Centre 42 » CharChey https://centre42.sg Thu, 16 Dec 2021 10:08:35 +0000 en-US hourly 1 https://wordpress.org/?v=4.2.30 FOR THE RECORD | by Charlene Shepherdson and Cheyenne Alexandria Phillips https://centre42.sg/for-the-record-basement-workshop/ https://centre42.sg/for-the-record-basement-workshop/#comments Thu, 01 Mar 2018 07:30:29 +0000 http://centre42.sg/?p=8118 Cover image from the CharChey Facebook page. Used with permission.

Cover image from the CharChey Facebook page. Used with permission.

SynopsisCreation ProcessCreative Team
Meet long-time friends, Ana and Kate. When their cousins marry, they turned from friends to family. But with a new child on the way, Ana’s and Kate’s friendship is tested, especially when they both want to be the Godmother. Obviously, there can be only one.

Watch Kate and Ana bicker their way through what it means to grow up Eurasian in Singapore, the challenges they face and the things they want to change.

For the Record is written and performed by Charlene Shepherdson and Cheyenne Phillips using elements of spoken word, poetry and ethnodrama. Come join us for an evening of stories: of family, culture and history.

For the Record is a three-part documentation project comprising a spoken-word performance, an exhibition, and a manuscript. The project explores the Eurasian identity in a time of great flux and online instances of xenophobia. How do Eurasians fit into the future of Singapore when their day-to-day experiences are met with questions such as “What’s a Eurasian?”, “Where are you from?” and “If you are Singaporean, then why do you look like that?” 

Phase 1:
The performance is envisioned as a one-hour show combining spoken word with ethno-drama techniques. Also titled For the Record, the performance is based on personal stories, historical transcripts, academic research and interviews with Eurasians living in Singapore. The narrative revolves around the contributions of pioneer Eurasians in pre-and post-independence eras and discusses the aspirations of Gen X Millennial Eurasians. The performance will take place on Feb 17 & 18 at The Arts House Play Den.

Phase 2:
(pre)position focuses on how identity is at times forged by a sense of place. Hidden in old enclaves and stomping grounds of Singapore Eurasians is a mountain of memories of family, friends and the occasional party. Learn about the history of these places – such as Waterloo Street, Katong/Joo Chiat areas, Selegie Road and Serangoon – and relive these memories with us.

Phase 3:
A final manuscript of the project will also be published, to serve as a record of contemporary Eurasian identity in present-day Singapore.

Interview
Event Recording of (pre)position
Others

Performer – Charlene Shepherdson
Charlene Shepherdson is a performance poet and dramaturg interested in the intersection where heritage, technology and environment meet. She uses language in written, performative and visual forms to build communities and grow voices. Her words have been published in the Straits Times and in poetry anthologies by Math Paper Press, Ethos Books and Pillow Book Media.

As ⅓ of the spacer.gif collective, she runs destination: INK, a monthly open openmic. She is also a founding member of spoken word troupe, Party Action People and cofacilitates spoken word collective, Ministry of Noise.

Charlene’s day job as a Senior Learning Designer is an added advantage for this project as it has equipped her with the facilitation, technical and interactive narrative skills needed for the devising of the show.

Performer – Cheyenne Alexandria Phillips
Cheyenne Alexandria Phillips is an environmentalist by day, performance poet by night and on occasion she hangs out in the control rooms of black boxes, lighting various stages. She is a founder and editor at Coffee Stained Press and has been published in their first anthology Words: Lost and Found (2016). She has performed at destination: INK and SPEAK. as a feature and was part of the production team for (Mono)play (2014) by Yellow Chair Productions and Why Do We Do What We Do (2014) and Bi(cara) (2016) by Pink Gajah Theatre.

Cheyenne believes in using her writing and creative instincts to bring to light different perspectives of a particular issue. While her writing typically focuses around her interest in the environment and her personal experiences, other social issues have made their way into her work. With anything, Cheyenne hopes to be the line in the story that makes you reconsider your views on the world.

 Development Milestones 

For the Record was developed in residence at Centre 42’s Basement Workshop from October to February 2017. 

17-18 February 2017:
Phase one, For The Record, performed at Play Den, The Arts House

16 June 2017 -7 July 2017:
Phase two, (pre)position, exhibited at the Courtyard, Centre 42

 

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FOR THE RECORD by CharChey https://centre42.sg/for-the-record-by-charchey/ https://centre42.sg/for-the-record-by-charchey/#comments Thu, 23 Feb 2017 09:20:16 +0000 http://centre42.sg/?p=6591

“Unpolished Delivery Even for a Work-In-Progress

Reviewer: Isaac Tan
Performance: 17 February 2017

Frankly speaking, if I were to name a major race in Singapore apart from Chinese, Malay, and Indian, my answer will be Eurasian. Ask me further questions about this diverse group of people, however, I can only respond with a stutter and an awkward smile.

Based on the stories told by Charlene Shepherdson and Cheyenne Alexandra Philips (collectively known as CharChey), it appears that I am not alone in my ignorance

This performance intertwines prose and verse seamlessly and tenderly introduces us to various aspects of the Eurasian culture and experience. In the short span of roughly an hour, personal genealogies, experiences, history, food, and culture become rich vignettes that are equal parts informative and reflective.

Alas, the duo does not do their beautiful words justice as their delivery lacks polish.

At the start of the show, Shepherdson unloads a barrage of facts about her genealogy without tonal inflection or phrasing. With such a complex genealogy, I suspect even her relatives will not be able to follow what she is saying. Halfway through the show, she falls off a chair while playing a childhood game. While she is meant to rush for the chair in the game, the performer has to build up body discipline and perform the dash rather than blindly dashing for it.

Philips does not fare any better. She is unclear as she appears to lack effort while articulating her words. Additionally, she tends to get breathless easily and one has to strain to hear her text in between waves of heavy breathing. To top it off, her train of thought goes off the rails whenever she struggles to catch her breath.

As such, the opportunity to test their work is wasted as the audience did not get the full impact of the show. On the bright side, such weaknesses can be easily addressed.

For all its rough edges, a Eurasian boy sums the show up most aptly during the post-show dialogue, “I feel sad that my social studies textbook left us out.”

CharChey must be commended for prompting us to ask why.

Do you have an opinion or comment about this post? Email us at info@centre42.sg.

ABOUT THE PRODUCTION

FOR THE RECORD by CharChey
17 – 18 February 2017
The Arts House

ABOUT THE REVIEWER

Isaac started reviewing plays for the student publication, Kent Ridge Common, and later developed a serious interest in theatre criticism after taking a module at university. He is also an aspiring poet, and has a passion for acting and flamenco dancing.

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