Lim Lee Lee
Lee Lee lost her eyesight when she was still an infant in the hospital. Her visual impairment did not stop her from pursuing studies. She became the VERY FIRST visually challenged student in Singapore Institute of Management Open University Centre (SIM-OUC) to receive her degree in Bachelor of Arts in English Language and Literature.
Lee Lee contributed to song lyrics released in two albums for the Wataboshi Music Movement in 1999 & 2001. She co-wrote an article of the composer’s lyricist and singer’s background for The Wataboshi Music Festival in 2003. From year 2005 to 2007, she wrote articles, media release, covered events for newsletter and managed press relations for Town Councils.
She was a central part of the extensive research and interview process for playwright Kaite O’reilly’s Unlimited International Commission, ‘And Suddenly I Disappear: the Singapore ‘d’ Monologues’. Lee Lee interviewed, translated and transcribed stories by D/eaf and disabled people in Singapore as part of the storytelling process and helped create an important oral archive of people with disabilities. In 2018, Lee Lee starred in the Singapore premiere of the production and appeared in filmed footage in the UK tour later in the year.
In 2019, Lee Lee was selected to attend the Sync Singapore leadership programme for artists with disabilities, organised by Very Special Arts Singapore, British Council and Singapore International Foundation. She has also been selected to be mentored by playwright Alfian Sa’at and is working towards a development of longer scripts.
Lee Lee has also led a fulfilling career in the corporate sector. Despite the lack of accessible options, Lee Lee pursued the use of technology to aid her and was a successful financial services consultant and trainer. She has trained companies such as American International Assurance (AIA), IPP Financial Advisors, Sing Capital, Allianz Global and schools.
Victor Tan Wee Tar
Victor Tan earned himself a reputation in the art scene with his unusual and persistent choice of medium, wire. His work is characterized by the use of wire and wire alone. Coupled with his unique techniques, which he employs with great success, he investigates existential ideas about humanity, the isolation of the human emotions in the moment, and through the passage of time and life.
The vast majority of Victor’s sculptures have been centered on the human figure, birds, horses etc. Victor has completed work for numerous prestigious commissions including his first commission in 1998, a dramatic pageant of five larger than life human figures representing the fingers of a hand making the ‘OK’ sign. In the same year, he graduated with a Bachelor of Fine Arts (Sculpture) from RMIT. His works are now held in many corporate and private collections in US, The Netherlands, Japan, Hong Kong, Mexico and Singapore.
In 1999 Victor was awarded The Commonwealth Arts and Crafts Award, which led to a 6 months residency in London and in 2000 his first solo exhibition was staged in London. The second solo exhibition, in his home country “between 2 and 3” re-affirmed the growth of a young exciting sculptor. Numerous other exhibitions followed in Japan, Hong Kong and Singapore. At the same time, he was also commissioned to work on sculptures now permanently at the Singapore Botanical Gardens, Orchard Central, Sentosa and more.
For full bio, visit http://victortanweetar.com/
Stephanie Esther Fam
Stephanie defines Art as “an ongoing expanse of multifaceted expression” and uses her innate flair with words to create original poetry that reflect her lived experiences, thoughts and viewpoints. Her decade-long experience on the public speaking platform of Toastmasters International allows her to educate and inspire live audiences through meticulously crafted speeches. In 2018, she ventured into theatre-making. She performed a self-written monologue ‘MUM’ at Centre 42 as part of Project Tandem’s Making a Stand, and was cast in And SuddenlyIDisappear: The Singapore ‘d’ Monologues, the first disability-led theatre collaboration between Singapore and UK. Most recently, she was a writer-performer for What If as part of M1 Peer Pleasure Youth Theatre Festival 2020 presented online. This multi-disciplinary performance – a tapestry of visual art, film, soundscape, and theatre performance – stretched her artistic potential and gained her new perspectives and insight. Onwards, she strives to be a voice advocating for disability-led practices within the artistic community.
Harmony Community Choir
Harmony Community Choir hopes to meaningfully engage young adults with special needs, in a casual, recreation and enjoyable environment, through singing and dancing.
The community has always been grappling with the issue of cliff-steep decline in support and engagement for children with special needs outside of the school system. In school, students are meaningfully engaged in academics, the arts and sports and through these activities, they develop functional skills and build important relationships with their peers and teachers. But what happens when they leave school at 18 years old? Where can they continue to build skills and develop their unique identities? Where are the avenues and opportunities for them to participate in social activities and create meaningful relationships and stay connected to the community?
Peggy Ferroa loves her work – with each project, she meets new communities with different stories to tell and messages they want to share with the audience. Peggy first took to the stage, screen and airwaves more than 30 years ago. She brings her vast experience to communities to create plays, musicals, films and even audio theatre.
She has co-created work with corporates, heartlanders, senior citizens, end of life patients, ex-offenders, prison officers and cultural communities like the Peranakans. Her plays have been featured at the Singapore International Festival of Arts, Singapore’s Silver Arts Festival, Japan’s World Gold Theatre Festival and Malaysia’s George Town Festival.
Peggy is also known for her work with inmates, a community she has been working with since 2006. She has reached male and female inmates, juveniles as well as violent crime inmates. Her work in prison has been presented at local and international conferences as well as published in the International Corrections and Prisons Association newsletter and the International Teaching Artist Collaborative Yearbook 2018.
She has also presented her work with end of life patients at the International Teaching Artist Conference 2020 and in 2021, a chapter about her theatre projects with the elderly was published in Routledge’s Companion to Applied Performance (Volumes 1 and 2).
Produced by Joanne Tay
Co-directed by Michael Chua
Edited by Vincent Lim