By Alex Tan (16S03B) and Qiu Kexin (16A13A)
Photos by Way Ng (15S03A) and Cheng Zimin (16S03B) of Raffles Photographic Society

As the lights dimmed, the performers of Raffles Chamber Ensemble, decked out in their chic tuxedos and dresses, made a dazzling entrance for their annual concert, Intime. Meanwhile, the eager audience prepared themselves for a night with much to enjoy in the way of sophistication.

The first emcees, Farah Wu (16A03A) and Bryan Tay (16S03B), made a quick introduction to the concert theme, through playful dialogue:

“Are we going to start in time?”
“Don’t you mean on time?”
“Intime, it’s French! It means … ‘intimate’.”

Playing Andante Cantabile as one ensemble.

The concert promptly commenced with II Andante Cantabile, by renowned Russian composer Tchaikovsky – a solemn piece characterised by underlying melancholic tunes. As dismal as that sounds, on the contrary the bittersweet wistfulness brought out by the orchestra’s passionate playing had made for an engaging listening experience.

The chamber piece, Schubert’s Piano Quintet in A Major.

Following that, the ensemble progressed with several other classical pieces from the Romantic period, notably four movements from Carl Reinecke’s massive Serenade for Strings in G Minor, Op. 242. One might criticize the inaccessibility and esoteric nature of these songs to the average JC student, but these sufficiently encompassed a spectrum of moods, from introspective to intense, displaying the musicians’ versatility as well as mastery. Among other pieces, Schubert’s Piano Quintet in A Major was enjoyable for its sprightliness; the high-pitched violin soaring above the other string instruments, echoing and engaging in pleasant harmony with the piano.

The stage layout during Hansel and Gretel.

The best moments of the night, surely, came after the intermission, which marked a transformation in atmosphere. Garbed casually in bright, striking colours that contrasted with the earlier minimalist attire, the orchestra first embarked on Hansel and Gretel, a musical arranged by their very own musician Yee Yang En (16S06B).

Hansel stands between Gretel (right) and the Prince (left).

A narratorial voiceover and backgrounds on the projector supported the storyline based on the well-known fairytale of the same name (the musical was a sequel, picking up from after Hansel and Gretel found their way out of the witch’s house). Hansel and Gretel, charmingly portrayed by Wong Jia Yi (16S03A) and Yee Yang En, skipped out in tartan outfits, while cellist Heidi Ngo (15S06K), was convincingly decked out as a witch.

A medley narrated the brother-and-sister pair’s growth into wiser adolescents, which consisted of recognisable songs from pop culture and musicals. These included the likes of All I Ask Of You (from The Phantom of the Opera), For Good (from Wicked), Bruno Mars’s Marry You and Maroon 5’s Maps. Though relying on a clichéd trope of romance, it was nonetheless refreshingly light-hearted, a welcome counterpoint to the hitherto sombre mood of the concert.

To the audience’s surprise, the musicians had more tricks up their sleeves afterwards; the full orchestra reemerged in formal wear to conclude the evening with Vivaldi’s Spring. One last surprise was unfurled there and then: Wu Chin Ying (15S03R) “paused” the whole orchestra with a point of a remote control as she walked in from the side – and then revealed that the ensemble was entirely under the influence of her remote control. The audience was thereafter taken through a supremely entertaining and surreal showcase of the remote control’s various functions (Play, Pause, Mute, and Volume Control, among others).

Chin Ying fit into her part as Remote Controller remarkably, delivering her lines with the right amount of panache and hilarious verve. “Just enjoy that clarity of sound!” she exhorted as she clicked on Play. “Now you know why we can’t live life backwards – it sounds terrible,” she said while pressing on Rewind. “Come guys, wallow in self pity!” she urged as the orchestra broke into the main theme of Schindler’s List. This delightful mélange of theatre and chamber music was ended with their very sporting conductor, Ms Marietta Ku, wobbling off stage in a mechanical fashion.

Initially, some of the humour and fun in the production had seemed incongruous with the general tone of the concert. A behind-the-scenes video of bloopers and amusing captions like “very intense swordfighting” (rendered lovingly in Comic Sans) cracked the audience up – but as the concert progressed one realised that the comedy had been part of the plan all along. In fact, the Ensemble had successfully produced a refined yet relatable performance because of it, by marrying contemporary tunes with stereotypically ‘high-brow’ chamber music. Safe to say, it was a school production at heart, and a great one at that.

Bryan Tay

Bryan Tay, the newly-elected Chairperson, said about the preparation: “It was a really tough journey because we had to frequently meet up on non-CCA days for extra practice. I’m really really thankful for Ms Judy Tay and Ms Marietta Ku’s dedication – coming on these extra days and coaching us till 8 or 9.”

Beyond the final production seen by the public, Farah Wu, incoming Vice-Chairperson, also shared that Intime had been meaningful for the Ensemble: “Intime had brought everyone together as one family – especially through the fun and laughter we shared when we played as one remote-controlled orchestra! The late night rehearsals are memories we’ll cherish forever.” No wonder then, seeing the effort they had put in, that the orchestra had thoroughly impressed us with their fresh performance and shown us another side to classical music! Raffles Press would like to thank Raffles Chamber Ensemble for holding this delightful and well-executed concert.

Concert Setlist

• String Quartet No. 1 in D major, Opus 11 (Andante Cantabile) composed by Pyotr Tchaikovsky
• Serenade for Strings in G Minor, Opus 242, composed by Carl Reinecke
• Piano Quintet in A Major, D. 667 (Allegro Vivace), composed by Franz Schubert
• String Sextet No. 1 in B-Flat Major, Opus 18 (Allegro non Troppo), composed by Johannes Brahms
• Hansel and Gretel, arranged by Yee Yang En (16S06B)
• Concerto No.1 in E Major, “La Primavera”, Opus 8 (Allegro), composed by Antonio Vivaldi

by Karen Cuison (16A01D)
Photos by Jacqueline Yu (16S03L) and Brenda Tan (16S03P) of the Raffles Photographic Society

On the 29th of May, the Multi-Purpose Hall (MPH) was transformed for the ear-splitting extravaganza that was Rockout 2015. This year’s edition of the annual showcase put up by Raffles Rock was served well by its circus-themed aesthetic, which lent the show a whimsical edge.

Mark Ho (15S06Q) as ringmaster for the night.

After much popcorn and even more raving, Rockout 2015 finally got started. Opening the night was Year 5 act The Diversion, with hearing-loss-inducing renditions of Muse’s Supremacy and The Trooper from the popular Iron Maiden. Tee Ming Zee (16A01A), newly-elected chairperson of Raffles Rock and guitarist for The Diversion, explained that the rock-focused song picks were meant to showcase the technical proficiency of each and every band member. She adds, “Supremacy was our choice to open because it has a very grand, theatrical feel that set the stage for the rest of Rockout!” By their final song, the quintessentially ‘80s Welcome to the Jungle by Guns N’ Roses, they were clearly at home on stage.

The Diversion at the end of their set.

Next up was Austere, the Year 5 act that got the audience head-banging to Make Me Wanna Die (The Pretty Reckless) and Bring Me To Life (Evanescence). Like The Diversion, Austere also rounded off their set with a sing-along friendly Guns N’ Roses number, Sweet Child O’ Mine. Vocalist Jemi Lu (16S07B) quipped that Rockout had been an “exhilarating” experience, and that “being able to do what we love together made the hard work worthwhile.”

Austere looking anything but austere.

Both Year 5 bands got off to a mildly shaky start, but both bands soon eased into controlling the stage and hyping the audience up well before their respective sets were over. They also demonstrated a remarkable chemistry, which was no mean feat given that their bands were formed just over two months ago.

The next act to inherit the stage was The Misfit March, the first of two Year 6 bands. Buoyed by the strong performances of the previous acts, the band of ‘Cinderellas and Tin Soldiers’ shone during their powerful renditions of pop hit Chandelier (Sia) and a mash-up of Lady Marmalade (Christina Aguilera) and Back in Black (ACDC).

“I can’t believe they wrote a song about Buona Vista!” “WHAT?!” “The Ballad of Buona Vista right?” (overheard in the crowd)

Taking turns to take the stage with The Misfit March was Debonair. An enthusiastic mosh mob lapped up the more contemporary, crowd-pleasing hits they played like Locked Out of Heaven (Bruno Mars), and The Ballad of Mona Lisa by Panic! At the Disco. Debonair lived up to its moniker, delivering numbers ably and confidently.

The Misfit March ft. couch

The Year 6 rockers were clearly seasoned performers, and it showed in their constant awareness of each other as well as their ability to engage the crowd. It was a real pity that as Rockout’s ante was being upped exponentially, the crackly sound system and uneven mix were becoming increasingly apparent. Tee Ming Zee shared that this was a result of changes in venues and sound operators – part and parcel of preparing for a live gig.  Nonetheless, the Year 6 bands remained undeterred, and moved on to deliver a lovely, rousing performance finale in the form of Carry On by fun.

This year, instead of leaning towards the standard eclectic modern rock and alternative music, Rockout 2015 brought with it a more diverse range of songs, with the inclusion of pop tracks, which in turn increased the general appeal of the set. Some might have found the move towards pop music too populist (and opposed to the non-conformist ethos of rock music), but as Mark Ho revealed, “We chose our songs because we wanted to give the audience a good time, since we were the closing band, and I think we were able to do that. For that, we’re proud of ourselves and our setlist.”

Reflecting on the process of organising this big gig, Ming Zee revealed that they had faced many obstacles, including the General Paper Common Tests and working with external sound vendors for the first time on the day of the gig itself. This year’s event had brought new challenges, because on top of just managing the music, Rock also “had to manage publicity, merchandise, videos, logistics and costumes.” Instrumental to accomplishing all that and more was Mr Ian Toh, Rock’s music teacher, who provided  “guidance in thematic direction”, and Mrs Lena Lui, Rock’s teacher in-charge, who coordinated and supported the entire Rockout planning process.

And finally, we bring you some closing words about Rockout’s experience in this quote from Jemi: “The atmosphere and audience was amazing, we had a blast and we hope you guys did too!” We did.

Setlist
The Diversion:
• Supremacy by Muse
• The Trooper by Iron Maiden
• Welcome to the Jungle by Guns N’ Roses

Austere:
• Make Me Wanna Die by The Pretty Reckless
• Bring Me to Life by Evanescence
• Sweet Child O’ Mine by Guns N’ Roses

The Misfit March:
• Chandelier by Sia
• Can’t Stop by Red Hot Chilli Peppers
• Lady Marmalade/Back in Black (Mashup) by Christina Aguilera/ACDC
• Carry On Wayward Son by Kansas
• Plug in Baby by Muse

Debonair:
• Ballad of Mona Lisa by Panic! at the Disco
• Uptown Funk by Mark Ronson ft. Bruno Mars
• Shut Up And Dance by Walk The Moon
• Panic Station by Muse
• Take Me Out by Franz Ferdinand
• Locked Out of Heaven by Bruno Mars
• Beggin’/Toxic/Can’t Hold Us (Mashup) by Madcon/Britney Spears/Macklemore & Ryan Lewis

Postscript:

Reflecting on his experience performing for the Raffles Model United Nations Dinner & Dance just five days after The Greatest Show on Earth, Raffles Rock drummer Leo said “I have cellulites.”

Rock member Bing Tian quipped, “Dumbledore’s sock!”

Guitarist Keming, deeply moved by the audience’s encouraging cheers, said tearily, “Banroc Funnels!”

by Qiu Kexin (16A13A) and Chew Cheng Yu (16S06L)
Photos courtesy of Mr Toh Ban Sheng, Keane Chua and Raffles Voices

As the smartly dressed performers took their places centre stage, a hush instantly fell over the audience within the newly refurbished space of Victoria Concert Hall. It was thus that the three starring acts for the night – Raffles Chorale, alumni choir Raffles Singers and their Year 1-4 counterpart Raffles Voices – made a sparkling entrance for their annual arts performance Vocal Exploits 2015, immediately filling the hall with comforting, dulcet sighs of one impressive choir overlooking fully-packed turnout.

Held to raise funds for Nepal in the wake of the devastating earthquakes in April, the theme for this year’s concert was Canticum in Natura (Latin for ‘Songs in Nature’). True to its name, the concert showcased a stunning repertoire variously inspired by the beauty and majesty of our natural environment. The theme took on an even deeper throughout the musical extravaganza, as the many songs recalled the joy of appreciating Nature and her vicarious gifts — perhaps an experience made particularly poignant to an audience accustomed to city life in concrete jungles.

The concert started on a high note, opening with Cantate Domino (‘Sing to the Lord’) by Josu Elberdin, which pervaded the atmosphere with pleasant clarity of voices, as the singers passionately produced rousing chants, united as one ensemble.

Following that, in the concert’s first half, the rest of the songs included various works centering around the celebration of the human spirit. I Carry Your Heart with Me (originally a poem by E. E. Cummings) was a gently euphonious song about enduring love, accompanied by sweet felicitous notes played by violinist Carolyn Au (16S03F).

In contrast, Hentakan Jiwa (‘Beat of My Soul’ in Bahasa Indonesia) by Ken Steven was notable for its stirring Indonesian percussionistic rhythm, which Raffles Voices created through clapping and stomping when they took over the stage — evocative of the strength of a beating human heart. In Beati Quorum Via (from Psalm 119:1, Latin for ‘Blessed Are Those Whose Way’), a religious hymn, the choralists blended voices both high and low as well as booming vocals together into one resounding whole.

Those present were able to hear a sundry of different languages throughout the various pieces, some comprehensible to us, some completely foreign – but they had not detracted from the audience’s enjoyment of the plaintive music and instead, as the music went on, they managed to move the audience in their seats simply through the emotional passion of the performers’ elegant voices, communicating in the wordless yet inspiringly universal tongue of music. In particular, there was Stars I Shall Find by David Dickau. With a mellow touch of piano accompaniment and spirited expression, it stood out for its optimistic message of keeping oneself afloat and finding hope amidst adversity.

Raffles Chorale performing in the picturesque setting of Victoria Concert Hall.

After the intermission, the audience saw Raffles Singers, comprising of chorale alumni, taking the stage alongside their juniors for some notable performances. There was a noticeable shift in mood due to the transition, through changes in song choice, to a lighter listening experience – while the atmosphere was still solemn during some pieces, most of the works included were contemporary pieces, which made for a musical style more aurally engaging for younger members of the teeming audience.

The sombre ones – fewer in number this time round – included the notable The Lonesome Road arranged by Simon Carrington, which mixed soulful melodies with contemplative lines about solitude (“Walk down that lonesome road all by yourself / Don’t turn your head back over your shoulder”),  to create a song which was deeply introspective.

In their rendition of Gloria by contemporary South Korean composer Hyo-Won Woo, the performers brought to life the piece’s richly nuanced and unique fusion of Eastern musical influences with a rearranged, but still quintessentially Latin, hymn. Our choir efficaciously recreated the might and regality associated with Latin chorale music – combined with their execution of traditional Korean music tempos which had been incorporated into the song, the performance was nothing short of a rousing crowdpleaser.

La Cucaracha, a Mexican folk song, livened up the whole venue with its light-hearted and jovial tunes. Pervaded by the catchy repetitions of ‘ba dum da’ that compelled one to dance along with the rhythm, it ended with a loud, enthusiastic shout of “Olé!” which cracked up many in the audience.

Pamugun, from one of the Philippines’ most prominent composers Francisco Feliciano, was unfolded to the expectant listeners by Raffles Singers. It was a challenging piece better suited for the more seasoned alumni; the song (which told the story of a desperate hunter chasing a bird) tested the waters of typical concert fare, not just because of its rapid-speed rhythm which demanded much vocal agility, but also for a few surprises throughout the song, such as a loud, unexpected shriek halfway which shocked the audience. In all, it was one of the more outstanding performances, demonstrating the mastery of our alumni choristers and rounding off the concert well with a delightful dose of what was unusual.

The next piece brought in several new instruments, such as a cymbal, a bass drum, handbells, and many more curious musical implements. Cloudburst by Eric Whitacre — about the breathtaking wonders of nature big and small — was an intriguing piece: snapping fingers became raindrops, a thunder sheet with the bass drum became thunder; the song slowly built a storm to its crescendo, before leaving the sounds to ebb away gradually. With a slight dream-like quality with the ringing of handbells, the audience was entranced by the thunderstorm that grew in the hall, into a storm which received thunderous applause at the end – truly well-deserved in our opinion, considering the song had been one of the most challenging of the lot to choralist Adrian Wang (16A13A), since it had been “substantially long” while necessitating the seamless “weaving together of voices and several instruments”.

Last but not least, the chorale groups concluded the concert by singing the Institution Anthem upon requests for an encore, as per Chorale’s tradition. There was an invitation extended to all Rafflesians present to join in with them – which they did, boldly singing together in what was a joyous and stirring rendition of the Anthem.

All attention is on the performers, as they conclude their song.

Looking back on the eventful night, the first thing one could have praised Raffles Chorale would have been, right off the bat, their ability to work with all the chosen songs from dissimilar composers or artists, and yet still present a coherent and unified theme of celebrating our world overall. The result was a smooth show that had been enjoyable for both the viewers as well as the performers. No less impressively, their performance that night showed no signs of sloppiness or disorganisation despite being prepared within just a few months – the chorale members were all deeply engaged in their own performances, swaying along to the music as they sang. The solo performances were similarly impressive; they supplemented character and depth to the song with much enthusiasm. No wonder it had been enjoyable to such a degree for the performers then, as Adrian Wang also revealed that the chorale groups had found “performing in the Victoria Concert Hall for the first time a highly breathtaking experience.”

Having said that, another area that had impressed was definitely the choice of so many — up till then — oft-unheard pieces hailing from a diversity of cultures around the globe. The general consensus was that the repertoire had achieved an enlightening and eye-opening showcase of music which could have largely gone unnoticed by the average music-lover otherwise. The unique and slightly quirky setlist had come about because “Chorale wouldn’t be performing for the Singapore Youth Festival this year,” recalled Mr Toh Ban Sheng, director of Canticum in Natura. “We had more freedom in choosing our repertoire, so [we took] the opportunity to perform long works with various instruments.”

For seasoned music aficionados, the originality of some notable pieces – manifest in the recreation of nature’s sounds in Cloudburst, and the seamless, yet whimsical alternation between fast-paced bars and slow cries of Pamugun – would have delighted. There had been no lack of thrills for the casual listener there either: the songs had taken the audience on an emotional roller-coaster, riding from the high of sprightly jingles, to the sobering melancholy of some sad ballads.

And as for the average student there, there had certainly been some pieces with timbres mostly unfamiliar to them in this day and age (austere works such as Gloria or Beati Quorum via). Still, in the bigger picture, that mattered little because at its core, the whole affair in Victoria Concert Hall had been a sincere performance with the best mix of chosen pieces, marked by the choirs’ emotional conveyance of the human heart and soul through the sheer will of voice alone.

Setlist

• Cantate Domino by Josu Elberdin
• Stars I Shall Find by David Dickau
• The New Moon by Ēriks Ešenvalds
• Sonnet 43 by Kelly Tang
• Hentakan Jiwa (World Premiere) by Ken Steven
• If May I Fall In Love Again (World Premiere) by John Pamintuan
• I Carry Your Heart with Me by Randall Stroope
• Cantico de Celebración by Leo Brouwer
• Beati quorum via by Charles Villiers Stanford
• Gloria by Hyo-won Woo
• That Lonesome Road by James Taylor, arranged by Simon Carrington
• Contrapunto bestiale alla mente by Adriano Banchieri
• La Cucaracha arranged by Robert Sund
• Yver, vous n’estes qu’un villain by Claude Debussy
• Pamugun by Francisco Feliciano
• Cloudburst by Eric Whitacre
• Let the River Run arranged by Craig Hella Johnson

by Khairillah Irwan (16A01B) and Michelle Zhu (15A01B)

The night started simply enough – supporters, parents, theatre aficionados and casual friends gathered in the Performing Arts Centre to witness Raffles Players’ highly anticipated College Play, An Enemy of the People. Though this year’s turnout did not match the full house of last year, Raffles Players did not fail to impress.

An Enemy of the People brings to the forefront the conflict between the telling of the truth (and the naïve idealism that comes with it) and societal interests. Dr Thomas Stockmann (Naresh Manoj 15A01B), finds himself in conflict with Mayor Peter Stockmann (Rishi Vadrevu 16A01D) over his desire to expose the contamination in the town bath houses. The Doctor’s idealistic conviction to expose the truth and his confidence in the people is contrasted with the Mayor’s pragmatic concerns over how such an exposure would affect town revenue. As the play proceeds, Dr Stockmann finds himself increasingly estranged as the local news agency, the Mayor and the people turn against him despite his efforts to help the city. By the end, Dr Stockmann is lynched, exiled from his town and is left a jaded man, sombrely declaring: “The strongest man is he who stands alone.”

The play’s momentum was effectively sustained from start to finish. The Victorian decorations which adorned the PAC foyer along with a character web generated prior interest and surfaced the key motif of the individual’s relationship to society. The choir piece that was played to the anxious waiting crowd gained significance as it served as an unnerving foreshadowing for the loud and vitriolic scream of the crowd in the lynching they inflicted on Dr Stockmann later on in the play. Props goes to Players for their realistic and creative recreation of a lynching scene by positioning members of the cast in the audience. The shouting and murmuring which the audience heard from the ‘audience members’ around us enhanced the sense of realism, the impression given reminiscent of an election speech gone horribly wrong. If anything, this also aroused our sense of sympathy for the main character whose alienation becomes even more apparent as a further effect.

The lynching scene was a particularly memorable one, allowing us a deeper look into the character of Dr Stockmann. Naresh shone in presenting Stockmann’s desperation and conviction, in the face of an unforgiving and angry crowd. While one admires his zeal towards spreading the truth to the city, one may might also decry his unrealistic idealism and stubborn indecision. This man, presented as a composed man of science, unleashes bursts of raw emotion as he fights against a wall of public opinion in testament to his strong conviction. His consistent claims near the start that he has the ‘people behind him’ become more unconvincing and pitiful as the play progresses – one might even feel some sort of catharsis or grim satisfaction at seeing his illusions shattered and his views irrevocably changed by the end of the play.

The liberal press’ relationship with Dr Stockmann deserves special mention for showing the complex interests determining the actions of societal agents. The idealistic and naïve journalist vibe which Hovstad (Cheang Ko Lyn, 15A01B) the editor of the newspaper channelled showed in the somewhat comical scene where she and her fellow journalist Billing (Rebecca Goh, 15S06O) unveiled dramatically a world in which the ‘liberals would rule’. Yet this idealism is quickly trumped by societal interests and personal interests upon a visit by the Mayor.

Other characters related personally to Doctor Stockmann highlighted further the personal dimension to the conflict. Celine Ng (16A01A) put up a strong performance as the daughter of the protagonist. With her spirited voice and lively presence, her idealism fused with that of the protagonist played by Naresh made for an interesting stage dynamic Her comment about her role as a teacher- “At school we have to stand and tell lies to students!” elicited laughter out of the teachers in the audience. As Mrs Stockmann, Syafiqah Nabilah (15A01B) was versatile in how she oscillated between joyous hospitality and exasperation, resulting in a restrained spunk that reminded the audience of her unwavering, consuming concern for her family. We come to admire her unwavering dedication to her husband, even if it seems a little misplaced, thanks to the strong rendering of both characters.

Aslaksen (Rachel Koh, 15A01A) the moderator for Dr Stockmann’s public speech who piped up every five minutes by saying “Everything in moderation!” brought some much needed comic relief to the play. In the larger scheme of things, especially near the ending, these tendencies highlighted the ability of the artificial and seemingly polite to obscure the often loud and vitriolic Truth, which was a theme the play sought to share multiple times. Manifest in Thomas Stockmann’s interaction with the rest of the characters, the audience is left to reconcile Thomas’ unruly and unbecoming behaviour and the Truth he presents.

Raffles Players with their teacher mentors Mr Ian Tan (extreme left) and Mr Soh (extreme right)

Players impressed with their set, which was both functional and, given its simplicity, did not distract from the characters. This is especially so because the CCA was hit rather harshly by budget cuts, having to cut down significantly on production costs. Nevertheless, this did not affect the quality of the play and one could make the case that the simplicity of the set focused the audience’s attention on the interaction between characters rather than detracting from it.

Of course, as with any production, the play faced its own set of challenges.

Physical and technical issues marred the play somewhat. Very notable were the long transitions between scenes. Their clumsiness had the audience fidgeting uncomfortably with the very visible silhouettes of the actors moving props backstage. The first half of the play felt rather rushed and stilted. From the perspective of some audience members, it felt as though the conflict was set up rather abruptly and without any precluding development. Though of course, this can be attributed to the formidable task Players had of setting the context for the very intricate web of issues that this play confronts.

The College Play elicited praise from audience members, with the HOD of Literature Mrs Nicola Perry remarking effusively that it was “a very strong performance all around.”

Unlike the version of An Enemy of the People recently staged by local theatre company WILD R!CE, the version performed by Raffles Players followed the original text by Norwegian writer Henrik Ibsen more closely. An Enemy of the People dealt with political insubordination and one’s man quest to reveal the truth, and the Players did the play justice with their adroit performances. In the words of their director Mr Ian Tan: “No play is as powerful as An Enemy of the People in expressing how lonely the struggle for truth is, and the consequences of bearing [that truth].” It’s safe to say that Players did an excellent job in conveying that message.

by Celine Ng (16A01A)
Photos from 7letters.sg

7 letters is a collection of 7 short films by Singaporean directors Boo Junfeng, Eric Khoo, K. Rajagopal, Jack Neo, Tan Pin Pin, Royston Tan and Kelvin Tong. Fundamentally a celebration of home, the short films orbit this theme with fascinating coherence and touching individuality, offering one of those rare collections of stories which build off rather than compete against each other.

In all honesty I attended the screening with some ambivalence. ‘Singaporean’ works of art have on occasion struck me as somewhat heavy-handed in their treatment of our national identity and I wondered if the films would come across the way I interpreted some of the publicity: aesthetically pleasing but somewhat pretentious, framed in the token-nostalgic but largely mystifying location with a bright SG50 to boot.

Watching 7 Letters turned out to be an immensely humbling experience for me, for which I am grateful. Each film treated its subject matter with genuine affection and ‘local’ issues were woven into the stories with varying degrees of subtlety but an enduring sense of purpose.

(Note: The audience was asked by two directors who had attended the screening to approach the films with fresh eyes regardless of what we’d read about them before. I was fortunate in that, never having read any reviews, this was easy for me to do. To avoid giving spoilers, the following paragraphs are deliberately conceptual in description, and do not appear in the same sequence which the films do.)

Parting by Boo Junfeng was a deeply nostalgic piece to do with memory and loss. The film is notable for the skill with which it wove personal drama with reflections on what some viewers interpreted as a reference to Singapore’s separation from Malaysia in 1965. Conceptually, the non-linear progression was effective in creating the persistent sense of loss that undergirded the piece as well as lending sympathy to the drama -from demolished landmarks to changed faces, images conveying this sense of loss emphasised the difficulty of the Protagonist’s search for memory in a world that had utterly changed.

Sinema by Eric Khoo was possibly one of the most cleverly conceptualised in my opinion and an affectionate take on “the golden era of Singapore filmmaking”. The strength of this piece lies in its ability to reference familiar tropes -as evidenced by the immediately recognisable low-budget film-in-a-film, complete with word-art-like opening title, jerky cinematography and tacky Pontianak -and re-work them with affection and humor. Keenly aware of the narrative tropes it played off as well, the film as a whole was able to create strong parallels between its plot and construction, conveying across multiple levels the idea that what lends value to stories is a freshness defined not by utter separation from what is past but rather a meaningful engagement with history.

Sinema by Eric Khoo

The Flame by K. Rajagopal was a compelling tale of family drama catalyzed by historical currents and the most narratively compact of all seven films. The film precipitated a collision of its four main characters with efficiency and vigour, allowing the key tensions of their struggle to be played out with sustained intensity. This efficiency was also apparent in the dialogue, which was tightly tethered to these tensions throughout, conveying through silences and stilted exchanges the unspoken concerns of each character.

That Girl by Jack Neo opened with a sequence that had me turning to my friend with a whisper of ‘confirm Jack Neo’ which was met with a suppressed laugh and a nod. Plot and thematic concerns aside, the film in itself is capable of evoking nostalgia for those of us who might see in it echoes of films such as I Not Stupid and Homerun. Crucially, however, the ‘local’ elements in this film were able to seem less like gimmicks and more like parts to a comprehensively -if a bit too deliberately -constructed whole, lending heart to a sweet if somewhat predictable story.

Pineapple Town by Tan Pin Pin was another film which audiences saw political undertones in, with some reviewers outright labelling it political allegory. Personally, I admired it for a very clean, down-to-earth style which I felt granted the most autonomy to the plot. The strengths of this piece lie in a complete independence of the story from narrative ‘enhancers’  and subtly balanced depictions of different character types (the middle-class lady and literal coffee-shop aunty, for instance).

Pineapple Town by Tan Pin Pin

Bunga Sayang by Royston Tan was a sweet and heartfelt story of friendship, one of my favourites for its balance of sentiment and humour. Reviewers seem to have mixed reactions to the film’s blend of the naturalistic with the whimsical and at times outright surreal, which was fun if somewhat confusing. I personally felt that the defining aspect of this piece and its greatest strength was a deeply feeling but understated quality to the storytelling. The friendship which emerges between both protagonists is made all the more compelling by the fact that their loneliness elsewhere and genuine fondness for each other is largely implied and at most articulated on occasion by timing and facial expressions.

Grandma Positioning System by Kelvin Tong was remarkable for how well it worked, with my friend and I agreeing that it was “by far definitely the tackiest but possibly the best”. This film managed even to outstrip That Girl in its use of stereotypes and Sinema in its use of tropes, but was nonetheless deeply enjoyable, again for its blending of heart and humor. Most remarkable to me was the skilful construction of the family dynamic which was deeply compelling in the way it lent depth and dignity to a series of tropes that were often simultaneously touching and comical. Perhaps the best way to encapsulate the spirit of this piece would be the reactions my friend and I had to its ending, which we both agreed should have made us cringe but actually had us crying.

Grandma Positioning System, Kelvin Tong

On the whole, 7 Letters was a truly admirable show and one that I would recommend. I believe there is something in it for everybody, and as someone who views any art specifically marketed as “Singaporean” art with immense skepticism, I am grateful for this humbling reminder that there is art out there which explores local themes with intelligence and insight.

7 Letters will be having a short run at Golden Village and tickets are available online at their website.

by Heather I’anson-Holton (16A01E) and Adelyn Koh (16S06H)
Photos by Chang Po Chun (16S03K) and Hoong Li-Ann (16A03A)

During the annual Grad Night on 3 December a week ago, the fashion sleuths of Raffles Press and Raffles Photographic Society went outfit-watching together among the throng of Year 6s. What we found at this night of class and elegance certainly did not disappoint us, in terms of diversity and creativity from the trendy Year 6s. Read on for some highlights of the fashion parade!

At first, Chua Ting Wei planned to buy his suit from Benjamin Barker (a popular choice amongst the guys), but did not manage to find something that could fit him as he was “really small sized”. People of Asia, on the other hand, had just what he needed. (Our vertically challenged readers, take note!) Ting Wei strayed from the conventional black suit, choosing instead a light grey suit with thin black checks that quickly caught our eye. What really made this outfit however, were the details that Ting Wei accentuated it with. A plain white dress shirt was made instantly more attractive with gold rimmed buttons, and a smart purple vest with similar gold buttons provided an additional pop of colour. His accessories didn’t disappoint either – Ting Wei finished off his outfit with a red ribbon bow tie with a pearl and gold button to fit the theme, as well as a matching pocket square, gold collar tips, and a pair of brown brogues that complemented his vest. This was truly an outfit that inspired envy.

Dominic originally wanted to get a suit, but in his words, “a nice suit was very expensive.” Instead, he opted for the more wallet-friendly option of a well-paired casual blazer and checkered shirt. The deep blue of the blazer and the warm brown shades of the shirt, pants and shoes gave his whole outfit a level of cohesiveness deserving of praise. We especially loved the blazer’s deep pockets and unique elbow patches, which added a nice amount of detail. Dominic’s outfit just goes to show that if you shop smart, you can look great on any budget.

When queried as to why she chose ethnic wear, Marianne provided several reasons: it’s more practical, it’s a unique look (we agree!), and that on a personal level, she feels she looks better in traditional clothes as compared to modern clothes. She also added that “one should not be afraid to wear ethnic attire even when everyone else wears modern clothes. Your culture is your identity and you should not be afraid to flaunt it!”

Marianne was one of few who were unafraid to wear bold colours. Her daring paid off, and she looked exceptionally regal in her sari of royal blue, crimson red, and shimmering gold. Marianne also picked her jewellery well; her gold headpiece helped frame her face and accentuate her features, and her dangly earrings and many bangles served to play up the colours of her outfit. Another thing worth noting is Marianne’s use of henna on her hands, which had the dual purpose of representing her culture, and adding a level of detail that was unique in the ballroom.

Some might have thought that such an unusual look must have been coordinated by the two, but when asked, Vint Seng (left) and Danson (right) replied, chuckling, “no we didn’t [coordinate], it was a complete coincidence.” Their reasons behind their choice of trench coat weren’t harmonious either. Vint Seng claimed that “blazers are lame. Everyone wears blazers anyway, it’s boring.” Danson on the other hand, had a more practical reason. “My mom said that I could use the trenchcoat when I go overseas to study. Besides, everything was on discount!” Whatever the reason, their choice paid off, and the boys stood out amongst the crowd. Danson wore his black trenchcoat over a white shirt and red tie with shoes to match, while Vint Seng chose to wear his grey trenchcoat with other dark colours, with the exception of the rather unconventional accessory of a purple knitted scarf, which brightened up his look.

Click to view slideshow.
Ragini chose this dress because she felt it was “the right mix between party and sweet,” and it was indeed a refreshing change from the many heavy gowns worn by others that night. Ragini brought some sparkle to the event with a bodice encrusted with glittering crystals, which she paired with bejewelled hoop earrings. The sweetheart neckline and bare back showed off Ragini’s figure, helped along by a pale pink chiffon skirt that cinched her waist. We loved the skirt’s flowy layers, which along with the transparent straps of the bodice, helped to balance the heaviness of the jewels, and kept the outfit light and airy.

Nicole wanted to her outfit to be classy and elegant, and achieved exactly that with a stunning floor length dress. She still managed to set herself apart, however, with its solid red shade, which she chose for its “daring.” The fit of the dress lent her further advantage by showing off her figure and giving the illusion of longer legs. The outfit was complemented by some gorgeous silver jewellery – simple stud earrings and an eye-catching statement necklace, which were kept in the spotlight by her up-do hairstyle. This was a timeless ensemble that will never fail to charm.

What impressed us about Nikhil was his ability to take staple menswear items (a grey blazer, a white shirt, black pants, brown shoes) and make it into an outfit that was his own, proving once again that details are everything. The choice of a wool blazer gave an added textural dimension, gold-rimmed glasses drew attention to and framed his face, and a fun floral print skinny tie gave his look a touch of personality. When asked as to why he chose that particular pattern for a tie, he replied that it felt right and he liked it – sometimes, that’s all it takes. Nikhil’s outfit shows that simplicity can be great too, and with a few careful touches, any wardrobe piece can be revitalised.

Justine applied a geometric theme to her whole outfit that we thought was very clever. Her electric blue dress featured a series of black lines that not only framed her figure, but gave the illusion of longer legs, added height, and a slimmer look. The beaded detail of the dress also gave her look some texture. Justine accessorised with dangling chain earrings that mimicked the vertical lines of her dress, a necklace comprised of a series of rectangles, and a clutch with an outer casing that was segmented into triangles – each playing up a geometric element, giving her look an overall sense of cohesiveness. This was an outfit that was meticulously planned, right down to the crisscrossing braid Justine styled her hair with, and we loved it.

Name: Ho Yeung Jek
Everything: Topman

Yeung Jek’s powder blue suit stood out amongst a sea of grey and black, and we loved the soft colour palette that he went with, which was a refreshing change from the many dark and heavy colours sported by the majority of his peers. Yeung Jek kept his outfit perfectly balanced with a white shirt and a silver tie with a slight sheen, which complimented the pale grey buttons on his suit, and a black leather belt and a pair of brown shoes gave the outfit some darker tones, preventing him from looking too washed out. Like Nikhil, it was Yeung Jek’s clever manipulation of the basics made this outfit so great.

Mudassar had no explanation as to why he put together this ensemble, only that the inception of a harness as an accessory popped into his head, and he simply had to go with it. This edgy outfit featured black leather straps, an army green button-down with an unusual collar, and smartly polished dark brown shoes. We loved how the pressed vertical crease down the front of each pant leg played upon the lines of the harness, and how the belt buckle, the hoops and accents of the harness, and the reflective watch face provided just the right amount of metallic shine to what could have been a dull colour combination. Another thing worth noting was the attention that Mudassar paid not only to his outfit but to his face too, something less commonly practiced by boys, but which definitely worked in his favour. His sculpted eyebrows, flawless skin, and sharp, defined cheekbones made this great outfit even better. A bold look indeed, this was hands down the most unique outfit of the night.

Sinéad’s cocktail dress featured a bodice made of velvet – a daring material few can pull off, but which she certainly did. We loved the details of her dress – the crisscrossing velvet ribbons across the front and back that were reminiscent of a corset, the box pleats of the skirt that provided dimension, as well as its unique buckled shoulder straps. Sinéad’s consistent commitment to diamonds and crystals in all her accessories – double bar hair clips, earrings, bracelet, clutch, even down to her bejeweled stiletto heels and studded nails – brightened up the velvet, and beautified areas often neglected. We also loved the attention she paid to her hair and makeup, such as the interesting ombré effect of the dye and the self-styled soft curls, as well as the bold lip colour that matched her perfectly-manicured nails. Interestingly, we recognise this to be the dress worn by Miranda Cosgrove to a recent movie premiere, and while the dress itself may have been deserving of Hollywood, we believe Sinead’s finishing touches made it truly red carpet worthy.

by Kristal Ng (16S07C) and Huang Jiawen (16S06G)

Photos by Chang Po Chun (16S03K) and Hoong Li-Ann (16A03A)

It was going to be a dark and stormy night – looming gray clouds threatened a heavy thunderstorm. But even then, the weather could not keep the stars from coming out that night. Decked out in stunning gowns and tailored suits, excited Year 6s milled around in the lobby of the ShangriLa Hotel. The night was about to be a truly picture perfect one in the warm glow of lucent Christmas lights– capturing the essence of style, glamour and class, despite being the last significant event for the class of 2015.

Selfies were just one of the ways to capture the night’s memories.

When it was time to get the show underway at 7pm, the large mass of seniors finally entered the ballroom accompanied by music to the likes of AVICII and Naughty Boy. The ballroom was buzzing with the Year 6s’ nervous anticipation, but also their palpable sense of post-As relief, as they got ready to par-tay.

Grad Night started off on the right foot, as the Dance King and Queen nominees vied to win the title with their unique performances. First up was Choong Ting Wei (15S06Q), who, along with his entourage of friends, channeled his inner K-Pop fan by breaking out into sultry moves worthy of making him a ‘9th SNSD member’, dancing along to popular Korean hits such as Apink’s “Nonono” and Girl’s Day’s “Expectation”.

Choong Ting Wei (centre) and SNSD 2.0.

The next contestant was David Wang (15S05A) who, in a solo act, executed an impressive hiphop number involving complicated popping and locking techniques. Following his exit, Eunice Huang (15S06R) rocked out to the upbeat dance-along song, “Downtown” by Macklemore while Yvette Lin (15S03A), a self-professed ‘noob dancer’ danced adorably along to a medley of popular songs, showing that there is nothing more important than having the love for dance.

Eunice Huang and her friends really getting down(town).

As the votes for Dance King and Queen were being sent in, the first 2 rounds of the Lucky Draw commenced, featuring lucrative prizes such as Starbucks gift cards as well as H&M vouchers.

Afterwards, it was time for the Prom King and Queen nominees to strut their stuff on stage. Damian Chong (15S03J) strummed a heartfelt rendition of “Tear in my Heart” by Twenty One Pilots on his ukelele– his performance bolstered by clap-alongs from the audience. Hiak Jun Jie (15S03J) danced the Macarena, and even pulled his buddies out from the crowd to join him on stage, in a heartening show of camaraderie.

“Come friends, do the macarena with me!” – Hiak Jun Jie

Meanwhile, Prom King nominee Shant Sin (15S03K) and Prom Queen nominee Richelle Ang (15S06B) dueted Ed Sheeran’s ever popular “Thinking Out Loud”, crooning the lyrics as best they could, encouraged by the cheers of their batchmates. 34th Council Vice-President Chan Mae Yee (15S06R) showed her playful side of her personality by dancing along to Beyoncé’s “Single Ladies”, with fellow councillors Vivek and Russell as her backup dancers.  Seah Ying Lin (15S07B) enacted an elaborate puppet-esque show, which humorously depicted her struggle with school and ended with her emerging victorious.

Chan Mae Yee (centre), not just Prom Queen, but Raffles’ very own “Queen Bey”.

The dance group from Street Dance, aptly coined “Snow White and the Seven Dwarves” (featuring one female dancer and seven male dancers), then took to the stage as an act of their appreciation for the graduating Year 6s. The Lucky Draw Finals also saw the giveaway of big-ticket prizes such as USS Season Passes and the top prize of a two-person hotel stay at Shangri-La Hotel itself to the shrieks of delight to the lucky winners.

Finally, the pageant results were released after much anticipation.

Our Dance King and Queen Nominees! (From left: Eunice Huang, Yvette Lin, David Wang and Choong Ting Wei)

Choong Ting Wei and Eunice Huang emerged as Dance King and Queen respectively while Hiak Jun Jie and Chan Mae Yee were crowned Prom King and Prom Queen.

Our Prom King and Queen Nominees! (From left: Seah Ying Lin, Richelle Ang, Chan Mae Yee, Hiak Jun Jie, Damien Chong, Shant Sin.)

As the night drew to a close, a video montage of the Year 6s’ 2 years in Raffles was played on screen, depicting the most memorable moments of school life, all the way from Orientation Kaleidos to Mega Mugging Madness 2015. It was followed by a version of the batch song specially arrangement by the Year 5 Student Councillors, featuring well-wishes from their fellow schoolmates– a touching tribute as well as a bittersweet goodbye.

All throughout the night, the Year 6s, eager to take a poignant reminder of their final year together, visited the special photo booths set up in the ballroom foyer which printed out photos instantaneously. At the end of it all, everyone left with smiles on their faces – after all, life in RJ is less like a single snapshot, and more like a collection of experiences and relationships which will live on in our heads and hearts forever.

Surely the best way to capture a very picturesque night indeed.

By Agatha Lim (16A10B)

Photos courtesy of Raffles Chorale

In a packed Lecture Theatre decorated with a Christmas tree, stockings and even a cardboard reindeer, the audience was filled with festive cheer as they eagerly awaited this year’s installment of Vocal Delights.Vocal Delights 2016, true to the season, offered a blend of the ever pervasive pop songs and springy Christmas tunes bound to please- all to be performed fully a capella. Soon after the seats were filled and the obligatory selfies were taken, the emcees, Angela and Lee Yi, were onstage to announce the arrival of guests from the concert beneficiary Club Rainbow, a non-profit organization providing services for chronically ill children and their families With a gentle reminder from Angela to put any beeping devices on silent to avoid any ‘unintended musical accompaniment’, Vocal Delights began proper to the sound of spirited cheers from the audience.

Emcees Angela and Lee Yi usher in the performers

Hologram, a 9-member group comprising Y5 Chorale members, was the first to take the stage. Immediately, the familiar tunes of Ed Sheeran’s “Photograph” and Taylor Swift’s “Wildest Dreams” pervaded through the LT.Presenting upbeat versions of both songs, their performance brought a refreshing sound to these arguably-overplayed songs. Donned in matching denim jackets, and brandishing some effervescent displays of theatrics, Hologram undeniably kicked the concert off euphonically through well-executed modern songs by award-winning artists.

Introduced for having a “spontaneous” name by the emcees, STX—a group of Y6s—was up next. Their first song, “Somewhere Over The Rainbow”, a renowned ballad was performed with class and sophistication. Though it presented a stark contrast to the pop songs performed by the previous group, STX quickly wowed the crowd through their vocal prowess. To live up to their alleged spontaneity, the group made a change from the lineup printed on the programme. Instead of popular Christmas song “Silver Bells”, STX performed a mashup of pop songs, such as “Royals” by Lorde and “Bad Blood” by Taylor Swift. Amidst the changes, the Christmas theme was not forgotten as the group donned Christmas hats and reindeer antlers while segueing from one pop song to another, thoroughly entertaining the audience.

STX fully decked in Christmas garb

All-girls group, Intoxic9te, featured self-arranged pieces and matching black dresses, was up next, going all out to impress. The first song was Adele’s latest lead single “Hello”. The audience was greeted with the group’s otherworldly, angelic voices that were a hello – from the other side. The girls then took us back in time to pop music from the 1950s. “Fly Me To The Moon”, a classic which was performed with grace and elegance

Hello, it’s intoxi9te

Maintaining the momentum of brilliant song after brilliant song, a group made up of Chorale’s executive committee took the stage. The Raffles Number sang traditional Christmas hymn, “O Come, O Come Emmanuel”. The wide vocal range of this mixed gender group and a wonderful solo from Jonathan made for a chilling, breathtaking performance. Transitioning to a more contemporary sound, the group performed One Direction’s hit single, “Drag Me Down”, which was equally impressive.

The last group before the intermission was named The Real Dragons, who true to their name, , performed “Radioactive” by Imagine Dragons. Despite only having one song, the group closed off the first half of Vocal Delights lyrically, substituting the instruments of Imagine Dragons with the equally impressive voices of The Real Dragons.

The Real Dragons take the stage

Fringe, dressed in blazers and carrying music scores, welcomed the audience back with warm Christmas classics. Without forgetting the lighthearted mood of the concert, “Hallelujah” ended with a low, bass note that seemed out-of-place, sure to evoke a chuckle from the audience. The second song, “White Christmas”, evoked a dreamy and a wintry Christmas setting. the strong imagery of their lyrics was brought across by their melodious voices, bringing a beautiful, hibernal scene to life. Having Fringe at centre stage, the audience surely experienced the magic of Christmas through song.

Fringe perform Hallelujah

With the audience thoroughly immersed in the atmosphere, The Octet was the final music group. Bringing unconventional songs, the all-male octet brought a fresh sound to the night. They started off with “12 Days of Christmas Africa”, a doo-wop a cappella originally performed by Straight No Chaser, which mixed Toto’s “Africa” and “Twelve Days of Christmas”, among many other Christmas songs. Putting a spin on the original linearity of the original Christmas carol, the song brought cheery life and humour to the Christmas theme. Boasting the wide range of their abilities, The Octet performed “Mae-e”, a melancholic and moving song whose title roughly translates to “Forward”. Though the meaning of the Japanese lyrics was not understood by majority of the audience, the mellifluous sound of the male voice kept the audience captivated.

The Octet

The highlight of the night for many was Punch, the comedic a cappella group who performed a musical. Dabbling with many pop culture references, punch lines and excerpts from different songs, the musical followed the Christmas adventure of three main characters, accompanied by a background ensemble which interjected as necessary.

The audience was enthralled by the different direction the concert took with our three protagonists wishing for a Ben Ten Bluray, a pocket-sized planetarium and a bicep massage respectively, and going off after Santa to find these. Luke, one of the three protagonists, finds the real Santa- relaxing in Hawaii, and is addressed with the all too familiar line- ‘Luke, I am your grandfather.’ Through Punch’s joking and acting, Chorale definitely proved that singing is not their only talent!

Punch showcases Chorale’s acting skills

As the concert drew to a close, Chorale came together in their habitual formation as they performed the combined pieces, “Ametsetan” by Javier Busto and “Have Yourself A Merry Little Christmas”. Led by student conductor Reno, the months of student-led efforts by the singers reached a finale.

A final Combined piece to end the night

In their individualized performance groups, the individual talents of each Chorale member that night shone, and their ‘exploration of more recent songs of their choosing’, in the words of Chairperson Jonathan Tan, succeeded in enthralling the audience and keeping them well-entertained throughout the night. When put together, for their combined piece Chorale performed marvellously, ushering the night to an end on a very powerful note.

The mix of both familiar and unfamiliar carols, oldies and pop music indeed, brought an appropriate closure not just to the concert, but to 2015. Even despite beginning proper preparations ‘only about a month before the concert,’ Jonathan notes that he can ‘confidently say that the concert was extremely fulfilling for all of us.’ Having experienced 2 hours of Christmas cheer, an ambitious musical, and above all, absolutely breathtaking music, we at Raffles Press would  wholeheartedly agree with that assessment.

A video of the full concert can be found here.

by Adelyn Tan (16A01E)
Photos courtesy of Crispian Chan and Nithia Devan

The main cast of The Effect, from left to right: Tristan (Linden Furnell), Connie (Nikki Muller), Dr. James (Tan Kheng Hua) and Dr. Sealey (Adrian Pang)

“It’s just a chemical reaction.”

What do ethics, science and the pharmaceutical industry have in common, aside from the fact that they’re all likely to show up on your list of GP essay questions? The answer lies in The Effect, the first instalment in Pangdemonium’s three-part 2016 Season of Love.

Connie (Nikki Muller) and Tristan (Linden Furnell) locked in an embrace (Photo Credits: Crispian Chan)

The plot is simple to begin with – Connie, a psychology student, and Tristan, a happy-go-lucky slacker, sign up to participate in an extended drug trial testing the effects of what seems to be a harmless new antidepressant. Within the confines of the experimental facility, they are monitored by Dr Lorna James, a psychotherapist, who reports back to Dr Toby Sealey, the brains behind the new drug. Connie and Tristan meet, flirt, fall in love – or do they? The presentation of their attraction as a chemically-induced side effect of the drug calls into question the validity of their feelings. And yet, as the play mentions – falling in love is arguably just a chemical reaction in the brain, a comprehensible cocktail of adrenaline, dopamine and serotonin. What difference does it make, Tristan asks, whether it’s meeting on a holiday, or on a bus, or in a clinical experiment? What difference does it make if it’s the drug that’s nudging them closer together, or – spoiler alert! – if one of them is on a placebo?

Connie (left) and Tristan (right) engaged in congenial interaction (Photo Credits: Nithia Devan)

Though chock-full with heavy themes and far more nail-bitingly serious than most of Pangdemonium’s productions, The Effect is made vastly enjoyable to watch by the the people behind the characters. Nikki Muller (High Class, Circle Mirror Transformation) and Linden Furnell (La Cage Aux Follies) share a palpable chemistry and easy banter that makes Connie and Tristan’s passionate romance heartrending, endearing and breathtaking all at once. Tan Kheng Hua (Fear of Writing, Invitation to Treat) shines in her role as Dr James, realistically and respectfully presenting the struggles that the mentally ill face on a daily basis, and Adrian Pang’s (Next to Normal, Rabbit Hole) Dr Sealey keeps the audience on the edge of their seats, eliciting laughs and gasps at all the appropriate moments in the play. The cast works together seamlessly, upping the ante every time it seems like something’s finally going well, and makes the two and a half hours worth of plot seem like no time at all.

In the guise of a simple love story, The Effect masterfully explores the murky depths of Big Pharma, questions the fallibility of science, depicts the reality of living with mental illness, and poses its audience some very difficult questions: what is right? what is best? what is this mysterious, beautiful, abstract thing we deem to be LOVE? Profound ideas and heavy themes, which leave one trying to catch their breath when the curtain goes down. This is one drug trial you won’t regret volunteering for.

The Effect will be staged at Victoria Theatre from 25 February until 13 March. Tickets are still available and can be purchased through SISTIC or at pangdemonium.com. 

by Agatha Sacha Lim (16A01B), Monica Lee (16S06J), and Gao Yanxin Esther (16S03N)
Photos by Amy Goh Shun Yu (16A13A)

On the 26th of February, the school came together to celebrate house spirit in a spectacular display of musical talent at MusicFeste, with performances running the gamut from rock to indie. It was clear from the sheer number of people who showed up – those unable to find empty seats had to settle for the floor or the Performing Arts Center’s steps– that Musicfeste was a highly anticipated event. Whether the audience members were there to cheer on their friends and their houses, or to enjoy a night of good music, it was evident by the end of the night that the performances did not disappoint.

This year’s Musicfeste was jointly organised by Raffles Jazz and Raffles Rock – or, as they like to call themselves, the ‘Jocks’. Houses were required to perform three songs, one of which had to adhere to a specific, predetermined genre’s conventions, pushing the houses to expand their boundaries and perform songs from genres they would not normally have considered. Additionally, of the remaining two songs, one had to be house-related. Judging the house’s performances were home-grown, established artists as well as our very own teachers – Mr. Sowden, who joined his first band at the tender age of 16, and Mr. Tham, who is well known for his covers of Beyoncé at school events.

The judges getting ready for the first performance of the night.

On the whole, houses displayed great ingenuity in creating afresh their various arrangements and mash-ups  of well-known songs. Audience members were treated to performances that utilised a dazzling multitude of instruments, including many not commonly associated with pop or rock– such as the melodica and the kazoo– and in one extremely inventive move, a loudspeaker. The singers who took to the stage were, as the songs called for, at turns beguiling, edgy or upbeat, effectively showcasing their abilities with a variety of techniques ranging from scat singing to melismata. Instrumentalists were likewise talented. The arrangements left plenty of room for performers to display their proficiencies at their individual instruments, impressing the audience with guitar riffs and drum solos. Memorably, HH’s rendition of Plug in Baby by Muse featured a stunning and sinister keyboard adaptation of Bach’s Toccata and Fugue in D minor, which as the judges said, was ‘innovative and interesting.’

The night began with BB’s set, who started off their performance with a convincing rendition of I Know What You Did Last Summer composed by Shawn Mendes. The performers skillfully built up suspense, allowing a moment of tense silence before the drums came crashing  in for the climax. Their next item was a mash-up of I Lived by OneRepublic and Paint The Town Green by The Script, notable for BB’s expert segueing from the buoyant lyrics ‘I swear I lived’ to the gritty ‘It’s alright/’Cause tonight/We’re gonna paint the town green’. BB’s exuberant house committee flanked their performers, waving their flags in a rousing display of house spirit. Closing with their genre piece- the rock classic Livin’ On A Prayer by Bon Jovi– the vocalists growled out the beginning words of the song to remarkable effect; the performers adroitly stoked the crowd, in a lead up to a virtuosic, rapid guitar solo and the exhilarating rush to the end.

BB’s team performing a rendition of I Know What You Did Last Summer.

With wild cheers from the crowd, BW opened its performance with Feeling Good by Nina Simone. The vocals charmed the audience with BB’s impressive stage presence. However, it was Kelsie who blew the crowd off their feet when she whipped out a loudhailer, and sang through it with much verve. This was followed by a reggae rendition of Hotline Bling by Drake, a clear favourite amongst the crowd as they cheered fervently. It started on an unconventional note as a cellphone ringtone rang across the PAC, and the team went on to pull the song off with perfection. Finally, they performed a mash-up of Runaway Baby and Happy which sparked exhilarated screams from the crowd. It is worthy to note that they had also put extra thought into their appearances– when the show began, most of the team were covered in black, but as the show went on, the team subtly donned more yellow clothing in a great show of their House pride.

BW’s team performing Hotline Bling by Drake.

Unfortunately, the elevated mood was dampened when technical difficulties surfaced during HH’s performance. Nonetheless, the crowd remained upbeat as they intercepted the break with loud cheers; the HH Musicfeste team spontaneously performed “Hutalu”, the signature HH cheer from behind the curtains in an exuberant display of House pride. The show then began proper with an upbeat song, Plug In Baby by Muse that had the crowd back on their feet again. Musical talent was evident as the team added in a Bach’s Toccata and Fugue in D minor bit at the beginning on the keyboard, which is similar to the riff of Plug In Baby. Their second song, Riptide by Vance Joy, had violinist, Kimberly Tan marvelling the audience as she strummed the violin in the likes of a ukelele, and vocalists who belted their hearts out in an Indie fashion. In paying homage to their mascot, the team ended on a high as they performed Dark Horse by Katy Perry. The biggest surprise definitely came from violinist Joachim Ng, who went all out with his “deafening” rap as he screamed into the microphone, drawing the performance to a close.

HH’s team performing Plug in Baby by Muse.

In contrast to the fast-paced songs by HH, MR opted to open with their genre song, a slow-paced mashup of two classics from the 1940s and 1950s respectively, Fly Me To The Moon by Frank Sinatra and Disney song When You Wish Upon A Star. Though the throwback may have been unfamiliar to some of the audience members, the transposition to jazz allowed the MRians’ strong vocals to hit all the right notes and shine through. Picking up the tempo with Neon Trees’ Animal, MR performed with zest and vigour and the crowd quickly got on their feet to rave to the music. The lyrics ‘Oh oh / What  are you waiting for? / Take a bite of my heart tonight’ definitely struck a chord with the wolf pack. For their last song, the band chose an encouraging mash-up of Brave by Sara Bareilles and the famous Hey Jude by The Beatles. Overall, it was a bold move deviating from contemporary pop songs, but MR pulled it off well and created a classy atmosphere as the night neared to its close.

MR’s team with their first performance item.

Though MT faced some technical difficulties, with the guitarist having to make some adjustments even as the song started, MT house captain Wei Shi led the audience to cheer the house on in spite of this hitch. The band rose to the occasion and kicked off their performance with some old-school Maroon 5, Harder to Breathe. Next was the second Muse song of the night, Starlight – the highly emotional song was well-executed, so much so that they were able to connect with the audience. Lastly, the team performed Love Never Felt So Good by by the king of pop, Michael Jackson, and Justin Timberlake. True to their given genre – disco – variegated lights matched the upbeat rendition of the song which injected new, youthful life into the performance, ending the final song of the night on a high note.

MT performing Maroon 5’s Harder to Breathe.

After MT’s performance drew to a close, Jazz and Rock took centre stage with a brief segment, singing the mellow Need The Sun to Break by James Bay and What You Know by Two Door Cinema Club to entertain the crowd while the judges retreated to deliberate. The results were finally released, to much cheering and impromptu drum-rolling:

1st: BW
2nd: BB
3rd: HH
4th: MT
5th: MR

The judges commended every house for well-prepared performances and innovative attempts at recreating well-known songs afresh – and indeed, there was much to be lauded: BB was praised for house spirit; BW for compelling stage charisma; HH for exciting energy; MR for their intricate arrangement of Fly Me To The Moon and When You Wish Upon A Star; and MT for musical tightness. BW, in particular, was singled out for their reggae infused take on Drake’s Hotline Bling; as Mr. Sowden said, ‘If I were Simon Cowell – and I’m wearing a black t-shirt right now – I’d say I really enjoyed myself… I’ve been in this school a long time [and] until now I haven’t heard a student performance of reggae.” Needless to say, the two week duration that the houses were given to put together a 15 minute performance was quite the challenge, and the houses inevitably encountered various difficulties that were made apparent in their performances. This was made evident by Mr. Tham’s comment: “There were hits and misses. No house stood out very strongly… In some cases the vocalists’ voices didn’t blend well, and instruments sometimes overpowered the vocalists.”

Ultimately however, keeping in mind the fact that every house had only 2 weeks to prepare, the effort that each house invested in Musicfeste was certainly applaudable. In the words of the irrepressibly buoyant emcees, “…if you think about, every house has done very well – we’re all in the top 5 every year!” As flippant as the comment may sound, Musicfeste is, fundamentally, more than just about technique. As Ng Zhi Rui (16S05A), one of MR’s 6 singers, said: “Even though MR got 5th, I think the team was really talented and I really enjoyed it, especially since [we] don’t usually have the chance to take part in something like this recreationally.” This year’s Musicfeste did what it always does best – celebrate not merely musical ability, but friendship and teamwork.

by Gan Chin Lin (17A01B), Marilyn Kang (17A01B), Elyn Tzen (17S03B), Ada Lim (17S03B),

LT2 was the same as always – the glare of yellow lights, the green seats with flip-tables covered in strangely hieroglyphic scribbles, the low hum of student voices in the background. What was different that night however was a rare buzz of excitement as students hurried to get the best seats in the house or showed off their voting slips proudly. Groups of friends shuffled into aisles hefting sports equipment and school bags alike, ready for a cinematographic experience created and produced under the artistic direction of their very own peers after a long day of CCA and lessons.

This was the first time that the films produced for Filmfeste were being screened in a public viewing session held within school, and the first time that the results of Filmfeste were to be determined on the very same night as well. This year, a special award – the Audience Choice Award – was introduced, and to be decided through live voting by audience members. By allowing the house spirit from student support to translate into tangible results and creating an environment that captured the reaction of a live audience, the organisers behind Filmfeste encouraged student participation and nurtured a strong vein of house spirit in the event. The cinematic environment created within the LT was a highly unusual one in comparison to the usual lectures and lessons that graced its four walls which made the unveiling of the films all the more exciting.

The first film of the night to be screened was “Reflections” by BB, following the story of a girl who struggles to meet the expectations of her parents, her CCA, and her friends. Pressured to rise to everyone’s expectations, she ends up cracking under the resultant mental and emotional strain – lagging behind on schoolwork, missing out on CCA training, and falling out with her friends. Eventually, she realizes that despite the myriad of different expectations of those around her, what really matters is that she is true to herself to the end. The film utilised shadows and reflections in its filmography in companionship to the dialogue and acting to clearly portray different emotions. The editing in particular was a strong point of commendation, featuring a variety of skills from slow-motion footage to a double-person image in a mirror scene. BB’s film spoke out to all the audience members because of its relatable topic, garnering much emotional response and providing a sense of catharsis.

BW’s film screening followed. “Friends: Less Than Meets The Eye” tells the story of two friends of opposite genders who are pressured by romantically inclined expectations that they would eventually become an item, exerted on them by their friends. Trying to mitigate the teasing ‘shipping’ by their friends and define their own friendship at the same time, the two eventually arrived at the epiphany that it is not worth sacrificing their precious friendship simply because they are afraid of what others might say about their relationship. The film followed the cast as they navigated their emotional journey in different parts of the school grounds, featuring familiar sights and sounds in every frame. The editing in particular featured the clever usage of little message bubbles on the screen to complement the role messaging played in the film, encapsulating the exchanges and emotion between the two friends in a quirky and novel manner. The film proved itself a lighthearted and heartening watch, bringing to attention an important concept of friendship between opposite genders that is seldom touched upon. In particular, the cast of animated actors made the film incredibly enjoyable to watch with their fun and genuine portrayal of friendship.

HH’s film, entitled “You And Eye”, tells its story through the various perspectives of both animate and inanimate narrators, with a tasteful touch of humor that evoked the loudest of laughs. The actors and actresses were unabashed in immersing fully into character, no matter what sort, and it was this that carried the unconventional storytelling in the film and made it work. Relying on anecdotes unique to every student in RJ and a comical spectrum of narrative voices, the film provided an enjoyable and amusing take on how some of the tiniest things deviating from our expectations may turn out to be lovely surprises, touching one’s heart and making the school environment our warm second home. The film was unique in its usage of vlog-style filming that followed the various narrators around as they went about their day, utilising angles and voiceovers to give the audience as tangible an experience in the shoes of each narrator as possible. This definitely lent the film a personal touch, and the comically interwoven narratives came together in a clever script that invited chuckles of mirth from the audience.

MR’s film “Pai Leh Lio (Spoilt Radios)” is a nostalgic film with a strong local flavor, filled with beautifully framed cinematic shots within the quintessentially familiar Singaporean HDB setting. With an artistic direction for filmography that echoed the style of local filmmakers like Royston Tan, the story brought to life an unconventional friendship between a young schoolboy and a karang guni (rag and bone man). After the gift of a spoilt radio in exchange for a stack of old newspapers, the lonely schoolboy begins to find the answers to his need for companionship in the karang guni man. Through the retrospective narration of the schoolboy, the audience is shown the disparity between the schoolboy’s perspective and the reality of the relationship between the two characters, highlighting the expectation of reciprocity of emotion in friendships as the underlying concept of the film.  The dusky, softly muted color palette added warmth to the poignant tale that put an unexpected twist on the audience’s perspectives on friendship and the nature of human relationships. The film was particularly outstanding in terms of its artistic beauty, and the whimsical soundtrack helped further enhance the atmosphere of nostalgia and memory that the film created within the confines of the LT.

Lastly, MT’s film “Clean Slate” was a film that painted a touching and emotional portrait of family, love and loneliness. The film portrayed the meandering of time between past and present within the mind of an old wedding photographer with dementia, and the struggle he undergoes to reconcile his younger self from the past with his present circumstances. The concepts of letting go, change, and idealistic expectations drove the narrative for this film. With an ambitious direction that defied any limitations age might have imposed to portray characters of incredible depth, experience and maturity, the MT team crafted a story that explored human connections and memory, deepened by the role dementia played in their film. Their portrayal of familial and romantic emotion alike and the way they wove past and present into a poignant narrative touched the audience, and evoked strong emotional reactions that ranged from “aw”s to exclamations of sympathy.

During the intermission, students trooped out of the LT to cast their votes while deliberation took place amongst the judges. Of course, the highlight of the event was when the results were announced:

Winners for Each Category

Best Directing – BB

Audience Choice Award – BB

Best Film – MR

Best Cinematography – MR

Best Script – MR

Best Acting – BB

Overall Standings

1st – BB

2nd – MR

3rd – BW

4th – HH

5th – MT

 Timothy Fong Jia Le (17A01A) from MT’s Film Fest team provided a retrospective view on the preparative process that was the conceptualization of the film: “Reflecting on the whole process of conceptualisation and production, we think that it was really hectic but also really fun. At the scripting stage, our first draft turned out to be a tad too dark and philosophical. It took us a lot of effort (and sleepless nights!) to humanise the script and make it more emotional.”

Regarding the actual filming, he decided that the process “was very time-consuming, but fun.” Timothy shares that their team “had many memorable experiences, like making yusheng with vegetables from scratch and faking wedding preparations in a church…The whole time, all of us were focused on our common goal of producing a decent movie. We achieved that, having fun and enjoying each other’s company at the same time. In the end, we all felt proud and satisfied seeing the fruits of our labour being screened in the LT in front of our peers. The two weeks of preparation went by really quickly, but I guess that’s what happens when you’re having fun!”

Members of MT’s team looking both amused and bemused.

In general, the quality of the films crafted for this year’s Filmfeste were of highly remarkable and polished standard, and the judges echoed popular audience sentiment in their evaluation that the level of visual art presented that night appeared to be the work of professionals, rather than teams of student amateurs. Although the films were short and had to adhere to the 15-minute cap, it was evident that a lot of time and effort had gone into the conceptualization of every second, every scene, every miniscule detail. There is no doubt that the creation of a film is no mean feat – from the multitude of roles to fulfill that include directing, producing, filming, editing and acting, to the challenge of translating a narrative into a visually engaging and all-round sensory experience. “It was heartening to see films of such calibre being produced in an insanely short span of 13 days,” said Xu Jiaxin (16A01A), Film Chair and organizer of Filmfeste. “Not only did the produced works wildly exceed the organisers’ expectations, they have also set a pretty high bar for the Filmfeste teams next year. While they may not have been the most technically accomplished works, there was no doubt that they were incredibly heartfelt films that came right from the gut.”

Ultimately, all the hard work and determination proved to be worth it as the Filmfeste teams witnessed the screening of the fruits of their labour to a supportive and happy audience. “Although the team was small, everyone was always willing to do more than they needed and that made all the difference…We set out hoping to bring some smiles and laughs to the audience, I like to think that we managed to achieve that,” Chloe Chong (17S03N) from the HH film team said. “Honestly, sitting in that theatre with a live audience watching your film – it’s quite a nerve-wrecking but rewarding experience. Hearing the laughter and knowing that you managed to make someone laugh and have fun, even if just for a little while, is really worth more than a bag of popcorn.”

What of future Filmfestes to come? “The organisers hope that Filmfeste will continue to grow and expose (pun unintended) more Rafflesians to the transformative impact of the cinema, as well as the art of filmmaking,” Jiaxin added. We were definitely impressed by the films of this year’s Filmfeste, which chronicled a heartfelt dedication and team effort invested in the production process that truly characterizes the spirit of IHC. Hopefully, the Filmfestes in the future will echo a similar culture of hard work, creative energy and incredible cinematic artwork – we certainly cannot wait for the next chapter of student-created films.

by Alex Tan (16S03B)

Pictures by Esther Chin, Victoria Ang and Nicole Lai

The orchestra is introduced.

The full-house concert entitled “Splendour”, put up by the Raffles Institution Chinese Orchestra (RICO) last Saturday (16 April 2016), lived up to its name not only because it was, in brief, splendidly enjoyable, but also because it marked two splendid milestones for the performers: it was the first time that the Year 5-6 side of RICO was jointly staging a show with its Y1-4 counterpart, and it was the first time that alumni were invited as guest soloists. This huge, connected family kicked off the night on a scale befitting the occasion, playing the traditional imperial composition “The General’s Command” (将军令) with energetic virtuosity, conveying the enthusiasm of the soldiers within their even, regimented ranks.

A series of solos, duets and ensemble pieces ensued, designed to showcase the peculiarities of each instrument and section. Sunshine on Taxkorgan (阳光照耀在塔什库尔干) by Wallace Oh Wei Hao on the Yangqin, Orchids of Spring (幽兰逢春) by Tan Yan Quan on the Dizi, Fire – The Maiden in a Vibrant Dress by Chen Zhi’ang and Tan Jin Tao (火 － 彩衣姑娘) on the Pipa and Erhu were all testament to the unmistakable flair of the soloists. Varying from the melodiously festive to the understatedly elegant, the well-picked chain of songs built on each other and made for an interesting and certainly refreshing range. Chen Zhi’ang (16S03E) reports, “For my duet, somehow I felt less nervous on stage than I did during the rehearsal. There was this odd sense of calm. It felt like a weight had been lifted off my shoulders, as all the effort we put in had finally paid off – I truly enjoyed every moment of it!”

Russell Ong takes centre-stage.

A Well-Matched Fight (龙腾虎跃) by the percussion and woodwind sections was a highlight of the night, jolting many an audience member into heightened awakening. The fight between the dragon and tiger alluded to in the title was embodied in the instruments’ insistent battle for dominance. Despite being a staple in RICO’s repertoire, this performance was anything but stale. Russell Ong (17S03A), one of the percussionists, tells us, “龙腾虎跃 is a vigorous piece which requires a lot of discipline, focus and energy on stage.” The channelled, focused dynamism and passion were nowhere more visible than in Russell’s strong, charismatic movements, who stridently beat the drums and deservedly occupied the centre of the stage.

The soaring climax of the concert was no doubt reached during “Impressions of Chinese Music” (印象国乐), which turned out to be a grand and sweepingly epic exploration of Chinese ethnic music. Jiang Ying, the composer, is notable for her poignant and competent use of layering techniques, beginning with soft small melodic strains and introducing different instruments in succession (the suona being particularly poetic), eventually achieving a pleasurably powerful feeling of completeness. Yet the composition was not chaotic or full of fanfare, containing instead a vast grace and aptly-positioned moments of quiet dignity that did not fail to fully display the orchestra’s collective musical force.

Ng Rui Jun nostalgically relives memories of his youth.

“One Night in Beijing” (北京一夜), a well-known Chinese pop song specially rearranged for Chinese Orchestra, was similarly stunning and marvellous. Alumni players Ng Rui Jun, Tham Jiang Jun and Teh Su Chen were cast in the limelight, delivering impressive solos that smacked of Chinese urbanity mixed with local flavour, buttressed by the groovy, penetrating beat of the drums. Audience member Bryan Tay (16S03B), who judged this piece to be the best of the night, explained, “I liked the interplay between the solo instruments and the use of diatonic harmonies and pop idiom.”

Indeed, part of the concert’s seductive appeal stemmed from its diverse choice of repertoire and the judicious sequencing of songs. The upbeat, catchy phrases of “One Night in Beijing” contrasted with the spacious grandeur of “Impressions of Chinese Music” so that the audience at no time experienced boredom or the nausea that comes with the sickening, consecutive use of a similar style. In short, there was consistent entertainment, as the pieces elastically bounced off one another and amounted to something more than the sum of their parts.

Regrettably, the concert concluded on a less than satisfying note. “Legend of the Dragon” (龙的传奇), of course, possessed the merit of being nearly as large and monumental as “Impressions of Chinese Music”. Yet, towards the end it seemed slightly over-the-top, excessively grandiose, as the song kept embarking on crescendos and thwarting them mid-way. Notwithstanding the very fitting image of the dragon, steeped in its majesty and mythical imperiousness, the piece appeared to pale in comparison to what had preceded it. We felt that “Impressions of Chinese Music” might have been a better choice as an ending piece, more adequately tying up the loosely scattered knots and ends.

Stunned like vegetable that they used real broccoli!

The encore pieces, however, suffused the sternly grand atmosphere of the concert hall with saccharine sentimentality and boisterous hilarity, in that order. The audience cheered and swayed languidly to the popular theme song “小幸运” from the movie “Our Times”, while Chen Tian Wen’s “Unbelievable”, the final song, was received with much laughter and people mouthing the words, “I so stunned like vegetable …” On stage, Joash Ho, the electric guitarist, sported a pair of sunglasses, and was joined later in the song by various others, also masked by sunglasses and carrying small stalks of broccoli. These props were thrown from hand to hand, across the stage, as the conductor grooved to the beat and turned around, inviting the audience to do the same.

It was a night of splendour. Summing up the experience, conductor Mr Yang Ji Wei expressed his pleasurable sense of fulfillment from having put up a successful concert, saying, “The concert went beyond my expectations. The practice leading up to the concert was hectic but the students committed themselves wholeheartedly without any complaints. No pain, no gain; last night we proved to our audience that a student orchestra can sound as good as a professional one. The sky’s the limit!”

The Orchestra in its full glory.

Concert Repertoire

• The General’s Command (将军令) composed by Peng Xiuwen
• Sunshine on Taxkorgan (阳光照耀在塔什库尔干) composed by Chen Gang, arranged by Xu Pingxin
• Orchids of Spring (幽兰逢春) composed by Zhao Songting
• Fire – The Maiden in a Vibrant Dress (火 － 彩衣姑娘) composed by Liu Wenjin
• Libertango composed by Astor Piazzolla, arranged by Tan Kah Yong
• A Well-Matched Fight (龙腾虎跃) composed by Li Min-Xiong
• Dance of Light and Shadows (舞之光影) composed by Zhu Lin
• Impressions of Chinese Music (印象国乐) composed by Jiang Ying
• One Night in Beijing (北京一夜) composed by Bobby Chen and Liu Jiahui, arranged by Liu Sha
• Legend of the Dragon (龙的传奇) composed by Chen Ningchi

By Kaushik Rangaraj (17S06P) and Sabariesh Ilankathir (17A13A)
Photos by Lau Yunxi (17S03E) and Liu Yanru (17S05A)
Additional reporting by Lee Yun Ning (17A01E)

“It was a night of great fun and infectious music that really made it a perfect way to end off a week — not just for the audience, but also the performers,” said Yujun (17S03A), in an apt summation of the entire Uprising gig.

On 22 April, The Theatre Studies Room was bursting with energy from 6-8pm, with Raffles Rock experiencing an unforgettable time that they promised to share with us. Of course, Uprising was intended more as a snippet of Raffles Rock’s real full-length performance on 27th May, “Rock Out”. Nonetheless, Uprising was a night of earnest, energetic rock music that had the entire audience on their feet raving and cheering for their favourite bands.

Osaka Sun keeps the audience enthralled with their renditions of alternative rock classics

Osaka Sun kicked off the show with their beautiful renditions of “Lovers in Japan“ by Coldplay and “Cough Syrup” by Young the Giant.  Given that Coldplay and Young the Giant were arguably one of the better alternative rock bands out there, it was no easy task for anyone to take on their songs. However, Osaka Sun did not let that stop or hinder them, going forth to deliver a truly memorable performance. Sophia Goh (17S03H) headed the vocals, with Peng Mu Zi (17S06H) and Jesse Tan (17S06N) on the guitars. Ethan Cheong (17S03H) debuted his drumming dexterity to the Rafflesian population in this show. He swapped with Jesse for “Cough Syrup”. Rounding up the band were Joelle Ocampo (17S03A) and Lee En Lyn (17A01D), playing the bass and keyboard respectively.

Lead Vocalist Su Ying and guitarist Adam Teo are pictured in the forefront during their song Hollywood (Girl)

The night only got better after, with Daybreak taking the stage following Osaka Sun’s performance. Daybreak was the second J1 band performing for the night and despite their newbie status, they managed to pump up the crowd with their energy and freshness which left lasting impressions. We definitely feel that these band members are going to become the new faces of Raffles Rock with their talent and stage presence. Vocalist Su Ying (17A01B), as well as guitarists Adam Teo (17S07B) and Ho Chih Ying (17S06C), were livewires throughout the set, constantly hyping up the audience. Daybreak performed “Hollywood (Girl)” by Papa Roach and “Brick by Boring Brick” by Paramore.

The veteran J2s take the stage and dazzle

The first J2 Band of the two present at Uprising, Atlas Hour, then took to the stage to the screams and cheers of their fan following. They performed an energising set, which included the standout track “Cake by the Ocean” (DNCE). The crowd cheered for Guitarist Nathanael Goh’s (16S03N) every strum, as he proved himself once again a smashing rock performer. Atlas Hour also performed a wonderful rendition of Anna Sun and “Gravity” by Against the Current. Their final song, “Anastasia” by Slash, left the audience incapable of standing still as everyone began to excitedly mosh.

Saving the best for last, Raffles Rock presents Diversion

The final act of the night was the second J2 band, The Diversion. Usually the best is saved for the last, and this Rock gig was no different either. Diversion walked onto the stage, evidently very hyped up and determined to end the night with a great performance. They performed 4 songs, each song better than the last. “The Handler” by Muse and a mashup of “Virtual Insanity” by Jamiroquai and “Sunday Morning” by Maroon 5 simply blew the audience away. Singer Nicole Sim (16S06O) was very enthusiastic and interacted with the audience very well, inviting them to sing and clap along throughout the performances. “Selenium Forest” (instrumental version) by Plini was also very well played. Nonetheless, it was The Diversion’s last performance which really blew the audience away — “She’s Gone” by Steelheart was performed, as a tribute to Prince, who had passed away earlier that day. It was a well done performance, during which keyboardist Andrea Raeburn (16A01E) truly shone. Because it was handled by a capable and sensitive performer, the keyboard truly captured and expressed the intensity of the emotion that the song had been trying to convey.

“Despite the small crowd and setting, the atmosphere was still very electrifying and everyone’s spirits were really high throughout the entire concert.” This sentiment expressed by Brian Chiong (17S03C) was echoed by several others of the audience as everyone enjoyed the 2-hour action-packed concert. The Rock Members had reaped the rewards of the 2-3 weeks of hard work they put into organizing this concert; an effort that was evident that night in both the high production quality and well-chosen songs. Despite it being a small endeavour, Uprising no doubt left these two reviewers  eager for more from Raffles Rock.

Rockout: Anarchy by Raffles Rock will be held on Friday the 27th May (last day of Term 2), 7.30pm at The Ground Theatre at Scape. Tickets are priced at $12 (early bird) and $14 (standard) and can be purchased from the canteen booth on Wednesdays and Fridays in the weeks leading up to Rockout. See you there!

By Catherine Zou (17A01B) and Sabariesh Ilankathir (17A13A)

The opening scene at SYF 2016, which was held on 27th April at Goodman Arts Centre.

The Goodman stage lights open to the image of a life concluded: a man, crushed under the weight of a collapsed car; spinning lights; horrified onlookers.  Yet, Raffles Players’ Singapore Youth Festival (SYF) play “The Coffin Is Still Too Big For the Hole” (written by Lucas Ho and Cheryl Lee) unravels a life from its tail end. It starts with a conclusion: the coffin is still too big –  but rather than being literally, physically too big for the hole (as in Kuo Pau Kun’s beloved 1984 play), it is, figuratively, too big for a life that has been confined and diminished by boundaries and restrictions.

This describes the life of “Matthew’s father” or Dad  (Samuel Ho, 17A13A) in the play — a nameless Singaporean man whose fleeting scenes of childhood, youth, and adulthood reveal childhood dreams and tendencies long beaten into submission by the exacting standards of those around him. Though “The Coffin is Still Too Big For the Hole” addresses the issue of expectations to play by the book,  its execution is anything but. Its potential to be melodramatic is kept in check by a cast that combines naturalistic acting with more abstract, interpretative physical theatre.

A dynamic, energetic scene at the funeral parlor, making for a jarring and whimsical portrayal of the situation.

The scene at the funeral parlor immediately following the opening scene contradicts all expectations with its cheerful, commercialised presentation of the various standardised packages. Thus unfolds a whimsical but heartrending play detailing Matthew’s (Vasu Namdeo, 16S07D) discovery of Dad’s past, which shows how Dad develops from a boy with unique hopes to a man whose same dreams are stifled by dictatorial expectations of what he is supposed to do.  Each scene follows the trajectory of a rather typical life in Singapore, surfacing the sundry struggles against societal restrictions in our daily lives.

From school to NS, youth to adulthood, Dad is constantly confronted with rigid, and often restrictions of who he is expected to be. In childhood, Dad is chastised by a teacher for having handwriting that is too big for the lines, and rebuked for questioning if it were the lines that were too small. This sets the cumulative process by which Dad learns to rein in his own dreams to “stay within the lines” and conform to the standard: In NS, he is deemed for being selfish and undutiful for not fitting into the standard-sized helmet offered him. At home, his parents deem his dream of writing one song implausible and tells him to get his head out of the clouds, to settle down, and to find a good, stable job.

The NS scene, where Dad faces censure for failing to be a “good soldier” and wear his helmet.

Dad’s predicament thus reflects the exacting, uncompromising and often rigid expectations in our society. To be a good student is to write within the lines of a paper, and not to question if the lines are too small, or to question why this must be so. To be a dutiful recruit is to wear the standard helmet properly, never mind whether it properly fits or not. And to be happy is to “follow the rules”, as is put by his father (Izzul Irfan, 17A01E) in a particularly stunning monologue on how making an exception to bury a too-large coffin over two holes had cost him a lifetime of being stuck at the very bottom of the career ladder. Dad’s personal goals and attributes, however, diverge from these fixed goals and is “beaten at every corner” for it — “too big for life, too small for the lot assigned him in life” — as put by Samuel Ho, who portrays Dad in the play. He is driven to “[locking] himself away” as Matthew puts it, never speaking about these experiences. “At the end of a breathless retelling of Dad’s life, his son, Matthew, so stunned, can only utter: “Can’t life be bigger than this?” Dad’s story, ultimately, is one of an everyman that anyone should be able to see themselves in.

Portraying such a story, however, was not without its challenges – for Samuel, “[finding] a Dad in me” was one of the biggest challenges he faced. He added that compressing Dad’s life into a short time required a balance between “the energetic and naturalistic”, which all the characters, particularly his stage parents, Mahirah (17S03B) and Izzul (17A01E) managed wonderfully. In the scene changes in the play, the production crew managed the multitudes of role changes with the clever addition of one or two accessories to the all white attires of the cast.  

The sets department, too, went through an “unbelievably intense” experience with the deceptively-minimalist but intensely demanding Mondrian-inspired flats. As Alison Tan (17A13A) cheekily put it, the month-long preparation was “a huge cycle of staying till unholy hours to get our set together, watching the set fall apart and then staying till unholier hours to fix everything again”. The flats, ultimately, set the tone of the play and represented the various requirements, standardizations and expectations that fetter individuals in society. Aside from that, there was a profound irony in how, given the play’s emphasis on the various restrictions in Singapore society, the piece was staged and put together in a month after the CCA’s initial draft was rejected. However, the extenuating processes were worth it for both crew and cast – Alison adds that “seeing our beautiful, wonderful, perfect sets loom majestically over our actors during each run was worth it,” and “our actors not getting concussions from falling flats was even better.” Similarly, cast member Grace Hu (17A13A) believes that it was “one of our best runs”, with “great energy and chemistry.”

Mondrian-inspired flats, which took hours to paint and painstakingly pieced back together after they crumbled apart during a technical run.

Just as Dad was caged by expectations, the CCA too faced the restrictions of time, scheduling and set accidents throughout the production process. It has come to an end with the play’s final question: can’t life be bigger than this? — It surely can. In the meantime, Raffles Players celebrates its Distinction, and hopes that its piece can be the start to inspiring some contemplation about conformity for the audience.

Play Credits:

Stage Managers:
Celine Ng (16A01A), Kaushik Kumar (17S06H)

Directors:
Claire Devine (from Buds Theatre) Mohammad Sufyan (16S06F), Sabariesh Ilankathir (17A13A)

Cast:
Vasu Namdeo (16S07D) as Matthew
Samuel Ho (17A13A) as Dad
Izzul Irfan (17A01E) as Grandfather
Mahirah bte Latiff (17S03B) as Grandmother
Caitlin O’Hara (16S03A) as Drill Sergeant
Isaiah Lee (16A01A) as Commander

Ensemble: 
Mahirah bte Latiff (17S03B), Izzul Irfan (17A01E), Cheang Ko Lyn (16A01B), Grace Hu (17A13A), Kavya Sundar (17S03D), Cai Hai Yun (16S03B), Tham Jia Yi (17A13A), Erika Poh (17S03P), Isaiah Lee (16A01A), Caitlin O’Hara (16S03A)

Sets:
Jasdeep Singh Hundal (16S03N), Choo Ian Kang (17A13A), Ong Yan Chun (17S06A), Udayakumar Sruthi (17S07D), Lim Yi Hui (17A01D), Shirin Mehnaz Ansari (17S03C), Alison Clara Tan Yi Zen (17A13A), Catherine Zou Yi (17A01B)

Costumes:
Aishwarya D/O Manivannan (16S03A), Beatrice Ng (16S03C), Valerie Chua (16S07D), Sreshya Kamakshi Vishwanathan (16S06P), Hidayat B Malik (17S06B), Tan Xin Hwee (17A13A)

Lights and Sounds:
Choo Ian Kang (17A13A), Tan Xin Hwee (17A13A)

By Joan Ang (17A01B), Jeanne Tan (17A01B) and Lee Yun Ning (17A01E)
Photos by Guan Xin (17S03B), Elizabeth Quek (17S07A) and Ethan Ong Szerey (17S06Q)

There was an air of tension backstage. Raffles Chorale Chairperson, Jonathan Tan (16S06K), described concert preparation as “an uphill battle to get every single person up to mark”, and he was right — as the Year 5s only entered Chorale towards the end of February, Chorale only had a solid month and a half of practice before their time to perform rolled around. In each performer’s heart, there was only one question: would their efforts pay off? It would soon be answered.

Conducted by Mr Toh Ban Sheng, the theme of the concert was Time and Timeless, bringing the audience through and beyond Time through music. The performance was accompanied by an overhead slideshow, introducing the pieces and providing them with visual backdrops.

Raffles Voices, poised to give their best performance.

Raffles Voices, the Year 1-4 counterparts of Raffles Chorale, were the first to take the stage. Starting with the rhythmic song Dubula, the choir utilised an African drum to add flavour to the piece. The choir’s eccentric choreography also induced laughs from the audience, opening the night on a good note.

Dubula, by Raffles Voices.

Another stand-out song was 不了情 (Endless Love). The image of a sunrise, that was projected behind the choir, suited the piece’s atmosphere of serenity perfectly. Aided by the dimmed concert hall lights, the picture cast a glow on the entire room, gently illuminating it and transporting the audience into the scene both visually, as well as through the beautiful voices of the choir.

Following Voices was Raffles Chorale, from the Year 5 and 6 side of RI.

Chorale, solely focused on Mr Toh.

Chorale began their set with Ama Namin, arranged by Fidel Calalang Jr. The Lord’s Prayer, translated to Tagalog and set to music, was pure beauty for the listeners and reminiscent of the harmonies produced by a church organ, or the drone of an Asian string instrument. The smooth dynamic contrasts of the piece, combined with the musical nuances and sensitivity of the choir, gave the song a mystical tone, making the audience’s hairs stand on end.

The next piece, however, was one of the toughest in the entire repertoire. The choir shuffled positions for Benedictio — a Latin song arranged by Estonian composer Urmas Sisask. A full 29 pages on score, Benedictio’s tricky, looping melodic lines were earworms not just for the listeners, but the singers as well. Nevertheless, the choir pulled it off. Coupled with Mr Toh’s energetic conducting, this song kept both choir and audience on their Tohs toes.

Linking back to the theme of the concert, the choir gave an entertaining performance of Dogalen a Mabaso. Based on a folk chant of the Maranao people, it told a comedic story of love and heartbreak via an on-screen narration. Chorale’s performance was full of dynamic variations, using both whispering and screaming, and complemented by amusing choreography and strong facial expressions. This climaxed in the entire choir lurching out towards the center-stage in a sudden and dramatic movement, ending the first half of the concert.

The choir rushes forward to catch a “dropping charm” — in heels and formal shoes, no less.

Following intermission, the Raffles Singers group, comprising Voices and Chorale alumni, begun the second segment. Singers begun the Latin segment of the concert, meant to showcase the “Timeless” aspect through different musical eras. The Renaissance was represented by Palestrina’s Sicut Cervis, Baroque by Vivaldi’s Gloria, Classical by Mozart’s Ave Verum, Romantic by Faure’s Libera Me, and Modern by Chihara’s Alleluia.

Sicut Cervis, performed by Raffles Singers.

An immediate highlight of this section was Sicut Cervis. Infused with the richness and aesthetic focus of the era, its accompanying picture of a grand staircase made this an almost spiritual experience.

Besides this, the ‘modern’ Latin piece, a Japanese take on the traditional Alleluia was a stand-out surprise. Performed by Chorale’s Tenor and Bass sections and accompanied by Jacqueline Liew (16S03S) on the Timpani, this interpretation was certainly unlike previous songs. The heavily rhythmic piece was infused with many tribal, paganistic elements and soloists Jonathan Lee (17S06B) and Benjamin Yong (17S07C) stood on the stage’s top tiers, adding to the atmosphere with war whoops. While some felt somewhat discomfited by this portrayal, we can all agree that Mr Toh’s take was unique.

However, the real showstoppers were the combined pieces. All three choirs joined Mr Toh onstage for the finale, which began with Long Road, arranged by Latvian composer Eriks Esenvalds. Esenvalds himself had been invited by the choir to visit one of their practices, and the composer had lent his insight to the performance of his piece in person. These evidently paid off, as the choirs moved the audience, conjuring wistful imagery of heaven and lost love. The piece also used additional instruments as small drawing points for the audience — the recorder, ocarina and triangle.

The official programme ended with a sweet rendition of Rasa Sayang, arranged by Mr Toh himself. The piece started with the lilting notes of the sopranos creating a rural sort of atmosphere before the entire choir launched into the chorus with gusto. Overall, despite the simple, conventional arrangement, it left the audience cheering as the performers took a bow.

The combined choirs during their performance of Long Road.

Following screams of “ENCORE!”, Mr Toh responded jokingly with “I hope you don’t regret this!” after which the choir put up a magical performance of And In The Evening, arranged by Audrey Snyder. The music’s dreamlike quality was only accentuated further by the harmonic ringing of the unconventional instruments: wine glasses filled with water, which many audience members found intriguing.

Without warning, the choir immediately launched into the school song. Despite its predictability, it felt both organic and grand to witness as all Rafflesians past and present sprung to their feet and sang along. In all his excitement, Mr Toh hit his tuning fork off the music stand on the last note, adding a touch of finality to the concert.

Despite the intense preparations, many of the performers felt that the performance held much intrinsic reward. Hitomi Yap (16A13A) commented, “All those hours spent with everyone getting through tricky passages, and agonizing over a failing memory, was part of what made the actual performance so gratifying!”

Reno Sam (16S06I), student conductor of Chorale, felt similarly, considering the concert “one of the most rewarding [he’s] been through in [his] 6 years of choral singing.” He further added, “it was a thrill on stage and certainly a great wrap-up for many of the J2 singers, and I’m very proud to have been part of this process alongside the very hardworking section leaders who even tirelessly prepared sectional objectives and agenda for the last few practices. All in all, I’m happy to say that Chorale has grown tremendously from this experience.”

Mr Toh, too, commended the choirs. “Some of the virtuosic pieces were really long, complicated and demanding. I was heartened that the singers memorised virtually all successfully and delivered them well beyond our [time] constraints,” he said. “I am immensely proud of the Chorale and Voices, especially the Year One singers and those who sang for the first time. It was a steep learning curve for them to perform at such a level.”

Set List

• Dubula
• 不了情
  • Piano Accompaniment: Benjamin Paik
• Ritmo
  • Piano Accompaniment: Benjamin Paik and Samuel Foo
• Ama Namin [Fidel Calalang Jr.]
• Benedictio [Urmas Sisask]
• Izar Ederrak [Josu Elberdin]
• 小河淌水 (Xiǎo Hé Tǎng Shuǐ) [Toh Ban Sheng]
  • Aleatory: Zheng Yaxuan, Jacqueline Liew, Joy Lim, Chloe Ann Tan, Chloe Tan, Hitomi Yap, Jonathan Tan, Bryan Yeo, Chu Si Hui, Ma Rui, Christopher Chia
• 春は逝く (Haru Wa Yuku) [Nobunaga]
• Dogalen a Mabaso [Nilo B. Alcala]
• Sing a New Song
  • Piano Accompaniment: Reno Sam, Ryan Han
• Sicut Cervis [Palestrina]
• Gloria [Vivaldi]
  • Piano Accompaniment: Samuel Foo
• Ave Verum Corpus [Mozart]
  • Strings Accompaniment: Dorian Chang and Pan Yiheng on violin, Neo Wei Qing on viola, Zhuang Jianning on cello
• Libera Me [Faure]
  • Soloist: Joel Yeap
  • Piano Accompaniment: Benjamin Paik
  • Alleluia [Hideki Chihara]
  • Soloists: Jonathan Lee, Benjamin Yong
  • Timpani Accompaniment: Jacqueline Liew
• Long Road [Erik Esenvalds]
  • Descant: Bryan Yeo, Shayna Yap, Phua Quan Quan
  • Recorder/Ocarina/Triangle Accompaniment: Ryan Han, Jacqueline Liew, Dale Huang, Joshua Tay, Oh Yong Ting, Reno Sam
• Rasa Sayang [Toh Ban Sheng]
• And in the Evening [Audrey Snyder]
  • Piano Accompaniment: Ryan Han
• Institution Anthem

by Yeo Jun Wei (17S03B), Nadiya Nesseer (17S03B) and Tapasya Singh (17S03C)
Photos by Raffles Photographic Society

What does it mean to be a youth?

Hidden within the power and strength of Street Dance, the elegance and control displayed by Modern Dance, and the grace and beauty embodied by Indian Dance, Augmentum: The Spirit of Youth had the perfect answer. This series of two showcases, held on the 30th April at the Performing Arts Centre, grappled with this central question through the enumeration of eight key themes: Innocence, Playfulness, Discovery, Confusion, Uprising, Rebellion, Peace and Celebration.

The hour-long showcases by these three major dance CCAs were one of the most hotly anticipated events in April. Given the relatively small seating capacity of the PAC, tickets were on high demand — so high, in fact, that night-show tickets were sold out within a record-breaking five minutes of opening to snaking queues during ticket sales.

This overwhelming popularity did translate into added pressure to perform for some dancers, however. The pre-concert week was undeniably a tense one, and in the days leading up to the concert dancers could be seen everyday at the Mirrors on the second floor of Block B, perfecting the details of their choreography. When the first few parents and fellow students trickled into the PAC around 2.30 p.m. last Saturday, the performers backstage were already holding their breath in anticipation, faces fervid under bright cheery makeup.

Nevertheless, Augmentum began on the right foot. The concert opened with an adorable take on the innocence of youth, delivered with precision by the J1s of Modern Dance. Notably, they opted not to rely on pre-recorded music tracks, choosing instead to sing and clap “The Cup Song” (popularized by Anna Kendrick in Pitch Perfect), all while dancing, using cups to produce the well-known song’s signature beat. This seamless alternation between singing and dancing left many audience members awestruck. “This dance piece was very unique because for the first time ever, the dancers had to sing and dance at the same time,” Amy Tan (17S06G) says of her batch’s performance. “Dance became more than just movement, and really an art piece that tried to show something.”

Through their carefree movements and joyful expressions, the dancers were able to bring the audience back to simpler days.“To us, this dance was trying to show a stage of life, when all we knew was the present, and untouched by fear and worry, we could play all day, have so much fun,” Amy adds. “That was the type of innocence we hoped to show.”

Exuberant Street Dancers during “Playfulness”

Following this was Indian Dance, presenting the theme of Discovery with a Sri Lankan dance. Put together by their resident choreographer, this dance was from a genre that none of the dancers had attempted before, truly making it a journey of discovery for them. “I was really nervous that the dance wouldn’t reach out to the audience,  especially since it was new to us as well,” said dancer Keerthana Murugan (17S03F).

Indian Dance in our of their many formations

Street Dance did not fail to deliver either, in the next item. To express the pain of Confusion and the anger of Rebellion, their choreography featured aggressive dance moves showcasing the might and intensity of youth. The dancers whirled and slammed the floor to the troubled beat of songs such as “Rap God” (by Eminem), and froze in chilling positions while dressed as mental patients to the tune of “Paralysed” (by NF). The vigour and energy in their choreography was palpable as many audience members were visibly stirred to cheer for their friends and batchmates.

Their creative use of costumes and props were also something that stood out to the writers of this article. From newspapers and $8 suits which produced a dark urban atmosphere for Confusion, to hospital gowns which gave their “Rebellion” piece an unnerving and disorienting feel, Street Dance had not only excelled in the execution of their sleek dance moves, but also proved their resourcefulness and originality in every aspect of a dance.

As the concert continued, each CCA truly brought the audience on a journey of self-discovery as they expanded their ideas on youth and the different experiences of being a youth. The Modern Dance troupe, mainly comprising the J2s, followed up on their juniors’ opening performance with a magnificent display of their contemporary dance prowess on the themes of Uprising and Peace, constantly awing the audience with their immense flexibility and agility as they glided smoothly and effortlessly across the stage in total synchrony. The amount of effort that had gone into perfecting their choreography was evident from how every performance was in sync with each other and how smoothly the performance flowed.

The ending pose for one of Modern Dance’s performances

The other performances by Indian Dance were the ever-present favourites – a semi-classical piece depicting Rebellion as well as the Bollywood and Folk genres in their Celebration act. The semi-classical piece cleverly depicted the throes of rebellion by having one dancer break out of formation and following a choreography different from that of the other dancers. This performance was thus a demonstration of standing up and standing out, a notion further enhanced by the incorporation of contemporary movements into the classical Indian ‘Bharatanatyam’ dance. Besides that, it was also a true testament to the dancers’ technical prowess, featuring sharp movements held together by excellent posture and grace.

The Bollywood and Folk dances, on the other hand, were a display of passion and celebration. The choreography featured energetic movements coordinated with fast-paced songs, and the dancers’ enthusiasm was eye-catching as the entire audience celebrated along with the dancers on stage.

The concert ended on a high note with a finale performed by all three CCAs. Notably, the CCAs’ members were randomly sorted into three different groups performing a Street, Modern and Indian Dance respectively. This really allowed the dancers to go out of the comfort zone by trying out a dance genre they were unfamiliar with. Perhaps more importantly, the three CCAs were truly able to dance as a big Raffles Dance family – as Joseph Lim (17S06B) of Street Dance puts it, “I felt true happiness for the first time dancing on that stage with the people who mean the most to me.”

Augmentum 2016 lived up to people’s expectations and even surpassed those of many who had doubted the ability for a combined concert involving all three dance CCAs to succeed. In her afterword, Concert Organiser Seow Shiying (16A01D) commented that one of the greatest challenges of executing this collaboration “was how it was hard to find time to practise with all the CCAs together.” She also mentioned, however, that the dancers’ efforts paid off in the end: “[We] managed to truly dance our hearts out even while doing the other genres during our finale piece, “Celebration”. All the dancers really took ownership of the concert and that’s the reason why it turned out the way it did.”

Indeed, Augmentum has raised the bar for future dance concerts with its electrifying performances – to see the dance community in RI unite for such an entertaining night was truly heartening. Going forward, this concert has opened up future possibilities for inter-CCA collaborations, one of the goals the combined dance community hoped to achieve through this concert.

By Nicole Doyle (17A01A)

Generally speaking, writers are reclusive creatures. The author, being a member of both Raffles Press and Writer’s Guild, can attest to this fact.

For the previous issues of their annual anthology, Writer’s Guild has been somewhat true to this statement, publicising their anthology through posters and CCA features in Word of Mouth while remaining out of the public eye for the most part. Last Friday however, the CCA took a bold step forward with their first ever public anthology launch in the school’s Blue Room.

In the words of EXCO member Valerie Ng (16A01B): “Our inaugural launch was essentially a breakaway from the comfort of our seclusion and obscurity as a relatively new CCA to showcase the quality and writing styles of Guild members.”

The launch had some writers read aloud works of theirs featured in the anthology and subsequently explain the impetus behind their pieces. This year, the anthology’s theme was “Enter/Exit”, which captures the reflection of writers in their pieces on issues that were either personal or removed from the realms of their experiences. The writers did not disappoint with their varied interpretations of the theme, with works touching on a wide range of issues from being deaf to a Bruce Lee movie.

Poets and prose writers alike took to the stage to introduce their works to the small, but attentive audience.

Encouragingly, not everyone in the audience was a Guild member, with curious students wandering in throughout the event to give testament to the fact that Writer’s Guild has begun to establish its presence in the school community.

In the foreword of their anthology, Guild stated that their goal was “to not build brick walls, but rather tear them down”. Understandably, some would say that Writer’s Guild is fighting a losing battle; an aversion to literature, especially poetry, has become something of a badge of honour as of late. It is by nature, a beast of words that cannot be tamed with facts the way the sciences, or even the other humanities can be. People tend to find comfort in their rejection of literature as a subject of inconsequence, and here the brick walls appear to stretch for miles.

But one consolation for Guild is that writing has the potential to be so much more than twenty six letters arranged in obfuscating riddles. Ryan Ma, for instance, wields his words in his piece Graduation to evoke an image of loneliness in the midst of graduation and coming of age. This is but a glimpse of some of the very human introspection contained within the anthology.

Besides listening to the live reading, visitors could explore the gallery walk of works in the anthology arranged on mirrors, perhaps an intentionally unusual choice of background on Guild’s part.

The last work showcased during the launch was the piece Night, by Muhammad Hameem. A piece’s position in the anthology was significant in denoting which half of the theme it responded to. In the case of Night, it lay in the center, blurring the lines between entering and exiting as it did with destruction and creation with religious imagery.

In some ways, Night is reflective of the core sentiments of writing. Literature is the deconstruction of human experience and its recreation in any given literary medium. It is our human heart which tames that beast of words; it takes that mess, that tangle of thoughts in our mind, and teases the meaning out of it.

Writer’s Guild may have a demanding task ahead of them in trying to change the general perception of literature being an inaccessible, niche interest, but the launch’s success in attracting non-Guild members has some heartening implications for the future. The CCA’s new direction of greater involvement with the school is also sure to help them along their way. Do be sure to check out their booths during Lit Week in July, with exciting activities such as Typewriter Poetry lined up for the week.

In the meantime, we at Raffles Press would like to commend Writer’s Guild for their first of hopefully many anthology launches to come, and the writers for their enjoyable pieces.

If you are interested in getting a copy of the anthology, please contact any Guild member.

By Bryan Ling (17S06C), Ernest Lee (17A01A) and Jeanne Tan (17A01B)

For what reasons do we speak?  Last Thursday, Gavel Club aimed to answer precisely that. RI’s first open-mic event, a platform for students to voice their opinions, recount personal experiences and act as an outlet for passions, Reasons to Speak saw students stepping up and speaking out.  

The wide variety of student speakers, free drinks, facilitation by gaveliers, and free muffins made this event an enjoyable yet thought-provoking one. Gavel was initially pessimistic about this event, ordering only a single box of muffins and setting up twenty chairs, much to the chagrin of the fifty-strong audience, as despite the oppressive heat and hour-long delay caused by speakers’ unforgiving timetables, an enthusiastic crowd had formed to listen to their peers speak.

“We, the citizens of a constructed reality,” – the group from Community Advocates hit home with their powerful speech.

The first speech was a piece of spoken word titled Dear Singapore, performed by a group from Community Advocates consisting of Noor Adilah (17S07B), Tim Minjie (17S05A), Samira Hassan (17S05A) and Deea K Dev (17S03L). It was not merely a single speech, but the combined efforts of the four who took turns to deliver original pieces of poetry. The authors regret that this article will not be able to convey the heartfelt pleas of the speakers, whose attitudes and tones varied from annoyed, to mournful, to outraged. Critiquing Singapore’s hypocrisy when it came to uncomfortable truths of our society , each speaker addressed society’s neglect of four groups – migrant workers, the mentally ill, sexual abuse victims, and the poor.

Next, Dao Duy Doan (16S03J) delivered a deeply personal speech about how to live and let go. On Forgiveness recounted an unfortunate event experienced by his family, who lost a house within months of transferring it to an uncle. Although it was gone, he did not respond to this with resentment, and revenge would lead to suffering. From his speech, it struck us that if one’s identity was based off knowing right from wrong, then simple actions like revenge only lead to false convictions. To forgive would thus be to dial back one’s feelings, say what we need to say, then move on- and this peace is liberating.

Russel Vaz employing society’s greatest invention – the chair.

Russel Vaz (16S03J) took the stage next, grabbing everyone’s attention by beginning his speech sitting down. In his bluntly titled Challenging Respect, he questioned the norm of respect, especially in schools. Although he emphasized this was not an excuse to ignore all authority, his main premise that ‘contrived routines’ and performative displays were unreasonable expectations of society resonated with those unhappy with a world of guidelines and greetings. Rather, respect should be reserved for those who genuinely helped us, as job titles alone are not a good indicator of competency or character. Critical thinking and skepticism towards such norms, coupled with healthy awareness of our duties as students, citizens and human beings, are surely valuable skills one should possess.

“Growing up, in Singapore, as a minority, is an experience to say the least.”

All eyes turned to Sumana Prasad (17A01B) as she began with her unapologetically honest Being a Minority in Singapore.  Sincere and passionate, and with a tinge of humour, she talked about her personal experiences and encounters with ignorance and racism in Singapore, ending off with a call to fight against ignorance and promote learning instead. It was her striking conclusion- “Singapore is my home: why do I have to try to make it feel like one?” that drove home the necessity of Singaporeans making a genuine effort to understand each and every member of society.

Confidence is key to any good speech.

Yawei Han and Tan Ning (16S03S) targeted a subject most can relate to, by promising to help struggling students approach their crushes. Confidence, defined by them as the amount of control one thinks they can wield, was the central focus of their speech. They claimed that reciprocity would lead to being more approachable and likeable, and that we can prepare confidence to change our situations. Although these premises seemed intuitive, their distillation into simple principles one can apply in daily life were useful.

Sambhavi Rajangam, presenting “Jack of all trades, or master of one”

Closing off the student speakers, Sambhavi Rajangam (16S06K) challenged the common saying “Jack of all trades, master of none – often better than master of one”.  Through an amusing story about a titular “Jack” and “Master”, Sambhavi argued that though being a Jack of all trades might allow you to stay afloat longer than a master who can’t swim, it ultimately won’t save you from further storms of change.  A good mix of the two is thus required, and beyond simply having a range of skills we must also be further able to apply our expertise to various different areas.

Last but not least, Raffles Gavel’s Teacher-in-Charge Ms Magno ended the event with a zing. In her closing address, she talked about her personal experiences teaching public speaking in China, and about the importance and value of public speaking.  

Reasons to Speak founding and organising committee: (From left to right) Manu Neethi Cholan Kapilan (16S06N), Nicole Yow Wei (16S03J), Ms Nicole Magno and Sambhavi Rajangam (16S06K) 

When asked about the event, member of organising committee Nicole Yow Wei (16S03J) had this to say.  “It truly was an honor to handle the heartfelt passions of our participants. […] The enthusiastic audience Reasons to Speak drew was deeply encouraging, and it’s foreseeable that [the] spontaneity of such positive exchanges between Rafflesians will soon be an indelible aspect of what makes our Raffles days golden.”

Despite being a CCA built around public speaking, Gavel has not enjoyed a strong presence in RI — a fact that was acknowledged at the start of Reasons to Speak. This first attempt to bring the platform of public speaking out of the realm of weekly training sessions and its success as an event is surely the launchpad to Perhaps events like these. Legitimized by school support, but still undeniably Rafflesian in terms of voice, scope and audience, this will hopefully serve as an avenue for bold orators to articulate opinions, shape hearts and minds, and change the world one speech at a time.

Edit: This article has been edited to include the names of the organising committee. 

By Qiu Kexin (16A13A), Chew Cheng Yu (16S06L) and Carman Chew (17A01D), Photos by Li Wenqing (16A01A) of Raffles Photographic Society

After a brief respite from Raffles Institution’s music-playing scene in 2015, Raffles Guitar Ensemble (RJGE) made a comeback on 13 May with the 2016 batch’s maiden concert. Afinado (Spanish for ‘in tune’), as we knew it, was a cordial affair that treated the audience to lilting acoustic music to wrap up their fretful week pleasantly. For the ensemble itself, it had been the fruitful outcome of two months’ non-stop work, including staying back until 10 PM every night a week before and “repeatedly practising our pieces right before the show, because we were so nervous.” (Goh Jia Ni, 16A03A)

Performers Rachel Lim (17S06I) and Ryan Tan (16SO6P) playing the roles of Rachel and Justin respectively.

Amidst a scene impressively decorated to resemble a resplendent flower garden, RJGE began on a good note. We were first given a video teaser, showing the escapades of four fictional characters: Rachel, Justin, Gasper and the emcee, otherwise known as the “RJGE” quartet. After a brief introduction that revealed to us the eccentric and carefree Justin, the stalwart and determined Rachel, and dispassionate observer Gasper, Afinado commenced with the classic Canon in D by Johann Pachelbel. The guitarists put a mellifluous and soothing spin on the well-known adagios in Canon, lifting the hearts of the parents and elders present.

The junior ensemble debuted their first concert pieces, Now Let Us To The Bagpipes Sound by Bach, and When You Say Nothing At All by Ronan Keating. Despite a few hiccups, the juniors played impressively for only two months of practice, rousing the audience with the lively sound of bagpipes, and soothing us with the dulcet tunes of Keating’s piece.

The junior ensemble performing a throw-Bach to the classics

Following Afinado’s ingress of relatively mellow songs, time came for the spotlight to be shone on the solo and duet performers. Away from practice time with the ensemble, some Guitar Ensemble members had endeavoured to learn personal pieces, on top of those they had to know for the ensemble performances.

The two soloists, Li Yuan (16S03R) and Jordan Kow (16A01B), showcased their talent for the guitar in their respective performances of Cavatina (Stanley Myers, from the critically acclaimed film The Deer Hunter) and Bohemian Rhapsody (Queen). Li Yuan’s impressive execution of tempo variation and soft touch, along with the crisp tune of the guitar, pronounced the emotion of the hauntingly bittersweet Cavatina. Afterwards, the audience bore increasingly astounded witness to Jordan’s manipulation of one sole guitar to encompass Bohemian Rhapsody‘s complex orchestration and many-layered sound. When asked why he had chosen this challenging song, Jordan said, “I really like the song – but besides that, I wanted people to see how such a song can translate onto the guitar and what six strings are capable of.”

Last but not least, Evan Quek (16S06K), Chairperson of RJGE, and Ryan Siew (16S03P) delivered the plucky and upbeat One by Depapepe after the intermission. Their onstage chemistry made for an adroitly synchronised piece, as the two complemented each other’s fast-paced strumming, lending their performance an extra edge with their comfortable confidence. Their performance thus achieved a convincing and skilful emulation of the original by the suave gentlemen of Depapepe, gracing the audience’s ears with hearty yet elegant tunes.

Jordan Kow (16A01B) hoping that the classic Bohemian Rhapsody would strike a chord with the audience

The other items were small groups performing a range of current pop songs, including a mash-up of One Call Away by Charlie Puth and Love Yourself by Justin Bieber, to a rendition of 小幸运 [Xiǎo Xìng Yùn] from the 2015 film “Our Times”, where RJGE surprised us with a Year 5 performer Shravya (17S06A) singing the last phrase of the song.

Despite having less prior experience with Mandarin, Shravya said she wanted to perform because she wanted to “take on the challenge”. The last group, consisting of only J2s, performed their own pop song mashup including Thrift Shop (Macklemore and Ryan Lewis), True Colors (Zedd ft. Kesha), Don’t (Ed Sheeran) and No Diggity (by Blackstreet). It was executed well, with great vocals and a little extra flair in the form of groovy snapbacks, wooly scarves and exotic coats.

Fresh from the thrift shop!

After two more songs from the seniors that exemplified the ensemble’s virtuosity, the night finally closed with the fun and fast-paced Plink Plank Plunk! by Leroy Anderson. It featured a variety of horns, cowbells and even the traditional sponge-throwing at their animated conductor, Mr Michael Gaspar.

Despite the success of the performances, preparing for them had indeed been no easy feat. In the words of Vice-Chairperson Goh Jia Ni, “Since we were all busy with school work and other commitments, it was really hard to find time to gather everyone to practice or discuss about the concert. As a result, we barely had time to practise.” One Year 5 member, Novis Lim (17S03M), even had to handle both the junior and senior pieces, racking up a total of 8 songs to learn within just 2 months. On the day of the concert, CCA members were still juggling practice, setting up décor and redirecting audience members who appeared backstage accidentally because they entered through the wrong door.

However, everything worked out perfectly in the end. While the audience took home a splendid evening of entertainment, the performers had also returned with a newfound sense of camaraderie. Jia Ni also reflected fondly as she told us, “Despite being a music CCA, it is quite ironic that our CCA’s main focus is not the music, but rather the friendships and bonds forged. But that’s what an ‘ensemble’ stands for, it means coming together to create great music.

The Year 6’s taking one last bow at their final performance.

By Yeo Jun Wei (17S03B) and Ada Lim (17S03B)

Additional Reporting: Elyn Tzen (17S03B)

Photos by Chiow Hui Min and Liu Yanru of Raffles Photographic Society

Viva – a promise to embrace life, a reminder to rejoice in victories, an opportunity to delight in simple pleasures. Such was the invitation warmly extended by Raffles Jazz on the evening of 6 May 2016. And it certainly surpassed all expectations, allowing the audience to experience a myriad of human emotions that we have long taken for granted.

The concert kicked off with the iconic Superstition. Originally performed by American singer-songwriter, Stevie Wonder, the funky, up-tempo pop rhythm got the audience members pumped up for the night of music. Vocalist Sriya Bobba set the stage right as she encouraged the audience to put their hands up in the air and clap along, pushing the atmosphere to an instantaneous high.

Viva by Raffles Jazz started with a bang with the funky Superstition.

An exciting setlist of varied melodies ensued. These included upbeat pieces such as Wave and Bag’s Groove, which, as its name suggests, certainly got the audience members grooving in their seats. These were balanced out by slower, romantic songs such as Stars Fell on Alabama and My Funny Valentine – the vocalists’ soft, almost-whispering tones perfectly lulling the audience into a relaxed bliss. Familiar tunes that one might not have previously associated with having their roots in jazz, such as My Favourite Things and Over the Rainbow were also performed with original twists that blended in well with the respective vocalists’ voices.

What caught the audience members’ attentions was definitely also the creative transitions in between songs. These included clips by the fictitious “GatNeo Channel”, a video showcasing people laughing at cheesy puns which successfully got the audience chortling along; certainly, one could say “My Funny Valentine”. Audience members were also handed colourful pieces of origami paper as they entered the venue, and were encouraged to write notes of appreciation for jazz members whom they came to support, typically in the capacity of a friend or family member, all in the name of the next song – Just The Two Of Us. This was complemented by a homemade montage showcasing members being interviewed regarding their favourite things, leading on, of course, to the song My Favourite Things.

The personal touch of the concert did not stop with the montage, which shone a spotlight on individual members and featured the unity and spirit of the jazz community. It could actually be felt through the skill of each musician. As per jazz tradition, after presenting the main melodies of a number, each player would perform a short improvised solo with their respective instrument. The solos that night were as impressive as they were memorable. Not only were difficult techniques such as scat singing (by the vocalists) and slap-and-pop (on the bass) pulled off without a hitch, the solos truly allowed for each Jazzer to express themselves on stage in a unique, individual way.

The highlight of the concert came just after the fifteen-minute intermission. As jazz members took up their instruments once more behind the curtains, a soundtrack of a rooster’s calls were played over the system, urging the audience to settle down and anticipate the next act. And yet, it was also a perfect indication clueing audience members into the next song. That’s right. It was The Chicken, a wild funky tune, in direct contrast to the mellower timbre of the previous songs, featuring a furious drum beat and blaring brass sounds – a number as loud and obnoxious as its namesake.  The audience members were roaring with laughter the moment the curtains lifted, for the bassist was somehow dressed – you guessed it – like a chicken. Immersed in his role, he clucked his way off stage after the song, earning more guffaws from the audience who were thoroughly entertained and amused not just by the get-up, but also by the fun and lively way in which the performance was delivered.

Bassist and Chairperson, John Chew, dressed in a chicken suit for The Chicken.

The performers dressed up once more in straw hats during Summer Samba (So Nice). The characteristic Brazilian swing and lulling bossa feel plunged the Performing Arts Centre into a laidback and easygoing mood, effectively transporting the audience to a sunny Hawaiian beach where frothy waves gently caress the shoreline and palm trees dance in the wind.

The Summer Samba band decked in straw hats.

As the last note of the familiar My Favourite Things drifted to an end, the audience members were reluctant for the concert to conclude, and brought the performers back on stage with their resounding shouts for an encore. And the jazz members happily complied, dropping the dance single Dancing in the Moonlight as the various sections took their time in the limelight and received standing ovation from the audience.

Viva ended with Jazzers gathering before the stage, singing and clapping to Dancing in the Moonlight.

The concert was a resounding success, even by the standards of Raffles Jazz. As Chairperson John Chew says, “Our concert was definitely fun for us Jazzers and we do hope the audience had as much fun as we had! Whether you were there listening to the music as a first timer or as a hardened jazz fan, I hope everyone enjoyed our music and had a pleasant evening.”

The concert would not have been such a success if not for the vision of the organisers to touch the audience’s lives with music, nor the members’ passion to carry it through. Through a rollercoaster of songs that prompted the audience to embrace nature, rejoice love, and find delight in quiet moments, Viva by Raffles Jazz reminded the audience of not just our capacities for human emotion, but of the fact that our ability to feel is what makes us human and gives us purpose in life, for the spectrum of emotions we feel are what make life colourful. The different Jazz songs reflected the different aspects of life, from the quiet moments to the loud ones, celebrating the beauty of life in all its wondrous sounds.

Setlist:

• Superstition
• Bag’s Groove
• Stars Fell on Alabama
• Wave
• My Funny Valentine
• Just the Two of Us
• There Will Never Be Another You

(Intermission)

• The Chicken
• Vultures
• Summer Samba
• Over the Rainbow
• Can’t Take My Eyes off You
• My Favourite Things