Art Jam : Issue 32 by CULTURAL ACTIVITIES CLUB NTU

ISSUE32 ARTJAM

Editor’s Note Hello there friends! Let me begin by firstly wishing you Happy Valentines’ and also a Happy belated Chinese New Year! Now, welcome back to Semester Two... It’s been around two months since the release of our Grade Point Average (GPA) but still, the constant frets of an underachieved GPA never seem to die away. Well, like most others, all I can tell you is that it’s never too late. If there is one thing I know about school, it is never about aiming to be the best, but aiming to give your best. And for those of you singles out there, don’t be afraid! You aren’t alone. Anyway, being single isn’t such a bad thing. It’s a great time for you to explore and create new boundaries in life. Just imagine at this very moment, you’re the oldest you’ve ever been, youngest you’ll ever be. There’s a thousand over things you could be doing right now. Don’t you toss these moments away! They always say that time goes faster as we get older. Somehow, I’m starting to feel this phenomenon is true. It’s hard to imagine how fast time has passed since my very first Freshman Orientation Camp seven months ago. Surreal complexities of time, that’s what most people call it. Believe it or not, I still vividly recall all of the events that took place. It’s not an eidetic memory I possess, but perhaps the fun and laughter that’s etched, and that can’t be erased. So with regards to this issue, you’ll find a whole new level of excitement we’ve been going through these past few months. From symphonies to concerts to musicals and even festivals, what more can we ask for. Oh and if you’re looking for a chance to join us in all these fun, it’s never too late! Simply drop me an email and we’ll contact you right away! Enjoy!

Editor-In-Chief Joel Lim Managing Editors Joan Kwek Jin Chuqing Editors Jeryn Lau Koh Hui Fang Cover Design Daniel Tan Photographers Adarsh Kanodia Akshay Raman Chen Chun Yang Li Xiang Ma LingJie Pham Quynh Anh Writers Akriti Vij Koh Hui Fang Regina Giam Sriporna Mukherjee Tan Yu Jia Printer Xpress Print Pte Ltd Tel: 6880 2881

Joel Lim Editor-in-Chief

ARTJAM ISSUE32

CONTENTS 4

CAC Press

Symphonies 6

Singapore Symphony Orchestra – Christmas Concert

The Philharmonic Orchestra – New Year’s Eve Gala Concert

Choirs & Operas 10

Singapore Lyric Opera – Where Love Is

Singapore Lyric Opera – Madama Butterfly

CAC Events 14

NTU CAC Symphonic Band – Sojourn

Nanyang Arts Festival – Articulate

Piano Ensemble – Midday Melodies

Musicals, Concerts & Theatres 21

Jersey Boys

St Jerome’s Laneway Festival ‘13

M1 Fringe Festival - Best Of

Visual Arts 30

Art Stage Singapore

Do not miss… 33

CAC Exam Welfare Pack

Event Listings

21 ISSUE32 ARTJAM

CAC PRESS Life’s Souvenirs by Joan Kwek | contributed by Cindy Neo

first got into CAC on a whim by applying for the Freshman Orientation Camp (FOC) last year. Now half a year later, I am more than glad that I sent out the application without thinking twice because what I took home from the camp was more than what I could have ever imagined.

their halls to McDonald’s for dessert at 10.30pm even though they have just showered. Friends who would host gathering in their rooms at midnight when they have morning lessons the next day and most importantly, friends that I can depend on for support and encouragement.

During the camp, the seniors were telling us about how much fun they had in their respective projects in CAC. I remember one telling the guys to join Impresario just because there are many chiobu’s and another trying to get us to join Public Affairs because we will get to interact with the big shots who come for our Campus Concerts.

A few weeks ago while I was fretting over what to write for CAC Press, I was struck with the idea of asking a graduating student who has been (and still is) in CAC to write about her experiences. I wanted to know how being in CAC has made his/her life in NTU more colourful. So, I picked up my phone and asked my Group Leader (GL) from FOC if she would kindly do me the favour. I didn’t hold high expectations because she was in the final year and had her Final Year Project to work on. However, the reply was an instantaneous “Why not”.

I started wondering why they were so passionate about what they did and it is now that I finally understand why - it is not so much of what you do during these projects, but rather who you work with. A senior once said that we are in university not simply for the grades and qualifications but also to discover ourselves. It is through these activities I’ve been part of that vastly expanded my social circle, making me step out of my comfort zone and into something much brighter, something unique. I’ve made friends who would agree to walk from

ARTJAM ISSUE32

To get a glimpse of her life in CAC, I scrolled through her newsfeed on Facebook. I came across many pictures of her with her fellow CAC friends. There were many faces that I found familiar but couldn’t assign names to. A picture paints a thousand words and a thousand pictures, a million more. Looking at those pictures simply reminded me of my most cherished moments during FOC - the times where we did all the

crazy silly things together like cheering around a tree, the nights we stayed up for Heart to Heart Talks aka HTHT’s, ending up like zombies the next day, not to mention all the time we spent together as an OG even after the camp. Looking back at her life’s souvenirs, I feel that she has led a rather fulfilling life in NTU. So here goes her story… Unlike the majority, I did not join CAC as a freshman in my first year. It was somehow an accident when I got pulled by my course mate, Kristine, to join CAC FOC as a senior in my sophomore year. In those five days of camp, I was captivated by the people and the culture of CAC. From being a stranger sitting alone in the room on the first day, I went on to establish new friendships with my fellow sub-committee programmers that I cherish up till this day. The times we had during camp and the gatherings after were indeed the most memorable which opened up more opportunities and chapters of my CAC life. I was introduced to the other special projects by my new friends, joining them as a sub-committee member in Impresario and of course, continued my involvement in FOC. I also became a main committee member in Arts From The Heart (AFTH) and now, in the Social and Welfare Committee (SWC).

What I have gained from joining CAC the most is the friends I have made. I could feel this ever so strongly especially when I am currently doing my graduation paper now in my final year, the number of people who has stepped forward to offer their help has left me very touched. Joining a club did take up a lot of time and many sacrifices had to be made. However, what you get out of pouring in long hours and effort with your friends in the CAC room does establish a strong bond between you and them. If you try saying a simple “hello” in a Whatsapp group, you’ll find yourself being kept awake the entire night laughing over conversations with them. “Many Faces, One Club”. Many faces come and go. I have seen many new faces throughout the years and most of which have become familiar. I am glad that most of them stayed on in this big family. This means they are enjoying their time as much as I did these couple of years and I’m happy for them! Oh and if you’re looking to join the Freshman Orientation Camp, please do not hesitate to sign up with us. NTU CAC FOC 13/14 runs 22nd to 26th July this year. Don’t you miss this opportunity to be part of a bigger community!

ISSUE32 ARTJAM

Singapore Symphony Orchestra Christmas Concert 2012

warm and gentle voice filled the theatre. Noticeably, the children there were filled with awe as they thought Santa had descended from his sleigh to be with them that night. Instinctively, I knew that was the voice of William Ledbetter. Having been to a couple of his concerts previously, I have grown accustomed to HIS sing-song and appealing tone. With his benevolent smile coupled with the Santa Claus voice, he began on a narration about a Christmas folklore on families and how they celebrated it. There was the opening of presents, a family dinner that consisted of minced pies, roast turkey, a Christmas log cake, and a sing-along session to end the night. With the bucolic environment set up, he concluded the story. The lights then dimmed, creating an orange hue from the proscenium towards the center of the stage. With that, the Maestro Lim Yau took stage. Raising his conducting baton, he brought the symphony to a harmonious official start with “I Wish You Christmas” by John Rutter. It was a perfect start to embrace the year’s yuletide. Well accompanied by the Singapore Symphony Chorus and the Singapore Symphony Children’s Choir, the music came out mellifluously, literally causing the audiences to lilt to the groovy melody.

ARTJAM ISSUE32

by Joel Lim

Personally, I loved the high-pitched vocals that came after with “For Unto Us A Child Is Born” from Messiah. Their unique vocal timbre combined with the orchestra’s music was a treat.

Conveying a great variety and contrast of moods and emotions, it felt as if I was being imbued with a delightful sense of joy, rising to a dramatic crescendo with every passing moment in the song.

In particular, I enjoyed the much angel-like voices of the Children’s Choir. Uniformly attired in suits and Santa hats, their bobbing heads and pleasant voices brought about an exquisite perk especially with songs like the all-time famous “The Night Before Christmas” and also “Ding Dong Merrily On High”.

I simply loved the connection. From the partnership between the conductor, orchestra and choir, to the exchange between these performers and audience, something magical, direct and spellbinding is created. It was the perfect theme to bring forth on a night like this. With the help of the irrepressible William, the usual demure sing-along sessions came about differently, this time with ebullience. At a point during the audience carol of “Silent Night”, William managed to spur the audience on to using their hand phone lights as a substitute for candlelight, a common Australian tradition. It was a sight to behold perhaps even in laughter as you see a wafture of hand phone lights lighting up the theatre. To add to distinction, William presented Maestro Lim with an electric candle to conduct. The concert was filled with Christmas songs throughout with no big variations, just sticking to theme this year. Credit, however, must be given to the great planning and practice. On my way out, I overheard a couple of compliments towards the Singapore Symphony Orchestra. I’m expecting most of the audience to return next year and perhaps, we could have something a little more different?

ISSUE32 ARTJAM

T P he

hilharmonic

rchestra

New Year’s Eve Gala by Joel Lim

Once every now and then, critics often face a challenge: How does one review a concert that’s already known to be high up the hall-of-fame?

hen you think of an orchestra, what is the first thing that comes to your mind?

I have to admit, I used to think that an orchestra was simply a couple of well-committed and hardworking individuals with the passion to play, put together with a conductor to guide them through the piece. As an audience, all I appreciated was the music. But that was then. Unknowingly, I have grown to become an avid fan of the theatres. Although I don’t particularly think of myself as a musicologist, I have been heading to concert after concert that it has become pretty much an innate interest to me. I’m no prodigy. I’m just a huge fan. Concert junkie - I guess that’s what people usually call it. I was extremely thrilled to be invited to the New Year’s Eve Gala Concert 2013 held by The Philharmonic Orchestra Singapore. Directed once more by the

ARTJAM ISSUE32

famous Lim Yau and hosted by William Ledbetter, I expected nothing less than the previous concert. As I sat down to think about the different ways I could describe such an event, a train of ‘philosophical’ thoughts clouded my mind.

It is perhaps the great versatility and the immensely expressive range of music that creates such phenomenal brilliance; one that words alone can barely describe.

There is a finite number of words in the dictionary, with a lesser amount of vocabulary we could use to describe something so extraordinary. It is perhaps the great versatility and the immensely expressive range of music that creates such phenomenal brilliance; one that words alone can barely describe. This, my friend, is the definition of music. While seated in the concert hall of School Of The Arts Singapore (SOTA) and waiting for the performance to start, I broke into a chat with the guy next to me. Whilst exchanging pleasantries, we talked about our hobbies and soon, about the orchestras of our liking. “You see… this orchestra, it’s very unique. It is like one really huge instrument with only one player playing it. The synchronization is perfect and that makes it one majestic grandeur.” That is true. The way the music articulates about the tunes and how the players manage to control their tones with the subtlety of a singer shows how experienced and adept these musicians are. Blending beautifully with each and every other instrument, the sound amplitudes superimposes perfectly, creating a magnificent harmonious intonation. This is especially so for the piece “Bacchanale from Samson & Delilah” by Camille Saint-Saens. The elegance, artistically crafted and displayed, projected an exceptional form. I loved the gesture, accents and all the other effects. It was more than a marvelous sight, let alone the music. There was no greater compliment I could have passed. Culminating the entire performance with a series of dynamic accents and increasing vigour, the performance concluded with “The Appian Way” from Pines of Rome, giving a thrilling and shattering climax upon the countdown to a new year. Happy 2013! Christmas was more than a day for me when presented with a rare chance to get an interview with the Maestro Lim Yau. I threw out a couple of questions to the Maestro:

ART JAM: How was your path to success? Lim Yau: I won’t know how to define success but I am fortunate to be able to enjoy the vigour of my work everyday. ART JAM: How did you get started? Lim Yau: Sound has fascinated me all my life. I suppose music is the natural consequence when one is filled with such curiosities. ART JAM: Do you have any wise words for aspiring people to be like you? Lim Yau: If you have the passion to pursue a life in music, then be ready to work very hard to see this dream through. ART JAM: What do you think about the young talents in Singapore? Lim Yau: The fact that there is a growing generation of young talents shows how far Singapore has grown culturally, and it is very encouraging to witness this. ART JAM: Given a chance, would you live your life again doing the same thing? Lim Yau: Without a doubt! One needs two lifetimes anyway to become a genuine conductor. ART JAM: What do you think about composing songs? Lim Yau: It is a wonderful way to channel one’s creativity. ART JAM: What is the best thing about being a conductor? Lim Yau: It is a privileged profession that one gets to be constantly in touch with the whole spectrum of the arts and music. ART JAM: Who do you look up to as musicians? Lim Yau: I admire people who are committed and sincere to their art, and are uncompromising in the standards they set for themselves and those around them. The late Leong Yoon Pin, who was at one point a teacher of mine, was such a musician.

ART JAM: It has been at least 30 years since your debut in 1981. What is your greatest achievement till date? Lim Yau: And what a ride it has been too! I’ve done almost everything a conductor has to do, concerts, operas and ballets. But I feel that my greatest achievement is having overseen the growth of young musicians through the years, some of whom are now established in the local music scene. ART JAM: Has it been a remarkable experience teaching in NAFA? Lim Yau: Naturally. I knew it was going to be an invigorating experience. I long wanted to teach within a system and NAFA provided exactly such a platform. With its multi-disciplinary infrastructure, it is the perfect environment to inspire the new generation of musician.

ISSUE32 ARTJAM

WHERE

Held on 8th December 2012, the Singapore Lyric Opera, together with guest choirs from 6 schools, put together a concert Where Love Is at the Esplanade Concert Hall. There is indeed something special about the tie-up between Christmas and the voices of children.

Love T IS

by Joan Kwek

“Christmas is not just about materialism and capitalism but is also a good reminder that we need to be good people.“ - Adrian Poon

Conductor & Music Director

ARTJAM ISSUE32

he concert started with the Singapore Lyric Opera Children’s Choir bringing 8 hymns and carols of Christmas. The child soloist who sang Tomorrow Shall Be My Dancing Day left a deep impression on me. I was in awe of this young boy who had the courage and talent to sing a solo in front of a full concert hall. Also included in the pre-intermission segment was the song composed for the Queen’s Diamond Jubilee in 2012, The Call of Wisdom, by composer and jazz musician Will Todd. The Heavenly Aeroplane was another upbeat song that had the choir snapping their fingers to the rhythm. We were presented with a spectacle after the intermission as the guest choirs came on stage dressed in brightly coloured polo tee shirts. It was a sight with more than 200 children on stage singing song after song. Included was The Christmas Song, a traditional song that is sung during every single caroling session.

The crowning glory was the main sing-a-long session which had the entire concert hall singing and clapping along. The children who couldn’t read sang from memory and got certain words wrong but still had fun participating. It was a refreshing concert and I couldn’t think of anything better to kick start the holidays after the stressful weeks of preparing for finals. I walked out of the concert hall with uplifted spirits, excited about Christmas and all my holiday plans. Christmas joy, together with children and songs, is definitely contagious. ART JAM managed to get an interview with the conductor, Adrian Poon, to find out more about his thoughts and ideas behind this successful event. ART JAM: We know that SLO has been coming up with Christmas concerts since 2009. In 2011, it was called ‘Songs of the Season, and before that, they were ‘Joy’ and ‘The Most Wonderful Time of The Year. Why do you choose to hold Christmas concerts and what is the reason behind entitling this year’s production ‘Where Love Is’? Adrian: I think everybody enjoys Christmas concerts. It’s a great time for communal sing-a-longs, participating in songs that are so cheery we can’t help but be uplifted, and generally have a great time. That to me is the best part of Christmas, that general mood of joy and cheer, and Christmas concerts are part of that for me. I’ve always had Christmas music in one form or another and it has always given me joy. I hope our concerts do the same for others; injecting a bit of happiness in whatever way we can into people’s lives is such a great thing to do. As much as Christmas is a time for festivity, I think we very often forget that joy comes in many different forms for different people. I think we often forget that we’re not always nice people and this lack of self-awareness makes things difficult for others. I don’t want to just create good music but to create a social awareness amongst all of us that Christmas is not just about materialism and capitalism but is also a good reminder that we need to be good people. Hence the title. It is taken from one of the Latin songs we are singing, Ubi Caritas, which roughly translates into “where love and charity is…”.

great that we get the audience to participate in mass singing. We often don’t realize how uplifting singing can be, and what it can do for our spirits and wellbeing. ART JAM: You have selected 6 schools to be the guest choirs for this year’s performance. Is this the largest number of guest choirs that SLO has ever had? The focus is on youths from various schools in Singapore. Are there any reasons you chose youths to be part of the performance over other groups like adults? Adrian: Yes! More than 250 people on stage! Huge feat of co-ordination! I think the idea that young people sing is great. They are, at that age, often selfconscious and they are swayed by peer and other societal pressures. We’d like to build confidence through singing, and by giving them the opportunity to sing in a beautiful venue like the Esplanade Concert Hall. I hope this opportunity gives them joy, and in turn, start realizing how lovely singing can be. ART JAM: Do you think the youths of Singapore today have what it takes to make it big in the Arts globally and why? Adrian: More and more young people nowadays in Singapore who want to be in the arts have the opportunity to train overseas and that’s a great thing. It’s good to see that parents are becoming more supportive and allowing their children to pursue this as a career path. With better training, education and development of skills, these youths are put in a better position to compete globally, raising the standards of the arts in this country. Government support in this area is crucial as well, and all over the world, we see financial cut backs in this sector, which is not helpful. Having said this, it’s a real test of our tenacity and commitment. We can make anything work if we truly believe in it. I think in Singapore, it will take a bit of time, but it will happen. There are lots of talented young people in Singapore.

ART JAM: Why did you choose to include an audience sing-a-long session which brings in audience interaction? Adrian: Audience sing-a-longs have been part of Christmas concerts everywhere for a long time. That general mood of cheer and goodwill lends itself to such a communal spirit and I think it’s

ISSUE32 ARTJAM

Puccini’s

Madama Butterfly Renata Scotto, a great interpreter of the title role in the 20 century has been quoted as saying: “A woman completely alone is what this opera is about, and I think it should close with statement.” I agree. - Andrew Sinclair

As the Singapore Lyric Opera Orchestra warmed up for the performance, I flipped through the programme booklet to analyse the contents of an act that has attracted a full-house crowd of sophisticated patrons. Minutes later, the lights dimmed and the curtains rose to reveal a clean simple set with sliding traditional shoji screens. The screens brought the visual appeal to a higher level when the silhouettes were cast onto it. Set in Nagasaki, Japan, in 1904, Act 1 began with Goro, the marriage broker (and money-grubber in my opinion), introducing Lieutenant B. F. Pinkerton to his new house with servants who were busy preparing for his temporary matrimony to 15-year old Cio-Cio-san (known as Butterfly). This hints that the opera would end in a tragedy as Butterfly was just a stepping stone in Pinkerton’s search for his American wife. A firm believer that “the Yankee wanderer is not satisfied until he captures the flowers of every shore and the love of every beautiful woman,” Pinkerton had no intentions of settling down, and claimed that he would marry in the true Japanese style – for 999 years but with the authority to annul the marriage every month. However, in stark contrast, Butterfly has set her mind to be unreservedly committed to the marriage even though she had never met Pinkerton

ARTJAM ISSUE32

by Joan Kwek

before. Her dedication to Pinkerton and his faith led to her family breaking off ties with her. My personal take on this act would be that Butterfly was deeply devoted to Pinkerton; renounced by her family but happy once Pinkerton had assured her of his love. Butterfly exuded love in its purest forms: innocent, faithful, committed and to a certain extent, foolish, because she had such unwavering trust in Pinkerton even after he left. Act 2 started 3 years after Pinkerton had returned to America. Butterfly had their son, Sorrow, after he left. By this time, Butterfly was leading her fantasy life of being an American wife, ditching traditional Japanese garb for western wear, and dressing Sorrow in clothes similar to that of Pinkerton’s. She lived in the way of the westerners and even had the American flag displayed prominently in her home. The visit from the American consul, Sharpless, gave Butterfly hope that Pinkerton would return to her side. After Sharpless learnt of Sorrow’s existence, he couldn’t bring himself to notify Butterfly of Pinkerton’s decision to leave her for good. The scene came to a close with the characters scattering flowers around the house, eager for Pinkerton’s arrival. It was a sight to behold as the ‘petals’ fluttered in the light then slowly fell to the ground.

The transition from Act 2 to 3 showed Butterfly, Butterfly’s faithful servant Suzuki, and Sorrow waiting by the door for Pinkerton’s arrival from dusk till dawn until Suzuki convinced Butterfly to take Sorrow in for a rest. Pinkerton then arrived with his American wife, Kate, and Sharpless. Kate convinced Suzuki to talk Butterfly round into giving up Sorrow, claiming that she would treat him like her own. Butterfly finally came to a realization that she could never be Mrs B. F. Pinkerton and decided to give Sorrow up. Without her child, she had no purpose in life and took her own life in despair. With her last breath, she tried to make it to the screens to see Pinkerton and Sorrow for one last time but it was too late. This story gave a contrast between disloyalty and commitment and was also reflective of a mother’s selfless love for her child. As the director, Andrew Sinclair, aptly puts it, Butterfly was a “great tragic figure”. I wasn’t sure if I should marvel at Butterfly’s resolute faith in Pinkerton or consider her as a disillusioned, love-sick woman. I felt that Mako Nishimoto nailed the coyness of Butterfly and was also able to evoke sadness during the last act. It stirred up some emotions from the feminist in me – I was bummed out by Pinkerton’s lack of emotional commitment and the fact that Butterfly was treated like an easily disposable object. I tried putting myself in Butterfly’s shoes but could not be certain if I would have fought against Pinkerton for my own rights or I would have been meek like Butterfly, letting the sacrifices I’ve made in the past come to naught.

important role in ensuring the smooth transition from Act 2 to 3 when the cast stood in freeze-frame while the orchestra played. It created a clear distinction between the two acts and also made me anticipate the final act. The production ended with rousing applause by the audience with cheers of bravo. Some of the patrons around me gave standing ovations and commented about how impressed they were. Andrew Sinclair has directed Madama Butterfly numerous times and I am quite certain that this production with the Singapore Lyric Opera is by far his best rendition of it.

Another character I found commendable was Suzuki as played by Anna Koor. What drew my attention was her traditional gait. Her interpretation of the faithful servant, together with her poignant voice, almost brought tears to my eyes when she was empathising with Butterfly’s plight. I was also in awe of conductor Joshua Kangmin Tan’s feat of coordination. He was the vital link between the orchestra and the cast. The two entities were seamless and in sync. For instance, the orchestra played an

ISSUE32 ARTJAM

NTU CAC Symphonic Band presents:

SOJOURN by Sriporna Mukherjee

Back to back with 20 years of Sojourn, NTUSB is here once again to impress us with their all virtuosic performance.

enowned French Romantic writer Victor Hugo once said: Music expresses that which cannot be said and on which it is impossible to be silent. Indeed, the NTU Symphonic Band, in its concert Sojourn 2013, put up a mesmerizing show for the audience on the 1st of February in Singapore Conference Hall. Sojourn 2013 marked the 20th year of the Sojourn concert series, a platform for dedicated musicians to reach out to an audience. Having made several successful tours and music exchanges to Germany, Beijing, Shanghai, Osaka, and Taiwan, and participated in the World Music Contest in 1997, 2001, 2005 and 2009, the band has always strived to learn from each

ARTJAM ISSUE32

of its unique experiences. That said, Sojourn 2013 by the NTUSB clearly reflected its musiciansâ&#x20AC;&#x2122; passion fo rmusic. Hosted by Mr Mohd Salleh and conducted by the esteemed Resident Conductor of the NTU Symphonic Band, Takehiro Oura, the concert opened with a scintillating piece composed by Alfred Reed. The rhythm of all the musicians, especially the clarinet and percussion players, gave a wonderful start to the evening. Following this, the band performed Rossano Galanteâ&#x20AC;&#x2122;s Transcendent Journey. The grandeur of this composition came not only from the thrilling focus on

the trombone and euphonium but also from a beautiful slow lyric section in it. The next piece was ‘Toccata For A New Age’ by Frank Ericson, which reflected the work of a more mature composer. Depicting the mountains as a convergence point of the spiritual and material worlds, Franco Cesarini’s ‘Mountain Majesty’ evoked a wonderful rhythm in the hall with the alternate clarinet and flute melodies. The final piece for the first half, ‘New World Dances’ by Martin Ellerby, was meant to recreate the pioneering spirit of the journey across America. The three parts of the composition: Earth Dance, Moon Dance and Sun Dance captured the mood and essence of each of these elements with sheer finesse. The audience definitely travelled around the globe with this magical piece by the musicians! A medley of popular tunes from the 1920s to 1940s Broadway musicals marked the beginning of the second half of the event. The musicians then performed ‘Shichi-Go-San’ (Seven-Five-Three) by Itaru Sakai. It is a traditional Japanese festival held to wish wholesome growth of girls aged seven, boys five and for children of age three. The piece deftly captures the experiences of a seven-year-old sister and five- and three-year-old brothers with liveliness and vigour. The Nanyang Winds, comprising of dedicated musicians from the NTU alumni, who did not give up their love for music or their fellow musicians even years after graduation, performed the ‘Sakura Song’ and ‘The Year of the Dragon’. The latter composition is known to be especially challenging but the band rose to the challenge: the excellent synchronization of all the instruments along with the captivating drum rolls left a great impact on the audience. The best was definitely saved for the last when the resonant beats and symphonic tunes provided a perfect combination of resplendence and melody to the finale of the show. The memorable evening came to a close with a zestful celebratory performance by the band, along with applause from the audience, congratulating the band’s resident conductor Mr Takehiro Oura and the talented musicians for the brilliant musical show they had knitted over the evening. The journey with the clarinets, flutes, trumpets, euphoniums and all the other musical instruments was definitely one that everyone will reminisce. NTU Symphonic Band’s Sojourn 2013 enthralled the audience with their gripping compositions and left everyone with the melodious tunes lingering on their minds.

ISSUE32 ARTJAM

Nanyang Arts Festival

ART iculate

urrently into its eleventh year, the theme for this year's Nanyang Arts Festival (NAF) is Articulate, which puts the emphasis on selfexpression through pursuit of the arts and cultural activities. The opening ceremony took place on 24 January, a Thursday afternoon. The event got off to a great start with a performance by the Hall 4 band. Rendering radio-friendly songs with much finesse, the bandâ&#x20AC;&#x2122;s choice of songs displayed their various musical capabilities. They started with a cover of Radioheadâ&#x20AC;&#x2122;s High and Dry, which showcased the vocalist's smooth voice. The gentleness of his voice, with hints of desperation in it, transformed what originally was, in my impression, a song with harsh and threatening undertones, into a tender plea for love. Their next song was Starlight by Muse. The keyboardist and the drummer showed good rapport in the way they coordinated with each other at the beginning of the song. The lead vocalist, who had a strong and expressive voice, hit the high falsetto notes with ease. Lastly, their performance of Breakeven by The Script put the spotlight on the interaction between the bass and electric guitars. Just as I was looking forward to more surprises from them, their set ended. That was when I knew they are a band to look out for. Representing the CAC String Orchestra, a string quartet of three violinists and one cello player followed

ARTJAM ISSUE32

by Koh Hui Fang

up with an equally engaging act. Their first piece was a sprightly and cheerful one which gradually picks up in pace. I found the lightness of it especially suitable for that particular breezy afternoon. Meanwhile, their second piece, a mellow one, had a sort of regal grace and refined quality to it. The President of CAC, Lee Jian Kai, then gave a speech which touched on how, among other things, the festival engaged external organisations to conduct workshops to facilitate the appreciation of art and cultural activities at NTU. He also gave mention to one of the highlights of the event: the pillars of the Nanyang Auditorium which will be used for graffiti art. Next to perform were the dancers of Dancesport Academy, who wowed the crowd with their sizzlinghot ballroom dances. The four couples, who smiled radiantly throughout, exuded confident sensuality as they gyrated their hips and executed sharp and precise moves with passion. As the music became slower, the dancersâ&#x20AC;&#x2122; movements change: there were more spinning and hand gestures. One could also never miss the chemistry between the couples as they looked into each otherâ&#x20AC;&#x2122;s eyes. Next up was Jackmagik with his magic show. His confident demeanor was evident right from the start when he sat on the stage while waiting for the emcees to introduce him, his eyes radiating glee. Overall, his magic tricks were intriguing enough. But what made him really stand out was his sense of humour, especially in his interaction with the audience. No one was spared from his acerbic tongue: he made fun of the low-cut shirts of the male dancers of the Dancesport Academy, cracked jokes at the guests and made them do mildly embarrassing things, and still he manages to convince them that it is all done in the name of good-natured fun.

ISSUE32 ARTJAM

Possessing a fine grasp of rhythm, he kept the energy level of the performance high by masterfully playing with expectations. For instance, he makes the act of swallowing a balloon longer than his arm seems impossible, which impresses the audience more when he successfully swallowed it. Also, in the middle of the performance, he had playfully coerced one of the audience members into parting with his $50 note for a kiwi fruit, saying something along the lines of, “This is not a kiwi. It is an organic kiwi fruit. It is worth $55. See, I gave you a $5 discount!” He then proceeded to drive him off the stage. Towards the end of his performance, he shredded some tissue and made snow out of tissue flakes and a paper fan. Just as the audience thought that this was the end of the segment, the reluctant kiwi owner confronted him. This is when the clever twist comes in: the magician sliced the kiwi open to reveal the $50 note which had the owner’s signature on it, catching everyone by surprise. In contrast to the lightheartedness of the magic show, Soul Funky, NTU’s popping and locking club, were all serious business. They mixed feminine elements with masculine ones, like muscle-flexing, to create a fusion of glamour and spunk with a lot of attitude. Words can hardly capture the visual impact of their agile moves and team rapport.

ARTJAM ISSUE32

Last but definitely not least were Jack and Rai, a well-loved local acoustic duo. With them, you get the feeling that one plus one is actually more than two. Their minimalist approach to setup also provides the perfect foil to their musical talent. They performed a mixture of covers, such as Foster the People’s Pumped Up Kicks, and originals. Of particular note was a tongue-in-cheek song they had written after being inspired by Fiona Xie, a celebrity who had run down Orchard Road in her bikini for her TV role, and a song about coming together despite apparent differences. “We are the poster boys for racial harmony,” they quipped. Jokes aside, one certainly felt warmth and positivity emanating from music. One of the highlights of their segment was when Rai sang a Mandarin song, called 简单爱 (loosely translated as Simple Love), by Jay Chou. Interestingly, when singing in Mandarin, Rai’s voice differs from his usual voice in that it seemed higher in pitch. After the song, playful banter ensued when Jack decided to grill Rai on his understanding of the lyrics. Lastly, they finished up with a Beatles cover. The opening ceremony then drew to a close with guest-of-honour Associate Professor Lok Tat Seng pouring coke into an ice sculpture of the words “NAF 13”.

ISSUE32 ARTJAM

A cozy Friday afternoon with

MIDDAY MELODIES - A piano concert presented by NTU CAC Piano Ensemble by Akriti Vij

“The piano keys are black and white, but they sound like a million colors in your mind.” - Maria Cristina Mena

he first thing I did as I entered the Nanyang Auditorium was to pick up the Programme Sheet. I experienced sheer delight on seeing the works of the legendary composers, Wolfgang Amadeus Mozart, Robert Schumann, Ludwig van Beethoven, and Franz Schubert on the list. The concert commenced with Mozart’s ‘Sonata in D Major’, with its different movements representing a diverse flurry of playing styles, ranging from strong and dynamic, to gentler and fresher playing styles. One of the highlights was the skillful rendition of the frills and build-ups featured in the third movement. This was followed by two compositions by Schumann, and an ingenious piece by Beethoven. The last segment included three pieces by Schubert. My personal favorite out of all the performances was undoubtedly ‘Marches Caract é Ristiques in C major (No.2)’, performed by Lin Wenyi, and Li Xiaoyang. The pianists proficiently executed the melody, holding the audience mesmerized with the variations in emotion, pace and the mood of this turbulent, romantic song. The best aspect of the performances was the grace with which the pieces were played. The transitions

ARTJAM ISSUE32

between various sections were impressively smooth and competent, and the players seemed to be at ease with their music. The club members and organizers were extremely cordial and welcoming, and the emcee also did a convincing job, adding to the feel of the concert. While the show could have catered to a wider and more varied audience by featuring versatile genres such as Jazz and Rock-n-Roll, the classical-music lovers couldn’t have asked for anything better. Personally, I wish they included a few solos. Later, when I showed a video clip of the concert to a friend who is a music enthusiast, I couldn’t help but agree with him, “This is one of the best university concerts I have ever seen!” Hence, the Midday Melodies concert qualifies as yet another successful endeavour by the Piano Ensemble, which has been striving to promote piano playing and appreciation since 2002. If you missed this concert, don’t worry. You can catch the Piano Ensemble’s annual concert titled ‘Eleganza’, on the 23rd of March.

JERSEY BOYS The story of Frankie Vallie & The Four Season

by Akriti Vij

had not heard of “The Jersey Boys” before I was assigned to cover the musical. A single online search brought out rave reviews that the show had gathered from audiences in Las Vegas, New York, Detroit and many more, as well as a string of awards including the 2006 Tony Award for Best Musical. After this glorious running, it promised to take Singapore by storm with its fourteen week stint.

Spring represented the dawn of the band. The first section introduced the blue-collar boys - Frankie Valli, Tommy DeVito and Nick Massi, who wanted to make music, but faced many challenges including shortage of funds, lack of audience, and even a jail term. For someone who did not have prior background knowledge about the band, however, the story was initially a little hard to catch on to.

The Jersey Boys depicts the journey of The Four Seasons, a successful 1960s rock and roll band, right from oblivion and obscurity, to being immortalised in the Rock and Roll Hall Of Fame. Being a rock and roll enthusiast myself, I was raring to go on this journey into that colorful era.

All was well soon enough with the song “Cry for Me”, which marked a highlight, as Bob Gaudio made his entry into the band- marking the start of a glorious period. Summer represented the peak of the band’s stardom. There were many high points, including the breathtaking recreation of the band’s most popular hits, “Sherry”, “Big Girls Don’t Cry” and one of my personal favorites, “Walk Like a Man”.

Using the four seasons as a metaphor to present the story of Frankie Valli and The Four Seasons, the musical, a delightful marathon of over 25 songs, provided two hours of fast-paced entertainment.

Fall depicted the band going through personal clashes, while being neck-deep in debt did not help

ISSUE32 ARTJAM

A sensational theatrical dynamite with dialogues leaving audiences in chuckles and laughter over the wit, while the authentic jersey language simply enhanced it’s ‘already amazing’ musical.

ARTJAM ISSUE32

the situation. Winter showed Franki Valli taking the front seat as lead singer, and Jaco Van Rensburg’s soulful rendition of Valli’s solo, “Can’t Take My Eyes Off You”, was clearly a winner that brought tears to the eyes. The final sequence depicting The Four Seasons’ induction into the Rock and Roll Hall of Fame 1990 and the reunion of the original members on stage for one last time, was welcomed amidst crazy cheering by the audience, and a well-deserved standing ovation. One unique aspect of the musical was certainly the casting. The performances were compelling, exploring the intricacies of their characters and their relationships. Jersey Boys could easily have become a monotonous success story, but it went beyond that and explored the various shades of grey by touching on emotions like jealousy, insecurity, lust, and trauma. A surprising element was the section depicting Frankie Valli’s teenage daughter, Francine, who succumbed to a drug overdose. This inspired the heartfelt song, “Fallen Angel”, which was one of the most emotionally appealing renditions.

Another shining example is the character of Tommy de Vito who, on one hand, served to be a guardian to the band, yet on the other, led to its doom because of his disorderly and negative ways. The portrayal of this complex character by Daniel Buys was commendable - he made it much more than just a love-hate relationship by skillfully representing the depth of his character. In addition, the lighting and fluid transitions between different sequences transformed the stage from a recording studio to a wild west roadway to a rustic Jersey neighborhood in a jiffy. The dialogues could be counted upon to have the audience in laughter, or chuckling over the wit, while the authentic Jersey language added to the feel. Kudos to the creative team! Not surprisingly, I picked up a copy of the original cast recording as soon as I walked out. I am still swaying and tapping to music- and I appreciate rock and roll music from a new perspective altogether.

ISSUE32 ARTJAM

by Koh Hui Fang

t all started as a party in the laneway of St. Jerome’s Bar in Melbourne in 2006. Since then, armed with the mission of bringing fresh and great music to music-lovers in unique settings, St. Jerome’s Laneway Festival has expanded its reach to include other cities in Australia, New Zealand and Singapore. 2013 marks the third time the Laneway Festival has graced our shores, as well as a much-welcomed move in venue from Fort Canning Green to the nearly-twiceas-large Meadow at Gardens by the Bay. This newfound spaciousness makes it possible for the festivalgoers to have fun the way they want: squeeze with other revelers right in front of the stage, or leisurely sit down on the lawn with a group of friends.

What has not changed, though, is the concept of having two stages, which minimizes waiting time between each act, thus keeping the audience’s spirits high. First to perform was duo Kings of Convenience whose winning combination of lush acoustic sounds and ruminative lyrics drew a considerably large daytime crowd. They broke the silence, pregnant with anticipation, with the lines of My Ship Isn’t Pretty: “The telegraph gave us hope / before was the silence and the panic it brought.” Their own lyrics, plucked from the song Homesick, best describes their sound: two soft voices blended in perfection. Erlend Oye, geeky eccentricity embodied, stole the show with his kooky dance moves and comical facial expressions, seemingly channeling the persona of his other band The Whitest Boy Alive. Also, the rearrangement of some songs, such as Boat Behind, to include elements like disco made the performance more upbeat than their previous soldout concerts here in 2010. The climax undoubtedly came at the end when they sang I’d Rather Dance with You, a song with quirkily charming lines like, “I’d rather dance with you than talk with you,” and “I’ll make you laugh by acting like the guy who sings.”

ARTJAM ISSUE32

The next act, Polica, was a delicious mix of contradictions in more ways than one. The way her boyish pixie cut clashed harmoniously with her colourful dress is in effect her musical ideology made manifest. The hard nature of her electronic music, which taps on the pairing of R&B with the use of Auto-Tune, interacted with her soft and ritualistic dance movements to offer both aural and visual pleasure. At that point, giddy with excitement from soaking up the festival’s atmosphere and the good weather, I scribbled some New-Agey line about offering my skin to the sun. Yikes, if only I knew…. Next up was Cloud Nothings, whose aggressive ear-piercing music I found hard to stomach at first, though wondered if the brutality of the sound was a kind of protective armor around some fragility inside. A few songs into the set, their music actually became mellower, as if as a reward for the audience who had persevered and stayed behind. To me it felt as if I had gone through a psychological journey with them. While they got their angst out of the system, I learned something new: learning to appreciate music that is radically different from what you are normally used to is like accepting the fact that there are many facets, not all pretty, to one’s own personality. That was also when I started noticing oddities around me with wide-eyed glee: a man in a traditional kilt costume, people wearing Red Indian headgears, body-surfing inflatable killer whales, people playing with a beach ball, someone fashioning a bandana out of a plastic bag, and people raising cards of, among other things, the rainbow pop-tart cat meme. After Cloud Nothings was Divine Fits who kept the audience on an adrenaline high with their songs which remind one of 80’s New-Wave synth-pop. Hailed as a supergroup, which refers to a group formed by alreadyfamous musicians, by industry insiders, the group consists of Britt Daniel from Spoon, Dan Boeckner

formerly from Wolf Parade and Handsome Furs, and drummer Sam Brown from the New Bomb Turks. When it was Of Monsters and Men’s turn to perform, the excitement was palpable in the air. Many raised their hands and screamed in welcome when the band emerged from the backstage; their excitability was such that they cheered whenever the band members tested each instrument. In one of those precious moments when the crowd came together as one, the audience waved their hands in unison to the uplifting music intricately enriched with instruments like the accordion and the trumpet. There was much interaction between the performers and the audience; the audience dutifully followed clapping and singing instructions, making each enthusiastic member of the audience as much a performer as those onstage. The positive vibes of their songs also created a sense of euphoria in the audience, giving them something to believe in; the trumpet acted as a rallying cry for this army against losing hope. Enjoyable as it was, it would have been perfect for me, as a fan, if they had performed the more downtempo Slow and Steady, a song I first heard on local radio station Lush 99.5 while walking down a slope in school on a breezy morning (yes, it made such an impact on me). The latent power as suggested in the simple lines, “I move slow and steady / but I feel like a waterfall” struck me such that just hearing that song once made me decide on buying their album. By this time, any romantic notion I had about basking in the sun’s glory had evaporated, leaving behind a scribbled agonized plea/question of “When is the sun ever going to set?”

ISSUE32 ARTJAM

Canadian rock duo Japandroids roused it up with their urgent semi-rapping and highly energetic guitar playing. Then came what I felt was the turning point in the programme where the emphasis switched to more synth-heavy music at night. Six years after Nicholas Jaar’s debut on the electronic music scene at the age of 17, he has a debut album to his name and is now running his own record label as well as an art house. As the blazing-hot sun began to set, the crowd began to thicken. With the bright sun gone, other things started coming into focus: the towering Marina Bay Sands building, the ever-changing lights of the Singapore Flyer, and the Supertrees in the garden itself. The headlining act at sundown was none other than Kimbra who owned the stage with her presence. Dressed in a blue eyeball-grabbing cupcake-style dress, she put up a hypnotizingly mind-blowing performance, belting out one song after another with her powerful and soulful voice. Her weapon of choice was a tambourine, which she used to much dramatic effect. I got away thinking: this is a woman who knows what she wants and how to fight for it. Don’t mess with her.

ARTJAM ISSUE32

As if to let the audience catch a breath after Kimbra’s performance, the next act Real Estate played decidedly slower music dripping with nostalgia. Even though the lead singer’s voice had an warmly reassuring and endearing quality to it, their music made me feel wistful because I felt as if they were already not there. The audience’s energy level surged again with Mercury Prize-winner Alt-J whose musical style is fairly complicated with features like piano-pounding notes, heavy thumping bass beats that forced me to adopt them as my heartbeat, and a cappella elements such as harmonized chanting. I found it interesting how the fervent reactions of the audience contrasted with the somewhat detached quality of the music, especially the voice of the lead singer who sang in a provocative yet lazy drawl with cheeky swagger and a devil-may-care attitude. Next was Yeasayer, who was part of 2011’s festival lineup, served up some intense R&B-style ballads set to what seemed like disco rock music with a reggae tinge. Frontman Chris Keating’s impassioned voice, full of emotions like agonized violence, got the audience all revved up. One of the tracks that were popular with the crowd was O.N.E., which was featured on the FIFA 11’s soundtrack; many started shuffling their feet, in a way that was half-football move, and halfIrish jig.

Then came Bat for Lashes. Under the full moon that night, lead singer Natasha Khan, looking like a priestess draped in a white robe with long flowing sleeves and wielding a drumstick like a wand, cast her spell on the audience with her dances and hauntingly ethereal voice. The second last act was Tame Impala, a psychedelic rock band which uses modern sound technology to achieve an epic and partly retro-sounding aesthetic. Gotyeâ&#x20AC;&#x2122;s set was an aural and visual feast: animated music videos were specially created for each song. For instance, the surreal animated video for Smoke and Mirrors, a song about the indiscernible layers of illusion and reality, featured optical illusions and visuals like a corporate man unraveling himself like a Russian doll. The visuals were disturbing in nature and helped to express the sobering messages behind his songs, something his essentially enjoyable music cannot achieve. In addition, his much-anticipated duet with Kimbra in his runaway hit Somebody I Used to Know did not disappoint one bit. For me and many others who were foolhardy to stay through the 12-hour marathon of great music in that weather, the experience was unforgettable. Will I go again next year? You bet!

Special thanks to Chugg Entertainment and Laneway Festival Singapore for having us at the event. Photo credit for Gotye, Tame Impala & Bat for Lashes : Aloysius Lim c/o Chugg Entertainment

ISSUE32 ARTJAM

The

“Best Of” Storytelling by Regina Giam

ne backdrop, one chair, and one monologue in one hour. The Necessary Stage’s production of “Best Of” on 27 January 2013, for the ninth year of the M1 Singapore Fringe Festival, was simply good old fashioned storytelling at its best. The one-woman show performed outstandingly by actress Siti Khalijah, was created just for her by Director Alvin Tan and playwright Haresh Sharma. Written based on accounts from interviews with Malay women and Siti herself, “Best Of” is a telling of the story of an unnamed, ordinary Malay woman’s life.

when they both went to school at ITE Bedok, and runs with that thread from her past to talk about her childhood, her friends and how she met her husband through her cousin. As she brings the audience along on her day, traveling from the prison to the Syariah Courts, and then to the hospital, she continuously weaves memories from her past with her present, from which we learn that her life journey is not a smooth sailing one. Beneath her spirited persona and witty comments, she is a woman struggling to get out of a dysfunctional marriage while having to care for her cancer-stricken mother.

Stepping on stage as she begins her monologue, before sitting centre stage under the spotlight, Siti’s character seemingly welcomes and invites the audience in, to listen to her life story. Her revelation starts off on a conversational note; she shares that she is on her way to visit her cousin in prison. She recounts how her friendship with her cousin grew

Through her account of life and her encounters and observations of society, pertinent social issues and issues specifically concerning Muslim women were raised. Under Syariah Court laws, a woman cannot divorce her husband – only if her decision were endorsed by her husband. So Siti’s character remains trapped in her marriage because her husband refuses

ARTJAM ISSUE32

to set her free. The common perception of Malays as being lazy was also brought up, to which Siti’s character asserts strongly that such a stereotype sadly reflects a lack of understanding of the Malay culture. The Malays place more importance on values such as kindness to others, and care less about chasing after material wealth. And just because they strive less to acquire whatever society equates to as indicators of success, it does not at all warrant such a label. Still, despite all the challenges Siti’s character faces, she never loses spirit and fights for her own happiness. Her husband eventually agrees to divorce her, after she sought her cousin’s help in speaking to her husband about it. An hour after beginning her story, Siti’s character walked off stage to a standing ovation – a fitting testament indeed to Sharma’s skill at crafting a simple but issue-laden story, and Siti’s ability to captivate the audience simply with her storytelling.

ISSUE32 ARTJAM

ART STAGE SINGAPORE by Jin Chuqing

hen I first heard about Art Stage Singapore, I thought it was a brilliant idea to showcase the recent works of Southeastern artists but I never expected more than a hundred international artists in such a huge exhibition hall, nor did I expect the crowd. The exhibition was eye-opening from the beginning, mind-broadening at the end. I walked into the exhibition hall and some French words plucked my nerves. I turned around and saw two elegantly dressed women appraising a modern artist: “I never know he does this kind of work.” With my pathetic French, I could not understand the rest of the conversation. Meanwhile, another man walked by in haste. He was loud on his phone. “No, that painting is too expensive! What about the other one?” So the exhibition for me started with glamour. I could smell the mixture of champagne and fine perfume from a distance. Unfamiliar names of modern artists flew over

ARTJAM ISSUE32

my eyes and towards the art buyers and collectors who knew them and their prices like the palms of their hands. “This painting is 48,000 Singapore dollars.” An exhibitor said to her two distinguished guests. The atmosphere started to change when a peculiar man with a hat appeared in front of me. He asked if he could take a picture with me. I was shocked, wondering since when have I become a superstar, but I nodded. He said that he was from a gallery as well, but apparently his gallery was not invited to the fair. Disregarding my astonished expression, he showed me the inside of his little black suit. It was entirely covered by pictures of artworks, as tiny as matchboxes. Some of them were marked as “sold”. Those pictures were in his suit, his waistcoat, even in his hat. “These are all from famous artists,” he started a guided tour of his suit, “This is from A, B, and C… Don’t they sound familiar?” I automatically nodded

without recognizing any of the names. Then he said, “Since you are here to buy artworks, you might as well consider buying from me.” Bang! That was his purpose! Of course I politely refused and wished him good luck. He seemed a little disappointed but quickly adjusted his expressions and said, “If you ever change your mind, just look for the man with a hat.” He then proceeded to another person who looked like a student. I quickly walked away before I stopped and stared at myself. I looked nothing like a wealthy art collector but why would he even bother to get my attention? I concluded that it was perhaps a performance art in which I was luckily involved. However, it does pull out one issue. There are people working real hard to make a living with art only because they loved it. In Art Stage Singapore, there are 131 galleries from all over the world, as close as Singapore, as far as St Petersburg. They flew their gigantic paintings and project stages all the way to this place to build awareness, inspire the local artists and sell. Having realized this, the exhibitors and artworks were suddenly not that far away. The more I talked to the exhibitors, the more of the artistic world revealed itself to my restricted eyes. Now, I would like to share some of the most intriguing works with you. State of Being (Hand) In my opinion, this is one of the most beautiful installations on this exhibition. Chiharu Shiota, the creator from Japan, was one of the few artists whose works were displayed in more than one gallery for this exhibition. The idea is simple: a hand is tangled by countless tightened black threads, hanging in the air. Chiharu Shiota says: “The creation with threads is a reflection of my own feelings. A thread can be replaced by feelings. If I weave something and it turns out to by ugly, twisted or knotted, then such must have been my feelings when I was working.” The hand was made to be hanging because of her dream of “drawing in the air”.

State of Being (Hand) By Chiharu Shiota (Japan)

“The creation with threads is a reflection of my own feelings. “

ISSUE32 ARTJAM

Overground Overground comprises of 12 identical head of one terrorist. A section of each head is replaced by a miniature room where different stories are displayed as tiny sculptures, each lit by a yellow bulb. Walking anticlockwise, you will see portraits of an attack, an interrogation, a person changing a light bulb, a person genuflecting at the foot of a giant statue, a person trapped still in a transparent cube etc. Completing the circle, you will see a firmly seated person looking through a telescope. What is he looking at? Is he expecting a brighter future or content with his current state of being? In my humble opinion, the beauty of this art work lies in ambiguity and paradox. The terrorist is conflicting with himself in subconscious, as is the first paradox. The stories happening in reality are depicted in one man’s head, as is the second paradox. Standing inside the circle, you will see nothing but 12 identical eyes gazing into the void. But if you stand outside the circle, you will see stories, as is the third paradox. The ambiguity could be told from the unreadable expression of the terrorist, or the opened ended stories in his head. Ewen Coates, the creator of Overground, is an Australian artist who is interested in what is going on in people’s head. Overground was originally displayed in Anna Pappas Gallery in Melbourne.

Untitled Cows There are many Indonesian artists in this exhibition, and Azhar Horo is one of them. His paintings of the cows caught my attention with the intense conflict beneath. I tried to talk to the exhibitors about its message but they just stared back at me, puzzled. The only thing they said in English was “Animal Farm”. I suppose that could give us some hint into understanding this painting.

In the book Animal Farm by George Orwell, cows are compared to the most ordinary farmers and workers. However, in this painting, two cows are crashing into each other even if their flesh and blood are spilled all over the place. There are two English sentences on the painting “NO FABLE”, “NO GAME OVER”. If Animal Farm is a fable, this painting could be conveying an opposite message. Perhaps this time, it is the cows that are fighting for liberation and it will not end with the pigs becoming humans, aka, GAME OVER.

ARTJAM ISSUE32

Exam ack P e r a Welf

y a w ivea

On 12th Nov 2012, the Cultural Activities Club (CAC) set up a booth in the Students Activities Centre to distribute CACâ&#x20AC;&#x2122;s very own Exam Welfare Package to its members. As the brainchild of the previous main committee, the event was once again organized this academic year with the aim of providing CAC members a form of welfare during the strenuous exam period and to foster a sense of belonging within the Club. Sponsored by a diverse group of organizations, the 500 packages included items like snacks, foolscap paper and stationery. The event was planned over two months during which sponsorships were sought and items were collected and personally packed by the committee members. To ensure that the CAC members are aware of the event, a Facebook page was set up, detailing the location of the event, the items they can expect in the package and the official sponsoring organizations. In addition, a poster was also designed to enhance the publicity. With the coordinated efforts of the committee, the event proved to be a hit and within the first hour of distribution, over a hundred packages were distributed to the enthusiastic members. With such positive response, the legacy of the CAC Exam Welfare Package will continue into the second half of the academic year and also in successive generations of future CAC members. Do keep your heads up for the next best thing on 10th April 2013!

NTU CAC would like to thank the following for their continued support:

ISSUE32 ARTJAM

Event Listings February

8-17

Rachael Yamagata – Live!

Mosaic Music Festival – Singapore Esplanade

7.30pm - Esplanade Concert Hall

Featuring Mutemath, Tokyo Ska Paradise Orchestra and music-making workshops, you can be sure to find something that suits you!

Impresario Semi-finals 1.00pm - The Cathay

NTU CAC Jazz and Blues – Jazz In A Can 11.45-12.30pm - Student Activities Centre

NTU CAC Chinese Orchestra Annual Concert – Transient Reminiscences 2013

American Songstress Rachael Yamagata is back in Singapore for the fifth time with the release of her new EP “Heavyweight”!

NTU CAC String Orchestra – Prism’13

7.30pm - Esplanade Recital Studio

David Choi in Singapore 2013

More information can be found at www.mosaicmusicfestival.com

10 & 29

The Philharmonic Orchestra Singapore – Brahms Tonight! SOTA Concert Hall 10 March 2013 - Symphonies No. 4 and No. 1 29 March 2013 - Symphonies No. 3 and No. 2

12-29

7.00pm - Singapore Conference Hall

Nanyang Arts Festival Closing Ceremony 12.00-2.00pm - Nanyang Auditorium Foyer

March 1

9.00pm - Hard Rock Cafe Singer/Songwriter David Choi returns to Singapore once again to perform his hits! He will be performing with a full band so you won’t want to miss this!

Time Travel with Melvyn Tan: A History of the Piano In aid of Viva Foundation for Children with Cancer

7.30pm - Esplanade

Pre-Concert Talk: 6.30pm, Library@Esplanade

NTU CAC Contemporary Dance – BlackBox Boot Camp 8.00pm - Dama Centre Black Box

ARTJAM ISSUE32

A brand new circus spectacular comes to Marina Bay Sands direct from a sold-out world-premiere season in Tokyo. 20 of the world’s best circus professionals demonstrate the peak of their craft in a breathtaking display of balance, contortion, stamina and aerial artistry, performed just inches from your seat.

Singapore Symphony Orchestra – Brahms Doubled Featuring: HINDEMITH Nobilissima vision: Suite (21’) BRAHMS Symphony No. 3 in F Major, Op. 90 (33’) BRAHMS Concerto for Violin & Cello in A minor, Op. 102 (32’)

Tuesday - Thursday: 8.00pm Friday (22 March): 8.00pm Friday (15 & 29 March): 7.00pm Saturday: 3.00pm & 8.00pm Sunday: 1.00pm & 5.00pm Sands Theatre

NTU CAC Choir Annual Concert – Catemus 7.00pm - Singapore Conference Hall 7.30pm Yong Siew Toh Conservatory of Music Concert Hall Melvyn, world-renowned for his exploration of early music, gives back by performing in aid of the Viva Foundation for Children with Cancer. Join him as he continues his passion for Beethoven, Mozart and French music in a magical journey through 250 years of musical history from the Baroque to the 20th century. A spellbinding first-of-its-kind concert here on not one, but three keyboards that will nourish and ravish your mind and soul!

NTU CAC Dragon & Lion Dance Troupe – 9th Institutional Lion Dance Competition 11.00am - The Cathay

Impresario Grand Finals

27-31

KUMAR: What Makes A Man A Man (R18)

24 April – 19 May

Shakespeare In The Park - Othello

Wed - Fri, 8.00pm Sat, 4.00pm & 8.00pm Sun, 2.00pm & 6.00pm Esplanade Theatre What makes a MAN a MAN? Only Kumar can answer that with wicked humour and side-splitting laughs. This is One Round of stand-up Comedy heaven you can’t afford to miss!

29 March – 7 May

6.30pm - Nanyang Auditorium You would also be dazzled by the singing, dancing and composing talents of our grand finalists! With guest artistes like Xiao Gui making an appearance last year, head down to Impresario 2013 Grand Finals to find out who the guest artiste for this year would be. Tickets are available at cacimpresario.com

22-23

Singapore Symphony Orchestra – Music of The Night 7.30pm - SOTA Concert Hall The SSO and Principal Guest Conductor Okko Kamu move to the School of the Arts for two evenings of concert favourites, featuring Dvořák’s timeless Serenade for Strings in E major and Mozart’s effervescent Haffner Symphony. Pianist Thomas Hecht takes on Falla’s Nights in the Gardens of Spain, a work initially conceived as a series of nocturnes incorporating elements of folk music from the composer’s native Andalusia.

Singapore Symphony Orchestra Rozhdestvensky . Rachmaninov 7.30PM - Esplanade Concert Hall

NTU CAC Harmnonica Band – Vivace XIII 7.30pm - SOTA Concert Hall

NTU CAC Piano Ensemble – Eleganza: Melange de Musique 7.30pm - Lee Foundation Theatre (NAFA)

Guitar Ensemble – Nocturne 2013 7.30pm - NAFA 3, Bencoolen Street

8 Women produced by Sing’theatre Tuesday – Friday, 8.00pm Saturday & Sunday, 3.00pm & 8.00pm SOTA Drama Theatre

7.30pm - Fort Canning

25 April – 12 May Rabbit Hole

DBS Arts Centre

To celebrate International Women’s Day on 8th March, Sing’theatre celebrates WOMEN by staging this murdermystery play turned into a critically acclaimed movie of the same name with Catherine Deneuve. Directed by multi award winner, Samantha Scott-Blackhall and casting Tan Kheng Hwa and New Swee Lin, this production will keep you entertained till the very end!

Winner of the 2007 Pulitzer Prize, Rabbit Hole is a vivid, hopeful, honest and unexpectedly witty portrait of a family searching for that remains possible in the most impossible of all situations. Join Adrian Pang, Janice Koh and the rest of the cast in their search for comfort in the darkest of places and for a path that will lead them back into the light of the day.

May

Joint Dance Concert 7.00pm - Kallang Theatre Presented annually, JDC is back! This year’s theme, Retrospection, examines the elements of past and present. Through passionate physical moments, 8 dance groups in NTU CAC will take viewers on a journey through time.

GALA: THE LABÈQUE SISTERS POULENC POUR DEUX (SSO) Esplanade Concert Hall

April

Singapore Symphony Orchestra – Grand Romantics

24 May - 16 June

ONE Fighting Championship: Kings and Champions

Esplanade Concert Hall

Singapore Indoor Stadium Fans can expect the Singapore Indoor Stadium to once again roar to life as the best mixed martial artists in Asia clash on the largest stage in Asian MMA.

10 April – 4 May

The Importance of Being Earnest presented by W!ld Rice Drama Centre Theatre A mesmerizing tale of courtship, hidden identities and the foibles of high society in a truly W!ld way. The story follows the paths of two friends, Jack and Algernon, who spin a sticky web of deception to court their lovely leading ladies. But, will the truth about their deception prove to be too much for their love to bear? Watch the cast’s take on Oscar Wilde’s most enduring popular play and be prepared for an evening of solid performances and never-ending laughter!

Saturday and Sunday 2.00pm and 8.00pm Grand Theatre, Mastercard Theatre, Marina Bay Sands Dirty Dancing is an unprecedented live experience, exploding with heart-pounding music, passionate romance and sensationally sexy dancing. Featuring hit songs, including Hungry Eyes, Hey Baby, Do You Love Me? and the heart stopping I’ve Had The Time Of My Life.

RUSSELL PETERS - Notorious 2013 World Tour Return Engagement 8.00pm - Singapore Indoor Stadium

ISSUE32 ARTJAM

ARTJAM ISSUE32