The next performance was Rizman Putra’s Trip the Light Fantastic, a much more light hearted piece that opened with the audience entering a room where Rizman had created a huge drawing of his twisted spine. Through a casual form of storytelling, dance, and simple props, Rizman stood on the small round stage and recounted his own personal history with dance and movements, recalling how he first fell in love with Michael Jackson’s music videos all the way to his fascination with Zai Kuning’s strange non-dance. It’s hard to take a man wearing golden hotpants and tights seriously, but Rizman’s ‘lecture-performance’ (which drew laughs from the audience) was the most accessible piece of the night, making us really feel the love and respect he had for dance and movement of all forms.
The third piece of the night was by 2016 Singapore Literature Prize Winner and poet Cyril Wong. Titled Disassembly, Cyril looked almost emaciated and small in the white room, dressed in a white t-shirt and white pants. But behind his thin frame lay a powerful voice. Drawing on his past as a ‘renegade countertenor’, Disassembly reflected on the nature of the voice. Taking the form of a German lieder, where poetry is set to classical music, Cyril spoke a little about his voice, before playing it back. Putting on a white blindfold, he harmonized with the recording of his own singing for a while before breaking free of that, his voice growing louder and louder as he repeated the same few words. A powerful, reflective piece of work, the performance even left some attendees in tears, perhaps due to how the performance partially discussed the condition of the struggling artist, alongside an entire bed of other issues, and was a deeply serious final piece to end off the night.
Before leaving the area, there were still two more segments to Running with Strippers. Audiences were invited to enter a room containing Zul Mahmod’s Marching On, a working consisting 16 solenoids fastened by scaffolding that rhythmically hit the scaffolding via electromagnets. Creating a sound not unlike the regular beat of military marches, the work sought to offer a critique on the repetitive, rhythmic nature of life in Singapore, but to no visible end, an oddly depressing piece about the futility of work, emphasised by the dim, almost dread-inducing red lighting in the room. Finally, C.O.P. returned and ended off the night with a one hour improv version of their previous performance, done to a live set by Singapore sound artist Intriguant.