In Singapore’s eastern neighborhood, Bedok Town Square has seen dynamic changes recently. Just after serving as a polling site early this month, it transformed into a temporary art space. This new incarnation invited everyone to discover their spot within a constantly changing landscape during the Singapore International Festival of Arts (SIFA).
The 48th iteration aligns with Singapore’s 60th year of independence. Presented by Arts House Limited, this year’s SIFA comes back themed “More Than Ever,” showcasing an extensive lineup including 15 locally commissioned works and four international shows up till June 1st. The event primarily includes multidisciplinary installations and performances.
“Indeed, it mirrors the changing cultural scene in Singapore. Once the country gained stability, the arts began to embody its essence,” stated festival director Natalie Hennedige, wrapping up her four-year term with SIFA this year. She shared these insights during an interview conducted between May 16-18 on a press tour.
I view the festival as an expanding phenomenon. It encapsulates the essence of both Singapore’s stories and broader global tales from the perspective of Singapore.
Singapore transitioned from small fishing communities to become a major international center. Previously under British and Japanese control, the island achieved self-rule in 1959 and gained full independence from Malaysia in 1965. Following this, the urban state rapidly developed into a leading global finance hub. The population encompasses various ethnicities such as Chinese, Malays, and Indians.
For the first time, SIFA extended its reach to include performances in an improvised pavilion. Amidst the hustle and bustle of daily activities at Bedok Town Square—a communal area connected to a shopping center, transportation hubs, a bustling food court, and residential towers—stood a coral-themed wooden structure named “Beneath Tide, Running Water” by artist Wang Ruobing. This construction symbolizes not only the foundation of a marine environment but also serves as a representation of the island nation itself. Through this piece, which incorporates recycled materials into mobile organisms and seaweed-like forms, Wang draws attention to pressing issues like oceanic contamination and global warming. Moreover, her creation functions as a backdrop where performers can narrate stories from Singapore’s history.
Her platform kicked off with a remarkable performance called “The Sea And The Neighbourhood.” This art piece was inspired by Bedok’s seaside history and showcased an explosive display of dynamic movements. Under the direction of choreographer Christina Chan, ballet dancers leaped, floated, and zipped around the setup/performing area, executing such agile stunts that made time seem to speed up. Additionally, Philip Tan’s musical score provided versatile rhythms for their synchronized actions, capturing the flow of waters surrounding Singapore. Meanwhile, Brian Gothong Tan used video projections blending archived clips and digital visuals on dual LED screens to map out the region’s nautical origins.
At the same time, Little SIFA offered family-oriented shows at Empress Lawn—a park and historical area close to the Singapore River—to attract younger viewers. Drawing inspiration from his youthful recollection of voyaging from Clifford Pier to Kusu Island for religious purposes, “The House Between The Winds” by Yang Jie traces Singapore’s evolution as a port city situated amidst trade wind routes. According to him, this event included a parade representing devotees making their journey across the lawn. Additionally, it showcased a textile artwork narrating tales about key commodities like nutmeg, coconuts, and rubber during an era when the nation experienced significant economic expansion.
I came of age surrounded by structures such as HDBs and MRT stations. These tales are often shared through our parents’ narratives. Without passing these stories along somehow, they risk being forgotten,” he stated. “Discovering our identity is crucial. It’s essential to understand how we reached this point and establish our place within the broader regional context.
The work “Umbilical” by Rizman Putra and Zul Mahmod, along with “thesupersystem,” made the strongest impact on me. The piece combined elements of live theater, musical scores, projected visuals, and AI technology to simulate childbirth. In a darkened space, participants relived the journey through the womb back to birth. A lone figure dressed in black traversed the stage, transitioning from a fetal position to full human form. Drawing inspiration from the Theater of the Absurd, this performer shed an umbilical cord covering themself and adorned a self-sustaining outfit before breaking away—a metaphor for constructing one’s identity, particularly reflecting Singapore’s separation from Malaysia in 1965. Despite some confusion due to minimal spoken lines, imagery depicting urbanization provided a larger framework tied to national development themes.
Considering its history of colonization and diverse population, SIFA provides artists with the chance to explore their connection to the center via reinterpretations of classic works. In this vein, George Orwell’s “Animal Farm” is staged using puppetry. The director, Oliver Chong, mentioned reading the book multiple times; however, at age 48, he saw it as a reflection on human suffering—greed, rage, and disenchantment. By recast-ing Orwell’s political satire, the production became relevant during periods of societal unrest. Chong combined characters and scenarios and condensed various sections into five segments for a livelier pace. Additionally, the puppeteers played a significant role onstage. Nonetheless, this rendition adhered closely to the source material without introducing fresh perspectives.
By highlighting local artists, SIFA has also gained recognition internationally through four global productions. “LATTICE” by Karyn Nakamura, a Tokyo-born artist based in New York who specializes in visual forensics research, presents a disorienting, surrealist video installation located at the Funan Basement 2 Underground Pedestrian Link. This piece showcases various views of Singapore, particularly its bustling cityscape and waterways, depicted in an abstract manner across six screens lining the lengthy tunnel. Without glimpses of human forms, one might easily perceive her artwork as nothing more than glitches.
To conclude, “Told By My Mother,” created by Lebanese choreographer Ali Chahrour, conveys a profound sense of maternal sorrow. Inspired by his personal background and war-torn Lebanon, this performance unfolds as a poignant tale encompassing two distinct mother-son dynamics. Despite being staged in Arabic with English translations available, these linguistic and cultural obstacles posed challenges for comprehension. With many parts almost devoid of action, much was left open to interpretation through feelings of loss alone. However, moments where actors thrashed about or sprawled across the stage filled me with anticipation.
For me, SIFA mirrors Singapore as a whole. Not only does it understand its role domestically, but it also extends its reach globally. Conscious of cross-border issues, SIFA pushes my limits to overcome various obstacles like prejudices that divide us, languages that create barriers, or physical separations. As Hennedige put it: “Now more than ever, art is crucial since we must move past our isolated perspectives, embrace varied viewpoints, and consider different experiences.”
Provided by SyndiGate Media Inc.
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