Between Worlds: Café Sarajevo, ATARA and No Place
By Nabilah Said and Germaine Cheng (1,580 words, 7-minute read) What does it mean to be between worlds? To behold yet not belong? Three works – Café Sarajevo, ATARA and No Place – presented as part of M1 Singapore Fringe…
Tangled and tackled: Black Ties at Sydney Festival 2020
By Maria Herminia Graterol Garrido (550 words, 4-minute read) The challenges of fusing and representing more than one culture while planning and executing a memorable wedding are well-known to us in real life and in fiction. Movies like My Big…
A sound collaboration: 宿 (stay) at Sydney Festival 2020
By Maria Herminia Graterol Garrido (571 words, 4-minute read) There is a huge difference between watching a great piece of theatre with a beautiful original score, and experiencing a process that gives equal importance to all the creative aspects, including…
Fahmi Fadzil’s “GE14”: The sound and fury signifying everything
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….
C(l)ocked: “Catamite” by Loo Zihan
By Ray Langenbach (1213 words, 5-minute read) In this over-the-shoulder ‘clocking’ of Loo Zihan’s solo performance I see the silhouette of my own head looking on from the side. Having worked extensively with Zihan over the past several years, I…
“Inside Voices”: There’s Something About Malay Women
By Shanon Shah (983 words, four-minute read) I love plays with Malay women characters. Call it my Malaysian Bumiputera baggage, call it internalised Orientalism – perhaps these are two sides of the same coin – but I have long relished…
“Dionysus”: Suzuki Tadashi Brings Vengeance to SIFA 2019
By Kathy Rowland (642 words, three-minute read) Suzuki Tadashi is one of the brand names in the international tour circuit, whose productions have earned critical praise and inspired several generations of audiences. A decade on from his last production in…
Video: The ArtsEquator End-of-Year Dance Podcast 2018
ArtsEquator held a live recording of its year-end dance podcast at Dance Nucleus SCOPE #4 on Sunday 2 December 2018, 7pm. Watch Chan Sze-Wei, Soultari Amin Farid and Bernice Lee share about the works they have seen this year in…
Rianto’s “Medium”: Of Journeys, Transformations & Corporeality
By Nirmala Seshadri (990 words, four-minute read) Total darkness. The sound of sleep. Sleep of an eternal sort. Slowly the light reveals a solitary human body conveying a sense of sleep or is it semi-consciousness? Now, the entry of…
“Until the Lions” by Akram Khan Company: What About the Lioness?
By Jocelyn Chng (1160 words, six-minute read) Until the Lions, a work that premiered in 2016 at the Roundhouse in London, is presented as one of the main (Centrestage) programmes at the 2018 Esplanade da:ns festival. The Akram Khan Company…
“Invisible Habitudes”: Postcards From a Choreographer’s Journey
By Chan Sze Wei (1090 words, five-minute read) T.H.E. Dance Company turns 10 this year and Invisible Habitudes, a da:ns festival commission, reads as an eclectic postcard of the artistic signature of Kuik Swee Boon. The company, and Kuik himself,…
Padmini Chettur’s “Varnam” and Pichet Klunchun’s “I Am A Demon”: An Instructive Contrast
By Bilqis Hijjas (975 words, four-minute read) If you have ever felt that classical Indian dance is too melodramatic – if you have ever rolled your eyes at a dancer’s fervid abhinaya, or a poem narrator’s extravagant diction – or…
“Asian Festivals Exchange” at M1 Contact Contemporary Dance Festival 2018
By Bernice Lee (1300 words, five-minute read) “Asian Festivals Exchange” puts together works selected from two East Asian festivals — Yokohama Dance Collection and Seoul Dance Collection — two works performed by T.H.E. Second Company, and a work-in-progress supported by…
Three Short Films about Women at SeaShorts 2018, George Town
By Alfonse Chiu (1216 words, five-minute read) The SeaShorts Film Festival ran for its second edition as the official pre-festival to the annual George Town Festival from 1st to 5th August in a radical geographical shift away from the Kuala…
“Between Tiny Cities (រវាងទីក្រុងតូច)”: De-cyphering Conversation
By Nah Dominic (1080 words, five-minute read) A white circle 10 metres in diameter greets us on entering the flexible performance space in Loft 29. I stand next to B-boy Erak Mith of Tiny Toones (Phnom Penh, Cambodia). He is…
Bonn Phum: Cambodian Village Festival
By Sunitha Janamohanan Bonn Phum, the Village Festival, now in its fifth year and attracting hordes of young Cambodians, took place from April 6 – 8 2018, in the grounds of the Kok Ampil pagoda. Founded by Lomorpich Rithy with…
Was a Skeptic, Still a Skeptic: A Festival-Goer’s Impressions of SIFA 2018
By Ke Weiliang (2,470 words, 10-minute read) In March 2017, Gaurav Kripalani was officially unveiled as the Festival Director for Singapore International Festival of Arts (SIFA) 2018 – 2020. I was over the moon, but only because a rare opportunity…
“Anticipation of One”: Futuristic Rituals of Sight and Sound
By Pow Jun Kai (588 words, 5-minute read) The artistic intention to merge histories and futures is almost always poised as a double-edged sword. One mounts the impossible task of adhering to an imaginary time that is not re-presentable; the…
“A Dream Under the Southern Bough – The Beginning”: Kun Opera for the Millennial Stage
By Jocelyn Chng (813 words, 5-minute read) A Festival Commission for the Singapore International Festival of Arts (SIFA) 2018, Toy Factory’s A Dream Under the Southern Bough – The Beginning is, as the title suggests, the first part of a…
“OCD Love” by L-E-V Dance Company: Mental Illness Plus Dance Equals Ballet and Horror
By Chan Sze-Wei (849 words, 5 minute read) L-E-V Dance company’s OCD Love is tightly choreographed and intense in its physicality, as might be expected from a choreographer issuing from years dancing, choreographing and directing for the iconic Batsheva Company…
Mayfly Docus: “Die Tomorrow” and “14 Apples” at SIFA’s “Singular Screens”
By Dan Koh (1,715 words, 15-minute read) At this year’s Singapore International Festival of Arts (SIFA), the two films from Southeast Asia are documentaries, or hybrid-documentaries—just like last year’s three, curiously. Despite the glaring gaps that remain in the funding,…
Same same but different: ASEAN 50 at the Singapore Writers Festival 2017
By Akanksha Raja (840 words, 8-minute read) “Language is born from imagination, and imagination is what makes language real. Without language, we have no memory: therefore, literacy (the mastery of language) is important. Our sense of language is the most…
Pathey Nimidam 2017: A Tamil Theatre Festival
By Rebekah Sangeetha Dorai (1900 words, 12-minute read) Pathey Nimidam 2017 opens up to a simple bare-bones theatre, plunged in darkness with a few blocks embellished with light, waiting for creativity and spark to bring them alive. From here stemmed…
Sonic Multiplicity: Reflections on “Sounds of Singapore”
By Pavithra Raja (1695 words, 20-minute read) What are the sounds of Singapore? It’s hard to pin down, given that Singapore is the site of a number of different musical influences, many of them rooted in the different ethnic communities…