[In]finite Octagon – a 30-minute dance-film - we reflect on the ancient Chinese Eight Trigram [八卦Bā guà] as a microcosm of the world. Each trigram is assigned to a specific element in the octagon; wind, fire, water, mountain, heaven, earth, lake and thunder. Conceived by dance-maker Angela Liong, [In]finite Octagon is a lush 30-minute film featuring dance, new sounds using traditional instruments, and a fluid art installation to reinterpret the legend of the Eight Immortals through abstract, contemporary attributes. The gathering of four dancers and four musicians - playing the roles of the eight immortals - was staged at a disused fish farm nestled among wild vegetations and an abandoned old school hall. This set the stage for a face-off with the natural elements locked in tumultuous dance. Comprising of a tenor voice, the Chinese percussion and a host of Chinese flutes, the music score is configured as a juxtaposition of sonorities or a collocation of sonic colours and movements. Composed by Joyce Beetuan Koh, the soundscape resonates with the narratives of the opposing forces and co-existence of the elements. Sixty-four blue and white inflatable pieces were created by sculptor Yeo Chee Kiong to form a modern-day bā guà installation. The movements of the dancers accentuate the spatial perspective and proportions, throwing the body towards the irrevocable course of tipping points in nature.
Moving Sketches is a 9-minute film that celebrates Singapore's 50th birthday with scenes of the city. The images have been captured by a host of motion time-lapse and still photographers while the sound was composed by Joyce Beetuan Koh. The film is produced and presented by NAFA.
Hearing Lines is a 6-minute audio-visual work for a solo performer at the keyboard and computer. The concept of Hearing Lines is to interpret lines of an imaginary architecture plan, reading it as a graphic score to guide musical decisions. In the beginning, I selected several architectural plans and topographical prints which I found interesting. Then, I cobbled and sequenced these visual plans in a way that evoked an aural scenario. Finally, the visual stimuli and aural imagination became dynamic, and I felt compelled to sequence and animate them into an audio-musical piece. The result is a tight interplay between music and visuals. The video can either be a standalone work or a performance with an improviser.