Fabian Schmid
“fly me to the moon…”
“Fly me to the moon and let me play amongst the stars…!” writes Bart Howard in the popular Jazz tune. “Fly me to the moon” — what’s the big issue? Am I not free to do as I please — book budget air tickets to go wherever I want, get on Skype to talk to anybody in the world for free, learn to sky dive, dance Tango Argentino, or get my PhD through an Open University? Let’s go and fly to the moon! It is one click away and you can do it if you really want to. Just jump on the net, Google “space tourism” and away you go!
Don’t you consider that freedom? I do, but then, what is “all that jazz”? I assume that’s where the consequences come into play. Space tourism? Can’t do the space thing because of my account — it is empty.
“Fly me to the moon and let me play amongst the stars”. Fly, moon, play, and stars — it sounds like vision, longing, desperation, and desire. Actually, …
Ng Yi-Sheng
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Happy Year of the Ox, dear browsers! To herald the new and bid farewell to the old, I’ve drawn up a list of artsy people based in and/or from Singapore, singling them out for being interesting, independent and (thus far) a little unrecognised.
It’s a personal response to the front-page article of Straits Times Life! at the end of last year (“FEEL THE POWER”, Thursday, 4 December 2008). You see, every year since 2005, ST has published an annual Power List — a ranking of the ten people/groups in Singapore who’re most important to the arts scene, in their eyes. And this time round, the list was, in the words of one of my friends, “shit”.
Take a look at the lineup:
1. Lee Chor Lin, 46, director National Museum of Singapore
2. Michael Koh, 46, chief executive officer National Heritage Board
3. Esplanade programming team led by JP Nathan, 53, director of programming
4. National Library Board Dr N. Varaprasad, 60, and team
5. The Necessary Stage Resident playwright Haresh Sharma, 43, artistic director Alvin Tan, 45
6. …
Tony Makarome
Sketching of a solo…
I teach a course about the materials of jazz music at the Yong Siew Toh Conservatory of Music (NUS), and each year, my students are surprised to learn that jazz musicians actually think and make conscious choices during their improvisations. Another shocker is that jazz musicians actually need to master their “theory” before they can effectively “play by ear”, bearing in mind mastering your music theory does not mean learning musical nomenclature or someone’s opinion about how music should behave. Rather, in its basic form, knowledge of music theory refers to an understanding of how musical materials relate to one another (acoustically) or how composers and performers of different styles of music create and use their personal musical language.
This is best achieved through active listening to the kinds of music you love and wish to emulate. Over time, you will develop a sort of “intuitive” understanding of how one musical idea relates to another. I placed the word “intuitive” in parenthesis because it relates to a paradoxical idea that (in music) intuition is better than …
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Susie Lingham
… ad lib…
“…. we ask God to free us from ‘God’ so that we may be able to grasp and eternally enjoy truth where the highest angels, the fly and the human soul are all one – in that place I desired what I was and was what I desired.”1
Reader, although the words above are the 13th Century C.E. Dominican mystic-theologian Meister Eckhart’s, let us imagine that, perhaps just before the mutiny in heaven, Lucifer prayed (not yet fathoming the depths of his own desires), his desire for equality and truth coupled oddly with his desire to be desired – his desire for freedom from hierarchical strictures cuffed to his desire for self-empowerment. It was this noble prayer that set freedom free amongst the ‘dogs of war’; it was this ‘heretical’ turn of mind that set the angels nervously whispering: ‘Havoc’!
Brutus, red-dripping knife in hand, not seeing the dogs of war lurking, shouts:
‘Liberty! Freedom! Tyranny is dead!
Run hence, proclaim, cry it about the streets!’
Alas, poor, deluded, murderous Brutus: Shakespeare consigned wisdom to the tongue of one less …
presented by Ho Tzu Nyen and Fran Borgia, 11 – 13 June 2008
review by Amos Toh
Based on critical essays by Marvin Rosenberg, Jonathan Goldberg and Wilson Knight, Ho Tzu Nyen and Fran Borgia’s The King Lear Project: A Trilogy attempted to eviscerate the difficulties of performing one of Shakespeare’s most contentious tragedies. Conceived on the scale of a precisely controlled spectacle, The Project spanned three nights at the Drama Centre, demanding a high level of commitment and investment to witness its full deconstruction. Paradoxically, this placed pressure on the artists to not only sustain a coherent theatrical dialogue throughout, but also ensure each show remained separately individual such that any theatregoer watching only one of the three plays would understand the events unfolding during that performance.
However, this responsibility was largely unfulfilled, especially during the third night, which raced into its deconstructionist agenda with minimal regard for new audiences. A tediously staged Question-And-Answer component–repeated five times to illuminate different perspectives on the staging of the concluding scene–compounded their bafflement and frustration.
While the trilogy’s intentions were noble–Ho and Borgia …