Highly Commended Award in the 2024 A New Day Dawns

Poetry distils language and ideas through clarity and brevity, breath and heart, surprising as it explores. The poems in this enlightened anthology are beautifully made and closely observed. Startling formal poems sit beside free verse, rhymes beside carefully enjambed rambles. The poems invite and open us to possibilities, revealing the world and ourselves in new ways. Their honest, felt tributes to family, faith and nature expose imagination and ask a shared experience. Enjoy the newness nestled within these pages; explore, and savour the dawning. TRU S. DOWLING Poet, Writer & Editor

Poetica Christi Press Poetry Competition 2024 –

          A new day dawns Judge’s Report

I so enjoyed the taxing but rewarding task of choosing from this year’s 196 entries. Poems varied in length, topic, and depth; all were true to the enlightened theme. There were many worthy, beautifully-made poems. Free verse outnumbered the few formal poems (villanelles, sonnets, haiku and prose poems, an acrostic poem, and a delightful concrete hybrid in Sudoku form!). Honest tributes to family, faith & nature dominated, as did literal dawn descriptors. It’s a challenge to write about ‘The Dawn of a New Day’ – such a universal, known and written theme. Some poems told (rather than showed the reader through sensory details and fresh images), slipping into cliches that undermined the unique lines. Poetry invites and opens us to possibilities, revealing the world and ourselves in new ways. The better poems explored these possibilities with nuanced expression.

Poetry distils language and ideas. Its clarity and brevity captures, surprises and explores. (Webster defines the verb explore: ‘to travel in or through’). The finalist poems travel rhythmic trails through scrub and sky, on bikes and waves, in the past and other lands, where ‘bells fill our heads’ and ‘stars glint like enamel’, where a ‘cat sits with dreams’ and we are ‘lost in…raven’s hue’, as ‘the future hides behind the moon’ and ‘we wake to everything’, ‘with probing beak(s)’. These are some of the stunning lines that held me with their woven originality and sealed my 25 choices.

The winning poem, Ellen Shelley’s ‘Wild With Scrub’, wowed with its surprising turns of phrase and direction. Shelley tracks the narrator’s challenges through concrete and abstract images, metaphor and paradox, ‘turning hours like a sleeve up and over’ – beautifully exacting the effort of being a mum – to ‘I have done enough (walking/ escaping) to turn around’ towards the poem’s end. ‘A new day dawns’ at each effort, as momentum marries flow throughout. It’s a tight, meandering and carefully-crafted poem that demonstrates its meaning through expert wordplay. It causes me to wonder and feel, and speaks to other, universal journeys of culture and gender.

Second place was hard won, since three poems particularly took my attention: again, Ellen Shelley excels as runner-up with ‘A Cool September Eve’ –her surprising prose poem. I have taught short story for 16 years so am quite skeptical towards this hybrid form, but Shelley’s mastery of well-placed words that enlighten realization within the setting won me over. The structure supports content via word choice, and sensory action and reaction. The subject’s running pastime in past time, ‘around an oval’, along with the ‘bike …being held by a/ stranger… (I) felt strange/ unease’ hints at a skewed experience. Again, the poet takes us far, from home safety to threat, and through the redeeming sustenance of habit. It’s a highly original poem that evokes theme all the way through.

Colleen Keating’s ‘Fifth Symphony’ balances an artist’s response to the destruction around him, and the poet’s response – both witnesses to the ongoing ‘music that plays like a mountain brook tumbling’. It’s a deceptively simple, nuanced poem. The poet contrasts fire watch to water music, amidst sounds that ‘cry for’ an eventual new dawn, transforming the moment and beyond along with the lyricist’s crucial work. Keating’s exacting metaphor exposes a paradox, conjuring beauteous composition out of the chaos of war. It was a strong contender for second place, as was ‘High Jinx’ by Laurie Keim. Keim’s structure riffed on and overtook the poetic subject – watching (and becoming) birds. Lines like wings extended imagination to see these avian ‘signs’ resulting in the narrator’s realization that ‘it’s all in your fingertips/feel the breeze/ like a tremble/ through your feathers’. It’s uplifting, in every sense. There’s a touch of Mary Oliver about this poem, a complexity through simplicity as thought and sight explore and expand meaning in air, flight in birds, knowing power in unknowing. These gifts are so carefully and care-freely rendered by form. All three were well- wrought poems.

It’s been my pleasure to engage and immerse myself in these poems of laughter, intensity, care, and fruitfulness. What a humbling, inspiring exercise. Congratulations to all poets involved – long may your art and craft continue to grow and affect. Thank you for the experience.

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Tru Dowling, 2024

A poem about my rose that burst into new life while I turned my back

 

Golden Child

There is a quiet spirit in the thorn-piercing 

branches of the pruned rose; all winter 

it stayed silent, seeming dead

 

and when you watch and wait, the mystery of nature

out-watches and out-waits. You hear only chilly

winds through its bareness then, in absence

 

from watching  its awakening,  stirs.

Like the first clarinet notes

of Copland’s Appalachian Spring, its first leaves 

 

appear, their palms upturned calling the sun-

spirit down, the turning.too marvellous 

to be understood, as buds burst on the scene; 

 

a prodigal-rose, its golden cascade returning

to the garden, its petals, curled cubbies

for bees, fragrant on the air.

 

You can hear its tender voice on the spring breeze

and imagine the spirit-bloom of roses; 

their legends singing all over the world.

 

Colleen Keating

 

   

 

 

 

 

New Tanka written for consideration by the Eucalypt Journal

 Tanka for consideration by Eucalypt Journal 
beach lookout
a springtime visitor
rolls and flaps about
silver glints on its flippers
keep us transfixed
a lone seagull
on a busy city street
far from the harbour
sometimes I wish I had wings
to find my way home
         
furry banksia cones
perch on gnarled branches
some follicles open
the child in me still sees
the old banksia man
an unkept park ~
neglect or rewilding
we wander amid
a bevy of birds, insects
and blossoming weeds
wet sand
of ebbing tide
reflects a pink dawn
my bare feet encounter
the first touch of spring
an empty sky 
where the blue gum stood –
returning birds
perch on a brick wall
chirping incessantly

Haiku recently accepted and published.

  1. Haiku Down Under Anthology

Dear Colleen,

Thank you for your submission to the Haiku Down Under Anthology.
Hard to choose just one, but I have  pleasure in accepting the following poem:

holiday cottage
under a sickle moon
a lone dingo howls

~ Colleen Keating
Kur-ring-gai,  Australia

Please check that the poem, your name, town and country  are correct.

I will let you know as soon as I have details re the purchase of HDU Anthology.

We are so glad you were part of Haiku Down Under.

Warm wishes

Carole Harrison

(HDU Editorial team)

 

 

2. Echidna Tracks   Open

(on 15th July 2024)

my haiku for the Anthology 12

by the river
corellas scramble for space
solitary ironbark

Colleen Keating

My haiku accepted for the Antholgy 11:   the Summer/Autumn 2025

hi Colleen
Thank you for your submission to Echidna Tracks Issue 14
we are very pleased to accept;
ebbing tide—
the beachcomber treasures
her amble
Colleen Keating
as a long time beach walker i very much relate to this one
all the best
Simon Hanson
Marilyn Humbert
Lynette Arden
ebbing tide—
the beachcomber treasures
her amble
Colleen Keating

 

 

Reflecting on September 2024

 

A full spring equinox moon holds its perfection just for a moment and we clasp hands North and South equal day and night, equal sharing of light and dark in a beautiful albeit fickle world.  

out the window  
I look up at the spring moon 
and looking down 
think of my family 
ten thousand miles away

and with war raging in Ukraine, Sudan and the Middle East  spiralling out of control with no one power enough to stop tyrants of Netanhaou and Putin. as the  calls of the International Community  falls on the deaf ears of tyrants.

for the children
wherever their young eyes look
fear meets them
as fire flares from the heavens
as their earth is charred black

a Mariupol cry 
‘they have turned our town 
into a dead place’ 

On a personal level it has been a sad and heavy –laden week  and I will share the grief of my week and my way through it all.

My dear  friend Jan who lovingly and couragously married earlier this year,  has let me know her  husband,  David has passed with his decision that the fight was becoming too hard  and slowly over days letting go’. 

My special friend and publisher of my books, someone who believed in poetry and writing and helped me get my words out into the world  Stephen Matthews, choosing to take control through VAD and planning the day and time to “to go gently into that great light”. 

 My friend Decima falls and breaks her humerus and shoulder and is in rehab.

My close school friend  Shannie,  her BP goes wacko and she falls, fractures her pelvis and now in heart ward,   A dear important person in my life suffering in marriage troubles.

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old age ~
its story fills me with grief
and fear
nature, poetry, music
bring back a feeling of youth

 

 

..

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Some of my redeeming beautiful experiences this past month

Our poetry appreciation  U3A group.   Michael and I prepared and presented  a Margaret Atwood Appreciation morning.

White Pebbles Ginko Spring Walk

 

Ethel Turner 130th Celebration of the first publication of Seven Little Australians

 

Mahler 4th and  selections from Strauss including Morgan Opus.27.No. 4 SSO ConcertConcert

“Of his friend, who was to outlive him by more than three decades, Mahler said: “Strauss and I tunnel from opposite sides of the mountain. One day we shall meet.”

 

.

Strauss  beautiful song

 

Nature Walk in the Kalkari Reserve part of the Bobbin Head National Park where where Michael and I wondered :

What if the trees could talk!

 

‘    

 

An hour of Classic Chinese Poetry  put on by the Chines cultural

Centre

as part of the Nanping Tea Culture Week in Australia.

An hour of Classic Chinese Poetry  put on by the Chines cultural
as part of the Nanping Tea Culture Week in Australia.

 

The MCA  Contemporary Art Museum

The main exhibition i spent time with , was an installation  called

‘Once Again  . . .(Statues Never Dies)

It interested me because it looked at artifacts from Africa   And spoke of the Colonial pilfering and made me reflect on my New Guineas story. I always see something that carches my eye and the sculpture  below  touched my heart.

In another exhibition I loved a shell sculpture  made of the Sydney Opera House

Now this sculpture, Shellwork (Sydney Opera House)   has extra meaning.

it is created by Esme Timbery and encrusted with thousands of shells. It is one of the largest shellworked models made by Esme.  The subject The Opera House  sits at Tubowgule/Bennelong Point is known as a location of great significence to Aboriginal people. Known as a place of important cultural gatherings for the local Gadigal people , the site was once occupied by a giant shell midden. Middens are mounds formed from the residues of communial life, and in coastal areas they include many shells, remnants of an abundant food source. The midden was a record of ongoing occupation going back thousands of years, the lost form now echoed in Timberlys sheeled model of the UNESCO World Heritage listed Building.

 

Celebrating the Life of Robert Gray with the launch of his new book Bright Crockery Days at the Sydney State Library. 

This was organised by Mark Tredenik and many poets got up and read Robert’s poetry. Sadly Robert is no longer able to attend functions.

 

Botanical Garden amble

                                                                

Concert with David Helkgott at the Avoca Theatre.

My friend offered us the tickets because she was unable to attend and so we drove up the coast after lunch shared with the Northerleigh group. It was an uplifting afternoon.

 

 

 

Spring Ginko with White Pebbles Haiku Meeting

 

   

For our spring ginko White Pebbles haiku poets gathered at  Edogawa Gardens at the Gosford Regional Gallery and Arts Centre on a glorious warm Saturday morning,14th September, 2024. Present were  Beverley George, Maire Glacken, Michael Thorley, Marilyn Humbert and Colleen Keating with apologies from Samantha Sirimanne Hyde, Pip Griffin and Gwen Bitti  and Kent  Robinson.

The ducklings were not fluffy babies but teenagers  and defying their parents  who were trying to keep up for them.

 

We met in the Gallery’s cafe for a catch-up before a stroll through the gardens. Over coffee,  Beverley gave us each some leaves she had collected to share, including a very soft, smooth acacia gun-metal leaf and a lemon myrtle leaf. Both stimulated lots of conversation about texture, aroma, colour  shape and the patterns in the leaf,  It reminded us to walk slowly and pay attention. And she challenged us to return with a leaf haiku.

We strolled the garden, enjoying the apricity – the warmth of the sunshine on our backs, the scent and colours of the azaleas and the business of ducks and koi carp sharing the pond and water features of the gardens. The duckling were a highlight following children around after food. The white pebbled garden was simply but beautifully raked.

Then we gathered to share our thoughts and words.  Beverley said how happy she was to see so many White  Pebble haikuists being published in Echidna tracks and encouraged us all to send  haiku this month in for the next edition. We then shared  our haiku. We  making suggestions to improve our haiku  Next, we considered the haiku and images that had been gathered on the garden walk earlier. This proved an extremely productive exercise. Michael shared his new working haiku on a small coloured card which he distributed as a gift for us to keep. We all liked this idea and decided to bring copies of our work to hand around next time.  A few ideas that enriched  my days:

lemon-scented gum
we drink mugs of  billy tea 
by the campfire          

Colleen  Keating

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abstract art
pond wriggles with koi
around the ducks

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We concluded the White Pebbles Spring meeting 2024 with our hope to meet on the second Saturday 14th December for our Summer meeting.   (just a date to put in our new 2025 diaries when we get them –  our Autumn meeting  just for this one time will be on the third Saturday 15th  March  2025 )

still as a statue
a water dragon stops
and stills passers-by

 

A day of celebration at ‘Woodlands’ Killara by Colleen Keating

A Day celebrating  the 130th Anniversary of Ethel Turner’s  Seven Little Australians.

The day began at 9am when we gathered at ‘Woodlands’ Killara to celebrate September 1894 when Ethel Turner received her first copy of Seven Little Australians. Woodlands a heritage-listed property was once home to Ethel Turner and where she penned this classic story. 

It was a wonderful spring day celebrating with speakers, with stories and research, with  re-enacting Ethels words, music, tours , games and activities.

The Society of Women Writers had a booth.   It gave us an opportunity to advertise the Society and to talk about writing and how Ethel was an early member of the Society. 

 Ethel Turner lived at a time in the late 19th century, when women would start earning recognition for their works and perhaps start to get their seat at the table alongside their male contemporaries more than ever before, even if there was still a lot of gatekeeping.

Albert and Eva Lin who bought the house in 2017 realised ‘Woodlands’ was included on the State Heritage Register  and they decided to learn more about Ethel Turner.

Realising althought her iconic novel was still available, Ethel herself had been largely forgotten, they immediately set about  to rectify that. In conjunction with local historians and the local council, Albert and Ava set about resoring both home and garden to their former glory days.  Although keen to modernise the home for their young family,  they have restored part of the house to reflect its 1890’s inspiration for Turner’s imagination including a library of her complete works .  As Albert says:

‘Woodlands’ has been around before I existed. It will be  around long after I cease to exist. As its present custodian, if i do not do this that I am doing, who else?

The celebration included a small fair, some rare books on display and some to buy,

some local musical presentation by local schools  a wonderful talk by our own Libby Hathorn (SWW) and by the Ethel Turner scholar  and children’s author, Abbey Lane.

Poetica Christi Press poetry competition results

Feeling very honoured to have my poetry acknowledged and affirmed in the Poetic Christi Press  Poetry Competition.

Unable to be at the Melbourne launch of the much anticipated Anthology

A New Day Dawns 

but look forward to receiving my copy of the Anthology very soon.

Fifth symphony     Highly commended

Colleen Keating

Vaughan Williams
composed his symphony
on fire-watch

barrages of bombs dropped
nightly enflamed his city
no air raid shelter

for him as he pocketed
his note pad and pen
fought in the crucible

of siren-moans
cries for help
and from the dark

composed music that plays
like a mountain brook
tumbling

in a moment
that brims
with a tomorrow

And to be included in a new Anthology  called

A NEW DAY DAWNS

an anthology of poems

edited

by Janette Fernando

WINNERS OF THE 2024 COMPETITION

A new day dawns

Poetica Christi Press poetry Competition 2024

Judge: Winner:

Tru Dowling
Wild With Scrub – Ellen Shelley

Runner-up:
Highly Commended: Fifth Symphony – Colleen Keating
Highly Commended:A Cool September Eve – Ellen Shelley
High Jinx – Laurie Keim

Commended
Mulch – Cathy Altmann
A Saint in Cobalt & Ochre – David Terelinck
Tacet – Bethany Evans
My Light Not Spent – Denise Parker
Sunset in Geraldton – Michael Genoni
Bleeding Hearts – Kate O’Neil
What the Water Gave Me – Jemma van Loenen
The Morning Star Guides Me On – Scott-Patrick Mitchell
Oriental Travel Trilogy – Stefan Dubczuk
Herm Island, Channel Islands, September 2023 –
Mary Jones Not About Dancing – Wendy Fleming
Sonnet – a Feather – Mocco Wollert
John – Claire Watson
Let’s Do It – Edith Speers
Janus-faced – Jason Beale
Polynesia, le ciel – Colleen Keating
Homecoming –Suzette Thompson
Blue-eyed Boy – Kay Cairns
On the Cusp of Morning – Claire Watson
Every Day I Wake – Janeen Samuel
Awakened – Wendy Fleming

My second poem Commended and to be published I will share her too

Polynesia, le ciel

Colleen Keating

It’s not ‘brothers, we must die,’ it is rather, ‘brothers, we must live’*

about light and colour he was never wrong
Henri Matisse knew from his youth
their startling wonder
how they exude a lighthouse authority
how they uplift human nature
when the world weighs low
and how when clouds of war
dim the sun
their illumination of hope can be forgotten
as in deepest night
it is easy to forget dawn returns

in Matisse’s Le Ciel
the lightness of joy fills the air
with a patchwork of his blues –
light and dark
alternating in and out
his cut-out sculptures of birds
float on the air
lift up dive whirl spin
ethereal in white
and dancing stars glint like enamel
or they could be flowers of joy
bordered by acanthus leaves
swaying hypnotically
reminding us to live

*H. Matisse (1946)

 

WINNERS-OF-THE-2024-COMPETITION-A-new-day-dawns

Eumeralla, A War Requiem for Peace by Colleen Keating

Eumeralla, A War Requiem for Peace

On the 11th September 2024 I enjoyed a redeeming evening at the Sydney Opera House with the one only performance of Eumeralla, A War Requiem for Peace. I say redeeming because after the ‘No’ vote for a voice to parliament many people felt helpless at how our story could move forward.    How wondeful to have people like Deborah Cheetham Fraillon to bring this story forward to the Opera House with  a packed house, with the Dhungala Children’s choir, Choir from Conservatorium,  Sydney Philharmonic  Choir and the Sydney Symphony Orchestra for a night of standing ovation sand cheers  and the peoples affitmation of bring our truth open for the healing to find a way forward for our beautiful countyr.

Deborah says:

“Just a little over four hours drive from Melbourne there is a battlefield haunted with the memory of war and loss of life. When you walk on this land, you are surrounded by restless warrior-spirits.

It is a powerful feeling and a fearful one. It is inescapable.

The name Eumeralla is unlikely to be among the theatres of war that you could name. The history of battles fought and the lives that were lost is almost unknown to anyone outside the Aboriginal community. It is more than 170 years since the last shots rang out in the country of the Gunditjmara but the land is not silent. The voices of those who lost their lives in defence of their country ring in your ears when you stand amongst the lava flows of south-west country Victoria. Unlike other theatres of war such as Anzac Cove and the Somme, where peace was declared and relationships restored with the Turks and Germans, no such peace was declared in the resistance wars, no such restoration.

Whilst the Gunditjmara uphold the memory of their warriors slain, most Australians have been denied access to this history and denied resolution – and so the land remains haunted.

I first walked on this battlefield in 2013. I felt it right away. I was moved and I was disturbed. Given the chance to camp on that land I could not sleep or find rest. The voices of those lost were so loud I couldn’t stay for more than one night. It woke something in me and my immediate response was music.

A song, A Requiem. A War Requiem.
It would be called Eumeralla and named in honour of one of the most brutal resistance wars fought on this continent. It would be sung entirely in the language of the Gunditjmara people and it is designed for non-Indigenous Australians to sing along-side Indigenous brothersand sisters. We need a way to ease the troubled spirit of the battlefields of the Eumeralla.

It is my hope that this song, this war requiem will help the spirits of those who fell – those who resisted and their aggressors, to find a lasting peace and that we their descendants might find our way to deeper understanding of the legacy of these battles. For you, for me, for all who were lost in a war Australia has yet to find a way to talk about. Eumeralla, a war requiem for peace will break the silence of so many decades and serve to amplify the importance of our nation’s shared history.

One day I hope to walk on that country and feel no restless spirit – just the strength of two thousand generations of lives lived and culture sustained.”

Deborah Cheetham Fraillon ao

When celebrated Yorta Yorta/Yuin soprano-composer Deborah Cheetham Fraillon visited Lake Condah in south-west Victoria, she was haunted by the voices of the Gunditjmara people who had lost their lives protecting their country.

Her immediate response was to write this powerful Requiem, to ease the troubled spirit of the land and to amplify the importance of our shared history.

Experience the colossal sound of Eumeralla in the Sydney Opera House Concert Hall in this milestone Sydney premiere. With a full symphony orchestra and massed choirs – including the voices of Dhungala Children’s Choir – and sung entirely in the ancient dialects of the Gunditjmara people, Cheetham Fraillon has created a musical work that is a compelling call for peace and reconciliation.

‘One day I hope to walk on that country and feel no restless spirit – just the strength of two thousand generations of lives lived and culture sustained.’ – Deborah Cheetham Fraillon.

 

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Act 1: Pernmeyyal the great creator stands proud in the dreaming, surrounded by the creator beings he sent long ago to create the landscapes.

Act 2: Something has awakened the spirits, it is ominous and dark, a monster that has a hunger and breeds destruction.

Act 3: A call to arms, warriors stand at the ready, weapons at the ready to stand and protect all that sacred.

Act 4: The monster that is revealed as WAR is here, blowing uncontrollably like a wildfire through country, sweeping all comes before it.

Act 5: Spirits, high in the sky, watch as the Eumeralla turns blood red and the movement of the people across a sweeping landscape becomes evident.

Act 6: As Gunditjmara become victims of the monster their spark travels to Pirnmeyyal through the wetlands.

Act 7: The giant wetlands and stones created by Budj Bim become a fortress for the people, the creator’s body is providing protection.

Act 8: The monster rages on, its thirst for land and conquest is insatiable, leaving little trace of the peoples’ existence.

Act 9: But the people are stronger than that, evidence remains and people continue to live, they are stronger than first thought.

Act 10: Ancient fish trap channels, the lifeblood of the people, the water continues to hit the channels, the people continue to be there.

Act 11: The spirits of the fallen continue to walk, talk and dance the landscape, trapped in limbo.

Act 12: The stones continue to have a life force, etched by generations of Gunditjmara. Moving to escape the monster.

Act 13: Although the country has changed, the spirit and culture of place remains. It all looks different through a Gunditjmara cultural lens.

Act 14: Pernmeyyal awaits the spirits to come ‘home’.

Act 15: Spirits on the journey to the dreaming, streaming in flight. The cultural essence.

Act 16: This is ceremony, this is lore, this culture and this is US.

Act 17: We seem them, the spirits, when we look at the sky and see the stars. They are ‘home’.

Act 18: The Eumeralla continues to sing, the country has a story to tell, culture lives.

Act 19: The effect of the monster that is named war. A bloodstained landscape. The fighting Gunditjmara stood and protected defended, we know this and feel this as we are Gunditjmara.

About the Artist

This is a journey of inner reflection directed at the core of what it means to be Gunditjmara, a descendent of warriors, a direct descendent of the ‘Fighting Gunditjmara’.

I’ve captured it through the cultural lens that our culture demands, that my spirit as a Gunditjmara man demands. My own personal journey from a young boy being told the story, to a young man walking the battlegrounds to the man that now understands is captured here within

the artworks.

This is our story.

TomDay

Gunditjmara, Yorta Yorta and Wemba Wemba man and multi-disciplined artist

I was raised on this country, I’ve walked this country, I know this country. The presence of the old people reveals itself to me with songs being carried in the winds and I then interpret their story, our story. Eumeralla represents power, sings of our story and is at the heart of our identity.

It conveys the truth, however difficult, and tells of resilience and strength.

Tonight represents the visual telling of that truth, of that strength and of the people who endured it.

 

Nude Woman Ascending the Staircase by Salvador Dali by Colleen Keating

 

A good thing about getting lost is you find the unexpected. This was our luck on our first morning in Singapore. We had studied the map to know we could walk out of our luxurious quiet hotel and down town to the Hop on Hop off bus depot. We looked forward to the walk after the long flight the day before and  seeing Singapore. We did not expect the chaos, the heat,  the rush and bustle , the noise, the complicated roads, the building sites and hence were quickly lost. That’s when I heard a fountain playing and noticed a calm square between towering building  and curiosiously we decided to investigate. 

 

Nude Woman ascending Staircase

We discovered  a haven of sculptures . Workers whisked past gobbled up by the buildings, locals hurried by heads down about their business. We, like the pilgrims we wanted to be rather than tourist, we looked, stopped  and enjoyed  the experience. That is when  Nude Woman  Ascending the Staircase  caught my attention.   I loved the paradox  of softness (the animal and hardness (the shell )  and the sculpure of the soft body of the female figure  climbing 
and the message of portraying helplessness by her body being headless was powerful for me.
It just blew my mind. I would like to say she climbed into a ceilingless sky 
but a canopy of unbroken glass was part of the building was obviously  in the way. 

There were quite a few other installations and scuptures  set up by the owner of the Park View Square set up as a tribute to elegance and humanity Parkview Group was established by the Hwang family,   Several embassies are on different floors and the Ground floor is a very popular baar which we did not get to see

nude woman ascending.jpg

Parkview Square is located in Bugis area. Singaporeans have dubbed it the “Gotham Building” because its dark, imposing design looks like it’s been conceived in Batman’s Gotham City.

I first visited this place a few years ago for drinks at the lobby bar. What intrigued me the most, is the fact that this building seemed rather out of place. It’s so sombre and opulent that I thought it only belonged in another era, a difference country. Looking around, you could feel the total devotion, an enormous sense of pride and perhaps even some self-indulgence (i say this with the utmost respect and envy) of its architects and designers, under a no-expense-is-spared commission of their visionary client, the late Mr. C. S. Hwang, founder and chairman of Chyau Fwu Group.

parkviewsq day time.jpg(Image source: parkviewsquare.com.)

Unlike many contemporary office buildings that emphasize the application of steel and glass in minimalistic fashion, Parkview Square (Year 2002) was built in the classic Art Deco* style, similar to the Chanin Building (Year 1929) in New York. The facade of this building is mostly clad in brown granite, bronze and lacquer.

(* Art Deco is a style of visual arts, architecture and design that first appeared in France just before World War I. It combined modernist styles with fine craftsmanship and rich materials. Influenced by bold geometric forms and bright colors of the art movement then, it often draws inspiration from the exotic art of ancient China, Japan, India, Persia, Egypt and Maya.)

parkview square night view by meinhardt dot com.jpgThe night view. Image source: Meinhardt Singapore.

parkview square statues.jpg(Image source: Steve Taylor, flickr.com)

There are many statues and sculptures both outside and inside the building, here I will only highlight the more prominent ones. Let’s start from the top (shown in the above photo.) Actually, there is a story/urban myth behind these statues sitting atop the building which can hardly be seen from the ground level. If you take a look at the first photo in this post again, you will notice there are 2 diamond-shape buildings behind Parkview Square, which are The Gateway (Year 1990) designed by the world renowned architect I.M. Pei. (I’m a huge I.M. Pei fan, too. He just turned 100yr old this April!) However, many local Feng Shui masters speculate that the design of The Gateway is considered “bad luck” for any other buildings to be near it, because of its dagger-like appearance. People believe that it would “cut through” all the other buildings, and the tenant companies in their building will be doomed to fail (“cut to pieces”.)

So for many years, the area around The Gateway remained undeveloped. That is, until 2002.

In 2002, Park View Square was built, and it was specially designed in the classic Art Deco style to protect itself from the “daggers” of Gateway. The 8 gigantic statues of men holding a light ball in their hands, 4 of them standing on each broad side of the building’s crown, were crafted to “guard” Parkview Square against “bad luck.” Believe it or not, this story does show you that it’s not uncommon among Chinese property developers to consult their trusted Feng Shui masters before committing to a project.

crane.JPGThis photo is taken by me, so is the next one.

Now we have come to the ground level. Standing in the center of the plaza, facing the main building, you could see there is a statue of a golden crane with its head lifted, pointing towards the direction of mainland China. On the pedestal, a Chinese poem is written:

poem of crane.JPG

黄鹤楼 Yellow Crane Tower (Referring to Parkview Square)

故国旧有黄鹤楼 There is a Yellow Crane Tower in my homeland,
北望神州几千秋 Looking in the North direction (towards China) for many years,
黄鹤展翅飞万里 Yellow Crane spreads its wings to fly tens of thousands of miles,
伟哉狮城见鹤楼 The great Lion City (Singapore) sees this Yellow Crane Tower.

Pardon my plain and literal translation of this poem. It was composed by the late Mr. C. S. Hwang himself. This is the most personal and meaningful art piece at Parkview Square because of Mr. Hwang’s life experience. He was born in Teochew, China in 1926. During the Second Sino-Japanese War (1937-1945) he joined the Kuomintang/Nationalist Party (as opposed to the Communist Party) army as a reporter. After the Japanese surrendered in 1945, and the Communist Party won the Chinese Civil War in 1949, he retreated to Taiwan along with the Kuomintang army. While in Taiwan, Mr. Hwang started a construction business that became very successful, and he had since established himself as an influential property developer in Taiwan, Hong Kong, mainland China, France and Singapore. His company earned a reputation for top-end landmark projects that set new benchmarks for quality and innovation.

For someone who traveled extensively and lived in different countries, Mr. Hwang always had a longing for his hometown in China. This poem expresses his feelings deeply. Parkview Square was his final project, as he passed away 2 years later in 2004.

parkview square statues sun yat sen et al.jpg(Image source: Andrew Boyd, flickr.com) These are the bronze statues on both sides of the plaza. From left to right: Sun Yat-sen, Churchill, Lincoln, Plato. There are another 4 which are not shown here, they are Dante, Dali, Newton, and Chopin.

Mr. Hwang (and his eldest son George Wong’s) love for Dali’s art is quite evident as there are 2 sculptures by the Surrealist artist installed in the garden, and another 4 in the lobby. They’re part of George Wong’s personal collection. I like Dali’s paintings much more than his sculptures, to be honest. Because they are way more imaginative, expressive and magical.

snail queen dali.jpgSnail Queen (1974), by Salvador Dali. Bronze, 180 x 290 x 87cm. (Image: tsingapore.com ) I quite like how they digitally added a giant canvas behind to showcase each piece, eliminating background distraction.

nude woman ascending.jpgNaked Woman Climbing A Staircase (1974) by Salvador Dali. (Image: tsingapore.com )

dressed woman by botero.jpgThere is also a sculpture by Fernando Botero, Dressed Woman. (Image: Choo Yut Shing, flickr.com) It’s always pleasant to look at Botero’s distinctive voluptuous sculptures because in reality most people are attracted to slim bodies. There is another sculpture by Botero (titled Bird) in Singapore as public art, it’s installed outside UOB building along Boat Quay.

Ok, it’s time to go inside for a drink now!

atlas official photo.jpg(Image source: atlasbar.sg) The lobby is majestic! However, it’s never this bright. Even in daytime, it’s still pretty dark and chill indoor. Excellent ambiance! Very cozy and relaxing.

The newly renovated Atlas Bar is known for its very special champagne and gin collection, and it’s helmed by one of Europe’s leading bartenders, Roman Foltan, who previously worked at Artesian at The Langham, which is voted the World’s Best Bar four times consecutively.

My friends and I had enjoyed the cocktails very much, even though i usually prefer plain alcohol served as it is, or maybe just add water/ice.

atlas bar 3.JPG