Knotty forms of love and social commentary, and titillating forms of subversive entertainment.

The Singapore International Festival of Arts (SIFA) has never shied away from unusual presentations and venues. But while grunge or nature has often characterised the surprise space, this year, they’ve gone a little higher – literally, with CÉ LA VI on the 57th floor of the iconic Marina Bay Sands.

This wasn’t a venue chosen on a whim however, and was specifically curated to match the works presented here, with a double bill titled LOVE DIVINE. Comprising durational performance-installation work Still Lives (Marina Bay) by Daniel Kok and Luke George, and burlesque act Children of Venus by SUKKI, LOVE DIVINE utilises more ‘adult’ forms of art and elevates them to social and political commentary, all within the context of an elite club.

At first, all seems pretty ordinary, and CÉ LA VI still functions as per normal, serving drinks and light bites during the pre-show segment. The crowd takes some time to gather, either finding a cushy seat or standing about, watching a video of local musician and ‘high net worth individuals’ Nathan Hartono as he talks about the preparation for the performance ahead. The atmosphere is casual, yet anticipatory of the events that are about to unfold.

Still Lives (Marina Bay) is a work that literally sees Hartono tied up and suspended, alongside objects of financial and emotional significance to him, from his guitar, to an entire Peking Duck from Tung Lok (owned by his family). Naturally, there is some excitement to this, seeing a celebrity put in a compromising position, and there is laughter, some giggles in the air.

As Nathan arrives in an oversized chartreuse suit, we think about how he often appears in a casual t-shirt and pants on social media instead, and wonder if this is a true representation of his personality, or merely the version he puts on when performing in a public space. Nathan’s face remains stoic, perhaps a little nervous, and Daniel and Luke secure ropes to him and begin the binding process, whispering inaudible words and ensuring a degree of care to prevent pain and discomfort. He is completely still, as they tie him up, submissive, and we are moved by how much love goes into it.

The process itself is a lengthy affair, taking approximately an hour to fully complete. But this is also where Still Lives (Marina Bay) is most fascinating, as it prompts us to consider concepts of care, with how meticulously all the equipment is set up, testing tensile strength and forming reliable pulley systems that will safely bear Hartono’s weight. To a beginner like us, not yet versed in the art of rope bondage, the knots appear complex, forming an intricate pattern across his clothed body that makes us consider the idea of restriction. It is a subversion of power and wealth, watching him so submissive and allowing these prized objects to be strung up alongside him, seemingly precarious, yet totally safe, given both Daniel and Luke’s expertise and experience.

Nathan is then posed in a suspended seating position, a champagne glass in one hand while he gazes out at the Singapore skyline, transformed into a living sculpture as the surrounding audience ponders over this. Does it represent Nathan held hostage by his own wealth and status? We continue to ponder over this, as Daniel and Luke change his positions, at first suspended in a cradle-like structure, as if fallen from above, before he finally is hung upside down, spun around like a piece of meat on a hook. It is this tension that keeps us gripped – how can someone be tied up yet be comfortable? How can one be a celebrity yet allow themselves to be so vulnerable?

As a ‘performance’, Still Lives (Marina Bay) raises ideas of money and wealth, and becomes a spectacle to watch these high net worth individuals in a supposedly ‘compromising’ position. While the end product is an impressive feat of rope work, the more important aspect of this presentation seems to hinge on the idea of trust and consent, watching this ‘celebrity’ reduced to a man relying on two other men to build a structure that will ensure his safety. Surrounded by these other objects that supposedly make him who he is, there is a vulnerability present that brings Nathan to the ground, a tension in the air during this hour that feels so completely different from his socialising and smiles after the showcase, and we are left to wonder how much of the ‘real’ Nathan is left at all. We are humbled by the process, and perhaps, the audience may consider how such care may be extended to other parts of their lives, becoming more attentive, more open to trusting others around them.

The second act couldn’t be more different from the first, and focuses instead on fast-paced, high energy entertainment, with a set change preparing the space for SUKKI’s Children of Venus. Presented as a series of burlesque and vaudeville acts, Children of Venus is a sensual affair whose intent is to stun and titillate in across the rapid succession of its many acts.

Introduced and warmed up by drag queen Becca D’Bus, the performance begins with triple act The Glamourettes, tying the show to Still Lives (Marina Bay) with a rope act, swinging and swishing a length of red rope or lashing it across their bodices. Their hair knotted and pulled tight, they venture out into the audience to flirt and charm them, showing how comfortable they are in the space and sexuality. We look on in awe at these hyperconfident women, putting on a stage persona that exudes power, lust and control, admiring the transformative aspects of such performance.

Aerialist Adelene Chua then takes to a raised hoop, showcasing her acrobatic skills. Her grace and poise is unmatched, as she spins and poses in seemingly impossible positions, making for a high tension act as the audience whoops and cheers. Adelene is clearly in her comfort zone, never breaking a sweat while she smiles and soaks up the applause, bending and twisting, before elegantly descending.

Adelene is followed by Becca D’Bus, appearing with two grey blown up dolls and an impressive, dandelion-like headpiece, as she moves to a track that inspires rebellion, individuality and self-love. Eventually tossing these burdensome dolls aside, she strips down and reveals her naked belly hanging out, letting it jiggle along to the beat, to riotous laughter. The theme of the night, evidently, is confidence amidst vulnerability, each performer showcasing a side to them that could normally garner ridicule, yet have each become skilled enough in their art form that one cannot help but be impressed.

The highlight of the night however, is Lychee Bye, who possesses an incredible knack for humour and whose confidence and performance skills have only improved over time. Arriving onstage in a stunning Merlion-inspired outfit, she begins with a jaunty bop to ‘Singapore Town’, clapping to the beat, before removing her headpiece, and forgoing the innocence, and revealing a raunchier, sexual side to this Singapore girl. Performing a burlesque number to Cardi B’s ‘WAP’ makes for a stunning contrast to the previous song, and the crowd goes wild as she gyrates, poses, and dances her way across the floor to the bartop, still in heels as she kicks and stretches, always with a smile on her face.

In the finale to Children of Venus, contemporary performer Francesca Harriman ends the show by slowing things down, performing to FKA Twigs’ sensual ‘Cellophane’. Her expression pained, Francesca clearly feels every sensation and emotion, moving her body in time to the song, her body expressing each note and lyrics, making for a sobering final act that leaves us on a reflective note while we consider all that we’ve watched tonight. As all the performers emerged for one last glorious finale, Children of Venus left us wanting even more of what we saw, each act more of a tease of what the performers could do rather than a full on showcase, and we look forward to seeing when they will next appear at an event.

As a whole, LOVE DIVINE marks for a new venture into more commercial spaces for SIFA, and as an experiment, opens the door for more such creative collaborations, and the elevation of burlesque and kink to art. While across both works, a stronger focus on socio-political commentary could be emphasised, what is clear is that there is great love and care for each artist’s craft, and genuine joy from the audience in watching them be given such a platform, and encourage such artistry to gain more recognition in future.

Photo Credit: Moonrise Studio

LOVE DIVINE played on 26th and 27th May 2023 at CÉ LA VI. More information available here

Read our interview with SUKKI, Daniel Kok and Luke George here

The 2023 Singapore International Festival of Arts ran from 19th May to 4th June 2023. Full details of programme available here

Production Credits:

Still Lives

Co-Creators: Daniel Kok Luke George Performers: Nathan Hartono (26th May) Grace Kee (27th May)

Children of Venus

Creative Director: SUKKI (Singapore) Creative Support Team: Lisa Keegan Emma Seward of CPG Concepts Lead Choreographer: Ryan Hanson Choreographer: Zelia Cheong

Casts: Three Piece Burlesque and Cabaret Troupe The Glamourettes Theatrical Drag Performer Becca D’Bus Aerialist Adelene Chua Burlesque Artist Lychee Bye Contemporary Artist Francesca Harriman