Highlights of April

	The Ridge April Issue: Euphoria What makes you truly happy? Hug from a stranger, traveling around the world or the last lecture at university? This April, when some are anticipating the holiday and some others, graduation, we bring Euphoria to you.
	BORDERS BOOK REVIEW: World Without End by Ken Follet Set in the 14th Century, a time of plague, pestilence and war, World Without End offers pure escapist pleasure in the form of love, hate, political scheming, intrigue and much more.
	NUS Arts Survey the ridge transmedia takes a closer look at the NUS arts scene. Read on to find out more.
	Is there an NUS Rock Scene? Will our university have a rock scene comparable to that in other universities around the world?
	Dramafest Producers Mourn for Play’s Loss Not all is peachy at the CFA. the ridge gets the inside story on the effective censorship from the MDA in relation to Dramafest
	Inflation - Strong Growth Leads To High Costs The booming economy of Singapore inevitably leads to a rising inflation cost. A group of panelists, together with audience members, engage in a lively discussion on measures to reduce the impact on individuals and also come up with suggestions for the government.
	NUS Receives $500,000 Bursary Donation NUS has received a SGD$500,000 donation from Great Eastern, their first such substantial gift to NUS. The Great Eastern-Howe Yoon Chong Bursary will help students with families earning less that $1,200 monthly.
	NUS One Of First In Asia To Launch Microsoft DreamSpark NUS, together with NTU, are partnering Microsoft to launch Microsoft DreamSpark, a completely free initiative to drive technological innovation worldwide. Both universities are the first in Southeast Asia to be selected as partners.
	Many NUS Undergraduates Raise Alert To Need For Marine Conservation In Singapore CNM students organise a marine conservation campaign named Code Blue to raise the alert for the need to protect marine life around Singapore.
	Many Undergraduates At NUS Not Aware of Earth Hour 2008 The level of awareness of Earth Hour 2008 was low among NUS students. Although some students did do their part and switched off their lights during Earth Hour, there are others who did not think this campaign was useful. Some NUS students also expressed interest in subsequent environmental conservation activities.
	1,992 students not offered campus accommodation this year; OSA’s explanation dissatisfying Some students went to a dialogue session with the Office of Student Affairs (OSA) held at Prince George’s Park (PGP) Auditorium on April 4 and left with no concrete answers provided.
	High Rejection Rate For Campus Accommodation Shock Students The on-campus accommodation allocation results released on Mar. 27 took many students by surprise, as the cut-off level of CCA points for various residences were exceptionally high.

The Ridge April — Euphoria

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BORDERS BOOK REVIEW: World Without End by Ken Follet

T. P. Kurian | kuriantp@yahoo.co.uk
the ridge transmedia
A NUSSU Publication

Ken Follett has carved out quite a name for himself penning great espionage thrillers; the rare kind of airport novel that are a notch above the rest and worth re-reading. The mass paperback market is the territory of such personages as Robert Ludlum, John Grisham, Tom Clancy and Danielle Steele. Follett’s inclusion in this list would not merit surprise. But future times will not remember Follett’s Eye of the Needle or The Key to Rebecca as much as they remember his historical epic The Pillars of the Earth. Vast in scope and populated with tremendous characters who encompassed every vice and virtue known to man, Pillars of the Earth transformed Follett from a purveyor of cheap thrills into a mature writer who could craft a thousand page epic that was as riveting as any of the paperback thrillers he wrote.

Eighteen years have passed since Follett’s magnum opus; years he spent writing fiction, which, while good, would be forgotten in a generation. World Without End, however is a different kettle of fish. I felt it inferior to Pillars of the Earth, but that is in no way a criticism, considering how good that book was. The book can almost be considered a sequel of sorts to Pillars of the Earth; it takes place in the same village and the descendants of the former book’s protagonists feature prominently. The priory of Kingsbridge is home once again to the evil machinations and virtuous enterprise of rich and diverse characters.

Picture Credit: http://www.smh.com.au

Our hero Merthin, is an architect nursing grand ambition, great ingenuity and a seemingly hopeless love for the plucky and spirited Caris. Caris is an absolute rebel and flouts almost every societal rule espoused by fourteenth century England. She is a woman before her time, torn by her desire for independence and her love for architect boy. She also dabbles in medicine, despises authority and her religious beliefs are heretical to the point of atheism. Our villains include Ralph, Merthin’s headstrong, bullying brother whose primary passions are fighting and philandering, Godwyn the stubborn prior whose purpose it is to thwart any and all plans with a semblance of sensibility and Philemon, his sycophantic lieutenant who’s got a severe case of kleptomania. There are a lot more peripheral characters, but Follett does them justice by fleshing them out, giving them significant roles and making sure they contribute to the overall plot.

Against the backdrop of the Black Death and the Hundred Years War, Follett does a masterful job of crafting a vast story spanning many decades. As with most epics, one expects that good will triumph and the gallivanting hero will land the woman of his dreams; but the author manages to keep the element of suspense alive. Mostly, Merthin’s and Caris’ plans are frustrated by mere pigheaded authority, obstinacy, and the superstitions of those in power. Independently, they manage to make enemies of almost everybody who has a say in the running of Kingsbridge and only reason, and their popularity among the more sensible locals will help them in their causes. This book has it all: politics, dark secrets, conspiracies, steamy scenes aplenty, undiluted evil and virtue pure as the driven snow. It was a time when men were real men, women were real women and let us say nothing of Alpha Centuari.

Ultimately, World Without End is pure escapist pleasure; a rich tapestry of enormous proportions woven together by an author at the top of his game. He gives you characters that you can identify with and feel strongly about and forces them into crunch situations that bring out the best and the worst in them. In some ways, both Pillars of the Earth and World Without End are an allegory of the eternal fight between reason and ignorance in a world that seems to elect its leaders based on the Dilbert Principle.

NUS Arts Survey

Contributors for the NUS Arts Survey: Denise Chen, Hurrairah bin Sohail, Lee Meixian, Lee Wanyu, Leong Su Zhen, Sanah Akhtar, Shahirah Bte Mohamed Ansari, Siti Nor Farah,Sowmya Gopi, Tarani Palani, Wong Pei Yee

Editor of the NUS Arts Survey: Wong Pei Yee

the ridge transmedia
A NUSSU Publication

 

With the conclusion of the NUS Arts Festival 2008 (NAF) which married the disciplines of medicine and the arts last month, the ridge transmedia takes a closer look at what has been offered to measure the arts health of NUS this academic year. Surveying the various facets of the arts from dance to drama, we do a temperature check to find out if things are pitch perfect.

Centre for the Arts

Centre for the Arts (CFA) is the biggest arts provider here on campus. The recent NUS Arts Festival, an annual arts extravaganza, is one such example. The objectives of the festival are two-fold. Firstly, to provide the 22 student groups consisting of over 1800 students under the management of CFA a platform to perform and showcase, as well as to measure themselves against real, industry standards. Secondly, to promote the arts within the student body.

NAF 2008 was considered an exceptional success with 30 ticketed performances. 12 were sold-out performances and six performances approached fullhouse capacity (>70%). Publicity for the month-long event began as early as December with NAF 2008 posters outside the University Cultural Centre and plastered on shuttle buses. In all, CFA spent around $70,000 on publicity for NAF 2008.

A significant arm of CFA is the ExxonMobil Campus Concerts (EMCC) Crew. Established in 1984, the EMCC Crew has 75-80 student members who receive training from professionals and hands-on experience in front-of-house management and technical backstage training. The perfect starting point for the novice performer, EMCC hosts seven to eight shows a month per academic year that ranges from rock festivals to poetry recitals. EMCC’s presence reflects a holistic commitment to the campus community, all within arm’s reach.

Barometer: 9.5 out of 10 stars

Music

From classical to rock, the music scene in NUS is multi-faceted and multitudinous. From RadioPulze’s Live Lounge Series to NUS RockFest to classical concerts by the NUS Symphony Orchestra (NUSSO) and Yong Siew Toh Conservatory of Music, there is much to be heard. Going by gig figures alone, the music scene as an entirety is indeed thriving. However, how much of it is quality? Taking two ends of the musical spectrum, we compare NUSSO, NUS Jazz Band and NUS rock bands.

NUSSO held three concerts this academic year, one of which was a sold-out performance at NAF 2008. Held in the Conservatory Music Hall, Chan Kai Qin, NUSSO Vice President felt that there was good audience response but was wary of claiming that it correlates with the level of interest in classical music on campus.

NUSSO
Picture Credit: NUSSO

Similarly, the NUS Jazz Band held two concerts this year not including external gigs. The band president, Tan Eng Kwang says that with careful arrangement and choreography, audiences will find performances more appealing. However, Eng Kwang pointed out the surprising fact that audiences who are new to jazz seem to be under the impression that jazz is ‘high-end music’, due to limited exposure it has in the music scene in Singapore.

NUSSO Picture Credit: NUSSO

Both Kai Qin and Eng Kwang believe that an appreciation for the arts has already been nurtured in Singapore as students are regularly exposed to such events. However, the attitude and level of activity of students differ generally. With the help of CFA, who has been actively marketing the brand of “NUS art”, they believe that the arts scene in NUS will most definitely grow holistically. On the other hand, NUS rock bands who are considered the mainstream contenders here are heard at earsplitting volumes at almost every other bazaar held in the Central Forum and yield little applause. Quantity, little quality. What gives? We are inclined to feel that there is quantity, but quality is not quite there.

Barometer: 5.5 out of 10

Drama

Drama on campus (the staged kind), is far from dead. With a little digging, the ridge uncovers the following NUS based drama groups you may or may not have heard of including the better known Thespis, the newly-formed NUS Stage, the CFA-affiliated Chinese Drama and Malay-English varsity theatre group DOWNSTAGELEFT.

Students on campus are definitely spoilt for choice when it comes to theatre productions on campus, with groups operating on different languages and varying interests.While most of these groups are not very visible on the radar of student activities, theatre practitioners we spoke to are confident that the arts scene in NUS is thriving. Just how is this so? We interview members of Thespis and DOWNSTAGELEFT to get an inside look at drama in NUS as well their take on the campus arts scene.While the two groups interviewed do bear certain similarities, each bring to the theatre scene their own distinct character.

Describing themselves as simply people who want to “have excessive amounts of fun”, DOWNSTAGELEFT says “we wanted … [to] create an alternative form of theatre movement. We lack the hierarchy and the basic misconceptions that come with the pretensions that are commonly associated with theatre”.

DOWNSTAGELEFT, melayu.com.sg
Picture Credit: Flickr.com

Ideally, while exploring the boundaries of anything is usually good, there remains the need to hone good theatre practices. In this case, the Theatre Studies Department affiliated Thespis is no less ambitious. Jean Zhuang (Year 4, FASS) their President says that, “We focus mainly on giving budding theatre enthusiasts an avenue to showcase their talents while…honing their existing skills and acquiring more theoretical and practical skills.”

NUS Thespis
Picture Credit: Thespis

While the two groups are seemingly incongruous, it might surprise you to know that they do share several similarities.

Combining staged productions with hands-on workshops appears to be a strategic move for both groups to straddle two main agendas: expressing their creative voice while raising awareness of the theatre and what it has to offer. Definitely not an issue foreign to the realm of theatre. However, truly encouraging is the response both groups report to their various activities, whether productions, workshops or cast and crew calls.

Jocelyn Chng (Year 4, FASS) of Thespis relates, “as for workshops, we were surprised to have a healthy attendance despite minimal publicity. So yes, it has been very encouraging.” DOWNSTAGELEFT as well indicates a resounding “Superb” when queried about the reception to their cast and crew calls.

Additionally, both groups have a healthy and promising relationship with acclaimed stage practitioners and noted individuals from the local drama scene. Thespis enjoys a significant level of exposure to members of the local theatre community such as Haresh Sharma, very likely as a result of its association to the Theatre Studies department.

DOWNSTAGELEFT shares a similar synergy with the local Malay theatre community. In their own words: “We have strong support from the local Malay theatre companies and artists…we have collaborated with noted individuals in the industry, Alfian Sa’at and Rafaat Hamzah.” Local theatre company Teater Ekamatra also extends significant support to the group by allowing them use of their Black Box at Telok Ayer Performing Arts Centre.

DOWNSTAGELEFT
Picture Credit: Flickr.com

Nevertheless, despite the warm reception to their productions so far, both groups share similar financial difficulties. DOWNSTAGELEFT admits that “We have not been given the support in the form of financial or otherwise.” Likewise, Jocelyn also says, “As an interest group, rather than an official society, Thespis faces several challenges at the very basic level of trying to stage productions - including the difficulty in accumulating funds and inability to properly reward members’ efforts.”

And what about going official then? This remains one of the best ways to deal with monetary woes as both groups do not currently fall under either of official umbrellas of NUSSU or CFA.

On one end, DOWNSTAGELEFT is hesitant to join with CFA. This, they say, is partly “due to our vision not to restrict our creative ingenuity to individuals within the NUS varsity only.” True to their non-conformist approach, the group consists of members ranging from the other tertiary institutions such as SMU and the like. However, they are quick to add that “[this] is not to say that we are opposed to being under their [CFA’s] flagship.”

On the other end, Thespis, is currently negotiating with NUSSU to register as an official society. Jocelyn is upbeat that official status will hopefully change things. “It is our hope that as an official society, funding will be less of a problem. Additionally, it will likely be easier to raise general awareness of the group and its activities.”

NUS Thespis, Walking into Doors
Picture Credit: Thespis

Raising children, as they say, is always expensive business. For these theatre groups, it is evident that financing their productions has always been an issue, official status or not. Says Jocelyn, “it is no secret that theatre can be an extremely expensive undertaking, that, naturally, some see as unjustified.”

Perhaps, what interested readers might want to know most is what our own theatre practitioners think about the Arts Scene itself. Effusing a positive tone, Thespis exudes the confidence of a group that is recognized for their talent (and perhaps being affiliated to the Theatre Studies department allows for an additional level of security).

When asked whether there exists an arts scene on campus, Jean confidently replies, “Definitely”. Citing the recent NUS Arts Fest as example, Jean says that successful advertising efforts by the CFA as well as numerous theatre groups and hall productions attest to the strength of the arts scene here.

On the other hand though, DOWNSTAGELEFT is less optimistic in their reply. Admitting that there is an arts scene on campus, they nevertheless believe this to be “extremely limited” and that while “the scene is not weak [it is] not holistic enough.”

Indeed, the writers are more inclined to agree with DOWNSTAGELEFT. Though the arts scene is growing, much of the theatre scene is still dominated by the ubiquitous hall play, which has received at best only mixed reviews. Quantity above quality seems a likely issue facing the arts scene on campus faces.

We suspect that theatre’s reputation of being avant-garde and impractical has definitely had a hand in shaping student response. “This is likely”, says Jocelyn, “not only because the general population may see theatre as irrelevant to their lives and/or too avant-garde, but these assumptions are exacerbated by the relatively high ticket prices on average.”

Certainly, the audience base remains unsurprisingly dominated by students from the Arts Faculty. Says Jocelyn, “the audiences tend to consist of friends and family of the production members, NUS students, and lecturers from the Department of English Language and Literature.” Likewise, for DOWNSTAGLEFT, audience means an “eclectic mix of theatre enthusiasts, students and the general public”, which we suspect boils down to a similar crowd.

Indeed, when queried about what they would like to do for the Arts Scene on campus, both groups came up with answers that while different, were all the same heartening to hear. Says Anjana (Year 3, FASS) , “We want to be seen as a platform for budding talents to learn, experiment, grow and develop their skills.” DOWNSTAGELEFT’s reply while not completely dissimilar, adds that the theatre scene “should be engaging. It should be relevant. But most of all it must be fun.” Quoting Kuo Pao Kun, Jocelyn says, “Play’s chief function is not to produce goods but extend the inner and outer reaches of the human consciousness . . . there is everything to gain and nothing to lose in promoting a culture of inquiry and debate, of experimentation and creativity.”

Likewise, our sentiments exactly. Viva le théâtre!

Barometer: 6.5 out 10 stars

Dance

Do NUS dance troupes view themselves as just one of the many performing groups in NUS, or do they aim to be more than that? Are NUS students really interested in dance or do they merely attend performances to support their friends? Are classical forms of dance slowly evolving, to be replaced by Western and fusion dances? We speak to the Presidents of six different dance groups in NUS to find out.

Presidents of dance groups NUS Dance Synergy, NUS Dance Ensemble and NUS Dance Blast! agreed that while they view their groups as members of the NUS Centre for the Arts (CFA), there is definitely potential to turn professional, through external performances and exposure to noted choreographers and instructors. It certainly helps that some groups already employ external professionals like Mrs Santha Bhaskar, a Cultural Medallion winner from Nrityalaya Aesthetics Society, who teaches Bharathanatyam to NUS Indian Dance.

President of NUS Dance Ensemble Koustav Basu Mallick, a Year 2 student of FASS, said, “Under the direction of our Resident Choreographer Zaini Mohd Tahir, we have over the years produced quality performances that have attracted audiences beyond the NUS student body. We have performed overseas in Cambodia and Indonesia and definitely produce work of a credible standard, while continuing to grow humbly under the guidance of CFA.” President of NUS Dance Blast! Huang Yingying, a Year 2 Engineering student agreed. “We are becoming more well-known by the public through participating in various national dance competitions, organising our own concerts and performing for external organisations.” Neo Shi Qin of NUS Dance Synergy, a Year 2 Economics major, added that the dancers’ attitude and maturity play a part in whether the group could go beyond the platform of the university.

NUS Dance Ensemble Picture Credit: NUS Centre for the Arts (CFA)

As to whether the dance scene in NUS is flourishing, Koustav, Shi Qin and Tay Hwee Hsi, an Accountancy major in her 2nd year and President of NUS Chinese Dance, agreed that it is improving, with greater audience appreciation and increased funding from CFA. President of NUS Ilsa Tari, Irdawati bte Roslan, who is in her 2nd year in FASS, credited CFA for increasing the recognition of dance groups among the NUS student body, for example through the recent NUS Arts Fest Bazaar held at the Forum. Yingying disagreed and felt that NUS students are either too busy or disinterested in performing arts. Similarly, Sukriti Malpani, Vice-President of NUS Indian Dance and a year 3 Science student, felt that more could be done to enable the various dance groups to gain exposure to equal the exposure received by sports CCAs in NUS.

All Presidents admitted that the audiences who attend their performances are mainly made up of friends or family of the performers, although genuine interest is developed when they are exposed to the high quality of dance exhibited. However, it was noted that the respective ticketed performances of these dance groups were almost sold out, and even their Courtyard performances drew good crowds. Irdawati quipped that if there were students who were truly interested in dance for its sake, they would be the ones performing on stage, and not the ones watching from afar. Shi Qin added that Dance Synergy views it as a challenge to constantly try to make their work relevant to their audience.

NUS Dance Synergy
Picture Credit: Marcus Tan

As to whether classical forms of dance, like Bharathanatyam and Inang, are inexorably evolving, Irdawati of Ilsa Tari and Sukriti of Indian Dance had similar views. While both agreed that fusions with modern and Western dance added spice to choreography and allowed more room for experimentation and expression of individuality, classical dance will continue to play an important role in society. “Classical dance forms will never completely fade away as they are part of the foundation of a country’s culture and heritage”, said Sukriti. Irdawati had a suggestion for dancers of today – “traditional dance should be valued and contemporary should be explored.”

NUS Indian Dance
Picture Credit: NUS Indian Dance

From this quick survey of the NUS dance scene, it is safe to say that there is hope for the groups in broadening their experience and eventually turning professional. Their passion for their respective dance groups was evident from their interview responses. So dance enthusiasts should take heart that there are aspiring professional dance groups amongst us. Notwithstanding, more has to be done to create or increase awareness of these dance groups through more rigorous advertising on campus media.

Barometer: 6.5 out of 10 stars

Film Screenings

In the words of famous film critic, Roger Ebert: “Every great film should seem new everytime you see it.” Certainly, films are a readily accessible art form. The world of cinema is greatly expanding bringing films which caters to people with an interest in the mainstream as well as independent films. Inevitably, films serve to entertain and to provide an avenue for viewers to experience a different realm of life through its fictious nature. Christine Khor of Centre for the Arts (CFA), a former film critic herself, expressed how films enable viewers to sit back and absorb the narrative involved.

In NUS, CFA and nuSTUDIOS are the main provider of art films. Over the years, they have made avant-garde films more available for the people. Thus far, these films have succesfully met with an overwhelming turn-outs.

nuSTUDIOS is a student-run production house which aims is to promote the culture of film appreciation and film-making within the NUS community. They have been organizing film-related activities in NUS such as film screenings and basic filmmaking workshops. Most importantly, they have breed aspiring and talented filmmakers. Judging from their recent and past film screenings, it is a notable achievement for them.

NUS Indian Dance
Picture Credit: nuSTUDIOS

At last month’s NUS Arts Festival, nuSTUDIOS showcased a selection of short films produced and written by its members that adhered to the festival’s medical theme. According to Alvin Lim, Vice-President (Programme) of the student-run production house, the screening saw more than a hundred people in attendance, including guest-of-honour Professor Tan Chorh Chuan, senior deputy president of NUS. Audience were particularly impressed by one of the short films, a documentary called “In Our Own Words” which highlighted another angle to the lives of kidney patients. Audience were also very engaging during the panel discussion which follows after the film screenings and their ability to critic and appreciate showed their knowledge on films.

Besides nuSTUDIOS, CFA has been showcasing a variety of films every year during the NUS Arts Festival. This year, they have sought assistance from the Embassy Support of Mexico, Israel, Spain and Holland to recommend films that are contemporary and relevant to the youth. The diverse choice of films has definitely draw in more response from the NUS population. Attendance during film screenings has been consistent during recent years for both CFA and nuSTUDIOS and this explained their greater interest and appreciation to such films.

“We are steadily seeing an increase in the number of people coming for our screenings. Our previous screenings, Fetish 2006 and Joy Ride 2007, were both held at UCC Green Room and were full houses,” said Lim.

The screenings provide the students an opportunity to delve into more unconventional films which encompasses creative vision and liberal topics. Carissa Chui, a Year 2 Psychology major mentioned how she is drawn to these film screenings because it allows her to watch films she has never heard before.

NUS Indian Dance
Picture Credit: nuSTUDIOS

Besides the mainstream Hollywood fare, it is therefore apparent that the NUS population are beginning to pursue more avant garde films. Film appreciation is flourishing and it will continue with its consistent form as long as exposure on film-related activities are prevalent here in NUS.

While this is a heartening news, Alvin Lim believed that there’s still a lot more that can be done. There is indeed a lack of exposure in film production here in NUS due to limited resources. He hopes that they can bridge the gap between production and film appreciation to truly value the whole aspect of film art.

Barometer: 7.5 out of 10 stars

Literary Scene

Literary Society or Litsoc for short has been around since 1961 and is considered the mover and shaker of the NUS literary scene. Two key programmes that Litsoc organizes are the Creative Writing Competition and Evening of Poetry and Music. The latter which was held in March this year at *scape Youth Centre is an annual event which has seen growing attendance from the general schooling population as well as prominent figures of the local literary scene such as writers Jeffrey Lim Tan and Yong Shu Hoong. Koh Xin Tian, President of Litsoc is of the opinion that the NUS literary scene has been “steadily growing” over the years. Showing us a copy of their first edition of Argot, a magazine distributed in NUS and local bookstores, Xin Tian says, “Hopefully Argot will raise the profile of Litsoc and collect good writing from contributors from Singapore and abroad.”

Other facets of the literary scene include NUS Writers Connect Sessions organized by Laremy Lee, Year 4 English Literature major where budding writers and poets can share their work and receive feedback at a casual sharing session.

Barometer: 6.5 our of 10 stars

Our final verdict: Not exactly pitch perfect. But the heat is on.

Is there an NUS rock scene?

ZL & Hurrairah bin Sohail | hurrairah@gmail.com
the ridge transmedia
A NUSSU Publication

 

With the conclusion of Rockfest 2008, we here at the ridge decided to dissect and evaluate the NUS Rock Scene and what the participants have to say about it.

The KNEES

Musical Influences: System of a Down, My Chemical Romance, Radiohead, Incubus

Artists covered: Muse, Beatles, Back-On, FIR, Back-On, Guns n Roses

Profile: The Knees led by Marcus Law (Business Year 3) is an active hall band comprising of students living in King Edward VII Hall and some from the nearby Prince George’s Park Residences. Having differing interests in music, the band caters mostly to hall residents, while also occasionally performing in venues outside campus.

What they have to say: There’s no particular rock scene in NUS as there isn’t a significant following, mainly due to the small population (compared with other universities in the world) of our university and the diverse attractions available. Says Marcus – “Gigs outside campus are, of course, very expensive so bands can only work within the overcrowded NUS scene for arts.”

Sheares Hall Band

Musical Influences: Led Zeppelin, Queen, Classic Rock

Artists covered: Evanescence, Red Jumpsuit Apparatus, Matchbox Twenty, The Beatles

Profile: Sheares has always been prominent in the NUS rock scene organizing Rockfest and KRaSH along with playing regularly for bazaars and gigs. The Sheares Hall Band is one of the more active bands in NUS.

Edmund Khoo of SH band rehearses

What they have to say: The band believes that the attitude towards rock is openly unsupportive on campus. From their experiences at gigs staged at other venues, SMU or NTU crowds, in their opinion have a better appreciation for the genre.
Furthermore, the band believes that the NUS audience expects radio/studio quality sound at all concerts, which is an impossible expectation to meet. Their drummer Edmund Khoo (Engineering, Year 2) elaborates: “People do not understand that the difference in quality during a live performance cannot be helped. Even EIC (a local Singaporean band) sounds different when they play live.”

KR Rockers

Musical Influences: An eclectic mix

Artists covered: Aretha Franklin, Velvet Revolver, Mr. Big, Maroon 5, Red Hot Chili Peppers, acoustic songs.

Profile: The KR Rockers, resident band for Kent Ridge Hall, have managed to become a comparatively active musical group. The K.R. Rockers comprises of about 20 members and line ups vary from performance to performance

What they have to say: They don’t believe that there exists a rock scene within NUS due to the lack of a fixed identity amongst the various bands. But a bigger problem is the awkward fixed timings (two hours between 12pm-2pm allocated to bands in Central Forum for concerts). They feel the time slot (and lack of booze!) greatly restricts the atmosphere of their performance.

However, according to the KR Rockers, the biggest problem for rock bands in NUS is a financial one due to the costs of publicizing, logistics, equipment and recording. They rely on a D.I.Y ethic for their publicity, a burden they feel that should be borne more by event organizers.

Raffles Hall Band

Musical Influences: Brit Rock and an aversion to American music.

Artists covered: The Strokes, Franz Ferdinand, The Cure, Ok Go, Coldplay, White Stripes, Mayday.

Profile: Raffles Hall Band consists of two distinct bands from Raffles. They play primarily for hall celebration events and at times, at NTU. They will be playing for their hall’s annual cultural exhibition Phoenix Fest later this year.

What they have to say: Band head, Calista Lee in Year 2, Engineering, states that “the general taste of the masses tends towards commercial pop. Response, despite this, is good in Raffles Hall, probably because we try to pick songs which are audience-friendly.”
Her band further feels that rock performances should not be piggy-backed onto other events anymore. Making a rock act a part of an overall event containing different performances dilutes its effect. Perhaps band competitions could also be organized to raise the profile of bands in NUS, such as the upcoming Stardust organized by NUS Bizad club, CFA and the NUS Business School.

Second Nature

Second Nature perform at the Cambodia Heartbeat Charity Concert in 2006

Musical Influences: Soft rock, Alternate Rock, others

Artists Covered: The Cranberries, Santana, The Killers,
Snow Patrol

Profile: Second Nature is one of the five bands from Eusoff Hall and is particularly active throughout the year playing the same circuit as the other hall bands. The band was formed two years ago and its sound and musical direction is constantly evolving.

What they have to say: Hall bands need funding, to afford better equipment and to be able to practice more easily. They think musicians need new instruments and need better organized events and platforms to gain exposure.

“I think PGP needs proper band rooms, as there are a lot of musically inclined people living there” says Harsonal Sachar (Business, Year 2) lead singer of the band. That will increase the pool of musicians in NUS as it is the biggest residence.

Finally, they think bands should be given more CCA Points, as a lot of them live on campus and work really hard for staying in residences. They feel that commitment to their bands would increase if they didn’t have to worry about other CCAs along with band practice so as to get a room for next semester.

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Many of the bands we visited practice at least one night every week. While they do possess talented musicians, they do not all cut the grade. The KR Rockers seemed to be playing at the highest calibre while the bands in Eusoff have, at various times, garnered substantial popularity.

In fact there is ample evidence that the musicians from NUS are able and talented enough to make their mark on the local music circuit. Reverie, Dubious Brothers and Goodfellas have all had members who were ex-KR Rockers. Edmund from Sheares Hall Band is also a member of Peepshow, a five-piece rock band. KEVII Band recently performed at Bugis Junction while Second Nature also frequently plays external concerts.

Mark Sczto and Marcus Law of The Knees perform at Rockfest 2008

On March 15, the Hall bands performed for Rockfest 2008. For 4 hours, once a year, the bands united and presented themselves but they were largely overshadowed by the NUS Open House which took place in adjunction. Also, the audience comprised largely of their fellow hall residents due to a poor advertising effort by CFA and Sheares Hall. The quality of the performances was also sporadic with some bands excelling while others just barely managed to put up a show.

For the NUS Rock Scene to grow and flourish, both the bands and the university will have to make an effort. Closer cohesion between bands and the self-initiative to organize and publicize performances will lead to increased awareness which will benefit the musicians. At the same time, NUS has to provide the platform for these students to fully realize their potential. Only time will tell if NUS will have a rock scene comparable to that in other universities around the world.

Dramafest Producers Mourn for Play’s Loss

Ho Yi Jian | rockjianrock@gmail.com
the ridge transmedia
A NUSSU Publication

• Laremy Lee’s The Last Political Animal found censorship problems with MDA and CFA
• Incredible potential wasted
• Dramafest producers saddened that play cannot be staged

“The Last Political Animal is my favourite play by far, it was the main reason why I signed up to be a producer here at Dramafest,” remarked Chethan Anil, executive producer of Dramafest 2008.

In an interview with the four producers of Dramafest 2008, the producers – Chethan Anil (Engineering, Year 1), Danielle Woong (Business, Year 2), Eva Pillai (Bioengineering, Year 2) and Musaddaq Raibin (Civil Engineering, Year 2) – together with playwright Laremy Lee (English Literature, Year 4) and director Desiree Choo (Psychology, Year 2), expressed their disappointment over the effective censorship of The Last Political Animal.

Four producers, a playwright and a director.
(Top from left to right): Laremy Lee, Chethan Anil and Mussadaq Raibin. Bottom: Danielle Woong, Eva Pillai, and Desiree Choo

Photo Credits: Ho Yi Jian

Laremy’s The Last Political Animal was slated to be part of the six plays at Dramafest, a collaborative drama event staged by three halls of residence on campus – Eusoff Hall, Kent Ridge Hall and King Edward VIII Hall.

Even though the Media Development Authority (MDA) finally gave the play permission to be staged after suggestion numerous changes to the script, the go-ahead only came four days before the production.

For the producers, that was several days too late – the decision had already been made to replace The Last Political Animal with I Fake It In Bed, also written by Desiree Choo, a resident of Eusoff Hall.

Limits of Political Sensitivity

When quizzed on why the play might have been axed, Eva Pillai, a producer from Eusoff Hall, explained that the MDA’s main grouse with the play had been with the name of one of the characters, Harry.

Because the name was deemed to carry certain political connotations, the play was ascertained to have crossed certain limits of political sensitivity.

Eva explained that the assistant director of NUS Centre for the Arts (CFA) initially told them that the play was approved, except that the names ought to be changed because it was too obvious.

“As the play went on to the higher levels, they got back to us… they told us it might be ‘politically sensitive’,” she explained.

Laremy, an English Literature honours student from Kent Ridge Hall, said about his play, “It’s about a family travelling in a car, dysfunctional as they be, and they knock down an animal. Suddenly, a wildlife officer/crocodile hunter appears and tells them that they’ve killed the last political animal.”

In response to his opinion on the censorship, Laremy merely shrugged and exclaimed, “I’m an artist. I have no political agenda. I just want to write and I write what I see.”

Musaddaq, one of the producers from King Edward VII Hall, told us, “When I got the message from Danielle that it got cut, I went, ‘What! What is going on?’ And this was after the priest scene got cut too.”

The priest scene was a modification to another play, The Night Before, changing a priest to an advice hotline. They were asked to change it out of religious sensitivities.

“The Last Political Animal” was replaced by “I Fake It In Bed”, which also garnered a good response from the crowd.
Photo Credits: EH Eusoffworks

Incredible Chemistry

All four of the producers were extremely confident of The Last Political Animal and what it could have been. Laremy’s scripts were among the few that kept the producers excited and motivated through out.

Passionately, Chethan defended the play. “The play is very short, but every single bit had a lot of detail. On the surface it seems like such a short simple play, but there’s so much meaning in it.”

Danielle, a producer from Kent Ridge Hall, who was directing The Last Political Animal until the censorship issues cropped up, said that the actors cast in the roles had incredibly chemistry together.

“When we actually did the rehearsals, [the actors] really worked well together. Every time we rehearsed, there were new ideas coming out. It was really sad that everything got taken out in the end,” Danielle remarked.

The Consolation Is Coolness

Despite the disappointment, there was a small consolation: Laremy noted that people were more inclined to find out what his play was about.

“Now people who normally do not want to even watch a play are interested in reading my script,” said Laremy.

Danielle added, “It definitely ups the coolness factor.”

Dramafest is a collaborative event jointly organised by Eusoff Hall (EH), King Edward VII Hall (KE7) and Kent Ridge Hall (KRH). It features six short plays and is usually held after Semester Two’s mid-term break. This year, it was titled “Six: Confessions”, following last year’s title, “Six: Colours”. Although it was a free event, it had an M18 rating.