THE ART OF WAR / Calista Liaw and Friends / Review

THE ART OF WAR

Calista Liaw & Friends

Esplanade Recital Studio

Wednesday (12 April 2023)

This review was published in The Straits Times on 17 April 2023 with the title "Sun Tzu's Art of War re-imagined in music and dance". 

 

Sun Tzu’s The Art Of War is well-established as a classic of historical literature, its edicts often used by gurus of management, business strategy and self-empowerment. Calista Liaw, a third-year student at Yong Siew Toh Conservatory and professional erhu player, has envisioned its essence as a multi-disciplinary work of music. It has become a metaphor for the struggles of life, as neatly encapsulated in her pre-recorded preamble in Chinese.

 

Photo: Wayne Chng

Lasting some 45 minutes and unfolding in four discrete chapters composed by students of the Conservatory, The Art Of War was both a sonic and visual spectacle. Performers included Liaw herself on erhu, Liu Jia Qi (cello), Jacky Ng (suona/guan), Jeremy Wong (pipa) and Lee Yu Ru (percussion), conducted by Ding Yi Music Company’s Dedric Wong. Five very athletic dancers performed movements choreographed by Gin Lam, and were outfitted by haute-couture brand Lontessa, looking like extras in some Star Wars set, quite appropriate given the subject.

 

Each of the four chapters were prefaced by a quote in Chinese from Sun Tzu, and their not necessarily accurate translations and elaborations in English, some of which bordered on gibberish.  The Chinese, however, have a term "ji hua" meaning Laying Plans or meticulous preparation, which ensured each part flowed seamlessly into the next.

Photo: Wayne Chng

 

That was the title of the first piece, composed by Chua Zi Tao, which opened with Ng’s mellow guanzi accompanied by Lee’s percussion. The martial air was fulfilled by all five dancers, their pugilistic poses and muscular movements totally in sync with the music performed.

 

The next piece, Zhan or Waging War by Estene Cheong, was not just about the heat of battle. While the inherent stress, tension and violence of the music were self-explanatory, it was the calm before the storm which brought out the most ominous overtones. Liaw gave more credance to the whys, whos and whats of conflicts, and the better strategies by picking one’s battles wisely.     

 

That tied in perfectly with Sheng or Introspection by Lin Ssu Ting, which was quiet and slow, thus evoking the most mystery among the movements. Here the two bowed instruments, Liaw’s erhu and Liu’s cello came to the fore. Finding oneself, knowing one’s abilities and limitations, and those of one’s adversaries, would be the hinge which vital decisions are made.

 

By now, one would have surmised Liaw’s thoughts on her own personal demons, about her choice of becoming professional musician and the further obstacles she faces. This would come to fruition in the fourth and final movement, March On by Toh Yan Ee, which returned to earlier martial manoeuvres. The artist is now exhorted to resist and persist until the final goal is reached, and then soldier on some more.

Photo: Wayne Chng

 

Young Calista Liaw is a thoughtful yet passionate artist, and her conception of this idea-provoking production bringing together friends and fellow collaborators heralds further promising artistic endeavours to come.