Date: 18 November to 19 November 2022
Time: 10 – 4PM SGT
#05-02 Goodman Rd, Goodman Arts Centre, Block B, 439053
- Single day (independent artist): $25
- Single day (General): $50
- Both days (independent artist): $50
- Both days (General): $100
Friday only: $12.50
Hi-Viz Satellite 2022
As part of a three-year cross-national program, SAtheCollective, Chamber Made, and Punctum has curated Hi-Viz Satellite to explore and expand dialogue amongst artists in Singapore and Australia. SAtheCollective is proud to be one of the hosts for Chamber Made’s annual Hi-Viz program from 18 to 19 November 2022.
Over two days, be inspired by specially selected guest artists from both Singapore and Australia as they share their experiences and thoughts on cross-artform practices. Hi-Viz Satellite will feature in person and online panels, insightful presentations, workshops, and networking sessions to foster deep conversations and kindle new understandings between current and aspiring artists whose work resides at the intersection of performance, sound, and music
Day 1 – 18 November 2022 (Fri)
Zen Teh (SG)
Being and Circumstance : sound in visual art installation
“There is embedded in any set of circumstances and your being in them the dynamic past and future; what was; how it came to be; what it is; what it may come to be” (Irwin, 2009). Sound in visual art installation embodies the sense of being and how we may situate, reflect, respond and imagine in a given circumstance – particularly in spaces of tension, awkwardness and limbo. Environmental Artist Zen Teh shares about her exploration of sound in visual art installations as a means to interrogate in the in-between spaces of human sensory experiences and urbanity, extending the memories and imagined states of these encountered sites.
Adena Jacobs (AUS)
Adena is a theatre director and is Artistic Director of the company Fraught Outfit. As a theatre artist, Adena’s ‘mode of making’ relies on a process of dismantling and rebuilding. Adena will discuss the questions embedded in this process, and how these shift when working across the mediums of theatre, opera and sound driven contemporary performance.
Lz Dunn (AUS)
26 bones, 33 joints, over 100 muscles, ligaments and tendons and about 200,000 nerve endings.
This is the anatomy of each of our feet.
When we move without shoes we can listen to what supports us underfoot. This listening happens as our feet deform and reform to meet the changes in the texture and shape of our terrain. This listening strengthens the musculature of our feet, enabling greater stability and support. This listening awakens the sensations of our soles and engages us in continuous conversation with the ground.
In this experiential session Lz invites you to share in a mode of making that moves barefoot through biomechanics, metaphysics and everyday life.
Cherry Chan (SG)
In response to Hi-Viz Satellites theme of “modes of making”, Cherry Chan shares her journey in the art and music world, discussing the array of works she has been involved in, from DJing, composing soundscapes, creating community art installations & programmes, to curating and producing music festival stages and a visual art exhibition.
Friday’s session is held concurrently with the program in Victoria. The two locations will be connected digitally. Presentations of the artists from Australia will be streamed live for Singaporean participants, and vice versa.
NOTE: Participants who purchase Online tickets will only be able to attend Day 1.
Day 2 – 19 November 2022 (Sat)
Forging Friendships with Music Collaboration
As an Erhu (Chinese fiddle) performer, a classically trained composer and an electronic dance music producer, Likie Low is a musician that takes Electro-acoustic Music to the next level. Calling it “Electro-fusion dance music”, she integrates Chinese musical instruments and brass instruments into her dance music productions, and strives to make it an art of her own. As a result, she has produced numerous new arrangements/re-imaginations of Chinese classical music, as well as western classical music. In this workshop, she will be running us through the process of her specialty in cross-genre works. Expect to get an hour crash course on Chinese music, electronic dance music and the combination of the two elements.
From Experimental to Experiential
Jean Reiki started producing consciousness-shifting music under the recording alias Mind of The Cosmos. The idea behind the moniker was to be anonymous and for the music / sounds to aid listeners along the journey of inner zen. Through Field recording, active listening & sonic experiments, she hosts private and group soundscape meditations to guide beginners explore sensory deprivation in floatation pods and sounds in their meditation. In this workshop, participants will widen their lens to explore the potentials of interpreting sounds, silence and how they can optimally impact people, individually & collectively. With the dark spell of the pandemic finally lifted, her ecstatic dance DJ venture functions as a multidisciplinary ever-evolving experiment that merge wellness modalities into conscious events. She also will delve into what values the sober attendees derive when they experience world grooves beyond their ears, foster connections with other people while calming their urban souls.
Making at the Intersections of Discipline and Culture
In this workshop, I will share about my experiences with making interdisciplinary work-specifically, Temporal Percolations; as well as three pieces of music, which explore intercultural amalgamation.
Working at these intersections allows for flexibility, playfulness, sfumato and polyphony. These “inter-modes” open up possibilities not only for making, but perhaps even more importantly, for creative growth; especially when working collaboratively.
And working with music that crosses, ‘bleeds through’ and blends cultures is vital to the ongoing discourse and negotiation of what the Singapore sound is.
Workshop sessions will offer embodied activities and discussions to dive deeper into the themes introduced on Day 1. As Saturday’s session will be held entirely in-person, online attendance will not be available for Day 2.
NOTE: Day 2 will only be available to participants who attended Day 1. We highly encourage participants to attend both days to enjoy the full Hi-Viz experience.
Featured artists: (click to see the Bio)
Adena Jacobs is the artistic director of independent company Fraught Outfit. In 2014-15 she was Resident Director at Belvoir, and in 2012 she was Female Director in Residence at Malthouse Theatre. Adena has presented her work internationally at the ENO in London and Tokyo Festival. In March 2021, she will premiere her production of Die Troerinnen (Trojan Women) at Vienna’s Burgtheatre.
Directing credits include TITUS ANDRONICUS (Bell Shakespeare/Sydney Opera House), SALOME (English National Opera), THE HOWLING GIRLS (Sydney Chamber Opera/Carriageworks, Tokyo Festival World Competition), BOOK OF EXODUS – PART I & II (Theatre Works), THE BACCHAE (Melbourne International Arts Festival, Dark MOFO), ANTIGONE (Malthouse Theatre), WIZARD OF OZ (Belvoir), OEDIPUS REX (Belvoir), HEDDA GABLER (Belvoir), EXIL (Sydney Chamber Opera/Carriageworks), PERSONA (Theatre Works, Malthouse Theatre, Belvoir), ON THE BODILY EDUCATION OF YOUNG GIRLS (Neon/Melbourne Theatre Company), ELEKTRA (The Dog Theatre), THE CITY (Red Stitch), THIS IS FOR YOU (La Mama) and CLEANSED (Studio45/VCA).
As a dramaturgue – THE SEEN AND THE UNSEEN directed by Kamila Andini (Salihara, Jakarta/The Esplanade, Singapore/AsiaTOPA Festival, Melbourne), THE DARK CHORUS (Lucy Guerin Inc/Melbourne International Arts Festival), RE-MAKE (Melanie Lane/Chunky Move), Nick Coyle’s BLUE WIZARD (Belvoir), and as associate artist on Jada Albert’s Brother’s Wreck (Malthouse Theatre).
Adena graduated with a Bachelor of Creative Arts (honours) from Melbourne University (2004), and a Masters of Theatre Practice from VCA (2008) where she received the Yvonne Taylor scholarship for a female director. In 2011, Adena was awarded the Melbourne International Arts Festival’s Harold Mitchell Fellowship and the George Fairfax Memorial Award in 2018.
Adena’s work has been nominated for numerous awards including Green Room, Sydney Theatre Awards, FBI SMAC and Helpmanns. Adena Jacobs’ and Damien Ricketson’s THE HOWLING GIRLS was awarded the prestigious Music Theatre NOW prize presented by the Music Theatre NOW Network and ITI, the Award for Outstanding (Sound Design) at Tokyo Festival World Competition and Best Vocal/Choral Work by APRA AMCOS at the 2019 Art Music Awards.
Zen Teh is an artist and educator interested in the interdisciplinary studies of nature and human behavior. Her art practice spans across photography, sculpture and installation art. Teh initiated numerous collaborative projects with artists, art professionals and scientists over the years: A Familiar Forest is a long term ongoing collaboration with environmental biologist, Dr Ching Jianhong from DUKE-NUS that has been exhibited at the ArtScience Museum (2015) and Lee Wee Nam Library, NTU (2021-2022). Her residency at Selasar Sunaryo Art Space (2019) involved collaboration and research with geologist Rinaldi Ikhram from Padjadjaran University on the impact of rapid urban development on Bandung, Indonesia.
Teh has been consistently showcased in numerous group and solo exhibitions in Singapore and the region, including National Museum of Singapore, Singapore Art Museum (SAM) and ArtScience Museum, Thailand, Indonesia, Korea, Taiwan and China and invited as a guest speaker at regional and international environmental conferences such as UNESCO-UNITWIN 2021, ASEAN Powershift 2015 and Hanoi Innovation Week 2016 on Sustainability. Her works have been acquired by the SAM collection and numerous private collections in Malaysia, Indonesia, China and Singapore.
In 2021, Teh was conferred the Young Artist Award by The National Arts Council, Singapore’s highest accolade for artists under the age of 35.
LZ DUNN’s practice integrates choreographic, sonic, experiential, site-responsive and collaborative methods to navigate inherited and embodied processes of meaning-making and being. They are interested in facilitating movements that enables deliberate and sustained unfoldings of multiple perspectives and possibilities. Experiences of queerness, spirituality, family and ecology inform their current practice of life and art. Lz has created and presented work across Australia and internationally, particularly as an Artistic Associate with experimental performance company Aphids from 2012-2018. Of Scottish/English settler heritage, Lz lives on Dja Dja Wurrung Country, Castlemaine.
As an electronic music artist and DJ, Cherry Chan has performed as an opening act for MODERAT, Hudson Mohawke and Jamie XX; played at Brainfeeder and Low End Theory (Los Angeles, USA), Worldwide Festival (Sete, France) and A Taste Of Sonar (London, UK). Music writer Dave Jenkins from Bandcamp once noted that Chan’s mixtape drew a delicate thread through Singapore’s electronic underground, capturing a deep and emotional spacey aesthetic, providing a moving musical snapshot of a city abuzz with exciting experimental and innovative talents. In recent years, Cherry curated and produced site-specific audiovisual projects featuring large scale architectural projection mapping; soundtracks for neighborhoods and street art murals and digital-first performance capsules, highlighting the works of fellow artists on the Syndicate label.
Syndicate was co-founded by Cherry with the intention of deconstructing current norms of dance music in Singapore, and to synergise visual ideas with performances, creating audio-visual installations in a myriad of spaces and contexts, expanding platforms of expression for artists.
Ph.D (Economics), University of Queensland, Australia.
Dr. Sharon Chang is concurrently the Research Director of the Culture Academy, Ministry of Culture, Community and Youth, as well as the Chief Research Officer of the National Arts Council in Singapore. Her teams conduct studies on social attitudes and capital, as well as run surveys on arts & culture consumption and manpower. Sharon is an economist with research interests in measuring the impact of community arts, arts education, cultural tourism, well-being as well as social capital. She has published in peer-reviewed cultural policy and tourism journals.
Born in 1999, Likie is a rising Singaporean composer, producer and songwriter who specialises in the exciting mix of Electronic Dance Music (EDM) with a live brass ensemble, as well as performing as an erhu soloist and DJ. She has presented numerous shows with rave reviews, including “Let the B@ass drop” as part of band weekend, “The Past and the Present”, as part of Cool Classics, and “Twisted Classics” as part of the Esplanade Huayi Festival.
In August 2022, she presented her debut of a mix of EDM with Chinese instruments, brass ensemble at the Yong Siew Toh Conservatory of Music, as part of their Voyage festival. Following that, she also has yet another solo concert as a part Singapore Chinese Cultural Centre’s RE•MIX Festival in November, 2022 where she celebrates traditional Chinese music through electronic dance music.
As a dance/pop music producer, she has also released many singles on music stores, such as Spotify and Apple Music, including her debut album, “Tell Me”. As a song writer, she won various awards such Hitmaker Global Academy and International Seakeepers Society Songwriting Competition in 2020, and The Dream Composition Songwriting Competition in 2021.
Likie started her musical journey at the age of 9 when she started learning the erhu under the tutelage of local erhu master, Ling Hock Siang, who also serves as the Assistant Concertmaster of the Singapore Chinese Orchestra. Over the years, Likie studied composition under several teachers, including Kelly Tang, Chen Zhangyi and Peter Edwards. She graduated from the School of the Arts in 2017, and will graduate from the Yong Siew Toh Conservatory of Music in 2022.
As an erhu soloist, Likie has performed with both western and Chinese orchestras, including the Singapore National Youth Chinese Orchestra (SNYCO) and the Orchestra of the Music Makers. In April 2019, she premiered Chen Zhangyi’s trio concerto piece, Concerto for Erhu, Ruan and Percussion (三人行) with the Yong Siew Toh Conservatory Orchestra at the Esplanade Concert Hall, and their subsequent tour to South Korea.
Born and raised in Singapore. DJ and producer Jean Reiki was a vinyl-collector who stumbled upon Hard Hops and Nu-Skool Breaks at the tail-end of the 90s. Her style of DJing gradually developed, resulting in a wide gamut of musical genres in her sets and cemented her a place at London’s Point Blank’s Top Female DJs and Ones To Watch for 2012.
Since her first club appearance in Phuture (Zouk) and her debut promo mixset entitled Equlibrium 001: Dawn of Breaks, she has moved beyond the club circuit, reaching the heights of a quarterly mix show residency on the now defunct national radio, Lush 99.5 FM and private not-for- profit underground free party series, Under The Bridge.
Music curation aside, her compositions and remixes gained notable attention with her work featured in far corners of the world, from Vietnam’s Doing It The Pho Girls Mix, Nick Luscombe’s Late Junction playlist on BBC Radio 3, The Shiso Room on FutureMusic FM, Southampton’s Beyond Control on on Voice FM 103.9, Copenhagen’s The Lake Radio, Berlin’s Not Your Girlfriend show on BLM.FM, Hyper Juice show on Japan’s Block FM, Stateside’s Gizmodo and San Jose Museum of Art. Other production work has garnered her the 3rd spot at the Creative Destruction Contest organised by the Peranakan Museum, commissioned music work for Brilliant Corners : Bukit Merah Diaries, Chinese Poetry recitations at The Art House and nominations for the ‘Best Genre Bender’ category at the Asia music awards, VIMA.
With the pandemic transforming the scale of live events, she is no stranger to the DIY ethos of live-streaming. Under the Moon Lounge umbrella, she curated tunes, visuals and hosted chatroom for her followers during the height of lockdown. Always exploring new terrains, she has played at Ecstatic Dance events, where she collaborated with brain food hippies to infuse free form movement and healing in a judgment-free space. As a techno shamen, her soundscape meditation events are sonically designed to enliven the senses while calming the soul of the attendees.
For more of her movement:
IG 1 : Jeanreiki
IG 2 : mindofthecosmos
Belinda is a composer, arranger and orchestrator. She teaches Aural, Theory, and Composition at LASALLE College of the Arts.
She has been in the music industry for over 30 years. Her involvement includes composing and arranging commercial music, as well as working as music director for various performances and musicals. Additionally, she has composed and orchestrated for the Singapore Symphony Orchestra, the Bulgarian National Radio Symphony Orchestra and other ensembles. Her most recent orchestral project is JOB, A Symphonic Dance.
Dr Natalie Alexandra Tse (b.1987) believes that the art of sound and listening is foundational to establish essential connections amongst people and their environments, particularly babies. During her doctoral studies, Natalie investigated her creation of a sonic experience for babies, where multi-sensory elements transformed a space into an immersive experience for babies and parents alike. This is consistent with her artistic practice where she seeks multi-modal manners of experiencing sounds and the environment. She promotes her spirit of experimentation and exploration of sound through the Arts, with the belief that the Arts has the ability to develop children’s awareness of the diversity of cultures in the world, thereby developing understanding, respect and empathy for others.
Natalie has been creating transformational sonic experiences on her primary instrument, the guzheng. As one of the first in Singapore to use electronic effects pedals on the guzheng, she conjures different ambience and enhances the emotions that are evoked through the guzheng, promoting the instrumental art form in modernity while retaining its cultural charms. Her recent notable international performances include events such as the Sydney Festival 2020 (Australia), the angelica festival internazionale di musica 2018 (Italy), Mapping Melbourne 2018 (Australia), OZAsia Festival Adelaide 2018 (Australia) the International Society for Music Education (ISME) World Conference 2016 (Glasgow) amongst others.
Natalie co-founded the cross-cultural and cross-disciplinary arts organisation SAtheCollective in 2016, developing its young audiences wing, LittleCr3atures™, dedicated to the creation of spaces for children in the early years to play and learn through sounds, sonic objects and environments.
With her varied local and international experiences, Natalie continued to seek new possibilities with her artistic practice, transcending boundaries of artforms in her creation of multi-modal, multi-sensory works for young children. As a young mother to two young children, she works with her babies to create her works. Most notably, Nadam – an immersive sonic experience for babies 18 months and under (2018, 2019); Soundmakers by LittleCreatures (2018, 2019) and Home in Nature, Nature in Home (2021) commissioned by the National Gallery Singapore, and Bitesize Lil’ Creatures (2017-2019) amongst others.
Professionally, Natalie had also represented Singapore in the Asian TYA Network (2017, 2019 ) hosted by riccaricca*festa (Okinawa), was part of the Singapore delegation to Imaginate, Edinburgh International Children’s Festival (2019), and was also accepted into the Artist Meets Early Years programme as part of Visioni di futuro, visioni di teatro…2020 (cancelled due to pandemic) to further her practice and establish international network as an arts practitioner creating works for the early years. Natalie is a member of the Asian TYA Network, International Society for Music Education, Young Women’s Leaderships Connection Singapore and CRIB Society.
As a researcher-practitioner, she has presented academically at the Early Childhood Music Education Commission (ECME) 2017, International Society for Music Education World Conference (ISME) 2017, Cultural Diversity in Music Education (CDIME) 2017, Asia Pacific Symposium for Music Education Research (ASPMER) 2017, 2019, 2021, Arrhythmia 2021 amongst others. Natalie has also contributed chapters to books such as “Traditional Chinese Music in Contemporary Singapore” (2020), “Visions of Sustainability for Arts Education” (2021) and have upcoming publications on the way.
Natalie’s artistic work is not limited to the performing arts landscape. She currently serves as a Performing Arts Pedagogue and Sonic Play Specialist in a progressive preschool. This year, she is also entering the social services sector where she will be bringing sonic experiences to benefit the maternal-child well-being of at-risk mothers and babies as part of the Temasek Shophouse Conversations: Youth in Action.
Natalie strongly advocates for the arts for Children’s Rights, Maternal Wellness and Cultural Empathy.