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Articles by Aparna Nambiar
‘Yee I-Lann: Mansau-Ansau’: not all who wander are lost
We begin with the story of two birds: the sociable weaver, and the kampung chicken. A sociable weaver’s nest often resembles the hollowed-out husk of a coconut, a dense and delicate lattice of grasses and leaves stitched together by beak. As fledglings, these industrious little creatures spend a good deal of their time poking and pulling strands of grass and blades of leaf through any holes they can find.
Movement as survival: the migratory paths of “Eclipse” and “The Troupe”
In a field I am the absence of field. This is always the case. Wherever I am I am what is missing. When I walk I part the air and always the air moves in to fill the spaces where my body’s been. We all have reasons for moving. I move to keep things whole. Keeping Things Whole, Mark Strand As a young first-generation migrant, I sometimes felt fettered by my over-dutiful nature and fatigued by my tendency to hyper-empathise.
To see, and be seen: a close watch of ‘Small Hours of the Night’
“Small Hours of the Night” opens on a young man smoking a cigarette. Half cast in shadow, he cuts a pensive, enigmatic figure. Two unhurried minutes pass before he notices another person nearby. Without pleasantries, but not unkindly, like he has been expecting the arrival of someone familiar, he invites them to sit down. His eyes linger on them, and he breaks his gaze only when offscreen, a hesitant female voice ventures: “You know, I know we have a very good relationship.
On exposure and protection: “REFUGE” by The Observatory
On the black vinyl floor, a thin layer of grey shimmers gently. Under this translucent fabric, a silhouette: curved, foetal, hidden from our view—for now. Moments before crossing the theatre’s threshold, Johari Kazura from Sifr Aromatics greets us at the front-of-house with scents created just for “REFUGE”. They’re meant to evoke the damp of forest floor mulch and the pungent musk of animal droppings. After talking us through these olfactory layers, he offers to dab the perfume on our wrists.
“SUARA / ORO RUA”: language fails as the earth speaks
A hush falls over the audience as the theatre’s lights dim and a low, guttural sound rumbles forth from behind closed curtains. This grows into a wave of human voices that crests as the curtains rise. A naked rock face looms over ten bodies that lie in tattered, mud-coloured garments. Their lips do not move; it is as if the rocks themselves are sounding a quiet alarm.
A Tribute to Santha Bhaskar From a Student
Teacher, as I always think of her, was better known to her students as Aunty, Aunty Bhaskar, and less frequently as Santha Teacher, though, being a public figure, she was addressed mostly as Mrs. Bhaskar. To her students, this publicness is simultaneously common knowledge and unfathomable, as we each consider her as our own.
"Miss British": Embodying the Post-Colonial Complaint
By Aparna Nambiar (1440 words, six-minute read) “How has colonialism affected you?” This question flashes upon the giant screens that span the studio walls of The Esplanade Theatre Studio. Miss British, directed by Felipe Cervera and devised by The Art of Strangers staged between April 4th and 7th 2019, offers this answer: colonial attitudes make us both victims and perpetrators of prejudice.
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