By Nerissa Loe (17A13A), Yang Si Qi (17A01C) and Nadiya Nesseer (17S03B)

Additional reporting by Catherine Zou (17A01B)

Photos by Maximilian Lim and Tuen Young Ji

(Warning: spoilers ahead!)

The curtains of the PAC opened to a picturesque two-storey set that drew a collective gasp of admiration from the audience — “All My Sons”, the highly anticipated production by Raffles Players, was about to begin. Centred on themes of family, responsibility and morality, the play revolved around the lives of the Kellers, a family living in post World War II America. The performance stood out due to the cast’s impressive delivery  in capturing the essence and emotions of the play, creating a thoroughly enjoyable performance that kept the audience at the edge of their seats from start to end.

Presenting: the cast.

The opening scene starts off slow and languid: Joe Keller (Sarthak Panwar, 16S05A) reclines in his seat, idly discussing the news with his neighbors. It is just after World War Two, but Joe Keller seems to have been able to rebuild his life fairly well. The actors sit around a quaint, two-storey set built “out of the wildest of dreams” (in the words of Set I/C Choo Ian Kang, 17A13A), chatting about the weather.

All My Sons starts out with a slow, peaceful scene

An affable man, Joe’s life seems to be going well. However, with the entry of Chris (Rishi Vadrevu, 16A01D) and Joe’s wife, Kate (Tan Xin Hwee, 17A13A), it becomes clear that the Keller family’s seemingly idyllic existence masks an undercurrent of conflict, fear, and deception. Chris’ central surfaces the first conflict of the play: he wants to marry Annie (Jane Zhou, 17S03P), the former fiancee of his brother Larry, who has been missing for three years. Most importantly, Annie is the daughter of Joe’s former partner, who had been indicted during the war for shipping out damaged engine parts that caused the death of 21 pilots.

Joe’s interactions with Kate quickly surfaces the tensions in the play.

The conflict between Kate, Joe, Ann and Chris quickly unfolds.

Kate’s entry surfaces the second conflict of the play; though everyone considers Larry to be dead, she firmly believes that Larry is alive, and that he is coming back. Naturally, this causes a clash between Chris and Kate, since the latter objects to his marriage, still considering Annie to be ‘Larry’s girl’. To Kate, marrying her would be as good as pronouncing Larry dead. The emotional peaks of the play has Kate tremoring with emotion on the subject of Larry, her voice soft and reminiscent. It is the image of a devoted mother, but also hints at an unsettling truth, setting the stage for a progression from what appeared to be a peaceful, loving family, leading up to more deeply-rooted tension within the play. Her outbursts of waiting for Larry “for ever and ever until he comes back” and urging of Joe to “be smart now” are quickly explained with the arrival of George (Mohammad Sufyan, 16S06F) , Ann’s brother. Sufyan’s performance was a sarcastic, energetic depiction of a brother driven by the belief that Joe had lied to get himself exonerated from his crime. The event quickly snowballs: Kate and Joe’s firm denial is exposed by a glaring loophole. Finally, in a stunning turn of events, Kate pronounces to Chris: “your brother is alive, darling, because if he’s dead, your father killed him.”

George’s arrival is the catalyst for the play’s final confrontation.

A stunning revelation.

Silence.

Silence, and Kate’s figure, small and trembling, retreats into the set. The door shuts with a resounding thud, and Chris turns to his father. When they speak, it is an exchange, slow and disbelieving at first, and then escalating to a full-out confrontation. Chris’ idealism and love for his father is shattered, and the world as he knows it, too, shatters.

Chris delivers a poignant line: “I know you’re no worse than most men but I thought you were better. I never saw you as a man, I saw you as my father.” It reflects on how the villains and monsters of our world are often, no less than our fathers, our uncles, and our friends – they, too, are only human, doing what they feel were exigent, what is pragmatic. It is as we so often do, masking our decisions with justifications – it is for our family, it is for practicality, it is because everyone else is doing it. Joe Keller’s decision to ship faulty aircraft parts to the pilots in the war resulted in the death of twenty-one pilots. To him, it was clear that the decision was morally wrong, but still justified: He had done it with the intention of protecting his own family and business, as did many others in America. In Joe’s words, “the whole country’s got to go if I’ve got to go”.

An emotionally charged scene.

Joe’s small, family-centric understanding of the world, however, is finally shattered by a letter written by Larry. It is brought out by Ann, in a desperate bid to salvage her relationship with Chris. Through the letter, it is revealed that Larry had committed suicide in shame of what his father had done. Joe, ashen-faced, reaches an understanding that “there is a universe of people outside” that he is responsible for.  His self-interested justification that it was for his sons extends to the realisation that the pilots were, in a way, “all my sons”.

Larry’s letter is the final, devastating blow to the Keller family.

Here, Sarthak’s high-calibre acting brought to life the full spectrum of emotions experienced by Joe – indignance, guilt, desperation, and finally, defeat. Despite initial difficulty in relating to the depth of Joe’s emotions, Sarthak’s acting brought his character to life. From “deepening [his] voice, and giving it an air of maturity” and “more controlled, slower” actions, Sarthak’s acting clearing reflected Joe’s turmoil and his age. His final, staggering steps to his house and the gunshot that follows serves as a ringing reminder that the actions of one can result in detrimental effects to society – whatever the small, personal justifications one makes. It teaches us all about man’s responsibility – not just to his family, but also to the world around us. It resonates with any member in the audience who had ever been caught between the pull of idealism and the weight of reality. This relatability in turn drew the audience further into the play – into the (perhaps not-so) fictional world of the Kellers.

A tragic ending.

All in all, Raffles Players definitely outdid themselves with this production, and the audience certainly agrees. “The performance made me very excited for the lit text next year because of the different themes that stood out during the play,” says  Alethea Tan (17S07D). The play was definitely well-received, and enjoyed great popularity among the student body. With their immense effort, and nearly flawless execution, Raffles Players had done yet another play justice. Raffles Press would like to congratulate them on another brilliant performance!

The final bow

Play Credits:

Stage Managers:

Celine Ng (16A01A), Mahirah bte Abdul Latiff (17S03B), Aishwarya D/O Manivannan (16S03A)

Director:

Mr Ian Tan

Cast:

Sarthak Panwar (16S05A) as Joe Keller

Rishi Vadrevu (16A01D) as Chris Keller

Tan Xin Hwee (17A13A) as Kate Keller

Zhou Jie Jane (17S03P) as Ann Deever

Mohamed. Sufyan (16S06F) as George Deever

Jasdeep Singh (16S03N) as Dr. Jim Bayliss

Chua Kai Xin Valerie(16S07D) as Sue Bayliss

Hidayat B Malik (17S06B) as Frank Lubey

Zou Yi Catherine (17A01B) as Lydia Lubey

Kathy Tan Kia Sim (16S06I) as Bertha

Sets and Costumes:

Cheong Ko Lyn (16A01B), Aishwarya D/O Manivannan (16S03A), Jasdeep Singh Hundal (16S03N), Ng Dan Qi, Beatrice (16S03C), Sreshya Kamakshi Vishwanathan (16S06P), Alison Clara Tan (17A13A), Choo Ian Kang (17A13A), Hu Yunting Grace (17A13A), Mahirah bte Abdul Latiff (17S03B), Ong Yan Chun (17S06A), Poh Erika (17S03P), Shirin Mehnaz Ansari (17S03C), Tham Jia Yi (17A13A), Lim Yi Hui (17A01D)

Lights and Sounds:

Kavya Sankari Sundar (17S03D), Vasu Namdeo (16S07D)

Publicity:

Caitlin Alsandria O’Hara (16S03A), Cai Hai Yun (16S03B), Kaushik Kumar (17S06H), Samuel Ho (17A13A), Muhammed Izzul Irfan (17A01E), Sabariesh Ilankathir (17A13A), Sruthi Udayakumar (17S07D)

by Jeanne Tan (17A01B) and Serafina Siow (17A13A)

Pictures by Angela Sun (17S06M), Raffles Photographic Society

Memento.

Definition: An object kept as a reminder of a person or event.

This was also the theme of Chamber Ensemble’s annual concert, held last Friday in LT2. As the last concert before the Year 6s stepped down, this theme had a special significance to them. “Tonight, we bring you a relish of these ages’ unique flavors, accompanied by the unchanging universality inscribed onto these sounds and scores, in hopes that this evening gives you a night to remember,” said Gillian Yeong (17A01A).

Chamber did a quaint job of introducing the theme from the moment one approached LT2. At the door, each ticket was marked with a hole, following which a ribbon was presented. These components made a simple bookmark. Confusion over some strange markings on the programme too, was elucidated towards the end of the event, when the audience was taught how to fold the programme into a heart – yet another token to remember the concert by. The charming, personalised touch added to the programme’s overall theme about memory.

This effect was similarly sustained in other details throughout the night. The front of the stage, example, was painstakingly plastered with musical scores, whilst the small but fairly packed lecture theatre made for a cozy atmosphere despite the formality usually associated with classical music. The presentation of the event, too, added to the intimate atmosphere. Witty introductions and short skits were suffused into the show. Far from stuffy or snobby, the evening was full of engaging acts such as the short skit, “10 Things Only Musicians Would Know”, performed by Chan Shi Qi (17S06I), Glenda Wee (17S06N), Charissa Poh (17S02A), Rachel Lee (17S03H), Pang Kai Wen (16S06K), Tricia Tan (17S03I), Gillian Yeong (17A01A), Myra Tan (16S03J) and Bai Jiawei (16S06S). It depicted scenarios familiar to those in musical ensembles: lugging around heavy instruments, the cellist’s nightmare that is playing Canon in D, and the trials of being a part of a large ensemble when the conductor isn’t working on your section. The idea for this skit, according to Gillian Yeong, was born when “someone mentioned that nobody knows what ‘Chamber Ensemble’ is”, sparking the idea to share their unique experiences with the rest of the school. Besides the hilarious portrayals of the musicians, credit has to be given to Ms Ku for being a good sport in all the skits.

No. 6: When Your Conductor Works On Another Section

Though the cheers from the audience and preambles to each act (which were laden with jokes and musical memes) perhaps diverged from the hushed concert halls of old, the Chamber Ensemble stayed true to their classical roots. The night commenced with Vivaldi’s Concerto for Strings in D Major, conducted by Ms Marietta Ku. The skillful rendition of this Baroque piece was testament to the technical prowess of the entire ensemble. Adagio for Strings by Samuel Barber was played next and showed a different side to their music with the melancholic and sorrowful mood, giving it the gravitas it deserved.

While there was a short break afterwards for the members to rearrange the chairs and move the piano, Farah Wu (16A03A) and Ms Ku put up a short humorous skit entitled “Farah’s Diary”. Ms Ku played the role of Farah’s teacher, and reacted comically as Farah repeatedly butchered Mendelssohn’s Violin Concerto. The laughter grew louder with each time Ms Ku stood up in increasingly exaggerated huffs to demonstrate in beautiful tones, and added a neat personal touch to the concert, as well as covered up the ear-piercing screeching noises made as the piano was moved.

Ms Ku shoots an exaggerated glare at Farah as she screeches her way through Mendelssohn.

Next up was Erno Dohnanyi’s Serenade for String Trio in C Major, Op. 10, impressively performed by Jackie Sim (17S03G), Bryan Tay (16S03B) and Joshen Lim (17S07D). The piece demonstrated not just the performers’ technical skills but also their marvelous expression of their emotions throughout the piece. Jokes aside about practicing their piece at field camp, Arensky’s Piano Trio No. 1 in D minor, Op. 32 by alumni Koh Kai Jie, Xu Hong Yun and Daniel Ang was easily one of the best pieces of the night. They went above and beyond the chance to show off their skills, playing the rarely performed piece outstandingly. A member of the audience, Wang Huaijin (17S06F) gave the alumni a glowing review, calling their piece “very professional”.

The next piece, Allegro brilliante from Schumann’s Piano Quintet in E-flat Major was a well executed, mellifluous piece that comprised a bigger ensemble, with Yee Yang En (16S06B), Wong Jia Yi (16S03A), Joshua Yong (17S06B), Zhuang Jianning (17S06E), Eleanor Chong (17S03H). This was followed up with Allegro con fuoco from String Quintet No.2 in G Major by Antonin Dvorak, which had a cheerful melody accentuated by the inclusion of the double bass, which led to interesting contrast and showcased the musical ability of the performers. 

For the final piece on the programme, the entire ensemble returned to play a magnificent three movements of Dvorak’s Serenade for Strings in E Major, Op. 22. The first movement, Moderato, was a good display of musical expressiveness as it transitioned from a melancholic state to a lively one, and back again. The second, Larghetto, was light and flowing, and showed an attention to detail that enhanced the experience of hearing it. The final movement, Allegro Vivace, was true to its name and included rapid patterns and quick tempo, with a dip in the middle before racing with an almost frenetic pace to the end.

The longest piece in the programme, a praiseworthy end.

To cries of encore, the ensemble launched into an exciting medley of familiar songs, from Bach’s Prelude in C, the “Ave Maria”, to Bad Romance and Flashlight before switching to Beethoven’s Ode to Joy, drawing the concert to a satisfying conclusion. The Year 6s took a moment to thank their mentors, Ms Judy Tay, who faithfully attended practices despite suffering an injury, and Ms Marietta Ku, who then promptly ducked off stage to go on her SSO tour.

When asked how she felt about her last concert, Yee Yang En (16S06B)  said it was “bittersweet. It’s been a really meaningful two-year journey with the chamber family. As the J2’s fourth and last concert together, the preparation for the concert and the night itself are truly memories that we will cherish for a long time to come.” Farah Wu (16A03A) said that “the real challenge was making the concert relatable to most of the student population, while staying true to our classical interests.”

Of all the arts events this season, this one stood out to these reporters for being extremely heartfelt, and did a wonderful job of pulling the audience into the spirit of Chamber Ensemble– the honesty of the musicians and the enthusiasm in every piece brought the audience to a better understanding of the allure of classical music. The beauty of the show lay not just in its physical mementos, but also the hearts full of music and indelible memories.  This night is indeed one to be treasured and remembered.

The mementos that we take home from Chamber’s wonderful concert.

Programme

Antonio Vivaldi, Concerto for String in D major, RV 121

1. Allegro Molto
2. Adagio
3. Allegro

Samuel Barber, Adagio for Strings

Erno Dohnanyi, Serenade for String Trio in C Major, Op. 10

1. Tema con variazioni
2. Rondo

Anton Arensky, Piano Trio No. 1 in D Minor, Op. 32

1. Allegro Moderato

Robert Schumann, Piano Quintet in E-flat Major, Op. 44

1. Allegro brillante

Antonin Dvorak, String Quintet No. 2 in G Major, Op. 77

1. Allegro con fucco

Antonin Dvorak, Serenade for Strings in E Major, Op. 22

1. Moderato
2. Larghetto
3. Allegro Vivace

Encore: Medley of different songs and pieces. Including: Poker Face, Flashlight, Ode to Joy,

By Ernest Lee (17A01A), Catherine Zou (17A01B)

Chinese and culture are perhaps oft-forgotten aspects of our JC lives. After all, many have sworn off the subject indefinitely after the horrors of mugging for O Levels. However, these were the two aspects brought forth by Chinese Language Drama and Cultural Society on 13 May. 翠谷回响: 心霾 (Meaning: Heart and Haze) gave ticket holders a performance consisting of a calligraphy showcase, 8 songs, and 2 plays. Interspersed with humorous skits and strong emcee presence, none of these elements felt shoehorned in. The curtains opened to a full house, and the appreciative cheers and applause throughout the night were a resounding nod to the value and quality of the performance. For the authors, it was a reflection of how Chinese arts and culture are, too, captivating.  

Doors opened at 7.30pm, but many gravitated towards the calligraphy showcase at the front of house. Student ushers were present to provide information about the pieces: this author learnt that the most prominently displayed scroll was in fact not the handiwork of a CLDCS veteran, but by a new member of the club! However, that the exhibition was detached from the rest of the show meant that less attention was given to it. This was regrettable considering the rich history and painstaking process behind producing calligraphy.

Calligraphy pieces displayed at the front of house.

The first segment of the performance, 有风吹过 (Wind that Blows By), began with a familiar scene of friends chatting and teasing, before transitioning into a rather familiar slice-of-life performance depicting a school romance. The plot revolved around 小雪’s (Li Xueqing, 16S06G) blossoming romance with 李浩 (Wu Yidi, 16S06N) through romantic scenes consisting of walks in the rain and online chats.

The show was infused with a gentle nostalgia and started as a present-day reflection on relationships and memories.

The plot felt familiar, yet was not boring- achieved through the humorous banter between schoolmates and brief vignettes that encompassed the growth of individual characters beyond the realm of romance. What was especially commendable was the crew’s clever use of props: in conveying the growing attraction between its protagonists through online chat, the crew employed a sparse but effective set. It combined lighting and silhouettes to illustrate their online interaction, which may otherwise have been rather dry or abstract.

These effects were managed particularly well thanks to the CLDCS members who could better coordinate musical cues and effects in the control room.

The play ended exactly how you’d imagine it: a tearful reunion at an airport, a protagonist making amends with his mother, schoolmates reminiscing at a reunion much later- a classic happy ending to a delightfully simple play, completed with an implied kiss between the protagonists. It provided a sweet (but not saccharine) beginning to the night. Each subsequent performance took the overall to a higher level.

Following the opening act, the CCA’s songwriting department took centre stage, regaling the audience with an interestingly diverse collection of 8 self-composed songs. Even to the untrained ear, the songs had the makings of hit songs like《那些年》or 《小幸运》- intermingling melodious notes with descriptions of nature and familiar themes of youth, love and loss. In these respects,《紧握希望》(Hold on to Hope)，《我们的夏季》(Our Summer)，《雨幕》(Rain Curtain) and 《风铃》(Windchime) successfully relayed the transient but poignant experiences of youth. The uncertainty of love, the pain of unreciprocated love, for instance, was conveyed through 《我们的结局》(Our Ending) by Hsiaofang (17S06G), Ruixi (17S06B) and Yoong Hui Xian (17S06M). Aptly, several of these songs were – for the first time – incorporated into the first play to complement its theme of youthful love and wistful reminiscence.

An impressive rendition of a duet ballad, which displayed considerable skill.

Apart from lyrical, catchy tunes, the CCA displayed remarkable range with its incorporation of diverse musical styles in a melange of jazz and pop rock in their songs, as in 《FLY》and 《惑》(Turmoil), by Zhu Deng (16S07D). The original melodies and lyrics were especially remarkable, given the lack of musical backgrounds for some performers. The instructor of CLDCS’s songwriting department, Mr Keith Kwok deemed it a “good learning experience” in which the students “worked very hard” in spite of time constraints to come up with original songs. Though not without hiccups in its delivery, the performers quickly recovered from missed lines or forgotten lyrics with strong, unwavering singing. On the whole, the songwriting department put up an immensely enjoyable performance.

Following the conclusion of the skit, the curtains opened to a scene at a courtroom: spotlights frozen. A judge, a lone policeman, and lawyers at opposing ends, ready to strike. The opening scene dexterously set up the premise to 心霾, a play which focuses on the consequences of one’s actions. The play followed lawyer 姚乾明 (Wang Heng, 16S06E), who had defended an unscrupulous businessman 周能 (Zhu Deng, 16S07D) whose factories had been accused of releasing unacceptable levels of toxins.

The opening scene of 心霾.

Though profitable, his cover-up of client wrongdoing had massive repercussions on his relationship with his wife, leading to misunderstandings abound. Yet at the close of the play, where tension and pressure culminated in severed relationships, the protagonist realised the moral implications in his actions. It was a Kodak ending: wrongdoers are imprisoned and the protagonist reconciled with his wife, 付晓 (Zhu Ruixi, 17S06B). However, it also clearly conveyed the immutable consequences of our actions. 乾明 is still indicted for his involvement in the crime, and has to serve a three-year long sentence. Through perhaps anticipated, the play came alive through its characters, whose motivations, anger and misunderstandings were vastly The outstanding casting choices brought to life the different personalities and motivations of the characters, from the smitten but devious 周楚楚 (Zheng Tongxin, 17S06P) to the emotive and relatable 乾明.

The audience’s applause was a ringing affirmation to the CCA’s hard work, and attested to the success of the show, especially given that many audience members appeared to personally know the performers. The cosy post-show atmosphere of congratulations was undercut by the fact that Mother Tongue language arts events were considerably less popular among the general student population, despite the high calibre of performance put up that night. Alvin Pang (17S06P), who was down to support just one performer, quipped, “I’ve never felt more like a minority,” as he nodded to the numerous pictures being taken close to the stage. It is probable that the appeal of arts in a Mother Tongue that we are less than familiar (or friendly) towards pales in comparison to the abundance of other arts events during this period. Yet CLDCS’s performance clearly reflects the friendlier, more accessible side of the numerous Chinese texts and essays that many a frustrated student has pored over — next year’s show, perhaps, will be another opening into the funner, richer aspects of Chinese arts and culture.

Thanking the audience members.

Cast List

Performers: Drama

Zhang Zhi (17S06E), Zhou Yifan (17S06S), Zheng Tongxin (17S06P), Liu Conghui (17S06D), Zhang Shiyu (17S06O), Zhu Ruixi (17S06B), Liu Liangzi (16S03O), Wang Heng (16S06E), Zhang Yiyun (16S06E), Li Xueqing (16S06G), Wu Yidi (16S06N), Sun Zhen Wei (16S06S), Wei Xianda (16S06S), Yin Yiran (16S06S), Lu Chunjia (16S07B), Wu Zhenan (16S06J), Qin Shushen (16S06K), Zhu Deng (16S07D)

Performers: Songwriting

Zhu Ruixi (17S06B), Tan Hsiao Fang (17S06G), Ong Hong Zheng, Joshua (17S06C), Yoong Hui Xuan (17S06M), Loo Ruijie (17A03A), Zhou Yifan (17S06S), Zhu Deng (16S07D), Yap Bing Lin (16S06N), Lee Yi Jing, Joann (17S03D)

Calligraphy

Ma Yi Yan (17S06D), Wu Yangchao (17S06I), Christopher Tan Yu En (17S06J), Abigail Yeow Ying Ying (17S06H), Chang Jingyi (17S06B), Yang Zuo (17A01E), Yamon Min Ye (17S03H)

By Kaushik Rangaraj (17S06P)

Photo Credits: Guan Xin (17S06B) Additional Reporting by Narayanan Avinash (17S06S)

On 28th May 2016, PAC played host to ICS’s annual production Sangamam. It was the 11th year running that ICS had put up Sangamam and as ever, it was a successful one. Everyone contributed to make it an efficacious event.

The event started off with the song Tamil Thai Vazhthu sung by Muthukrishnan Vaishnavi (17S03F), a song sung in praise of the tamil language and culture, an age-old custom to mark the beginning of Indian events.

Tamil Thai Vazhthu sung by Muthukrishnan Vaishnavi (17S03F)

Guest of honour was Mr. K Barathan, the SINDA CEO, who graced the event along with of course, our very own principal Mr Chan Poh Meng.

Guest of Honour speech Mr. K Barathan, the SINDA CEO

This was followed by a performance by a few members of the Indian Dance. They danced beautifully to Raaga by maestro A.R. Rahman. All the audience members appreciated the immense skill levels of the dancers and rewarded them with a big round of applause at the end of their performance.

Indian Dancers’ bewitching performance

Raffles Alumni dancers too performed a piece for this event. It was a very captivating performance and everyone watched it intently, without ever taking their eyes off them. It was very kind of the performers to take time off their busy schedules and come down and perform for their juniors.

Alumni Dancers during their performance

Then came the main attraction of the night, the drama, Pirathimai, பிரதிமை, meaning a form or puppet. It started off thrillingly with the lead actor, Narayanan Avinash (17S06S), running in from the back of the PAC onto the stage surprising everyone. It was an enthralling beginning, which had the viewers hooked and the audience were kept on the edge of their seats for the whole duration of the drama. Co-actors Natarajan Nachiappan (17S06O), Yuga Bharathi Chandramohan (17S03C) and Tharani d/o Sivakumaran (17S03P) performed brilliantly along with Avinash while Shanmugam Saha Dev (17S03F) had the audience falling off their seats laughing at his comedic statements and actions.

Avinash during the introduction

One of the several comedy scenes

Other notable performers include Ashish Jayaprasad (16SO3K), who impressed with his exceptional portrayal of a man who lost everything, hilarious police trio Rishi Varman (alumni), C Vignesh Subramaniam (16SO6R) and Punniakotty Buvani (17S03P) and entertaining fake priests Vaanavan Sezhiyan (17S06O) and Balamurugan Vishnupriya (17S03P). The villain Sakthivel Baskaran (16SO6L) also played his part well. The plot was well-scripted and the audience enjoyed everything immensely.

It was intercepted by performances of singers and the much awaited couple dance. All the singers were well-prepared and hence performed the mashups admirably well, with almost no sign of a hitch. The choices of songs were also excellent as they included songs from popular movies like Naanum Rowdy Thaan and Thangamagan and also some English songs such as Sorry by Justin Bieber. Gwendolyn Kezia (alumni) performed admirably on the guitar and Buvani played the piano splendidly.

Singers singing one of many popular tunes

All the couples had worked hard and it showed as everyone danced well. It was well-received as ever as everyone cheered hard the couples performing to popular tunes Tak Bak (Thangamagan), Pia… Pia.. (Ninaithale Inikkum) and Darling Dambakku (Maan Karate).

Most awaited part of the night: Couple Dance

There was also a group dance which was the best of the night. It was part of the drama sequence as a dance troupe performing for a dance event. And as befitting an actual dance troupe, all the dancers were highly skilled and performed brilliantly. Everyone in the audience was in awe of the incredible moves the dancers pulled out as they danced really well. The plot was not left out during this and the dance was seamlessly fitted into the whole sequence.

Dancers performing as the ‘dance troupe’ during the drama

Last but not least, at the end of the drama, there was the flashmob, where all the performers enjoyed themselves greatly. They danced to 4 high-tempo, fast-paced popular numbers, giving their all even though all of them were dead on their feet due to it being the last performance of the night. The audience enjoyed the last act of the night immensely and appreciated them with a huge round of applause.

Vice-president and lead actor Avinash had this to say about the whole event. “Sangamam was overall a fun and enriching experience. It allows those with no backgrounds in acting for instance to discover something new about themselves. I was pleasantly surprised at all the positive feedback I received after the show and all the laughs during the show. The rehearsals might have stretched until 10 in the night. However, the sacrifice was worth it. I encourage all Indians who join in the succeeding batches to be a part of Sangamam. Here’s to many more Sangamams.”

All in all, it was a night of fun, laughter and enjoyment for everyone. All the singers, dancers and actors enjoyed themselves as their long weeks of hard work paid off while the audience relished the impressive performances put by ICS. “Sangamam 2016 was an extremely well put together that had just the right mix of everything,” was the opinion of an audience member who did not wish to be named. So congrats to everyone on a job well done and good luck to next year’s performers!

Whole Sangamam Crew

Actors

Main Cast:

Narayanan Avinash 17S06S

Shanmugam Saha Dev 17S03F

Natarajan Nachiappan 17S06O

Tharani d/o Sivakumaran 17S03P

Yuga Bharathi Chandramohan 17S03C

Supporting Cast:

Rishi Varman (alumni)

Sakthivel Baskaran 16SO6L

Ashish Jayaprasad 16SO3K

Sambhavi Rajangam 16SO6K

C Vignesh Subramaniam 16SO6R

Balachander Prashanthi 16S06B

Jennifer Shyamalee 16S06N

Vaanavan Sezhiyan 17S06O

Balamurugan Vishnupriya 17S03P

Anbudurai Manisha 17S03L

Punniakotty Buvani 17S03P

Singers:

Gwendolyn Kezia (alumni)

Devarajan Preethi 16SO6K

Meghna Ramanan 17SO3J

Muthukrishnan Vaishnavi 17SO3F

Punniakotty Buvani 17SO3P

Couple Dancers:

Narayanan Avinash 17S06S

Tharani d/o Sivakumaran 17SO3P

Saha Dev Shanmugam 17S03F

Murugan Keerthana 17SO3F

Natarajan Nachiappan 17S06O

Sneha Sanil 17SO7B

Vaanavan Sezhiyan 17S06O

Muthukrishnan Vaishnavi 17SO3F

Venkataraman Sidhaarth 17S06D

Anbudurai Manisha 17S03L

Flashmob:

Preethi Devarajan 16S06K

Jennifer Shyamalee- 16S06N

Buvani Punniyakotty- 17S03P

Muthukrishnan Vaishnavi- 17S03F

Murugan Keerthana- 17S03F

Anbudurai Manisha- 17S03L

Sambhavi Rajangam- 16S06K

Maanasa Sri Ganesh- 16S06Q

Anirudh Srivathsan- Alumni

Alumni Dancers:

Sreemathy Parthasarathy

Abhinaya Mahatma

Simran Kaur

Nitya Sriram

Aashita Patwari

Preetipal Kaur

Kalyani Murugan

Indian Dance:

Keerthana Murugan 17S03F

Vishnupriya Balamurugan 17S03P

Amritha Rajesh 17S03C

Maanasa Sri Ganesh 16S06Q

Divya Gunasekaran 16S03B

Jeraldine Low Jia Yu 16S06I

Couple Dance:

Tak Bak- Thangamagan

Pia… Pia..- Ninaithale Inikkum

Darling Dambakku- Maan Karate

Flashmob:

Domeru Lordu- Jil Jung Juk

Manma Emotion Jaage- Dilwale

Danga Maari Oodhari- Anegan

Sadda Dil Vi Tu- ABCD: Any Body Can Dance

By Joan Ang (17A01B), Ernest Lee (17A01A) and Lee Yun Ning (17A01E),Additional Reporting by Jeanne Tan (17A01B), Photos by Nicole Lai (17S06D), Esther Chin (17S06D) and Victoria Ang (17S07D)

ANARCHY — a state of disorder characterised by the absence of authority. Indeed, it was this theme that set the tone for Raffles Rock’s annual concert: Rockout, held on the 27th of May at *SCAPE Ground Theatre. Decked out in outfits based off villains from the Batman series, each band went beyond their limits to give their original take on both newer and older songs from bands, ranging from Queen to Bring Me The Horizon, never failing to disappoint the large, buzzing, crowd.

The concert began proper with short visual clips which introduced each band, and hinted at the dark undertones that would be channeled through each band’s performance. The clips themselves were cuts from the Batman Arkham games with flashes of the band member’s faces, each band being themed after a different member of the Rogues’ Gallery. Coupled with the impressive costume design we would later see throughout every band, one of the reporters’ initial disappointment at the lack of “actual punk” in the setlist would soon be ameliorated by the bands’ close adherence to the Gotham theme.

Two Face, Osaka Sun

J1 band Osaka Sun opened the show with a slow-paced, melancholic cover of Coldplay’s Violet Hill, followed by U2’s political Sunday Bloody Sunday and finally Of Monsters & Men’s Crystals. Despite these songs’ emphasis on the keyboard, the other instruments were equally represented, with each player’s efforts and talent clearly discernible to listeners. Particularly outstanding was the guitar solo by Jesse Tan (17S06N) in Violet Hill, and energetic drum fills by Ethan Cheong (17S03H) in the opening and closing moments of Sunday Bloody Sunday.

It was in this more instrumental-heavy setlist that issues with the theatre’s speakers became evident. Lapses in sound quality were a bottleneck to the bands, obscuring the nuance and skill present in the set. The high volume of the speakers were also initially a problem, but were corrected over the course of the set. Nonetheless, the opening act made it clear to the audience that each Rockout band would inject their own energy and nuance into varied, sometimes demanding songs.

Ho Chih Ying (17S06C), guitarist of Daybreak

Next up was Daybreak. Capitalizing on the initial energy of the first set, they quickly jumped into a rendition of Skyfall, with vocalist Su Ying (17A01B) opening the song with a chilling solo line. The band chose to ditch the classical orchestration of the original in the second half of the song, instead opting for a killer bassline and violent drumming to create a rock-ier interpretation of the ballad.

Following an energetic performance of Bring Me The Horizon’s True Friends, their set ended on a high note with the catchy Na Na Na, featuring a hook which the audience was able to sing along to, and punchy, danceable fills by drummer Sophia Kim (17S03P). By the end of the song, audience energy was at an all-time high, with the entire crowd hyped up and ready for the J2s to take the stage.

The Joker, The Diversion

The Diversion teased the inclusion of harder rock, starting with Jet’s Are You Gonna Be My Girl. This gave drummers and guitarists ample opportunity to rise above the disappointing mixing: and this they did. Their pacing around the stage was never a distraction, instead giving them comparatively greater presence, which noticeably heightened the hype of the audience.

The band’s set was also largely faithful to the original versions of songs, allowing them to showcase technical ability while retaining the characteristic flair and style of bands like Queen. One thing that stood out was the second inclusion of an Adele track: an unusual yet surprisingly clever choice for an Anarchy-themed rock concert. Though unorthodox, the energy-filled, almost vicious interpretation of Set Fire to the Rain meant their set was a seamless transition from one song to another.

Tee Ming Zee (17A01A), chairperson of Raffles Rock and guitarist for The Diversion strikes a chord with the audience

The last song played by the band was the ever-famous Bohemian Rhapsody. While the song itself was played with technical finesse, it was heavily hindered by unbalanced miking which, together with a lack of the original instrumentation, disrupted the flow of the Queen anthem. Nevertheless, the Diversion performed with a polished quality that truly demonstrated their status as veteran musicians.

Anarky, Atlas Hour

Atlas Hour ended the show alongside special guest DJ Akmal “AK” Hidhir (16S07D) who was equally pumped for the concert as they were, evidenced by his excited dancing along to the music while DJ-ing. As the last band, Atlas Hour was able to capitalise on the built-up energy of the previous three, and they did so with finesse — at one point, vocalist Eunice Png (16S03C) even threw a snapback cap into the audience, signed by all seven members of the band.

With AK’s help, Atlas Hour was able to perform genres different from that of the previous band, which saw the audience to grooving to the The Weeknd’s Can’t Feel My Face and party hard to the upbeat riffs of Victorious by Panic! At The Disco. The band ended their set with Closer To The Edge by 30 Seconds to Mars, with its refrain of “No no no no!” and energetic guitar riffs electrifying the crowd, bringing their set to a satisfying end.

The entire J2 batch came onto stage for the last item: I Don’t Wanna Miss a Thing by Aerosmith. While the performers themselves acknowledged their lack of familiarity with the song (some even having to pull out their phones for lyrics), they still managed to capture the emotions of the song and perform it well. The song choice itself was particularly tear-jerking: this would be their last performance together as a Rock batch. The piece, and the meaning of its lyrics, was able to bring out that sense of nostalgia, creating a sense of closure for Rockout 2016.

Members of the J2 batch sharing the stage for one final time

When interviewed, audience members generally expressed a sense of approval towards the concert, with many particularly impressed by the technical abilities of the senior batch. However, there were divided opinions over the setlist, with those who were completely new to the genre feeling that the songs performed were largely inaccessible, while those who had slightly more exposure thought the exact opposite.

Despite this, the concert was still overall largely enjoyable, audience member Rachel Lim (16S06I) adding “I thought it was quite a good experience, because some of the songs that they did were some of the songs that I knew, so it was very good jumping around to the music and like, headbanging and stuff.”

Mr Sowden, Teacher I/C of Raffles Rock, congratulated the bands for the impressive performance and fantastic atmosphere that they created. Towards the J2 batch, he further added, “[they] have to put this aside and get on with their studying. But, they also have to remember the Law of Diminishing Returns, so don’t study too much, and NEVER STOP ROCKING!”

Set List

• Osaka Sun
  • Violet Hill (Coldplay)
  • Sunday Bloody Sunday (U2)
  • Crystals (Of Monsters & Men)
• Daybreak
  • Skyfall (Adele)
  • True Friends (Bring Me The Horizon)
  • Na Na Na (My Chemical Romance)
• The Diversion
  • Are You Gonna Be My Girl (Jet)
  • World on Fire (Slash)
  • Set Fire to the Rain (Adele)
  • Kings and Queens (Thirty Seconds to Mars)
  • Bohemian Rhapsody (Queen)
• Atlas Hour
  • New Divide (Linkin Park)
  • Resistance (Muse)
  • Can’t Feel My Face (The Weeknd)
  • Victorious (Panic! At The Disco)
  • Closer to the Edge (Thirty Seconds to Mars)

Post-script
“The quote. I have a quote.” — Leo Wattanapon, drummer of The Diversion, who proceeded to contemplate deeply before exiting the room.
“We should have Banroc Funnels every year.” — Tan Keming, certified guitarist
“HI!!!!!!!!” — Peng Muzi, resident memelord

By Jeanne Tan (17A01B), Nerissa Loe (17A13A) and Serafina Siow (17A13A)

Pictures by Raffles Interact Club

A mere 3 hours of near darkness had us fumbling around despite our caution. But for the visually impaired, clear sight is not something that they can take for granted. This is something that the Dine in the Dark (DITD) event raised over the weekend, inspiring thought-provoking reflections and utmost admiration for the visually impaired in our society.

Ticket Collection and Registration Booth

Raffles Interact partnered with The Singapore Association of the Visually Handicapped (SAVH) to bring this event to RI. Early attendees were ushered up to a small gallery on the second floor. Exhibits displayed personal testimonies, stories and artwork from SAVH to give diners their first insight into the lives of the visually impaired.

Interact exhibit on SAVH beneficiaries

Before the main event, diners were led to a short interactive activity called DECODE, where they were tasked with sorting out cardboard letters and forming words from them in the dark. Being the first experience in total darkness for most, the activity instigated confusion and surprise from many of the participants. It served its purpose of introducing the main aim of the event by giving a taste of what the visually impaired go through on a daily basis.

Diners were guided  group-by-group into the Albert Hong Hall. Maneuvering awkwardly around the tables , diners’ first foray into the lives of the blind started with predictable clumsiness. The darkness seemed to make every noise seem closer, and the hall was buzzing with conversation and laughter from every table. Every time someone attempted to use their phone as a flashlight, jeers erupted from all  corners of the room until the lights were turned off.

Entrance to “DECODE”

Before the dinner began, Caitlin O’Hara (16S03A) performed two poems titled Red and What We See, written by the J1 Writers’ Guild. The two poems made gorgeous use of imagery to paint the sensations and experience of blindness to the audience. The immediacy of the language coupled and the  blindness experienced by the audience made the poems especially poignant.  

Between courses, Miss Christina, a beneficiary from SAVH, took the stage to provide renditions of a few songs. While she stumbled over a few lyrics, she gave a heartfelt performance, and was cheered on by the enthusiastic audience. On the entertainment side, Triumviratus played ‘Anna Sun’, ‘What a Wonderful World’ and ‘Valerie.

SAVH exhibit decorated with relation to the message of Dine in the Dark

Miss Christina then took the stage again, giving a sharing on her experience as a visually handicapped person. She gave insight about the wonders of technology and their applications to the lives of the disabled, by talking about her own experience of using the SMRT bus app to work around her blindness when taking public transport.

Mr Leow, another beneficiary, shared his tale of how he lost his vision while rescuing someone, and the difficulties he faced as he slowly lost his vision, and subsequently suffered other losses in his life. Despite this, he fought on, and his message was optimistic and inspiring, ending with him declaring that, given the chance to go back, he would still have chosen to lose his sight, because he managed to save someone else. Mr Leow’s selflessness and strength of will was inspirational, and the story of his resilience brightened the room.

DITD Main Committee with the representatives from SAVH

The focus of this year’s DITD was on the importance of reflection and spreading empathy. The team hoped that it had allowed diners to better understand the experiences of the blind in carrying out daily tasks, and knowing, in the words of I/C Vanessa Chia (16A13A) that “deep down, they are like you and me, complete with dreams and aspirations”.

While it may seem like everything ran perfectly, Vanessa revealed that “there were many times that [she] wanted to throw in the towel because of all the hurdles we had to get past”. Brandon Cheang (16S03D) echoed this sentiment too, adding that the Interactors were “down from morning to night over the past 3 days” to set up the event and that “Year 5 interactors were trained on various occasions starting from several weeks ago, to ensure close to flawless execution.”

Raffles Press congratulates the Interactors for a job well done. As diners, our reporters can safely say that the event was pulled off well. With the skills learned by both the Interactors and diners, this annual event has created a wonderful experience in the life of the blind, and made strides toward helping the visually handicapped in our society.

Dine In The Dark 2016 Organising Committee
Overall I/C: Vanessa Chia (16A13A)
Logistics: Brandon Cheang (16S03D)
Publicity & Decor: Christal Tang (16S03L)
Programmes: Dayna Joy Siat Yen (16S03O)
Programmes: Ernest Tay Zhi Yu (16S06K)
Logistics: Jerry Yang Jie Rui (16S06R)

By Serafina Siow (17A13A) and Abdul Qayyum (17A01B), Additional reporting by Jeanne Tan (17A01B)

It’s the time of the year when most concerts by Performing Arts CCAs have concluded, and student-organised charity concerts step into the frame. As one of the first of such concerts this year, THINGAMAJIG 2016 was a small-scale, cosy affair. It saw students gathering in the PAC on a Friday evening in support of a series of high-calibre performances. Throughout the event, there were opportunities to donate money to the beneficiary of the concert, which was Xin Yuan Community Care – a non-profit organisation that supports the needy elderly and children from low-income families.

The start of the concert was delayed by technical difficulties that were swiftly remedied whilst the audience was psyched up by the excellent playlist prepared by the AV crew. In line with its tradition of participating in the THI concert, Daybreak from Raffles Rock started off the night with an energetic performance of classic rock songs like “Panic Station” and “Can’t Stop”. The adrenaline and thrill from the audience was palpable, which served as a wonderful start to the concert.

The excitement then slowly receded into gradual calm and tranquility with the mellifluous melodies played by one of Raffles Jazz’s bands, Peaches. Classic songs such as “Fly Me To The Moon” did not fail to lull the audience into a mood of relaxation, carried beautifully by their lead singer, Cristel Ho (17A01D).

The concert continued with an acapella performance of “Sorry” and “Lay Me Down” by AL4S, a group from Chorale. The soulful rendition seamlessly interweaved strong solos with beatboxing and harmonising.

AL4S powering through on their melodic voices.

The concert then kicked off its second half with The Lids, who performed covers of pop songs such as “Just Give Me A Reason”. Their powerful performance gained a positive reaction from the audience, who had praise particularly for the pianist’s passionate playing. The band also garnered gasps of awe from the audience when a member whipped out a melodica, incorporating its trumpet-like tunes beautifully with the soulful duet.

Following this anticipated Bayley-Waddle Musicfeste group, also known as the Runaway Babies. They performed well-known jams such as “Happy” and “Adventure of a Lifetime”. The infectious energy prompted several audience members to flock to the foot of the stage, which added to the excitement. This marked the highest point of the concert.

Fans flocking around the stage to cheer for the Runaway Babies.

Though the bar set by the Runaway Babies seemed impossible to surpass, the hype and energy did not dip the slightest with the energy and passion of the next act. Raffles Rock took the stage once more to end off the concert with a bang and a few guitar solos. This time, their second band, Osaka Sun, performed songs like “Drops of Jupiter” and “Ain’t It Fun”.

Osaka Sun closing the concert.

While the modest audience was not surprising due to the limited publicity prior to the event, the concert was a gratifying result of the hard work of the THI team.  The leadup to the performance was not without its challenges. With the limited publicity, the audience turnout was understandably the subject of some nail-biting by the organisers. Thankfully, however, the crowd on the night itself did not disappoint and a fair number of students filled up the PAC.

In addition, THI had made a novel change in the format of the concert. Initially a closed event which required payment, the concert was made free of charge. Audience members were instead encouraged to donate to the charity before, during and after the concert. Cutely decorated donation boxes were displayed outside the PAC, which served to remind the audience of the concert’s cause throughout the night. However, perhaps more may have been compelled to donate had the organisers provided more information on the charity and beneficiaries.

Nonetheless, in the words of Ms Lye Su Lin, Director of the Humanities Programme and the Teacher-In-Charge of The Humanz Initiative, the concert was a great way for students and the talented musicians to give back to the community from which they have received so much. Su Ying (17A01B), chair of Raffles Rock, also said that the concert was “definitely worthwhile as it allowed the bands to give back to the community through music and not just play for our own pleasure.”

Indeed, as an audience member, this author found it especially heartwarming to witness the enthusiasm of both audience and the organisers in sacrificing their time for this event. Our reporters took every opportunity to wave their hands to the soul of AL4S and jump to the drumbeats of Raffles Rock amidst joyful laughter and good fun, creating an almost unforgettable atmosphere. Ashley Teo (17A01B) cited the performances by Raffles Jazz and the Runaway Babies as her favourites. 

In all, the night clearly held both entertainment and meaning to the audience members. As the concert came to an end, many audience members lingered around the PAC, chatting with friends and taking photos. Despite the late hour, it was only when the lights were switched off that most of the stragglers started to vacate the space and the night finally drew to a close.

By Jeanne Tan (17A01B), pictures from wegotthiscovered.com and space.com

This article may contain spoilers! If you have not watched the film, do be aware of this.

Here’s my opinion on this movie: you could delete this entire movie out of the continuity of the Star Trek reboots, keep churning out sequels, and it would make no difference.

That is not to say that the movie is bad. It is what it is: a fine movie with absolutely no impact whatsoever on the characters, world-building, relationships, or plot – nothing. It adds nothing to enhance the arcs of previous movies; future movies could survive without it.

I won’t attempt to argue against the 83% Fresh rating that this movie has on Rotten Tomatoes, for those who agree with that site and its professional critics. There was valid reason for the movie to do well.

The visuals were stunning; with its camera-flare shots of space, the bits of computer-generated flying debris during the impressive (and inevitable) crashing scenes, and the amazing action sequences that were all captured with wonderful camera techniques, this was a movie made to be seen in IMAX.

Simply beautiful. Moving on.

The pacing was consistent and easy to follow, the action was kept up and everything made sense. The dialogue was made to be enjoyed, playing especially into fan-favourite comedy bits: “Dammit Jim I’m a doctor not a–”, Bones v Spock: Dawn of Sass, Spock not understanding metaphors, Spock getting high from blood loss and cracking up, etc.

Besides that, there were nice tributes to the two major cast members who had passed on: Leonard Nimoy, the original Spock, who died in February last year, and Anton Yelchin (Chekov), who passed on in June.

So there are plenty of good things about this movie. None of these things, however, penetrates beyond the superficial. It’s enjoyable if you enter a restaurant to eat a slab of white icing.

There was no significant character development in this movie. It felt like every character was either going through a superficial generalisation of what people assume their arc is, or none at all. Besides the main duo Kirk and Spock, no other character goes through any kind of memorable development.

Notably, you may have heard that in keeping with the Star Trek franchise’s history of representation, Sulu (played by John Cho) was revealed to be gay in this movie. With a cute East Asian husband and a cute little East Asian daughter, the lack of relevance of this perhaps evokes the true spirit of minority representation.

Similarly, major character Uhura (played by Zoe Saldana) seemed to have nothing to deal with emotionally except being somewhat angry at Spock. Besides her arbitrary function as Source of Jargon and the occasional audience surrogate, I suppose a minority side character could never have many hangups in the first place.

Minority x2 as the overlooked, but most useful members of the crew. (Source: wegotthiscovered.com)

Besides this, the movie took care to give several female characters significant screen time, who I would mention, but none of which you would ever need know of if you intend to watch future Star Trek movie.

They created an entire alien language for this character. Never used before, will never be used again. (Source: wegotthiscovered.com)

The most prominent example is the new character Jaylah (played by Sofia Boutella), who was ironically featured as the central point of the promotional posters.

Continuing the interest in minorities taking leading roles, the actress is of Algerian descent. However, Hollywood manages to maintain its roots by defaulting to the trend of casting women of colour as aliens and subsequently painting over their skin (think Zoe Saldana in Guardians of the Galaxy). 

The J-Law (say it out loud) (this isn’t a coincidence) inspired look. (Source: wegotthiscovered.com)

Despite all the trouble, while generally interesting and bringing some nice props in, Jaylah herself was completely irrelevant to the central conflict.

Was the point to set her up as a side character for future movies? Because you could sum up her backstory, including this movie, in one throwaway sentence, thus negating any need for her presence in this movie at all. But that could be said for literally every element of this movie, including the movie itself.

Not to limit this to only the minority characters (who are traditionally made disposable in many a Hollywood flick), the presence of this element of uselessness applies too to the white men that dominate the screen.

One-a white man, two-a white man, three-a white man–four.

The conclusions to Kirk and Spock’s ‘conflicts’ were so clearly foreseeable from the first angst-ridden look that the glossing over of the journeys was probably in the movie’s best interest. Other major characters include fan-favourites Scotty and Bones, who were there mostly for the sake of being there.

It felt like Spock was given an injury to give Bones a reason to be a sassy crutch.

Even the game changer, the one thing that could have made this movie stick despite everything else, the villain Krall (played by Idris Elba), completely failed to bring anything memorable to the movie. Although Krall was interesting enough of a villain in terms of his backstory, he  failed to inspire any real fear due to the lack of explanation. There were so few hints about his identity that there was no real impact in the final reveal.

Threatening, but no real fear, no change, nothing new.

So after examining the movie, there was nothing in it that had any foreseeable lasting impact on the crew, or the world they exist in.

Despite fan’s anticipation, the destroyed beloved U.S.S. Enterprise’s was quickly replaced only to be rebuilt in a montage that lasted less than a minute, fast-forward style, at the end of the movie. There were no new discoveries, since the main conflict happened on an unpopulated planet. (Kirk and Spock decide to stay on the Enterprise. Nobody was added to the crew, nobody died except the redshirts. Spock and Uhura resume their relationship; nobody else developed any new ones.)

Perhaps this is the product of a growing trend of ensemble movies – they focus on coherence and equality of screen time rather than character arcs, and sacrifice depth for light enjoyment. It may be sacrificing the core element of what made the original show successful, but with the current tempestuous movie climate, palatability could be the way to go.

Or perhaps it’s a subtle play on Kirk’s question at the beginning of the movie about the meaning of his exploration: how each mission gets more repetitive and less meaningful, until he loses his vision altogether.

Clearly, that’s what this movie executes to perfection, so I could be spot on about this. That would play into the philosophical question of space discoveries: understanding one’s own insignificance in the cosmos, and embracing that lack of purpose. The more I think about it, the more it eerily lines up with my views on this movie. If only the issues were as easy to resolve as Kirk’s.

But hopefully, despite the more realistically lengthy learning arc that movie trends are on, major franchise movies can reach the same conclusion: a renewed sense of direction and unity, and a purpose to explore new boundaries, and go where no man has gone before.

Rating: 7/10 for general viewing, 4/10 for close viewing. A fun watch, but skipping it won’t make much of a difference. 

By Gan Chin Lin (17A01B) , Jeanne Tan (17A01B) , Marilyn Kang (17A01B), Abdul Qayyum (17A01B)

Last Friday night saw the PAC festooned with clapper board paraphernalia, pamphlets and balloons. Film Society members strategically assembled behind their front of house in anticipation of the audience slowly trickling into the Performing Arts Centre (PAC).

Whilst most events held within the PAC present for the stage, this particular one prepped for the big screen. Rewind IV: Final Cuts brightened the place with balloons, film posters, and even a special polaroid booth for a night of film screenings – not your average Hollywood blockbuster, but films produced entirely by the members of Film Society.

Notably, ticket sales for the showcase were replaced by a voluntary donation system, where audience members could choose to give any amount they wished before entering the PAC. All proceeds from the night were donated to the RI Chapter of Habitat for Humanity, who also collaborated with the Film Society for the polaroid booth, which drew many enthused participants posing in front of a backdrop of colourful streamers and balloons.

As a light-hearted segue from the stress of the school day, the event opened with a series of humorous shorts, filmed by J1s during Film Camp earlier in the year. One film in particular,  an advertisement for ordinary stationery, was bubbling over with tongue-in-cheek humour, what with positioning staplers against powerful sunbeams and voiceovers of dramatic dialogue.

Another documentary film by the J1s entitled “How To Make A Film” strived to bring the audience behind the camera and straight into the heart of the filmmaking process. The parody title “Harry Trotter and the Kidney Stone” drew some raised eyebrows– yet the animated references, puns and humour managed to engage the audience and convey some real insights.

Now that they were all warmed up and ready to go, the audience were introduced to the first thesis film, “FLESH & BLOOD”. In thirty short minutes, it painted the story of a teenage boy coming to terms with the fact that his mother left him in his childhood.

Undoubtedly, the most striking achievement of the film was its simply breathtaking establishing shots. For instance, the opening shot of the film poised a block of flats lit up against the night within the screen, which soon folded up and receded within the frame of window grilles as the camera moved backwards.

Conceptually, the film did a fair job in depicting and developing the tensions within the principal father-son relationship given the limited time span of the film and its production. The chemistry between characters were also noteworthy, as character dynamics were convincingly portrayed by the actors.

That being said, there were instances in which the script proved shaky, especially within the highly emotional scenes, where the dialogue felt a little flat given the heights of emotion it was trying to convey. Furthermore, there were notable slips in acting as well, with actors accidentally shifting accents in the middle of dialogues.

Unfortunately, the slight stiltedness created by such slips compromised the integrity of the scenes’ intense emotion. Despite this, the film’s quaint style and visual flair earned a rousing applause from the audience.


After a brief intermission, the audience rushed to their seats for the opening of the next film, “SECOND CHANCES”. The film featured relatable themes such as the value of personal courage to achieve your dreams, as well as exploring the implications of foregone opportunities and regret, through a dual-linear plotline.

The film offered one narrative, where the decision of the main character to not pursue her musical passions sent her down a plummeting journey of loneliness, regret and fear; as well as an alternative plotline of a more happier and optimistic recount of a life unmarred by regret.

The performance of the main actress brought the struggle to life and gave voice to the struggles that students face in chasing their dreams. Some commented that her facial expressions were more subtle than they would have liked, but this was compensated in spades with her spectacular use of body language. With the weight of the film resting on her one performance, the direction was well-executed and enabled the film to pack its punch.

The intriguing questions it raised gave the film loud applause from the audience, as well as appreciation for the positive ‘Carpe Diem’ message it chose to impart. However, some audience members felt the fluidity of the plot have could been improved upon, as well as the general impact of the film overall.

The night then ended with what was arguably the most visually stunning piece of the showcase, “THE PORTRAIT”. Unconventional, peaceful and inspiring, the film submerged the audience into a vivid, visual interpretation of a poem of the same name by Stanley Kunitz.

The film adapts the poem into a narrative of a child and father grappling with the ideas of absence and loss. It was clear, however, that the true merit of the film was in the beauty of the shots, as well as tasteful editing.

The film started with a voice-over which lapsed into swelling orchestral music with various (titular) portrait-style cinematic shots. Many audience members commented on how the film had an adverse emotional impact on them, though the reason why seemed to be obscure.

After the movie, Fabiola Susilo (17S06A) recalled that “the film gave [her] goosebumps”, noting that the effects of the film lingered. Unfortunately, due to its brevity, the message of the poem was lost on many of the audience members. The sophisticated and experimental nature of the film – whilst brave and aesthetically pleasing – left many with more questions than answers.

The screenings were proceeded with a Q&A session with the three crews, and the members of Film Society answered audience questions on their journeys in creating each of their thesis projects.

Each group underwent a very different process during the production, from actor collaboration to script rewrites and the eventual experience of shooting and editing. Despite this, they were united in a common pride, and relief at having completed their projects – no mean feat given the extensive 6-month long execution.

The Q&A brought to light a great deal about what goes on behind the scenes of movies. Most notably from the crew of The Portrait, where their answers revealed that their final experimental concept was a result of remodelling of limited available footage, due to unforeseen circumstances. While the end product was far from their original concept, it was well received, a triumph to the crew in the wake of their harrowing production experience.  

For the other two films, the crews experienced less drastic production difficulties, but it was evident that the task of producing a film was one that required meticulous planning and creativity.

Finally, the showcase drew to a close in showers of applause. The audience lapsed into a lively buzz, discussing what they each interpreted of the films as well as their personal favorites. Rather akin to an intimate and casual film showing, an atmosphere of coziness overcame the PAC in the midst of their chattering.

Given the readiness in which commercialized blockbusters are churned out from Hollywood into theatres, it is not everyday that the average student is given a chance to learn about the painstaking process of creating multisensory narrative. Ultimately, Rewind IV: Final Cuts allowed students to engage in the intimacies of the art, and gain new insight of the enriching journey of film production.

“The cinema is not an art which films life: the cinema is something between art and life.”

–Jean-Luc Godard

Film Society 2016

By Ernest Lee (17A01A) and Joan Ang (17A01B), Image sources: comicvine.com, ghostbusters.wikia.com

Two Press members walk into a movie theatre, having been told by Press EXCO that they should review the new Ghostbusters movie for the site.

The first is a long-time fan of the franchise: seven when he discovered an action figure of Peter Venkman (jaw, hair pop out when you squeeze the arms, a hand-me-down from an older cousin), ten when he came across the Stay Puft Marshmallow Man, twelve when his teacher sang the theme song at a school event and fourteen when he actually watched the movie.

The second has never seen anything remotely Ghostbusters-related in her entire life, except for pop culture references splattered across the internet and bits and pieces of the trailer.

The former exits the theatre thinking it’s merely a reasonably decent reboot of the original and yet, the latter walks out thinking it’s one of the best movies she’s ever seen.

Hmm?

Those less familiar with the 3 decades-old Ghostbusters franchise were probably first acquainted with it in a trailer dropped in Spring 2016. A reboot of a cult classic, Ghostbusters has drawn attention not only for its revival of an iconic franchise, but also for fielding an all-female main cast (with the amusing exception of Chris Hemsworth).

As a stand-alone film, Ghostbusters is pretty fantastic by most modern standards. Production value is consistently high, while the script never bottlenecks the quality of the film. The dialogue is accessible enough, with in-your-face humor never being tiresome.

The character portrayals were largely convincing, with the experience and talent of each cast member shining through in their performance. Jillian Holtzmann (Kate McKinnon) was one of the reviewers’ personal favourites, bringing energy, chemistry and general ridiculousness to a cast that would surely have suffered without it.

The most standout factor, however, was the crispness of the editing and colouring of the film — probably a result of the need to make the proton guns look anywhere close to legitimate. Overall, a pretty good film for a casual moviegoer on a Saturday night.

That said, the film cannot, and should not be viewed in a vacuum. It’s a reboot of the top-grossing comedy of the 80s. Naturally, the movie is deliberately made to cater to modern audiences while banking on nostalgia and its namesake. The original Ghostbusters, undeniably an 80s cult classic, feels dated stylistically rather than in terms of humor or plot.

The deliberate differences made to casting and storyline for this film to restructure for a modern audience thus have an impact on the coherence of the movie. Instead of being a reproduction of the original with some minor changes, Ghostbusters distills the formula into distinct parts, then reassembles them in a way meant to appeal to modern audiences [find evil ghosts → chase evil ghosts → stop evil ghosts from taking over world].

This familiar storyline thus remains original enough to be appealing to new audiences, while giving writers enough wiggle room to work in more topical humor. If there’s anything the Ghostbusters isn’t, it’s boring.  

The reboot does try to improve on gender representation, especially since the titular Ghostbusters are all either male or female. In the original, Venkman’s (Bill Murray) repeated advances at the vulnerable, one-dimensional Dana (Sigourney Weaver), do make us uncomfortable. Here, Kevin (Chris Hemsworth) instead takes the role of comic relief. The gendered divide between ‘main’ and ‘support’ character still exist, but with less unfortunate social implications.

However, racial representation in particular seems to have regressed. A black main character does appear in both the original and reboot: Zeddemore (Ernie Hudson) appears in the former as a no-nonsense doer, as capable as the rest. The colorblindness of the reboot, however, is jarring given the self-awareness of the film.

Allusions to such issues are present: Tolan (Leslie Jones) quips, “I don’t know if it was a race thing or a lady thing, but I’m mad as hell,” in response to being dropped on the floor in a mosh pit. Unfortunately, that’s about as far as Ghostbusters goes with regards to exploring any potential social issues.

Callbacks to the original are otherwise frequent, and played up for comedic value. Cameos are abound: save for the deceased Harold Ramis, other stars of the original are given speaking roles. Funny? Definitely — Dan Aykroyd going from celebrity scientist to a cab driver spewing the same scientific mumbo-jumbo will be amusing. It’s these nods to its predecessor that make this film a fun enough watch for long-time fans of the series.

The original Ghostbusters, however, has none of these playful references — but is regarded as a great film anyway. Its liberal but effective use of ad-lib, comfortable pacing and refreshing theme gave it a class of its own, but this formula was largely abandoned by directors and screenwriters of the reboot.

The current reboot’s humor is thus more mischievous as a whole, featuring jump cuts, scripted overacting and cheeky gags. The dynamics of the team have also changed: individual quirks of each team, previously more subtle, are given enormous amounts of prominence. Admittedly both styles shine do have the potential to shine, but it’s here that the quality of the film begins to diverge for the two reviewers.

But does the first writer have his rose-tinted glasses on? Maybe and it’s why few sequels or remakes ever live up to the hype. This is a problem that plagues all reboots: too close to the original and it’s pandering, too far-out and you have a dissatisfied fanbase.

The 2016 reboot therefore has big shoes to fill, and not just in an artistic, ‘in-the-spirit of the movie way’. A generation of children that grew up on Stay Puft cereal, and Ghostbusters TV-spinoffs are now the ones with disposable income eager for more Ghostbusters. Keeping it niche, however, is a terrible way to draw in would-be fans.

Perhaps these reboots of beloved franchises tread a thin line, and in hindsight, directors do have to keep in mind these practical concerns . Of course, this is not apologising for, say, attempting to be a socially-conscious film without fully exploring issues of representation. Rather, directors and studios of any film have to  acknowledge the constraints of a limited screen-time and scope of a film, and work from there.

So, back to the two Press members. It’s still a light six and a strong eight respectively for them. The final verdict? Sure, it has its issues, both by itself and as a reboot. However, it’s a thoroughly watchable, entertaining film. At the very worst? Give the original a shot, it’s not that old.

By Bay Jia Wei (17S06R)

As a student taking German as a foreign language, my friends have taunted me with an endless series of wurst jokes for the past five years. Occasionally, learning the language comes with benefits such as being arrowed to mispronounce German words in History class, or being deemed an expert at German beer brands. But really, Germany is more than our stereotypes would suggest.

GFF 2016 © Goethe-Institut Singapore

This year marks the 20th anniversary of the German Film Festival in Singapore. From 3rd-13th November, more than 30 German-language films from Austria, Switzerland, and Germany will be screened. While a significant portion of the films is rated M18, there is a range of more age-appropriate films for younger audiences that promises to be as exciting.

On the 4th of November, my H2 German class travelled to The Projector to catch The Audition, a documentary featuring the selection process of the National Acting School in Hannover. While the film did not leave a strong impression on me and was not particularly thought-provoking, it did manage to reflect how gruelling an audition can be for both the applicants and the adjudicators.

I found the documentary to be rather plain, given that there was hardly any central conflict, with the film simply portraying the selection process. Larger themes of competition, disappointment, or aspiration were not brought to life, causing the documentary to take on a dull tone for what could have potentially been a passionate topic. That was fortunately compensated through the comedy provided by scenes of the auditions, ranging from hysterics to an overload of sleaziness.

The Audition has a second screening on 12 November at Golden Village VivoCity. If you are into theater or would like to watch some funny audition clips, it might be worth your time and money. If anything, this documentary will correct the stereotype that Germans are strict, stern, and dreary human beings with no sense of humour.

H2 German Class of 2017 after the documentary

For the typical 17-year old J1 unburdened by the A-Levels season, here are some films that are still screening and that you can catch to peek into the narratives and culture of German-speaking countries:

Historical

There are many films out there depicting various accounts of Germany during the Nazi’s reign. For the unintroduced, Alone in Berlin sets the tone right. Based on the true story of an ordinary couple living in Berlin during the World War II, the film recalls the universal struggle of humanity against the Nazis through a personal and provoking account.

In the face of adversity and crime against humanity, Alone in Berlin shows a couple’s resistance against Nazi rule. A story of pain, suffering, and yet of will and power, the film does not downplay the devastating effects of Nazi rule on Germany; at the same time remembering the relentless spirit of those who fought in what may have been a hopeless fight.

While the film may be rather slow-paced at certain moments, it is definitely worth a watch. With many films depicting notable people of this period such as Gretel Bergmann in Berlin 36, a German Jewish athlete, or Claus von Stauffenberg in Valkyrie, the main man behind Hitler’s failed assassination, Alone in Berlin follows a couple who represents the ordinary man on the street at that time, and the people’s quest for freedom from Nazi rule in their own ways. Watching this film may prompt you to think twice before you make a Grammar Nazi or “I did Nazi that coming” joke, with the understanding that this was one of the most oppressive and painful periods in history, which is still difficult to forget even till today.

Documentaries

Democracy

The Audition

Other Stories

Destiny

Lotte

Wings of Desire

Eva Hesse

The Nibelungs I & II

The Weather Inside

Most films are screened at The Projector or Golden Village VivoCity, and non-English films come with subtitles. Tickets can be purchased directly from their websites. For more information, visit Goethe Institut’s webpage on the festival.

Hopefully, these films can help to clarify some of the stereotypes that we have about the German-speaking countries, and to instil in us a broader understanding of their culture and history. After all, there is more to Germany than sausages or the World Cup.

By Yang Siqi (17A01C) and Nerissa Loe (17A13A). Photos by: Raffles Photographers.

3 4 5 11. Colourful chalked words all around the school’s hotspots revealed the dates of the Players’ latest production, ‘Where To Find’. The production featured three carefully chosen plays that were both touching and chilling, bidding us to look beyond the superficial. They reflected the the overall theme of searching: for something, be it forgotten family ties, a life beyond death or even for memories.

The gorgeous set

Mama telling a riveting story to her five children

The night began with Players’ excellent adaptation of ‘Mama Looking for Her Cat’ by Kuo Pao Kun (1988). In the play, we met Mama and her five children. In the beginning, they conversed merrily in Cantonese, the children crowding around Mama to listen to her story of the frog in the well. However, as the play continued, it showed how the children had all grown up and were living busy lives away from their mother. This, however, led to their neglect of her. Subject to long bouts of loneliness in her home with no one for company, Mama then made a friend in the form of a black cat, confiding and taking comfort in it. When her cat disappeared, Mama tried to look for it, even venturing out of her house and into the neighbourhood, something she did not often do.

Perhaps Mama left the house to find the cat, or perhaps she did so to escape the stale memories of happier times – whatever the reason, she did not return home. Upon hearing the news of her disappearance, the children were disbelieving. Her only son (Tham Jia Yi, 17A13A) contemptuously exclaimed that ‘you can’t teach old dogs new tricks’, assuming that their mother would never leave her home because her home was all she had ever known. They were quick to blame their mother’s sole source of comfort, the neighbourhood’s stray black cat, for causing her to wander away. The anger they felt towards the cat for taking their mother away (and for demanding their time to look for their mother) built up to a frenzy.

Mama speaking to her children

While her children were looking for Mama fruitlessly and with mounting frustration, we were treated to a more light-hearted conversation between Mama and an Indian woman she met, who was also looking for her lost cat. Initially, the two of them were completely unable to understand each other as they had no shared language between them. However, through an immense effort, they found an effective way of communication through hand gestures. They were even able to establish that, while the Indian lady’s cat went ‘meow-meow’, Mama’s cat went ‘miu-miu’, much to the amusement of the audience. The two part ways after the lady found her lost cat. The connection between Mama and the Indian lady showed that though having no common language could be a barrier to effective communication, as long as both parties were willing to try and comprehend each other’s innermost thoughts, a mutual understanding and even a shared respect could be reached. Contrast this with the children’s cold attitude towards their mother, and you would see that language was not the real culprit for their increasingly distant relationship, but the children’s loss of respect towards their mother.

“Mew-mew” and “meow-meow”

However, as the scene of heartwarming connection closed, the flurry of anger from Mama’s children recommenced. This built up to a climax when, upon finding Mama’s lost cat (here depicted as a stuffed rag doll), they ripped it apart. This dramatic action was perhaps symbolic of man’s need to exact blame on another, whether or not it is justified. Mama’s children were unable to accept the fact that their mother’s disappearance was not because of the cat, but because of their own neglect. While Mama had given them all her love, they were unable to ever return it.

This illuminated a tragic relationship between the parent and the children, where a parent’s love failed to reach their impatient, distant children. They could only watch as their relationship grew increasingly distant and frigid. The last scene of Mama tenderly cradling the remnants of the black cat was indeed heart-wrenching, bidding us to feel sympathy for the old woman, now left with nothing but an illusion of companionship. Here, Alison Tan’s (17A13A) portrayal of Mama shone as a truly commendable effort in effectively depicting Mama’s sense of displacement and intense desire to love throughout the play, stirring feelings of sympathy in the audience.

Mama’s children ripping her cat apart

What stood out about this play was definitely the ensemble work – even when the focus was on Mama, we could still see what the other characters, her children, were doing. This further accentuated the barrier between Mama and her children – while she frets over the health of her children, they went about on their daily lives, barely sparing her text messages a glance. This definitely helped the play seem more genuine as Mama’s worry was contrasted with her children’s indifference, highlighting both emotions.

A seamless transition brought us to the second play, titled ‘Marco Polo’ by Jovi Tan (2014). This suspenseful two-person play between Lim (Hu Yunting Grace, 17A13A) and Jackson (Sabariesh Ilankathir, 17A13A) kept the audience at the edge of their seats as they wondered what would happen to the characters in the end.

Jackson (left) and Lim (right)

In the play, two blind characters arrived in a void which, to them, appears infinite. Bewildered, they started to wonder if this is the afterlife and, critically, whether they have arrived in heaven or hell. Jackson appeared more frantic about this issue, wishing for this to be heaven, while Lim seemed rather apathetic about the issue. This tension was interwoven in their exchange as they slowly began to roam the space. The play’s namesake, the game of Marco Polo, became a way for them to ascertain their distance and to find each other as they separate and walk around the space.

This play was rather absurdist in nature, which might have left some of audience slightly confused, as were the two characters at the start. One thing, however, was for sure – the sweetness of their friendship, of finding a comrade (both blind! What are the odds?) shone through in the face of their uncertain, ominous position in the uncertain afterlife. One of the play’s greatest takeaways, perhaps, was of man’s ability to adapt, even in the most absurd of situations. Alone, their strength was limited – they may never have left the purgatory. Together, they were able to gather the courage to seek out a certainty beyond death, as uncertain and unattainable as it may be.

“What are you doing?” “I’m…mowing the lawn.” “Well, don’t mow over my roses!” “What roses?” “What lawn?”

This writer’s favorite moment was when Lim played hopscotch in the play as she continued listing the different ways she could commit suicide. As Lim had been walking around, a cast member with no speaking lines had rolled a piece of chalk over to her which she used to draw the boxes and play with. It was interesting to watch Lim become increasingly trapped within the hopscotch as the chalk was wiped off bit by bit.

Trapped

This play was certainly the most abstract of all the plays but was very intriguing as well because the tension continued to rise as she finished listing her ways to die while becomingly increasingly trapped. In the end, when only one box remained, she could not step out of the box. She had been trapped and any efforts to try to step out of the box resulted in loud beeping sounds that warned her against it. This served to remind the audience that these characters are actually trapped even though they are in a seemingly infinite space, as they do not know if they are in heaven of hell, and where and how they can escape the place. With a unique premise and good acting (with particularly commendable portrayals of blindness and excellent chemistry between the actors), the writer feels that this play had certainly been rehearsed and executed well.

Sabariesh Ilankathir (17A13A) as Jackson

After an intermission, the third play began. ‘Sampan’, written by Muhammed Izzul Irfan (2016) was a monodrama. It was a story of an Indonesian lady, Jenab, and Yang, her great grandmother. Jenab had been lulled into monotony and domesticity of her everyday life, yet began to recall events of her great grandmother, Yang, who made an arduous voyage from Pulau Bawean to Singapore and faced numerous hardships along the way.

Jenab, a middle-aged makcik

What was most interesting about this play is that a single performer took on the role of two characters. Perhaps the reason for this was to juxtapose the inaction of Jenab against the decisive actions of Yang. In the play, Jenab displayed extreme disapproval towards the actions of an “ah moi” who stood up the grocery line for a long time, and had indicated her wish to move things along several times. She wished to tell the lady to hurry up, or to ask the cashier to let her check out her own items first. However, what’s important is, she did not. She did not do either of these things, and had instead stayed where she was and allowed herself to be held up, despite knowing that she had an appointment later. Thus, her passivity is shown even through this simple incident of grocery shopping, betraying her weak-willed nature.

Jenab, while grocery shopping

While Jenab, content with her glib tongue and a stagnated life, Yang was different. Yang preferred to take action, rather than relying on words to mask her flaws. Yang had taken it upon her own hands to change her fate, even if it meant giving up the most familiar of things in her life. The contrast between them ties in with the title: while Jenab simply floated in the figurative sampan, Yang made use of the sampan to give herself a new future.

Yang who has just arrived to this country

A possible flaw to this play was perhaps the drastic change from a comedic scene to a dramatic one. Jenab made fun of everything around her, drawing the audience in with her antics and pulling off the role of a carefree housewife with great ease. However, barely a sentence later, the audience faced Yang, rowing a boat with increasing desperation with no sight of the island Singapura and singing a song that tugged at their heartstrings. The transition was jarring, yet perhaps it greater emphasised the difference between the two characters.

Becoming Jenab

Mahirah bte Abdul Latiff (17S03B) played both Yang and Jenab. She was able to channel both Jenab’s comedic, witty and lighthearted interactions with the audience, as well as Yang’s distress of finding herself stranded on unfamiliar terrain. This made the play an enjoyable and superb conclusion to the production.

Mahirah bte Abdul Latiff (17S03B) in her one-woman show

All in all, Raffles Players shone once more with this production. The play was definitely well-received, with sold out shows for all 3 nights. The Players’ immense effort and nearly flawless execution of the plays definitely did them justice. Raffles Press would like to congratulate them on another wonderful performance!

The 2016 J1 Players Batch

Play Credits:

Directors:

Choo Ian Kang (17A13A)

Muhammed Izzul Irfan (17A01E)

Managers:

Poh Erika (17S03P)

Samuel Ho (17A13A)

Cast:

Main

Alison Clara Tan (17A13A) as Mama

Sabariesh Ilankathir (17A13A) as Jackson

Hu Yunting Grace (17A13A) as Lim

Mahirah bte Abdul Latiff (17S03B) as Yang & Jenab

Ensemble

Zou Yi Catherine (17A01B)

Zhou Jie Jane (17S03P)

Tham Jia Yi (17A13A)

Shirin Mehnaz Ansari (17S03C)

Creative Team:

Costumes

Kavya Sankari Sundar (17S03D)

Sruthi Udayakumar (17S07D)

Lights

Hidayat B Malik (17S06B)

Sets

Tan Xin Hwee (17A13A)

Kaushik Kumar (17S06H)

Publicity

Ong Yan Chun (17S06A)

Lim Yi Hui (17A01D)

By Joan Ang (17A01B) and Ernest Lee (17A01A)

It is a common practice in any vaguely-literature-related classroom to, during introductions, go around the room and say a few things: firstly, your name, and secondly, your favourite book. There’s usually a bit of uncomfortable shuffling, and people nudging the person on their left to say something to break the silence. A few big names are then thrown out — J.K. Rowling, Haruki Murakami. At least two people say “I don’t have a favourite book,” followed immediately by nervous laughter.

However, what has always stood out about such situations to the writers is the lack of local names mentioned. Ask someone whether they’ve read anything by Cyril Wong, and the first response is usually, “who?”, followed by, “I don’t read local anything, sorry.” In fact, a 2015 survey conducted by the National Arts Council indicated that only 1 in 4 readers have read any local literature, with most respondents citing a lack of awareness of Singaporean literature and authors as a key reason.

In an effort to combat this, the NAC annually organises the Singapore Writers Festival, inviting both local and international writers and artists to present at events over the course of 10 days. The festival serves to promote writing and reading in Singapore, hosting book launches, as well as performances and Meet-the-Author sessions.

The panellists at this year’s SWF Closing Debate. © Nizam Ismail 

The highlight of the festival? Numerous panel discussions, each typically featuring three to four experienced authors. These could focus on anything, from “the Hipster Invasion of the Local Food Scene” to “The Literary Glass Ceiling”. One of the clear themes that emerged from this year’s topics was the “meta” of Singaporean literature (or SingLit) — essentially, what makes a story Singaporean?

The most intuitive response to this, as noted by many panellists, would be the presence of national icons. When referenced in writing, HDB blocks, Singlish or the Merlion ground pieces in Singapore and Singaporean concerns, making it easily identifiable as SingLit. Students from RGS may recall that when asked to write a Singaporean short story, localisation via landmarks such as the Esplanade or SBS Transit granted you marks for making the story “Singaporean”.

That said, literature written in Singapore, or about Singapore, does not a Singaporean story make, as seen with Joshua Ip’s online decrying of A Gentleman’s Game, by Jonathan Lethem. On the other hand, something thematically non-Singaporean may still be constituted SingLit, if written by a Singaporean.

In the panel “What Makes a Story Singaporean?”, Balli Kaur Jaswal noted that her novels, Inheritance and Sugarbread, do not focus on what is considered a ‘typical’ Singaporean experience, the former exploring the lives of a Punjabi family in the 1970s-1990s, yet they are undeniably considered by many to show part of the “Singaporean experience”, and hence SingLit.

More puzzlingly, something based in Singaporean experiences, yet not written by a Singaporean citizen, may also be considered SingLit. For instance, Me Migrant by Md Mukul Hossine, focuses on the experience of a migrant worker, presented and expressed through poetry. Mukul is not Singaporean — yet, his works are very much rooted in the “Singaporean experience” as well.

Me Migrant, by Md Mukul Hossine, published by Ethos Books. © BooksActually

Labelling a literary work “Singaporean” is hard enough. When a festival presents itself as not just one of ‘Singapore’, but of ‘Singapore Writers’, the assumption is that every topic, every panel discussed here is one thoughtful about Singapore.  

The selection of these writers, these books and panel topics was done not by the writers themselves, but by an organising team. Events at the festival are therefore not subject to the personal preferences of the panellists, but instead display the concerns of the team themselves, made clear through panels such as “Canon-Making and Canon Anxiety” debating the question: does a Singaporean canon even exist?

Within these panels, panellists agreed that this question could even be asked makes the answer self-evidently ‘no’. At the very least, a canon that is well-defined, agreed upon and documented does not exist. At the very best, some key figures are prominent and can be pointed to: Edwin Thumboo, for one, is easily and often referenced.

Edwin Thumboo, one of the oldest and most prolific Singaporean writers, probably best known for his poem Ulysses by the Merlion. © Fong Cheng 

Panellists, in their capacity as writers who respond and add to existing bodies of work, did share their thoughts on the body of Singaporean literature. Between them, writers could not wholly agree on what should constitute a Singaporean literary canon, or what even defines a Singaporean story.  

Newer writers that develop and write in our current postcolonial era have different concerns from an older and renowned generation of writers. This older generation, including Thumboo, would have lived in both colonial and postcolonial periods, with different established traditions at their point of writing. This adds the dimension of time, which further complicates the concept of Singaporean literature. With today’s prominent names coming from both generations, a ‘Singaporean canon’ and its likely concerns are harder to describe.

This somewhat new generation of writers and the even younger official systems of patronage, make it difficult for both readers and writers to agree on what might constitute a canon. Whereas countries like the UK or USA appoint a poet laureate to legitimise and designate in an official capacity national concerns and identities, such a system is absent here. Awards and prizes, even if official, do not give literature the same weight in nation building.

Carol Ann Duffy, current Poet Laureate of Britain, has remarked that her appointment sees ‘no requirement’: her poems are grounded in a wide range of topics. 

Despite the multilingual nature of Singapore, works are often published exclusively in one of our many languages. Even with constant governmental emphasis on interaction between communities, little crossover occurs. This is an issue of both writers and readers: mother tongue languages do not see enough publicity and readership, which in turn discourages investment from publishers and writers in translation, and fragments an already small body of work into further pockets.

This challenge in defining the eponymous ‘SingLit’ does not just hinder an abstract, intellectual exercise. If there is no coherent, easily definable way to characterise Singaporean literature, exporting and marketing this body of work is difficult. If local bookstores like Kinokuniya cannot decide which section Sugarbread by Balli Kaur Jaswal should be sorted into, what books would we even see at an overseas Singapore Literature Festival?

The Singapore Writers Festival’s annual country focus, on Japan in 2016 and Indonesia in 2015, shows an ability to pinpoint what literature can showcase and exemplify in a country’s culture and consciousness. Can the same be said for Singapore? Perhaps this complexity in defining SingLit is intertwined with the complexity of the Singaporean identity. The relationship between these two identities is symbiotic, with each side’s development driving and refining the other.

Gosho Aoyoma, the man behind manga icon Detective Conan sharing his thoughts with Sonny Liew, of The Art of Charlie Chan Hock Chye fame. © the Straits Times 

Perhaps Singapore’s literature is then hard to define, not purely, but in part because of its youth. When asked about the formation of a Singaporean literary canon, panellist Philip Holden was very clear on this: at the moment, a SingLit canon should be organically formed, and only immediately defined for academic purposes. Any definitions would be restrictive. Before we can even define what a canon is, we must organically develop enough material to form a selection, rather than just big names subject to idiosyncrasy.

How can this be done? Supporting local authors, publishers and booksellers with simple acts of purchase gives them the impetus to further create and diversify Singaporean literature. In #sglitftw, all four panellists heavily stressed the importance of dollar votes in helping the scene grow and the value of an inclusive SingLit community, without which they would, in the words of Kenny Leck, “go bankrupt sia.”

More abstract help would be the acknowledgement and legitimisation of Singaporean works, be it through attending festivals or through more large-scale publicity along the lines of BooksActually’s book vending machines. Participating in SingLit events, spreading SingLit through word of mouth — all these help to support and develop the Singapore literary scene, and by extension, the commonly-argued-to-be-nonexistent Singaporean culture.

Embedding an entire body in a nation’s cultural consciousness is indeed no easy task, and neither this article nor the numerous panellists at Singapore Writers Festival pretend to know any easy answers. The simple act of involving oneself in any community of literature, however, is as simple as checking out a bookstore or buying interesting books: who knows, you might even catch Gwee Li Sui debating drunk.

Caption: Gwee Li Sui debating, possibly drunk.

Obligatory SingLit Title Recommendation List To Prove We Walk The Talk

Books (at the writers’ discretion)

1. What Gives us Our Names by Alvin Pang (Prose)
2. Tender Delirium by Tania de Rozario (Poetry)
3. A History of Amnesia by Alfian bin Sa’at (Poetry)
4. Me Migrant by Md Mukul Hossine (Poetry)
5. The Art of Charlie Chan Hock Chye by Sonny Liew (Graphic Novel)
6. A Luxury We Cannot Afford edited by Christine Chia and Joshua Ip (Poetry/Prose)
7. Ministry of Moral Panic by Amanda Lee Koe (Prose)

Bookstores, Publishers and Shops (non-exhaustive)

1. Books Kinokuniya (bookstore, multiple outlets)
2. BooksActually, 9 Yong Siak Street, Singapore 168645 (bookstore)
3. Woods in the Books, 3 Yong Siak Street, Singapore 168642 (bookstore)
4. Books Ahoy, 583 Orchard Road, #02-03 FORUM, Singapore 238884 (bookstore)
5. Math Paper Press (boutique publisher)
6. Ethos Books (boutique publisher)
7. Epigram Books (boutique publisher)
8. Landmark Books (boutique publisher)
9. Red Wheelbarrow Books (boutique publisher)
10. Firstfruits Publications (imprint publisher)
11. Sing Lit Station (literary non-profit)

By Abdul Qayyum (17A01B)

Moana, an animated spectacle that follows the story of a young girl in forgoing tradition and family to find something bigger than herself- to restore and correct the world imbalanced by darkness sparked by the mistake of an ancient demigod.

I have to admit, being dragged along by my sister to sit through yet another princess movie with her did not bode well for my movie-watching mood, at least at first. Long story short, jadedness was swept away by the sheer beauty that is Moana. Thematically plentiful and visually impactful, the reluctance I felt at the entrance of the theatre was replaced with a yearning to watch it again.

Why? Because Moana is an animation masterpiece. Every possible detail was given close and precise attention. From each sun bathed leaf on the island foliage to every strand of hair hula dancing in the wind, one is sure to stare in awe at the intricate beauty of the picture, each detail culminating into a jaw-dropping spectacle of artistic skill and wonder.

Stylistically, what stood out for me was the expert use of warm, tropical colors which did well in illuminating the vibrancy of the fictional Moto Nui tribe. The sharp transition to darker, gloomier hues in scenes of struggle and loss create atmospheres that transcend from the story on the screen to the hearts of those in front of them.

Scenic landscapes in Moana (SlashFilm)

Part of why the movie is so visually impactful is with its animation style. Characters are fleshed out with a fresh sense of real design in its human characters. Moana’s waist is not overwhelmingly skinny, and her face is as emotive as the audience’s. Likewise, Grandma Tala’s long grey hair and sun-weathered skin was done in impressively realistic detail. Even the natural scenery looked, well, natural. At times I forgot that Moana was an animated feature.

Baby Moana is confused at how some of you have not seen the movie. (Huffington)

Furthermore, animation was not only realistic, but creative as well. Notably, there was a song number (You’re Welcome) where 3 dimensional Moana and her demigod co-adventurer Maui were juxtaposed onto a 2-D hand-drawn setting. Maui’s hand-drawn tattoos, which included a sentient mini-version of him, were extremely well-received. It’s heartwarming to witness how Disney still creates opportunities for personal hand-drawn animations to be included in its movies even after the 2-D animation studios have been retired.

3D characters in a 2D world (Youtube)

Now that I was overwhelmingly impressed with the movie’s visual prowess, I was keen on listening out for the musical experience the film had to offer. It might seem that previous works such as Frozen and Tangled had placed the bar on unattainable heights. After watching Moana, I argue that Disney has propelled the bar above and beyond.

The movie instantly immerses listeners into the rhythmic cadences of Polynesian music. With Samoan musician Opetaia Foa’I and renowned lyricist Lin-Manuel Miranda at the helm of music production, it is no wonder that the picture’s soundtrack is a flurry of flawlessness.

Admittedly, I was gritting my teeth in excitement and anxiety (excited because I was ready to be inspired, anxious because it’s going to stick in my head for the next three years) as I awaited this movie’s catchy inspirational song. And unfortunately for my head, the whole movie soundtrack has all but downloaded itself, my favourites being “I am Moana” and “Your Welcome”, the former because I need an anthem for self-identity, courage and strength for my upcoming years of A Levels and National Service, the latter because it is just so catchy.

Personally, the most unmistakable feature of the movie stylistically is Disney’s efforts in creating a world that is not only culturally appropriate, but also accurate in its depiction of the Pasifika. In fact, Maui’s design has been redone a couple of times after consulting various anthropologists. Details, from tribal tattoos to traditional dance to the beautiful weaving of Polynesian languages into an English film, makes one admire the work put in to create such a setting. Disney succeeds in not basing its “girl finds herself” arc on a different culture, but rather birthing a whole new, intricate and astounding world that is both believable in nature and spectacular in splendour.

Directors of Moana meeting local cultural experts on character design. (GIZMODO)

However, like any piece of art, Moana is not immune to critique. Once again, we are treated to a brave young princess who goes against expectations to venture on her own quest, during which we meet the male partner figure who will aid her whilst experiencing smaller shortcomings of his own. Rapunzel and Flynn Rider, Anna and Kristoff, and now, Moana and Maui.

Hence, it may seem that Disney is simply adapting its trusty algorithm to produce another well-loved movie. Despite this, I argue that Moana is much, much more than the ‘brave girl defying odds’ narrative. The movie outlines the quest of the daughter of a village chief (not, as the movie makes a point to mention, a princess) to find the meaning and identity of a society long forgotten.

It is a girl sacrificing her safety and welfare to restore life to her kingdom. It is the love of a granddaughter and the defining of self for self, and not for anyone else. It is a story that is beautifully told and excitingly thrilling, one that will enrapture your senses from the get-go.

Besides this, the movie places a hilarious twist on the princess genre through Moana’s animal companion. At the start of the movie, we were introduced to the perfect animal companion character:  a cute, facially expressive piglet who follows Moana wherever she goes. But when she escapes on her adventure, the animal stowed in her trunk was not that piglet. Rather, it was a stupefyingly brainless chicken named Hei Hei, who, when choosing between a blank space of air and nuts for food, picked the air.

If you can’t already tell, Hei Hei is the one one the left.

The movie also boasts a wide array of likeable characters who we can both be inspired by as well as relate to. Maui, whose godly power and worth, we soon discover, is held atop feeble foundations of human validation. His sense of weakness and dependency is an aspect of his characterization that we may all relate to, and his ascendency to providing himself a self he can be proud of is one that is not only touching, but inspirational as well

My favourite character, however, would be Moana’s grandmother, whose quotes aptly encapsulate the soul of the story: “Sometimes the world seems against you/ The journey may leave a scar/ But scars can heal and reveal / Just where you are”. An expert amalgamation of senile humour and pure wisdom, Grandma Tala was simply a beautiful character to witness.

Perhaps another criticism Moana might receive is its generalisation of the Pacific Islanders, i.e. Disney’s interpretation of the what aspects of the culture seems best at telling the story. In reality, the Polynesians are a diverse people, from Samoans to Fijians to Hawaiians, and bannering them under clichés such as in Maui’s body type, or the minionization of the Kakamora (a real terrifying Polynesian myth) into this movie’s version of merchandise, might prove a bit problematic for the movie.

The terrifyingly adorable Kakamora (SensaCine)

Despite its minor faults, the songs of the sea still echo in my ears. The struggle and survival still fresh in my mind. And as the bits of the movie cling on to my being for the next stage of my life, Moana reminds me that “where you are” is not determined by geography; rather, it is where you carry your roots, tradition, family and self.

Ultimately, one should not miss the opportunity to be enthralled, enchanted and inspired by the perfect symphony of sound, sea and soul, whimsically painted within immaculate images and dazzling design that is Moana.

By Noor Adilah (17S06B)

This article is part of a series of genre and format reviews done in collaboration with Raffles Reviews, an Instagram page by Raffles Debate. Click here for more beautiful photos of Rafflesians with their favourite reads.

Comic books and graphic novels are generally under appreciated as works of literature, and their value as works of art is often not recognised. The nature of this medium, which combines both illustrations and text in the form of dialogue or narration is often dismissed by critics as something meant for children, due to the supposed “simplicity” of the genre. As such, comic books and graphic novels have long been considered as undeserving of formal analysis or serious reading. Despite this, comic book writers and illustrators have proven such critics wrong time and time again with a diverse range of comic books that have spanned generations and display a depth of perception and quality befitting the highest levels of literary and artistic merit. To prove this, Press presents a detailed guide of three comic books which demonstrates the diversity and quality of narratives and styles that can be achieved through this format.

Before beginning the article proper, the author would like to make some clarifications as to one of the terms she will be using in this article – graphic novel. Graphic novels, as harmless as they may seem, are a contentious text-type. Some content generators (for lack of a better term, since writer or illustrator are not quite suitable) do not even recognize it as a legitimate format. An important concern brought up by comic book creators foregrounds that the term graphic novel often just serves as a marketing ploy to sell normal comic books at higher prices, giving readers the impression that they are paying more for a “higher brow” illustrated book. The influential and highly reputable comics writer Alan Moore, who wrote popular comics like Marvelman and Watchmen, once famously said “it’s a marketing term that I never had any sympathy with. The problem is that graphic novel came to mean expensive comic book”. Daniel Raeburn, author of Vessels: A Love Story said calling a comic book a graphic novel is the “literary equivalent of calling a garbage man a sanitation engineer”.

A Contract With God

While labelling a book as a graphic novel may be controversial today, the history behind the term graphic novel is distinct and has influenced many other book formats by setting a higher bar for the quality of comics-driven books. Will Eisner’s A Contract With God brought the term graphic novel to the public lexicon, using the word graphic novel to distinguish itself from the books created in the comic book industry by merit of its aesthetic and literary content. But perhaps this divide between comic books and graphic novels is no longer necessary given the sustained quality of comic books today.

For the purposes of this article, the author will use the terms interchangeably.

Two books of such a format that Raffles Debate has featured on its popular instagram page are Nimona by Noelle Stevenson, a fictional fantasy comic book and The Art of Charlie Chan Hock Chye by Sonny Liew, a local graphic novel. The vast differences in both books highlight how volatile and flexible the comic book format can be in depicting complex stories in beautiful detail.

Shannon Phuah with Nimona

Nimona by Noelle Stevenson

Nimona is an engaging, humorous and, ultimately, a highly lovable, character-driven book that focuses on three main characters depicted on the front cover: Sir Ambrosius Goldloin of the Institution of Law Enforcement and Heroics, the titular character Nimona and the supervillain Lord Ballister Blackheart.

Cover page for Nimona. Depicted are, from left to right: Goldloin, Nimona and Blackheart.

Stevenson originally posted content for Nimona on Tumblr, where it gained a cult following. She then proceeded to publish individual comics for the overarching plot regularly on her blog for everyone to see. The printed-and-published hardcopy format like the one Shannon is holding in the photo above is a recent edition of an otherwise free and accessible comic book still available online. Webcomics like Nimona actively subvert the mainstream book industry by posting high-quality content online, increasing access and creating a direct pathway for interaction straight to the content generator with little channelling to third parties or publishers. In this regard, webcomics are perhaps paving the way to a new generation of books, where access is increased and an author’s autonomy is ensured.

This author admits her love for all three characters, who are charming, humorous and incredibly well developed through well-placed story arcs and crying/laughing-fit-inducing scenes.

“I’m a shark” – “AAAHH”

As brilliant as Nimona is as a literary work, it is just as beautiful when judged for its aesthetic merits. Noelle Stevenson’s character designs are purposeful and measured, taking into account the characterisation and attitudes of each person. Stevenson’s minimalistic drawing style is also telling of the comic’s online roots. This comic book is a stellar example of the flexibility and accessibility of graphic novels, which can appeal to everyone, regardless of age or status.

Qiu Jiayu (16S06A) with The Art of Charlie Chan Hock Chye.

The Art of Charlie Chan Hock Chye by Sonny Liew

The second featured comic, The Art of Charlie Chan Hock Chye by Sonny Liew is a Singaporean favourite. It leads readers through Singapore’s history from 1954 until today, through the lens of an artist – the titular Charlie Chan Hock Chye. This controversial work explores themes of independence, merger, war and peace in stunning detail, with a focus on the place of the individual in a fledgling state. It also narrates the Singapore story through an atypical and unique lens.

Cover spread for The Art of Charlie Chan Hock Chye by Sonny Liew 

The retelling of this Singapore story through the lens of Charlie Chan has been said to “[undermine] the authority or legitimacy of the Government and its public institutions” according to the NAC, which led to a controversial withdrawal of its publishing funds on the grounds that Sonny Liew had breached publishing guidelines. However, this author stands firmly on the stance that there is no One narrative of the Singapore story that is “correct”, and no institution has ownership over that Singular Singaporean Story. In fact, the book’s increased focus of the individual’s place in Singapore throughout the tumultuous years of our history shows that we all experience history differently – and the Singaporean public deserves to have access to all the different facets of our history to appreciate our nation.

“Is Ah Tung’s sister going to be there?” – “Er… maybe!”

Besides its merit as a piece of historical fiction that balances individual stories with a larger national narrative, The Art of Charlie Chan Hock Chye is also extremely aesthetically pleasing. More importantly, Liew uses the aesthetic elements of the graphic novel to show the chronological progression of Charlie Chan’s artistic development, from the tender age of 16 in 1954 to more current years. The earlier illustrations are simple and more cartoon-ish, with influences from newspaper comics or textbook illustrations, and later on in the book, Charlie Chan develops his own style that is unique but has clear influences in Chinese traditional art, as shown in the picture above.

Our Graphic Novel / Comic Book Pick – Watchmen by Alan Moore and Dave Gibbons

“Quis custodiet ipsos custodes?”

Hobbesian attitudes understand the need for watchmen – moral and legal custodians who guard the order of our carefully constructed communities. These watchmen come in many forms and shapes. In our society, they may come as policemen, governments, and maybe in a parallel universe they may come in the form of costumed superheroes. Watchmen is set in the premise of an alternate universe that has been influenced by the actions of vigilante superheroes.

“Who watches the Watchmen?”

The title of the graphic novel comes from the popular question “Who watches the watchmen?”, a translation of the famous question posed by Roman satirist Juvenal “Quis custodiet ipsos custodes?”. This timeless quote poses the eternal question – if moral and legal custodians guard us, then who will guard them, and keep them in check? As such, this comic book foregrounds the necessity for the accountability of any party that has any authority over any facet of society.

A panel from Watchmen

Watchmen is an incisive jab at the popular belief that a skilled, perfect leader, or group of leaders, is the key to moral immortality, by criticizing how no unexamined authority can rule ultimate without undermining democracy. Accountability and transparency are the true traits of a good government, according to the narrative plot of Watchmen. Of course, the importance of this message is even further understandable when one acknowledges the context in which Watchmen was written, right after events like the Watergate scandal had tarnished the American people’s trust in their own government, where the press acted as an invaluable fourth estate that represented the people in investigating and questioning the Nixon administration.

The composition of this scene is alluring and engaging, while capturing the mood of the narrative in stunning detail.

The alternate America in which Watchmen takes place was once filled with superheroes who emerged from the 1940s to the 1960s, and influenced major events in America’s history, where the United States won the Vietnam War and the Watergate scandal was never exposed. The comic book narrates how these same vigilante superheroes are outlawed in the coming days of World War 3 with the Soviet Union, while former superheroes are retired or work for the government.

Doctor Manhattan’s story arc explores the concept of nuclear war and atomic bombs.

This author thoroughly enjoyed reading Watchmen, as it actively challenged the romanticisation of superheroes, and actively comments on America’s political conflicts in stunning detail, using superhero characters to play out political possibilities. The book serves as a commentary on famous political figures like Ronald Reagan, Margaret Thatcher and Richard Nixon. A quote that has stuck with many fans of the series is a comment made by Alan Moore, writer of the book: “I reached a point doing Watchmen, when I was able to purge myself of my nostalgia for superhero characters, in general, and my interest in real human beings came to fore.”

Watchmen

In a way, reading Watchmen does not only purge romantic and childish notions of ultimate superheroes, but of figures of authority in general, and makes readers understand the importance of checks and balances against the government, the supposed “superheroes” of our countries which we trust with saving the day. This is currently relevant especially in the US, as policemen are not being held accountable for the murders of innocent people based on their race, ethnicity or gender. The free media plays the role of the watcher of the watchmen, in providing information about current affairs and acting as the fourth estate that questions, analyses and criticises the government’s actions.

Watchmen’s stunning visuals depart from DC Comic’s normal standard for illustrations, by focusing more on colour schemes and characterisation instead of the execution of action scenes. For example, one of the main characters, the Byronic anti-hero Rorschach, is easily identifiable by his constantly morphing inkblot facemask. This character design reflects his moral ambiguity and the psychological elements of his story arc.

Rorschach

To conclude, this author would like to recommend all 3 comic books to readers. They are largely variant but all endlessly engaging and beautiful, while skillfully carrying complicated narratives worthy of any literary prize with beautiful art that reflects the aesthetics of our era.

By Catherine Zou (17A01B)

At the start of the year, I resolved, somewhat fruitlessly, to “expand my understanding and knowledge of the world”. With this vague banner of self-improvement came the nebulous idea of reading more, and reading, finally, “good” books. No more post-apocalyptic dystopias, or sweet Parisian dalliances. My bookshelves would henceforth be all meaningful, literary oeuvres. An unflinching examination of man in a state of disorder. A naked look at the soul. A triumph of the human spirit.

These are, of course, the praise reserved for an exclusive category of Fiction books, which belong to the canonical order of True Literature. If in doubt, Penguin Classics and Vintage Book covers are usually a good barometer for the literary value of a book, as are Man Booker, Pulitzer, or Nobel prize shortlists. Good books seem to ground their merits in introspection and characterisation, or through a commentary on society or human nature. The glow of classic relevance and national accolades rocket these books to the very top of the ladder of literary worth, while their unworthy cousins (popular fiction, whether Sci-Fi or mystery, though writers like Philip K Dick and Conan Doyle have broken free of that label) languish several rungs below.

It can hardly be denied that there is a strict classification of the Fiction that we read.

It is fairly widespread, this categorising of “literary” and non-literary fiction. A friend, reading a light romance novel titled Love in lowercase, said, somewhat defensively: “What? Yeah, it’s not intellectual, I know that it’s trashy.” Or another, in explaining the use of her Kindle: “The really good thing about this is that no one can judge you when you’re reading some young adult novel with a cover of a couple kissing or something.” Consumer-friendly, plot-driven genres, chick-lit and general fiction in particular, have been panned as superficial and simplistic. They often focus on the unraveling of an event, as opposed to delving into complex, multi-faceted characters: boy meets girl or rags to riches. At best, these books can hope to be entertaining: critics concede that they are “thrilling” or “swoony” or “witty”. But compared with the transcendent lyricism of literary works, they are, well, trash.

When we speak of fiction, it is tempting to dismiss popular literature as brainless fluff — too populist, too shallow to have merit. There is frequently a self-conscious embarrassment in admitting a love for science fiction, or Young Adult novels — and even then, this is tempered with the disclaimer that “It’s not like literature/it’s not great”. Classics and acclaimed novels, on the other hand, are always on a to-read list: friends who are mildly apologetic about their Cecelia Ahern collection repent by limping through Murakami books despite finding the eroticism off-putting and the magic realism dry.

But let’s not forget that the classics of today were written for mass consumption – Shakespeare’s plays were the stuff of peasant entertainment, whilst Alexandre Dumas’ works were serialised in newspapers or magazines. It’s perhaps a stretch to argue that Fifty Shades of Grey will emerge as The Literary Masterpiece of our age — then again, who knows? — but the carefully-curated, panel-evaluated selection of novels may not determine the few works that are remembered by history.

And even if it is painfully obvious that a book is no masterpiece, why should we be bothered by the technicalities of a book’s literary merit? Lauren Oliver’s or John Green’s books may never be considered literary masterworks, but they don’t have to be. It is for the story, and for the easy entertainment that they are read. When I think about the first books I’ve loved, they are invariably filled with titles such as Stardust, The Night of the Unicorn — ponies, magic, unicorns, and all their glittery, girly compatriots.

Our instincts rarely point us to anything intellectual.

Call me uncultured, but I believe that much of these titles capture the magic of reading. Reading fiction, in general, is not approached with the express desire to enact a seismic turnaround in our perspectives, to marvel at a writer’s craft, or to better our character. We have the Thought Catalog for that. It doesn’t always matter if it is beautifully expressed, or if it leads to an intellectual opening. And “trashlit” does this perfectly well: you know a well-constructed story by its characters who, though simplistic and predictable, nonetheless tug at your heartstrings.

Chick-lit is appealing perhaps because we can delve into a fantasy world where relationship hiccups are resolved in fifty pages. Superficial and unrealistic excitement can be an easy retreat from the mundanity of daily life. For others, this appeal could lie elsewhere, perhaps in its plot, which races through the universe and back, scaling old post-apocalyptic landscapes with a strange vigor. You can find this in classics, for sure, but it is ever-present in its less-intellectual counterparts, and there ought not be an ounce of shame in that.

Whatever the case, the ability to connect is critical for reading any work of fiction. The social commentary or the exquisite metaphors of classics can only strike us if we are connected to the story — the little realisations and epiphanies in a classic are often tucked into a riveting story. Our connection with works of fiction is tied to the sense of enjoyment, and the ability to, as they say, “live” in the book world. In this, “trashlit” is often more than satisfactory. Sure, the plot can be ridiculous, the characters vacuous — yet it is sometimes more attention-grabbing than a supposed tour-de-force.

This is, of course, not to say that Murakami is overhyped, or that we should give up on classics. They are brilliant and incisive — and far be it for me to say that they are not deservedly acclaimed. There is simply just no need to condemn popular fiction for what they don’t pretend to be. And there is even less point in forcing yourself through a classic just because they are supposed to be Good.

I’ve found, in my abortive attempts to read Great Classics, that the flash of comprehension simply strikes you at different times. I’ve tried to read Jane Eyre a good two or three times, but had never gotten beyond the halfway mark before this year, when something clicked, and I sped through the book — though perhaps owed more to the fact that we were studying it for class. Nonetheless, there ought to be no rush to stick through a list of 100 Books You Have Got To Read In Your Lifetime.

Reading and connecting with classics often comes at different ages.

Reading, when it comes down to it, is about personal connection and individual tastes. There are 9 year-old children who have read Jane Austen and Bronte, and though I was not that savant child, I’d wager that it’s a vastly different (and perhaps more illuminating) reading at an older age. Ultimately, the books that we enjoy now build up to changing tastes and understandings — there is no point in trying to force a response to classics. Doris Lessing perhaps utters this best:

“There is only one way to read, which is to browse in libraries and bookshops, picking up books that attract you, reading only those, dropping them when they bore you, skipping the parts that drag — and never, never reading anything because you feel you ought, or because it is part of a trend or a movement. Remember that the book which bores you when you are twenty or thirty will open doors for you when you are forty or fifty-and vise versa. Don’t read a book out of its right time for you. ”

Which is really good reason to check out that new Sophie Kinsella book, don’t you think?

Happy reading!

Featured image retrieved from https://dribbble.com/shots/2938852-Children-s-Book-Opener

by Noor Adilah (17S06B)

You’ve heard the stories. You’ve seen the gorgeous paintings that line the corridors. You’ve probably even gawked at the beautiful Art Studio where mysterious art students spend inordinate amounts of time. What goes on in there? What are those mysterious wooden structures in the corridor? Did the Art students put those mannequin body parts there just to scare me?

Last year’s H2 Art Exhibition, aptly titled Where Art Thou? created a space for anyone to marvel at the beautiful works that the Art students created in their first year. It allowed visitors who entered the mysterious, hallowed Art Studio to meet students taking the subject. The Exhibition aimed to display artworks and creations that students made, as well as the Art theory and history that they studied over the course of the year.

Raisin Drawing, Hu Jun Yi (17S07D)

After the exhibition, I talked to Austin Chia (17A01E) intending to learn more about the H2 Art Syllabus. In turn, I learned not only about H2 Art, but more about the ways Art can shape a student’s worldview; and about the people that make H2 Art a wonderful experience.

The first part of the exhibition included the practical and theory work that students did in Semesters 1 and 2, in both Exploration and Transformation.

In Semester 1, students were trained in the art of acute observation, by being put through several exercises that train their artist’s eye. This included drawing large portraits of the miniscule wrinkles on a raisin, drawing the different details of floors, and creating charcoal rubbings of different parts of the school. These exercises train students not to take details for granted, and to truly observe one’s surroundings. Students also experience System Photography, which utilises repeated images of objects with a common theme. By creating a constraint on the types of images created, students are forced to think creatively. In Austin’s words, “You have to have a box to think outside of it!”. These exercises, amongst many others, are aptly themed Exploration.

This timeline of Western Art is a glimpse at the theory studies that Art students do, apart from practical applications.

In Semester 2, students try their hand at the transverse of Exploration — Translation. Translation involves the replication of an existing object to create art. This may come in the form of placing a familiar object in an unfamiliar context, or in changing an object to create new meaning out of it. This is best demonstrated in Chair Replication, where students translate a wooden chair to create their own art pieces. Students learn to create their own tools and use different means to achieve their artistic intentions. They learn techniques of modelling objects using different moulds and moulding tecnhiques. Through these exercises, H2 Art teachers train their students to become better artists, and in turn, better people.

Rubbings, photos and draft work. This explains the chalk on the floor next to the Parade Square last year.

Entering the Art Studio was anything but daunting. I was greeted warmly and led around by the entire Art batch — all six of them. It takes a certain tenacity and unbridled passion to be an Art student. Any Art student will tell you about the heavy workload and gruelling amount of time they spend on this subject. “Taking this subject means more than your final paper and the submitted pieces at the end of two years. It means staying back in the Art Room until 9 at night, and spending crazy amounts of time with your teachers and classmates.” Clearly, Art is not for the light-hearted. Being realistic and extremely committed are the expected traits of an Art student in RI.

Chair Replication

At the end of the year, during the June holidays, students are tasked to apply all that they’ve learnt to create their own series of artworks. These artworks formed the pinnacle of Where Art Thou? last year. 

In the A-Levels, Art students must produce three different submissions mainly:

1. A written paper,
2. 8 A3 sized boards that capture and document all they have done and learned in the two years,
3. and their Final Work, which can take the shape of any form of art

When I asked Austin for any last words to our readers, he reminded us of how Art may not offer tangible benefits to most (unless they plan on pursuing a career in the industry). Art equips its student with upright values and the ability to observe beauty in everything. Furthermore, the small batch of Arts students, along with dedicated and nurturing teachers, create an environment that encourages one to grow in technical skill, and develop oneself character-wise.

This might be best demonstrated by a habit Austin says Art students inculcate from the very beginning of their H2 Art lives. “Every time you drop a pencil, or any tool that aids you in creating Art, you must say sorry — that’s what our teacher taught us. And the subject really makes you understand why you need to say sorry. Art makes you value everyone and everything … you learn to appreciate the tiniest details of the most mundane objects and learn to find the extraordinary in the ordinary.”

All pictures credited to the H2 Art Batch of 2017.

View the students’ end-of-year submissions as part of their Promos last year.

Austin Chia (17A01E) – Morning Assembly

Lino Print on Paper

Sophia Kim (17S03P) – Arrière

Watercolour on paper

“My older sister has always loved dancing ballet, and it was always one of my fondest memories watching her dance and learning to dance with her. Unfortunately, she was forced to stop when she started studying for her A levels and, subsequently, university entrance exams and other commitments. I wanted to capture through this work the joy that dancing brings to her and the happiness that radiates from her dancing whenever she dons her trusty pair of pointe shoes. This work follows her journey from the day that she picks up this pair of shoes, to the day she stops attending ballet lessons. The title “arrière” is a ballet term “in which steps are made backward, away from the audience”. As she puts down her pair of pointe shoes and steps away from the closing stage curtains, I wanted to show that even though this chapter of her life has closed, the memory carries on in her heart as she dreams of reliving those moments once again.”

Tseng Chen Yu (17S06H) – The way home (歸路）

Watercolour on paper

“As my surroundings endlessly alter and become foreign, one thing that stays the same is none other than the way home. Although it is a seemingly repetitive routine with nothing especially “fun” and outstanding, it can be such a mysterious thing. By slowing myself down and closely observing what I go through almost every day, I begin to ponder what home truly means. Years down the road, I might have a different view on what home is. Presently, I feel that it cannot be merely defined as bricks and mortar but by the emotions I attach to a place and the presence of loved ones I hold close.”

Peng Muzi (17S06H) – Clouds

Acrylic on Canvas

Matthew Toh (17S06H) – My Brother

Acrylic on canvas paper

“I have a 15 year old brother who has autism and through this work I wish to express the relationship I have with him. The multiple portraits serve to offer several angles that reveal my brother’s personalities, moods and pains. The various postures that he has adopted in the frames are influenced by his constant need to regulate his body, and were carefully recorded through photography and observations before being expressed in the paintings.”

Hu Jun Yi (17S07D) – Her

Acrylic, ink, water colour and marker on paper “In Her, I seek to investigate the futile crusade for human beings to understand each other through exploring my own relationship with my mother, which has been an epic collage of complex situations that should never have gelled but somehow did. This senseless struggle has been captured in the styles of numerous art movements, emulating the way Art has struggled throughout history to derive its own indefinite identity. The subject has also been treated with a heavy dose of ambiguity, never once truly revealing her full figure, just to coax viewers to draw their own conclusions through her atmosphere, activity and silence. Such is the truth of relationships; there is only so much we deserve to know.”

By Carman Chew (17A01D) and Nadiya Nesseer (17S03B)

“Perhaps home is not a place but simply an irrevocable condition.” — James Baldwin

In this year’s instalment of their annual production, the alumni of Raffles Players delved into the theme of home, telling stories of both the comfort and curses it brings. Staged across two nights, on the 25th and 26th of January, this series of 4 plays had been a joint effort of only 11 individuals, with many of them taking on several roles in acting, directing and stage-handling.

Once doors opened at 7pm, teachers, juniors, and seniors alike streamed into the TSD. The strikingly low-lit atmosphere, intimate audience of only 50 each night and bohemian setting accentuated the concept of an open and welcoming house party.

Night Night

In the first of the four plays, the audience is invited to explore the mind of Misha, a mentally distraught insomniac, and his turbulent relationship with his ex-wife, Cheney. The play wastes no time in establishing the tension early, opening with a dimly lit set and a sleepless Misha tossing and turning in an isolated bed. The sequence then spirals into an emotional rollercoaster, exposing the cracks in the couple’s relationship and leading the audience to understand how the irrationally angry man came to be.

To this author, the male lead’s efforts were commendable when it came to keeping the audience consistently on edge. When asked about how he had managed to get into character, actor Vasu Namdeo commented that he had drawn from experiences he personally had throughout his life and channelled those emotions into his scenes — except, of course, for the part where he was high on drugs. The intriguing use of lighting had also complemented the plot well, highlighting the volatility of the relationship throughout the play.

A tender moment shared by Cheney and Misha.

Dragon Lady Tells Truth About Universe

The second play serves as a reminder to millennials that in life, there need not be an explanation as to why certain things happen in a particular way. As Sarthak, who portrayed the lead John, aptly put, “we can’t go around overthinking things and trying to explain why certain things happen in a particular way”.

Consisting of two main acts, the play begins with John visiting the eccentric Dragon Lady, as he consults her to find out if his chronic job-hopping is due to spirits following him. Caitlin’s witty sarcastic replies and creative use of props mocked the triviality of the concern raised by John.

The second act is set after a time jump, after John has settled into a good stable job. While having a drink with a couple of his friends, he receives an unexpected visitor, Luke the Duke, an old overachieving friend whose life has led him to become a contented vacuum cleaner salesman. Unable to comprehend how his once successful friend has transformed into a state such as this, he breaks out into an argument.

The lack of a proper closure to the play left many feeling unsettled, and yet this perfectly paralleled how one often continues to be plagued with discontentment when unable to pinpoint a reason for some obscure phenomenon. All in all, it had surely left the audience reflecting on their own lives and obsessions with explanation.

One of the many witty dialogues effortlessly delivered by The Dragon Lady.

Shiba

After two dark plays, one would be heartened to know that the third play had been a lighthearted one — or at least deceivingly so. Here we follow the journey of Cheryl and her newly adopted cat, Shiba. If there was an award for best animal portrayal, actress Chen Wen Wen would’ve won it hands down, with her nimble leaping from platform to platform and her hilarious mantra of ‘food, food, food, food, food’ every time her owner returned home. As someone who (oddly) meows often, one senior commented that “Wen Wen was really good, like her mannerisms and yeah, her ‘meow’s are so good.”

The friendship between the actresses in real life certainly paid off when it came to portraying the comedic duo, lending legitimacy to the scenes and rendering the play even more enjoyable when the audience could sense how genuine the relationship was. At one point, the two were even prancing across the stage to a musical number.

Beneath the dynamic humor and lovely chemistry, there was also a poignant critique on human relationships. Coupled with the use of the set to underscore Cheryl’s commitment issues, the subtle undertones of loneliness and isolation, all of which were seamlessly woven into the play.

For Sreshya, who had played the part of Cheryl, this had been her second leading role within the four plays itself. When asked about the challenges she faced balancing both roles, she chirped, “To be honest, my batchmates kept asking me if I was okay with doing 2 plays, whether it would be too challenging for me, and I [had] always happily disagreed saying, ‘I have nothing else to do!’

The challenges associated with being in 2 plays only really materialized on the actual shownight. Each night, after one nerve-wracking play had ended, I had another nerve-wracking play left. Fortunately, that also meant a greater sense of fulfillment upon the completion of both shows. So all in all, I would say it was a really rewarding and enjoyable experience and I would do it all again.”

A jovial dance shared by Shiba and Cheryl.

When The Bough Breaks

The last play was the most heart-rending of the four, with many audience members visibly moved. This confession piece centres around a widowed mother, whose narration makes the audience question the obligations we owe to the ones we love. The dramatic effect was heightened as a result of having only one character onstage, with her son and late husband unseen throughout.

In this play, one understands the role of a mother as one who offers unending support, love and care, even when their child is at their lowest. The death of her husband, accompanied by her son’s eventual suicide, calls into question if she had been a good wife and mother throughout the play.

Having to shoulder the weight of an entire play alone, Celine expressed that “It was quite daunting to the extent that I felt I had to carry the emotional range and energy of the full piece. I also felt a need to actively engage the audience, as opposed to building a dynamic with co-actors for the audience to watch.” Thanks to the support and encouragement of her batchmates, she was very convincing in her role as a mother.

The play also received praise from Mrs Nicola Perry, one of the school’s highly revered literature teachers, who said: “Well, I think Celine was excellent; yes it was very intense, but it was very subtly conveyed in the end. And it didn’t try to milk too much from the audience, it didn’t try to be overly sentimental. The metaphor was sustained, which could’ve been a little cliche, but they made it their own, she made it personal, her and the situation, so I thought it was very nicely done. It was gently provocative.”

One of the many impactful scenes in the play, thanks to the strategic changes in lighting.

Despite the manpower shortages and logistical challenges, many audience members were more than satisfied, with some, upon leaving the theatre, feeling like their $8 were “so worth it”. For the crew themselves, putting up the plays had also been an amazing experience.

Having worked on all the plays in one way or another, Vasu Namdeo had added, “I really really enjoyed this production because it felt like this was the most tight knit we have ever been as a batch. Everyone seemed to truly enjoy what they were doing. I especially liked the curtain call we had because I could see that even a seemingly mundane ritual was being enjoyed by members of the cast, crew and audience alike, and that’s just a fine dandy thing to see from the lights booth.”

It is always demanding when one tries to put forth so much within so little time, but somehow the team managed to pull it off and, to these authors, their efforts were truly impressive. Hopefully Rafflesians will continue to meet the upcoming arts events, such as the Broadway Babies production, with much enthusiasm. For without an audience, there is no theatre.

Night Night:

By Cheang Ko Lyn

Director: Cheang Ko Lyn

Cheney: Sreshya K. Vishwanathan

Misha: Vasu Namdeo

Dragon Lady Tells Truth About The Universe:

By Jovi Tan

Director: Celine Ng

Dragon Lady: Caitlin O’ Hara

John: Sarthak Panwar

Lew: Muhd Sufyan

Luke: Vasu Namdeo

Daisy: Cheang Ko Lyn

Shiba:

By Mohd Sufyan

Director: Mohd Sufyan

Cheryl: Sreshya K. Vishwanathan

Shiba: Chen Wen Wen

When The Bough Breaks:

By Isaiah Lee

Director: Aishwarya Manivannan, Cai Hai Yun

Jo: Celine Ng

By Joan Ang (17A01B) and Serafina Siow (17A13A)

Photos by Raffles Photographic Society

The Broadway Babies are nothing short of a miracle — having started out as a small Lit Night act of approximately 10 members, they have grown tremendously into a full musical troupe complete with ensemble and live orchestra, with over 40 members.

It is definitely no surprise, then, that their flagship production, No Day But Today, drew crowds of people to witness their pure talent and sold out three shows. The audience’s time was well-spent — this labour of love was excellent all around, showcasing both gorgeous singing and gorgeous production. Each Broadway tune was given a fresh twist, combining unique settings with familiar melodies. With a mix of ensemble pieces and solo acts, as well as a phenomenal live orchestra, the performances were absolutely stunning.

“Pop!” “Six!” “Squish!” “Uh-uh!” “Cicero!” “Lipschitz!”

One of the most striking pieces by far was Cell Block Tango, from the musical Chicago. Unlike in the original, the six merry murderesses of the Cook County Jail were swapped out for a mix of male and female vocalists, but they told their cruel tales with no less fervour, traversing the set with stomps that shook the grounds of the TSD and adding flavour to the emotionally charged song.

What perhaps was the most notable adaptation, however, was the translation of the Hungarian character’s (Hunyak) dialogue into Mandarin Chinese, with Zheng Yaxuan (17S07A) taking the role instead. This made it significantly easier for the audience to understand and appreciate — localising the segment, which would otherwise have been unfamiliar to them.

“Bohemia, is dead.”

Rent’s crowd-pleasing number, La Vie Boheme, was also a standout piece of the night, as the entire cast ran onto stage shouting and cheering, pulling two tables to centre stage. What may have surprised the audience, however, was that the act began with a rap rather than the accustomed melody — as Isabelle Yang (17S03B) began to rap part of Aaron Burr, Sir from Hamilton, and Marcus Devakishan (17S06Q) beatboxed.

The fun was cut short when Choo Ian Kang (17A13A), and one of the creative directors of the show, cameoed by striding in to deliver an eviction notice for “rowdiness”. Jeers from the ensemble ensued, which cued the orchestra to begin to play the opening chords of La Vie Boheme itself. The pure exuberance of the cast was contagious, pairing perfectly timed choreography with vocal precision.

Another particularly comedic piece was Company’s Little Things We Do Together, which featured Tan Xin Hwee (17A13A) and Izzul Irfan (17A01E) tussling with each other using martial arts moves, as a mortified Isabelle watched from the sidelines. The song itself was led by Saw Man Lin (17S06G) during freezes in the skit, and her vocals were almost effortlessly smooth. Man Lin’s deadpan performance throughout the skit, made the audience roar with laughter, and maintained the rich energy of the previous acts.

Ensemble numbers aside, the solo acts were also top-notch, both as vocalists and performers. Broadway acts are renowned not just for their high energy, showstopping numbers, but their incredible technical difficulty to master as well. Every soloist, however, performed their pieces with finesse — no mean feat, especially given their youth.

A voice that tugged at every heart in the audience

One of the most sensitive performances throughout the entire revue was the iconic On My Own from Les Miserables, performed by Kavya Sundar (17S03D). Exploring the pain of loving someone who would never love her back, Kavya’s solo was haunting. Every note was laced with heartbreaking emotion. For Kavya, “it was exhilarating, terrifying, painful and beautiful all at once.”

While the cast was mostly composed of Year 6s, the junior batch was not left out. Tara Teo (18A01E) and Timothy Chin (18S03B) performed a duet piece, the Oscar award-winning City of Stars from the musical film, La La Land. Here was yet another example of the sheer creativity of the production team: the song was reimagined in an airport, where a chance meeting between a businessman hurrying away on a flight and a waitress took place in a dream sequence.

Rising stars

Although the two actors had little experience with Broadway prior to No Day But Today this did not hold them back from their best efforts. Simple choreography accompanied their singing, making their chemistry both charming and engaging.

However, as the actors themselves acknowledged, it was not completely natural. Their first meetings had been incredibly awkward. Nevertheless the final product did not seem to reflect this initial nervousness at all, with audience member Jeanne Tan (17A01B) even remarking that they were “better than the original.”

“She is messy, but she’s kind. She is lonely, most of the time.”

The final solo act was a stunning performance of She Used To Be Mine from Waitress by Su Ying (17A01B). A song about a lost sense of self, the raw emotion that was conveyed through Su Ying’s dulcet tones brought a tear to many an audience member’s eye, including the two sitting behind one of our reporters. The song was bittersweet: a fitting end to the official set list of the production.

The sheer talent and skill of both cast and crew had made itself clear to the audience, and the colossal effort invested into the production had clearly paid off. The most memorable part of the entire experience were the short clips shown between performances, detailing the journey of the Broadway Babies.

As cast and crew members recounted their experiences joining the production, as well as their histories acting in previous musical productions in their secondary school days, one could not help but be proud of the group, and how far they had come. One particularly noteworthy anecdote was from MR Dramafeste 2014, where Marc Tham (17A03A) crossdressed as “Princess Beauty” in a musical directed by Choo Ian Kang (17A13A) and Samuel Ho (17A13A). “Ian Kang braided my hair,” Marc recalled, as both Samuel and Ian Kang burst out laughing.

Backstage snapshot from the performers’ youths.

Despite the hijinks of the ensemble members, their devotion to their art was admirable. Tan Xin Hwee (17A13A), Jessica Wong (17S03B) and Vicki Ong (17S03F) recalled the difficulties of their piece, Hamilton’s The Schuyler Sisters. “At each harmony, we would be singing three different things!” Xin Hwee exclaimed. There was a clear sense of camaraderie between the three, and among the rest of the cast as well: over the course of the production, they had become one big family.

After the curtain call, the entire cast began a round of Seasons of Love from Rent — one of the first songs that the Broadway Babies had performed at Lit Night, bringing it back to where they had first begun.

Quoth Isabelle, the creative director of the entire revue, “my feelings towards the cast and crew are basically just immense gratitude because I never even thought putting up something like this would be possible. I’ve said it so many times but I’ll say it again — they’ve made my dreams come true.”

In particular, she thanked the core production team (Ian Kang, Samuel, Alison Tan (17A13A), Mahirah Abdul Latiff (17S03B) and herself) for forming the backbone of the “crazy” production, as well as the orchestra, whom she deemed “extremely talented” and “gave her reassurance that the music would be absolutely amazing”. “I am supremely humbled by working with all of them,” Isabelle said.

From its fledgling days of singing Broadway tunes to the sky at Raja block to the final harried rehearsals, the entire production had been almost surreal. What the Broadway Babies have proved, nonetheless, is that with enough determination and passion, to chase your dreams, there is no better day but today.

by Elizabeth Leong (18S06G), Liu Enqi (18S03C)

For many, jazz brings to mind a distant era and faraway setting – a lively American nightclub in the 1940s, perhaps. Some may consider it elusive, especially compared to styles like pop or rock. Despite this, Raffles Jazz successfully acquainted its audience with the genre, immersing them in an afternoon of music last Thursday during their free concert, Power Trip.

Power Trip attracted a crowd which filled the TSD.

The audience was sprawled on various chairs and cushions on the floor as the first song was introduced: Saint Louis Blues, a lively composition written in 1914, one of the most recorded popular songs of that time. This was followed by It’s Only a Paper Moon, which included a violinist in the lineup – not a common instrument in jazz bands. Despite some puzzled looks exchanged between the band members, the song was smoothly performed without hesitation, with each solo drawing applause.

Next in the setlist was a Brazilian piece of the Bossa Nova subgenre, O Barquinho (Portuguese for “Little Boat”). The performance did well in conveying the quiet serenity of a small boat floating on the vast expanse of the ocean, as per the song’s intention.

Jazz brought in two funk and funk inspired pieces, which they explained as “derivatives of the jazz genre” — in that funk is deeply rooted in its direct ancestor, jazz. The first funk song, Wait for the Moment, was a charming piece originally by American band Vulfpeck. The emcee shared an amusing story with the audience: Vulfpeck once successfully crowdfunded a tour by releasing an album of silent tracks, Sleepify, on Spotify. Fans were encouraged to repeatedly stream the “album” as they slept, to increase the band’s revenue!

The Raffles Jazz batch of 2016 came onstage to perform the next song, The Way You Look Tonight. The year spent away from the CCA did nothing to diminish their skill, and the audience was left impressed with the strong vocals and improvisations on the keys, bass and drums. The existing club members took the stage again, revisiting the funk subgenre in their performance of the second funk song, Nakamarra, a Grammy-nominated piece by the Australian quartet Hiatus Kaiyote.

A lineup of talented musicians.

Perhaps the most recognisable piece of the afternoon was Someday My Prince Will Come, a Disney classic from the 1937 animated movie Snow White. Its familiar, delicate melody transitioned into a livelier version of the song, with bouncing chords, interesting violin parts and confident solos on the keys and bass. This concluded Raffles Jazz’s setlist for the concert.

But the audience was not left disappointed, as many “jamming songs” were also performed for their listening pleasure. These included Corcovado, a Bossa Nova piece with smooth vocals, L-O-V-E by Nat King Cole and Bag’s Groove by Milt Jackson. The jazz standard Fly Me to the Moon was performed with lively belted lyrics and solos on the electric guitar and keys. Before their performance of My Funny Valentine, vocalist Kaye warned the audience that the song was “impromptu” and had not been practiced much. “I’m reading the lyrics from my phone,” she sheepishly admitted. This was, however, an unnecessary warning as the performance was remarkably cohesive, with reassured improvisation and a steady rhythm, showcasing the performers’ skill.

The J3 batch never failed to impress the audience!

When Alice In Wonderland, a surprise item again by the recently graduated batch, was announced as the last song of the concert, the audience let out a disappointed chorus of “aw”s. It was a fantastic finale, again allowing the musicality of the performers to shine. A huge round of applause began as the final notes rang out. The audience took their time in leaving the venue, many still in awe at the show they had just witnessed.

In relaying the background of each performed song and delivering beautiful renditions of each piece, Raffles Jazz certainly made this genre of music accessible to the Rafflesian community. The inclusion of jazz-inspired songs from the 2000s (Nakamarra and Wait for the Moment) served to challenge the misconception that jazz music is a thing from the distant past, but instead a constantly evolving, dynamic art form. The audience not only brought home memories of an extremely enjoyable experience, but also new knowledge regarding jazz and its subgenres. This was almost entirely owed to Jazz, as they endeavoured to explain the context behind each song — its history and the narrative that accompanies it. It was indeed a wonderful afternoon for all.

If you did not manage to catch Power Trip, or would simply like to see Raffles Jazz in action again, fear not! They will be holding a concert this May, with details to be released closer to the event.