Who mandates the life of a child?
Set in a world with a zero child policy as an answer to overpopulation and conflicts over resources, Burying Children follows the lives of a nomadic community of women who leave the City in protest, and seek refuge back in mother nature. Examining processes of burying children within ourselves or abandoning the very idea of bearing children in a world without hope for the future, this ensemble dance theatre work follows several stories in search of freedom, reprieve, or revenge.
The Characters
Adi Amon Mesika is an Israeli actress. She has appeared in several theatre shows, TV productions and commercials. In the last two years, she has trained in HCAC using Strasberg’s method and joined the “Bold Moment” ensemble, exploring different types of physical theatre methods and techniques. Adi was last seen onstage in “The Flux Media” presentation of “Surviving Hope” and is very excited to be a part of “Burying Children”, a kicking and intriguing original play, to collaborate and create with a powerful group of women.
All my life, I strive to protect the disenfranchised - to inspire justice and equality. I built my military career in the name of defence - to make a difference in the City I moved into politics. I was raised to believe that if I played by the rules, morality would prevail, but my superiors kept changing the game to ensure I’d lose.
I lost everything. My loved ones, my job and most of all, I lost myself. The day my party betrayed me by imposing the zero-child policy, I lost faith in the system and knew I had to save the next generation from corruption. Ima and I organised the communes to overthrow the current regime - with bloodshed, if necessary. What is certain is that I will not rest until the children return!
Brigitte
Kristina Pakhomova is an actress, producer, writer and acting coach based in Singapore. She has performed in a number of theatre plays, short films, TV and radio projects as well as producing, directing, writing and performing in her own work. She is the artistic director and founder of KrisP. Production, a Hong Kong-based theatre and film production company and a co-founder and co-artistic director of Bold Moment Theatre and Actor Training in Singapore. Her most recent appearance was in the theatre play “Sita of Troy” by Bold Moment, her multi-awarded short film “Away” which was written, produced and performed by her in Hong Kong, and "Venus In Fur" by Bold Moment.
Being a doctor, I strive to help people - from simple things as common cold, to life-altering decisions. But now I find myself at a crossroads - especially when helping some will hurt others. Although the City is all I know, I'm beginning to lose faith in it; no longer can logic defy my instinct that something is rotten in it’s core.
It took me a while to turn my efforts into helping the Communes, bringing medicine and other supplies, defying the City that raised me. Never before have these risks been more personal or daunting than they are today. In truth, I no longer know what's right or wrong anymore...and if I will ever be able to discern between them again.
Primrose
Nadia Rahman is a Singaporean actor who has worked in her home country and abroad. Burying Children will be her “homecoming” production, after living for 8 years in Rome, Italy. Working in theatre, film and TV in Italian and in English, she was last seen onstage as Witch 1 in an adaptation of Macbeth, in commercials and roles for Volkswagen and Netflix, to name a few. An alumna from LASALLE College of the Arts’ Acting program (2010-2013), she is passionate in movement and singing and is currently honing her writing and photography skills to expand herself in the performing arts.
I count time by the nails I break scratching this cold, hard floor. 8. By the sound of water droplets leaking from the ventilation in a minute? 36. By the beats my heart makes when I hear footsteps getting louder towards my cell. It’s hard to concentrate. I’ve been isolated from the rest but at least now there’s enough food for me to stop losing weight. It feels like yesterday that I was sharing a fancy meal we put together from trash of the usual hotel. In a quiet alley, we thought we were alone. It took less than a minute for them to separate us.
I don’t think I’ll see them ever again. It must have been weeks now, but there is no way to track time in this cage. Only the doctor visits - probably to check if I’ve died. An enemy? Or a friend? The only other human being I've felt for a what feels a lifetime. The fear I feel towards her makes me alive. The anger I feel - it keeps me alive. It grows beyond this cage.
Misri
Tatiana Konovalova obtained a graduate degree in vocal performance and pedagogy from the Moscow Humanitarian University, Faculty of Culture and Musical art in 2014 under the tutelage of Maria Pavlova. In 2016, Tatiana attended the American Masters Academy of Opera and has worked with such named conductors and couches as Lucy Arner, Alexander Winterson, and Richard Barrett. In 2013, Tatiana performed arias of Verdi and Puccini at St. Petersburg Academic Philarmonia. Subsequently, Tatiana played the main role in the play “Trilby” which was staged in Aliwal centre Singapore and Lady Macbeth in a Musical Performance that was staged at Goodman Art Center.
The past year since we’ve left the City has been hard in many ways; living in tents, washing by a river, eating rationed food that we grow ourselves and always being in fear that the City would some day appear to arrest us - or worse. I never thought the government would impose on us like this.
I realised that I took freedom for granted. But I’ve never been a rebel, a fighter or a leader, and it seems that others around me have a clearer sense of surety that our protest will amount to an actual revolution. I joined the commune to be free to have a child, but now I fear that if it’s not others preventing me from doing so, it might be my own body - that perhaps it is now too late.
Solace
Tajiyah Sulwana is a current student at Nanyang Academy of Fine Arts cum University of Arts London taking her Bachelor (Hons) in Performance Making. She has always been fascinated by the notion of how art can be used to evoke conversations of change. In 2020, Tajiyah was nominated for the Mendaki Anuggerah Award and won for representation in the theatre field. She has performed in mainly theatre plays, musicals and short films as well as done voice-over work for commercial TV. Her most recent appearance was in a devised piece with Frantic Assembly in London called Sit Down Tragedy(2022). Her other roles include Girl in “0.01” for the M1 Fringe Festival (2022) and Tripitaka in Journey to Nowhere directed by Oliver Chong (2020).
Back in the City, I had only just begun to find myself. I started a job while juggling uni just to avoid my mother as much as I could. It would be a dream to be able to move out but reality is harsher than the fantasy she lives in. She raised me to live my life according to her values and principles, until now I've started to see her face in my own reflection.
I may be Ima’s daughter, but I want to be my own person. I stopped dancing, I started dating. Having my own agency for once was like a breath of fresh air... until she took that away from me by dragging me to the communes in the dead of night. To help fight the fight, she says. Her fight. She says that the fight is for the right for us to have choices; well then, I will make mine.
Iris
Sook Kuan was born in Seremban and graduated from University Malaysia Sabah (UMS) with an M.A.(Creative Arts). She was a dance tutor/lecturer at the University of Malaysia for 8 years (2006-2013), and a full-time dance artist in Borneo Dance Theatre from 2014-2016. After moving to Singapore in 2017, she continues to pursue her passion for dance/movement creation as an independent dance/movement artist and recently she joined Bold Moment as one of the Co-Artistic Directors. Her recent works include “Breakthrough Journey” for Japan Cultural Expo 2021, “The Brides” 2021 and “The Last Shaman” for Quick & Bold Fest. 2022. Her upcoming creation "The Last Shaman", a full-length dance theatre work is slated to premiere in July 2023.
I’ve always danced through life, especially the most turbulent times. Being recognised by the government as a cultural leader, I found it imperative to use my influence to fight against any injustice. It’s been a year since I led many others to leave the city in a protest against the zero child policy.
We’ve managed to build a self-sustaining home near a waterfall, but nothing is secure at this moment. We are still at the cliff edge. I am doing my best to lift our spirits while Brigitte organises our revolution. I hope that my daughter, Iris will see what our cause stands for and that she will join us in this fight.
Ima
Meet The Ensemble
Adi Amon Mesika is an Israeli actress. She has appeared in several theatre shows, TV productions and commercials. In the last two years, she has trained in HCAC using Strasberg’s method and joined the “Bold Moment” ensemble, exploring different types of physical theatre methods and techniques. Adi was last seen onstage in “The Flux Media” presentation of “Surviving Hope” and is very excited to be a part of “Burying Children”, a kicking and intriguing original play, to collaborate and create with a powerful group of women.
Adi Amon Mesika is an Israeli actress.
She has appeared in several theatre shows, TV productions and commercials.
In the last two years, she has trained in HCAC using Strasberg’s method and joined the “Bold Moment” ensemble, exploring different types of physical theatre methods and techniques.
Adi was last seen onstage in “The Flux Media” presentation of “Surviving Hope” and is very excited to be a part of “Burying Children”, a kicking and intriguing original play, to collaborate and create with a powerful group of women.
Adi Amon Mesika
Kristina Pakhomova is an actress, producer, writer and acting coach based in Singapore. She has performed in a number of theatre plays, short films, TV and radio projects as well as producing, directing, writing and performing in her own work. She is the artistic director and founder of KrisP. Production, a Hong Kong-based theatre and film production company and a co-founder and co-artistic director of Bold Moment Theatre and Actor Training in Singapore. Her most recent appearance was in the theatre play “Sita of Troy” by Bold Moment, her multi-awarded short film “Away” which was written, produced and performed by her in Hong Kong, and "Venus In Fur" by Bold Moment.
Kristina Pakhomova is an actress, producer, writer, and acting coach based in Singapore. She has performed in a number of theatre plays, short films, TV and radio projects as well as producing, directing, writing, and performing in her own work. She is the artistic director and founder of KrisP. Production, a Hong Kong-based theatre and film production company, and a co-founder and co-artistic director of Bold Moment Theatre and Actor Training in Singapore. Her most recent appearance was in the theatre play “Sita of Troy” (Bold Moment), her multi-awarded short film “Away” which was written, produced, and performed by her in Hong Kong, and "Venus In Fur" (Bold Moment).
Kristina Pakhomova
Nadia Rahman is a Singaporean actor who has worked in her home country and abroad. Burying Children will be her “homecoming” production, after living for 8 years in Rome, Italy. Working in theatre, film and TV in Italian and in English, she was last seen onstage as Witch 1 in an adaptation of Macbeth, in commercials and roles for Volkswagen and Netflix, to name a few. An alumna from LASALLE College of the Arts’ Acting program (2010-2013), she is passionate in movement and singing and is currently honing her writing and photography skills to expand herself in the performing arts.
Nadia Rahman is a Singaporean actor who has worked in her home country and abroad. Burying Children will be her “homecoming” production, after living for 8 years in Rome, Italy. Working in theatre, film and TV in Italian and in English, she was last seen onstage as Witch 1 in an adaptation of Macbeth, in commercials and roles for Volkswagen and Netflix, to name a few. An alumna from LASALLE College of the Arts’ Acting program (2010-2013), she is passionate in movement and singing and is currently honing her writing and photography skills to expand herself in the performing arts.
Nadia Rahman
Tatiana Konovalova obtained a graduate degree in vocal performance and pedagogy from the Moscow Humanitarian University, Faculty of Culture and Musical art in 2014 under the tutelage of Maria Pavlova. In 2016, Tatiana attended the American Masters Academy of Opera and has worked with such named conductors and couches as Lucy Arner, Alexander Winterson, and Richard Barrett. In 2013, Tatiana performed arias of Verdi and Puccini at St. Petersburg Academic Philarmonia. Subsequently, Tatiana played the main role in the play “Trilby” which was staged in Aliwal centre Singapore and Lady Macbeth in a Musical Performance that was staged at Goodman Art Center.
Tatiana Konovalova obtained a graduate degree in vocal performance and pedagogy from the Moscow Humanitarian University, Faculty of Culture and Musical art in 2014 under the tutelage of Maria Pavlova. In 2016, Tatiana attended the American Masters Academy of Opera and has worked with named conductors and coaches such as Lucy Arner, Alexander Winterson, and Richard Barrett. She has taken part in many international competitions in Russia, Austria, Italy, and Spain and won Planet of Talents in Russia in 2013. In recent years, Tatiana played the main role in the play Trilby which was staged in Aliwal Centre Singapore and Lady Macbeth in Musical Performance which was staged at Goodman Arts Center.
Tatiana Konovalova
Tajiyah Sulwana is a current student at Nanyang Academy of Fine Arts cum University of Arts London taking her Bachelor (Hons) in Performance Making. She has always been fascinated by the notion of how art can be used to evoke conversations of change. In 2020, Tajiyah was nominated for the Mendaki Anuggerah Award and won for representation in the theatre field. She has performed in mainly theatre plays, musicals and short films as well as done voice-over work for commercial TV. Her most recent appearance was in a devised piece with Frantic Assembly in London called Sit Down Tragedy(2022). Her other roles include Girl in “0.01” for the M1 Fringe Festival (2022) and Tripitaka in Journey to Nowhere directed by Oliver Chong (2020).
Kelly is a Singaporean actress with roots in English literature and dance. She started her journey in theatre with the Singapore Repertory Theatre's The Young Company, which culminated in the 2021 performance of "Girls Like That". She was last seen on stage in SRT's 2022 season, as an ensemble member for "The Almighty Sometimes". Kelly can also be seen in local indie projects and web series, as well as exploring Chekhov and Meisner techniques at Bold Moment Theatre, in hopes of becoming a more well-rounded performer and actress.
Kelly Choo
Sook Kuan was born in Seremban and graduated from University Malaysia Sabah (UMS) with an M.A.(Creative Arts). She was a dance tutor/lecturer at the University of Malaysia for 8 years (2006-2013), and a full-time dance artist in Borneo Dance Theatre from 2014-2016. After moving to Singapore in 2017, she continues to pursue her passion for dance/movement creation as an independent dance/movement artist and recently she joined Bold Moment as one of the Co-Artistic Directors. Her recent works include “Breakthrough Journey” for Japan Cultural Expo 2021, “The Brides” 2021 and “The Last Shaman” for Quick & Bold Fest. 2022. Her upcoming creation "The Last Shaman", a full-length dance theatre work is slated to premiere in July 2023.
Tang Sook Kuan was a dance lecturer at the University of Malaysia for 8 years (2006-2013), and a full-time dance artist in Borneo Dance Theatre from 2014-2016. She was deeply engaged in ritual/shamanic dance practices in North Borneo which nurture the distinctive flow and authenticity of her creations. Her collaborative work “The Love of Tapang Tree'' was shortlisted for Media Library 2020| Visions du Reel, International Film Festival Nyon (Switzerland) and Guangzhou International Documentary Film Festival (2021). Her recent works include “Breakthrough Journey” for Japan Cultural Expo 2021, “The Brides” 2021 and “The Last Shamans.” (Quick & Bold Festival 2022).
Tang Sook Kuan
Sneak peek of our rehearsals!
Meet the Director
Khairul is a theatre director, playwright, designer, and acting teacher currently pursuing a PhD on scholarship at De Montfort University (Leicester, UK). Co-Founder and co-artistic director of Bold Moment Theatre & Actor Training, a graduate of MA Actor Training & Coaching at the Royal Central School of Speech & Drama in 2018 (London, UK), and former Directing Resident at Singapore Repertory Theatre (2016-2017). Also, he is currently a research team member of the Architects of Realities, a National Arts Council funded ‘Arts x Tech’ research initiative. Khairul teaches Meisner, Viewpoints, and Chekhov acting techniques at Bold Moment. His directing inspirations include Katie Mitchell, Ivo Van Hove, and Pina Bausch. Recent directing credits include ‘Lady Death’ (December 2019), Water Child (2020), ‘Constellations’ (February 2022), and 'Sita of Troy' (March 2022). ‘Sita of Troy’ is a National Arts Council SEPG-funded debut production of Bold Moment.
Director's Note
Burying Children is a landmark production for me as a theatre artist. Developing it as producer, writer, director, choreographer and production designer, the project marks a decade since my first work that I created while barely out of college, also created as an auteur.
As with all my original works, they are borne from a burning question that requires research, conversation, expressive explorations and negotiations through the theatrical art form. Perhaps my main question with this show is, “who makes the choices for a life?”, how do we stake our independence if the world encroaches on it? Discourses surrounding freedom, agency, and self-autonomy have been ongoing since the human mind gained self realising sentience. By no means I purport to offer an answer, but cultivated Burying Children as a grounds for the questions to be engaged with in our contemporary social and political climate.
As co-artistic directors of Bold Moment, Kristina Pakhomova and I began the first conversations for the next Bold Moment project while she reflected on the ongoing situation in her home country and I contemplated over school shootings and government policies that violate human agency. However, I decided to focus on areas that I have a personal experience with for my process and let the larger themes serve as a backdrop to the personal lives of the characters that were created in collaboration with the ensemble of women, who are mostly mothers. Of course, for mothers, the subject of having to bury children is a horrifying prospect, and to create a dance theatre piece with such a title requires nuanced approaches to the contexts and responses that they contribute to the writing, I applaud and thank the amazing women of the ensemble for their bravery and contributions to the work. For the women who aren’t mothers, they deal with the prospect of being one and whether their lives would warrant bringing a child into this world, or whether they should bury that idea altogether. It becomes an issue however, when the choices are made for them, even if it might seem to be the right one for some. As a straight male helming the piece who feels far off from planning on having children, I have found the lively discussions and sometimes arguments in rehearsals to give me plenty of insights, points of view that find their way into the work or my own navigations with the choice, right or even duty to procreate or not.
The choice to explore this deliberation through dance theatre comes from my continued enquiry into the medium of live theatrical expression. With the recent increased proliferation of multi-medium theatre experiences and the fact that I am writing my PhD in Actor Training with Virtual Reality, I wanted to carve out a separate area of my practice, keeping Burying Children rooted in the live body, time and space. With the subject matters being potentially highly political, controversial and lengthily discursive, I wanted to allow the responses to the contexts emerge through physical expression; how does the live human body reconcile with the mind games that we play with ourselves? What does the body want to say to the choices that our mind believes it has made up? What does nature have to say about the way we have nurtured ourselves? Let us unearth what we have buried, and bear who we are or can be.