25
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FE AR S 10 CH
ST TS AR
M
IV
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20
17
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Be part of NUS Arts Festival 2017
Critical
Conversations
Step into brave new worlds with artists and researchers through
thought-provoking sessions which combine academic inquiry and
artistic expression.
Free admission with registration. Visit nusartsfestival.com for
further information and more talks.
“Looking to The Past for The Future”
Arts Festivals in Context
Tue 24 Jan, 7.30pm, NUS Museum
Speakers:
Mr Joe Sidek, Festival Director, George Town Festival
Mr Venka Purushothaman, Vice President (Academic) at LASALLE College of the
Arts
Dystopia Now: Brave New World 2017
Tue 7 Feb, 7.30pm, NUS Museum
Speaker:
Professor Rajeev S Patke, Director (Division of Humanities) at Yale-NUS College
Introducing The Quantum Music Project
Thu 16 Feb, 7.30pm, NUS Museum
02 —————————— 03
Speaker:
Dr Andrew Garner, Research Fellow at Centre for Quantum Technologies, NUS
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ARTZONE ISSUE 26
JANUARY – JULY 2017
EDITOR'S NOTE
Published twice a year by
BRAVING NEW WORLDS
NUS Centre for the Arts
University Cultural Centre
50 Kent Ridge Crescent
National University of Singapore
Singapore 119279
[email protected]
cfa.nus.edu.sg
NUSCFA
Artzone is a sourcebook of ideas and
inspiration for an eclectic audience of
arts readers – from the intellectually
curious to artists, creators and arts
practitioners. It seeks out diverse and
critical perspectives which objectively
examine the arts, and serves as a
platform for the exchange of these
ideas so as to enable the convergence of
knowledge and various arts disciplines.
©2017 NUS Centre For the Arts
No part of this publication may be
reproduced in any form without the
prior permission from NUS Centre For
the Arts. The opinions expressed in
Artzone do not necessarily reflect those
of the publisher.
EDITORIAL TEAM
Advisor Sharon Tan
Editors Cindy Ong & Adeline Tan
ABOUT NUS CENTRE FOR THE ARTS
Established in 1993, NUS Centre For
the Arts (CFA) is a vibrant space for the
appreciation of the arts and nurturing
of the creative and inquiring spirit. We
support student engagement with the
arts and the integration of the arts into
the life of the University.
We comprise the NUS Museum,
NUS Baba House and a Talent and
Development
arm
that
oversees
22 student arts excellence groups.
Through our myriad of programmes,
practices, exhibitions, workshops and
outreach, such as NUS Arts Festival and
the ExxonMobil Campus Concerts, we
enrich the university experience and
contribute to the building of knowledge
and transformation of students.
We also manage facilities such as the
University Cultural Centre, with its 1600seat Hall and 450-seat Theatre, and
rehearsal spaces in Runme Shaw CFA
Studios and University Town.
For more information, visit
cfa.nus.edu.sg
15862_NUS-Magazine-Artzone(Issue26)-200x260mm.indd 4
As our students gear up for another edition of the NUS Arts Festival this
March, we bring you their voices and the insights of the arts professionals,
researchers and alumni they are working with. Come brave new artistic
worlds with them as they collaborate with academics from the Department
of Architecture and Department of Geography for the Festival Opening
Remember When..., the Centre For Quantum Technologies for Sambhavna 2.0,
and professionals such as pioneer band The Observatory for the Festival
Closing Vibrational and theatre director Edith Podesta for The Golden Record,
just to name a few. Watch nusartsfestival.com or find us on Facebook for
updates!
ExxonMobil Campus Concerts returns with a full platter featuring fresh NUS
talents. Don’t miss a wonderful Valentine’s Day evening right here on campus
with jazz alumna Rani Singam and company this 14 Feb at UCC Theatre!
Discover the different sides of heritage conservation as we share about the
inaugural NUS Baba House guidebook and how the House is a rich source of
research and educational opportunities.
We welcome, as always, contributions by NUS students about their arts
experiences. This issue, we feature the first reviews from the Arts Voices
Writing Mentorship, written by Rebecca Seah and Ching Ann Hui, as well as
a piece by Theo Moolenaar from the Yong Siew Toh Conservatory of Music.
Keen to write about the arts? Email us at [email protected] today.
Happy reading!
CONTENTS
04
06
INSIGHTS
16
#thumbtoofat by
Dapheny Chen & Co.
ExxonMobil Campus Concerts
HIGHLIGHTS
Of Coloured Chalk
and Teddy Bears
ExxonMobil Campus Concerts
Bring on the Future:
Our Brave New Worlds
NUS Arts Festival
Childhood Dreams
and Memories
NUS Harmonica Orchestra
Unboxing Brave New Worlds
Spotlight on Fresh Voices
ExxonMobil Campus Concerts
Chronicling Home
and Heritage
NUS Baba House Guidebook
14
REVIEWS
Quantum Music
Dr Andrew Garner
21
ENCOUNTERS
Conserving the NUS Baba
House: Casting the limelight on
eco-friendly heritage
OPPORTUNITIES
Learning the Art
of Marketing
Interning at NUS Centre
For the Arts
22
OUT OF THIS SPHERE
The Observatory:
A Collaborative Process
22/12/16 5:23 pm
INSIGHT S
Dr Andrew Garner.
Quantum Music
Theoretical physicist Andrew Garner shares why he works with musicians
04 —————————— 05
Photography by The Quantum Music Project
Why should scientists bother with
the arts? Why should artists care
about science? Art and science are
often presented as opposing world
views: science claims rationality,
calculated analysis and objectivity,
and art claims emotion, creativity
and subjectivity.
what quantum physics tells us about the nature of
reality. For example, quantum superposition – a particle
being simultaneously in two different locations – can be
explained by the “many worlds” hypothesis: there are
many universes, some where the particle is over here,
and others where it is over there. Equally validly, others
claim that the particle doesn’t exist either over here or
over there until it has been measured (collapsing it out
of the quantum realm and into the classical world we
inhabit). Some dodge the question with the mantra “shut
up and calculate”, satisfied that quantum predictions
match experimental results, even if they can’t say why.
Here, science cannot claim objectivity.
This division is false.
Likewise, art does not monopolise creativity.
Shakespeare’s sonnets follow strict rules: there must
be 14 rhyming lines, each composed of ten syllables
constrained to follow the strict rhythm of iambic
pentameter. Yet, “Shall I compare thee to a summer’s
day?” is at the pinnacle of art, not despite its perfect
conformance to structure, but rather because of it.
Quantum theory is undeniably science (with a clearlydefined mathematical framework, and predictions that
hold up to the highest level of experimental scrutiny),
yet its philosophical consequences are outrageous –
there is no consensus within the community on exactly
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Quantum Music
The Quantum Instrument tracks the vibration of each specific piano string. This information is then processed by a synthesiser applying
quantum principles to make new sounds.
The same creative methods are needed to perform
new scientific research. A theory must conform to
mathematical laws and meld tightly within the structure
of scientific knowledge, yet despite this significant
imagination is required to reflect upon the nature of
the universe in a different way than to what has already
been established.
I believe the task faced by scientists and artists is the
same: to observe a facet of reality, distil its essence, and
communicate this insight to others. Hence, there is much
to gain through dialogue between artists and scientists.
This is why, as a scientist, I am excited to be part of
the Quantum Music collaboration with professional
musicians. Scientists often like to present concepts
visually (“a picture is worth 103 words”), intuitive to
some, but not to everyone. Quantum Music hopes to
communicate understanding of the quantum realm
through the underutilised medium of music. Through
this exchange between scientists and artists, not only
could insights of quantum physics be made available to
those who’d otherwise never feel confident studying it,
but also by turning the creative eye of musicians upon
physics, new ways of thinking about the quantum world
could be inspired in the minds of seasoned scientists.
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There will be two performances during the NUS Arts Festival
2017 of Quantum Music, on 21 and 22 March. Dr Garner will
also be giving a talk on 16 February. For more information,
visit nusartsfestival.com.
The Quantum Music project is coordinated by the Institute
of Musicology SASA, Belgrade, Serbia, with partners
worldwide. For more information, visit quantummusic.org.
Dr Andrew Garner is a Research Fellow at the Centre For Quantum
Technologies, NUS.
Our partners of the Quantum Music project met in Belgrade from
Januar y 11 to 16 where we presented the first prototype of the
Quantum Music instrument.
22/12/16 5:23 pm
HIGHLIGHT S
NUS Arts Festival 2017
Bring on
the Future:
Our Brave
New Worlds
NUS is never short of ideas.
In fact, one of the many ways
NUS contributes to Singapore
is through creating a space
where ideas can be nurtured,
grow and evolve before being
unleashed into the world.
Our students and faculty are
agents that change the world,
creating a future that may be
nothing like what we expect.
This is what the 2017 NUS
Arts Festival celebrates.
06 —————————— 07
The coming festival is about shaking the
status quo, conversing with the unusual and
creating a vision for the future. It may be a
paradise, it may be terrifying, but either
way, the imagination is a powerful tool and
the future is truly what people make for
themselves.
Remember When…
by NUS Dance Ensemble
Photo by Fang Yuan
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“The future is such a broad area for
exploration,” says Ms Sharon Tan, Director of
NUS Centre For the Arts which is presenting
the Festival. “Our view of the past and
the present is open to interpretation but
only within the realm of established facts,
whereas the future is nothing but possibility.
Both utopian and dystopian views are fertile
grounds for creativity, and we are challenging
NUS to consider what they think is important,
and how they will create their own future:
individually, collectively and globally.”
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Bring on the Future
From 10 to 25 March, the Festival, with this year’s
theme Brave New Worlds, will feature an array of
local and international artists, and collaboration
is the driving principle behind the festival. The
intensive, nine-day core programme of 11 shows
that cross genres and speak to a wide array of
issues is preceded by fringe events which present
brave new artists performing original work in
unusual spaces around the campus.
Working with the School of Design and
Environment and the Faculty of Arts and Social
Sciences, NUS Dance Ensemble, under the
direction of Zaini bin Mohammad Tahir, have
created Remember When.... The show examines
how our constantly changing landscape
challenges our ability to remain connected to
our roots. In contrast, NUS Indian Dance’s work
Sambhavna continues to evolve into a full length
work, Sambhavna 2.0, and incorporates a new
collaboration between Mrs Santha Bhaskar and
young multidisciplinary artist Kiran Kumar.
For tech fans, NUS Wind Symphony will be
performing Steven Bryant’s Ecstatic Waters
and Traveler by David Maslanka as part of
their exploration of trans-humanism: the
augmentation of human’s abilities through
technology as well as a newly commissioned
work by celebrated Japanese composer Daisuke
Shimizu.
NUS Stage have collaborated with Australian/
Singaporean director Edith Podesta to create The
Golden Record, a devised stage play that chronicles
humanity’s greatest message into interstellar
space. In contrast, NUS Chinese Drama will be
staging Dear Miss Ye, an all-new interpretation
of a classic Russian play about changing moral
codes and the pressures of student life.
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The Golden Record by NUS Stage
directed by Edith Podesta
The Observatory will close the festival, with
their signature, pulsating wall of intensive guitar
reverberation in their new show Vibrational.
Part rock odyssey part Southeast Asian
‘kecak’ performance, The Observatory will be
working with 30 NUS guitarists to deliver a
textually complex and viscerally emotional live
performance.
The NUS Arts Festival in 2017 will be the last in a
triptych of festivals which look at the continuum
of time. We have seen the past, live in wonder of
the present and Brave New Worlds is NUS’ call to
the future.
Ticket sales start Friday 13 January 2016. Visit
nusartsfestival.com for more information or find us
on
nusartsfestival.
Sambhavna 2.0 by NUS Indian Dance with Kiran Kumar
Photo by Kinetic Expressions Photography
22/12/16 5:23 pm
HIGHLIGHT S
Unboxing Brave
New Worlds
Hear the thoughts and ideas of students
and alumni involved in the Festival!
R
ber
m
e
em l
en
Wh
In this collaboration, I look forward to how my
study and experiences as a theatre practitioner,
dancer and as an architecture graduate can come
together. I have always been focusing on these
separately, without conscious effort in putting
them together. This collaboration will be a great
kickstart for me as an arts practitioner to seek my
own voice.
…
a
t i v h o w)
s
e
(F n g S
eni
Op
– Kow Xiao Jun
On working with
Resident Choreographer Zaini
Mohammed Tahir and School of
Design and Architecture for her
work in the show.
on
al
Choreographer, NUS Dance
Ensemble and alumna (School of
Design and Architecture, 2015)
08 —————————— 09
Vi
br
at
i
a l h o w)
v
i
gS
st
(Fe losin
C
Photo credits
Remember When…:
Photo by Fang Yuan
Vibrational:
Photo by Philipp Aldrup
15862_NUS-Magazine-Artzone(Issue26)-200x260mm.indd 9
I'm very into progressive metal
music so I was quite excited when I
heard that we would be collaborating
with The Observatory, an experimental
rock band. "The idea of 30 guitarists playing at
once" is also very interesting and I thought it's a
rare opportunity so I signed up! I hope to learn how to
play better together with other electric guitarists, how
The Observatory write their pieces and gain tips on
playing tight sets.
– Lim Sze Hui
Guitarist, NUS Guitar Ensemble and
first-year Economics undergraduate
On signing up for Vibrational and
getting to work with The Observatory.
22/12/16 5:23 pm
Sa
Unboxing Brave New Worlds
Despite my
own academic
background in
engineering and my interest
in the intersection of art and
science, I would not have ventured
into a direct collaboration with a
'hard' science like physics. This project
is both exciting and scary at once.
At this point, the ideas seem rather
expansive so I'm working on finding
a more fine line of intersection for
dance and physics.
m bh
avn
a2
.0
– Kiran Kumar
Choreographer, alumnus
(Faculty of Engineering,
2007) and Associate Member
at the Graduiertenschule,
Berlin Centre for Advanced
Studies in Arts and Science
On being scriptwriter and
narrator in Sambhavna 2.0.
D
M
ea r
is
e
sY
Since Dear Miss Ye is about how the
diverging rationales of young people
drive them to make different choices, I
hope that the play can encourage our
audience to discuss about conflicts
between different values, classes,
generations et cetera. Subsequently,
they may be prompted to reconsider
some choices they have made or things
that they have taken for granted.
– Fan Shimeng
Photo credits
Sambhavna 2.0:
Photo by Kinetic Expressions
Photography
Dear Miss Ye:
Photo by Back Alley Creations
15862_NUS-Magazine-Artzone(Issue26)-200x260mm.indd 10
Director of Dear Miss Ye,
NUS Chinese Drama and
third-year undergraduate
at NUS School of Computing
On what she hopes
Dear Miss Ye will bring
to the audience.
22/12/16 5:23 pm
HIGHLIGHT S
Spotlight on
Fresh Voices
Music galore in ExxonMobil
Campus Concerts’ new season
Marcus Makes Music
ExxonMobil Campus Concerts (EMCC) is a
vibrant experimental space for new ideas,
voices and works in NUS.
This January to March, EMCC balances last
season’s line-up of powerful dance and theatre
presentations – reviews from page 16 – with a
musical platter. Take your pick from established
talents like Rani Singam and her fellow jazz
stalwarts, to new NUS singer-songwriters like
Marcus Makes Music and Stephycube. Marcus is
a Real Estate undergraduate with the School of
Design and Environment while Stephycube is a
student at the Yong Loo Lin School of Medicine.
New classical music works and approaches take
centre stage with bold young musicians from
the NUS Chinese Orchestra and NUS Symphony
Orchestra.
NUS Symphony Orchestra
10 —————————— 11
The Guzheng Ensemble, part of the NUS Chinese
Orchestra, will perform works to showcase
the versatility of the guzheng. “We hope that
our audience will come to see Chinese music –
including music made with Chinese instruments
like the guzheng – as another part of our identity
in the multicultural Singaporean society, just
like the pop songs and popular tunes of today
which we have grown to love,” says Nicholas
Quek, a second-year NUS medical student and
logistics officer with the NUS Chinese Orchestra.
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22/12/16 5:23 pm
Spotlight on Fresh Voices
Stephycube
Rani Singam
— “We hope that our audience
will come to see Chinese music –
including music made with Chinese
instruments like the guzheng – as
another part of our identity in the
multicultural Singaporean society,
just like the pop songs and popular
tunes of today which we have grown
to love.”
Audience members can look forward to classic pieces
like High Mountain Flowing Water《高山流水》, specially
arranged for guzheng, as well as pop songs and anime
soundtracks.
Kicking off the season, NUS Symphony Orchestra’s
Miniatures: War and Peace showcases music created
during turbulent times such as the Tang Dynasty’s Civil
War, World War II and the Vietnam War. The concert
will also feature the composition of Orchestra member,
Peter Gale, a first-year Science undergraduate.
And fret not, dance lovers and film buffs, there are
also shows in store for you! For updates, head over to
exxonmobilcampusconcerts
Guzheng Ensemble
NUS Chinese Orchestra
15862_NUS-Magazine-Artzone(Issue26)-200x260mm.indd 12
If you have an idea for a performance, write in to Abram
Komara at [email protected] by 31 March 2017
for the August to October 2017 EMCC season.
22/12/16 5:23 pm
HIGHLIGHT S
Chronicling Home
and Heritage
NUS Baba House’s inaugural guidebook
takes us from architecture to social history
More than 70 scholars, supporters and lovers of Peranakan culture gathered
last November for the launch of NUS Baba House: Architecture and Artefacts of
a Straits Chinese Home, the inaugural guidebook on Singapore’s only restored
Straits Chinese family home.
The full-colour illustrated guide to the art, architecture, conservation
and history of the Baba House was published in conjunction with the 8th
anniversary of the house’s opening in 2008. Through in-depth descriptions
and detail photography, the guide highlights the key artefacts and
architectural features of this townhouse and dwelling from Singapore’s
colonial past. The book also features research by Foo Su Ling, Lim Chen Sian,
Wee Sheau Theng, Yeo Kang Shua and an introduction by Peter Lee.
The guide is organised by the various spaces of the house and its presentation
as a Peranakan home in the early 20th century. From 1910 onwards, the
house was the family home of an illustrious Straits Chinese family descending
from Wee Bin (1823-1868), a Chinese migrant who built one of the largest
shipping firms in Singapore. Included in the book are narratives of life in
and around the house, from evocative anecdotes of childhood by Wee Lin,
a sixth-generation descendant of Wee Bin, to music and entertainment of
the time.
12 —————————— 13
Managed by NUS Museum, NUS Baba House has been the focus of significant
academic research since it was acquired by NUS in 2006 with funds donated
by Ms Agnes Tan who made the gift in support of education as well as to
honour her father, the late Tun Tan Cheng Lock. Ms Tan also sponsored the
guidebook.
“In many ways true to her hopes, the book is the fruition of the collaborative
research across disciplines that has taken place since the house’s inception.
Visiting the house is a multi-sensory yet fleeting experience for many, so we
hope the book may serve as an enduring reference for visitors and scholars
into 157’s many layers,” notes Ms Tan’s nephew, Peter Lee, a Peranakan
scholar and the house’s honorary curator.
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Chronicling Home and Heritage
“Visiting the house is a multi-sensory
yet fleeting experience for many, so
we hope the book may serve as an
enduring reference for visitors and
scholars into 157’s many layers.”
– Peter Lee, Honorary Curator,
NUS Baba House
NUS Faculty of Arts and Social Sciences undergraduate
Christabelle Ong assisted in conducting some research
work as an NUS Baba House intern. “I gained a better
understanding of how such unique pieces from Western
culture could be a part of a house so heavily influenced
by traditional Chinese culture,” she shared.
Last September, NUS Baba House and the NUS
Department of Architecture jointly conducted a
workshop for NUS undergraduates in Asian Architecture
and Urban Heritage Conservation, made possible by
the Tun Tan Cheng Lock Research Fund and Baba House
15862_NUS-Magazine-Artzone(Issue26)-200x260mm.indd 14
Conservation Fund which were both gifts from Ms Agnes
Tan to the organisers. Flip to the next page for more on
the workshop.
NUS Baba House: Architecture and Artefacts of a Straits
Chinese Home is available at all major bookstores for
$29.90. It retails at NUS Museum and NUS Baba House at a
reduced price.
Free heritage tours of NUS Baba House are available by
appointment. Email [email protected] for more
information
22/12/16 5:23 pm
ENCOUNTERS
Conserving the
NUS Baba House
Casting the limelight on eco-friendly heritage
By Matthias Ang
As a marketing intern at the NUS Centre For the Arts from mid-August to October
2016, one memorable educational experience I enjoyed was the NUS Baba House’s
Let’s Mix It!, a workshop for students of the Advanced Architectural Studies module
by the NUS Department of Architecture. The workshop was held from 20 to 23
September and led by Dr. Nikhil Joshi from the NUS Department of Architecture
with input from Mr Mark Lay of the NGO George Town Heritage Action and Mr Kee
Eng Kwi of Ki Hon Construction. There was also a guest lecture by Mr Geoffrey
Steward, Principal of the International Fine Art Conservation Studios.
14 —————————— 15
As I already had a lovely tour of the NUS Baba House prior, I was looking forward
to getting behind-the-scenes as the new cycle of conservation work on this unique
heritage museum began. This is because NUS Baba House contains intricate
architectural features and authentic interior spaces which are rare sights anywhere
else on the island.
Lime putty produced from
the slaking process.
15862_NUS-Magazine-Artzone(Issue26)-200x260mm.indd 15
Plastering the walls requires more skill than
we initially thought…
22/12/16 5:23 pm
Dr. Nikhil Joshi, Department of Architecture,
School of Design and Engineering, NUS
Dr Joshi opened the workshop by introducing the
historical context of how lime was used as a building
material before contemporary cement was invented.
He explained the lime cycle where limestone is
transformed into quicklime through heating, then into
slaked lime after being mixed with water and finally back
into limestone when it reabsorbs carbon dioxide from
the air. Being porous, resistant to rot and possessing
anti-bacterial properties, mortar or plaster made from
lime are environmentally-friendly. They can function
as carbon sinks, drawing in carbon dioxide from their
surroundings and eventually returning to their original
limestone state; one of the main reasons why many
historical structures built out of lime have been able
to last so long. As such properties are non-existent in
cement, Dr. Joshi declared, “If a building is to be truly
environmentally-friendly, it should be built with lime.”
After donning the necessary safety gear, the facilitators
talked about the precautions to take when mixing lime
and gave a demonstration. We proceeded to prepare
limewash and lime plaster from quicklime; a process that
we quickly discovered involved messy and manual work.
First we slaked the quicklime by mixing it with water, and
observed the energetic chemical reaction which formed
thick white lime putty. We then sifted sand and mixed it
in different ratios with the putty to produce lime plaster
of varying strengths. The unused putty was diluted with
water to create limewash which would be applied last as
a finish on top of the lime plaster.
Conser ving the NUS Baba House
“If a building is to be truly
environmentally-friendly, it
should be built with lime.”
Over the four days, this process was repeated ceaselessly
and it gave the students a taste of how conservation work
functioned. By the end of the workshop, we were tired
but all the wiser for it. I hope that the Baba House hosts
similar workshops in the future so that students get to
discover the knowledge, skills and hard work involved in
preserving our history and architectural heritage.
Matthias Ang is a recent English Literature graduate from
NUS who has interned at NUS Centre For the Arts. Get in
touch with Matthias at [email protected].
For more on NUS Baba House, visit cfa.nus.edu.sg.
Adding the colour pigment to match the
original colour of the wall.
15862_NUS-Magazine-Artzone(Issue26)-200x260mm.indd 16
22/12/16 5:23 pm
REVIEW
#thumbtoofat
by Dapheny Chen
and Company
Review by Theo Moolenaar
16 —————————— 17
Photography by Kinetic Dance Expressions
People say that we’re living in an increasingly
“connected” world. 1876 saw the invention of
the telephone and since then the ability to
communicate over long distances has seen
many shifts and developments. #thumbtoofat
questions the effectiveness of today’s popular
methods of communication.
notification light which four of the performers
intermittently, and compulsively, ran towards
and away from. Lighting designer Adrian Tan
made outstanding use of lighting as both
a deictic (that is, lighting used to direct the
focal point of attention) and symbolic tool
throughout the work.
I must confess at this point that I was utterly
detached from the wonderful world of
Pokémon as a child and thus, I have very
little knowledge of the workings of the
infamous “Pokémon Go”. Because of this, I
did miss a handful of specific references in
the earlier parts of the dance however the
macro ideas were crisply communicated. The
work began simply, with a single, pulsating
light, positioned directly above centrestage. This light represented a smartphone’s
The entire performance was supported
stunningly by clever use of projections and a
decent sound-system. In a particular scene
a video projected onto the backdrop, in
conjunction with sound, depicted a Facebook
group message. Intended to express the fickle
yet overly dramatised act of communicating
largely with emoticons and acronyms, the
dancers moved with deliberately exaggerated,
extreme physical responses to messages
displayed on the backdrop.
15862_NUS-Magazine-Artzone(Issue26)-200x260mm.indd 17
22/12/16 5:23 pm
#thumbtoofat by Dapheny Chen and Company
— When attending a ballet or an
evening of ballroom dance, we are
accustomed to the presumptive
correspondence between
physical and emotional intimacy.
#thumbtoofat obliterated this
preconception with an intensely
beautiful, yet disturbing, display of
detachment.
What I found most fascinating and effective
however was Chen’s choreography. When
attending a ballet or an evening of ballroom
dance, we are accustomed to the presumptive
correspondence between physical and
emotional intimacy. #thumbtoofat obliterated
this preconception with an intensely beautiful,
yet disturbing, display of detachment.
Whether a man climbed over and around a
woman or she dragged him along the ground
while he gripped her ankles, this only served
to intensify a totally perverted expression of
intimate relationships. I found #thumbtoofat
an almost painful experience at times
because of its intense relevance. It brought
to mind experiences of sharing lunch with an
acquaintance only to find they’d rather share
lunch with their phone; or of innumerable
misunderstandings
easily
resolved
by
speaking in person. #thumbtoofat not only
questions a great social issue but invites the
audience to feel, viscerally, the seclusion of
this infinitely “in touch” world.
Theo Moolenaar is a third-year undergraduate
with the Yong Siew Toh Conservatory of
Music and a tenor. Get in touch with Theo at
[email protected].
#thumbtoofat was presented as part of ExxonMobil
Campus Concerts in October 2016.
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22/12/16 5:24 pm
REVIEW
Of Coloured Chalks
and
Flying Teddy
Review by Rebecca Seah
Bears
Photography by Striking Pixels
As the debut show of The Actor’s
Collective that was assembled
in less than three months, it is
understandable that they had limited
resources to work with to put up
their devised theatrical piece,
Temporarily Mine. However, the
innovative stage set was nevertheless
poignant with meaning.
18 —————————— 19
The play explores the loss of
innocence and falling apart of
relationships by stringing together
a few alternating short scenes,
with the transition between scenes
deliberately made obtrusive as
the actors come out between each
scene to draw sketchily on the blank
black backdrop.
It is rather fascinating how the rough
and tumble construction of layers of
colours on the backdrop mirrors the
disintegrating action that happens
at the centre stage, from the mother
who lost her beloved daughter, to a
lesbian couple that broke apart with
pressures of the society, to a woman
attempting to relive her childhood
days with her father in hospital.
Nevertheless, the play was not all
mournful and pessimistic about the
passage of time. A significant turning
point came when the manager of
15862_NUS-Magazine-Artzone(Issue26)-200x260mm.indd 19
the theme park, Mandy, came out to
clean up the chalk markings left on
the ground by the other characters,
as another day at the theme park
came to an end.
For once in the play, colours were
not chaotically piled up upon each
other, but removed to create some
breathing space on stage. The subtle
suggestion that time does not always
unfolds linearly, leading ultimately
to despair and loss, is emphasised
by a wondrously delightful scene
where dozens of teddy bears flew
over the wall of the stage, an exciting
moment for the inner child in me.
Given that two of these teddy bears
were featured right at the start of the
play, the piece reverses time on two
levels – back to the start of the play
and back to childhood.
The play ended on a comical note,
as Winston, a poor puppeteer who
came by the theme park to take a
rest, puts up a quirky puppet show
for Mandy, accompanied by garish
Chinese electro-pop song You Are My
Little Apple as the soundtrack.
still persist if we don’t take life and
ourselves too seriously. It seems to
urge us to cherish what is temporarily
ours while it lasts.
Arguably, the moral of the story is
somewhat clichéd, and the stories
presented in the play still lack a touch
of life in them, perhaps due to that
fact that seven actors have to share
the limited stage time of less than
forty-five minutes. However, what
is undeniable is that much thought
has gone into the piece, as evident
from the creative use of the sparse
stage set to embed unique meaning
in the play. The Actor’s Collective
will definitely continue to produce
stronger, more original works as they
grow into their own voice.
Rebecca
Seah
is
a
first-year
undergraduate from the Faculty of Arts
and Social Sciences. Get in touch with
Rebecca at [email protected].
Temporarily Mine by The Actor’s
Collective was presented as part
of ExxonMobil Campus Concerts in
October 2016.
The diversion from the previously
sombre tone of the play gives hope
to the audience that happiness can
22/12/16 5:24 pm
Of Coloured Chalk and Flying Teddy Bears
— The subtle suggestion that time does not
always unfold linearly, leading ultimately
to despair and loss, is emphasised by a
wondrously delightful scene where dozens of
teddy bears flew over the wall of the stage…
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22/12/16 5:24 pm
REVIEW
Childhood Dreams and Memories
Review by Ching Ann Hui
Not only were the toddlers bobbing,
tapping and singing along to the
pieces played, so were their parents.
That was what’s striking about the set
list – it had something for everyone,
from Belle to Let it Go, from a Kung
Fu Panda Medley to a Studio Ghibli
medley. Those who are having their
childhood to those who have had
their childhood, all could feel light
and hopeful once again, as if there is
nothing unconquerable. That is the
magical quality of music produced by
the harmonica that other instruments
can’t quite replicate.
20 —————————— 21
Most notable was the rework of A
Whole New World from Aladdin. It
started out playful. When one of
the performers dressed as Aladdin
himself went onstage, wearing a
red heart so tall he had to balance
it with one hand, the audience burst
into uncontrollable laughter. It was
a funny sight that did not betray the
sobriety that was to come.
The piece might not have been
perfect technically – there were
a few times when they went out
of tune – but it was emotionally
raw and that reverberated. Chills
travelled down my spine as the
15862_NUS-Magazine-Artzone(Issue26)-200x260mm.indd 21
accompanying chimes mimicked
the sound of stars twinkling across
the clear Arabian night sky, barely
catching up with Aladdin and
Jasmine on the flying carpet.
Music does not tell you what to
feel. For the young boy sitting next
to his sister crying out the lyrics,
perhaps it spoke of what is to come
and their innocent excitement to
grow up. For their parents, perhaps
it symbolised a renewed romance.
Me? I was nostalgic, both pained
and incredulous. Pained that I am no
longer a child; incredulous that I am
on the cusp of adulthood, somehow
not quite ready.
The Lion King was featured heavily
with two pieces, The Circle of Life
and a medley right after. Both were
a delight to listen to. The Circle of Life
started out solely with harmonica,
but as the song progressed and the
accompaniment chorused together,
there was grandeur befitting a tale
of majesty. There were smooth
transitions between excerpts from
crowd pleasers such as Hakuna
Matata. For instance, just after the
high of the chorus of Just Can’t Wait To
Be King, the beats slowed down into
the more mellow, mature romance
of Can You Feel The Love Tonight. This
medley, like the other two, was very
well arranged as one could tell the
distinctness between pieces, yet the
union was seamless.
This is a concert that touches on
visceral. It is an act of catharsis for
everyone, those who have dreams
and those who have dreamed.
Ching Ann Hui is a first-year
undergraduate with the Yong Loo Lin
School of Medicine. Get in touch with
Ann Hui at [email protected].
Impressions 2016: Childhood Dreams
by NUS Harmonica Orchestra was
presented last October at Dance Atelier
2, University Town.
Interested to write on artsrelated topics for Artzone? This
semester, NUS Centre For the Arts
(CFA) offers exclusive behindthe-scenes access to NUS Arts
Festival 2017 plus complimentary
tickets to selected shows. Email
us at [email protected]
for details.
22/12/16 5:24 pm
Learning the Art of Marketing
OPPORTUNITIES
Learning the Art
of Marketing
Matthias Ang on his internship with the
Marketing & Communications team at
NUS Centre For the Arts
Tell us a little about yourself
I graduated last year with a degree in English Literature.
I'm quite a dreamer with interests in fiction (of course),
politics, culture and travel. Yes, I know all of that sounds
awfully like the archetypical millennial but this is what
happens when you grow up in a family where the idea of
quality time is bringing everyone to the bookstore for a
shopping trip.
Why did you choose this internship?
Originally, I chose this internship because I mistakenly
thought it was for the NUS Museum; I had heard a lot
of good things about the museum's exhibitions from
my professors.
When the internship turned out to be with the Marketing
and Communications division of NUS Centre For the Arts,
I was very excited as my degree in English Literature had
energised my passion to work in the arts and this was a
great opportunity to gain some experience since I had
close to none.
— Publicity can really make or break
the attendance of a performance,
regardless of its content…if you do
not make its presence known to the
public, get them excited, people will
not come, period.
What did you learn as a Marcom intern?
Publicity can really make or break the attendance of a
performance, regardless of its content. You can put
up the edgiest, most avant-garde, groundbreaking
performance or exhibition but if you do not make its
presence known to the public, get them excited, people
will not come, period. And that can be quite depressing
for the performers when they see rows of empty seats.
What is a performance or exhibition without an audience?
Driving publicity is therefore highly integral to a
show's success. I mean, look at films like Michael bay's
Transformers and Man of Steel. They were atrocious
movies but they still raked in audiences and a lot
of money because of the trailers and promotional
material - the strength of their marketing campaign.
People got hyped to watch the films; their subsequent
disappointment is precisely because the terrible films
were marketed so well. And since there are plenty of
interesting performances and exhibitions going on
within NUS itself, it is important to make sure they
receive the hype they deserve.
Packaging the shows and exhibitions - sometimes, it
is practically an art in itself. It may be independent of
the original artwork but it still requires creativity and
imagination to be successful.
What are your plans for the future?
Probably somewhere arts-related. It might be visual,
literary, anything really as long as it is all about the arts.
I really cannot see myself in other industries such as
finance or technology. It would be like forcing a square
peg into a circular hole. That being said, I don't really
have a concrete idea of where I will end up within the
arts either but I'll take it as it comes and enjoy the ride.
Reach out to us at [email protected] if you want
to step into the world of the arts.
15862_NUS-Magazine-Artzone(Issue26)-200x260mm.indd 22
22/12/16 5:24 pm
OUT OF THIS SPHERE
The Observatory comprises Cheryl Ong (drums), Leslie Low (guitar/vocal), Vivian Wang (synth
bass) and Yuen Chee Wai (electronics/synth). Photo by Philipp Aldrup.
The Observatory:
A collaborative process
22 —————————— 23
For over fifteen years, The Observatory have pioneered
the Singapore music scene. Their various backgrounds
and shifting line-up have made them consistently difficult
to define. Tags such as ‘alternate folk’, ‘art rock’ and even
‘SOMETHING’ have been pinned to them over their eight
albums and innumerable solo and festival appearances
around the world. However, a review of their most recent
album may have discovered the most apt description. The
Observatory are simply “prolific as hell”.
Vibrational is the group’s latest creation. A stage show
that mixes their classic work with new pieces before a
final act that includes 30-piece guitar orchestra.
“We’re going for different shades,” says Leslie Low, the
group’s lead vocalist and guitarist. “There are six strings
15862_NUS-Magazine-Artzone(Issue26)-200x260mm.indd 23
on each guitar, so with thirty guitarists together you get
… so many variations on the sound.”
The variations he refers to are slight differences in tuning
and rhythm that combine to build a sound that’s large
rather than simply loud. It’s a noble ambition, but it does
beg the question: why are the Observatory taking such
an unusual direction in their stage show?
“With this volume comes variance,” says Vivian Wang,
who plays synth bass along with other instruments.
“We want to hear different voices and working like this
allows for imperfection. With so many artists together
we’re never completely in sync. We’re slightly off, which
is partly where the Vibrational concept comes from.”
22/12/16 5:24 pm
The Obser vator y: A collaborative process
— “Working in big ensembles is
fun,” Vivian continues. “Feeling
part of a bigger unit is different
for us but it’s a rewarding feeling.”
The Observatory performed Vibrational with Guitarkestra, a 20-strong guitar ensemble led by Lone Kent in the Made in Asia Festival at Toulouse last
April. Photo by The Idealiste.
“Working in big ensembles is fun,” Vivian continues.
“Feeling part of a bigger unit is different for us but it’s a
rewarding feeling.”
Guitar Ensemble (GENUS) combine to deliver a rhythmic
ode that’s part spiritual chant and part underground
rock show.
The group are less enthusiastic about scoring their
pieces, however. Preferring to play by feel rather than to
a defined stave, yet this was necessary as they wanted to
involve so many other players.
Lo Sheng Hong, Student Conductor of GENUS and thirdyear Mechanical Engineering undergraduate, is one of
the NUS guitarists performing in the show. He shares,
“I really look forward to meeting and collaborating
with one of the best musical acts that Singapore has
produced.”
As Cheryl Ong, the group’s drummer describes it:
“Scoring isn’t a usual part of the process. Some songs
had to be scored so that the people we collaborate with
can pick it up, but the goal is to have fun without it, once
we all understand how we each play off one another.”
And what is the result? Sound is transformed into
physical vibrations you will feel as you listen. The
Observatory and thirty guitarists from mainly the NUS
15862_NUS-Magazine-Artzone(Issue26)-200x260mm.indd 24
Vibrational by The Observatory featuring NUS Guitar
Ensemble and NUS Talents will close the 2017 NUS Arts
Festival on 25 March at the UCC Hall. For tickets, visit
nusartsfestival.com.
22/12/16 5:24 pm
BOOK YOUR TICKETS NOW!
nusartsfestival.com
15862_NUS-Magazine-Artzone(Issue26)-200x260mm.indd 1
nusartsfestival
#nusartsfestival
22/12/16 5:23 pm