By Akanksha Raja (1,493 words, 6-minute read) It’s almost 4pm as the KTM train I’m travelling on trudges to a slow halt at the railway station in Kluang, Johor. The first thing that catches my eye is Kluang Rail Coffee, right in the middle of the station, one of the town’s most famous – and […]
Discovering and Re-discovering Kluang: The INXO International Residency Programme Read More »
ArtsEquator’s Southeast Asia Radar features articles and posts about arts and culture in Southeast Asia, drawn from local and regional websites and publications – aggregated content from outside sources, so we are exposed to a multitude of voices in the region. In the weekly Southeast Asia Radar, we publish a round-up of content that have
Weekly Southeast Asia Radar: BACC director fired; Kelantan lifts Mak Yong ban Read More »
By Nabilah Said (1,670 words, 7-minute read) We are in a rehearsal for Seven Views of Redhill. Well, not me – I am just a hanger-on trying to fold myself into a corner of the Chesterfield-like sofa backed up against a wall in a room I am told is called the ‘Back of Chamber’,
Seven Views of “Seven Views of Redhill” Read More »
Content warning: References to sexual content, situations and violence The final line of Terre Thaemlitz’s Deproduction reads: “Admit it’s killing you, and leave.” It is a neat summary of the work—a deeply nihilistic critique of contemporary family values and neo-liberal queer politics. But, as this last piece of text scrolls off the screen, it also
The disturbing cruelty of Terre Thaemlitz’s “Deproduction” Read More »
By Patricia Tobin (670 words, 4-minute read) Content warning: References to sexual content or situations Deproduction by musician-producer Terre Thaemlitz was released on December 28, 2017 as a multimedia album consisting of audio, video and text. In TPAM 2019, it was staged as an “anti-live AV performance”, as Thaemlitz combined the album’s textual, audio
Disturbing behaviour: “Deproduction” by Terre Thaemlitz Read More »
By Ke Weiliang (1,131 words, 6-minute read) Dear 艺族 STRANGER, After spending my Saturday afternoon with you at the Esplanade Theatre Studio, I struggled long and hard to make sense of the titular ‘knots’ that your inaugural play endeavoured to grapple with. Over the course of an hour, you gave me a glimpse into the
KNOTS: An open letter to 艺族 STRANGER Read More »
We step into the dimly-lit theatre of The Lion & Unicorn, a soft, almost dream-like blue wash over the noticeable emptiness of the stage – save for a skeletal cardboard cut-out resembling a door frame, carefully set stage left. There was nothing, yet everything to expect. Researching about The Cardboard Kitchen Project had been a
Diasporic Dispatches: “The Cardboard Kitchen Project” by FK Co-Lab Read More »
ArtsEquator’s Southeast Asia Radar features articles and posts about arts and culture in Southeast Asia, drawn from local and regional websites and publications – aggregated content from outside sources, so we are exposed to a multitude of voices in the region. In the weekly Southeast Asia Radar, we publish a round-up of content that have
By Nabilah Said (1,119 words, 6-minute read) There is a Malay proverb: “sedangkan lidah lagi tergigit”, that roughly translates as “even the tongue can get bitten”. It applies to groups of people, such as a husband and wife, or siblings, who, despite their close relationship, can fight or have a misunderstanding. Perhaps that is the
Love me tender: “Eat Duck” by Checkpoint Theatre Read More »
ArtsEquator’s Southeast Asia Radar features articles and posts about arts and culture in Southeast Asia, drawn from local and regional websites and publications – aggregated content from outside sources, so we are exposed to a multitude of voices in the region. In the weekly Southeast Asia Radar, we publish a round-up of content that have
By Shahril Salleh (1,200 words, 6-minute read) Choral music festivals are gaining traction in Singapore. In my opinion, this is a good thing for both the choral music scene as well as the arts ecosystem. From a place-making perspective, not only do festivals create attention and vibrancy at the arts and civics districts, we also
Full Hungarian splendour: Treble Voices Festival 2019 Read More »
Duration: 37 min In this latest podcast, ArtsEquator editor Nabilah Said and theatre reviewer Naeem Kapadia discuss the productions We Were So Hopeful Then (written by Ellison Tan and directed by Alvin Tan) and Acting Mad (with texts by Haresh Sharma, Harris Albar and Maryam Noorhimli and directed by Haresh Sharma), presented as part of
Podcast 64: The Orange Production 2019 Read More »
By Nabilah Said (820 words, 5-minute read) In the pre-show for Forked, playwright and performer Jo Tan is warming up, prepping her body. We see her assume the plank position, a fractured toe from rehearsals armoured in a padded thermoplastic boot. Just like Tan, this play has been reinforced. When it was performed in January
Instructions for reheating: “Forked” by The Finger Players Read More »
ArtsEquator’s Southeast Asia Radar features articles and posts about arts and culture in Southeast Asia, drawn from local and regional websites and publications – aggregated content from outside sources, so we are exposed to a multitude of voices in the region. In the weekly Southeast Asia Radar, we publish a round-up of content that have
Weekly Southeast Asia Radar: Burmese hip hop, and queer Vietnamese singer Tuimi Read More »
Duration: 30 min In this latest episode of our Fresh Blood podcast, Nabilah Said speaks to Singaporean theatremaker Rei Poh on the new collective Attempts, which focuses on creating theatrical experiences based on the principles of participatory theatre and gameplay. The new collective will be presenting its second work, Dating Sim (Beta), on 30-31 August
Podcast 63: Rei Poh and Attempts Read More »
By Nabilah Said (747 words, 5-minute read) Content warning: References to self-harm and sexual assault Someone cried. Someone squeezed my hand. Someone felt seen. Someone drank tea. — The Necessary Stage’s latest offering, Acting Mad, pulls no punches. It treats mental health in an almost matter of fact way, like a doctor might gently,
Crashing realities: “Acting Mad” by The Necessary Stage Read More »
When I signed up for The Class Room, a participatory theatre piece created and facilitated by veteran theatre practitioners Li Xie, Kok Heng Leun and Jean Ng, I was expecting a thought-provoking experience, with meaningful exchanges with people from different walks of life about issues of poverty. I had seen a recording of The Lesson
An exercise of privilege: “The Class Room” at M1 Peer Pleasure 2019 Read More »
By Akanksha Raja (1,500 words, 6-minute read) It’s a party … It’s unbridled and free and outrageous. It demands a full-body, full-mind engagement. That’s how New York-based director Ed Sylvanus Iskandar describes Caught, Singapore Repertory Theatre’s latest production, a socially immersive experience at Miaja Gallery taking place from 10 September onwards. It’s an unusual and
Uncovering the Enigma of Lin Bo: “Caught” by SRT Read More »
By Nabilah Said (1,100 words, 6-minute read) “The best seats are on the sides.” A friend’s advice guided my decision when I went to review First Fleet by Nine Years Theatre. Mindful of spoilers, she had not said why, but the reason became obvious as soon as I stepped into the auditorium of the cavernous
Looking away for clarity: “First Fleet” by Nine Years Theatre Read More »
By Patricia Tobin ( 700 words, 5-minute read) It starts with a song. Faiq Syazwan Kuhiri strums the ukulele and gently sings about hope and the future. For a lecture-performance, A Notional History, a work in progress by Five Arts Centre, is filled with pockets of tender moments like these. Together with journalist Rahmah Pauzi and filmmaker-activist
Tender notes on violence in “A Notional History” by Five Arts Centre Read More »
By Patricia Tobin ( 700 words, 5-minute read) “GE14 will be the arts festival to outdo all arts festivals,” said performer-politician Fahmi Fadzil. He is referring to the live spectacle: from theatre productions to political speeches, performativity is a constant. All the world’s a stage, as the production of GE14 shows, from the car parks
Fahmi Fadzil’s “GE14”: The sound and fury signifying everything Read More »
ArtsEquator Radar features articles and posts about arts and culture in Southeast Asia, drawn from local and regional websites and publications – aggregated content from outside sources, so we are exposed to a multitude of voices in the region. Here’s a round-up of content from this week, scoured and sifted from a range of regional
ArtsEquator Radar features articles and posts about arts and culture in Southeast Asia, drawn from local and regional websites and publications – aggregated content from outside sources, so we are exposed to a multitude of voices in the region. Here’s a round-up of content from this week, scoured and sifted from a range of regional
Duration: 19 min In our latest podcast, art critic Pristine de Leon gives a comprehensive overview of the media landscape in the Philippines, discussing challenges to the practice and the new platforms that are paving the way for creative, incisive and timely forms of arts criticism. This presentation was part of a series of Country
Podcast 60: The Media Landscape in the Philippines Read More »
ArtsEquator Radar features articles and posts about arts and culture in Southeast Asia, drawn from local and regional websites and publications – aggregated content from outside sources, so we are exposed to a multitude of voices in the region. Here’s a round-up of content from this week, scoured and sifted from a range of regional
By Corrie Tan (2,700 words, 13-minute read) Content Warning: Mentions of a sexual relationship involving a teenager This response contains major spoilers for Blunt Knife by Eng Kai Er and A Doll’s House by Theatre of Europe. Dear Kai, You invited us to write to you after the performance. So here I am, writing.
Transgression, triggers, and the thousand cuts of “Blunt Knife” Read More »
ArtsEquator Radar features articles and posts about arts and culture in Southeast Asia, drawn from local and regional websites and publications – aggregated content from outside sources, so we are exposed to a multitude of voices in the region. Here’s a round-up of content from this week, scoured and sifted from a range of regional
Landscape and memory – grand themes in the analysis of culture – came together at the Sharjah Biennial 14 (SB14) in the most unexpected ways. Perhaps for the outsider, like me, who had scant knowledge of both the Biennial or the United Arab Emirates before deciding to travel, the six days were an absolute eye-opener.
Sharjah Biennial 14: Embarrassment of Riches Read More »
Having securely fastened the headgear, I am submerged into the virtual world of Frogman. The instructional voice of the Queensland Jury service informs me through an earpiece that I have been selected at random to join a jury. I am accompanied by 49 others seated on swivel chairs arranged in two tiered rows surrounding the
Reconstructing the Virtual in “Frogman” Read More »
ArtsEquator Radar features articles and posts about arts and culture in Southeast Asia, drawn from local and regional websites and publications – aggregated content from outside sources, so we are exposed to a multitude of voices in the region. Here’s a round-up of content from this week, scoured and sifted from a range of regional
