Seok Kian Agnes Designers George James Parel Jill Ng Cui Wen Loong Liaison Officer Kelly Lau Cover Illustration by George James Parel mail@parelinc.com / www.parelinc.com

Printer Xpress Print Pte Ltd

Writers Kimberly Haley Wang Lim Ping Hui Lee Jing Adele Neo Ping May Shreya Gopi Koh Hui Fang Ang Ke Qin Tay Qiao Wei Victoria Chang Kai Ling Photographers Jonathan Kwa Chen Chunyang Victor Tan Yian Liang Alistair Chang

Issue 24 MICA (P) 102/11/2010 This is a Publication of Nanyang Technological University Cultural Activities Club. To advertise with us or list your events in ART JAM, email us at cac_publication@ntu.edu.sg Download the softcopy of ARTJAM at www.ntucac.com/ARTJAM

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10 CAC Press Follow Your Heart, Follow Your Dream SOMA Impressario Altered States

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Previews Swordfish + Concubine Romeo & Juliet

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Personality Emily of Emerald Hill Zara

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Reviews M1 Fringe Bizet Carmen Owen Pallet

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Event Listings Balek Kampong The Substation Libre Ole!

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Post Secrets The Secrets of NTU students

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by Kimberly Wang Photos: Alistair Chang

“Follow Your Heart, Follow Your Dream.” 4 ARTJAM ISSUE24

Nanyang Technological University Cultural Activities Club (NTU CAC) hosted ARTSPEAK, a music infoentertainment sharing session by local singers The Freshman (Carrie Yeo 杨佳盈 and Chen Diya 陳迪雅) and Serene Koong 龔芝怡.

hen Diya and Carrie Yeo, the champion and first runner up of Project Superstar II respectively, came together to pursue their passion in song writing and singing after the end of the competition. “I didn’t want a fixed job,” said Chen, when asked why she chose to enter the music scene. The 24 year old joined the second season of Project Superstar during her third year in NTU’s Wee Kim Wee School of Communications and Information (WKWSCI), and had not looked back since. 28-year-old Carrie Yeo, on the other hand, felt that she had been “denying this dream for awhile” and thus, decided to give up her office job to pursue a career in music. While many might think it’s all glitz and glamour to be a singer, all three ladies unanimously chime that “it has not been easy”. Serene Koong said, “Passion alone is not enough.” She went on to share about how it takes a lot of effort to put together an album – hers took a whole year to produce. Many sacrifices have also been made as the ladies pull long hours and deal with frustrating

moments when inspiration fails them. Diya revealed that there are times when she does not get to see her mother for days on end. “They are always there to support us, no matter how busy we are,” she said. Despite the many challenges they have faced in the course of pursuing their passion, all three artists are full of encouragement for those who are uncertain about chasing their dreams. “Fix your eye on the journey, not on the final price” said Carrie, “Every step you take counts,” said Serene. Most importantly “Don’t compare,” said Diya. The process might be arduous and discouraging especially with the local music industry being rather small, but “be true to yourself and doors will open,” said Serene. The trio commented that the local market for Chinese pop is rather limited, but they believe that “it’s coming up.” The journey has been rewarding one, especially since they’ve been lucky enough to work with some of the best producers, writers and teachers during the course of making their albums. Interview aside, Chen Diya and Carrie Yeo charmed the audience with their jovial personalities during the session. Both also shared secret pet peeves about each other – Diya complained that Carrie is really messy while Carrie lamented that Diya is terribly naggy. Yet, the chemistry between the two was evident in their songs which had captivated the audience. Serene, on the other hand, showcased a range of music clearly inspired by Jazz, citing that as one of her favourite genres. (Both albums are now on sale in stores.)

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SOMA

IMPRESARIO by Lim Ping Hui / Photos: Courtesy

t was raining heavily, but the rain did not dampen the enthusiasm of the students waiting outside the Lecture Theatre (LT) in Nanyang Technological University (NTU). The students were waiting to attend a songwriting workshop by the School of Music and the Arts (SOMA). The workshop was held as part of NTU’s Cultural Activities Club (CAC) annual talent competition – Impresario. Impresario is a good platform for individuals to display their talents and uncover their potential. Keith Kwok, the speaker for the workshop, was very glad to see the huge turnout. He felt that these music enthusiasts will “inject new blood into the music industry and it is good to see them pursue their dreams.” The guest performer for the night, Tay Kewei, 27, agreed with him. “Impresario can generate more interest in young talents, motivating them to work hard in their career and gain a wider horizon about music.”

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The 22-year-old Special Project Director of Impresario, Pua Shu Min, said, “The purpose of the workshop is to allow participants to gain an insight to song writing and vocal preparation for the auditions. This is a new initiative from the Impresario 2011 Organizing Committee, in hope to raise awareness of this competition in NTU too.” Tan Mei Xuan, 19, had learnt how to “compose the chorus of a song and (I felt that) whatever Keith taught was cool.” The first-year undergraduate at the Nanyang Business School also felt that the workshop could generate interest in songwriting in the participants and encourage them to join Impresario. The theme of Impresario 2011, ‘Ignite, Impress, Inspire’, aimed to ignite the passion within contestants, allowing them to impress others with that passion and thereby to inspire other budding performers. The best example to mention would be Kewei. She was a second year student in Wee Kim Wee School of Communications and Information (WKWSCI) then. She

Impresario speakers educated and entertained the crowd with rousing performances.

asked her friend to join Impresario with her so that she did not have to enter the competition alone. Kewei eventually clinched the runner-up in Impresario 2004.

to produce an album. Kewei’s album includes her selfcomposed songs like ‘Plastic Mannequin Love’, which had gained much popularity on YouTube.

Since then, she has been actively involved in Impresario, taking up the position as the publicity ambassador in 2009 and guest performer in 2010. This year, in 2010, she returned with her new album, ‘Come closer to… Kewei.’ Through her album, Kewei had hoped to share about her experiences with her juniors.

Songwriting is all about playing with music. Keith proved that point by adopting a fun and engaging attitude during the workshop. He shared a formula for songwriting at the workshop and used examples like Kelly Clarkson’s ‘Because of You’ to allow the participants to understand the theory behind songwriting. Using a few notes and chords, he demonstrated some composing techniques.

During the performance, Kewei concentrated on singing, injecting her emotions into the song and charming the audience. The crowd was mesmerised by her voice and listened to her perform song after song with bated breath. Zhou Shiya, a second-year WKWSCI undergraduate, felt the need to train herself to overcome her stage fright. Her stage fright had been the cause of her failure to enter the second round in Impresario 2010. She was motivated after listening to Kewei talking about the efforts she had to put in before being able

Both Keith and Kewei agreed that a person should start pursuing his dreams during his schooling years. In school, you can join clubs and get to know many like-minded friends and support each other along the way. “It’s all about networking,” says Keith. “The more people you know, the more opportunities there are for you to expand your music career.”

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ALTERED STATES

by Leejing & Adele / Photos: Courtesy

The year was closed with an evening of pulsating classical remix at Altered States by chamber ensemble, re: mix. Led by violinist Foo Say Ming, re: mix has whetted the classical music scene with its unique transformation with its unique blend of contemporary relevance since its debut in 2006. As Bess Fang, the General Manager of re: mix puts it, “re: mix prides itself on its cutting edge programming that has incorporated elements of film, philosophy, literature, visual arts, and theatre, while maintaining a rigorous level of technical proficiency in both individual and ensemble playing.” The ensemble comprises of Singapore’s finest local and international chamber musicians, who seek to break traditional boundaries of classical music by drawing inspiration from other disciplines and incorporating other art forms. They had transformed classical music, which at times is stereotyped to be pretentious and out-of-reach, into something more accessible and hence, enjoyable. Their previous works include Celluloid Concertos in December 2009, where the music was extracted from Hollywood films in the 1930s; and an Interview with Palace Ghost in February 2009, which is a collaboration with local contemporary dance group, Art Fission. For this concert, re: mix aims to target as broad an audience as possible by taking what was traditionally the norm of classical music in a tongue in cheek way. “re: mix aims to challenge its audience with possibilities and diversities within clichés,” said Fang. This year, audiences can expect popular classics like British composer Michael Nyman’s In Re Don Giovanni and Fritz Kreisler’s take on Violin Concerto No.1 to be remixed with fresh charm and groove. These works presented will be the Singapore premiere, together with the world premiere of the newly commissioned work of 2008 cultural medallion winner Iskandar Ismail – “Samba No.5!” , a Latin-American version of Beethoven’s 5th Symphony.

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SWORDFISH Y + CONCUBINE THE FALL OF SINGAPORE BY SHREYA GOPI/IMAGE CREDITS: FRANK VAN DE VELDE- CREATIVE COMMONS

oung & W!ld, a division of W!ld Rice, recently staged a play entitled Swordfish + Concubine: The Fall of Singapura, written by the Malaysian playwright Kee Thuan Chye. Based on stories from the Sejarah Melayu (Malay Annals), this satire would have struck a chord with audiences in Singapore, as it reminds us of our heritage in a different and bold manner that is synchronised with modern city life. A conversation with the playwright just before the play was staged reveals more about his motivations and opinions, and more about the play, for readers who did not catch it.

Did you get the idea of writing this play after reading the Malay Annals? Or did you read the Annals to get material for the play? I already knew about the 2 stories in the Sejarah Melayu. The swordfish attack on Singapura is a wellknown tale, and it has a strong moral to it, i.e. you can do something good and yet be considered too clever, and this could lead to your downfall. To me, it was an excellent comment on the dark nature of man. Similarly, the story of the concubine brought out this dark side of humanity in its telling of a woman accused of a crime and getting executed for it without her defense being properly heard. In my play, I placed the character at the mercy of a kangaroo court, which very much reflects what happens in contemporary times in places where the Judiciary is not totally independent and sometimes beholden to the Executive. So, my play is not about the past even though it is based on stories of the past. It is not a re-telling of the tales either. It goes beyond that to bring out their resonance to our present-day existence. It is playful and deliberately anachronistic in its dramaturgy. Was there a particular reason for choosing these two particular stories from the Annals? Yes, they are very relevant to the present. I chose to focus on the Covenant that was made between the Ruler and his subjects during the time of Sang Nila Utama. And how the Ruler abuses this agreement by not following it. In return for their loyalty, he is not supposed to shame his subjects but he does. The consequences are, therefore, disastrous. But my own contemporary take on it is that despite the disastrous results, it is still the poor subjects who suffer while the Ruler goes scot-free. That, to me, has always been the privilege of power. Which is unjust. Singapura is destroyed because the Sultan shamed his subject, the concubine, but he runs away when disaster strikes and eventually ends up in Melaka, while his subjects suffer under the conquerors from Majapahit. Even in modernday Singapore and Malaysia, this fact of life holds true: those in power are always better off. Give them half a chance and they’ll abuse their power too. What language was the play written in? English. The title would have told you so. When it was originally staged in Singapore in 2008, it was called “The Swordfish, Then the Concubine”. For the 2011 production by Young and W!ld, the title is “Swordfish + Concubine: The Fall of Singapura”. When I wrote the first draft of the play about a dozen years ago, my original title for it was actually “The Fall of Singapura”.

What do you feel about this interpretation of your play by the director Jonathan Lim and young and W!ld? I haven’t seen it yet! But from the communication between Jonathan and me via e-mail throughout the course of rehearsals, what Young and W!ld is doing sounds exciting. This is also a much smaller cast than that of the original 2008 production. I’m dying to see how a cast of 7 or 8 can pull off performing a play with a cast of thousands! Are there any particular social issues you are trying to convey? When there is power abuse, you must rise to fight it, but chances are you will be overwhelmed and nobody will care for you when you’ve lost. And life will still go on as before. The kingdom will still thrive, people will carry on with their daily lives. Do you feel that using satire is the most effective form for the content of this play? It may not be, but that was my choice. Satire, coupled with irony, is a fabulous approach to take when writing about political issues. And this play is full of them. It also uses a lot of comedy. Comedy is very useful for highlighting things, and it can hit the audience where it counts.

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Even in modern-day Singapore and Malaysia, this fact of life holds true: those in power are always better off. Give them half a chance and they’ll abuse their power too.” ISSUE24 ARTJAM 11

Romeo & Julie by Koh Hui Fang/ Photos: Courtesy

illiam Shakespeare’s Romeo and Juliet, a play about two ill-fated lovers torn apart by family rivalries and vengeances, is a classic love story that is familiar to most people. Its continuous circulation in modern culture attests to its universal and timeless appeal. This March, the Singapore Dance Theatre is staging Romeo and Juliet, one of the most famous adaptations of literature for the ballet. The piece was choreographed by the late Goh Choo San (1948 - 1987) who received the Cultural Medallion in 1986 in recognition of his contribution to the arts. It also features music scored by Sergei Prokofiev, and costumes and sets created by Peter Cazalet. Eschewing dialogue, Romeo and Juliet uses dance, the body’s most eloquent language, to create a poignant and evocative telling of the story. Its emotive quality promises to touch the audience, and offers them another way to approach Shakespeare’s genius. ARTJAM goes behind the scene to talk to Janek Schergen, Romeo and Juliet’s staging director, and also the artistic director of Singapore Dance Theatre, to find out more about Romeo and Juliet and the legacy of local talent Goh Choo San. ARTJAM: You wrote a monograph on the career and ballets of Goh Choo San, titled Goh Choo San : Master Craftsman in Dance, in 1997. What is one thing we ought to know about him?

Janek: Choo San was unique and to all who worked with him, someone who is admired and respected. People who have danced Choo San’s ballet feel a sense of pride in working in a ballet choreographed so wonderfully and so rewarding to perform.

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ARTJAM: Give us a brief introduction to Romeo and Juliet as “classical ballet” with its emphasis on techniques. What can we expect?

Janek: Romeo and Juliet is first and foremost a dramatic ballet that uses classical techniques to make the story into poetry. It is not a ballet with technical “fireworks” but more about strong emotions expressed through movements. ARTJAM: How does Romeo and Juliet, as presented by dance, transform the experience of the story? Janek: Just a kiss is a wordless gesture. Movement in dance form can stir the very emotions of individuals. ARTJAM: Are there attempts to evoke the historical atmosphere, in terms of props, costumes or setting? Janek: The set clearly puts you in a particular place with settings in line with the Italian nature of the Shakespearean story. ARTJAM: From your immense experience of staging works choreographed by Goh Choo San, do his works allow a lot of room for creative exploration by the staging director and the dancers? Janek: No two dancers ever look alike when doing the same choreography so that with each dancer it adds something within the choreographic framework of a piece. Choo San’s works have specific steps, patterns and dynamics that all need to be respected. I teach his ballets as best as I can as he would in his own voice. Romeo & Juliet will be held from 24 - 27 March 2011 at the Esplanade Theatres.

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Emily of Emerald Hill A by: Ang Ke Qin / Photos: Courtesy

s a fitting finale to 10 W!LD YEARS, a season celebrating W!LD RICE’s 10th Anniversary, EMILY OF EMERALD HILL has been chosen amongst all the famous production works to be played for the first time at the Esplanade Theatre this coming March. Like a ‘coming home’ for this true Singaporean classic play with its 28 years of history, it also acts as a tribute to the memory of Krishen Jit, director of original production of Emily. With beautiful sets, gorgeous costumes, and stunning multimedia projections, this play will inject fresh insights into Singapore’s most well loved play, offering a glimpse of the decadent glory of the Singaporean Peranakan community. With a close partnership of 35 years, Ivan Heng and Glen Goei are finally coming back together for this brand new production. The dynamic duo’s much anticipated collaboration is highly anticipated for the upcoming compelling performance. Written by Stella Kon, EMILY OF EMERALD HILL is a one-woman play about a Nyonya matriarch who dominates her family, yet eventually ends up losing what she loves the most. The play won the first prize in the National Play-writing Competition in 1983.

2) Were there any challenges met which stand in the way of your vision for the play?

The Esplanade itself is a challenge. I don’t know anyone who has ever had the courage or audacity to stage a one woman/man play at the Esplanade before. Well, Emily takes on that challenge with wide-open arms. Watch out she doesn’t chew up the scenery and entire audience all at once! You have been warned!

3) How do you bring across the past glory days of Peranakan culture to Singaporeans living in this century? I don’t need to do much - the wonderful script by Stella and amazing performance by Ivan does it all. It does help that this is probably the first “true blooded” Peranakan production since all 3 of us - Stella, Ivan and myself are ALL Peranakans. For Stella Kon 1) As the playwright of Emily, how do you gain the inspiration of this play back in 1983?

For Glen Goei

There was this playwriting competition organised by the Ministry of Culture, I had won the first prize in it in 1977 and 1982, yet the plays were not produced. It seemed that the casts were too big. So a friend suggested, I should try a one-person play, focusing on one charismatic person. I was inspired by the character of my grandmother, Mrs Seow Poh Leng, a dynamic and powerful lady, who had a big house on Emerald Hill.. But the events of Emily’s life story are not the same as my grandmother’s life.

1) As the director of Emily, what do you wish for the audience to bring back after watching the play?

2) How do you feel about this script being comprehended by different performers each time?

Ivan and I are in complete agreement on this one -when we both saw the play for the first time, it made us understand our mothers so much better and stop talking back at them! (sniggers) I hope the audience will get that too!

It is very exciting, as each actor brings his/her own life experience and understanding to the interpretation of the character. The result is so many different Emilys which are alternative versions, all have their fascination and no one is the definitive version.

This is not just another culturally inspired performance. It emphasises on the true meaning of Love and experiencing this love as a Singaporean.

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3) How about Ivan Heng being the first male actor to portray the role as Emily? Men have always been playing female roles in Peranakan drama. Only we modern people want it to be so “realistic.”. On the stage, we should be able to see the character, not the actor. I don’t see any difference in gender as long as Emily is seen. For Ivan Heng 1) How does it feel being the first and only male actor who has played Emily in the play’s 28-year history? When I first decided to take on the role, 17 years ago, I researched all the past performances by these impersonators, as well as the six actresses who had played Emily. I was surprised that no one had thought of the idea of casting a man. After all, the tradition of female impersonation is integral to the Wayang Peranakan. I approach the role as I do every character I have ever played, male or female. The approach is a combination of research, observation, interpretation and not least, imagination. In Emily’s case, I was able to draw upon my own experiences of my mother, and the women in my family. I got to understand and appreciate my mother. It was also an opportunity to delve into my Peranakan heritage. That said, having played the role more almost a hundred times, Ivan Heng the actor disappears and Emily takes over. There were just one or two moments when the fact of maleness becomes apparent. Stella Kon writes about Emily had to be “the devil of a wife and mother”, in order to cope in her male-dominated milieu. The dramatic irony of having a man say these lines is very powerful. Women (mothers, who want their daughters to be more “lady-like”) always come up to me to say how I am more “feminine” than most women. Or how I carry off my kebayas, ball-gown and stilettos so effortlessly. At some point in the conversation, I remind them that it all takes hours of observation and practice. And they giggle, and sigh and nod – mostly in appreciation and recognition of the time they wore their first pair of heels, or tried to lose weight to get into their wedding dress. Having a man play Emily highlights the idea of gender roles being a social construct. The roles of daughter in-law, wife, mother, grandmother, hostess, matriarch are made more apparent and visible through my performance of them.

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2) What attracted you to play Emily the most? For me, it is much more than a play about an overbearing Peranakan matriarch, and goodness knows we’ve seen enough of that as a cultural stereotype. Emily is a story about everyone’s mother, daughter, wife, sister and grandmother. It’s a story about an individual’s strength and courage, and the choices one makes in life. It is also about the rise and fall of a culture, an era. These themes resonate across time, race and nationality. I feel that in the shared experience of this play, in the laughter, the tears and the silences, there will be something we can learn about ourselves, and the society we live in. When I first started working on Emily, I was inspired to return to the role every 10 years. I believe that an actor’s experience of life and the world around him informs his performance, and he is himself the instrument. Since we see Emily age from the age of 14 to 84 through the course of the play, I was interested to understand what this meant. I can tell you, it’s much harder to get into her kebayas today than ever before. To paraphrase Bette Davis, getting older ain’t for sissies. 3) What is your vision for W!LD RICE productions? And how has it ventured so far? We set out to be a leading professional theatre company - to create productions with a distinctive Singaporean voice, one that would be understood by audiences here and the world over – not least because they reflected universal concerns, and the problems and possibilities of our times. The Singapore theatre scene has grown immensely in terms of the diversity and quality of work, maturity of the artists, professionalism and growing sophistication of audiences. W!LD RICE has been at the forefront of this exciting movement, and has grown immensely, reaching out to an audience of more than 100,000 today. The company has been recognized for leading the way in changing the public’s perception of home grown works – to understand that Singapore theatre can be as exciting and excellent as theatre in any other major city. And we fly the Singapore flag very proudly when we go on tour. W!LD RICE was the first local theatre company to be invited to major arts festivals in Hong Kong, Australia, New Zealand and Russia. This March, Animal Farm will receive its Australian Premiere in Tasmania, at 10 Days on the Island, a prestigious international arts festival.

ZARA

Conducted by: Vivien Sham, Jasmine Tan

ZARA by Jasmine Tan & Vivien Sham

Background: Musicians Singaporean Tee Khoon Tang - Violin Korean Julianne Lee – Violin Belgium Dimitri Murrath – Viola Israeli Adi Tal – Cello English Sam Armstrong – Pianist

Amidst their busy schedule in Singapore, they generously offered an evening with Artjam to share their insights and thoughts as globe-trotting, world-class musicians. Here are their voices: How did you all meet? TK: We met at different music festivals.

n its small chamber ensemble, ZARA embodies cosmopolitanism, specifically, in its musicians. Belgium, England, Israel, Korea and Singapore – these are where the talents had come from.

Serendipitously, these musicians had chanced upon one another in different festivals and schools. Years later, in 2009, the enduring impressions of one another had motivated them to come together and form ZARA. Hearing ZARA play is seeing pure creative synergy at work. Every single one of them are highly-acclaimed and accomplished musicians, displaying talent from young ages and diligently honing their skills for many years. Their passion for music and natural complementariness has brought all their various talents and experiences together in ZARA. The results have been stunning. On the 28 and 30 December 2010, ZARA presented to the local audiences their special program, Schumann fantasies. This item celebrates the warmth, love and exuberance of Schumann’s chamber music works. The performance had garnered positive reviews“Refined playing, ultimate control and the ability to listen to each other distinguished its slow introduction, and that remained a hallmark and constant for the whole concert. Four string players breathed as one” (The Straits Times, 30 November 2010).

Why did you all get together? Why did you form ZARA? Was it due to similar style in music? Or common interest? Or taste? TK: We had similar training under the same renowned music teacher in London. Julianne and Tee Khoon studied under the same teacher, then Dimitri, then Adi also learnt under him at a later date. It was interesting that the few of us, who happened to form ZARA, have the same teacher because studying under the same teacher did not guarantee similar musical styles. Coming from all over the world, what does each member bring to ZARA that is different? Dimitri: We express our opinions differently due to our different cultural backgrounds. Adi is from Israel and is more direct in expressing herself. Sam, the Englishman, is more reserved. Tee Khoon: Dimitri is Belgium, there’s a bit of French in him, so his musical style can be quite rounded. Why Chamber Music? Is it because it is more flexible than being in an Orchestra? Tee Khoon: Yes, Julianne plays in the orchestra fulltime, having 4 concerts a week, and has to take leave to perform in ZARA. I think chamber music is an avenue for her to express her individual interpretation of the music rather than that of the conductor. Why Schumann? Tee Khoon: 200th birth anniversary. When we first started and met up, we discovered a common love of Schumann. Schumann is one of the few composers with so many combinations of musical instruments for chamber music, which really suits the make-up of talents in ZARA. What are important characteristics for a successful musician? Tee Khoon: I think a musician needs much inner strength to deal with situations. Not only must we express ourselves well through our instruments, we have to express ourselves clearly in verbal communication with others too. In the course of our work we meet a lot of people and you must try to express yourself clearly beyond your music and connect with them. Sam: You need to be motivated. You need to be thickskinned and have an open mind at the same time to listen to criticism and use it to grow and develop as an artist because not everyone will like what you do or say.

Adi: Integrity and creativity. Tee Khoon: We need a lot of support from nonmusicians as well, as there is no way we can succeed by ourselves. It is not all about being just an artist, you have to convince people about how your work is meaningful and would benefit society. Sam: Each person has different levels of proficiency in each area, and you have to keep working to develop these areas.

What ideas does ZARA have for future performances? Sam: We will probably be having a portrait of one composer. I will like Beethoven, but there are other possibilities. Dim: However, I would like Schubert and Mozart, as they are both closely related and influenced one another. It would be an interesting project to show the relations between them since the relation is often under-reflected in concerts.

Dim: I think there are many definitions of success: Firstly, you can be successful in performing your art with technical precision. Secondly, in advocating and communicating emotions through your music. Thirdly, you could be successful in leading people, like a concert master. Nowadays you have to possess many qualities and be all-rounded. Adi: It is harder to succeed as the expectations are higher and more people are trying to do the same thing. Sam: The demands are changing, you now need a diverse amount of skills in different areas. You need to be able to teach, perform chamber music, or in an orchestra, it is not realistic to just do one thing. Having performed all over the world, how do you all achieve work-life balance? Sam: As a musician you have to travel a lot, but I recently based myself somewhere. With concerts going on, the schedule is not that of a regular job. We have to try to keep healthy and self-disciplined in keeping to practice as there is no one to call you to tell you to do it. Dimitri: You need to have self-discipline, there’s no one who would ring you to ask, “Where are you?” Sam: On a day-to day basis, you have to be selfmotivated because there are no external checks on you. But you have to have done your homework as when you perform you are doing it in front of a 1000 people. Adi: It’s hard to maintain your personal relationships, especially when one is so far away. But that’s a sacrifice in being a world-trekking musician. One has to work harder to keep in touch. Dimitri: There are different stages in a world-class musician’s career. The first is when you leave home to study abroad in music studies. Next is one you travel to many places to participate in concerts. Later on you settle down, have a family get married, have children, and you look for jobs that are in one city. I guess we are still in the second stage. We are enjoying our exciting travels in the world, with no strings attached.

At the end of an awe-inspiring interview, we were touched by these musicians. Success most certainly did not get into their heads as they talked of their performance as just trying to achieve and do a little more for the music they are so passionate about. The youth concerts definitely augmented the idea they were trying to spread and it even filled us journalists with hot blood to start picking up the dusty instruments we left in our closets years ago. Although of course, we eventually decided to leave the music making to them. Nevertheless, our interest in classical music has been spiked, we know these musicians are doing it right - performing for more audiences to enjoy chamber music and revolutionising the education of young musicians, especially changing the stereotype of rigid classical music lessons in Singapore. We wish ZARA every success in their future endeavours and in the accomplishment of their vision. We look forward to seeing them change one youth musician at a time. For more information on the musicians and ZARA’s performing schedules, please refer to www.teekhoontang.org

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M1 Singapore

Fringe Festival’11

Art + Education by Tay Qiao Wei & Victoria Chang Photos: Victor Tan

he M1 Singapore Fringe Festival is a yearly arts event that aspires to expand the platform for the local arts scene. Organised by The Necessary Stage, this festival provides a diversity of art forms, ranging from theatre, dance, music and visual arts. With this festival, art is made even more accessible to the public than ever. Back for the 7th year with the theme “Art and Education”, the festival explored how art and education interact to give new perspectives. Artjam highlights the best of the visual arts exhibitions that were open to all. Back to School School of Hard Knocks the little dröm store (Singapore) Have you ever played in colourful mosaic playgrounds with designs based on nursery rhymes, animals or fruits? Such old school playgrounds were not just places where children had fun, but also where they learnt life lessons through falls, knocks and bruises. This exhibition highlighted the best of these locally designed playgrounds with photographs of dragonshaped, watermelon-shaped and elephant-shaped playgrounds, just to name a few. With an increased emphasis on safety, these old playgrounds have largely been replaced by relatively safer but nondescript plastic imports that lack the originality of their predecessors. Soon, such images and collective memories might be all we have left of our schools of hard knocks.

Something About Education But Not Exactly... Leung Chi Wo (Hong Kong) Happy Baby. School Exams. Tuition Fee. Stock Market. Radicalism. These words were some of the phrases a mother signed to her baby in the video “Sign”, in order to tell her more about the world. Screened in a classroom setting for this installation, “Sign” revolves around an alternative form of education: Using sign language with babies. Other than the interesting scenario mentioned above (which the audience experienced from the baby’s point of view), the video also highlighted the advantages of baby sign language. As its title suggests, this thought-provoking work is not merely about education, but also explores other topics such as non-mainstream communication, capitalism and media influence.

Aromascape of Singapore Maki Ueda (Japan) This installation by olfactory artist Maki Ueda allowed visitors to explore Singapore using their nose. On display were everyday smells preserved in little bottles that visitors could open and smell. This resulted from a workshop conducted by the artist with local students to select and extract smells that represent life in Singapore. Sugarcane, Char Kway Teow, Bak Kut Teh, Indian incense and cigarettes were among the smells showcased. Artists rarely use scent as a medium,

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hence this exhibition offered a special experience for visitors to make use of and become more aware of their sense of smell. Void: Utopia Lim Shengen (Singapore) In Utopia, the notion of the photograph is no longer restrained to a picture on paper. Lim’s craft proposes this notion as a seemingly realistic image projected onto a wall. A dream world of forest imagery surrounds you, made foggy with the occasional emitting of smoke from a machine, distorting the image every now and then. The harsh, artificial light from a solitary projector in the middle of the room poses a sharp contrast to this surreal experience. In the literary world, the word ‘photo’ refers to light and ‘graph’ means to draw. In this unique exhibition of imagery, Lim reminds us that ultimately, the photograph is indeed drawing with light – a marvel that stands out on its own. Inclusively Yours Felicia Low (Singapore) Inclusively Yours is Low’s reflection of a collaboration between adults with special needs and the merchandising staff of ION Orchard. In a funky array of captions, bright pictures on textbook-like margins, Low tenderly reveals a day of excitement and fun for these adults at ION Orchard, where they are treated to free high-end shopping sprees and delicious meals under the tutelage of salespeople who have created a unique sales pitch in order to communicate with them more effectively. Activities that seem mundane to the modern civilian in Singapore – shopping, chatting over meals – are transformed into new, exciting, learning experiences through Low’s portrayal of the joy these adults experience during their fun-filled day of fashion, food and art. Viewers of this exhibition gain a newfound appreciation for the finer things in Singapore, which one often takes for granted. Primary 1 Jemima Yong (Singapore/UK) Little plastic babies sit on rows of blue plastic school tables. Each baby carries either a tick or a cross, and a collection of photographs surrounds them. This was the setting for Primary 1, an exhibition that examined the influence of educational imagery on the young. The photographs displayed were re-creations of images originally from the Singaporean primary school textbooks. Some memorable images include creating a “culture cake” out of a variety of ingredients, like durian, spaghetti, rambutan and luncheon meat. Based on the artist’s experience of education in Singapore, this exhibition allowed visitors to reflect on their own experiences and also, on what education should be like.

Okinawa Ark Kanako Sasaki (Japan) To better understand this exhibit, one must have a little foreknowledge of Okinawa, the prefecture of Japan that was infamously decimated during the Second World War. After its decimation, a rescue mission brought Okinawans from the battlefield to a new home in the Bolivian jungle. Home for them was no longer by the sea in Japan, but inland in a new South American country. Okinawa Ark is the exhibition of a 13-minute video of the everyday life of three generations of Okinawans in Bolivia, accompanied by framed pictures of these different generations. In contrast to a heavy history of war, terror and escape, life in Bolivia for the Japanese is shown to be peaceful, save for the occasional strong wind that shakes the trees. Sasaki’s ‘rocking’ camera technique gives the video a life of its own – diving into crowds, places, faces, places, to emphasise the video as a part of history never observed before. The Japanese have kept most of their traditions and language intact in Bolivia, creating an Okinawa of their own in a foreign land. School children are disciplined, yet lively, actively cleaning the school after lessons while the elderly strum their Okinawan guitars in serenity. Okinawa Ark shows us the steadfastness of human nature – Man’s ability and capacity to survive no matter where and what. Until the Sun Rises Emmanuel Guillaud (France) Walking into a Guillaud’s exhibition of moving images was like walking into a horror movie set. As he aptly puts it himself, it is a dark, fantasy world – a “theatre of shadows, searching and endless waiting”. The spectator enters a gallery shrouded in darkness, surrounded by flickering fragments of reality, and is given the opportunity to link, rearrange and interpret these images with his/her imagination. Guillaud contrasts shots of eerily abandoned corridors, silent, solitary people in the night and dark wired fences with shots of how they innocently appear to be bright, empty parking lots and gardens in the day. Most of the images were shot in Tokyo but Guillaud has continued his exploration of day versus night-time reality in Singapore. Under the watchful eye of Guillaud, Asia is transformed into an exotic world of dreams, and he also proves that it is not just the bright lights of the city that makes the night beautiful.

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Bizet

CARMEN by Victoria Chang / Photos: Courtesy

On 24th January 2011, I was given the rare opportunity to watch a reenactment Georges Bizet’s ‘Carmen’, a French epic opera dating back to 1875. I entered the Esplanade Theatre, thinking Opera was for stuffier, older folks, only to be very much mistaken and yearning for more when the curtain fell and I was still up from my seat, part of the standing ovation.

What made this version of ‘Carmen’ an exceptional one was the fact that save for the lead actress, the rest of the cast were Asians coming from China, Korea and Singapore. In spite of the wide range in different national identities, the voices of the entire cast were in such harmony that I was drawn into the story, easily relating to them as French soldiers and Gypsies dwelling in Spain during the 18th Century.

In this version of Bizet’s ‘Carmen’, French Mezzo Soprano Sophie Fournier stars as Carmen, the exotic, seductive Gypsy who enters a tempestuous relationship with Don Jose, played by South Korean Tenor, Lee Jae Wook. In a passionate and tragic ending, the play concludes with Don Jose killing Carmen when she rejects him for the affections of Escamillo the bullfighter, played by Bass-baritone Huang Rong Hai from China.

The Singapore Lyric Opera (SLO) backed the entire performance with a strong chorus of seasoned local singers who clearly gave their all on stage as opera enthusiasts. At the same time, well trained youths and children from the SLO brought even more life to the opera with their innocent charm and clear voices. Particularly, the children were a delight on stage with their energetic marches and bright smiles.

Fournier stole the show as a striking figure in her bright, provocative red gown, charming the audience with her rendition of “Habanera” where she spiritedly tells her suitors that her love is a rebellious thing that cannot be tamed. Fournier’s evocative cries of “Liberty!” served as the dark and constant reminder that unrestricted freedom comes with consequences.

Impressively, heading the live orchestra was Singaporean conductor, Joshua Kangming Tan, Juilliard graduate and second prize winner of the 2008 Dimitri Mitropoulos International Competition. It was a proud moment when I realised that the marvelous music of the night was being led by an extremely talented local.Once again, the SLO lives up to its vision of promoting Western Opera. ‘Carmen’ was a wonderful reminder of Opera as an unique art form that requires much skills and passion. It is hard to forget the rich voices of the cast and the huge amount of talent to be seen everywhere. Indeed, it is heartwarming to know that Opera is far from becoming a dying art and is still accessible to all, even on this little island called Singapore.

Lee’s dramatic performance as the lovelorn and insanely possessive Don Jose was heart-wrenching and almost frightening, as he projects his impassioned pleas in a sweet, desperate tenor, whereas Huang was charismatic and dashing with his rendition of “Toreado” in his bull fight scene.

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anadian Violinist-Singer, Owen Pallett, stopped over at the Esplanade for a one-day concert on the 7th January 2011 to showcase tracks from his latest popular orchestral pop album, ‘Heartland and thereafter’. As a fan of the popular video game series, Final Fantasy, Pallett went by the name of ‘Final Fantasy’ in releasing his albums. He finally decided to release his latest album, ‘Heartland and thereafter’ under his own name. As to why the name ‘Final Fantasy’? It was Pallett’s tribute to the game series. That aside, Pallet first came into contact with the classical violin when he was a toddler, and composed his first piece at the young age of 13. Pallett is currently an indie music singer. During his concert, Pallett played songs live from ‘Heartland and thereafter’ and also, his previous albums. His fantastic violin skills captivated the audience, and it was met with enthusiastic applause from the crowd. His casual and charismatic demeanor had charmed the audience tremendously and it was shown in one particular instance during the concert. Pallett had actually asked the audience to sit on the floor directly in front of his microphone, saying that the studio was bigger than he had expected. Some audience gamely took up his invitation and sat closer to appreciate Pallett’s music better. The loop technique that he is popular for in many of his songs, was used in this concert. He mostly tried to play his songs live, using only one pre-recorded track for the drums. The loops, with the different layers of music artfully and precisely combined, had created an intensity in the music that made it more engaging. Pallett mentioned that his homosexuality might have tacitly influenced his unconventional style in music, but it is not the reason for the way he makes music. However, he tends to build common concepts throughout his albums, so as to convey his music clearly to his audience. by Adele / Photos: Jonathan Kwa

BALEK KAMPONG

The lives of two individuals become inexorably intertwined when their views become cause for alarm; the foreign journalist for writing some objectionable articles and the university exchange student whose attempts to organise a forum on campus are met with obstacles. In their attempts to speak out for what they believe in, characters clash, tensions run high, and truth is questioned.

Directed by : Alvin Tan Written by : Haresh Sharma Cast : Jo Kukathas Sukania Venugopal Siti Khalijah Dates : From 2 March to 13 March 2011 2 – 5 & 9 – 12 March 2011, 8pm 5 – 6 & 12 – 13 March 2011, 3pm Venue : The Necessary Stage Black Box 278 Marine Parade Road #B1-02 Marine Parade Community Building Singapore 449282 Tickets : $30 | $22* *Concession for students, senior citizens and NSF Tickets are available now through the SISTIC hotline at 6348 5555, via the SISTIC website at www.sistic.com or at any SISTIC authorised agents islandwide. For more information, visit www.necessary.org Press Contact: Phish Communications Nirwan Noran 6344 2956 nirwan@phish-comms.com

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The Substation : In March Visual Art Big Bio By Eileen Reynolds Date: Friday 4 – Sunday 20 March

WILL YOU STILL LOVE ME TOMORROW? The Substation Love Letters Project Every month until June 2011 For more information, please visit http://www.substation.org/loveletters. Islands Directed by Jason Lim

Venue: The Substation Gallery Thursday 17 – Friday 18 March, 7pm-10pm (durational) Admission: Free Reception: Thursday 3 March, 7.30pm

Saturday 19 March 2011, 3pm-9pm (durational) Venue: The Substation Theatre Admission: $10 per day (unlimited entry) available at The Substation Box Office. Reservations: contact Mish’aal 6337 7800 / mishaal@substation.org

Performance Art

Associate Artist Showcase

We Search For ‘We’ By Associate Artist daniel k Date: 8pm Saturday 5 March 2011 Venue: The Substation Dance Studio

Moving Images Associate Artist Showcase Thursday 31 March, 8pm The Substation Theatre Tickets at $7 / $5 (concession) available at The Substation Box Office Reservations: contact Mish’aal 6337 7800 / mishaal@substation.org

Admission: Free Moving Images The Singapore Short Film Awards Monday 28 February – Sunday 6 March The Substation Theatre Admission: Free (donations welcome) First Take March 7 February, 8 pm The Substation Theatre Admission: Free (donations welcome) Literary Art

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Contact Details The Substation 45 Armenian Street, Singapore 179936 Phone: 6337 7535 www.substation.org MRT: City Hall, Clarke Quay, Dhoby Ghaut and Bras Basah Bus: Alight at the Armenian Church: 2, 12, 32, 33, 51, 61, 63, 80, 197

LIBRE OLE!

LIBRE OLE! A Night of Latin Beats Under the Stars is a free Latin music and dance concert headlined by sensational percussion tribe Wicked Aura Batucada. Audience members can also expect quality Latin American performances by the Brazilian performance troupe AĂ§ĂŁo Quilombo Capoeira, and Colombian band Adrenalina of Cuba Libre fame. Conceptualized and organized by the graduating Diploma in Arts Management students as part of the i-AM 2011 series, the event is a feature of the LASALLE Show 2011.

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ts e r c e S The ts n e d u t S U T N f o

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DANCE ON AIR

First formed in 2007, Joint Dance Concert (JDC) serves as a unique platform for all NTU dance groups to collaborate on an annual basis. This year, JDC reinvents itself by infusing dance with elements of radio broadcast to bring you â&#x20AC;&#x2DC;Dance ON AIRâ&#x20AC;&#x2122; ! From fiery salsa to nuanced contemporary dance, do not miss this amazing reinterpretation of dance and broadcast!

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