The Artist
Liz Sergeant Tan
Performer, dancer and theatre artist
“I’ve been freelancing for nine years as a performer across theatre, film, commercials and both contemporary movement and traditional dance, taking me to many strange and wonderful places. I discovered Butoh in my teens on a trip to Brisbane and fell in love with its strength and nurturing quality.
This year, I wrote a play, Cat and The Faceless Maiden, for The Finger Players’ Puppet Origin Stories, inspired by my mother’s old mime studio at Cairnhill Arts Centre. A film I appeared in, The Sandbox, premiered at the Singapore International Film Festival. I also fronted the SG60 Heart&Soul Experience and just finished a run as Ann in The Fourth Trimester at Checkpoint Theatre. I began 2025 dancing in the mountains near Chiang Mai and ended it at the final Butoh Don’t Cry at Enclave.”
The Work in Motion
“As we speak, I literally got engaged today—my cats were there! My partner and I are treating the wedding like a grand production for our loved ones, and I’m excited about the outfits and seeing how fabulous the guests will be.
I’ll continue working with the Singapore Butoh Collective, leading workshops, and developing our practice. We were recently awarded a fellowship with Goethe-Institut Singapore, giving us space and funding to grow. I’m thrilled with the direction my dance work is taking and can’t wait for what’s next. I’m also hoping for more on-camera opportunities—films, short films, TV, ads—anything that comes my way. Around Halloween, there’s potential for a Wagnerian project, possibly even solo dancing to a classical pianist, if the grants come through—fingers crossed.”
The Uniform
“The Hungry Panda Butoh look channels ‘clubber escapee’ vibes, complete with a panda-stuffy tiara. The character is half panda, half human Sporty Spice, discovering her own sentience. The original top was a white leotard from Sonata at Funan—I did ballet as a kid for five years before quitting. Silver plastic beads on the shorts, wristbands and necklace draw inspiration from the intricate hardware of Odissi dancers.”
“The dress I’m wearing, borrowed from Vivian Mazuki for a pre-wedding shoot, is flowy, handmade and makes me feel both dramatic and romantic. The necklace belonged to my grandmother, Frances.”
The Ritual
“Wearing a costume makes me think about the character’s world. For example, my Hungry Panda wristbands felt like shackles from the lab she escaped. The textures and movement of the clothes help me inhabit the character. On a daily basis, I prefer comfortable clothes that let me carry my vibes wherever I go.”
Photography Kim Jae-Ha
Styling Nicholas See
Hair and make-up Sarah Tan
Photographer’s assistants Zilhanz and Syed Abdullah
Hair and make-up assistant Janine Toh
Vogue Singapore’s January/February ‘Art’ issue is out on newsstands and available to order online now.
