A cupboard full of curious shells each one a voice from a distant shore You put one to my ear and told me I would hear the sea. A gazillion coin tricks ok…maybe more like 5 or 7. You’d rub … Continue reading
The misanthropic city reveals itself in the weathering of architecture and pavement An erratic day of sunshine striated with clouds. Brought together in circumstances where survivalism divides us. The trees were lush, drenched with summer White tiles bleached with golden … Continue reading
grey skies and clipped branches little cracks in the pavement tiny stones barely noticeable on foot suddenly become a hazard when balanced on a board. Falling is part of the journey. you tried to teach me this a long time … Continue reading
On 31 March 2016 there was a Townhall meeting organised to discuss the artistic direction of The Substation.
The Substation’s tagline is ‘A Home for the Arts’ (The Substation 2016).
It is difficult to be so far from ‘home’, not being able to fully participate in discussions about its future. So these are some initial thoughts, in lieu of being present, being there. Being ‘home’.
11 December 2015: The Substation’s new artistic director, Alan Oei, announces plans to phase out venue hire at The Substation and major renovations of the space so that it will be able to house two artists, for two months residencies throughout the year.
January 2016: The Substation announces the end of its dedicated film programme Moving Images, as well as First Takes, a platform where budding filmmakers presented new films to their first audience.
February 2016: Punk gig organiser Shaiful Risan laments the closure of well-managed, independent venues for ‘noisy people’ (Risan in Atmos 2016). Artist Godwin Koay points out that ‘we never owned this space’, a testament to ‘a failure of its many users to stand against pressures coming from state driven trajectories of growth’ (Koay 2016).
Where are the places for practices that challenge our understanding of what ‘art’ or ‘performance’ is in Singapore? Are these places negotiated, or claimed/appropriated? Is a ‘Home for the Arts’ built or allocated?
I remember the Substation, including its garden and the S11 nearby, as a place that supported a diversity of local artists who were pushing the boundaries of disciplines in their effort to express themselves. I remember the garden as the site of the first SRT Young Company performance directed by Wendy Ng in 1997. As an untested actress feeling my way around the theatre scene in Singapore, the garden was a place for exploration. The beautiful trees offered their branches for mischievous climbing (though you had to be prepared to get bitten by ants) and its roots offered a place to curl up in when you needed some solace (mosquitoes notwithstanding). I would return many times to The Substation theatre (Fall of the House of Usher (1999); Saturday Night (1998); Performing Words (2003)), its garden (Peace Concert (2003); a monologue from Caryl Churchill’s Cloud 9 (1999)) such that when I started to understand what my practice might be, The Substation seemed like the best place for testing that practice through performances like Postcards from Persephone (2000), projects like Digital Compassion ‘02 (2002) and ‘street x art’ experiments like Pulp (2003).
Over and above that infrastructural support provided by The Substation, was the ecosystem created by the many Substation artists, and practitioners, who took the time to challenge young practitioners like me, always informally, at places like S11. Lee Weng Choy once said in an interview,
Art is a public conversation. Art is about having a public, no matter how small that public is. That’s been at the core of what The Substation does: it allows for individualism and it recognizes that individualism has to have its public, and its community. We’ve always been doing that; it’s a role that hasn’t lost any relevance or urgency (Lee in Martin 2013).
Are these places for untested artists disappearing? Is this what made The Substation a ‘home’? And if a home for provocative expression is something that many artists seek to defend, what are the shared responsibilities of nurturing an environment for the arts that enables this expression?
At the same time, I am aware of the trappings of comfort, familiarity, belonging – concepts that one might associate with the word ‘home’. Acceptance that can turn into tacit conformism. At Space, Spaces, And Spacing, a Substation Conference in 1995, T. Sasitharan cautioned against subscribing to the narratives of smallness that limit our imagination. He also said that ‘the worst thing about this lie…tied to the story of smallness, is the notion that space here for the arts too is necessarily small and limited. And we have bought this without subsequently learning the strategies of reclamation’ (Sasitharan  1996: 55). This narrative of smallness is an idea that feels quite relevant today, in light of the Townhall meeting, even as Sasitharan reminds us that ‘culture and the arts are hardy, desert flowers, quite capable of blooming if they have to in barren, hostile landscapes’ (Ibid.).
Is the Substation the only place where untested artists who have yet to build a body of work can enter into meaningful conversations with experienced arts administrators and discover collaborative ways of making with more established artists/practitioners? Are there other places where one might meet with more established artists who are still exploring the limits of their practice and in doing so, be challenged to deepen their own practice? And if not, should this not prompt us who care about the growth of the arts community in Singapore to create more opportunities for emerging artists to do so? Perhaps, like bell hooks once said ‘I had to leave that space I called home to move beyond boundaries, yet I needed also to return there….At times, home is nowhere. At times, one knows only extreme estrangement and alienation. Then home is no longer just one place. It is locations.’ (hooks 1990: 148). Home is a place that is made and often, it is through struggle that one secures some semblance of the environmental conditions that one associates with home.
So even as I recognise that the Substation was ‘home’ in many ways for me, I’ve gleaned (through various conversations with young artists, certainly not a critical mass) that this is what seems to be lacking in Singapore now. There’s need to create more places for young artists to engage with, and possibly collaborate with, those who are established and who continue to grow their practice in the arts community. The Substation should not be the only place where this is possible. It should be one of many and it is up to us to make it so.
Finally, some thoughts and responses to the FAQs and the information releases that have been put out over the last month:
#1 The Substation hasn’t changed. Everything has!
A Home for Making, Not Showing
6. The Sub has become a home for showing – exhibitions, programmes, screenings, etc. It is providing content rather than artistic vision…
7. The Sub should refocus on how to fulfill Kuo’s vision of making – putting process, practice, thought and experimentation above the final product – in the complex landscape.
As The Substation moves towards research-oriented (and process-focussed) Artists-in-Residencies (AiR), I wonder if there might be a false binary drawn here between ‘making’ and ‘showing’ in performance/practice-research. As an applied theatre practitioner and researcher my experiments often take the form of workshops that inform the practice that I’m developing. The workshop is a form of sharing (‘showing’) what my practice is, even though it is still a practice-in-the-making. And I gather, from what I’ve heard/seen of my colleagues who are engaged in practice-as-research that some form of showing (conference presentations, work-in-progress sharing sessions) is an important part of making for them. In Central School of Speech and Drama, there is also an annual showcase for Practice-as-Research PhD candidates called Collisions. Collisions feels like a work-in-progress showing with the valuable opportunity of opening up the research process thus far to the audience and inviting perspectives that very often are a useful source of ideas when one gets stuck. So while it might be useful to highlight to funders that the AiR will not be outcome-oriented, perhaps it is also worth keeping in mind that making and showing are not exclusive, and can occur simultaneously, organically expressing itself as mixtures of both in performance/practice research.
#2 Mar 4: Artists have real stakes
Reading through the transcripts of the earliest Substation Conferences (Lee 1995; Lee 1996; Kwok et al. 1999), the Substation’s 25th anniversary book (Wong 2015), and the two documents on The Substation’s website: ‘The History of The Substation’ (Wong [no date]) and ‘The Role of The Substation in Singapore’s Arts Scene’ (Lee [no date]), I get the impression that The Substation, and many of its Associate Artists, have always been conscious of the ways in which their practice has ‘real stakes’. This was not just an awareness and aspiration regarding the role of the arts in Singapore. They were also very conscious of how the global and the local are fluid, constantly changing yet mutually constituted, not just within the arts, but also on many intersecting social and political issues of concern.
The Candlelight Concert for Peace at the Substation in 2003 might perhaps be cited as one such example. Even though there were those, including former journalist Chua Lee Hoong, who dismissed the event as a ‘postured defiance of societal norms’ and stated that she would rather donate the money saved on candles to Mercy Relief (Chua 2003), given the restrictions placed upon protests in Singapore (then?), such artistic events made visible the ‘we’ who opposed the pre-emptive war in Iraq.
FAQs: ‘The true measure of when it’s successful again is when its independent voice can resonate at a national level. For us to do that, it also means that it cannot just be the arts community supporting The Sub. It needs a larger traction of middle class Singaporeans so that for instance, when we have disagreements with the State, it cannot arbitrarily pressure us. But that is not to say that we are deliberate troublemakers, but that we want to be able to talk about difficult things in serious ways using the arts – to discuss about issues in measured and balanced ways’ (Oei 2016).
In desiring to cultivate a certain middle class profile of supporters for The Substation, there seems to be an assumption of some majority consensus in opinion amongst middle-income individuals. But this seems misguided, particularly when people often take positions on issues that concern a loss of place (like MacRitchie) based on personal values that may not be related to social or cultural capital that relates so neatly to income levels.
The ‘we’ present at the Candlelight Concert for Peace (2003) was constituted by people of all income levels, mostly across the arts community but there were also those who would not consider themselves artists. They felt it was important to be there, to visibly form the ‘we’ who did not support the war. To borrow from Judith Butler’s speech at Occupy Wall Street, where every line was repeated (in italics below) by the crowd so that all gathered could hear the message:
We’re standing here together making democracy
We’re standing here together making democracy
Enacting the phrase
Enacting the phrase
‘We the people’
‘We the people’ (Butler et al. 2011)
This was not a ‘we’ formed by consensus. This was a ‘we’ that had many different perspectives on alternative economic systems and what ‘fair’ might be. But that pluralism is representative of ‘we the people’.
And as The Substation strives towards making ‘its independent voice resonate at a national level’, I would argue that it is important to remember that the ‘we’ emerges from people who care enough, regardless of ‘class’. Courting influence should not be undertaken at the expense of Substation’s credibility (built up over the last 25 years through its support of diversity) in representing that collection of alternative voices regardless of how niche they might be.
And losing that credibility would be a shame because, I suggest, that representing the complex pluralism of the ‘we’ and persuading people to care enough, is precisely where the influence of the arts lies.
Returning to the Townhall meeting: I couldn’t be there, to physically form the ‘we’ concerned about matters of ‘home’. So this is a virtual postcard that hopefully contributes a little to that conversation. And if all this was already covered, already discussed, please do share so that those who cannot be there might have some news of ‘home’.
Atmos (2016) Perspectives: The Substation, atmos, http://atmos.sg/perspectives-the-substation/ (accessed 31.3.16).
Butler (2011) Judith Butler At Occupy Wall Street. Liberty Square, New York City. https://www.youtube.com/watch?v=JVpoOdz1AKQ (accessed 31.3.16).
Chua, L.H. (2003) ‘Me? I’d Rather Save The Money On Candles…’, The Straits Times, 2.4.03: 18. http://eresources.nlb.gov.sg/newspapers/Digitised/Issue/straitstimes20030402-1.aspx (accessed 31.3.16).
Koay, G. ‘We never owned this space: Beyond the rupture of the New Substation’, Medium, 2016, https://medium.com/@godwinkoay/we-never-owned-this-space-8f864dc05eed (accessed 31.3.16).
Kwok, K.W., Kwa, C.G., Kong, L. & Yeoh, B.S.A. (eds.) (1999) Our Place In Time: Exploring Heritage And Memory In Singapore, Singapore, Singapore Heritage Society.
Lee, W.C. (no date)
a) Artistic Mission, the substation, http://www.substation.org/about-us/artistic-mission/ (accessed 9.3.16)a).
b) The Substation’s Role in Singapore’s Art Scene, . http://www.substation.org/wp-content/uploads/The-Substation%E2%80%99s-Role-in-Singapore%E2%80%99s-Art-Scene_LeeWengChoy.pdf (accessed 31.3.16).
Lee, W.C. & Davis, L. (2003) An Active Civil Society is Central to the Anti-War Cause, think centre singapore, http://www.thinkcentre.org/article.php?id=2024 (accessed 4.3.16).
Martin, M. (2013) ‘The Substation! Old photos! Small talk with the artistic directors!’, TODAYonline, http://m.todayonline.com/blogs/forartssake/substation-old-photos-small-talk-artistic-directors, 18.01.13 (accessed 8.3.16).
Oei, A. ‘BACKGROUND / EARLIER PROPOSAL MAY 12 2015’, Scribd, 2015, https://www.scribd.com/doc/300578396/BACKGROUND-EARLIER-PROPOSAL-MAY-12-2015-By-Alan-Oei (accessed 5.3.16).
Oei, A. (2016)
a) Mar 4: ARTISTS HAVE REAL STAKES, facebook, https://www.facebook.com/thesubstation/posts/1213880811976194, 04.03.16 (accessed 1.4.16).
b) FAQs –The Substation Walk-in Sessions 2016, facebook, https://www.facebook.com/notes/the-substation/faqs-the-substation-walk-in-sessions-2016/1215580978472844, 07.03.16 (accessed 01.4.16).
Sasitharan, T. (1996) ‘Art Here: What Price Space?’ in Space, Spaces, And Spacing: The Substation Conference 1995, Singapore, The Substation
Wong, A. (no date) The History of The Substation, The Substation, http://www.substation.org/about-us/history/ (accessed 03.03.16).
—– (ed.) (2015) 25 Years Of The Substation: Reflections On Singapore’s First Independent Arts Centre, Singapore, The Substation/Ethos Books.
this is when it begins.
hunger makes the food taste good.
after rehearsals or an opening
unwinding over food and
fall into reminiscing
I learnt about theatre
it was better than clubbing.
straws are wound into roses
that unfurl into ribbons
a vague, seemingly ridiculous idea
finds collaborators and
a project takes shape.
the last bus passes,
but it doesn’t matter.
capturing that moment
when an idea finds its form
the rain beats down.
I faintly remember the sound it made on the tin roof.
the smell of hot soup.
how windy it can be when it rains.
warm-up with another teh alia.
someone starts drumming on tables and singing
and I start to join in.
on a cold rainy night @Substation
S11 throbs with dreams.
some intensely saturated green neon sign.
bleeding into bright white light…
where nothing seemed impossible.
Infinite blue skies
merged with your blue walls
we talked about what we would become.
At 15 you were already 27
impatient for the responsibilities of being
a mother, a wife.
Our lives were already
bound for diverging paths.
I don’t remember studying together
time together was too precious…
Soft white cotton from yesterday’s halloween costume
caught up with baby green leaves
rolling down the pavement like tumbleweed
far from home.
I am transported…
back to your room again.
There were books (weren’t there?)
Neil Gaiman (mine) and Margaret Atwood (yours).
I remember talking and dreaming.
the end of an infinity of
in a time without
There was no way of knowing
(what others thought)
and we learnt not to care.
They were tiny grey pebbles
on haphazardly-laid concrete tiles
(perhaps something worth remembering,
even more important now,
when we are not allowed to forget)
There were too many
to catch before they fell.
Each one a cradle
After the fall…
crumpled green cans
litter the asphalt
showing up dirty white cigarette butts
flayed and exposed
tumbling sideways and laughing
but you were not there anymore.
*This is part of an experiment with poetry, film and movement. Click here for the link to the film.
One of the ideas that I greatly value from Edward Soja is the concept of Thirdspace.
Soja uses ‘Thirdspace’ to describe ‘a constantly shifting and changing milieu of ideas, events, appearances, and meanings’ that provides new alternatives, opportunities and possibilities for openness and diversity (Soja 1996: 2, 99). Building on Lefebvre’s ‘lived space or social space’, Soja’s Thirdspace, is arguably more future-oriented and offers broader scope for intervention. Lefebvre’s ‘social space’ describes how social hierarchies are prescribed according to one’s age and gender, maintained through relationships of employment and transaction within the ‘space of society’ (Lefebvre  1991: 35). Soja’s Thirdspace acknowledges how the lived experience of a particular location can vary according to one’s gender, race and social status, but reaches beyond one’s lived experience to include one’s aspiration for this particular location, and one’s lived experience within it (11). This conception of Thirdspace goes further than Lefebvre’s ‘social space’ or ‘lived space’ which focussed primarily on the shifting simultaneity of present meanings created through one’s social interactions with others within a site. In the context of Singapore, Thirdspace could be conceived as all futures possible and the multiplicity of places possible within it.
Forgotten sentinels of a better world
They fought for a life they should have had
They dreamt of a life we should have
believing that even though it would take time
every little step forward
is worth fighting for.
There are no protests anymore
The streets are cleaned every day
tired and battle-weary
no one left to carry on.
The young have their own visions
and time moves on.
One day my dreams for the future
will just be another anecdote
a reminder of the past
Walking through a house of heartbreaks
littered with the corpses of failures
hanging lifeless, upside down,
displayed for all to see.
Uncanny gallery of battle wounds
the scars still hurt
after they heal.
This is not another broken-hearted poem
but it is about love
Worried about losing the now
because things could always be much worse.
Taking the slaps
because it is easier than losing a home.
Wanting less pain
but not fighting for it because somehow
we’ve learned to believe
that we get what we deserve.
And that suffering builds ruggedness of character.
And the hurt increases with each ask…
risk that heartbreak
follow that dream
(and make it real)
is no more than
the others before.
There is nothing more depressing
than wandering with the ghost of a dream
and living each day
in exactly the same way as we did
50 years before.
Keeping to the same limits
prescribed for each of us
with boundaries drawn in for us
in accordance to our merits
(determined by someone other than ourselves)
Dare we pursue the possibility of being
much much more than a cog in the machine
of one man’s dream?
This is not another broken-hearted poem
but it is about love.
Awards & Festivals
Performer, W, Design Festa vol 35, Tokyo (2012)
Speaker, Performing Arts Today Conference 2009, Leibring bei leibnitz, Austria (International University of Global Theatre Experience)
Singapore Arts Festival Gala Opening 2004: TGV
Singapore Film Festival (2004): 576 by CheeK
TRANSIT IV: Roots – International Theatre Festival & Meeting in Holstebro, Denmark (2003)
Pulp (2003) – Project Director for the first-ever Street vs Art international festival featuring 30 artists/groups from Singapore, Canada, France, UK, Thailand and Malaysia
Asian Television Awards – Singapore Short Stories Project, Best Drama Series, Best Cinematography and Best Editing (Long Form)
The Magdalena Project – Performing Words 2003 Singapore
Nominated Best Actress 2000 – Life! Theatre Awards
Most Promising Newcomer 1999 – The Flying Inkpot
Publicity Coordinator, Sneaker Pimps Exhibition in Singapore (2004)
- Sneaker Pimps is the first and only international touring sneaker exhibition of up to 400 rare limited edition, artist collaborated/customised sneaker from all over the world.
- Sneaker Pimps is touring in Australia, US, Hong Kong, Tokyo, Canada, London, Paris, Stockholm, Berlin, Munich, Barcelona, Amsterdam, Brussels and Prague.
Project Director, Pulp (2003)
- Raised $17,000 in funding and attracted 30 international artists/groups from Canada, Thailand, UK, France, Singapore and Malaysia to participate in this free-to-public, 3-day Street Vs. Arts festival over 28 – 30 November 2003.
- Pulp pioneered many artistic “firsts” including Graffiti vs. Visual Arts, Bharatanatyam vs. Breaking, Tablas vs. Hip Hop Emcee and Percussion and DJ Adam H accompanied by live visual mixing provided by Fake.
- Pulp was followed by an exhibition of works called Pulp: Street x Art from the festival from 10 – 21 December 2003, co-produced by the2ndrule
Organising Committee, Magdalena Singapore 2006 (2003 – 2004)
- Co-organised the first Magdalena Singapore meetings for Singaporean performers.
- Performed as part of a showcase at the end of the Performing Words workshop organised by The Substation.
Volunteer Organising committee, AWARE It’s My Life! (2003)
- Co-organised a series of sexual harassment awareness and self-defence sessions for young women at Pertapis Girls’ Home
- Created monologues towards a performance at the end of the It’s My Life project at Pertapis Girls’ Home.
Volunteer Co-Director/Publicity & Marketing, Digital Compassion 02 (2002)
- Publicised a series of 6 short films exploring the concept of Digital Compassion
- Coordinated the raising of funds from the screening for Singapore Children’s Society.
Company Manager, Singapore Repertory Theatre Young Company (1998 – 2001)
- Drafted contracts for the performers
- Kept attendance records
- Attended to welfare of the company
- Performed for Singapore Arts Festival’s Late Night Series (1999)
Sam (main supporting) in Clouds In My Coffee (2003), directed by Gallen Mei
Yuki (main supporting) in 576 (2003), directed by CheeK
Eve (Episode lead) in Code of Law: Episode 8 (2012), directed by Thean Jean
Ophelia (Episode lead), Singapore Shakes: Seventh Month (2004), directed by Remesh Panicker
Wendy (Main cast) in Oh Carol! Season 1 & 2 (2003), produced by Mediacorp
May (Main) in The Singapore Short Stories Project I: Vocation (2003), produced by Film Formations
Josephine (Guest) in Restless (2002), produced by Film Formations
Gwen (Guest) in First Touch: Ep 3 and 12 (2002), produced by Mediacorp
Woman (lead) in The Optic Trilogy (forthcoming, 2016), directed by Kim Pearce (London)
Co-Director/Shadow Artist in SHAME (2014), directed by John Berkavitch (London)
Performer in TGV for Theatreworks 72-13 Opening (17/9/2005), created by the2ndrule
Performer in TGV for Singapore Arts Festival Gala Opening (2004), created by the2ndrule
Bartender/Leah/Ensemble in Prelude to a Kiss (2004), directed by Krishen Jit
Nat (Main) in Jointly and Severably (2003), directed by Claire Wong. Written by Eleanor Wong
Performing Artist in Performing Words Singapore (2003) led by Gilly Adams and Geddy Aniksdal
Miranda (Lead) in Prospero’s Children (2002), directed by Guy Holland (Quicksilver Theatre)
Produced and performedCallie (Lead) in Stop Kiss (2002) under Livid Room Productions, directed by Mark Richmond. Written by Diana Son
Hide & Seek (2001), directed by Sam Haren
Lulu (Lead) in Shopping and F***ing (2001), directed by Beatrice Chia. Written by Mark Ravenhill.
Performed nine different roles in Postcards from Persephone (2000) under Livid Room Productions. Written by Wang Meiyin
Lin Xiao Ding (Main) in Ah Kong’s Birthday Party (2000), directed by Ivan Heng
Madeline (Lead) in The Fall of The House of Usher (1999) at Singapore Arts Festival Late Nite Series with the SRT Young Company
Nanny/Principal/Kate (Lead) in Baby with the Bathwater (1999), written by Christopher Durang.
Shizuka (lead) in Doraemon (2003)
Breaking News (2002)
The Effect of Gamma Rays on Man In The Moon Marigolds, SRT Young Company (2001)