Highlights of October

	Singapore-Sketches of the Lion City British illustrator Lorette Roberts launches “Singapore, Sketches of the Lion City”, her first sketchbook of Singapore
	Singapore Writers Festival 2009
	The Next Wave: Re-imagined and Refreshing
	25th Singapore French Film Festival

TheRidge September Issue 2009

As one issue in our series – “Parts of human body”, this liver-themed issue is going to be fully searchable online! The article links will be made available over the next few days as our webmasters update them.

1. When the Student becomes the Teacher [News]
2. Medical Tourism [News]
3. The NOC Experience [News]
4. TimbreFest [Transmedia]
5. Book Review
6. The Rant
7. The Crab Flower Club [Transmedia]
8. Baybeats [Transmedia]
9. Music Album Review
10. Fashion Forward
11. Food Review
12. Twitter Tweet Tweet [Wired]
13. Premier League Punditry

Full downloadable PDF

Singapore-Sketches of the Lion City

Nathanael Ps | nathanaelps@gmail.com
theridge transmedia
A NUSSU Publication

ww.loretteroberts.com

British artist and illustrator Lorette E. Roberts has just launched her new book, “Singapore, Sketches of the Lion City”- a collection of sketches, water colour paintings and illustrations that describes the unique experience that is Singapore. In her sixth illustrated book (and her first about Singapore), she gives her readers an insight on the life, culture and traditions of the various places in Singapore. Her work features popular tourist spots such as the Raffles Hotel, the Marina and Orchard road as well as the less well known areas such as the Kranji farms and the Art Bridge. Readers are in for a visual treat as they experience page after page of Lorette’s dynamic and fascinating drawings. Be you a tourist, expatriate or local, the book has something for everyone.

Born in 1945, in Bath, England, Lorette had taken a keen interest in drawing since a young age. Over the many years, she has experimented with various themes and techniques, developing her own style of water colour sketching. Armed with just her pencils, water colours and sketch pad, she usually does her sketching on location if time permits. An avid globetrotter, Lorette is a self confessed ‘Asiaphile’ who frequently visits China, Thailand, Vietnam and Singapore. No stranger to travel, she has also resided in the USA, Saudi Arabia, South Africa and Hong Kong. It was in the Cantonese island that she first attempted sketching as a means to preserve her memories of her stay in her city. One thing led to another and she soon published her first sketchbook, “Sights and Secrets of Hong Kong” in 2003 which sold over 15 000 copies. Over the next four years, Lorette published four more sketchbooks on China and Hong Kong; receiving international acclaim for her illustrations. She currently resides in Suffolk, United Kingdom and continues to host various joint exhibitions both at home and abroad.

For more information about Lorette and her work, do visit her website at ww.loretteroberts.com

The Next Wave: Re-imagined and Refreshing

Aaranya Rajasingam | aaranya.rajasingam@gmail.com
theridge transmedia
A NUSSU Publication

Have you ever been in that bubble where you are sucked into the world of the artist and it becomes part of your own, not only in building multiple facets of reality, but also, in reflecting your reality in a variety of ways? The Next Wave 2009, presented by the NUS Dance Ensemble on Friday the 18^th of September, was a night of such introspection and revelry for both the audience and performers alike. It was a platform for new choreographies by both guest choreographers such as the award-winning choreographer Mr. Dan Kwoh, Ensemble alumni members as well as the resident choreographer of the Ensemble, Zaini Mohammad Tahir.

The Next Wave 2009 was part of the annual celebration of dance entitled “Dance Reflections” organized by the NUS Centre For the Arts (CFA) and was yet another stepping stone for the Ensemble in their aim to not only showcase new talent but also to explore and widen its existing repertoire. They were able to perform a variety of rhythms and movements, from the traditional to the unconventional, incorporating dance movements such as contemporary, jazz, ballet and hip-hop in their multi-faceted repertoire.

The evening opened with the moving piece titled “Rapture”, choreographed by Shahbirul Zaki Ahmad who was one of the pioneer members of the NUS Dance Ensemble and is now a well known local choreographer. The black costumes and powerful dance movements combined with effective lighting evoked a feeling of pain and searching. The dancers’ repetitive, constant motion of “stripping away” emphasising a search and the revelation that was to be found at the end – that could have well possibly meant a new beginning.

This was well-matched by Dan Kwoh’s choreography of “In My dream”, which saw the continuous exploration of the motif of searching and longing. The depicted dream-scenes lead us to dear ones that have passed away who live on, beyond mere picture frames that are brought to life on stage, and precipitated the question if all dreams are made out of real things? Possibilities bloom in that hushed, concentrated space where the imagination rushes in. Nonetheless, one felt that there was little need for props such as frames for such an emotionally-charged performance.

“Conversations” by Zaini adds momentum to the repertoire of soul-searching, where he explores the nuances and difficulties of Asian cultures that place an importance on the “face” as representation of communication in an era of technology and modernity where individuals no longer need to be physically present in interactions. The angular formations help highlight the chaotic and organized spaces of our lives and the need to negotiate them constantly.

The Deyi Movement and Dance Group, who has risen to fame through their many performances overseas, especially their performance as the largest contingent for the opening of the South Asian Games 2009, also performed a powerful and evocative peace full of regal flavour.

There was a display of novel themes, such as the inner conflicts and turmoil of a prison inmate depicted in a number choreographed by Julihanna Annuar and Nazri Ishak, entitled  “One.O.Seven”,. Interesting formations and jail pillar props enhanced the suffocation of a death row inmate whose initial denial progresses to a state of acceptance and inevitable resignation to his fate.  It was a perfect foil for “Crush Blush” by Chen Jiexiao which took off on a lighter note, taking audiences young and old down memory lane, reminding them of first kisses and young love. The dancers were transformed into school-going students and displayed the pleasure and innocence of youthful affections. The song “Oh It Was Love..” soon had the audience humming and tapping along to the beat. “I Know” by Huang Zheng on the other hand identified important aspects of our society, where even knowledge and power can sometimes have adverse effects on our holistic growth, and emphasizing the importance of an old world charm and innocence that modernity seemed to have lost. “Rhythm Stylus” was a show stopper with their love for simply dancing showcased through jamming beats.

The range demonstrated by the different pieces on Friday was quite remarkable, as if they were testing how diverse your taste could be. However, they were all carried by enthusiasm for performance itself. It was evident that such a curious blend was only made possible through the bold choreographies that strove to transcend fixed stereotypes within the various dance forms. The atmosphere that evening was charged with excitement and expectation and the performance was both exhilarating and new. The costumes were very well-put, matching the mood of each performance and the lighting managed by Lighting Designer Roy Chooi complemented the evening throughout.  All the hard work clearly paid off as the dancers had impeccable timing as they performed their various formations with grace and vigour while they glided across stage to a packed auditorium, almost seamlessly at times. It was an enchanting performance by a gifted troupe of performers.

25th Singapore French Film Festival

2nd – 11th Oct 2009,
Gala Premiere: Paris 36
Tay Huizhen | benediction.jay@gmail.com
theridge transmedia
A NUSSU Publication

http://www.showbizcafe.com/public/images/upload/poster_large_544.jpg

It began as Singapore’s very first foreign film festival, and in 2009, the Singapore French Film Festival is now into a remarkable 25th year. As part of “Encore! The European Season”, the festival line-up exhibits an overt aim to ‘reflect French cultural diversity,’ in offering diverse film genres ranging from romantic comedy to the police drama and even animation. In his opening speech at The Grand Cathay, the Ambassador of France to Singapore, H.W. Olivier Caron also highlighted a unique showcase of the ‘ongoing vitaliy of French cinema’ through this year’s focus on debut directors.

Kickstarting the festival is “Paris 36” – the highly-anticipated film by director Christophe Barratier after his critically-acclaimed box office-hit, “Les Choristes” (2004). To be released commercially in Singapore on the 8th of October, the film depicts the struggles of the workers of a small-time vaudevillian theatre in a Parisian faubourg in 1936.

While the recognizable plot outline has already been done countless of times [recall “Le Dernier Métro” (1980), and a more distant but recent example in “Synedoche, New York” (2008)], Barratier’s tribute to the golden past of Paris makes for a decent outing at the movies.

Fans of Christophe Barratier do not go to his film screenings expecting an edgy portrayal of Parisian life. The director is known more for portraying feel-good, heart-warming themes of camaraderie and the French spirit à contre-courant. These are again re-visited in “Paris 36”, in which the humble workers of La Chansonia, as the theatre is called, are given a month to succeed and rescue their theatre and ‘the love stories it has seen’ from ruin.

What we have come to anticipate from Barratier, instead, is his skill for drawing the viewer into the heart of the action in as enchanting and magical a way as possible that carries with it the whimsically nostalgic attraction of French sensibilities. In the film, he fully exploits this charm in painting lush, picturesque depictions of Parisian life circa 1936.

Images of quaint café scenes and romantic rooftop sequences abound and set the mood for a visually-rich film. Other than brief references to historical and political changes of the time, however, the audience is given a taste of Paris straight out of fanciful sketchbook pictures and nothing more. If such is exactly his focus, Barratier nonetheless artfully executes through some deliciously breathtaking camera angles and affords the film visual depth through multiple experiments with the long take in many scenes.

Given the overwhelming success of “Les Choristes”, comparisons must undoubtedly be made and the somewhat safe, ‘storybook’ tale of “Paris 36” does not quite carry the authentic emotional poignancy of its predecessor. While it is also hard to tell if the soundtrack of “Paris 36” will in time be as memorable as “Vois Sur Ton Chemin”, there are some notable musical numbers in the former which echoes Barratier’s beautifully simple compositions.

Most of these are delivered by the reel starlet and novice songbird named Douce (Nora Arnezeder). Arnezeder’s clean, penetrating vocals in playing the part are a perfect fit for Barratier’s songs. Her energy in both intimate and spectacular scenes – including one with a slight Berkleyesque reference – is a force that lights up the entire film.

http://www.allmoviephoto.com/photo/2009_paris_36_004_big.html

Barratier also brings back familiar faces Gérard Jugnot (Clément Mathieu), Maxence Perrin (Pepinot) and Kad Merad [Chabert, but who also starred in the previous year’s festival highlight, “Bienvenue Chez Les Ch'tis”] from Les Choristses, with the first two, continuing their chemistry as reel-time father and son Pigoil and Jojo Pigoil.

With award-winning films and many of which Singaporean audiences do not usually get to see on the local big screen, the French Film Festival is indeed a highlight of the local arts calendar. Here’s to hoping that the organisers will bring “Le Petit Nicolas” to 2010’s.

Paris 36 is now showing in cinemas.

For more information, please visit: http://www.alliancefrancaise.org.sg/

Liver: A Fictional Organ With a Surface Anatomy of Four Lobes

Jane Antony | janesakura@gmail.com
theridge transmedia
A NUSSU Publication

The stories employ the themes of addiction, desperation and general decay that have sustained Self, a prominent ex-addict himself, throughout his prolific writing life.

In his latest release Liver: A Fictional Organ With a Surface Anatomy of Four Lobes (2008), Will Self has written a delectable collection of four stories themed around the title. Self, being the kind of acerbic satirical writer he is, ensures that there are strange reversals of fortune along the way in these stories – as is always the case in his brilliant and disconcerting conceptions.

The stories employ the themes of addiction, desperation and general decay that have sustained Self, a prominent ex-addict himself, throughout his prolific writing life. Although the three stories set in London – Foie Humain, Prometheus and Birdy Num Num – do not possess Self’s habitual aura the material has sufficient appeal to hold the reader’s undivided attention.

In Foie Humain the plots revolves around the lives and some key events of the regulars at The Plantation Club in Blores Court in London. These include the acquisition of a bar boy called Hilary, trips to the art exhibitions or plays of the regulars and funerals for some of the regulars. Everybody in the story is either a hard drinker or being groomed to be one. The decay and detritus that builds up within the club over the years parallels the build up and eventual decay in Val Carmichael’s (The Plantation Club’s landlord) Liver.

Eye-catching in Foie Humain, is a song praising ‘a Red Admiral butterfly poised on a purple spear of buddleia’. Self relates the appreciation of the beauty of small things to redemption from the cruelties of fate.

Prometheus tells the story of a successful advertising copywriter who can sell anything to anyone at any time. But things go wrong when he meets Zeus, an influential entrepreneur with a beautiful albeit manipulative wife. Birdy Num Num opens in Tony Phillips’ subterranean Kensington flat where obsession is normal and addicts spend their days in the realm of cocaine and heroin.

Liver takes off with Leberknödel, which is the fourth ‘lobe’. Refreshingly different compared to the previous three stories, Leberknödel follows Joyce Beddoes, a retired hospital administrator with terminal liver cancer, as she travels to an assisted-suicide clinic in Zurich with her alcoholic daughter. She declines her precisely calibrated dose of poison at the last moment, and experiences an unexpected recovery. The writing is less labored, subtle in its effects and surprisingly moving.

The four stories share an inherent longing for something beyond themselves: they rely on a weird assortment – a Martian, a supernatural vulture, a sentient virus, or an unconfirmed miracle – to animate their mundane worlds of bar, office, street and clinic.

As with much of Self’s fiction there is a heavy emphasis on certain elements of the prose. In each of the stories the city it is set in is described in detail. For example the area of London in which The Plantation club is set in is described from the point of view of an idle wanderer. The intertwining alleys are described along with the masonry, architecture and history of the buildings. This helps to establish not only the surroundings for the story but to also give a strong sense of scale.

Self also continues his love of words. His previous works has at times been overloaded with obscure and obsolete words and although less prevalent in this collection there are still some examples that may require some looking up. Self is also not afraid to use elements of foreign language in his prose and this is most apparent in Leberknödel.

This collection of four stories use the liver as framework and controlling metaphor, but is less interested in the organ as a metabolic regulator than in what happens when it’s damaged beyond repair. At this point, Self’s gift for satire kicks in and the result is prose so vicious it may not go down as everyone’s cup of tea.

The NOC experience – Dispelling Rumours, Discovering Facts

Chrissy Phoong | yoke.xi@nus.edu.sg
theridge news
A NUSSU Publication

Back in August this year, the ridge news reporter, Chrissy Phoong, left for Sweden to embark on a one-year National University of Singapore Overseas College (NOC) programme.

In the midst of settling in, she writes back to share with us her experiences leading up to the trip and about life over at Sweden.

photo credit: Chrissy Phoong

Here I am, in Sweden!

Making my way out of the large metallic revolving doors, I was greeted by a cool 20°C draft. I could barely believe I am really in Sweden!

Sweden is a nation of many facets. It is the land of the Vikings, Odin, Thor and Valkyrie. The land that gave birth to ABBA, IKEA, Ericsson, Alfred Nobel and the Ice Hotel.

And here I am, in the heart of the country – Stockholm, the first European Green Capital.

The welcome sign in Arlanda airport said, “Välkommen till Stockholm,” and it marks the start of my one-year journey under the NOC programme.

Applying for the NOC Programme

The NOC is a university level unit programme that caters to academically-inclined students with an interest in exploring entrepreneurship.

Application begins with the filling of an online form, to be accompanied with two recommendation letters.

Next, I had to get through two interviews conducted by the NOC office and at least one more by the hiring company.

Once hired, there was still getting my Visa and residence applications, module mapping as well as the final CAP review to get through.

Prior to my application, I have heard of how students found the application a hassle because of the citizenship criterion, rounds of tough interview sessions and the need for a strong co-curricular activities (CCA) record.

But I discovered these to be largely untrue after sitting through my own interview with the NOC office held in February.

I found that foreign students are not necessarily disadvantaged compared to Singaporeans.

Although good grades or an active CCA record do increase your chances, it is more important to demonstrate the certain attributes during your interview.

They are: a passion for learning, dedication and most importantly, the commitment to continue to contribute to NOC even after your return to Singapore.

Packing My Luggage for Sweden

Packing was not as nerve-racking as the application process but it was no piece of cake either.

I was venturing into unfamiliar territory completely unaccustomed with the Swedish lifestyle, dress sense and weather. Having a luggage weight limit of 30kg meant that I needed serious strategizing.

Thankfully, I have found an infallible strategy when it comes to packing clothes – stick only to the basics.

In fact, there is no need to bring too much along because you can shop for them in Europe. I am constantly blown away by how well-dressed the Swedes are. I have also learnt that black leggings are a must-have for the ladies.

Another tip: Forgo bringing along your electrical appliances as you can get them there.

No matter how important your electric iron or hair dryer is to you, I would not recommend bringing them along. This is because their voltage requirements will probably be incompatible with the local voltage supply anyway.

I learnt this lesson the hard way. Two days into my arrival at Stockholm, I had lost two travel adaptors to voltage supply incompatibility issues as I attempted to use them with my Taiwanese portable stove. I have given up since.

Instead, I recommend that you save your luggage weight quota for bringing your home-made, local spices and cultural gifts over to Sweden instead.

Now, that is something you cannot find in Europe.

photo credit: Chrissy Phoong

A Completely Different Culture

When I finally arrived in Stockholm on the Aug 13, 2009, my enthusiasm had grown to the extent that my batchmate, Huy, had to warn me not to get too excited.

Paraphrasing anthropologist Michael Winkelman’s four stages of cultural adaptation, he warned, “Chrissy, you’ll only get more culture-shocked (later).”
True to Winkelman’s words, I am still learning to adapt to my new environment.

One way Sweden is different from Singapore is her keep-right traffic rules. Even on escalators, Swedes would keep to the right to allow those in a hurry to pass by on their left.

Another interesting fact about Stockholm is how liberal they are with their pets. Pets are allowed in shopping malls, restaurants, elevators and even onto public transport.

It is such a pleasant sight to see well-trained and obedient Labradors and German Shepherds weaving noiselessly through the crowd in the busy Tunnelbana train stations.

photo credit: Chrissy Phoong

The NOC Experience Still the Highlight of Stockholm

But with all the thrills I am getting from the serene lifestyle and beautiful architecture here, nothing beats the anticipation I felt when I met my employer for the first time on Aug 18, 2009.

To promote entrepreneurial involvement, the NOC programme places greater emphasis on internship performance and business case reports than theoretical modules.

Hence, technically speaking, I am first and foremost a full-time intern at my employer – biofibers company Organoclick AB. And secondary to that, I am also a part-time student in the Royal Institute of Technology (KTH).

Collecting my thoughts

When you are in NOC programme, you are among a fraternity of highly motivated people with similar goals of advancing themselves for future success.

One of my seniors, Edmund, had this to say about NOC, “Every day here is a learning experience. Be it about the Swedish culture, the environment or the people… heck, you’d even learn about yourself in the process!”

My exact sentiments too.