| THE STRAITS TIMES | TUESDAY, NOVEMBER 28, 2017

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Making up the expanded team at Teater Ekamatra, which celebrates its 30th anniversary next year, are (from far left) resident designer Akbar Syadiq, associate artist Munah Bagharib, company manager Erny Melissa, artistic director Fared Jainal, company director Shaza Ishak and associate artists Irfan Kasban, Ruby Jayaseelan and Eric Lee.

STILL YOUNG AT ART

The Straits Times speaks to super high production values, but contemporary language and style has contributed to its longevity in will invite six drama companies to now so does everybody else.” for Malay theatre. the scene. reinterpret plays from three long-running art groups about She adds that competition is from In 1995, Lut handed over the reins Effendy and his successor Zizi decades of its repertoire as short, not just other theatre groups, but to poet Rafaat Hamzah, actor Azah Abdul Majid also set up train- one-man performances. renewal, staying relevant and also visual arts festivals, museums – Zamberi A. Patah, and interdiscipli- ing frameworks that nurtured Fared says: “It’s for us to engage where Singaporeans get free access nary artist Zai Kuning, along with younger artists including Shaza. with people we’ve not thought challenges ahead – and even Netflix. theatre-maker Noor Effendy She and artistic director Fared about or talked to, to understand “Do you want to watch House Of Ibrahim. The latter left for the Jainal are part of an expanding what’s out there so we are con- Cards or come to SRT’s Hand To United States two years later, but team which this year added com- nected to the larger community.” God? That’s a tough one,” she says. returned to lead the troupe from pany manager Erny Melissa and res- Over at SDT, artistic director Ms Nors runs the company until 2001 to 2006. ident designer Akbar Syadiq. Janek Schergen says the question of 2020, while SRT’s artistic director Effendy, 44, now runs experimen- Fared, 43, says Teater Ekamatra succession is a tough one to answer. Gaurav Kripalani takes a leave of tal arts collective Akulah Bimbo wants to help younger artists grow The Swedish-American, who is in absence to helm the Singapore In- Sakti. He says: “Teater Ekamatra in as their voices add diversity to the his 60s, says: “There may be people ternational Festival of Arts as festi- the 90s openly and simply said out artistic community. “We want to who want my job, but nobody Akshita Nanda val director. loud that Malay theatre can speak, give them space to explore. We wants to do my job.” Arts Correspondent Teater Ekamatra’s new company play, manipulate, empower, vio- want to support one another The challenge is funding SDT’s director Shaza Ishak says funding is late, celebrate and claim the Malay through sharing resources.” performances and managing an equally problematic for the troupe. language in any way it wants to on Four associate artists are also expanding troupe. There are 38 Singapore’s performing arts scene Non-Malay donors are hesitant to the contemporary stage for both attached to Teater Ekamatra and dancers in the company this year, is maturing. The Singapore Dance come forward and Malay donors the Malay and the secular audi- given first pick of projects plus its with another couple slated to join Theatre (SDT) and Malay drama are uncomfortable about a troupe ence.” space at Aliwal Arts Centre for any soon under a new trainee pro- group Teater Ekamatra celebrate that challenges ideas of what Malay Scripts abandoned traditional personal productions. The artists gramme. Twelve of the dancers are their 30th anniversary next year, theatre should be like. verse styles and performances are Irfan Kasban, Eric Lee, Munah Singaporeans or permanent resi- while the Singapore Repertory The- Teater Ekamatra was started in drew heavily on visual arts and de- Bagharib and Ruby Jayaseelan. dents. atre (SRT) and Dance Ensemble Sin- 1988 by theatre-maker Lut Ali and sign for their narrative. This contin- Teater Ekamatra has big plans for gapore turn 25. his wife Rubie Lazim to develop a ues to define the group today and its 30th anniversary next year. It MORE STORIES on D2 These groups have established a style and mission here, but some others, just as old, are still finding their feet. Issues that all long-running arts groups struggle with include leader- ship renewal, funding and staying relevant in an increasingly packed performing arts scene. When it comes to funding, the groups The Straits Times spoke to said it is becoming harder to find sponsors or patrons. SRT’s outdoor event Shakespeare In The Park was an annual event from 2011, but could not be staged this year due to budget woes. SRT ran an online SOS – Save Our Shakespeare – fund-raising cam- paign, which has raised at least $73,000 so far. In May, the troupe will stage Julius Caesar with Jo Kukathas in the lead role. SRT’s managing director Char- lotte Nors, 50, says: “Our unique selling point has been that we have The Singapore Dance Theatre turns 30 next year. PHOTOS: BERNIE NG, JONATHAN CHOO KK, TEATER EKAMATRA D2 life arts | THE STRAITS TIMES | TUESDAY, NOVEMBER 28, 2017 | Battling darkness in the mind

Maya Dance Theatre revisits the tale of Sita, heroine of epic poem Ramayana, this time examining her mental state during her long exile and imprisonment

Olivia Ho

After watching a rehearsal of Maya Dance Theatre’s latest work, a men- tal health patient drew a picture of a small black figure at the bottom of a deep well. Though there had been no props onstage, only the dancers’ move- ments and expressions, he had iden- tified at once the image of being trapped that they were trying to convey. Maya Dance Theatre’s new work, Anwesha – Beyond The Darkness, revisits the tale of Hindu goddess Sita, but this time also delving into issues of mental wellness amid the pressures and alienation of urban society. In its second full-length produc- tion of the year, to be staged this weekend, depression and anxiety manifest onstage as dancers grap- ple with a dark entity and strive to reach the light. The company’s artistic director Kavitha Krishnan, 45, was troubled by how people throw around words such as “stress” and “loneliness” in everyday conversation without tak- ing them seriously until they lead to dire consequences. For the work, she drew on her own experience as an occupational Dancers in Anwesha – Beyond The Darkness worked with clients from the Singapore Association for Mental Health’s Creative Hub. ST PHOTO: JOYCE FANG therapist for a decade or so. She also had the dancers work together with clients from the Singapore Soul, I Am... who keeps trying to bring the oth- adds – nuances in the ending sug- Association for Mental Health’s Cre- This time, Ms Krishnan wants to ers together, but is constantly re- gest the ever-present potential for BOOK IT / ANWESHA – BEYOND THE ative Hub. examine Sita’s mental state during buffed. At times, she found herself relapse – but she hopes the work DARKNESS In art therapy sessions, the her long exile and imprisonment by tearing up. can help reduce social stigma clients watched rehearsals and her husband’s nemesis, King “I’m not upset for myself,” she against mental illness and make WHERE: Drama Centre Black Box, Level 3 shared their drawings of what they Ravana. says. “I am doing this for only two to everyone involved more aware of National Library Building, 100 Victoria Street saw with the performers. These Beyond The Darkness is three hours at a time, but how chal- its prevalence in those around WHEN: Friday, 8pm; Saturday, 2.30 and 8pm works will be part of an exhibition co-choreographed by Indonesian lenging this must be for the families them. in the foyer ahead of the show. artist Danang Pamungkas and Maya and friends of those who are de- “It’s important not just to offer ADMISSION: $30 and $25 (concession) from Beyond The Darkness follows the principal dancer Shahrin Johry. pressed or have bipolar disorder, someone advice, but also to find anweshabeyondthedarkness.peatix.com 2012 work Anwesha – The Quest, Both will be performing in the who face this every single day.” time for the person,” she says. INFO: www.mayadancetheatre.org which is also about Sita, the heroine work alongside dancers Bernice Despite its dark subject matter, “We all want to be in a person’s of the Indian epic poem Ramayana. Lee, Eva Tey and Subastian Tan, the work moves ultimately in the brightest moments, but someone Sita also featured earlier this year, with Danang playing the role of the direction of light. has to be there in their darkest together with French warrior Joan dark entity. “I would like to tell people that moments to bring them to the of Arc, in Maya’s June production The dancers say they found the there is hope out of this situation,” light.” Pancha – When The Flames Blaze work emotionally exhausting. says Ms Krishnan. The Caged Body, I Surrender My Tey, 25, plays a positive character It is not purely optimistic, she [email protected]

FROM D1 Hard to Rethinking grow with Tamil theatre funding Dance Ensemble Singapore founder Yan issues Choong Lian In spite of a storied history, Ravin- last year in collaboration with (above) is now dran Drama Group (RDG), which Esplanade – Theatres on the Bay its artistic turns 30 next year, is struggling to and the third play in this series will adviser, while define its future. be presented in February next year. her three former The troupe was set up in 1988 as a Another anticipated event on students, Tamil theatre society by aspiring RDG’s annual calendar is the Tamil SDT puts on six main seasons a including her artists. It is named after its founder, theatre festival of mini-plays, year, including two full-length clas- daughter Cai who died soon after RDG’s first play Pathey Nimidam, which celebrated sical ballets; the outdoor perfor- Shiji (left), run was staged in the same year. its fifth anniversary in September. mance Ballet Under The Stars in the company. Many in the Tamil theatre and A diverse group of theatre- Fort Canning Park and Passages PHOTOS: DES ARTS television scene got their start makers, including non-Tamil speak- Contemporary Season, in which through RDG, including playwright- ers and non-Indians, are invited to invited choreographers work with actor Vadi PVSS, better known for write and direct plays. Scripts may the company’s dancers. Troupe became Dance Ensemble his comic performances on TV, and be written in English, Mandarin or Some of the repertoire is made Singapore in 1993. It runs a school Next year’s highlights actress-director Grace Kalaiselvi. Malay, but are translated into Tamil. specially for SDT by acclaimed for 500 students of dance and mar- Over the years, the members Nakulan says: “If we want people names such as Dutch artist Nils tial arts, while also performing pro- moved on to other things – Kalai- to appreciate Tamil theatre, let’s Christe and Taiwanese-American fessionally here and overseas. selvi is known for English-speaking open it up to other theatre compa- Edwaard Liang – both of whose Yan is the artistic adviser, while SINGAPORE REPERTORY TEATER EKAMATRA TV roles in Channel 5 dramas and nies.” works were restaged this year – but three former students, including THEATRE March 2018: Potong, a new play started her own Ver Theatre this Collaborators this year included performed to recorded music. her daughter Cai Shiji, run the com- May 2018: Outdoor event about an Australia-born teen year, for example. Malay arts collective The Kaizen “You tell anybody that after 29 pany as well as its contemporary Shakespeare In The Park who returns to Singapore to do RDG’s artistic leadership works M.D. and English-language group years you don’t have an orchestra performance arm, DES Arts. returns. Malaysian actress Jo national service. part time, but artistic director T. The Writing Doctor. of your own, they’ll say: ‘That’s This April, DES Arts put on The Kukathas takes the lead in Julius Nakulan’s goal now is to make the Kalaiselvi, 40, also marked her ridiculous,’” says Schergen. “But I Wedding, a Nonya-inspired dance Caesar. Late 2018: Projek Suitcase, a group professional. return to Tamil theatre after several need half a million dollars. Do you drama. showcase of short plays from The 39-year-old says the big chal- years with a one-woman show at have half a million dollars?” Yan refuses to pigeonhole her November 2018: The premiere Teater Ekamatra’s repertoire, lenge is that the market for Tamil Pathey Nimidam this year. Another group which believes company as a Chinese dance of Mu-Lan, a new musical from adapted by invited theatre theatre is small. Performers and “It’s broader and more inclusive. that collaborations can help elevate troupe, insisting she has to estab- Dick Lee. groups. writers gravitate towards TV to It’s a commendable effort,” she their artform is Dance Ensemble lish a “Nanyang style” unique to Sin- make a living. says of the festival, but adds that Singapore. The Chinese dance gapore, in the vein of her dance con- SINGAPORE DANCE THEATRE To revive RDG’s repertoire and more quality control is needed to troupe’s annual calendar of events temporaries Som Said of Sri April 12 to 15, 2018: The rethink its mission, he roped in improve the shows. includes one performance co-cre- Warisan and the late Neila romantic tragedy Giselle, 30something theatre-makers He- Nakulan agrees on the need for ated with choreographers from Sathyalingam of Apsaras Arts. choreography by Jean Coralli mang Nandabalan Yadav and Ebi training. RDG is inviting overseas South Korea, China, Taiwan or She says maintaining a distictive and Jules Perrot. Shankara in 2011. theatre-makers to conduct work- other places. voice is what sets her group apart. A key early change was the addi- shops here, including noted Ben- Founder Yan Choong Lian, 63, “I must do Singaporean reper- May 31 to June 3, 2018: tion of English surtitles to the gali director Manish Mitra, who will says she also hires teachers and per- toire so when I go overseas, people Children’s ballet Peter & Blue’s group’s plays. conduct a two-day session on act- formers from China because “we will see us as something special and Forest Adventure In 2015, RDG staged two major ing this weekend. are still building a foundation in Sin- say, ‘This is Singaporean style,’” she works – an epic history of Tamil Language is important to RDG’s gapore for Chinese dance”. says. July 27 to 28, 2018: Thirtieth newspapers here, Murasu, and future, but so is developing Singa- Yan herself got her start in the It is a long road ahead, she admits. Anniversary Gala, featuring a Adukku Veetu Annasamy, the first pore theatre-makers’ craft. National Dance Company in 1972, “In 30 years, we don’t expect to be new work specially created for in a trilogy based on a popular radio “We want to be a Singaporean trained in Beijing and considered a like the Beijing Academy, but I hope the Singapore Dance Theatre by play of the same name, which cap- Indian theatre company rather career in ballet before setting up a the younger generation will con- The Australian Ballet’s tures the lives of Singaporeans in than be identified purely as a Tamil Chinese dance troupe bearing her tinue to progress in this direction.” choreographer Timothy the 1960s. theatre company,” he says. name in 1988. Harbour. The sequel, P Krishnan’s Adukku The Yan Choong Lian Dance [email protected] Veetu Annasamy 2, was presented Akshita Nanda