maxkwrites: portfolio

Articles published in The Edge Financial Daily (Jan & Feb 2010)

2010-02-25T09:22:00.001-08:00

Passion for Paintball

2010-02-20T02:49:00.000-08:00

First published in Sunday People, New Sunday Times
31st January 2010

Come Lex Dance

2010-01-11T08:38:00.000-08:00

Published in Sunday People, New Sunday Times
10 January 2010

A young dancer-choreographer tells MAX KOH about his journey from Kelantan to the stage.

LAKSHMAN Balakrishnan, or Lex as he is known to his friends, made his presence felt in the dance theatre arena with a role in Fauziah Nawi’s Muzikal Orang Kota Baru in 2003.

The 26-year-old dancer has since been involved in productions such as Tunku The Musical, Ismail The Last Day and Chitra.

He was recently the choreographer for Kuala Lumpur Performing Arts’ (KLpac) Kaki Blue, where he incorporated traditional dance movements in a contemporary setting under the direction of Joe Hasham. The show was an audience pleaser.

“I was really honoured when Joe asked me to be part of Kaki Blue, which was quintessentially a Malaysian musical,” he says over a cup of teh tarik at the cafeteria in Aswara (National Arts Culture and Heritage Academy) where he is pursuing his Bachelor’s degree in dance.

“I had to work with my entire brain to come up with a suitable choreography,” says Lex, who was comfortably garbed in a white kurta and loose black pants, with his curly hair tied into a ponytail.

The tall and well-built guy from Kelantan says: “I started dancing even I was already in kindergarten. I remember the first dance I performed was the tarian tempurung kelapa.

“Michael Jackson and Bollywood films were a staple in my childhood and I even performed in temples.”

His family moved to Kuala Lumpur when he was eight, and at 14 Lex was enrolled in Ramli Ibrahim’s Sutra Dance Theatre where he immersed himself with the classical Indian forms of odissi and bharatanatyam.

He studied diligently until completing his STPM in 2002. Then, Lex decided to pursue dance as a career but it was not met with enthusiasm by his parents.

“At that time, my father, who was in the army, did not approve of me dancing as it does not put food on the table. In fact, it was a struggle to break him out of the mindset that boys don’t dance. But I told them that this is what I wanted to do and they respected me for it.”

His hard work had paid off as his parents now come for every one of his performances.

“They are my number one fans.”

In 2003, Lex went to Chennai where he honed his talent in odissi and bharathanatyam.

When he returned, in 2004, he enrolled himself in Aswara (then Akademi Seni Kebangsaan) for a Diploma in Dance and learnt more about classical Malay dance forms.

“Lecturers like Suhaimi Magi and Aris Kadir were important in helping me hone my proficiency in this discipline,” says Lex.

His talent in various disciplines which includes traditional Indian and Malay dance, jazz, ballet, and contemporary makes him a sought-after dancer and choreographer.

He also acted in projects such as Race by the Rather Peculiar Theatre and Istana Budaya’s Sirih Junjungan.

“Ever since young, I just wanted to become an artiste. I had nothing specific in mind, but I just wanted to immerse myself in the arts — be it dance, choreography or as a thespian.

“I am really happy with what I am doing now. Seeing how dance gets people excited make me happy,” says Lex.

“I owe a great deal to people like Ramli, Aris and Joseph Gonzales (head of dance in Aswara).

“I think the best advice I got was to never stop dreaming.”

Published business news in The Edge FD Dec 09

2010-01-04T04:01:00.000-08:00

Bank Islam to achieve RM2b in personal financing

2009-12-22T03:54:00.000-08:00

Published in The Edge Financial Daily
22 December 2009

Maybank has little exposure to Dubai, says Wahid

2009-12-17T05:27:00.000-08:00

Published on The Edge Online
17 December 2009

Written by Siti Sakinah Abd Latif & Max Koh

KUALA LUMPUR: MALAYAN BANKING BHD [] will not be affected by Dubai's debt crisis given its exposure there of less than 0.2% of the banking group's total assets, said its CEO Datuk Seri Abdul Wahid Omar.

Wahid said the bank's exposure in Dubai was being monitored by its branches in Bahrain and London.

"We are hopeful that the issue in Dubai will be resolved. Abu Dhabi has lent US$10 billion [RM34.2 billion] to enable Nakheel to repay its bond debt, which is a positive development," Wahid told reporters on Dec 17 after a signing ceremony between Maybank and MoneyTree (M) Sdn Bhd for the sponsorship of a year-long financial-literacy programme for youngsters.

He said the development in Dubai would bring back significant confidence and stability to financial markets.

It had been reported that Abu Dhabi recently provided the amount to Dubai to help Dubai World, the state-owned holding company, avoid defaulting on a US$4.1 billion Nakheel bond payment.

On another matter, Abdul Wahid said Maybank had received the final approval from the Vietnamese authorities to increase its stake in An Binh Bank from 15% to 20%.

When Maybank bought its 15% stake in An Binh in March 2008, it was given the option to increase the stake to 20%, which is the highest stake that a foreign company is allowed to hold in Vietnam.

"We are now in the process of finalising the agreement," Wahid said.

On the bank's outlook for next year, Wahid said Maybank was bullish about 2010's economic prospects, adding that its in-house economist had forecast 4.5% growth.

"I think as we recover, obviously, we expect the financial industry to perform well as well," he said.

He said the country's asset policy would continue to create a conducive environment for business.

Full conversion to Islamic finance by end-2010, says PTPTN

2009-12-16T16:46:00.000-08:00

Published in The Edge Online
17 December 2009

By Max Koh and Siti Sakinah Abdul Latif

KUALA LUMPUR: The National Higher Education Fund (PTPTN) plans to convert its conventional education loan scheme for all current 1.45 million student borrowers to the new syariah-compliant education financing programme by December next year.

Pursuant to the conversion, the 4% interest rate for loan repayment under conventional banking scheme will be replaced with a 1% administrative charge under the new scheme based on the Islamic principle of Ujrah.

Out of the total loan recipients, 192,059 have since December 2008 been automatically offered to repay their loans under the new Islamic scheme.

"By end of 2010, it will certainly be done (the full conversion),” the statutory body's chief executive officer Yunos Abdul Ghani said after a signing ceremony between PTPTN and AmIslamic Bank here on Dec 16 for the bank to finance RM1.5 billion and act as a facility agent for 10 years to the statutory body.

This is the second commercial financing arrangement that PTPTN has secured. The first involved a RM1.5 billion government-guaranteed commercial financing arrangement from CIMB Islamic Bank Bhd in July 2009.

PTPTN received its funding from the government from 1997 to 2002 of RM5 billion. In 2003, government spending was stopped and PTPTN had to look for alternatives, receiving RM500 million and RM12.5 billion from Kumpulan Wang Amanah Pencen (KWAP) and Employees Provident Fund (EPF) respectively, in the following five years.

The total funding that PTPTN has received over the years is a whopping RM21 billion to help finance higher institutional students in the country.

"At the moment, we have 391,790 students under our loan scheme. For 2010, we have a total of 166,116 newly approved loan applications with loans amounting to RM1.5 billion to be disbursed by April 2010," said PTPTN chairman Datuk Dr Mohamad Shahrum Osman.

"However, an additional RM2.5 billion is still needed to support loan applicants until the end of next year," he added.

The total 1.45 million loan applications approved since PTPTN's inception in 1997 up to November 2009 is said to require financial allocation of RM31.17 billion for the students to complete their studies.

Fluid Portraits

2009-12-06T09:28:00.000-08:00

Published in Sunday People, New Sunday Times
6 December 2009

Fluid portraits
MAX KOH

Yeoh and his painting Rasa Leela, which depicts eight Gopis (cowherd maidens) dancing for the cowherd-god, Krishna, in the cosmic dance of life

ART in Asia has been heavily influenced by themes of spirituality for ages, and this is explored at an exhibition, writes MAX KOH

THE Temple of Fine Arts in Brickfields is now chockful with sculptures and paintings celebrating Lord Krishna. It’s an exhibition called Rasa Leela which features works by celebrated artist Yeoh Jin Leng and dancer-artist Sarasa Krishnan.

One is a sage-like veteran whose works are renowned and is a cultural ambassador for Unesco. The other, a relatively new artist whose works are heavily influenced by her experience as a dancer, for which she is better known.

At the interview on the fourth floor of this year-old building, Yeoh, garbed in a biege dhoti, commands my rapt attention as he espouses the differences between Asian and Western art sensibilities. “You’ll find that Western art has a materialistic outlook on reality, while Asian art relates to a deeper consciousness in relation to aesthetics.”

Yeoh and his black-and-white painting, Dance of the Gopis

Yeoh trained as a teacher at Kirkby and went on to the Chelsea School of Art and Courtauld Institute in London in the 50s. He began exhibiting his works in 1963 and his paintings are in collections around the world, including the national Art Gallery. His artistic career is clearly paralleled by the vocation of teaching, both students and other teachers, and in promoting art, which has been recognised by numerous awards.

For some 15 years, he began to explore the spiritual themes that influence Asian art as a whole.

Yeoh and his sculpture Apsara on display at the Temple of Fine Arts, Brickfields

His study of cosmological and aesthetic foundations of Asian art brought him to visit cities, as well as obscure tribes in Egypt, Nepal, Iran, China, Indo-China and India. “Over the last five years, I was able to consolidate some ideas I had,” he says. “I explored the spirituality that influences Asian art by visiting Southern India.

“I visited the major temples in Chennai. I observed sculptures and murals, explored the history and read quite a bit of the Sanskrit epics, Mahabharata and Vedas.

“I spent a month in Orissa, where I could compare the sculptural, artistic and architectural traditions.” It was only three years later that Yeoh began to paint, inspired by his observations. One of the works displayed at TFA is Rasa Leela, which depicts eight Gopis (cowherd maidens) dancing for the cowherd-god Krishna, in the cosmic dance of life.

Another is the black-and-white Dance Of The Gopis, which captures the expressive movements of the dancers. All his works are a personal exposition of the different rasa (feelings) that is evoked. Also on show are Teoh’s copper sculptures that explore this theme.

While Yeoh’s approach is a personal exposition on the theme, Sarasa’s works are borne out of her love for Lord Krishna. “My paintings are an outpouring of my love for Krishna. I paint according to what I feel inside,” explains the soft-spoken, petite Sarasa.

Sarasa has been a dancer for more than 30 years and her paintings reflect the two disciplines. “What I paint comes from a very emotional level. I interact emotionally with colours and I explore the various poses and movements in my paintings,” says Sarasa, the artistic director of TFA in Perth.

Vishnu Paadam by Sarasa depicts the cosmic dance of Krishna

One of her pieces, Vishnu Paadam, depicts the cosmic dance of Krishna while the intense Blue Flute shows the calm and joyous visage of Krishna playing his flute. Sarasa uses a lot of bright colours in her paintings and the liberal use of lines depicts a lot of movement. Her paintings are inspired by the teachings of TFA founder Swamiji Shantanand Saraswathi and kathak maestro Pandit Birju Maharaj who taught her to dance in that discipline.

Birju is currently conducting kathak workshops at TFA Brickfields.

Sarasa says she started painting as a child but was “discovered” in Paris only in 2002. A friend asked her to place her paintings as the stage backdrop for Sarasa’s dance performance. A Parisian gallery owner noticed them and invited her to show her works. Soon her paintings were shown in Florence, New York, India and Perth. Sarasa danced and painted Shakti — The Eternal Energy, at the Edinburgh Fringe Festival in last year.

Blue Flute shows the calm and joyous visage of Krishna playing his flute

That riveting performance with Umesh Shetty was reported in Sunday People. It stood out from the rest of the events on the festival calendar.

Sarasa says she spent three weeks of 18-hour days painting the works for Rasa Leela. There are 16 paintings on display on Krishna and Ganesha. Each painting is accompanied by poems that are translated or inspired by sacred Hindu texts. “All I did was dance, sleep and paint. The sense of peace and joy that I felt during those moments are reflected here in the paintings.

Sarasa's Blue Eyes shows the passionate gaze of Krishna

“Krishna is different to each of us. That’s why Krishna’s features vary from painting to painting. The only thing that is constant is the eyes.”

Rasa Leela art exhibition runs at the Temple Fine Arts, Brickfields until Dec 13, 2009.

New Day for Wayang

2009-12-06T09:25:00.000-08:00

Published in Sunday People, New Sunday Times
6 December 2009

Bouyed by local talents

2009-12-06T09:20:00.000-08:00

Published in Sunday People, New Sunday Times
6 December 2009

Your Take On Democracy

2009-11-30T06:00:00.000-08:00

Published in Sunday People, New Sunday Times
29 November 2009

Sarimah speaks out

2009-11-18T07:06:00.001-08:00

Published in Sunday People, New Sunday Times
15 November 2009

Sarimah speaks out

TV host Sarimah Ibrahim talks to MAX KOH about The Biggest Loser Asia, her brush with cancer and why it’s so important to take care of Sarimah the person first before Sarimah the celebrity

SARIMAH Ibrahim is not an unfamiliar face in the broadcasting industry. After bursting onto the small screen 13 years ago in The Attic Show, the television host has charmed audiences with her bubbly personality and can-do attitude.

Meeting her for the first time at this interview, I am amazed at how youthful she looks. I first saw her on television when I was in lower secondary school and here she is now, in the flesh! It’s as though 13 years have flashed by and she’s barely been touched by the vestiges of time.

Sarimah makes herself comfy on the sofa in the NSTP studio room and removes her sash that reads Ambassador Against Cervical Cancer. Though she’s feeling a little tired, she bravely puts on a winsome smile and exudes that effervescent personality that has been charming audiences for years.

“The skill is in looking good even when you’re tired and haven’t slept or eaten,” she confides. “It’s what people expect of us. As a television personality, we give people a form of escapism.”

One does wonder how she does it. She had just come from a 15-hour shoot for The Biggest Loser Asia (TBLA) and to make things worse, she had a flat tyre on the way.

Sarimah is here to talk about her experience hosting the first TBLA which premieres on the Hallmark Channel on Nov 24.

“It’s definitely an exciting, overwhelmingly experience for me. It has been an eye-opener and I’m learning new things every day,” she says.

Feedback from the producer and director has been nothing but encouraging. “What’s really great about working on this show is that I don’t have to compromise my values and morals. The director and producers listen and value my input for the show,” she adds.

Sarimah was auditioning for Contender Asia when she was asked to go for a screen test for TBLA as well. Three months later, she received a call saying that she got the job.

“My background (she has worked in Ireland, Dubai and Malaysia) appealed to them. They felt I was most suitable because of my image, my popularity and what I represented for women, men, family values, Asians and my uniqueness,” she adds.

During the TBLA auditions in the different South-East Asian countries, Sarimah was overwhelmed by how the people were so receptive of her.

“It was like one of those bingung moments. They were rushing to take pictures with me. I supposed they can identify themselves with me because of my mixed heritage,” says Sarimah who has Irish, Italian, Chinese, Malay and Indonesian blood.

I mean, I can represent the whole world,” she says, laughing. “You couldn’t mix it up any more than me.”

This has been her most challenging job so far. “Hosting a reality show is challenging because you incorporate elements of acting, singing and modelling. This show takes it to next level because of it regional and possibly international level.”

TBLA will be broadcasted in more than 20 countries in Asia with possibility of reaching Europe and United States.

Sarimah's voice for the voiceless

It seems rather apt that Sarimah has been chosen to host a health-based show such as TBLA. She has always aligned herself with NGOs such as National Cancer Council (Makna), Malaysian AIDS Foundation, and World Vision.

Recently, she was named spokesperson for National Cancer Society Malaysia’s (NCSM) “Power Over Cervical Cancer” awareness campaign.

Her involvement could not have been more personal as Sarimah was once diagnosed with a cyst in her cervix.

“Several years ago, I was so career-driven that I forgot to put myself as a woman first. I was busy being a TV host, singer, actress and model and I took my health for granted.

“I experienced pain in my tummy and I had to go to the toilet very often. But I ignored the signs, thinking that I just had a weak bladder. Because I did not take early preventive measures and go for tests, I developed a cyst.

“I only found out when I almost fainted on location one day because of the severe pain. I went for a pap smear because I knew there was something not right. The doctor sent me for a scan and found a cyst the size of a small watermelon.”

She underwent emergency operation the next day to have it removed. “The doctor said I was lucky because it could have burst or developed into cancer.”

She was told that the cyst had been growing for the past seven years.

Sarimah did the math and realised it dated back to the start of her career. “I was so busy focusing on my job that I forgot about my health.”

Her younger brother was diagnosed with leukaemia. “We never thought it could happen to him because he was only 18, handsome and an outgoing person. He went for treatment and thank God he is now alive and healthy.

The thing is, it can happen to anyone — your brother, sister, parents or friends. So put your health first.”

This is also why Sarimah has agreed to be a spokesperson for NCSM. “There are things in life than you can control and things you cannot. If you love yourself or a woman in your life, encourage yourself or her to take the tests and let professionals take care of you.”

Today, Sarimah goes for regular check-ups and is more diligent about her health. “Whenever I have the time, I exercise and I do Pilates at least three times a week,” she says. “This is why I can endure 15 hours of shooting and still come here to talk to you.”

Sarimah Sdn Bhd

2009 also marks a new chapter for Sarimah, both personally and professionally.

“This year has been an eye-opener. I’ve had to rethink my health priorities. I realise that being a celebrity comes with great responsibilities. The moment I step out of my apartment, I am in the public eye. Therefore, I have to be careful with everything I say or do.

“I realised this when I got divorced recently and my picture appeared on the front page of a daily newspaper, sharing space with the Prime Minister and Angelina Jolie,” she says, laughing. “A mistake will have a ripple effect on your career.”

While she maintains a friendly relationship with her ex-husband, she is launching Sarimah Sdn Bhd in a few months.

“Lately, I realised that I have a huge impression on people around me. What I say, what I stand for and what I do have an effect on people. So, with branding myself, I can express what I stand for more clearly, rather than have news of what I do scattered around.”

That includes putting Sarimah the person before the celebrity. “My doctor says I’m as healthy as a horse today. If I don’t take care of myself, I won’t be able to speak up for things that I’m passionate about.

“And while I’m still can, let everyone use my voice for good causes.”

The Biggest Loser Asia premieres on Hallmark Channel on Nov 24 and airs every Tuesday at 9pm.

Media Analysis: Comparison on the Permatang Pauh by-elections coverage by The Star and Malaysiakini and why independent media is important

2009-11-18T03:57:00.000-08:00

This is a seminar paper I wrote for Media Context subject for Taylor's College.

The most important role of independent media is to provide an alternative voice. Discuss.

Media Analysis: Comparison on the Permatang Pauh by-elections coverage by The Star and Malaysiakini and why independent media is important

By Max Koh

Introduction

When Anwar Ibrahim emerged as the winner in the Permatang Pauh by-elections, blogs across the Internet rejoiced at the prospect of the Opposition de facto leader’s return to the political arena. It is, after all, a no simple by-elections. It has been ten years since the exiled former Deputy Prime Minister was sacked of his post, detained, charged in court, convicted and sentenced to 15 years of incarceration (Nain and Wang 2004). His eventual win would signify his return as a member in Parliament and is also closely tied to his bid to take over the government by September 16 (Malaysiakini 2008). His pledge, if fulfilled, would usher in a new Malaysia which for the first time- will see a new administration in place of ruling incumbent party Barisan Nasional (BN).

The sentiments in the online world were particularly significant as at the win was largely influenced by the Internet’s ability to provide an alternative voice to the coverage portrayed in the mainstream media (Netto 2008). At the heart of this independent voice is several blogs and also online independent news portal Malaysiakini to provide alternative views and coverage during the by-elections. The role of independent media could not be discounted in the eventual by-election outcome.

The purpose of this paper is to examine how the independent media has functioned as an alternative voice during this crucial by-elections period. We will examine coverage by independent news portal Malaysiakini and compare them to mainstream newspaper The Star during the by-elections period from 16th August to 27th August 2008. We will then discuss how the alternative voice is important as an agent of democratization, in fulfilling its role as gatekeepers, and to provide as an important alternative source to traditional news sources.

Background

Studies by scholars have shown that mainstream media is likely to portray in favour of the ruling government especially during the elections period. This nature is largely attributed to the fact that most mainstream media is owned or under control of the BN component parties (Loh and Mustafa 1996). Anuar (2003) observed that during the 1999 General Elections, coverage was tilted towards the ruling parties. The mainstream media exhibited favouritism and biasness.

The 1999 general election is especially significant as precedent to that, deputy Prime Minister Anwar Ibrahim was sacked by then Prime Minister Mahathir Mohamad amidst sleazy allegations of sodomy, adultery, and abuse of power. However, certain quarters perceived the sacking as a top-level conspiracy headed by Mahathir, who had been logging heads with Anwar in certain policies, especially those pertaining to the 1997 Asian financial crisis (Nain and Wang 2004).

Anwar retaliated by going on a nationwide campaign to clear his name and soon detailed cases of nepotism (especially those involving Mahathir’s family), and cronyism (involving business friend of Mahathir and previous finance minister, Daim Zainuddin) emerged. The Reformasi movement begin to gain momentum as Anwar was arrested under the draconian Internal Security Act (ISA), his subsequent “black eye” incident, and his conviction that created splits especially within the Malay community.

However, these allegations and incidents were largely downplayed, if not ignored by the mainstream media, as it begin to lose its credibility in the eyes of critical citizens. The economic and political crisis was not discussed in the mainstream newspapers, and more importantly, the government’s bail-out of selected companies belonging to his children was never discussed. This has led the public to lose trust in the mainstream media (Sabri 2000).

Following that, the crackdown on dissents began with pro-reformasi and pro-Opposition publications having their printing permits revoked. Attention then shifted to the Internet for alternative news. It was at that time, Malaysia’s first web-based newspaper, Malaysiakini, was launched. It describes itself as “an Internet media project featuring independent news coverage, investigative journalism and in-depth analysis... conceived by journalists unhappy with the sorry state of our mass media” (Malaysiakini 2008) and within a year, it received rave write-ups and won numerous international awards (Nain and Wang 2003). The mainstream media continued to be biased.

The pattern did not change during the recent March 2008 general elections. A media monitor initiative by the Centre for Independence Journalism (CIJ), Writers Alliance for Media Independence (WAMI) and Charter 2000-Aliran showed that the biasness still persisted in major print media to toe the line of the incumbent government BN and its candidates (Aliran 2008). The unfavourable treatment of the press was shown when the Opposition won its most seats in history, showing their distrust of the viral propaganda exhibited by mainstream press.

These incidents serve as a backdrop to our study as Permatang Pauh operated in a post-March 2008 media climate. In a talk by Sunday Star editor Soo Ewe Jin (2008) to Taylor’s College students, he observed that the mainstream media has allocated more space for the Opposition party as they have successfully become elected public officials (including blogger Jeff Ooi who runs the influential political blog Screenshots). This sentiment is shared by blogger Anil Netto (2008) who said that various mainstream newspapers are providing more coverage of the Oppositional views. In our study, we seek to investigate these observations and affirm our hypothesis that the independent media is still needed as an alternative voice for several reasons.

Methodology

The study was conducted from 16th August to 27th August 2008; from the nomination day of the candidates to the day after the election results. The extensive periods provide ample and complete resources for our study. We have chosen the mainstream newspaper The Star and online independent portal Malaysiakini as the subjects or our research. We will examine the content of stories published every day and conduct a direct comparison in terms of priming, framing and agenda-setting.

From the outset, we assume that Malaysiakini will be more balance and extensive in its coverage of the elections. The Star, while said to be more extensive in its coverage since the March 2008 results, is predicted to be limited in its coverage compared to its mainstream counterpart.

The study is limited to the fact that only two media outlets are studied in this research. Nevertheless, the choices will reflect the general nature of these two supposedly opposing media. The Star was chosen because it is the leading newspaper with the largest readership in Malaysia (Neilsen Media Research Q4 2007) while Malaysiakini is considered the leading source for independent news (Malaysiakini 2008).

Analysis

In our research, we found that The Star showed obvious bias by the placement of news stories in the Permatang Pauh by-election coverage during the whole campaign period. News about BN activities and its candidate Arif Shah were published in the first few pages and given precedence while news of Opposition is sidelined. Pictures of Arif and BN leaders were featured more in its pages than Opposition members. Even though the Opposition members may be covered, they are often portrayed negatively. On 17 August, The Star’s report ‘Another photographer claims assault’ negatively alleged that Parti Keadilan Rakyat (PKR) members assaulted photographers. The next day, another article titled ‘Unruly behaviour rapped’ appeared where PKR’s supporters were described as vulgar and lewd (The Star, 18 August 2008). Again, the newspaper is quick to portray BN leaders in the good light while accusation against Anwar by various BN leaders appeared on the first few pages (The Star, 20 August 2008).

In comparison, Malaysiakini did not shy away from news that linked Arif to negative elements. A case in example is the coverage of Arif’s brother to a scandal and the questionable procuring of his bogus PhD (Malaysiakini, August 18, 22). Other news angles otherwise ignored by The Star but covered by Malaysiakini was the questionable sodomy claims of Saiful Bukhari (former aide of Anwar who claimed to be sodomised) by the Ustaz who oversee his swearing, an NGO’s protest of the electoral roll, and BN’s ‘phantom’ buses (Malaysiakini, August 18, 22, 25, 26). Even the post-election result news gave unflinchingly supporting the Opposition: ‘Anwar gets big majority, BN concedes humiliation defeat’ (Malaysiakini, August 26) while The Star’s angle on the win was how Deputy Prime Minister affirms that ‘democracy is alive and well’ (The Star, August 27).

For direct comparison, we will examine the two post-election result news stories. In The Star’s main story, ‘Democracy is alive and well, says Najib’ (The Star, August 27) the lead paragraph was already framed in favour of the ruling government. The framing was such that it still portrayed government in the good light and took their comment in precedent of Anwar’s statements even though he won the elections. In a similar story, Malaysiakini opted for the headline ‘BN concedes humiliating defeat’ (Malaysiakini, August 26) which already framed the BN as the losing party and humiliated.

In another article published by The Star, ‘Water bottles hurled at Najib’ (August 27) again portrayed Anwar’s supporters as violent and rude. While this was not covered in Malaysiakini, similar rude behaviour was also demonstrated by BN supporters including a picture showing its members making crude gestures depicting a sodomy action (an obvious poke at Anwar). This picture was published on Malaysiakini but avoided altogether in The Star.

Conclusion

These examples have clearly shown that Malaysiakini provides an alternative view to the news coverage provided by the mainstream media, as exemplified by The Star. This independent role offering alternative view is especially important in this country where the mainstream media is government-owned. McCombs and Shaw (1972) claims that ownership largely creates agenda setting on part of the editorial where “news influences and helps to shape public awareness and debate”.

The government-owned The Star gave much focus and significance to BN while Malaysiakini’s coverage was more balanced and tilted towards the Opposition. While Malaysiakini claims to be non-partisan, the readership proves to be anti-government as can be clearly seen in the Voxpopuli and comment sections. On August 26 Voxpopuli “Anwar a lucky charm for nation” showed how the public supports Anwar while The Star tends to portray Anwar negatively. Agenda setting as influenced by their owners does not contribute well to democracy as it presents an un-directional model to an issue especially during the elections (Blumler et al 1989).

The existence of independent voices such as Malaysiakini provides an opportunity of access to information otherwise neglected by the mainstream media. This contributes to the process of democratisation where everyone has “the access to increasingly professional and cheap tools or production to publish to a global audience” (Gilmour cited in Allan 2006). When the mainstream media is restricted and limited by acts such as the Printing & Press Act and ISA, cybervoice allows marginalised voices and views to be heard. Independent online news website such as Malaysiakini is able to contravene some of the draconian laws in Malaysia. The study has shown that Malaysiakini reported on issues such as Arif’s bogus PhD, Saiful’s unceremonious swearing which will otherwise be not represented in the mainstream media. This information is important in order for the electoral to make an informed and effective decision.

Malaysiakini also allows the voices of the people to be heard in an otherwise one-way communication model practiced by traditional media. The ability for readers to comment allows interactivity and shape the direction and news content of the day. We observed that the Voxpopuli section of Malaysiakini allowed dissenting views while The Star published letters that were inclined to the ruling powers.

While Malaysiakini allowed dissents views to be published, a more balanced practice of reporting would serve the community better to provide a well-represented view of an issue. It should strive to provide a multi-perspectical news reporting which “ideally... encompasses fact and opinion reflecting all possible perspectives” (Gans 2003). At a time when mainstream media’s credibility is questioned, independent voices like Malaysiakini can lead the way towards more effective, respectable, credible and functional journalism.

(1,901 words)

References

Allan, S 2006, ‘Online news: Journalism and the Internet’, McGraw Hill International, New York.

‘Another photographer claims assault’ 2008, The Star, 17 August, p.4

Anuar, MK 2003, ‘The role of Malaysia’s mainstream press in the 1999 general election’, in FKL Loh, J Saravanamuthu (eds.), New politics in Malaysia, ISEAS, Singapore, pp. 53-65.

Beh LY, 2008, ‘Arif distances himself from brother’s scandal’, Malaysiakini, 18 August, viewed 3 September 2008, < http://www.malaysiakini.com/news/88057>.

Blumler, JG Gurevitch, M Nossiter, T 1989, ‘The earnest versus the determined’, in Crewe, I and Harrops, M (eds), Political communications: The general election campaign of 1987’, Cambridge University Press, Cambridge.

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Seminar Paper: Ethical journalism requires conscientious decision-making in context

2009-11-18T03:38:00.000-08:00

This is a seminar paper that I wrote for my Journalism Ethics subject in Taylor's College.

Ethical journalism requires conscientious decision-making in context
By Max Koh

Intro

The practice of journalism and ethics are intertwined in the way how journalists operate and function in the newsroom. Tanner (2005) argues that ethics is not an optional add-on but underpins the practice of journalism. The everyday routine of journalism is very much entrenched in the way how journalists gather, write and disseminate news to the public. This is because journalists are expected to maintain public trust- in addition to reporting accurately (Hargreaves 2003), and it is the ethical decision-making in journalistic practice that determines how much the public can trust journalists.

It is the society that grants journalists the power to observe and report, and the society expect nothing less than true, honest, fair and accurate reporting (Tanner et al 2005). Kovach and Rosenthiel (2004) argue that journalists’ first loyalty to the citizens and their objective is to report facts as truthful and honest as possible. However, in fulfilling these responsibilities to the public, journalists face decision-making process everyday that is not always so obviously determined by a set of codes and law. Franklin (2005) argues that while journalistic codes of ethics exist to assist reporters to make those important decisions every day, ultimately it is conscience that becomes the ethical compass in situations where no formal codes can give clear guidance or morally dictates a decision is right or wrong. Franklin (2005) argues that the more experience a journalist is, the more readily he/she should recognise that such codes are not all-inclusive.

Nevertheless, Voakes (1997) argues that there is a hierarchy of social influences that influence journalists’ decision-making in ethical situations at most of the times, whether explicitly or not. This view is shared by Tanner (2005) who argues that journalists wrestle daily with their consciences in making ethical decisions in the newsroom.

Whatever it is, it is undisputed that conscientious decision-making is vital and influences ethical journalistic practices in the newsroom. The purpose of this paper is to examine the various factors that influence decision-making process and how journalists are guided in their ethics by intrinsic motivations (such as religious upbringing, personal moral compass, or desire for career advancement) and external heuristics (such as code of ethics, peer pressure, or the threat of reprimand) (Voakes 1997). At end of this paper, we hope to prove that conscientious decision-making is very much integral and vital in the practice of ethical journalism as vouched by various journalists and editors. In order to limit the scope of this paper, we will examine these factors based on the Theory of Social Influences (Shoemaker & Reese 1996). The seven factors are: individual, small group, organisation, competition, occupation, extramedia, and law.

Individual

As an individual, journalists are very much influenced by their internalised set of beliefs in the way they report. Masterson and Patching (1997) argues that journalists are very much influenced by their biases, their perception of the audience, and their own interpretation of the core ‘news value’ of consequences, proximity, conflict, human interest, novelty, and prominence. This is unavoidable as in order to tell a good story, certain aspects of the news will take precedence over others (Masterson & Patching 1997). The selection of news value itself is a form of contentious decision-making that is practiced by the journalist as an individual. As White points out (1996), these set of values can be applied to any situation that comes along, as journalists have an internalised ethical orientations to figure out what to do for themselves.

However, this form of perception is further added by a moral compass that steers how journalists operate in the newsroom. Studies have shown that journalists are drawn to the profession by a sense of social responsibility (Schultz 1998). This include the journalists’ strive to report the truth in fairness and as accurately as possible on order to serve the public interest (Kovach & Rosenthiel 2004). This ‘desire to be ethical’ (Merrill 1997) forms the foundation of journalistic responsibility and can be categorised into three overarching behavioural norms: truth-telling, responsibility, and free expression (Christians 1989). Firstly, journalists strive to report reality as accurately as possible without fiction (truth-telling). Responsibility refers to the sense of behaviour where journalists act in order to serve the public and be accountable to them. And free expression relates to the internal desire to have personal freedom from external influences.

A study conducted by Voakes (1997) found that personal, intrinsic values, does influence the decision-making process of journalists. About 68 per cent of 118 journalists interviewed admitted that personal values and own logic influence ethical journalistic decisions. Personal values such as this, argues Johnstone et al (1972) is vital for it is the journalist’s task to provide the background and interpretation necessary to give events meaning. Johnstone argues that this role is expected of the journalists as they serve the public interest.

Small group

In a talk on journalism ethics to Taylors College student recently, Centre of Journalism editor Gayathry Venkiteswaran (2008) said that a cadet journalist who enters the newsroom can be very easily influenced by the cultural norms that exist within the news institution. She advised the cadets to hold on to their personal ethics and not succumb easily to social norms. This newsroom cultural norms can be interpreted as the small group social influence, and is confirmed by Schultz’s (1998) 1992 Media and Democracy Survey that ‘Colleagues are consistently the most significant source of guidance for the journalists surveyed.’ Findings in Voakes’ (1997) survey support this view as it is found that colleagues and editors often embolden a journalist to take some risk ethically. A 10-question-model proposed by Black, Steele and Barney’s (1997) advise journalists to seek other perspectives in their daily decision-making process. Within the newsroom culture, it is the fellow journalists and editors that one mostly seeks advice and help from. This is crucial as the more experienced senior journalists and editors will be able to help journalists make ethical journalistic decisions.

Organisation

It is also found in Voakes’ (1998) study that the organisation continues to highly influence decision-making by scoring the highest value. Another study by Johnstone et al (1973) found that the type of organisation have a bearing on how a journalist defines his responsibilities. It also found that the larger and more powerful news organisations allow the journalist to play a more active role in their decision-making process. Johnstone argues that an organisation by its very nature places restrictions on individual autonomy. In her speech, Venkiteswaran (2008) said that most journalists working in local mainstream media had their stories killed or altered in order to protect the interest of the media owners.

In the recent general elections, a media monitor by the Centre for Independence Journalism (CIJ), Writers Alliance for Media Independence (WAMI) and Charter 2000-Aliran found that major print media allocated more coverage for the ruling party, Barisan Nasional’s (BN) candidates and activities during the election period (Aliran 2008). This lapse of balance reporting also happened during the 1999 general elections (Anuar 2003) when mainstream media was bias towards the government. This is because most mainstream media in the country are owned and/or under control of the BN parties (Loh and Mustaha 1996). Therefore, it is obvious that organisation values, including the ownership does influence the decision-making process of journalists. This demand to meet the organisation’s goal creates a conflict from time to time as journalists have to respond between the demands of others and the organisational interest. The unprecedented win by the Opposition by the elections proved that the people are losing trust in mainstream newspaper, and trust is vital as the newspaper as regarded as watchdog and not propaganda tools for the government (Venkiteswaran 2008).

Competition

Competitive influence is concerned with the organisation’s relations with competitive news media in its market as well as the organisation’s place in the market (Voakes 1997). Weaver and Wilhoit (1996) found that competing media ranked seventh out of nine choices for influences for news judgement. While the study by Voakes (1997) also found that competitiveness is the least influential factor in ethical decision-making process, it is still important as it does have some bearing on the journalist’s ultimate decision on ethical situation.

Occupation

Occupational values comprise a common system of attitudes and beliefs that is transformed through the process of socialisation, into a system of norms to guide behaviour. This can be divided into two: the formal ‘professional’ ethical codes of conduct which is more concrete and the ongoing evolving of occupational norms. The formal codes of ethics are such as those drawn up by the Media Entertainment and Arts Alliance (MEAA) and National Union of Journalists. But while they do exist, they are rarely if ever enforced (Marzolf 1991). However, they do provide the articulation of the attitudes and general behaviour that is practiced by journalists in ethical decision-making. Tanner et al (2004) confirms that while codes of ethics are powerless, the professional codes are significant as they are the practitioners’ own articulation of the central principles governing their conduct. Professional codes are vital and as a comparison of the European codes (Laitila 1995) has shown, most codes share three key principles: accountability to the public, accountability to the sources and referents, and protection of the journalist’s professional integrity. So while the code alone cannot ensure ethical journalism, it is still an important influence in making ethical decisions (Voakes 1997).

Extramedia

Extramedia refers to influences from outside the organisations and structures of the news media (Shoemaker & Reese 1996). There are two main extramedia influences: sources of information and audience reaction. Gans (1979) posits that there is a symbiotic relationship between journalists and their sources. If a journalist writes against the favour of his source, he risk cutting off the flow of information for the future. Chequebook journalism and ‘freebies’ also comes into play and may give rise to conflicts of interest.

To help journalists avoid these ethical pitfalls that may destroy their credibility, the MEAA Code of Ethics offers clauses 4 to 7. In clause 4, journalists are to not allow personal interest, or any belief, commitment, payment, gift or benefit to undermine his accuracy, fairness or independence. Clause 5 protects the journalist from conflict of interest, commercial interests, and payment respectively. While journalists are generally advised to be detached from their sources, some struggle and become influenced when covering emotive stories such as the Asian tsunami disaster (Tanner et al 2005). While clause 4 may appear to be too draconian, Tanner argues that it just mean ‘journalist needs to be particularly careful.’ It is imperative therefore journalists maintain a level of detachment and independence from external factors, as not to undermine their role and responsibility to report accurately and truthfully for the public interest (Kovach & Rosenthiel 2004). Journalists should not place themselves in position where people can manipulate them or where there is a perception that they have been bought (Tanner et al 2005).

Law

Ethical decisions are very much influenced by legal obligations as well. In Malaysia, the presence of repressive laws such as the Internal Security Act (ISA), Official Secret Act (OSA), Printing Presses and Publication Act (PPPA), and Broadcasting Act inhibit the way journalists approach news and views, careful not to stir up ‘sensitive’ sentiments (Nain & Lay Kim 2004). The way journalists write in mainstream media has been affected ever since the Operasi Lalang crackdown in 1987 when the government shut down three national newspapers, The Star, Watan, and Sin Chew Jit Poh, and had their publishing permits or licensed revoked under the ISA when they reported sensitive issues about Chinese education and inter-ethnic tensions between political parties. When The Star was revived some months later, it was very much less critical of the government. Clearly, the ways journalists approach their news are very much influenced by the draconian laws that the government use to intimidate the press (Mustafa 1985). Similarly, the government often invoke the PPPA in order to keep the media in check, threatening to revoke their licenses if they should write something that is not flattery to the government (Nain & Lay Kim 2004). With repressive laws that intimidates, the journalist’s role to report the truth without fear or bias is often impeded.

Conclusion

In conclusion, it is clear that conscientious decision-making cannot be separated from the practice of ethical journalism as clearly illustrated by the seven factors of social influence: individual, small group, organisation, competition, occupation, extramedia, and law. While these factors continue to steer the way journalist function in the newsroom and fulfil their role as interpreter of events to the public, it is imperative that journalists practice a form of ethical journalism in order to do their jobs well. As Joseph Pulitzer once said: “Without high ethical ideals, a newspaper not only is stripped of its splendid possibilities for public service, but may become a positive danger to the community” (Chadwick 1994). Therefore, ethical journalism in conscientious decision-making is not only a must, but it is the very heart that fortifies the practice of journalism itself. Without ethical journalism which involves conscientious decision-making, the role and function of the press will never be fully realised.

(2175 words)

References

Aliran 2008, ‘Utusan tops as the most pro-BN newspaper’, Election 2008- Malaysian Media Monitor’s Diary, viewed 6 June 2008, .

Alliance Online 2008, Media Alliance Code of Ethics, New South Wales, viewed 14 May 2008 .

Anuar, MK 2003, ‘The Role of Malaysia’s Mainstream Press in the 1999 General Election’, in FKL Loh, J Saravanamuthu (eds.), New Politics in Malaysia, ISEAS, Singapore, pp. 53-65.

Black, J, Steele B, Barney, R (eds) 1997, Doing Ethics in Journalism, 3rd edn, Allyn & Bacon, Boston.

Chadwick, P 1994, ‘Creating Codes: Journalism Self-Regulation’, Not Just Another Business: Journalists, Citizens and the Media, Schultz J (ed), Pluto Press, Sydney, pp 167-187.

Christians, CG 1989, ‘Ethical Theory in a Global Setting’, Communication Ethics and Global Change, Cooper TW (ed), Longman, New York, pp 3-19.

Franklin, B, Hamer, M, Hanna, M, Kinsey, M, Richardson, JE 2005, Key Concepts in Journalism Studies, Sage, London.

Gans, H 1979, Deiciding What’s News: A Study of CBS Evening News, NBC Nightly News, Newsweek, and Time, Vintage, New York.

Hargreaves, I 2003, Journalism: Truth or Dare, Oxford University Press, Oxford.

Johnstone JWC, Salwski EJ, Bowman WW 1972, ‘The Professional Values of American Newsmen’, The Public Opinion Quaterly, vol. 36, no. 4, viewed 5 June 2008,
<>.

Kovach, B & Rosenthiel, T 2001, The Elements of Journalism, Three Rivers Press, New York.

Laitila, T 1995, ‘Journalistic Codes of Ethics in Europe’, European Journal of Communication, vol. 10, no.4, pp. 527-544.

Loh, FKW and Mustafa, AK 1996, 'The Press in Malaysia in the Early 1990s: Corporatisation, Technological Innovation and the Middle Class', MI Said and Z Emby (eds), Critical Perspectives: Essays in Honour of Syed Husin Ali, Malaysian Social Science Association, Petaling Jaya.

Marzolf, M 1991, Civilizing Voices: American Press Criticism, 1880-1950, Longman, New York.

Masterson, M & Patching, R 1997, Now the News in Detail: A Guide to Bradcast Journalism in Australia, Deakin University Press, Geelong.

Merrill, JC 1997, Journalism Ethics: Philosophical Foundations for News Media, St. Martins’ Press, New York.

Mustafa, AK 1985, ‘The Pressed in Malaysia’, Aliran Monthly, vol.5, no.5, pp.5-6.

Nain, Z & Kim, WL 2004, ‘Ownership, Control and the Malaysian Media’, Who Owns the Media? Global Trends and Local Resistance, Zed Books, New York.

National Union of Journalists Malaysia 2008, National Union of Journalists Malaysia Code of Ethics, Kuala Lumpur, viewed 5 June 2008 .

Richards, I 2005, Quagmires and Quandries: Exploring Journalism Ethics, Pearson Longman, New South Wales.

Schultz, J 1998, Reviving the Fourth Estate: Democracy, Accountability and the Media, Cambridge University Press, Cambridge.

Shoemaker, P & Reese, S 1996, Mediating the Message: Theories of Influences on Mass Media Content, Longman, New York.

Tanner, S, Phillips, G, Smyth, C, Tapsall, S 2005, Journalism Ethics at Work, Pearson Longman, New South Wales.
Venkiteswaran, G 2008, Ethics in Journalism, Talk to Taylor’s College students at Taylor’s College, 11 June.

Voakes, PS 1997, ‘Social Influence on Journalists’, Journal of Mass Media Ethics Exploring Questions of Media Morality, vol. 12, no.1, viewed 5 June 2008, .

Weaver, D & Wilhoit, G 1996, The American Journalist in the 1990s: US News People at the End of an Era, Indiana University Press, Bloomington.

White, HA 1996, ‘The Salience and Pertinence of Ethics: When Journalists Do and Don’t Think for Themselves’, Journalism ans Mass Communication Quaterly, vol. 73, no.1, pp. 17-28.

Essay: The application of Internet research in the newsroom

2009-11-18T03:33:00.000-08:00

This is a written essay for my Computer-Assisted Reporting subject in Taylor's College.

Discuss the application of Internet research in the newsroom.

By Max Koh

Intro

It is said that Internet has revolutionised journalism in many ways. The advent of the Internet has not only changed what is reported and how it is reported, it is also a virtually endless source of information for reporters to research and gather information. The Internet has also become a far-reaching communication medium that presents all kinds of content in a myriad of formats (Reddick & King, 2001) to its audiences. The reality, said Hatchen and Scotton (2007), is that through today’s interconnected and globalised world, people everywhere easily learn about and are affected by news.

As news finds new ways to be disseminated, the Internet has also changed the news-gathering process for journalists. The vastness of information made available and the myriad of new tools has changed the way journalists work and given rise to new practices such as ‘contextualise journalism’, which facilitates the use and application of multimedia, interactivity, hypertext, and customisation (Pavlik, 2001) and the emerging role of the ‘multimedia journalist’ (Reddick and King, 2001). At the heart, however, lies the term ‘computer-assisted reporting’ (CAR) which Garrison (1998) explains, encompasses anything that uses computers to aid the news-gathering process.

This paper seeks to discuss the role of the Internet as an information resource for journalists. We will discuss the role of databases and other sources of information on the Internet and how they have changed the practice of journalists in newsrooms. We will also look at emerging trends on the Internet that is shaping newsroom practices, as well as ethical and legal implications associated with Internet as an information resource for journalists.

Internet improves dissemination of news

Twenty years ago, the research tools available for journalists were only the library archives, or communicating with sources via phone, fax, or talking in person. Today, journalists have access to online archives, research papers, government websites, forums made available on the Internet. Internet applications such as Facebook, Twitter, Google, and blogs also changed the way how journalists obtain facts and views. Simply put, the Internet has opened up many new channels and possibilities for journalists to gather information. Newsroom culture today is vastly different compared to twenty years ago.

Allan (2005) argues that the Internet has improved news dissemination in terms of immediacy, depth and interactivity. The ability for journalists to deliver news as such is also much owed to the way how journalists have access to a plethora of information on the Internet which allows reporting with depth, immediacy and better interactivity. Allan asserts that the Oklahoma bombing in 1995 was a landmark moment for journalistic Internet research. Within moments a bomb was detonated in front of the Alfred P. Murrah Building, killing 168 people, including 19 children- Internet news sites posted breaking news online. This was especially important as the Internet was still in its infancy then. Discussion forums, eyewitness accounts, and information detailing the event appeared on various sites.

Journalists and news sites such as Oklahoma City Daily and New York Times were able to quickly gather these information; detailed eye-witness accounts, types of bombs used in terrorist attacks, locator map, the latest story from Associated Press (AP), views from experts and put them up on their websites. This particular episode has demonstrated how the Internet has paved the way for journalists to gather information at a faster immediacy and with depth not possible with traditional media. Oakes (1995) observed that journalists were now able to access to information in form of raw news, opinions, and condolences not seen before the Internet. This event presages what the future of online will be, he acutely asserts.

In the coming months, the reliability of information made online increasingly became a matter of dispute, especially pertaining to the circumstances surrounding the 747 Boeing plane crash. On 17 June 1996, the airliner was en route from New York to Berlin when it plunged into the Atlantic Ocean. Rumours of conspiracy theories and terrorist attacks began to circulate the Internet as journalists scramble to gather and post news on the Internet. While these information turned out to be nothing more than rumours, practitioners have observed that ‘there is an immediate acceptance of information on the Internet’ (Canon, 1997). In order to sift through the fact from fiction, journalistic principles such truth, balance, and accuracy are still key foundations. Newsday journalist Ford Fessenden (cited in Campbell 1997) said that the newspaper’s coverage ‘owes a great debt to the technology of CAR where hourly consultation of the Internet and daily querying of safety databases become routine’.

Emerging form of contextualised journalism

As the Internet opens up new channels for information gathering, the role as gatekeepers becomes an increasingly challenging one for journalists. As myriad of information and views are made available on the Internet, it is important that journalists place stories into their proper contexts. Pavlik (2001) describes the emerging form of contextualised journalism, which produces multi-dimensional news; more engaging reporting and complete stories. The multimedia journalist of the twenty-first century then will have to become more skilful storyteller and act as a guide in linking news with a wider set of contextualising events and circumstances (Franklin et al, 2005). The convergence of different digital platforms makes it necessary for journalists to master the different set skills of gathering and disseminating news. Now, journalists not only have to edit the various sources from its various formats, but translate and contextualise them into different formats for dissemination.

There are different kinds of sources available to journalists on the Internet. As the web matures, journalists are becoming more proficient as multimedia journalist in contextualising and separating the fact from fiction; the newsworthy from the irrelevant. In addition to the non-digital resources available (cuttings, archival materials), offline digital resources (CD-Rom, DVD-Rom etc), there is a plethora of sources on the Internet such as databases, blogs, archives, forums etc. However, with great resources comes great responsibility. And the change of journalistic practices.

Greater accuracy and accountability

Alysen et al (2003) observes that the Internet necessitates journalists to be more accountable for their news report. As members of the public have access to the same resources, they can compare news report to the original sources. Therefore, it is imperative that journalists do not misinterpret information or take it out of context. Web deadlines have also become more fluid, compared to reporting for traditional media. Pressure is added to the multimedia journalists who now have earlier deadlines and must also repackage them for different mediums and audiences. The Internet demands for more accurate reports as their stories allow scrutiny by worldwide audiences online.

The rise of citizen journalism

The Internet has also seen an emerging form of citizen journalism. Where once journalistic institutions are seen as the sole authoritative source of news, an increasing number of people are turning to alternative sources such as blogs (Rocky’s Bru, Screenshots) and alternative news sites (Drudge Report, OhMyNews). While some has perceived this as a threat to traditional journalism, Lasica (2003) observes that blogs and organisational journalism work together to produce higher standards of journalism that will benefit audiences and promotes the democratisation of society. Ordinary people can be journalists, thus giving rise the term ‘citizen journalists’. Lasica observes a new form of participatory journalism, as ‘individuals play an active role in the process of collecting, reporting, sorting, analysing and dissemination news and information- a task once reserved almost exclusively to the news media’.

Greater interaction between journalists and citizens

Websites such as OhMyNews allows intense online interaction allows journalists and citizens to work together to provide a more concise and comprehensive reporting (Min, 2005). The new interactivity between readers and news institution through the Internet is exemplified by BBC News during the London 7/7 bombing. Within hours when terrorist bombs exploded on London subways and a bus, BBC received more than 1,000 photographs, 20 amateur videos, 4,000 text messages and 20,000 e-mails (Sambrook, 2005). BBC incorporated images and the different experiences of citizens into their stories. Sambrook further asserts that the new relationship has not only changed how journalists work, but further emphasises the journalist’s role to add value, analysis, context, background and range to the news stories.

New info-gathering tools

This is an exciting times for journalism. As the Internet continues to evolve, so is the news-gathering process for journalists. The Internet offers many tools to help journalists to gather information. Apart from e-mails, forums, and chat rooms, journalists now can obtain information and views through Web 2.0 applications such as Twitter, Facebook, Youtube, wikis, blogs and also Internet Protocol Television (IPTV) (Beckett, 2008). Technologies now allow journalists to work from anywhere in the world, negating even the needs of entering the newsroom. Nevertheless, journalists should operate within the ethical and legal framework as credibility is demanded in this age of information proliferation.

Conclusion

In conclusion, it is imperative that journalists continue to uphold the standards of journalistic principles and values in gathering and disseminate news. While the Internet has changed how journalists work (and thus giving rise to new terms such as multimedia journalist, contextualised journalism, citizen journalism etc) and opened new ways to gather news, the role and ideals of journalism remain the same. More than before, journalists must be increasingly accountable, accurate, and multi-skilled in serving the public’s interests.

(1531 words)

References

Allan, S 2005, ‘Chapter 5: News on the Web,’ Journalism: critical issues, OUP, England, p.67-84.

Alysen, B Sedorkin, G Oakham, M & Patching, R 2003, Reporting in a multimedia world, Allen & Unwin, Sydney.

Beckett, C 2008, ‘Supermedia: the future as networked journalism’, openDemocracy, viewed on 1 April 2009, <>.

Campbell, D 1997, ‘Untapped Sources’, Guardian, 10 July.

Franklin, B, Hamer, M, Hanna, M, Kinsey, M, Richardson, JE 2005, Key Concepts in Journalism, SAGE, London.

Garrison, B 1998, Computer-assisted reporting, 2nd ed. Lawrence Erlbaum Associates, New Jersey.

Hatchen, A & Scotton, JF 2007, The world news prism, Blackwell Publishing, Victoria.

Min, JK 2005, ‘Journalism as a Conversation’, Niemen Reports, vol. 59, no.4, pp.17-19, viewed on 1 April 2009, <>.

Pavlik, JV 2001, Journalism and new media, University Press, New York.

Reddick, R & King, E 2001, The online journalist: Using the Internet and other electronic Sources, 3rd ed, Harcount Brace and Company, Florida.

Sambrook, R 2005, ‘Citizen Journalism and the BBC’, Niemen Reports, vol. 59, no.4, pp.13-16, viewed on 1 April 2009, .

Feature: Twitter and Malaysian Politics

2009-11-18T02:22:00.000-08:00

TWITTER AND MALAYSIAN POLITICS
By Max Koh

Politicians were twittering on the side as MP Nizar was kicked out of Dewan Rakyat minutes after his swearing-in.

On Monday, Twitter made its debut in Dewan Rakyat as four MPs update the world about the Bubar DUN commotion as it happened. MAX KOH writes

Last Monday’s Parliament proceedings saw history in the making when MP Nizar Jamaluddin was ordered out of the hall just minutes after taking his oath as the new Bukit Gantang MP.

The former Perak Menteri Besar was kicked out as he violated the House’s dress code for donning a black headband with the words “Bubarkan DUN (Dissolve the state assembly)” and shouting “Hidup rakyat, bubar dewan! (Long live the people, dissolve the state assembly).

Several Pakatan Rakyat MPs followed suit by putting similar head and arm bands and were ordered out too.

At the same time, another history was being made on the side: opposition MP Lim Kit Siang was busy tweeting on his mobile as the events played out. Prior to that, he asked a few to join him too.

Anyone with a mobile phone and following Kit Siang’s Twitter would have known events in the Dewan Rakyat as they unfolded.

10.11am: pandemonium in hse nizar ordered out of house by speaker
10.12am: 2 other pr mps ordered out of house
10.16am: speaker orders pas mp out 4 wearing headband "bubar dun"

In response, Khairy Jamaluddin would give his own version of events from his Blackberry:

10.18: Opposition MPs defy speaker by insisting on wearing "Bubar DUN" headbands. Speaker warns but ignored, several opp MPs asked to leave.
10.19: Childish, unproductive and a mockery of Parliament.
10.21: Everything started when Nizar ex-MB started shouting "Hidup, hidup" after being sworn in. Grandstanding for the TV cameras. Sigh. Poser.

Pakatan Rakyat’s Jeff Ooi and Tony Pua joined the fray . For the first time, Twitter made its debut in Dewan Rakyat- another addition to the arsenal of media tools politicians are using to reach out of the august hall.

Malaysian politicians are known for their usage of new media tools such as
blogs, Facebook, website. It appears that Twitter is poised to take political ring by storm in the near future.

Politweets and the Rakyat

Twitter is a social network tool where users can broadcast messages to his friends within 140 characters.

The messages are updated and sent to other users – known as followers – who received the tweets via the Twitter website, short messaging messages (SMS) and other external applications.

Twitter is also a conversational tool as it allows users to response to tweets.

Some of the local politicians have been using Twitter to directly reach out to their electorates, making the conversation appear personal and direct.

Among some of the actively tweeting politicians are Khairy Jamaluddin, Jeff Ooi, Tengku Razaleigh Hamzah and Prime Minister Najib Tun Razak.

These updates often appear as their personal thoughts on current events in addition to entries of their daily activities and whereabouts.

Occasionally, they would address personal questions from electorates, akin to responding to a comment on their blog.

Take Khairy’s reply for an example: “Some are good. Some are downright dubious” to Yoon Kit’s question: “Will our Ministries ever be headed by people based on qualification instead of affiliation? Or at least some rudimentary knowledge?”

How is Twitter going to change Malaysian politics?

First, Twitter makes it so much easier for politicians to send out information as they happen. As politicians can tweet from anywhere with just their mobile phones, they could give first-hand accounts of Dewan Rakyat proceedings or public events.

Of course, it would appear that politicians would become journalists themselves by bypassing the journalists to provide first-hand accounts as they happen.

Secondly, because Twitter functions in real-time, politicians can directly answer to immediate questions posed by their followers.

Imagine, if you can pose a question directly to an MP during a debate in Dewan Rakyat?

While the Twittering phenomenon has yet to take the local political arena by storm, there is a surge of users subscribing to the service in Malaysia.

New media entrepreneur Josh Lim found that there are about 120,000 users tagged under Malaysia.

This is a stark increase from 3,000 users as stated by Bruno Peeters (of Twitterfacts.com) in December 2008.

While there are no official statistics, what is certain is that tens of thousands of Malaysians are currently twittering as assumed by The Star reporter Niki Cheong.

During the March 8 elections, thousands of Malaysians logged on to websites such as Malaysiakini in order the get the latest updates on the results.

Imagine the next elections as Malaysians log unto Twitter and its search engine to find out the latest results.

Breaking news couldn’t be any faster unless you were there in the ballot room itself.

Malaysian politicians are known for their adaptation of new media tools in order to reach out to the nation in projecting their thoughts and rallying their support- first through blogs, Facebook and now Twitter.

Kit Siang has about 1,200 followers, Khairy has 930 followers while Prime Minister has about 1,900 followers. Expect to see more politicians signing up for Twitter in the near future.

***

SIDEBAR: GOOD TWEETS, BAD TWEETS

While anyone can simply open up a Twitter account and start tweeting, there is a distinct difference between a good and bad tweeters.

There is a reason why Ashton Kutcher can amass up to 2 million followers while the regular Muthu may have only a couple of followers consisting of family members, friends and colleagues.

Obama became of the first prominent politician to harness the power of social media to become the 44th President of United States.

Part of his success was to engage young voters through his use of social media tools such as MySpace, Youtube and Twitter.

During the presidential campaign, Obama would tweet from his Blackberry to inform his followers about his activities and get support for his rallies.

His tweets would often include links to his website which contains live videos of his rallies or speeches.

Obama’s Twitter page works because he directly engages the followers and invites them to have a personal engagement in the campaign. Today, Obama has about 1.5 million followers where he continues to lobby support for his policies and gather feedbacks and questions.

What Twitter has done is to provide the channel for the layman to directly (or under the impression) voice their ideas and concerns to their president.

Some of Obama’s tweets are:

2:37 PM Jun 10th : Check out the #OFA Health Care Action Center - call Congress, display your support, submit a question and more http://bit.ly/fAu60
8:27 AM Jun 4th : “I've come here to Cairo to seek a new beginning between the United States and Muslims” – watch the President’s speech: http://bit.ly/3lWLt
11:42 AM May 28th : Join Organizing for America to fight for real health care reform. Host or attend a Health Care Organizing Kickoff: http://bit.ly/cSMlF#OFA

Obama’s tweets work as they direct his supporters to directly contribute to his policy-making and reforms. Compare this to our very own Prime Minister Najib Razak’s tweets:

4:21 AM Jun 16th : 8.30pm – Felda Dinner function, Dewan Perdana FELDA, Kuala Lumpur
10:48 PM Jun 15th : 3pm - Meetings
6:39 PM Jun 14th : 15/06/09 : 10.30am - Proposed answering of questions at Parliament

Perhaps Najib can learn a few things from his American counterpart about the importance of value-added tweets in opposed as just using it as on online diary of his daily activities.

A good tweeter gives value to his followers.

Editorial: Marry girl, get RM10,000

2009-11-17T23:55:00.000-08:00

This is an editorial piece I wrote for my college newspaper but it was rejected because it is deemed to "controversial". So thought I 'd share it here instead.

Marry girl, get RM10,000
By Max Koh

Malaysians are obsessed with 3-in-1. Walk into a supermarket and you'll see shelves lined with so many 3-in-1 instant coffee, tea, teacino and other variations (or bastardizations depending on how you look at it) and you know that we as a nation are obsessed with package deals.

Even choosing your broadband from the various providers jostling for your attention becomes an arduous task with so many offers and additional free gifts thrown in.

Seeing the power of such marketing persuasion, the Kelantan's State government has also come up with a package deal of their own. With some very lucrative prizes I must say. Well, if you're a Muslim missionary or preacher.

New Straits Times recently reported that the state government will continue to pay RM10,000 to Muslim missionaries and preachers who marry an Orang Asli woman to prevent them from leaving the religion.

Not a bad deal isn't it? A new wife, some divine brownie points and RM10,000 richer.

This was recently announced by the state's Islamic Development, Education and Dakwah Committee chairman Datuk Nik Mohd Amar Nik Abdullah in an effort to ensure Muslim Orang Asli are not influenced by missionaries of other faiths.

This incentive payment was introduced three years ago in an effort by the state government to convert the indigenous group to Islam. The incentive included free housing, a monthly allowance of RM1,000 and a four-wheel drive vehicle.

The incentive was offered then because the PAS-led state government was not satisfied with the low numbers of Orang Asli conversions through ad-hoc initiatives under the various state-sponsored movements.

A state official shared that the conversion was "too slow" as only 2000 out of the 13,000 in the State has only converted then.

A State Government’s Orang Asli Dakwah Unit was established then with dedicated personnel tasked specifically to convert Orang Asli.

The fact that there is a specific government body to convert Orang Asli is a form of discrimination against the indigenious group. How can there be a state-run initiative to convert a particular racial group when religion is supposed to be a personal decision between a person and God?

The policy is borne out of arrogance and complete disregard of the human rights of these people.

The policy drew flak from both the Muslim and non-Muslim communities then. Colin Nicholas, director of the Centre for Orang Asli Concerns, said that the policy discriminates against the indigenious group and shows a great lack of respect for their culture and religion.

Dr. Denison Jayasooria, a commissioner with the Human Rights Commission (Suhakam) said: "The utilization of state resources as a motivation for preachers to convert Orang Asli is an abuse of power and violation of the basic right, especially the freedom of thought, conscience and religion by monetary inducement."

He added that such reward to entice vulnerable and marginalised women is "unethical and unacceptable even from any religious perspectives."

I don't know about you, but mustn't a conversion to a different religion be borne out of sincere belief in that faith and God? Somehow, I find the dangling of such lucrative carrots can cast serious doubt to the sincerity of such conversions.

And there is also the danger of a Muslim man marrying an Orang Asli woman just to get these awards at the expense of these women. What's to stop them from divorcing another to marry another, or taking up a second and third wife?

My recent visit to an Orang Asli village on Carey Island proved my point. The ketua kampung was complaining to the government official that the three converted families continue to live their old lives as though they have not embraced the Islamic faith. They don't pray five times daily and continue to eat food that is non-halal. What is conversion without true understanding and love?

I believe Islam is a beautiful faith. But religion is not a commodity. You cannot package religion and offer it like you would offer a 3-in-1 broadband package deal. Let someone convert out of a true and sincere heart, not because of the goodies offered.

As Muslim blogger Art Harun wrote: "If these Orang Asli women have no faith in Islam, it matters not whether they are married to a Muslim or otherwise. Deep down in their heart, they might not have the faith anyway."

I think they have to stop dangling carrots in the name of religion, no matter what the intentions may be.

Investing Early, Financial Tips for Students

2009-11-17T23:49:00.000-08:00

Published in Inkslingers
8 October 2009

15,000 hits World Stage

2009-11-17T09:42:00.000-08:00

Published in Inkslingers
7 September 2009

Cancel Cancer, Create Awareness

2009-11-17T09:25:00.000-08:00

Published in Inkslingers
7 September 2009

Cancel Cancer, Create Awareness

PETALING JAYA: In a bid to raise cancer awareness amongst college student, a group of communications students from Taylor’s College is organizing “Cancel: Just Beat It”, a full-day event to be held in Leisure Commerce Square in mid-October.

The idea was suggested by part-time lecturer Inderjeet Singh who felt that there is a lack of awareness of cancer amongst young men and women generally.

“Cancer is non-fatal if detected early. Therefore I think that an awareness program such as Cancel is extremely helpful as it would not only educate people about cancer but early detection might actually help save lives,” says Singh.

“We also hope to stimulate more volunteers from college students as there are not enough manpower in charitable works such as these,” he adds.

According to National Cancer Society of Malaysia (NCSM), two-third of all cancer can be prevented by maintaining a healthy lifestyle.

Healthy lifestyle habits are such as eating a healthy balanced meal, not smoking, maintaining a healthy weight, and keeping active every day.

There is an 80 per cent chance of surviving cancer if it is detected early.

The NCSM will be holding cancer screenings during the Cancel: Just Beat It event to help detect cancer at the early stage.

Some of the early warning signs of cancer are: change in bowel or bladder habits; unusual bleeding or discharge from any part of the body; an unexplained growth of lump; a sore that does not heal; changes to a skin spot, wart or mole; nagging cough for more than two weeks; unusual nose bleeds and ringing sound in ear; and indigestion or difficulty in swallowing.

The one-day event will also feature talks by cancer survivors and cancer specialists from MAKNA (National Cancer Council), as well as local celebrities to draw in the crowd.

“The talks will cover different types of cancer- from cervical to prostrate to kidney, all sorts! But it’s not all grim and scary as we will also organize fun events such as music and comedy shows to portray the lighter side of life,” says Cancel’s project manager Tashny Sukumaran.

Fundraisers throughout the month of October will also be held in order to raise awareness even before the event begins.

“These are still under wraps but there are talks for Amazing Races, bake sales as well as Yellow Day where we all turn up in college wearing yellow,” adds Sukumaran.

But it’s all for a good cause, adds vice-project manager Akil Yunus. “I think it’s important that we all learn more about cancer now because it can affect anyone and everyone, regardless of age, race or gender,” says Yunus who volunteers regularly at MAKNA’s events.

KTM Woes, Parking Grievances

2009-11-17T09:07:00.000-08:00

Published in Inkslingers
13 November 2009

College survey: Porn brings more harm than good

2009-11-17T08:58:00.000-08:00

Published in Inkslingers
13 November 2009

Whose Bitch?

2009-11-17T08:41:00.000-08:00

Published in Inkslingers
13 November 2009

Eye for the future

2009-11-12T17:16:00.000-08:00

Published in Sunday People, New Sunday Times
1 November 2009

Moving to the groove

2009-11-12T17:02:00.000-08:00

Published in Sunday People, New Sunday Times
8 November 2009

Moving to the groove
MAX KOH

From left: Kalaivani, a teacher in Singapore; Sandhya, a yoga instructor; Nisha, an advertising executive.

Dance for the goddess. Mantras with no meters. MAX KOH talks to the movers behind Chalaachala

IT doesn’t really matter what dance form you’ve seen, but did the music move you too? After all, how can there be dance without music?

I am ensconced with danseuse-choreographer Geetha Shankaran-Lam and composer Jyotsna Prakash on the rooftop of the 10-month-old Temple of Fine Arts Building in Brickfields.

The river Gombak meanders beside the building. With a balmy breeze, the mood was set to talk about the intricacies behind TFA’s latest dance offering, Chalaachala: Stillness In Motion.

“There is no dance without music,” says Geetha.

Jyotsna agrees. “As a composer, I have written a lot of music. One way to gauge whether it works is to see if it makes me want to dance. If it inspires movement, then I know it is a good piece,” says Jyotsna who was trained as an odissi dancer.

Jyotsna’s piece is featured in Chalaachala. It took seven years for Jyotsna to complete her composition.

The odissi presentation is choreographed by Geetha and will feature three new odissi dancers — Kalaivani Kumareswaran, Nisha Sivanandan and Sandhya Manoj.

Chalaachala explores the ever-flowing tradition of classical dance which embraces the past, present and future, to finally return to the Supreme Source.

One piece, Shreem, features the original composition by Jyotsna who has set the Shri Chakra mantra to music.

It was a challenge, she explains.

“The thing about the mantra is that it does not have a consistent meter, which proved to be a challenge for me to set to music. But I think it worked really well.”

The duo say it is no easy feat to write a song set to the ancient and sacred Shri Chakra mantra and to present it as an offering to the Divine Mother, the Matrix and beginning of all Creation as believed by the Hindus.

Jyotsna’s piece Shreem fills the second half of the show

Shreem debuted in the Navarathri festival at the TFA this September and has been reworked to suit the concept and choreography of Chalaachala.

“I’ve never done much research when I do a composition but I let the music take me back to the place in the beginning.

‘‘We were all born innocent, and I let the music help me explore my inner self.”

Geetha choreographed Shreem after listening to Jyotsna’s inspired piece.

“When I listen to her composition,” says Geetha, “I find that I can really relate to her soul.”

“I think we share a similar way of thinking. Because of her background as an odissi dancer, she understands how to write music for dance.

“Music is movement of the soul, and Jyotsna understands the subtlety, the nuances and the beauty of it.

Music is movement of the soul, says Geetha

“She is not afraid to explore her innermost feelings to express the ideas and to let her subconscious take over to produce a beautiful work of art as a tribute to the goddess and Swamiji (Shantanand Saraswathi, the founder of TFA),” she says.

The two artistes are forging on despite criticisms from traditionalists.

“The traditionalists often criticise how we live and the way we have interpreted the sacred texts.

‘‘You have to understand that dancing is a way of life for traditionalists. Their lives are devoted to dancing. They cannot marry, have children, and work,” explains Geetha.

“But our Swamiji has always taught us to think outside of the box. He taught us that all works are inspired by Divine Mother, as we find new ways to express love for her.”

“I am a mother of three children, and I have gone through different joys and turmoils in my life,” says Geetha who is married to another dancer, TFA’s production and publicity co-ordinator Lam Ghooi Ket.

“All my choreography has been an expression of what I feel at the different stages of my life.”

Which leads us back to Chalaachala.

“The person I am inside remains the same although we are shaped by the many different circumstances our of our lives. That is the stillness in the midst of motion around us.”

Chalaachala will also see the debut of another original work, Spanda, based on the movements and stances of the Kalaripayattu martial arts form, a 2,000-year-old discipline from Kerala.

“Music and dance are universal. It reaches out to peoples’ heart,” says Jyotsna whose works for TFA is a blend of classical Indian, fusion and contemporary elements.

“Over the last 20 years, the works of TFA have helped me and others to find answers.

‘‘Dance and music are powerful mediums. They can calm, heal, cure and even stop a war. Music and dance can move people’s hearts and change their minds,” says Geetha.

Chalaachala: Stillness in Motion will be performed at Auditorium Tunku Abdul Rahman, Jalan Ampang on Nov 22-23. Shows begin at 8pm. Call 03-22743709 or visit www.tfa.com.my.

Of Frogs and Politics

2009-10-05T03:49:00.000-07:00

Documenting Change

2009-09-21T22:53:00.000-07:00

Published in Sunday People, New Sunday Times
22 September 2009

Documenting change
MAX KOH

The FreedomFilmFest returns for the sixth year with documentaries that explore how things has changed since the March 8 general election, writes MAX KOH

THE March 8 general election brought much change to the local political scene but did it change the lives of ordinary Malaysians?

That’s what Pusat KOMAS asked of budding film-makers as the theme, Real Change?, for this year’s FreedomFilmFest.

“We wonder if it has brought change to the lives of the ordinary Malaysians,” explains Komas director Anna Har. “We want to see what they have to say about it.”

FFF is an annual campaign that promotes socially-conscious film making with emphasis on human rights.

Earlier this year, Malaysians were invited to submit film proposals that related to human rights and changes after March 8, 2008.

We do not produce films just to put them on shelves, says Komas’ Anna Har

Three proposals were chosen and each was awarded a grant of RM5,000 to develop a film with the help of Komas.

Among this year’s first-time film-makers are lawyers Khaizan Sharizad Razak Dali and Seira Sacha Abu Bakar with No Silver Lining: The Perak Crisis. It sheds light on the Perak political crisis which occurred earlier this year.

“I think it’s great to have two lawyers help laymen understand the issue, especially with the qualifications that they bring,” says Har, formerly the creative director of a local television production house and who has since established her own company, Big Pictures Production.

Poet and artist Rahman Haron revisits the Kampung Memali incident in Al-Fatehah Memali while Soh Sook Hwa documents a group of 150 cyclists who cycled around the nation as part of the “Ride For Change” campaign in Kayuh.

“These stories are interesting. First, we have Rahman who seeks to find out how things have changed for the people in Kampung Memali since the incident in 1985, while Soh’s film explores how some Malaysians are willing to step out and do something for the country.”

Poet and artist Rahman Haron revisits the Kampung Memali incident through singer-songwriters Black and Meor in Al-Fatehah Memali

These three stories made it through the hundreds of applications because of the film-makers’ passion for the issue and relevancy to the theme.

“We get a good variety of proposals each year, but the problem is that a lot of people are angry or unhappy.

“Generally, people do not analyse the issue and have a very surface understanding of it.

“Through the process of film-making, we dig deeper into the issue. It becomes a process of awareness and learning for the film-makers, the crew and the people who come watch the shows.”

The films will be shown around the country next month. The best film will take home RM2,000 and the “Most Outstanding Human Rights Film” award.

Lawyer Khaizan Sharizad Razak Dali (right) with her film- No Silver Lining which she co-directed with Seira Sacha Abu Bakar

As attractive as the main prizes are, that is not the main objective.

“For me, it is an investment in young people who have something to say about issues in Malaysia and helping them develop the idea and see it get out to the masses,” says Har, who recently produced Gadoh, 70-minute feature film that explores our perception of identity and challenges our hatred of the “other”.

Scene from Al-Fatehah Memali

“It is to help them achieve it through the medium of film, and also to get people who are marginalised to speak up and be heard.”

FFF’s past winning films have done much to get attention paid to issues deemed controversial.

These include Justin Johari’s Who Speaks For Me? which tackled the rights of Muslims to talk openly about their religion in Malaysia, and Indrani Kopal’s She’s My Son which shed light on the relationship of a Malaysian transsexual and her mother.

There is also Fahmi Reza’s Sepuluh Tahun Sebelum Merdeka that remembered the contributions by the political left in fighting for our country’s independence.

So have human rights improved in Malaysia, you wonder?

“Evidently not, with all the issues that are going on. There are still laws such as ISA and OSA and people’s rights are still undermined.

“But awareness is definitely improving with discussions and information made possible by the Internet.

“That is what I hope to achieve with FFF, to create more awareness and discussions and hopefully stir the people up enough to advocate change and press for better freedom and human rights.

Filmmaker and lawyer Seira Sacha donned a frog mask in No Silver Lining.

“But reception has been encouraging through the years. You find a good crowd attending our screenings every year from all walks of life.

“You find the regular uncles and aunties who come without fail each year, as well as the usual activists, young adults, and students,” adds Har.

With such subject matters which may raise a few eyebrows, Har is happy to note that the government has not done anything to muzzle or clamp down on Komas’ activities.

“I think it’s because it is a friendly event just like any other film screening. After the films, we have a short discussion where we will talk about the issues raised,” she adds.

“That’s why it is called FreedomFilmFest. We give space for people to talk about their rights, to explore their rights, to discuss their rights. It is an avenue for people to talk about issues like these.”

Apart from raising awareness, Har also notes that the films actually help the activists in their respective causes.

“We do not produce films just to put them on shelves. A lot of the films are used directly by activists to help them in their causes.

“One early film featured a lone woman who tirelessly lobbied against the incinerator project in Broga. Now, the incinerator has been stopped and the film-makers feel that the film, Alice Lives Here, played a big part in it.”

And Fahmi’s Sepuluh Tahun Sebelum Merdeka caused many young people to ask what is in their history books. It made significant contributions to historical documentation not explored before.”

* The three films will be screened at The Annexe, Central Market on Oct 3 at 7.30pm and subsequently in Penang (Oct 10), Johor (Oct 24), and Kuching (Oct 31). Other award-winning films will be screened during the FFF as well which begins on Oct 2. Visit freedomfilmfest.komas.org.

We're Rock and Roll!

2009-09-13T03:33:00.000-07:00

Published in Sunday People, New Sunday Times
13 September 2009

Hope for the new generation (Merdeka)

2009-09-03T06:29:00.000-07:00

Published in Sunday People, New Sunday Times
30 August 2009

Hope for the new generation

IN a quaint Chinese restaurant with décor that recalls the bygone era of imperial China, erhu player Gan Boon We recalls the early days where he learnt the Chinese instrument in high school.

“I was really passionate about it. Playing and practising the instrument was all that I ever knew. I would practise my fingering whenever I could, on the bus or even at the dinner table,” recalls Gan.

“Unlike today, when children are easily distracted with so many things like computers. We could really be focused on what we love to do. I suppose it is harder to be skilled at one thing today.

“Though there are more opportunities today to pick up Chinese instruments, it is our own initiative and interest that drives the person to do well.”

Gan is the concert master and erhu player of the renowned Dama Orchestra. A former national erhu champion, he has been instrumental in defining Dama’s musical performances and has produced a number of its critically-acclaimed recordings such as September Tale and Spring Kisses Lover’s Tales. He has also performed in numerous cross-cultural projects such as the Gambus Musical Fusion concerts.

At the recent preview of Dama’s latest musical I Have A Date With Spring, Gan says: “What makes me proud of being Malaysian is that we are able to retain our own cultural identities while living harmoniously and peacefully at the same time.

“For example, I have seen Indians and Malays who come and enjoy our shows despite the cultural and language barriers.

“The 1Malaysia concept is very good. I really hope to see a unified nation and equal opportunities for all regardless of race, creed or colour, as exemplified by the recent decision to end the bumiputera quota system for businesses,” says Gan.

Dama Orchestra’s I Have A Date With Spring — The Musical is scheduled for October. — By MAX KOH

Going Digital (Merdeka Issue)

2009-09-03T06:18:00.000-07:00

Published in Sunday People, New Sunday Times
30 August 2009

Looking digital

FOR the new breed of local film-makers such as Amir Muhammad and the late Yasmin Ahmad, Hardesh Singh is the go-to guy for music scoring.

The composer-technopreneur has worked on films such as Amir’s Lelaki Komunis Terakhir, Yasmin’s Gubra and Deepak Menon’s Chalanggai.

Hardesh recently founded Popfolio which includes the Popfolio.net social music network, the PopTopus widget, and web TV network PopTeeVee, which has been garnering a lot of attention in the online world.

Hardesh attributes the success of Popfolio to the contributions of all people, and sustained by teamwork and passion.

“Everyone attached to Popfolio Sdn Bhd is there purely on the value they contribute, both as an individual and as a team member,” says Hardesh.

“We have a fair mix of Malays, Chinese and Indians, not that it matters to me, but it does go to show that everyone can compete on even ground, and that intelligence and passion has nothing to do with race.”

A multi-talented musician who has studied Indian classical music under Ustad Ali Akbar Khan in San Francisco, Hardesh believes that long-term policies are needed to support the creative industries which are driving towards the digital economy.

“The music industry has seen significant shifts, and is basically divided into two camps. Those who believe the glory days are over and are trying to cut their losses, versus the upstarts who focus on the digital economy and have a keen eye for new opportunities.

“Compared to five years ago, local music content is now so much more viable and the few acts who have embraced the new economy have shown that they can actually create decent careers out of it.

“If the government is serious about generating local content to drive the multimedia sector, then we must start acknowledging our local artists and creatives as a major part of that ecosystem.

“It’s fine to have a focus on the technologies that enable the digital economy, but it is worthless if there is no content to monetise.

“There are various content development grants, but what is lacking is a long term mechanism to develop and track the contribution the creative industries provide for our economy.”

So what does Merdeka and 1Malaysia mean to you?

“Merdeka is about acknowledging our past for what it is, and creating our future for what we want it to be. It is the next 50 years that really matter, not the past 50 years.

“I see no need to change the Malaysia that I know and love. She has many different layers, and we celebrate that by ensuring every individual has the right to be the best that he or she can be.

“I hope that the government will acknowledge the immense talent we have in the music sector and develop the appropriate mechanisms to foster its growth.” — By MAX KOH

Rising Pixie

2009-09-03T06:12:00.000-07:00

Published in Sunday People, New Sunday Times
30 August 2009

Rising Pixie

Fresh-faced Pixie Lott from Essex pooh-poohs comparisons to Lady Gaga and Duffy by showing she is a force to be reckoned with, discovers MAX KOH

BRITAIN has surely seen a flurry of rising female artistes — Amy Winehouse, Duffy, Estelle and Adele, to name a few in these past few years alone.

And now comes Pixie Lott, 18, who has been compared with the likes of trendsetter Lady Gaga and Katy Perry. But the rising star recently impressed the crowd at the MTV World Stage in Sunway Lagoon with her brand of soul-tinged pop.

“It is a real honour to be compared to the likes of Lady Gaga and Duffy. But I think I do offer something different,” says a slightly tired Pixie the day after her show.

“I suppose that because I am new, I am being compared to more established artistes in order to gauge who I really am,” she adds.

Her first single, Mama Do (Uh Oh, Uh Oh), has sky-rocketed to the top of the iTunes and UK Singles chart, and her debut album, Turn It Up, is due out on Sept 15.

So, who is Pixie Lott?

“That has been one of the hardest questions to answer. The best people to ask are my friends. I'm afraid I'll come across as cocky If I answer them myself,” she says with a laugh.

But Pixie then begins to throw out adjectives that she thinks will best describe herself, such as “ambitious, spontaneous, fun, and positive”.

“I am a person who will dare to do anything, especially when dared to.”

She recalls the times when she would sneak out of her house for parties without her parents’ knowledge.

Her nightly escapades were eventually found out when her mum saw pictures of her at parties posted by friends on Facebook.

“I made sure I was careful and didn’t take any pictures or anything like that. Can you believe that my mum has a Facebook account?”

Pixie was born Victoria Lott, and got her nickname because her mother thought she was a “tiny, cute baby”, like a fairy.

She started singing in church and went on to study at the Italia Conti Academy of Theatre Arts. Pixie has appeared in the West End production Chitty Chitty Bang Bang and BBC One’s Celebrate The Sound Of Music as a student.

At 15, she turned up for an audition after reading the advertisment in The Stage. She found a manager.

After recording a few tracks, she then caught the attention of Grammy-winning producer and songwriter L.A. Reid who flew in to London to hear her sing.

“I was going to sing the song he liked on the CD but it wouldn’t work,” recalls Pixie.

“Instead, he asked me to sing the song I auditioned for my manager — Mariah’s Carey Hero.”

Pixie was then signed to Reid’s Island Def Jam Music Group, but after a change of managers and a bidding war, she signed to Mercury Records in Britain and Interscope Records in the US.

Pixie got to work with some of the finest songwriters and producers including American Idol judge Kara DioGuardi, RedOne (man responsible for Lady Gaga’s string of hits), Greg Kurstin (Lily’s Allen songwriting partner), and Toby Gad (who worked on Beyonce’s If I Were A Boy and Fergie’s Big Girls Don’t Cry).

Before Turn It Up is out, Pixie is already kicking up enough publicity with her YouTube channel where she showcases her vocal prowess on covers by Kings of Leon (Someone Like Me) and One Republic (Apologise).

Recently, she has also been hailed by Britain’s Sunday Times as one of the “best and most naturally gifted female singers this country has produced in years.”

“It amazes me each time I hear something like that. I count myself really blessed and fortunate to have things like that said about me,” says Pixie.

The concert here marks the end of her Asian promotional tour and she beams as she talks about home and her friends.

“Oh yes, I do miss my friends like crazy, and my bed, and my room. My friends have never stopped texting me but it’s really hard to keep track when you’re on the road,” says Pixie who skipped the after-party to spend time with her family and friends, including one who happens to be here in Malaysia.

But her eyes are still fixed on her prize. “I love doing this, as I want to inspire people as how my idols such as Stevie Wonder, Mariah Carey and Whitney Houston have inspired others. My goal is to keep building myself up and make a long-lasting career.

“Just the other day, I was at a Take That concert where 80,000 fans came to see the show.

“I think that would be my goal for now.”

Feel the heat

2009-08-23T10:58:00.000-07:00

Published in Sunday People, New Sunday Times
23 August 2009

Feeling the heat
MAX KOH

Kasabian wowing the pool-struck crowd

TORRENTIAL rain could not deter the sonic wave in Sunway Lagoon as thousands descended into the man-made pool for the MTV World Stage Live in Malaysia concert last Saturday.

Arriving as early as 3pm, fans were looking forward to watch their favorite acts — Kasabian, All-American Rejects, Boys Like Girls, Hoobastank, Pixie Lott, Ray Gun and Estranged — perform live.

About 15,000 occupied the man-made pool, which was drained for the first time to host the event.

“I couldn’t believe it when I came here and saw that we were going to play in a swimming pool but it is awesome,” said Hoobastank lead singer Doug Robb before the show.

The concert kicked off on time at 6.30pm as homegrown Estranged roused the crowd with a hard-hitting set of four songs including Slave With Us, Ketika Ini, Yang Pernah and its latest In No Time. The songs got the head-bangers going.

Disappointingly, the band did not play Itu Kamu, their seminal hit that garnered them an Anugerah Indusri Muzik award, probably because of the limited stage time given.

Massachusetts-based Boys Like Girls hit the stage next with a tantalising offering of its current single, Love Drunk.

It is obvious that girls like Boys Like Girls, as they screamed and sang along to their lyrics, especially the ballad Thunder and The Great Escape.

Girls loved Boys Like Girls.

By this time, the crowd was beginning to swell for upcoming British band Ray Gun who proved to be a pleasant surprise of the night. The band churned out four funky songs including its single, Just Because.

Fusing the funk-rock of the 70s with 80s dance-rock sensibilities, the band got the crowd dancing in no time.

The rose among the thorns, Briton Pixie Lott, certainly held her own against the boys as she effortlessly sang three songs, injecting a dance-pop vibe to an otherwise rock-saturated show.

The 18-year-old proved she’s more than just a copycat of Lady Gaga and native Duffy.

American band Hoobastank took to the stage next and rocked the crowd with My Turn, followed by the ballad, The Letter.

The Oklahoma band who recently released its fourth album For(n)ever, sprung the biggest surprise of the night when it played an impromptu version of Ray Parker Jr’s Ghostbusters.

Being a child of the 80s, I enjoyed that tasty offering to bits and was also happy that most of the audience knew the words to the song. I almost expected the Marshmallow Man to appear at the concert.

Hoobastank then ignited the biggest sing-along of the night with The Reason.

Hoobastank in action

In between sets, there were long pauses but the crowd was kept entertained with live Twitter updates that appeared on the screen.

That was rather clever on part of the organisers although the phone connection was horribly intermittent.

An amusing Twitter update included one that asked whether the Hoobastank’s lead singer is Chinese and no, he is not.

All-American Rejects was up next and performed its Billboard Top Ten hit, Dirty Little Secret, followed by I Wanna, Swing Swing (its first hit), The Wind Blows and Real World.

The band got the most cheers and crowd participation, probably because of the glitter dust-covered frontman Tyson Ritter, who pranced onstage with flamboyant style.

At one point, he climbed the stage’s scaffolding in true rock star form when performing Gives You Hell, as well as singing into two microphones for another song.

Most of the concert-goers began to leave the venue after that performance. Their loss as they missed a rock-solid set by headlining act Kasabian.

The rock-and-roll band proved by it’s extremely popular in Britain when it performed Club Foot, Fire, Vlad The Impaler and L.S.F. (Lost Souls Forever).

The night ended with a big bang literally, as fireworks lit the sky and the fake volcano “erupted”.

You can catch the televised version of the concert on MTV Asia on Aug 28.

Minor gripes during the event include the long sound checks between acts, and the grossly overpriced food and drinks sold at the venue.

But it was a terrific concert.

More than mere moves

2009-08-23T10:40:00.000-07:00

Published in Sunday People, New Sunday Times
16 August 2009

More than mere moves

Photo by Non Tagaki.

Passion is paramount on the floor, a leading Japanese contemporary dancer and choreographer tells MAX KOH

INSIDE one of the dance studios in Akademi Seni Budaya dan Warisan Kebangsaan (Aswara), a diminutive Japanese woman tells the youngsters to let go of any restraint and just dance.

“Feel the energy inside you and dance,” she says.

As she tosses herself around, hands extended and body melded to the soulful strains of a guitar played live, she nudges the group of students on.

Her movement is fluid, her form a culmination of countless years of practice. But she reveals that it is the passion that counts.

“Dancing is like everything in life. It is always with you. What is important is to do it from the heart. This applies to everything you do in life as well,” she says.

She is Ikuyo Kuroda, a leading Japanese contemporary dancer and choreographer who is celebrated for her challenging and brave work the world over.

Kuroda showing her moves at the dance studio in ASWARA.

Kuroda is training with the Aswara students for a new piece to be performed at We’re Gonna Go Dancing!!, a showcase which will feature choreographed pieces by Japanese dancers, to be held at the Experimental Theatre of the academy.

The event is organised by the Japan Foundation Kuala Lumpur, Aswara, Japan Contemporary Dance Network and Embassy of Japan in a bid to bridge ties between the two countries through the art of dance.

Kuroda’s new piece is based on her own show, Last Pie, which she performed with her dance company in Japan in 2005.

“Of course, this is challenging. One week is a very short time to work with. Given the limited time, it is impossible to reach perfection in technique and quality. It usually takes a month of practice to reach perfection,” says Kuroda.

“I am not aiming for perfection in technique or quality. What I tell them to do is to dance with all their heart and soul. I want them to express themselves wholly without holding anything back. A harmony of body and heart.

“I want the troupe to attain that passion, that state of being where the mind begins to forget what the body is doing — when the dancers don’ t think about what they are doing but become a pure form of energy.”

Kuroda will be teaching the ASWARA students on the piece adapted from Last Pie.

This is the theme of the piece adapted from Last Pie. It is, she adds, a reminder about the importance of living life to the fullest in everything she does.

“If you want to dance, dance with all you got. If you want to love someone, love the person with all you got. Every moment is so fleeting in this life that we need to give our best, no matter what we do,” says Kuroda.

“In Last Pie, we see how the dancers are forced to dance until their knees give way and they are tired. Yet, they continue. At that point, they forget about shape, body form or expression. What comes through is the purest form of energy, the purest and most natural of body moment and expression — just pure dance.”

And for that, Kuroda has nothing for praise for the students.

“They are a great bunch. They learn well and give all they have to learn the routine even though it may be something different for some of them,” adds Kuroda.

This is not the first time Kuroda is in Malaysia. She performed with her dance company Batik (no relation to the textile dyeing technique, she just likes how the consonants roll off the tongue) in 2005 for the opening of the Kuala Lumpur Performing Centre in Sentul.

Her showcase then was Shoku, an award-winning piece that explores inner feeling and physical touch through subversive dance. She has performed the piece in Japan and Korea as well.

Kuroda started dancing ballet under the famous Tani Momoko Company in Japan when she was six, and continued dancing until her college years.

A graduate of Laban Centre in London, she started delving into contemporary dance and joined the Kim Itoh + the Glorious Future Company in 2000.

Kuroda has performed and choreographed in many countries since. Her work as a choreographer has won her many national and international awards.

You can catch Last Pie as well as Maki Morishita’s Debutante, Masanori Hoshika’s Returnee, and Headache by P’Lush for We’re Gonna Go Dancing, at Aswara on Aug 20-21. We’re Gonna Go Dancing!! is at Aswara’s Experimental Theatre at 8.30pm. Tickets: RM15/ RM30. Call AXCESS Hotline (03-77115000) or visit www.axcess.com.my.

Mystical Sculptures of Mah Meri

2009-08-16T08:47:00.000-07:00

Published in New Sunday Times
16 August 2009

Mystical sculptures of Mah Meri

The Mah Meri tribe is renowned for its high-quality wood statues and carvings. MAX KOH heads down to Kampung Sungai Bumbun in Carey Island to find out more about the people and their craft.

THE idyllic Kampung Sungai Bumbun in Carey island is home to the Mah Meri tribe whose wood-carvings are famous the world over for their intricate designs and quality craftsmanship.

The carvings, acknowledged by Unesco as part of the world's heritage, are sought after by collectors from abroad and can fetch up to thousands of ringgit.

Two of the designs have been awarded the Asean Handicraft Promotion and Development Association's seal of excellence for two consecutive years.

Headman Sidin Anak Bujang with Moyang Sauh.

Diaman poses in his traditional mask and costume.

Diaman working on the colossal Moyang Naga.

Kampung Sungai Bumbun is a 50-minute scenic drive from Petaling Jaya on the New Klang Valley Expressway, exiting left at the Bukit Tinggi exit to Jalan Klang-Banting.

There is only one stretch of road in the village, with houses and wooden huts located on both sides. The huts are where the artisans work and sell their handicraft.

The friendly village headman, Sidin Anak Bujan, is an experienced wood carver who stopped carving years ago. He now leaves it to his fellow villagers to continue with the trade.

The wood carvings are modelled after their ancestral spirits, explains Sidin.

There are many ancestral spirits in the tribe's tradition, which the Mah Meri people use to solve different problems and ward off evil spirits.

For example, fishermen will take along the wood carvings of Moyang Sauh (anchor spirit) when they venture out to sea to ensure their safety.

Moyang Sauh

Moyang Puting Beliung (tornado spirit), as its name implies, is an ancestral spirit that is invoked to protect the roofs of their houses from being blown away by strong wind during a storm.

The Mah Meri believe that the Moyang Naga, a colossal dragon, causes earthquakes with its movement.

The story goes that a long time ago, a man went hunting in the jungle with a spear borrowed from the headman. The hunter took shelter under a huge fallen tree as it had begun to rain.

He wedged the spear upright against the fallen tree where he suddenly felt drops of liquid on his body which turned out to be blood and he ran.

He then noticed that the tree was actually a dragon and that he had been taking shelter in its mouth. The spear was wedged into the upper palate of its mouth.

He decided to leave the spear there rather than risk entering the dragon's mouth again. When he brought other villagers back to the place, the dragon had disappeared.

Stories like these are usually re-enacted in dance performances where the Mah Meri will don wooden masks and traditional costumes made of nipah and mengkuang leaves.

The village has a group of dancers who often perform at various functions and events around the country.

An artisan working on the Moyang Harimau Berantai (Tenung Ak Ak).

The finished product of Moyang Hariman Berantai.

Sidin says the best time to catch their performances and the Mah Meri's way of life is to visit the village during Ancestral Day at the beginning of the year.

"Tourists come in the busloads to watch how we celebrate Ancestral Day. Recently, there were more than 200 tourists, including some from Korea and China."

These trips are organised by the Tourism Board of Malaysia.

On other days, most of the villagers will be out working in the jungle, but some can be found carving in their wooden huts.

One such carver is 48-year-old Diaman Kisah who is working on a large Moyang Naga.

With various wooden sculptures, blocks of wood and tools scattered around him, he explains that he has been interested in the craft since childhood.

"My father did not want to teach me, so I learned from others," says Diaman, who hones his skill under master carver Piun Bumbun.

"It usually takes at least two weeks to finish a statue, depending on its size and type. Most of the sculptures are made of reddish nyireh batu wood which is found around Carey island."

Nyireh batu wood is used because of its rich, deep colours and fine grain. However, the raw material is becoming scarce.

"The nyireh batu wood is a very hard wood to work with but it has such a beautiful sheen and glow to it. It's hard to find now because irresponsible people have damaged the trees."

Other types of wood used include nyireh bunga which is used for carving masks and toys.

Diaman with two of his masks that he uses for performance.

Does every statue have a spiritual meaning for the Mah Meri?

"The wood carvings are not created specifically for worship but we do use them to cure illnesses such as fever and stomach aches."

To cure illnesses, a member of the patient's family will carve a figure from wood or fashion one from soil depicting the spirit that is causing the sickness.

"The figure is then given to the witch doctor. A ritual will be performed to transfer the sickness from the patient to the figure, which is then cast into the jungle or sea.

However, the figures sold commercially are not for such purposes, says Sidin.

There are five Mah Meri villages on Carey island. The Mah Meri are natives of the island and are part of the Senoi subgroup of the Orang Asli community.

There are about 73 Mah Meri families in Kampung Sungai Bumbun with more than 480 inhabitants.

In conjunction with National Day, Tourism Malaysia is organising "Mystic of Carey island" on Aug 22, where the Mah Meri people will perform prayers for their ancestors, display figurines and perform traditional dances.

For more information, call 603-5511 1122 or visit www.tourism. gov.my.

Ushering in New Year with pizzazz

2009-08-13T11:39:00.000-07:00

Published in New Straits Times
01 Jan 2007

Ushering in New Year with pizzazz
By Mazlinda Mahmood, David Yeow and Max Koh

KUALA LUMPUR: Michael Lee ushered in the New Year in style, puffing on a freshly-rolled cigar and twirling an expensive brandy in his hand.

The cigar was rolled by an expert, a Cuban roller flown in for the extravagant party at a five-star hotel in the city.

The Cuban's services probably set his host back anything between RM10,000 and RM20,000, Lee said.

"I felt like I'd made it this year," said the media consultant.

"The upper crust drank high-end wines which cost up to RM25,000 a bottle and ate oysters, canapes, caviar and foie gras. They also flew in entertainers from overseas."

Alia Abdul Halim, 15, of Damansara was with her family in California. The Sri KDU student, whose father is a businessman, was one of many Malaysians ushering in the New Year overseas.

Acorn Communications' managing partner, Anthony Nathan, 39, said there were people who spent between RM10,000 and RM150,000 to organise New Year eve parties.

He heard of a Datuk who chartered a plane to countdown the New Year with families and friends on top of the world.

But for most, the celebrations were more down to earth. Many went to parties or just hung out with friends.

Some went to temples to seek blessings for the new year. Yet, others stayed home and spent time with their loved ones.

Ahmad Shahril, 23, celebrated the New Year with friends at the KLCC.

Ahmad, who is from Raub, Pahang, used to greet the New Year at the Dataran Raub with his family in previous years.

Zaitun Khairan, 64, from Muar, usually took the children for holidays or picnics.

This year, however, the family had a kenduri on New Year's eve as it coincided with Aidiladha.

Loganthiran Munisamy, 32, invited his parents and in-laws over for dinner on New Year's eve. He also took his family to the temple to seek blessings for the new year.

Universiti Malaya's professor emeritus Datuk Dr Khoo Kay Kim said in the past, each race would celebrate the new year according to their cultural and religious calendar and only Christians and the English-educated celebrated new year's day.

"Also due to economic constraints, Malaysians in the past could only afford to celebrate one new year and it made sense to celebrate their own," he said.

"Countdowns and celebrating the New Year are very much a Western influence. Because of the exposure to Western pop culture, celebrating the New Year has become popular and accepted locally."

National chief Scouts commissioner Datuk Dr Kamarudin Kachar, 73, recalled that when he was living in the kampung 40 years ago, New Year's day was just like any other day.

Retired teacher Ronnie Wong, 64, said in the old days only people in the city celebrated the New Year.

"We had to organise our own New Year's eve dance. Nightclubs were few and very expensive," he added.

Taxi touts getting smarter at KLIA

2009-08-13T11:34:00.000-07:00

Published in New Sunday Times
12 October 2006

Taxi touts getting smarter at the KLIA
By Max Koh and David Yeow

KUALA LUMPUR: With the prospect of stiffer fines being imposed, taxi touts at Kuala Lumpur International Airport (KLIA) are now more discreet but no less determined in their operations.

Dressed smartly in ties and jackets, they approach passengers who step out of the arrival hall.

They speak in hushed tones and look like relatives waiting for passengers to disembark.

However, as soon as they offer their services, it is clear they are taxi touts.

The New Sunday Times found yesterday that the touts acted as agents for illegal taxis waiting in the parking lot.

When customers accept an offer, the touts would contact the drivers or lead them to the vehicles themselves.

The taxis are often Proton Wiras, and the fares are negotiable, starting from RM80 for a trip to Kuala Lumpur.

The touts claim it is cheaper than the KLIA taxis, which is untrue as a KLIA budget taxi to Kuala Lumpur costs only RM52.50.

The new tactics are in light of the new Road Transport (Amendment) Act 2006.

The Act imposes a maximum fine of RM50,000 and a jail sentence of up to five years for those convicted of touting.

This year, 14 touts were arrested in raids conducted by the police and Malaysia Airport Holdings Berhad (MAHB).

Eight of them pleaded guilty and were fined RM5,000 each and sentenced to up to one month’s jail.

Keith Hewitt from Britain wrote to the NST recently saying that he was approached by at least eight taxi touts upon arrival at the KLIA.

Hewitt wrote that he was bombarded by a mix of questions including: "Which hotel are you staying at?" "Do you need any help?" and "Taxi, sir?"

MAHB general manager Datuk Azmi Murad said the MAHB and police were taking steps to nab the touts.

"We are monitoring the touts’ movements with CCTVs and patrolling the airport. The patrol involves a team of two security personnel in uniforms or plainclothes," he said.

"We are also working with the Ministry of Tourism to terminate the contracts of booths at KLIA that assist taxi touts."

At the Low-Cost Carrier Terminal (LCCT), the situation is no different with the touts accosting passengers openly.

A legal taxi operator at the LCCT claimed that the terminal lacked enforcement against touts.

Sonic Ecstacy

2009-08-13T11:25:00.000-07:00

First published in Sunday People, New Sunday Times
19 May 2007

Sonic Ecstasy

What happens when hip-hop meets the thumping drum-and-bass sound of an underground London club? MAX KOH finds out

SOME things just don’t gel. Like a menthol sweet and a fizzy drink. But sometimes, the unexpected does offer a nice surprise. Like Elvis resurrected from the dead to sing a duet with Celine Dion on American Idol.

Or hip-hop meeting British drum-and-bass rhythms at Kuala Lumpur’s Upstairs @ The Loft on Asian Heritage Row.

That Hennessy Artistry event showed radical harmonies can complement each other – and well.

American hip-hop singer Jennifer Johns and the British-based Drum & Bass duo Lady Free and Paul T rocked the house.

From head-bobbing soulful bass grooves to hip-gyrating D&B numbers, the crowd was on its feet all night long.

A vivacious Johns got the party started with Ghetto International.

Backed by a competent crew – co-vocalist Solas B. Lalagee, emcee Sokrates The Virgo, and DJ/emcee Edaboss – the California-born singer wowed with her powerful and expressive voice.

The crew provided a strong backing of electronica-hip-hop-soul fusion.

Ghetto International, which is about unity and healing the world, showcased Johns’ talents at effortlessly switching from singing to spitting out rap verses.

The intimate setting also allowed Johns to get the crowd to sing along to The Truth, Painting On Wax and Never Give Up.

The songs were from Johns’ EPs heavyelectromagneticsoularpoeticjunglehop and the upcoming Painting On Wax which she produced independently under her own label, Nayo Movement Music.

Earlier, Johns said she started singing in church when she was only three.

As a teenager, she listened to a diverse range of music from Earth, Wind, and Fire to Sade to songs from the West Indies.

But it was hip-hop that she eventually fell in love with. “Just I am music, I am hip-hop.”

At 17, John became serious about singing and starting performing.

Three years later, she moved to Los Angeles where she quickly built a name for herself.

Johns has performed alongside heavyweights Mary J. Blidge, Chaka Khan and Missy Elliot. She is recognised as a “true talent who is immune to musical boundaries” by the Rolling Stones magazine.

On that Loft night, she lived up to the praise in her hour-long gig.

So how did Hennessy Artistry keep the mood going? That’s when those dirty DnB beats kicked in.

East End London’s Paul T and Lady Free almost immediately took over the stage and got the crowd moving again to Mark Knight’s I Like That.

The duo also performed covers of other notable Drum & Bass tracks like Francois Dubois’s Blood, Claud Van Stroke’s Who’s Afraid of Detroit and Scope’s Strung Out and Last Call, before closing their set with their own single Don’t.

The duo learnt their trade at the heart of the drum and bass revolution. A keen piano player and self taught bassist, DJ Paul T has traversed the breadth of London’s rave scene.

Johns returned to the stage for some impromptu musical fusion with Lady Free and Paul T.

A night of hip-hop and D&B. You had to be there to get it.

For more information about Hennessy Artistry, visit www.hennessyartistry.com.my

Jaclyn Victor Duets with Vince

2009-08-13T09:29:00.000-07:00

First published in gua.com.my

Jaclyn Victor Duets with Vince
Find out how the two feel about singing the soundtrack for the popular High School Musical 2

By Max Koh

Sept 9. It was an especially quiet Sunday evening. Pasar malams, often a hive of activity, seemed unusually deserted. Everyone appeared to be staying home. Was there something interesting on TV? Apparently so.

By 7.30pm, families were gathered in front of their TV sets. Children and even their parents looked as if they could hardly contain their excitement. For the next two hours, they were tapping their feet and singing along, especially on You Are the Music in Me and What Time Is It. The songs had been playing on the Disney Channel for a couple of months now.

It was the premiere of High School Musical 2, a sequel to last year's unprecedented phenomenon. High School Musical attracted millions of viewers with its regular telecasts on the Disney Channel, spawned a best-selling franchise and produced a soundtrack that went on to become the best-selling album of 2006. It also won an Emmy for Outstanding Children's Programme while stars like Vanessa Hudgens and Zac Efron became household names.

Kids, tweens and adults sing along to the music while the recent 'My School Rocks' competition saw schools in Malaysia signing up in droves to participate in the dance contest.

Not bad, eh, for a humble made-for-TV movie?

With its overwhelming popularity with Malaysians, Disney roped in two of the top Malaysian singers Jaclyn Victor and Vince Chong to record a cover of You Are The Music In Me from High School Musical 2.

While the original number brims with youthful vigor, the two artistes' rendition gave it a more mature vibe.

Victor spoke to the media during a recent press conference.
"I'm thrilled for the opportunity to sing You Are The Music In Me. I'm especially thrilled to sing on the soundtrack of a movie that embodies believing in yourself and following your dreams because these are familiar themes in my life and career," gushed the first-ever Malaysian Idol.

Chong leapt at the opportunity when he found out that he will be singing with Victor.

"I had so much fun last year being part of the Asian version of Breaking Free from High School Musical. When I found out that I'll be singing with Jaclyn for High School Musical 2, I just had to be part of it," he said.

The Akademi Fantasia 2003 winner loves how the show is having a positive influence on the kids.

"The wonderful reception that High School Musical has received is great because it shows that Malaysian kids are not passive. The show instills positive values because it teaches kids confidence and how to express themselves."

When High School Musical 2 premiered on Sunday in South East Asia, it dominated the youth demographic, becoming the highest-rated telecast ever among kids 6-14 years old in Malaysia. Viewership among Malay kids saw a 35% increase compared to the premiere of the first movie, as the show was made available in both English and Bahasa Malaysia.

Apart from singing the Malaysian version of You Are The Music In Me, Jaclyn and Vince also cut a Bahasa Malaysia version entitled Kau Muzik Di Hatiku that is available on the High School Musical 2 soundtrack.

The album contains songs like What Time Is It, Fabulous and Humuhumunukunukukuapua'a, which are featured on the show and looks set to go platinum in Malaysia.

Catch Victor and Vince's You Are The Music In Me on the Disney Channel.

True Blue Heroes

2009-08-09T00:29:00.001-07:00

Published in Sunday People, New Sunday Times
9 August 2009

Click on picture to read. :)

Tracks for Quality

2009-08-09T00:26:00.000-07:00

Published in Sunday People, New Sunday Times
9 August 2009

Tracks for quality
MAX KOH

THIS is a man with a mission.

Audi Mok is geared to do what may seem an impossible task – to get more people to listen to Malay music.

Mok is no stranger to the local scene. As a music producer, he has worked with some big entertainment guns including Faizal Tahir, Datuk Siti Nurhaliza, Ning Baizura, and young ones like Suki.

His songs — including Cinta Datang Lagi by Dina, Generasiku by OAG and v by Nikki and Zahid — have enjoyed huge radio play.

Mok ardently believes that Malay music has the potential to reach out to non-Malay music fans and listeners.

How? Well, “make music that sounds new and current”, he says. “Something that anybody would listen to regardless of the language used.

“If you look at pop music in Japan and Korean, you can see that local music still outsell those from overseas. Why? It’s because their music sounds new and current. I believe that we can do that someday as well,” explains Mok.

The first step, he says, is to break ingrained perceptions about the local Malay music industry.

“The sad reality is that local Malay music often has bad connotations. Whenever you mention Malay music, old rock music and ballads immediately come up to mind. And why is that? Why is that Indonesian are associated with new, modern music while Malay music is associated with those old tags? I believe that we can produce good music that is on par or better than them.” “I want the Indonesians to one day say ‘Let’s make it sound Malaysian!’ instead of the other way round.” In other words, Mok wants to make Malay music sound “cool!” Mok, who recently tied the knot with singer Nikki, believes that production quality and keeping up with the times has to do with everything about it.

“I believe that there is a social-economic reason for this with the biggest challenge being language. Sad to say, it’s a reality that most of the newest technologies are taught in English. It’s really hard to learn the new stuff when there is a language barrier and technology is just too fluid.

“When it becomes overwhelming to learn new stuff, some just give up and stick to the old ways,” explains Mok.

The second step is to change the perception of Malaysians regarding local music.

“We Malaysians have no pride in our music. But I don’t blame the public because most of our local music lack in quality. That’s why I am hoping to break the mould so that the people can see that there’s progression in the industry with new sound and future.” To help him accomplish his mission, Mok was recently chosen as one of the celebrities under the Intel-P1 Industry Trailblazers Adoption Programme.

As such, Mok was given a notebook based on Intel Centrino 2 processor technology, a netbook powered by Intel Atom processor, a P1 Wiggy, and free P1 WIMAX subscription for 12 months.

Mok is only too happy to show off his new toys at his production studio in Petaling Jaya.

If you think that music producers don’t need all that gadgets, think again.

“As a music producer, we all rely heavily on our computers for recording and mixing. If you come into my studio, you’ll notice that all the physical soundboard is not there. We do it all on the computer,” shares Mok enthusiastically.

Well, if Batman has his utility belt, Mok has his new arsenal of gadgets.

Mamak Magic

2009-07-26T05:08:00.000-07:00

Published in Sunday People, New Sunday Times
26 July 2009

Mamak magic
MAX KOH

Drums Talk saw four percussionists (drums, tabla, Malay drums, Chinese drums) squaring off playfully against each other- Pic courtesy of www.maxtography.com

CHECK out any mamak joint and you will be sure to find patrons of different races eating and enjoying a cup of teh tarik. Such is the appeal of the quintessential Malaysian establishment.

I admit that I did not know much about Let’s Go Mamak… Again! when invited to one of the evening shows. I didn’t really look up the brochure but boy, was I in for a good time!

Presented by Inner Voices and the Kuala Lumpur Performing Arts Centre, Let’s Go Mamak… Again! combined the elements of the three traditional Malaysian music, fused into frames of western and contemporary music styles such as jazz, pop, traditional and world music.

Featuring music composed by Ken Hor and under the guidance of musical director Julian Chan (who also plays the saxophone), the group brought together 13 prominent local musicians for three nights of fun, music and excitement.

Each song presented was preceded by a video presentation where the band members explained what the musical pieces meant to them. Their candid elucidation made the performance more personal and endearing.

Each member of the ensemble is an accomplished player in his own right. They took turns to showcase their skills and talents on their respective instruments.

The ensemble included New York-based violinist Fung Chern Hwei, much sought-after pianist Tay Cher Siang, bassist Daniel Foong, and renowned percussionist Kamrulbahri Hussin.

A highlight was the Drums Talk piece which saw the four percussionists (drums, tabla, Malay drums, Chinese drums) squaring off playfully against one another in producing different types of rhythmic patterns. It was really amazing to see how the fluid tabla emulated the powerful sounds of the Chinese drums, and KamrulBahri playing on a really small drum the size of a fist.

KamrulBahri was the soul of the show, playing a myriad of interesting percussion instruments and even dancing on stage.

At another time, different musicians would square off against one another, much to our delight.

But when all the instruments got together and created a wall of sound that not only massaged the ears but uplifted the spirit — that sounded truly Malaysian.

Let’s Go Mamak... Again! is the second instalment after its impressionable debut last year, also at KLPac. The ensemble bagged four Boh Cameronian Awards under the Music Category for Best Group Performance, Best Music Direction, Best Composition & Kaki Seni Audience Choice Awards.

Inner Voices was founded with the objective to find a new Malaysian sound. I guess it is no wonder that I would find them at a nearby mamak stall after the performance. Judging from their wonderful performance that night, I hope that they will return for another bout of teh tarik next year.

A Cut Above

2009-07-26T05:05:00.001-07:00

Published in Sunday People, New Sunday Times
19 July 2009

A cut above

Surecut Kids is a two-piece deejay act that hails from the Gold Coast in Australia. They recently rocked the house when they performed for the first time in Malaysia at Laundry Bar.

Comprising Boozy B (Benjamin Honey) and Junior Kid (Mike Perry), the act uses four turntables and a MPC (a type of drum machine) to layer songs, scratch and create live remixes at the fly.

What sets them apart from other acts is that they play different genres – from party hip-hop, funk, reggae, rock, nu-breaks, R&B, and swing to the odd 80s hits.

The two are not afraid to make fun of themselves, and would often don gorilla suits and draw fake moustaches on their face to hype the party up. It’s pretty cool, check their MySpace out.

They met in high school when they were in the same surfing class.

“We weren’t really good friends in school. I didn’t used to like Benjamin at first,” says Perry with a grin.

“But after school, we became really good friends,” adds Honey. “We got ourselves some turntables and started throwing parties for our friends on weekends. And before we knew it, we were playing club gigs and for big festivals.”

At the beginning, the duo also used to rock the mics with rhymes, thus coming up with the initial group name, ShureCut Kids.

“Well, we basically came up with the name because we were cutting two records together and used to make rhymes on our Shure microphones. Both of them add up, and you get Surecut Kids,” says Honey.

Oh, and they dropped the ‘h’ and added the Kids to make it sound cooler.

Surecut Kids has performed with international artistes including M.I.A, Justice, Chemical Brothers, Donovan Frankenrieter and Vanilla Ice. Yes, Vanilla Ice.

“Oh yeah. That was weird. We were initially pretty excited about it, as we expected some cool retro music. But Vanilla Ice has become some serious hardcore metal band now,” says Perry.

“We were watching from backstage and Ice was screaming into the microphone backed by some crazy-loud drums and guitars. It was deafening,” recalls Honey.

The two will play anywhere. “It doesn’t really matter for us, as long as the crowd is awesome and jives along to our music.”

Surecut Kids is cutting its own tracks in addition to spinning popular hits. “We hope to put out a record soon enough. We just want to become bigger and badder at what we do.”

Young touch to old tunes

2009-07-26T04:49:00.000-07:00

Published in Sunday People, New Sunday Times
26 July 2009

Young touch to old tunes
MAX KOH

Davis and Peters

Can the young hear the music of the older generation? The musical Kaki Blue is the litmus test, writes MAX KOH

THE musical, Kaki Blue, pairs 21-year-old singer-songwriter Nick Davis as the musical director, for the first time, with veteran Mervyn Peters as the chorus master.

Peters has 40 years of experience in the industry, worked in numerous local and West End musicals, and won a BOH Cameronian award in May for his work in Ismail: The Last Days.

Davis, an exuberant self-taught musician, is known for his role in Shanon Shah’s Air Con.

Kaki Blue is about our youths and their National Service experiences. To be staged at the Kuala Lumpur Performing Arts Centre next week, the musical features a predominantly young and new ensemble of talents.

The show is Mark Beau de Silva’s maiden attempt at writing a musical, which he hopes will capture the “spirit of post-millennial youth”. After this, de Silva leaves on a three-month residency at Hooyong Performing Arts Centre in Korea.

“I’m really honoured that Joe Hasham contacted me to do this as it is something different from the things that I’m used to do,” says Davis who also has a small role in Kaki Blue.

“For the first time, I don’t have to do much writing as we are playing covers of songs of the yesteryears.”

The musical will feature songs of yesteryears such as It’s My Party, Girls Just Wanna Have Fun, If I Had A Hammer, Walk Like A Man, Rave On, Monday Monday, and Come Together among others. However, these have been given an indie-rock twist.

“It was really fun researching, as I am not familiar with most of the songs. Take, for example, The Animals’ Gotta Get Out Of This Place. It has a very basic bass groove with a 60s feel to it. I rearranged it by adding some distortion, palm muting and power chords to give a modern-alternative rock feel,” explains Davis.

The arrangement process was fun for Davis as he was able to draw influences from bands of his school years.

“I thought a lot about the punk bands that I listened to in school such as Blink 182 and Sum 41. I feel Kaki Blue is different from the usual orchestra concept, so there will be a different kind of live band that plays really grungy stuff,” adds Davis.

And how does Mervyn find the new arrangements?

“He is very open to ideas. Obviously, I learnt a lot from just watching him because he has years of experience behind him.”

Davis, who actively gigs with his trio, The Snow Symphony, initially found the task of being musical director a little intimidating.

Despite that, Davis took it up because he “likes to do things that are impossible” and learn new things.

“Because I am a self-taught musician, Peters has helped me to understand music further. In fact, he is encouraging me to go learn music after this,” adds Davis.

“Peters is a cool guy to work with. He has a very interesting sense of humour because he tends to keep a straight face when telling you a joke. If you look past the funny comments, you realise that he is in fact trying to tell you something.”

“Davis has a lot to learn,” says Peters, “but I don’t mean it in a condescending way. It’s just that this is something new for him but he is very focused and dedicated.

“He’s really a good guitarist and knows what he wants in his head,” adds Peters, who first appeared on stage in 1975 as part of a choral group.

“What he needs to do is to take it further by studying more about music.”

Peters himself was a self-taught musician in the 1970s and used to conduct church choirs. “I didn’t know how to read music but I had a really good ear for music.”

He then made a conscious decision to study music further and developed from there. “I felt it was one of the best decisions I made because it opened so many doors for me. I wouldn’t be where I am today if not for the decision that I made then.”

Peters brought in some of the West End musicals in the 1980s but went backstage and focused on technical work such as lighting design in the 1990s.

He then returned to the “musical side” when he was roped as choral director for Broken Bridges in 2007.

He has since worked on award-winning musicals with the KLPac such as Tunku The Musical and Ismail: The Last Days. He is currently the personnel manager for the Malaysian Philharmonic Orchestra.

“Davis is easy to work with because he can adjust easily to changes. He is really open to suggestions and a nice fellow overall, not to mention talented,” adds Peters. With the whopping 42-year difference between Davis and Peters, was communication a barrier at all?

“The age difference is not an issue at all because it really depends if the person is easy to work with. The difference between Davis and I is that I have experience while he’s at the beginning of the journey.”

Peters adds that he has still new things to learn.

“You know, I’ve never stopped learning. It is important to remember that no matter how successful a show may be, you have to do a personal postmortem and identify things that you can improve on.

“For Kaki Blue, it was a new experience working in a different style where music sheets are not prepared for the ensemble! It was challenging because there was no notations to determine how long you should hold a note for. Instead, everything is committed to memory only,” adds Peters who feels that notations would have made practice more productive and easier.

“But it was really refreshing to work with the ensemble. This group is particularly lively in the way they work. Sure, at times I found them unfocused and not used to the regimented practices and it took time to get used to singing as a unit.”

Seventy per cent of the cast are newcomers and most of the cast are still in school.

“But I suppose that is what makes them interesting. I know that some of them visited YouTube to listen to the original songs because they complained during practice, ‘But that’s not the way the original song goes!,’” says Peters.

“That’s the whole idea! We are not trying to be produce carbon-copy covers of the original. We are trying to bring a sense of originality to the songs,” he adds with a laugh.

Kaki Blue features 18 songs from the yesteryears with lyrics changed to suit the storyline. It is directed by Joe Hasham and features the choreography of Laskhman Balakhrisnan and set design by Yusman Mokhtar.

• Catch Kaki Blue at KLpac from July 30-Aug 16. Tickets: RM100, RM80, RM60, RM40, and RM30 (students, senior citizens, disabled and ex-NS trainees). Weekday (Tues-Thurs) tickets at RM30. Call 03-40479000 or visit www.klpac.org.

The Two Sides of Shuenda

2009-07-06T22:49:00.000-07:00

Published in Sunday People, New Sunday People
5th July 2009

Two sides of Wong Shuenda
MAX KOH

WONG Shuenda. Roll the consonants around. Sounds like a film star from Japan, doesn’t he? He’s an upcoming classical piano player, just back from London, for a performance in Kuala Lumpur.

I first encountered Shuenda when he performed Chopin’s Piano Concerto No.1 in E Minor at the HSBC Classics Piano Competition last year.

I remember the crowd gave him a thunderous ovation after his heartfelt performance.

He beat 32 others to grab the first HSBC Classics Bursary Award. As his prize, Shuenda, now 23, will perform a solo recital at the HSBC Classics Festival Of Rising Stars on July 15.

Shuenda has studied under some of the best local teachers such as Lai Mei Kuen, Ng Chong Lim, and Loo Bang Hean, and has won numerous awards including the Arthur Lepthien International Piano Competition 2005 in Germany, the Malaysian Youth Music Festival 2007 and Royal Overseas League Music Piano Competition 2009 in London.

After the HSBC competition, Shuenda pursued his Master’s Degree in Guildhall School of Drama & Music in London supported by the Kobler Trust, the HSBC Bursary and the Malaysian Youth Orchestra Foundation.

His solo recital for the upcoming festival will include intense pieces from Bach, Chopin as well as flowery ones like Liszt’s Spanish Rhapsody and four preludes by Debussy.

“I chose these pieces for the programme as I felt it would bring out the two sides of my personality — the outgoing side, and the melancholic and introvert part,” says a soft-spoken Shuenda in a recent Skype interview.

“I will begin with Bach’s Prelude And Fugue In F sharp Minor. It’s a tragic and extremely religious piece. Then comes Schubert’s 2 Impromptus from D. 935. It’s filled with such sadness and regret.

“I chose to do Chopin’s Polonaise-Fantasie In A flat Op.61 as it is a difficult, tense piece which was written during a dark moment in his life. I think it’s a beautiful piece.”

After the intermission, Shuenda will showcase his gregarious side by performing the joyous flourishes of Debussy’s preludes, and Liszt’s Spanish Rhapsody which allow him to exercise his “flashy, virtuosic moves”.

“I think it’ll really be an exciting night for the audience,” Shuenda adds.

His love for music began by chance, he says. He was four when he heard his sister playing the piano.

“After one of her lessons, I went up to the piano and started playing with the keys. Her teacher (who soon became his teacher), Lai, recognised my talent and told my father about it. I was promptly enrolled at a music school.

“Growing up, I also learnt to play the violin and cello. I played some jazz and pop too and composed some pop songs when I was younger,” he says with a laugh.

“However, classical music resonates well with me. I’m able to really identify with the composers and what they felt even though they’ve been dead for centuries.

“The piano remains my main instrument as I feel such ease and fluidity when expressing myself with the instrument,” says Shuenda who was recently nominated for Most Outstanding Solo Performance at the 2009 BOH Cameronian Arts Awards.

“Classical music speaks to my soul in such a direct and powerful way.”

Shuenda decided that he wanted to become a professional classical pianist and practiced hard at it. He entered many piano competitions — national and international — and took home many awards.

He then proceeded to do his music degree in Staatliche Musikhochschule Freiburg, Germany where he studied with Elza Kolodin and participated in master classes with V. Margulis, J. Rouvier, and I. Dumitrescu, among others.

He eventually graduated with high distinction in 2006.

Shuenda has given concerts in Singapore, Thailand, the Philippines, Taiwan, Holland and the UK. Some of his notable performances were at the Opening of the British Commonwealth Games, concerts at Bunkamura hall in Japan, Kasteel Terworm in Holland, and the Philippines Centennial Independence in Manila.

“Growing up, I didn’t really click well with my peers. I was hypersensitive and would always over-think the motives behind people’s comments,” says Sheunda. “I found that music was the most honest way I could express myself.”

So what else inspires Shuenda besides music in his career?

“I would love to say that I am inspired by visual arts and literature but I believe I am most inspired by music itself.

“Music is, in fact, the most direct form of art which connects directly with the heart. When you look at visual arts, you need to use the mind in order to compute its meaning and what the artiste is trying to say, but music goes straight to the heart.”

He counts Chopin and Ravel as some of his favourite composers.

“Everything that Chopin writes is beautiful and refined without being too sentimental. There is strength behind his music, where his harmony is amazing and the modulation is simply moving,” says Shuenda.

“Ravel has such a pull on me as there is such an amazing world of sounds and colours in his compositions. Beethoven remains a mountain for me to overcome as he is a different person from who I am. He has a strong and definite way of expressing himself, as opposed to my more fluid and fluent style.”

Shuenda says he loves compositions by young Malaysian authors and modern compositions which push the boundaries.

Shuenda has been busy performing and studying in Guildhall and he loves the opportunities present there.

“Apart from completing my Master’s here, I have no definite plans yet. I am relishing the opportunities to perform in various places, from halls to churches, and attaining wisdom and honing my skills, thanks to the tutelage of Professor Joan Havill.

“But I do plan to return to Malaysia as I hope to share my experiences and skills with the younger ones. I believe it is important to share what you have learnt with others.”

Wong Shuenda will perform his solo piano recital at the HSBC Classics Festival Of The Rising Stars at the Kuala Lumpur Performing Arts Centre on July 15 at 8.30pm. Other highlights in the festival include a chamber concert by the popular Malaysian Piano Trio comprising Loo Bang Hean, Yap Ling and Jonathan Oh. Visit www.klpac.org.

Booked For Success

2009-07-06T22:30:00.000-07:00

Published in Sunday People, New Sunday Times
5 July 2009

Click on picture to read.

Long Time Coming

2009-06-28T08:56:00.000-07:00

First published in Sunday People, New Sunday Times
28 June 2009

Long time coming
MAX KOH

Butterfingers in the middle of making their 1000 Tahun (Mahu Hidup) video.

After more than 15 years, local band Butterfingers won its first local industry award. MAX KOH has the story

BUTTERFINGERS has been around for more than 15 years, beginning humbly at the heights of the grunge rock era when Kurt Cobain and his ilk ruled the airwaves.

Drawing influences from the Seattle sound (Pearl Jam, Nirvana etc), four blokes got together at the end of 1993 and formed what is arguably one of the most celebrated independent Malaysian bands around today.

Winning a large fan base with its hard-hitting ‘‘live’’ gigs, Emmett Roslan Ishak (lead vocals), Loque (Khairil Ridzwan Anuar, guitar), Kadak (Mohd Fakharudin Mohd Bahar, bass) and Loko (Mohamad Hafiz, drums) went on to release their first album 1.2 Milligrams in 1996 and Butter Worth Pushful the following year.

Considering that Myspace was not around then, it is a testament to the band’s winsome spirit that continues to catapult them to become forerunners of the 1990 underground music scene.

Director of Photography Aaron Chung and director Kerol.

Then in 1999, the band released Transcendence which exhibited musical growth and songwriting maturity. By pushing themselves away from the grunge tag, the band could shift over 50,000 units, considered an amazing feat at a time when local English-singing rock acts were largely ignored.

Its fourth album, Malayneum, came out in 2001, and further showcased the band’s evolving sound by drawing influences from traditional Malay motifs and instruments.

Butterfingers had clearly established itself as one of the most original if not innovative bands in the local scene.

In 2004, it released its first full-length Malay album, Selamat Tinggal Dunia, which was a phenomenal success.

Post-Selamat Tinggal Dunia spelt a time of uncertainty for the band as Loque and Emmett moved to Boston and Canada respectively for their studies.

Then last year, they surprised fans with the release of the aptly titled Kembali, which the band members described as their “brightest album” yet.

Any resemblance to Karam Singh Walia?

Remp-it meets TV reporter...

Emmett as a newsreader in the video.

With songs such as 1000 Tahun and Merdeka, they appeared poised to recapture the anthemic nature of their earlier works.

Their newfound independence (they have parted ways with their record label) has also meant more creative freedom.

For Kembali, the band got director Khairul “Kerol” Azri to direct three of its music videos: Mati Hidup Kembali, 1000 Tahun and Merdeka.

1000 Tahun went to win the Best Music Video awards at the Anugerah Industri Muzik in March this year. Mati Hidup Kembali was also nominated for the same award.

What is surprising is that it was the first time Butterfingers won an AIM award.

Over a cup of coffee, director Kerol says: “They (the band) are really a cool bunch. They are really game to do anything. There’s nothing snobbish about them.

“As the video was self-financed by the guys, we really had a small budget to work with. Thus, it presented a challenge for me and my team to come up with something creative to appeal to the viewers,” adds Kerol who has been a fan of the band since since 1.2 Milligrams.

The premise for the video, 1000 Tahun, sees the band acting as newscasters in a parody of a news show. With tongue-firmly-in-cheek, the video made fun of cultural aspects such as mat rempit, the colonisation of English words among local street names, and the Malaysian football league that no one watches.

“We were really surprised we bagged the awards. We are probably one of the first to feature mat rempits in our music videos,” says Kerol who graduated from the New York Film Academy.

Aaron Chung, the director of photography, quickly adds: “The AIM has a long history of giving their awards to big-budget videos. But here we are, with a small budget and a video that features the band dressed in ‘black metal’ outfits and make-up, sarcastically poking fun at various aspects of the Malaysian culture.

“I supposed the jury appreciated the bizarreness of our video,” he says with a laugh.

Chung says he was banking more on the Mati Hidup Kembali video which featured a single-shot camerawork and an interesting premise of soldiers being dragged in the forest during the Japanese Occupation.

“And can you believe that after so many years, this is only the first time Butterfingers has won any awards at the AIM?” adds Kerol.

Kerol and Aaron first met where they were classmates at Akademi Filem Malaysia (AFM). Kerol went to further his studies at the New York Academy after the first semester, while Chung stayed on to complete his course here.

They have worked together on numerous projects such as the film, Jarum Halus, Nitrus’ music video Kesah, and 6ixth Sense’s music videos Tanpa and Tak Bisa Memilihku.

“Making the 1000 Tahun video was relatively simple. However, we had to schedule the shooting in such a way when all the band members could make it as they have full-time jobs,” says Kerol who is hoping to make an indie zombie feature next.

Although the videos get very limited viewing on television, they are definitely making waves online. At Press time, 1000 Tahun had about 70,000 views with more than 100 favourable comments from viewers.

“We are really happy that fans are excited of the videos. The main purpose of the music video is to sell the song,” says Kerol who insists on liking the song before choosing to direct it.

*Pictures courtesy of Aaron Chung and Kerol.

Marion dazzles (Sunday People)

2009-05-24T06:38:00.000-07:00

First published in Sunday People, New Sunday Times
24 May 2009

Marion dazzles

PEOPLE thronged the stalls of the Arts For Grabs and KL Alternative Bookfest at the Central Market Annexe, but the din paled beside the composed silence of a lone dancer in the next room.

All eyes were fixed on Marion D-Cruz who was taking her audience on a journey of her seminal works as a dancer, choreographer, teacher and student in her 35-year career.

Encountering D’Cruz for the first time, I was mesmerised by her Gostan Forward performance-lecture.

Whether relating her life’s experiences in New York or dancing with a Balinese topeng tua, I was suddenly transported with her to these different episodes of her life. It was like listening to an old friend telling you something new, yet familiar.

Marion began by reminiscing of the “sweet, gentle” Malaysia of her youth. In 2007, she asked 40 Malaysians from different walks of life and professions to tell their own stories of what it means to be a Malaysian.

Twenty-two Malaysians responded and what resulted was Bunga Manggar Bunga Raya, a work signifying the all-inclusive Malaysia sentiment that’s lost today.

She shared of how it was a year of personal loss (the passing of her husband, celebrated thespian Datuk Krishen Jit) as well as national grievances about current affairs and corruption.

D’Cruz relating her experiences using a Balinese topeng tua

Bunga Manggar was memorable for D’Cruz as she saw how these performers and non-performers were free and uninhibited in inventing new dance moves and expressions.

“Unlike most dancers who are trapped by the sedia ada vocabulary, these people could be mad and do what they want to do,” said D’Cruz.

We then went back to 1989 where she collaborated with visual artistes for the inaugural Video Art Festival in Kuala Lumpur.

The performance was based on a painting which detailed the Sook Ching ritual held during the Japanese Occupation.

Sook Ching means “purification by elimination” where the Japanese would execute informants and communists pointed out by hooded figures.

These chosen ones would have to dig their own grave before being shot by the Japanese army. D’Cruz recounted how the show was first banned by the government but eventually given the green light when the Japanese embassy said, “Show it, it is part of our history”.

D’Cruz then took us to the 1980s and New York where she went to find herself as a dancer and choreographer. She recalled how she taught silat to four white men who eventually performed it in the buff, much to her horror!

It was in New York where D’Cruz began to choreograph her own solo performances such as terinai.

Another significant performance for D’Cruz was Urn Piece in 1988 where she explored the relation between text and movements.

I was particularly entranced by the video and pictures of the dance which made me wish I had witnessed that dance.

Part of the success of Gostan Forward is the chemistry between D’Cruz and her audience. There was genuine affection as some of the audience members were her friends of more than 30 years.

Fellow thespian Anne James also joined D’Cruz onstage as they gave a heart-rending snippet performance of Swan Song, a piece based on a poem detailing the last seven hours of a prostitute called Maria Zaitun.

This performance was moving not only because of the subject matter, but the enduring friendship and camaraderie displayed by the duo.

Gostan Forward offered a mix of performances and lecture (I’d rather call it story-telling), and confirmed D’Cruz as a pivotal figure in the local dance scene. But watching snippets of her performances just whetted my appetite for a full performance.

Pictures by Philip Craig

Bersantai in Singapore

2009-05-11T23:39:00.000-07:00

First published in Sunday People, New Sunday Times
10 May 2009

Bersantai in Singapore

Rhythm in Bronze at a practice session for its Singapore show – Picture by Brian Fang

MAX KOH catches up with the women of bronze, who are set to beat new rhythms in Singapore

THE last time I met the Rhythm in Bronze (RiB) ladies, we were sitting in a small room in Universiti Malaya as we discussed their new acquisition — their very own gamelan instruments.

Strewn all around the stuffy room were shiny, new gongs, gambang (xylophone), suling (bamboo flute), demang, slentem, and saron (metallophones) which had been specially commissioned and made for the troupe in Solo, Indonesia.

They had also just held the traditional buka panggung (opening) ceremony at UM’s Department of Southeast Asia Studies exactly a year ago.

So it’s with a sense of déjà vu when I descended the steps leading to their practice room at UM. I remembered their warm reception, and how I struggled to jam along in their practice session.

The RiB ladies will soon perform for Singapore’s Flipside festival, from May 22-24, in conjunction with the Singapore Arts Festival.

The group will be performing three half-an-hour sets that consist of tunes such as Sekar Anyar, Sibaru Pastima, Ketawang, Pilogue/Jungle, Kosalia and Lagu Untuk Teman Lama.

The troupe will try something different for the festival in order to suit the theme of Santai! Rib Style. It will be more laidback than the fierce energy the group so effortlessly channels through its performances.

Says group member Ann Salina Peter: “Just like the word santai (relax), we are incorporating a guitar and bass into our music in order to fit the gig’s theme.

“To achieve that, we have rearranged some of the songs to make them mellower instead of the intensity of some of the songs we are known for. It’ll be different but still exciting.” What’s also exciting is the fact that this will be the first time RiB will be performing out of the country. “We are really excited about it,” beams RiB manager Sharmini Ratnasingam.

But she was a bit taken aback when the sponsors approached her.

“When they first talked to us, they were asking if we could fit into the ‘heavy metal’ theme,” says Sharmini with a hearty laugh.

“Well, I knew that we don’t have fiery guitar solos in our repertoire although we are literally ‘heavy metal’ (another laugh). But in the end, it all worked out and so we will be showcasing our brand of gamelan in Singapore.” Another first for RiB is the male factor in the troupe.

“Since we began in 1997, we have always been an all-girl troupe while we do have occasional guest male players,” says Christine Yun-May Yong.

“This Singapore gig will see an equal number of men and women players for the first time.” So does the presence of men change the group dynamics? “At first, I thought that it would be the same but I was soon proven wrong,” shares Peter. “We have played with some of them before but it is different when we sit down and play together for some of the longer pieces.

“It takes time to emotionally gel together.” On their blog, Sharmini shared how the presence of men means less girly talk and no more uncensored remarks.

“The guys are good but it’s more than just being technically right. Half of the practice time is to gel together so that the music comes out and not just the notes,” says Sharmini.

“It takes time for the group to achieve that level of chemistry where we can tell from each other where we are going in the music. It is a form of partnership that can only be forged after years of playing together.” Ever since they got their own gamelan instruments, the girls have been busy.

Last year, they performed at the Terengganu gamelan festival and the Sultan’s Jubilee Celebration in Kedah. They were also part of a community project for Women’s Aid Organisation where they held a series of classes teaching women and children how to play the gamelan.

“This year is also busy for us,” says Sharmini, explaining that RiB is slated to perform at the Klang Music Festival and may perform at this year’s KLUE’s Urbanscapes.

The RiB has also recently started a sister group unofficially called the RiBlets. “We have been auditioning and training some of the new blood. Ann (Peter) is the musical director and hopefully you’ll get to see them perform soon,” says Sharmini.

With such zest, it is no wonder that RiB continues to grow after 12 years of being together.

Catch Santai! RiB Style at the Esplanade Theatres from May 22-24. The outdoor performance will start at 7.30pm (Fri-Sun), 8.45pm and 10pm (Fri and Sat only). Check rhythminbronze.wordpress.com or www.esplanade.com for details.

Visit to al-Jazeera KL Bureau

2009-04-20T11:17:00.000-07:00

Al-Jazeera: Dearth of journalistic talent pool in Malaysia?

The Petronas Twin Towers is graced with the presence of an international news channel housed within its belly. However, a trip to the Kuala Lumpur bureau reveals two fundamental problems faced by local journalistic fraternity, writes MAX KOH

A tour around the Al-Jazeera Kuala Lumpur bureau on the 60th floor of Tower 2, Petronas Twin Towers by a group of communication students from Taylor’s College on April 6, 2009 revealed one startling fact: there were very few local broadcast journalists.

As we later learned from the bureau’s Head of Technical Operations, Jayaganesh Sabapathy, there are two fundamental problems faced by the local journalistic fraternity that contributed to their absence.

“There is a lack of journalistic and editorial instinct among local practitioners. We find our journalists are not widely exposed enough and comfortable working in their own little bubble,” he claims.

“Journalism is more than reporting the facts. It’s about probing and asking hard questions.”

Head of Operations Jayaganesh Sabapathy asserts that al-Jazeera's main thrust to report the truth.

Sabapathy says that the lack of proficient skills here had led the news channel to hire journalists from other parts of the world.

The second fundamental problem is the lack of technical skills as the majority of broadcasters in Asia are still reliant on old technologies and formats to deliver the news. Al Jazeera’s studio here boasts the latest technology (HD compatibility and digital servers) which most videographers and broadcast journalists can only dream about.

While Sabapathy acknowledges that new technologies require high investment, he notes that the lack of investment by broadcasters here had restricted the growth of skills among local talent.

The control room where video feeds come in from all over the world.

Aided by 155Mbps network connection that links the four broadcast centres, the technical team worked at breakneck speed to record, edit, and broadcast news. There is little margin for error as news has to be broadcasted almost instantaneously as they receive it in the control room. It is indeed not a job for the faint-hearted.

The Kuala Lumpur bureau handles news from the Asian Pacific region. The other bureaus are located in London and Washington D.C. with the headquarters situated in Doha.

Al-Jazeera uses some of the most impressive technology in broadcasting. All videos are shot and broadcasted in HD (high-definition) format.

“This problem of inadequate technical skills extends to the whole of Asia apart from Japan, and it needs to be addressed if the local media wants to catch up with the world,” he adds.

We were sitting comfortably in the bureau’s boardroom with a bird-eye’s view of Kuala Lumpur and beyond, when Sabapathy relays the information to us.

While the news was not altogether alarming, it is still depressing to hear.

Prior to to the briefing, we were given a tour around the bureau which takes up the whole floor, housing two impressive studios (including the 101 East studio which is claustrophobic due to the less than ideal environment), different control rooms, and the sprawling newsroom that housed a number of broadcast journalists at work.

It was fortunate that we arrived at a time when the bureau was shooting “live on air”. Anchors Veronica Pedrosa and Divya Gopalan were seen working in the studio, as we gawked at the impressive equipment and quality of professionalism.

It was almost surreal to see the live person talking in front, and then looking at the screen as millions of viewers are watching at the same time.

One thing that struck me was the pin-drop silence in the newsroom as all the staff were doing their work quietly with their headphones on. There were no idle chatter and is a sharp contrast to the noisy newsroom I am familiar with.

The breadth of the newsroom and main studio where all the broadcast journalists work to bring us the latest news. (Pic by Max Koh)

It was also amazing to note that the bureau boasts of only a hundred staff to run such an operation. There were less people that day as most of the broadcast journalists were out in the field, notes Sabapathy.

Most of the staff appears to be expatriates but the sign of some local staff (yes, we heard some of them conversing in Malay) was encouraging indeed.

The visit turned also turned out to be an eye-opening experience for several reasons.

For one, the international news agency was in fact invited by Pak Lah to open its Asia Pacific bureau here.

Yep, our former Prime Minister was able to reel in the news channel with his bait of a nice, swanky pad on the Twin Towers, and a promise to not interfere in its operations and editorial policies.

Although the place is less than ideal for a broadcast centre per se (the ceilings are too low for proper lighting in a studio), Sabapathy is happy to note that the government has not interfered in their operations.

The 101 East studio where interviews with many important figures are regularly held.

This lack of restrictions sounds good until one realises the double standard that exists as various legislations still bound and muzzle the vocal power of local media. Why the double standards, Najib? But I digress.

Al-Jazeera English first began operations three years ago and has since become a reckoning force of broadcast journalism in the world. It has since given familiar big players such as CNN and BBC News, a run for its money with its “unbiased” news and a strict adherence to “report the truth.”

It currently has a viewership of 170 million people worldwide.

The news channel was set up with a US$150 million grant from the Emir of Qatar, as an initiative to educate and inform the world, and provide an alternative to the existing news flow from West to East.

Al-Jazeera’s bid to change the traditional news flow syntax is reflected in its various slogans: “This side, the other side”, and “If it's newsworthy, it gets on air, whether it's Bush or Bin Laden”.

Sabapathy claims that Al Jazeera English is able to give coverage and new perspective to events, otherwise sidelined by the Western-controlled media.

“Al-Jazeera was set up to dispel the perception of a world divide between East and the West,” says Sabapathy.

“There is an increasing demand for news from Asia. The market here is very strong as Asia is seen as climbing up the economic ladder while the West is saturated with opportunities.”

The news channel also prides itself as a truly global news network, in comparison to the American-centric coverage by other news channels.

“The media in United States are very insular, partly due to the many local issues happening there, but it is still very sad that some people still think that the world revolves around their country,” adds Sabapathy.

“Do you know that a very small percentage of Americans own passports and don’t really know much about other countries? We are happy that Al-Jazeera is able to open up their minds on their views about the world outside American.

“We believe any news is newsworthy, no matter where they come from.”

Just as its name signifies (al-Jazeera means island in Arabic), the organisation is an island that stands out in a sea of mediocre journalism.

The Kuala Lumpur bureau is ready to accept interns (but don’t expect any easy work, adds Sabapathy), but the experience procured is indefinitely valuable.

Requirements are high as it is an international organisation that demands the cream of the crop, not only from Malaysia, but also around the world.

But who knows, maybe we’ll see the next Riz Khan from Malaysia.

All pics courtesy of The Plogger otherwise stated.

A Modern Mahsuri

2009-04-20T11:01:00.000-07:00

First published in Sunday People, New Sunday Times

19 April 2009

A Modern Mahsuri

Actress Vanidah Imran puts a modern twist to the role of Mahsuri in the latest musical reinterpretation of the tragic tale, writes MAX KOH

I remember hearing the tragic story of Mahsuri when just a child. I was on a boat heading for Pulau Langkawi when I was told how the heroine was wrongly accused of adultery and was executed by stabbing.

As white blood flowed from her wounds signifying her innocence, she laid down a seven-generation curse on the inhabitants of Langkawi.

It is no wonder that the story commands such an attention. And, it gets a new lease of life in Fauziah Nawi’s Teater Mahsuri to be staged at the Istana Budaya soon.

Screen siren Vanidah Imran will take on the titular role, working alongside singer Azharudin (Arja) Ramli (Akademi Fantasia 4), thespian Azman Hasan, and veteran actress Azizah Mahzan.

Some of the female performers in Mahsuri

“It is a great privilege to play the character as I have always been fascinated with Mahsuri’s story,” says Vanidah.

“I want to bring a new quality to the role that modern audiences can easily relate to.”

In preparing for her role, Vanidah admitted that she did not watch any of the previous film versions, as she did not want to be influenced by their portrayals.

“I want to express a different take on the role, and I completely trust the direction of Fauziah to bring out the character in me,” adds Vanidah who was last seen onstage in Muzikal Putra.

“But I’ll probably watch the film versions after I’m done,” she adds with a lovely laugh.

Vanidah describes her role as a regular kampung girl who is trapped in a situation where she is accused by her jealous mother-in-law of adultery.

This happens when her husband, Wan Darus, sets off to war and a handsome peddlar, Deramang, comes to visit Mahsuri and her parents.

Rehearsals are fun

The green-eyed mother-in-law accuses Mahsuri of adultery when she gives birth to Darus’ son, causing both Mahsuri and Deramang to be sentenced to death.

“The musical allows me to channel Mahsuri more as a regular person (and less of a mythical figure),” says Vanidah.

The musical features a number of songs composed by Rahimidin Zahari, and include duets with Arja and Azman.

This is a new experience for Vanidah as she will be singing “live” for the first time in a staged musical.

“I’m slightly nervous. Previously, I had my vocals recorded in the studio first. These were then played during the show.”

For this, Vanidah says, she has to ensure she eats right to take care of her vocals. But she loves the challenge, including learning some silat moves, which she describes as a load of fun.

She also describes the cast as a good mix of new and old actors.

“This is something new for Arja who has no previous acting experience. On the other hand, you have veterans like Azizah (who plays Wan Endah) and Azman Hasan (Deramang). The mix is really great as we get to learn new things from each other.”

With many acting credits in films and television under her belt, she still feels most at home on stage.

“I’m really pushing myself and working harder for this play as I know that people’s expectations are quite high. The reason why I love theatre is that you are constantly exploring the character.

“It doesn’t matter if you have played the role for one night, you can always bring a new side to her the next time. And theatre demands you to be consistent throughout the whole play, something very different from acting in films and TV,” explains Vanidah who first debuted onstage in Megat Terawis in 1994.

Vanidah has acted in films such as Histeria and Akhirat. She will soon appear alongside Afdlin Shauki in Setem and Papadom coming out soon this year.

For now, Vanidah will mesmerise the audience as Malaysia’s most famous folklore heroine, Mahsuri.

• Catch Teater Mahsuri at 8.30pm from April 24-30 at Panggung Sari Istana Budaya. Tickets: RM30, RM50, RM70, and RM100. Call 03-41498600 or 03-40265558 or visit www. istanabudaya.gov.my.

2009 Movies: The year of mutants, G.I. Joes, Trekkies and Autobots (again!)

2009-04-20T10:37:00.000-07:00

First published in BubbleeBiz.com.my, Issue 2

2009 appears to be an exciting year for cinema-goers. There are plenty to please fans; comic books adaptations, superheroes offerings, novel adaptations, horror movies, and big giant robots to keep you entertained all year round. I don’t know about you, but I’m pretty stoked up for what Hollywood has to offer. Ahem, so let me offer you a preview of my top-pick of the year.

While the fans can cry foul for the postponement, I am sure all is forgiven when the boy wizard returns to battle He-Who-Must-Not-Be-Named in Harry Potter and the Half-Blood Prince. David Yates reprises his directing role in this one where we see dear Potter fall in love with Ginny Weasley and uncovers the Dark Lord’s dark past. Oh, the film will also be released in IMAX 3D which means that you get to see Harry with all his pubescent glory unfold on the big screen. Everyone now: Potter-mania!

Another novel adaptation sure to attract attention is Dan Brown’s Angels & Demons. Ewan McGregor joins Tom Hanks’ Robert Langdon in a chase around Vatican City in search of antimatter and to uncover an attack by secret society Illuminati. Let’s hope there are more action and less talk this time unlike the dreadfully monotonous Da Vinci Code.

Neil Gailman’s book also gets the movie treatment with the 3D stop motion animation Coraline. Child star Dakota Fanning lends her voice as the titular character who discovers a secret door that leads her to an alternate universe. The animation looks lush in this one as it promises a visual fest at the cinemas.

For those who are hankering for some explosive action movies will be pleased to know that Terminator Salvation is here. No, Governor Arnie is not back this time but Christian Bale (The Dark Knight) will play the adult John Connor. Set in post-apocalyptic 2018, John Connor leads the human resistance against Skynet and its army of shiny Terminators. Hope this one will be good or it will be ‘Hasta La Vista baby’ for the series!

Director J.J. Abrams (X-men, Cloverfield) takes us to the final frontier with the highly-anticipated Star Trek which will see the original USS Enterprise crew led by Captain Kirk return to the big screen. This is set to be interesting (yes, even for non-Trekkies) as it boasts an interesting cast of Chris Pine as James Kirk, Zachary Quinto (who plays the infamous Sylar in Heroes) as Mr.Spock, John Cho (of Harold & Kumar fame) as Sulu, and Simon Pegg as Scotty (hehe).

Star Wars fans will just have to contend with Fanboys, (heaven forbid there be Episode 7!) a comedy about a group of friends who decided to steal an early print of Star Wars Episode 1: The Phantom Menace film from the Skywalker Ranch. Well, apparently the film is George Lucas-approved so fans will be really pleased.

Another film that has been drawing attention since last year is the comic adaptation of the same name, Watchmen. The superhero feature film is based on one of the most critically-acclaimed (some herald it as the best comic book EVER!) in the history of comics book universe. Set in alternate 1985, the film follows a group of vigilante superheroes at the height of the tension between the United States and Soviet Union. The film is directed by Zack Snyder (300) and from the looks of the trailer; it’s going to be uber-cool!

Another film to please comic book fans is X-men Origins: Wolverine. Australian stud Hugh Jackman reprises his role as the cigar-smoking, super-healing, adamantium-laced mutant. The film traces the origins of Wolverine through the Weapon X program, his relationship with his arch-nemesis Sabretooth and how he got his adamantium. Other characters include Deadpool, Gambit, William Stryker, and The Blob is set to appear in the film. Awesome, bub!

Autobots will be rolling out in the cinemas again in the much-anticipated sequel Transformers: Revenge of the Fallen. Boys will have much to drool at the sight of Mikaela (Megan Fox) who is now girlfriend to the lucky Sam (Shia LaBeouf), and the many new robots hitting the screen including fan-favourite Soundwave (whee!) It’s definitely more than meets the eye as Megatron returns and the battle is taken to next level.

Kids growing up in the 1980s have more to rejoice as we will also see the first live-action adaptation of G.I. Joe: Rise of Cobra. Cast includes Dennis Quaid as General Hawk, Channing Tatum as Duke Hauser and Sienna Miller as The Baroness. And who is the Cobra Commander? None other than 3rd Rock from the Sun’s Joseph Gordon-Lewitt! Let’s hope this one doesn’t suck.

If you’re looking for some family fun, look no further than Ice Age 3: Dawn of the Dinosaurs where after surviving the Ice Age, the bubbly bunch will now face off the treacherous Tyrannosaurus Rex.

Pixar Animations, who could do no wrong, is offering UP this year which appears to be the next masterpiece after last year’s Wall-E. It tells of a 78 year old man who travels the world by airlifting his house with balloons in order to fulfill his late wife’s dream of seeing the mountains. He is joined by an eight year old who becomes his friend through the journey to see new place and meet new friends. As in the fashion of Pixar, UP is set to charm the audience. Check out the trailer on Youtube already!

Horror fans will have be pleased as Benecio Del Toro becomes The Wolf Man, Naomi Watts gets spooked in Hitchcock’s The Birds, and Jason Voor returns to legendary Crystal Lake in Friday the 13th. Sure, they are all remakes but if it is guaranteed to spook, why not? Oh, and Miley Cyrus returns as Hannah Montana (spooky!). And at the end of the year, romantic vampire Edward Cullen is set to charm theatre-goers again in the second installment of the Twilight series, New Moon. Yeah, I think I just heard some girls cooing in the background.

Bellyfull of laughs

2009-03-22T11:29:00.001-07:00

First published in Sunday People, New Sunday Times
22 March 2009

Bellyfull of laughs

Big mole, curly hair and yellow boots? Adibah Noor shares with MAX KOH her memorable moments working with the Phua Chu Kang spinoff series

The cast of PCK Sdn Bhd with Adibah (right)

Constantly sought after for her singing, hosting, voiceover, and acting skills including the upcoming Yasmin Ahmad film Talentime, Adibah Noor has plenty on her plate.

Adibah (of Terlalu Istimewa fame) is preparing to host the Anugerah Industri Muzik 2009 with Afdlin Shauki for the third time in May, and working on her second album “hopefully before the Raya holidays”.

But she made time to take part in the spinoff to the immensely popular Phua Chu Kang series.

“It was through an angel called Harith Iskandar who asked me to audition for Phua Chu Kang Sdn Bhd,” says Adibah. “I mean, could I pass up the opportunity to work with some of my idols on television?”

Needless to say, Adibah, with 11 years of showbusiness tucked away, passed the audition and gleefully bagged the job in PCK Sdn Bhd.

The half-hour, 13-episode comedy follows the irreverent gum-booted contractor (played by Gurmit Singh) and his loud wife Rosie (Irene Ang) who has moved to Malaysia to expand his construction company business.

Chu Kang hooks up his former employee and burger millionaire mogul Izzy (Harith) to form a 50-50 partnership, and moves in next door to the man’s mansion in Bandar Botanic, Klang.

Chu Kang’s house plays host to many boisterous characters.

Nell Ng plays socialite Datin Suzie Kong whose glamour and classiness is the antithesis of her sister, Rosie, while Fadzlie Rahim is Izzy’s contractor brother who poses a direct competition to PCK Sdn Bhd.

And then there is Fatimah (Adibah), Izzy’s nosy and curious 60-year-old mother who works as a maid in Chu Kang’s house in order to spy for Fazzy.

“I really enjoy playing my character who mistrusts Chu Kang and Singaporeans in general,” says Adibah, whose cinematic acting credits include Mukhsin, Gubra and Buli Balik.

“She doesn’t act like an old woman at all. She has a lot of zest and it is really fun to see her dual nature as a spy in Chu Kang’s house and also as a caring mother.

“However, she slowly begins to become fond of Chu Kang’s family in the series.”

So what is it like working with the lovable and famous cast?

“My goodness, the experience is indescribable! They were very co-operative with no air of snobbishness. We were friends right from the start.

“They were really thinking actors and many times I couldn’t stop myself laughing when they ad-libbed jokes,” she says, while admitting that’s her biggest challenge on set.

“So many times Gurmit would make funny expressions and I would burst out laughing and we had to do so many takes because of that,” recalls Adibah with a wide grin.

The sense of fun and teamwork certainly helped her make it through the shooting which sometimes lasted from 6pm to 10am.

But it was all worth it, for Adibah. “I mean, it’s Phua Chu Kang! This series has captivated audiences in Singapore and Malaysia. And besides, now I can boast that I have worked with Phua Chu Kang, the best in Singapore and now Malaysia!”

Catch Phua Chu Kang Sdn Bhd beginning March 25 on Wednesday nights, at 8.30pm on ntv7. You can also catch Adibah on AIM 2009 which will be aired ‘live’ exclusively on ntv7 on May 9.

Behold, real life

2009-03-22T11:08:00.000-07:00

First published in New Sunday Times
22 March 2009

Behold, real life
MAX KOH

A group of people living with HIV/AIDS takes the unconventional road to raise awareness on the dangers of drugs addiction and the diseases, writes MAX KOH

ONE Saturday morning, the quaint town of Batu Arang was awash with excitement as people gathered at SMK Tuanku Abdul Rahman for the first BA Pesta Komuniti (Community Festival).

The Fallen Leaves Theatre Group (FLTC) was performing a play about the dangers of drug addiction and HIV/AIDS, amid a string of short talks by community leaders and representatives from the Malaysian AIDS Council.

Despite the heat, all eyes were on the performance Jangan Main!, a story about a guy named Zam and how he became ensnared in the world of drugs.

There was an air of ubiquity to how the cautionary tale unfolded — Zam skipped school with friend, Zam was peer-pressured into smoking, Zam drank cough syrup and soon, Zam was hooked on hard drugs.

Gritty realism that captured the attention of the audience

Sure, you must have heard a version of the story before but there is a gritty realism to how the events were portrayed in the play.

The “actors” were uncannily successful in capturing the audience’s attention. The scenes were based on the actual experiences of the cast themselves.

FLTC comprises recovering drug addicts and people living with HIV/AIDS.

Abdul Manap, who plays the older Zam, soliloquises: “Siapakah aku di dunia ini? (Who am I in this world?)”

Garbed in a white T-shirt with a pink ribbon on the sleeves, Manap is a-fire about the dangers of drug abuse and, through performances and workshops, tries to reach out to those at risk of drug addiction.

FLTC had its origins in June 2006, when Cloudbreak Creative Centre was invited to help residents of Positive Living Community (PLC), a local HIV/AIDS hospice in Batu Arang, in a drama therapy programme.

Company’s strongperson and producer Jade Ong relates how the weekly workshops sparked their imagination and soon, a new breed of writers eager to share their stories emerged.

However, it was only after a trip to a theatre performance (the members had not, until then, seen a live theatre performance) that they had the idea to develop their personal stories into a play that would raise awareness of drug abuse and HIV/AIDS.

The first show was at The Actors Studio in December, 2008, and it was sold out. It met positive response and highlighted the stigma faced by those living with HIV/AIDS.

The company brought the show to Kuala Lumpur, Kota Kinabalu, Penang and Malacca.

In Jangan Main!, we watched as Zam fell deeper into the world of drug addiction.

The message that sharing needles and indiscriminate sex were dangerous really drove home when acted out so realistically, even against the lighter moments such as busking (the cast played instruments).

The play also touched on the stigma that AIDS patients faced. In one scene, a reformed Zam burned the clothes given him by his late friend afflicted with AIDS.

The scene was simple but poignant.

The Pesta Komuniti was held for the first time in Batu Arang, a small town that houses a few drug rehabilitation centres and HIV/AIDS Hospices.

About 500 people turned out for the two-day event which included a workshop with the students of SMK Tuanku Abdul Rahman.

A chat with a cast member reveals that more work needs to be done to increase awareness.

“Even here in Batu Arang, a primary student suffering from HIV was kicked out of school when one of the parents found out about it. And it happened again in the next school he was enrolled in.”

Nevertheless, the work continues.

While the focus is still on the members’ recovery process, the group is also working to renovate its studio, Cloud 9, and to manage themselves independent.

Currently, individuals from Cloudbreak make up part of FLTC. George Wielgus is the director while Ong is the producer.

At Cloud 9, the residents were eager to show visitors around.

The spacious house had its interior walls adorned with mahjong paper that visitors were welcomed to write a lyric of their favourite song, a poem or even draw a self-portrait.

On another hanging from the wall, the team members had written or drawn their goals and visions for the group this year.

“We hope more people will invite us to perform because the dangers of drug addiction and HIV/AIDS still remain unspoken in our country,” says Ong.

After each performance, the actors would engage the audience in a forum as well as involve them in a form of participatory theatre.

“After all, the drama-based approach has proven to be rather powerful and effective,” she adds.

For more information, visit fallenleavestheatrecompany.wordpress.com.

So Wickedly Funny

2009-03-08T11:07:00.000-07:00

First published in Sunday People, New Sunday Times
8 March 2009

So wickedly funny
MAX KOH

Comedian-magicians Barry Jones and Stuart MacLeod combines the irreverent, funny and macabre to create a magic show of their own, writes MAX KOH

IN Wicked Wizards: Barry & Stuart’s Part-time Warlocks, Barry Jones shows us how to balance a spoon on the nose. “This would be an excellent after-dinner magic trick,” he quips while Stuart MacLeod looks on. “We won’t use any glue or gum to make it stick.”

He turns his head from side to side, and amazingly the spoon does not fall off. He then, proceeds to remove the spoon which is attached to his nose with a five-cm nail!

The audience cringes.

“This way you won’t need to use any glue at all!”

The crowd bursts out laughing.

Barry shows his trick with the spoon.

At another point, the duo wears eye-patches and begin to do a little “pirate jig”, much to the audience’s amusement and laughter.

Is this a magic show or Saturday Night Live? Well, it is both!

The British comedian-magicians combine gory tricks, stand-up comedy, drama and a dollop of silliness to create their own brand of magic show.

Humour is a big part of their act and they perform regularly in comedy clubs in UK. Magic tricks are woven into little drama sketches. Their quirky characters engage in witty repartee.

Ouch! Barry’s tongue is skewered

Before you think the humour is mere novelty, the duo astounds you with first-class magic tricks. They were previous winners of numerous Scotland’s Young Magician Of The Year awards.

Barry and Stuart met at a magic circle event 10 years ago, and decided to pair their skills against older counterparts. Their electric chemistry and awesome tricks proved to be a winning combination as they soon toured local clubs and festivals, and even got their own TV show.

They courted controversy for one programme, called The Magic Of Jesus. They re-enacted the miracles of Jesus like turning water into wine.. That got a lot of Press. One bishop remarked: “Maybe these two fraudsters could try being crucified to see if they can rise three days later.”

But the Wicked Wizards’ brand of humour offended some members of the audience. Someone yelled “you suck!” as Barry and Stuart pushed the limits.

They don’t shy away from the taboo as they even demonstrated a voodoo curse on a member of the audience and seemingly conjured a ghost on stage. But it was all in good fun, as their witty exchange lightened the mood.

If you’re squeamish, keep away as there’s a lot of blood (fake), needles, pins and razor blades.

Despite the dark and twisted approach, Barry and Stuart perform a number of silly but impressive tricks that will make you smile.

I felt slightly short-changed though, as I had expected a big trick to end the night but it never came. Still, I enjoyed the show. Their quick fire humour, trickery and awesome audience rapport make a winning formula.

Wicked Wizards, presented by Gardner & Wife Theatre, is on at Pentas 1, KLPac until March 15. Tickets from RM48. Call 03-4047 9000 or visit www.gardnerandwife.com

It does take two, you know

2009-02-27T08:16:00.000-08:00

First published in New Sunday Times
22 February 2008

It does take two, you know

Kimmy Kiew

Kimmy Kiew explores the relationship between two married individuals about to get it on for a night, writes MAX KOH

KIMMY Kiew knows a thing or two about directing a play in various languages. The Ipoh-bred young thespian has directed Chekov’s The Bear in Mandarin, Okiku — A Tragedy Retold in English, and recently Race — Four Original Plays in English and Malay.

So, are you surprised that Kiew is presenting The Bench in Cantonese?

The Bench, a two-character play adapted from the original Alexander Gelman text in Russian, explores the relationship between two married individuals about to have a one-night stand.

The man lusts to fulfil his desire while the woman yearns for true love. Will the rendezvous lead to an exciting affair or expose their own loneliness?

“In the end, the two individuals are forced to dig out the sad things about their lives and marriages. We will see how the characters change throughout the play and also explore the idea of sex equality in contemporary society,” says Kiew.

Tan Heng Leng

She says she first read the play in a book she bought in Beijing some years ago, and stayed intrigued by the premise of the story (a Chinese translation by Kwok Jia Shen).

The Bench is part of Kuala Lumpur Performing Arts Centre’s (KLPac) 2somes, a series of two-character plays directed by three directors exemplifying the best in contemporary two-handers onstage today.

The intimate nature of these plays allows the audience to experience the intense personal conflict between the two protagonists.

Other than The Bench, 2somes also offers The Secret Life Of Ophelia directed by Christopher Ling and A Life In The Theatre directed by Abdul Qahar Aqilah.

Why Cantonese? “Growing up in Ipoh, I’m most comfortable in Chinese. I picked up Cantonese from watching all the television dramas.

“There is a down-to-earth and slightly harsh quality to the Cantonese language which I feel is suitable for this play.”

The two protagonists in The Bench are well-known lighting designer Tan Heng Leng and thespian Ling Tang. Although Tan last appeared on stage in 2001, Kiew feels he is a perfect match for the role.

“We were classmates in college and so we have a history of working together. At first, I was afraid that he might be a bit guarded about his feelings, but he proved me wrong,” says Kiew who graduated from the Malaysian Institute of Art.

Ling Tang, a graduate of China’s prestigious Central Academy of Drama (which also trained Zhang Zi-Yi), was last seen in Loh Kok Man’s Animal Farm.

Kiew feels the language is not barrier to enjoying The Bench. “It’s not important if people don’t understand Cantonese. As long as there is good acting, I believe any audience can follow a story.”

But don’t fret — there’ll be English subtitles.

KLPac’s 2somes kicks off Feb 26 and ends March 8. Showtimes are 2pm, 5.30pm, 8.30pm. Tickets are RM15 and RM25, with discounts. Call 03-40479000 or visit www.klpac.org.

PGL enthrall yet again

2009-02-27T08:14:00.000-08:00

First published in New Sunday Times
22 February 2008

PGL enthralls yet again

Returning for a third season, Puteri Gunung Ledang: The Musical continues to draw the crowd. It also marks the swan song of Tiara Jacquelina in the titular role, writes MAX KOH

DATIN Seri Tiara Jacquelina as Gusti Putri in Putri Gunung Ledang: The Musical — for the fourth time, the first being in the film directed by Saw Teong Hin, and the rest on stage — is still a wonder to behold. The diminutive diva must be proud to have seen the franchise grow from strength to strength throughout the years.

The first two seasons drew more than 50,000 people, garnered rave reviews and bagged numerous BOH Cameronian Awards. Putri Gunung Ledang revitalised the local musical theatre scene in Malaysia. Not bad for a venture which began as a humble ambition to put up a world-class musical theatre.

However, this season is bittersweet for Jacquelina. Having been the producer of the film and then its theatrical reincarnations, she is saying goodbye to the titular role she’s held for about six years.

So, today, watching her swan song as Putri was an enthralling experience. The ease with which she slipped into the character and her commanding presence kept me glued to my cushioned seat.

She infused the character with a quiet beauty and graceful mastery, transformed the character from a naive, love-struck princess at the beginning to an angry, jilted lover in the end.

Her soulful vocals were as amazing as her dancing was graceful.

But Jacquelina is but one integer in the sum that adds up to a wonderful play.

Onstage is a very capable cast — the hunky Stephen Rahman-Hughes as Hang Tuah, A.C. Mizal as Majapahit king Gusti Adipati, and Adlin Aman Ramlie as Sultan Mahmud.

Having neither watched the film nor the previous two seasons, I was completely blown away.

Set in the 15th Century, the musical starts with a scene in the kingdom of Majapahit, where King Gusti Adipati is up against a possible coup from Demak. Meanwhile, his sister Gusti Putri prays for a man who would win her heart.

Along comes an entourage led by Admiral Hang Tuah and the pair falls in love.

When Majapahit is threatened by a coup, Adipati turns to Sultan Mahmud of Malacca for help. Sultan Mahmud agrees, in exchange for Gusti Putri’s hand in marriage.

But Gusti Putri and Hang Tuah have vowed themselves to each other. When Hang Tuah is sent to Demak for peace talks, Putri escapes to Gunung Ledang to wait for her lover.

Hang Tuah is then sent to Gunung Ledang to claim the princess’ hand in marriage for the Sultan. The princess in her rage sends out seven impossible conditions for Sultan Mahmud, including a bowl of his son’s blood. It all culminates in a tragic climax.

Under the direction of Datuk Zahim Albakri, the many characters were fleshed out wonderfully.

Rahman-Hughes more than impressed with his hunky good looks and amazing vocals. He really got into character. A.C. Mizal seemed to enjoy playing his character, Adipati.

Adlin shone when he burst unexpectedly into a cabaret-dancing Sultan that floored the audience. And Ida Mariana shone despite her brief stage time as Bayan, Gusti Putri’s nanny. She gave a gutsy performance.

Adding magic to the production was the wonderful set by Raja Maliq which made good use of stupas to transport us back to the 15th Century Majapahit. It was really breathtaking to see how they managed to change the scenes by just pushing the stupas around the stage.

Dick Lee’s wonderful musical score under the direction of Roslan Aziz truly brings the musical to life. By combining Eastern influences in its Broadway-style music (big choruses and melodious anthems), they have come up with a soundtrack that brings out the spirit of the show.

This season has also seen the inclusion of optical illusions which made the musical more mystical. Coupled with fireworks, it was an eye-opening experience to see characters appearing and disappearing into thin air onstage. I thought it was a cool inclusion in a musical play.

I do have minor gripes such as some technical glitches throughout the show, and a tiny wardrobe malfunction but these didn’t detract me from ngenjoying a terrific show.

Last day to catch Puteri Gunung Ledang: The Musical, brought by Enfiniti Productions Sdn Bhd, at Istana Budaya, Kuala Lumpur. Call 03- 40265558.

Divorce takes to the stage

2009-02-08T19:28:00.000-08:00

First published in New Sunday Times
1st February 2008

Divorce takes to the stage
MAX KOH

Iruvar II is a sequel, something Fenomena Pentas Seni has never done before in its 20 years of operation, says Bala

Once taboo in the Indian community, playwright S.T. Bala is tackling the subject of divorce for the stage, writes MAX KOH

SOCIAL issues have always been close to Tamil playwright S.T. Bala’s heart.

Together with his production company Fenomena Seni Pentas (FSP), he has examined issues that have affected the Indian community in Malaysia and boldly translated them for the stage.

“I just write on what I see is happening in society today. We (his team and him) do research, talk to people and we present our take on the issue itself,” explains Bala.

For a career that spans 20 years, Bala has not ceased to make people think through numerous plays including Suthantirrem, Nisha, Karma and also last year’s biopic Sambanthan.

However, 2002’s Iruvar (which means duo in Tamil) was particularly poignant for Bala as the play was not only well received in Malaysia but also reached a whole new audience in India.

“The response in Chennai was amazing. We were really happy that the play made a bridge with the theatre-goers there,” says Bala whose company also produces dramas for television.

“After five years, we are going to do a sequel — something we have not done before.”

While Iruvar explores the idea of women joining the working force and its repercussions on family life, money, and relationships, Iruvar II explores the issue of divorce which is becoming prevalent in the Indian community.

“What happened to the days of our fathers and forefathers when marriage was considered to be sacred?

“Sure, there are bound to be disagreements in the family but why is divorce becoming a more viable option these days?” Bala, who’s been married for 14 years now, muses.

“Divorce used to be pantang (taboo) but it is now common with even clubs for divorcees being established these days.

“Iruvar II seeks to explore the question of what, why, and who causes the divorce in the family.”

The idea first struck Bala when he realised that some of his friends are divorced or are going through a divorce.

This question led him to speak to people — from professors to the layperson — on their idea of the subject.

Their responses surprised Bala: “Usually, people would just encourage me and say that it is a good subject for my play.

“But what was most surprising that people started to give me actual examples of a close friends or family members who are divorced or in the act of divorcing.”

As the title suggests, the audience will only see two people onstage at any one time.

“Expectations are high given the success of the first play, so we are careful about making Iruvar something like the first one,” says Bala who wrote both plays.

Apart from being the first sequel, Iruvar II also marks the 20th play produced by FSP which also marks its 20th anniversary this year.

Describing his plays as “social cynical drama” (not unlike Comedy Court but more serious), Bala is already looking forward to the next play after Iruvar.

“We have been commissioned by Pure Life Society, to produce a bio-pic on the life of their founder Swami Satyananda. It is really an honour for us to produce a play on such a prominent figure whose contribution to society is innumerable.”

Last year, Bala successfully staged a bio-pic of the political figure Sambanthan, based on Tun Sambanthan who played a prominent role in gaining Malaya’s independence from Britain.

While his plays are mostly in Tamil, he feels the language is no deterrent as the plays come with subtitles.

While the subject of divorce itself transcends race, language or culture, “the Tamil used in our plays are like any conversation you would have with Indians in Malaysia. It’s peppered with English and Malay words,” says Bala, who is now trying to get English subtitles for Iruvar II.

On marriage, Bala believes that “tolerance, understanding of each other’s needs and spending precious moments together are keys to a happy and successful marriage.

“More couples are getting divorced after only a few years of marriage. I hope that this play will shed light on the trend and hopefully help people see their marriages through.”

Young Urban Souls (Sunday People)

2009-01-05T22:16:00.000-08:00

Young urban souls
MAX KOH

A scene from Faiq’s Aisha about a man questioning his existence

THE graduating students of Sunway University College’s Department of Media and Performance seem to have a keen eye for adapting wonderful materials for their productions.

The bubbly bunch first eyed Huzir Sulaiman’s Atomic Jaya as their swansong stage production before leaving the heady times of their varsity days.

The 90-minute show, under the guidance of lecturer and established director Chee Sek Thim appeared to be a success as when the final bows were made: it was met with roars of approval and thundering applause.

After the satirical Atomic Jaya, the students seemed to have taken a sombre turn to examine matters of the heart in their final-year video production, Jiwa Hari-Hari.

The four shorts — Ooh! Jimi, Tak Nak, Aisha, and Malam Ini Malaikat Tidur — were arranged to follow the natural progression from dawn to night.

The quirky nature of the first short, directed by student Balram Tikaram Kami, saw the titular character Jimi who, after witnessing two cicak (house lizards) mating, decided to dress up as a one, then went around Bangsar looking indiscriminately for a suitable girl.

The scene was amusing if slightly alarming as Jimi humps a random girl in the middle of a mamak shop filled with people.

Balram said in a forum after the screening of the shorts: “It was quite amazing only one guy in the shop noticed us and kept telling us to stop it.”

Without any dialogue, the short possessed an intrinsic carnal quality, heightened by a haunting soundtrack. It posed the question: When the human condition is stripped of all desire for meaningful relationship and moral scruples — what remains of us? Are we not different from other creatures with similar carnal desires?

Tak Nak saw two friends on a sunny afternoon involved with drugs and a quirky samurai fight scene. Among the four, this one was the most upbeat although it appeared to be slightly lost in translation from screenplay to video. With some tweaks, the thrust of the storytelling could have been strengthened to drive the message home.

Faiq Syazwan’s Aisha offered a man questioning his own existence. A girl laid on a bed holding Dante’s Inferno, while the man pondered on questions left unanswered. Faiq captured the mood very well with bleak visuals and the main actor’s narration was almost mesmerising.

The shorts ended with Sony Deol’s Malam Ini Malaikat Tidur, which saw a mother trying to connect with a child who prayed to God for a unicorn but never got one. The mother said: “Sayang, malam ini malaikat tidur” (Darling, tonight the angels are sleeping), we were reminded of our own childlike yearnings and how we got over them.

All four shorts were adapted from Sufian Abas’ short stories in the collection, Kasut Biru Rubina. Judging from the students’ efforts, their addition to the local performing and media scene would make for interesting times.

The Voice Triumphs (Sunday People)

2008-12-29T10:03:00.000-08:00

First published in New Sunday Times
28th December 2008

The Voice triumphs
MAX KOH

There’s nothing simple about Russell Watson’s rise to fame. Undaunted by his battles with two devastating illnesses, the English tenor shares his story with MAX KOH

HEARING Russell Watson’s story, one may easily surmise it as a typical rags-to-riches tale. The English tenor whose nickname is “The Voice”, was a humble factory worker in Salford who beat 400 contenders to win a local radio talent competition.

He then pursued his dream of becoming a singer but not before toiling as a musical apprentice at the local working men’s clubs for years.

His big break came when he was invited to sing at Old Trafford before the 1999 Manchester United’s Premiership winning match. He received a standing ovation for his performance of the World Cup theme, Nessum Dorma.

His prestigious audience included the President of United States, former British Prime Minister Tony Blair, the Yang DiPertuan Negara and the late Pope John Paul II.

At 42, Watson could not be more thankful for his life now. In 2003, he faced a career-threatening situation when doctor found a growth in his vocal chord.

He was lucky to recover with his voice intact but a few years later he was faced with a new threat. In 2006, Watson was diagnosed with tumour the size of two golf balls in his brain.

The next three years was a battle: “Battling with cancer for the past three years has been tough but it was a real awakening. It certainly made me appreciate life even more. It changed my priorities and made me appreciate relationships, friends and most importantly, my two daughters.”

While Watson successfully underwent a surgery to remove the growth, he could barely walk and the tumour affected his pituitary glands which controlled hormone levels. His mood swings went from ecstatic to suicidal.

However, he eventually recovered and released his fifth album, That’s Life, in March 2007.

“It was a very emotional time for me. When I listen to the title track, I can hear the meaning of the words. It certainly changed the way I sang the songs.”

However, disaster struck again. The cancer returned when he was recording his sixth studio album, Outside In in late 2007. An MRI scan showed that a regrowth of his brain tumour was bleeding into his brain.

Again, Watson recovered after another life-threatening operation.

He was recently in Kuala Lumpur after the release of his latest album, People Get Ready (Universal Music Malaysia), which sees him tackling Motown classics such as Me And Mrs Jones, Papa Was A Rolling Stone, Soul Man and House Of The Rising Sun.

“The previous two albums saw me spending half of the time in the hospital bed while recording. With this album, I am looking at a new chapter in my life and moving on from the turbulent years.

“There are two distinct sounds you can hear in the album. One is a slick sound with strings section which was recorded in Capitol Studios, Los Angeles. The other, which is a little more ‘roguish’, was recorded in London with the same backing band as Amy Winehouse’s. It sure is a nice contrast of both the angry and soulful man in the new album.”

The different musical styles do not elude his fans as he is known to sing from Italian arias to Irish folk tunes to rock numbers.

“It is not really a departure, although, perhaps it is time for me release a classical album.”

As a performer, Watson believes that the cancer has changed his perspective: “I definitely have a more matured performance now. You can really relate to the story and it reflects the life you have lived. Singing is, after all, more than just perfecting the techniques. It’s about how to channel your soul into it.”

Yo-Yo Ma and Friends: Songs of Joy & Peace

2008-12-29T10:00:00.000-08:00

First published in New Sunday Times
28th December 2008

Music Review: Yo-Yo Ma and Friends: Songs of Joy & Peace (Sony Music)
MAX KOH

I ALMOST leapt with joy when I saw this album. Cellist Yo-Yo Ma has enlisted some of the most accomplished musicians today — including Edgar Meyer, Chris Botti, Alison Krauss, James Taylor, Chris Thile, Dave Brubeck and Diana Krall — for a holiday album focusing on joy and peace. How could I not be excited?

The songs may not be familiar at first glance, but they sure put you in the spirit with its heart-warming tunes and impeccable musicianship.

From the classical opener Dona Nobis Pacem, Yo-Yo Ma takes you on a wonderful sonic journey through different genres; Celtic (with fiddler Natalie MacMaster on A Christmas Jig), jazz (with Diana Krall on You Couldn’t Be Cuter and Chris Botti on My Favourite Things), bluegrass (with Alison Krauss on The Wexford Carol), Latin (with guitarists Sergio Assad and Odair Assad on Vassourinhas) and Eastern (with the Silk Road Ensemble for Kuai Le).

However, the songs are still tied by a common theme which makes the album a thoroughly enjoyable listening affair as it sheds light on other holidays around the world — Kwanzaa, Hanukkah, and so on.

Personal favourites include Yo-Yo Ma with Dave Brubeck on the jazzed-up Joy To The World and the variation of Dona Nobis Pacem with bassist Edgar Meyer and mandolin player Christ Thile.

Songs of Joy & Peace offers lovely compositions. At RM25.90, it’s a great buy.

English Mad (Sunday People)

2008-12-22T05:47:00.000-08:00

First published in New Sunday Times
21 December 2008

English-Mad

Children at the ‘Crazy English’ boot camp

HOW obsessed can you get with learning a new language? Would you go around talking to every foreign tourist you meet on the street? How about attending a ‘Crazy English’ boot camp where thousands yell out English lessons at the same time?

As crazy as it sounds, these are some of the things you will see in Mad About English, the latest documentary by award-winning filmmaker Lian Pek.

The former CNN correspondent takes the viewers on an enlightening journey as she interviews various characters in China in their quest to master the English language, once considered the forbidden tongue of the “foreign devils”.

They changed their mind when they won the bid to host the Olympic Games for 2008.

You’ll meet, among other people, a police officer who speaks with an uncanny New York Bronx accent (“Forget it, man. Put the gun down!”)

“I was filming in China at one point when I realised that there was a big interest in learning the English language,” says the Singaporean filmmaker whose previous documentaries include Sayonara Changi and Born Again Buddhists.

Her quest led to James Yang, a 74-year-old who had formed two English clubs where old folks like him learn English together.

On the national linguistic fervour: “I guess before the Olympics, it dawned on the Chinese that there would be half a million people who would descend onto their country. They were hungry to do business and to trade with the foreigners.”

Mad About English was filmed in China in places like Beijing, Guangzhou and Yunan.

It premieres tonight on Discovery Channel (Astro 551) at 10pm.

Top of her game (Sunday People)

2008-12-17T00:26:00.000-08:00

First published in Sunday People, New Sunday Times
14 December 2008

Top of Her Game

MAX KOH was enthralled by theatre heavyweight Faridah Merican’s performance in Bottom Top.

Mark and Faridah in Bottom Top.

THE name, Faridah Merican, is synonymous with local theatre. Referred by some as the First Lady of Malaysian Theatre, her contribution to the industry is immeasurable.

For 50 years, she has dabbled in the theatre scene by acting, directing and producing works. She and husband Joe Hasham founded The Actors Studio and are still the power couple in the local theatre scene.

However, it has been some time since Faridah charmed the crowd onstage.

So, hearing of her return to the limelight in Bottom Top, a play written by Mark Beau de Silva and directed by Hasham, was surely a must-see event.

It came as no surprise that tickets for the show were quickly snatched up.

I was mesmerised by the quaint and detailed set which depicted the couple’s home. It was warm and indicative of the mother and son’s relationship in the play.

Faridah played 52-year-old Bertha who was about to remarry. The 90-minute play saw Bertha having a funny but poignant discussion with her gay son, Melvin, as they prepared the guest list for the wedding.

When Bertha tried to get Melvin to invite his “special friend” to the wedding, he educated her on the social construct of his world.

Dressed in sexual innuendos and delightful wordplay, the observations of his world where mates were judged to be “bottom” or “top” was unravelled gracefully.

The subject could have come across as crude if not for Mark Beau’s script and the chemistry between the playwright and Faridah.

Watching Faridah for the first time, I was enthralled.

That was not to say that Mark Beau was not incredible himself.

Both actors imbued the characters with endearing presence, breathing life into them, making the audience feel like they were not merely eavesdropping but are part of the conversation.

There were laugh-out-loud moments in the play including a part where the disco lights were lowered, and Bertha delighted the audience with a bit of booty-shaking.

However, the play turned solemn at times as we pondered with the characters about relationships, social roles and love.

Bottom Top was a delightful comedy with acute contemplations on matters of the heart.

Faridah’s return to the stage was nothing short of breathtaking and certainly whetted my appetite for more of her stage skills.

What Drives Gyorgy the Prodigy

2008-12-17T00:22:00.001-08:00

First published in Sunday People, New Sunday Times
7th December 2008

(click on pic for better view)

Mak Yong Showcase (Sunday People)

2008-11-30T08:44:00.000-08:00

First published in Sunday People, New Sunday Times
22 November 2008

Mak Yong Showcase
by Max Koh

The traditional mak yong is modernised for the new audiences. MAX KOH speaks to the director and lead dancer of Endeng Tejeli

THE words of the mak yong seem to echo through the ages as lead dancer and student Rosnan Abdul Rahman sings with his melodious voice: “Hai, ghoyak hile gak, Bele berio nok timbol gak laa, Ee, timbol sangat dengar nak ghoyak gak, Kalau soghe mu ghajo la cik we, Bele sebuah negeri gak tue we” (Of a Raja and a Minister, The Raja, he has an appellation, The Country, it has a designation).

I am at the Istana Budaya cafeteria as Rosnan, with his teacher, Fatimah Abdullah, explains the riches of the traditional Kelantanese dance-theatre form. Fatimah also directs the Endeng Tejeli production.

“Mak yong is an ancient dance-theatre form that incorporates dance, acting, singing, and storytelling. Endeng Tejeli tells the story of the titular character who must save Puteri Gak Petra, to be presented to Raja Sulong.

“However, the road is not easy as Endeng Tejeli must face the Nenek Sepat Petala Naga (dragon) and Raja Gergasi (giant) in his adventures,” explains Rosnan.

Endeng Tejeli is one of 12 core storiestold in the mak yong repertoire. These stories are told with the help of traditional Malay instruments such as the rebab, gendang, gong, canang and kesi.

Rosnan, the lead dancer in Endeng Tejeli

Mak yong has five main characters in its stories: Pak Yung (king), Pak Yung Muda (hero), Mak Yung (queen), Puteri Mak Yung (princess), Peran (clown), and Dayang-Dayang (court dancers). Rosnan plays the titular character while Fatimah plays the king in Endeng Tejeli.

“This is the third time we are staging the story. The first time we performed this was in Kedah and the show was sold out when we staged it at the Istana Budaya,” explains Rosnan who is part of the Kumpulan Mak Yong Seri Nilam Istana Budaya.

“All our dancers are resident dancers at Istana Budaya. The group (Mak Yong Seri Nilam) was started three years ago to help senior dancers learn and focus on the traditional dance style.

“We train them in hope that one day someone will carry on the tradition of this art form,” says Rosnan.

A new generation of mak yong teachers is a main concern for Fatimah who was raised in the dance form since birth. Her father, Abdullah Awang, owned of a mak yong group in Kelantan.

“I was born in Terengganu when my father’s group was on tour there. Traditionally, the group would stay at a town for three months before travelling to another venue. They would perform in and around the town during that time,” explains Fatimah.

Fatimah first performed at the age of 10 with the Kelantan Mak Yong Children’s Group in 1969. Her passion for the arts soon grew as she understood the grit and hard work involved in keeping the art form alive.

Mak yong doyenne Fatimah plays the king

“Back then, the dancers faced a lot of trials. The toke (group owner) often had to use his own money to keep the show, even at the verge of bankruptcy. I have seen this with my own eyes and it motivated me to study hard and bring the art tradition to the next level,” explains Fatimah.

Fatimah, who officially became a teacher at the age of 40, saw her dreams come true as her performance was documented in a Unesco World Heritage recording in 1994. Fatimah has also since performed before the Thai king and has seen her students perform overseas.

Rosnan, who has studied under her for eight years, has performed the mak yong in Paris and New York.

“For this show, the traditional elements are retained. Perhaps compared to the old days, the arrangement on the stage today is much neater with better lighting, make-up and costumes. But the set is still very minimal as we want the performers to carry the story,” explains Rosnan.

Endeng Tejeli will feature seven to eight songs including the mengadap rebab which lyrics were featured at the beginning of this article.

“This is really a shorter format as the traditional performance can last up to four hours and include 20 to 30 songs,” he says with a laugh.

“Originally, there was no script during the performance. The performers will follow the arc of the story and they can improvise the dialogue or sing as they want.”

While mak yong has evolved with the times, Fatimah is still concerned with the future. “We still need a generation of pelapis (mediators) to carry on the legacy.

“People have come and learnt the art form but there is still a need for those who will carry the mantle of the discipline and teach the next generation.”

What she said next was a revelation to me: “In every generation, two of three will be chosen to sembah guru and carry on the art form.

“After that, the guru cannot reveal his teachings to anyone anymore. It is the new heirs who can finally become teachers and carry the art form.”

After this show, the group will perform Raja Besar Senyaya in January which is the sequel to Endeng Tejeli.

“Mak yong is just like Harry Potter, except that it is the Malay version. There is a continuity in the stories and there are giants, dragons, heroes, and magic,” adds Rosnan, with another laugh.

Catch Kumpulan Mak Yong Seri Nilam performing Indeng Tejeli on Nov 28, 8.30pm-10.45pm, as part of the Mak Yong Extravaganza organised by the Jabatan Kebudayaan dan Kesenian Negara. The extravaganza runs Nov 27-30 at the Malaysian Tourism Centre, Jalan Ampang,

Kuala Lumpur. For more information, visit www.heritage.gov.my or call 03-20523600
ext 3616.

The Splendour of Love (Sunday People)

2008-11-10T01:22:00.000-08:00

First published in New Sunday Times

8th November 2008

The splendour of love
MAX KOH

Touring theatre group Footstool Players examines the different sides of love. MAX KOH gets the lowdown from director Colin Kirton

Love, sang Nat King Cole, is a many splendoured thing. The many different sides of love, courtship, marriage and family are explored in touring theatre group Footstool Players’ production, A Crazy Little Thing Called Love, now showing in Kuala Lumpur Performing Arts Centre (KLPac).

Comprising short sketches that range from comedy to drama, the play addresses both the joyous and difficult sides of relationships.

“In this day and age, it is very easy to be cynical and jaded about love,” says Colin Kirton who directs and produces the play. “We hope that this play will give people hope about love and a new fresh start on the idea of it.”

The play comprises little sketches — a trademark of the theatre group — that not only focuses on courtship, but also relationships in the context of marriage and family.

“We are not trying to hide the pain or struggle but want to show that there is still new hope for difficult relationships,” says the Chinese-Scot who also acts in the play.

Colin Kirton

In other words, A Crazy Little Thing Called Love is more than fluff entertainment. “Our audience will ponder on love, life and relationships.”

While the title may borrow its name from a Queen song, the play was inspired by the realities of people’s relationships.

“In 2004, the non-governmental organization Focus on the Family asked us to come up with some sketches for their seminars.

“We came up with 25-minute sketches and took the show all over the country,” says Kirton. “It touched a lot of raw nerves. At that point, we knew that we wanted to expand on this theme.”

But Kirton who also acted in Broken Bridges – The Musical and Julius Caesar was only able to focus on this project at the end of last year.

In producing the play, the team members displayed unwavering commitment and passion. They had to attend rehearsals and performances unless there is an important family emergency. Rehearsals would intensify from once a week to every night when the performing date approached.

Scenes from two of the sketches

But of course, challenges were bound to happen. Kirton recalls an example: “One of our actors, Soon Ee Wei, was posted to Penang as part of his job during one of our performance run. Every weekend, he would fly down to one of the towns we were performing and fly back to Penang on Monday morning.”

Established in 2001, the Footstool Players began as a drama ministry in Subang Jaya Gospel Centre. It soon grew to become an inter-denominational team that performs in churches nationwide. Its previous productions include Runaway Bride and Walk His Trial.

“We are just a theatre group that is committed to our art form. We are here to share stories with the general public. This is a show about love and not faith.”

Besides churches, the team has also performed in schools and colleges.

“We can’t operate as a commercial organisation because it costs a lot of money. However, a financial burden was lifted when KLPac offered to sponsor the venue. “That was really a push factor for us.”

With more a sophisticated venue, Kirton emphasises that the focus is still on the performance.

“We don’t use a lot of props in our plays. Our set is minimalist as we put the onus on the actors to carry the story.”

This minimalism is due to its nature of touring to different venues in previous productions. In fact, before the performance in KLPac, the team has already performed the play in various venues in Klang Valley.

I had the opportunity to watch one night and left with something to think about my relationships in my life. There were instances I laughed out loud and times I silently pondered.

“The collection of little sketches is a trademark. This gives us the flexibility to talk about different facets of love in different periods of people’s lives,” says Kirton.

• Catch A Crazy Little Thing Called Love at KLPac’s Pentas 2 until Nov 16. Tickets: RM30 (adults)/RM20 (students, senior citizens, disabled). Call 03-40479000 (KLpac) or 03-20949400 (The Actors Studio @ BSC) or visit www.klpac.com. Also visit www.footstoolplayers.com.

A Tale of Two Strong Women (Sunday People)

2008-11-10T01:12:00.001-08:00

First published in New Sunday Times
2 November 2008

Two Tales of Strong Women
Max Koh

As I watched a group of seven-year-olds gather outside Pentas 2 in KLPac, I was bemused by a sign that read: “Contains adult content”.

Surely, the children were at the wrong play. However, it was no fault of theirs. The poster for Kisah Gadis looked cheerful enough — a minimalistic design with splashes of striking pink that was sure to capture the eye. And there weren’t any warning labels on it.

Their elders had probably thought it was a Scenario kind of play and the children were probably there to learn to appreciate theatre for the first time.

Oh, how they would be surprised. I could see it was going to be amusing.

As we entered the hall, we were greeted by a man asleep on what appeared to be a bus-stop. The set was minimalistic, with just white-painted wooden planks framing it, rendering focus to the actors’ performances.

As the lights dimmed, the man woke up from his slumber. Mangli was the first play of the double bill and told the story of two long lost friends who stumbled into each other at the bus stop.

Scene from Mangli with Ashraf as the transvestite Idayu and Faisal in the role of the deranged and delusional Aris.

The sleeping man was the deranged and delusional Aris Mat Tam, played by Tuan Faisal (aka Tapai). Carrying a wooden plank with him at all times, the dishevelled figure appeared to have made the bus stop his humble abode.

As he played and talked with the plank, transvestite Idayu Sa’ayah, played by Ashraf Zain, came in. The “gadis” had just been robbed of her handbag and she began to confide in Aris about her terrible ordeal. However, as they catch up on old times, the reason behind Aris’ fall from grace was slowly unravelled before the audiences.

There were comic moments which drew much laughter from the audience. Ashraf’s comic timing was acutely executed, and there were jabs at the National Registration Department and the public transport system. At one time, a disco ball was lowered as the two actors belted out a song, much to the audience’s delight.

However, the play soon became dark as conflict arose between the two leads. At this point, as Aris’ psychological facade is unravelled, I could see the seven-year-olds begin to shift uncomfortably in their seats.

Hurtful words were exchanged. Mangli was more than just comic interplay between two strong actors. It actually explored how one could fall from grace into derangement. And how a friend’s genuine concern was futile when not welcomed.

Mangli was the maiden effort of playwright Adiwijaya. Although the script lacked direction at some points, the actors were able to carry the play through with their strong performances.

The second play, Gadis Jalan Burmah, was a 45-minute monologue filled with wit, humour and anger and was carried entirely by the talented Sherry Abdullah.

Sherry played a 42-year-old unmarried woman named Kartini Shuib who, whilst baking her own birthday cake, began to contemplate whether or not to date an insurance salesman, as suggested by her mother.

The very talented Sherry in the monologue as Kartini.

However, memories of past lovers – a Chinese doctor, a doktor haiwan, an American expat and her high school crush began to return to haunt her.

Sherry played the character with aplomb. There was subliminal depths in her performance amidst the loud and big gestures. In fact, the play would not have been as effective without Sherry.

However that was not to discount the script, wonderfully written by Shahredza Minhat, which gave acute and startling insights into the thoughts of Kartini Shuib.

The character could not have been so amazingly fleshed out by Sherry if the script was not strong. The character was very believable and as Sherry reminisces about past relationships, it showed the journey of a woman being shaped by her experiences.

Finally, Kartini decides to call the salesman, showing that despite past hurts and disappointments, everyone needed to be loved after all.

While both plays were wonderfully executed, a minor complaint was the use of harsh language in the presence of kids. But then again, the play contained adult themes and these words were necessary to flesh out the characters. And there was a warning sign outside.

It was just unfortunate that the kids were there.

I’m not sure what the seven-year-olds took home with them from the play.

Their first exposure to theatre could either come as a wonderful experience or a rude awakening to their innocent ears.

Either way, I’m sure the adults left with something to think about. After all, life is never a bed of roses, as exemplified by the two plays.

Kisah Gadis was Megat Sharizal’s second attempt at directing. His directorial debut, Tat Nenas, won him a Best Director Award in Theatre Festival Malaysia in 2004.

After four years, he returned to the director’s chair to bring us these two relatively unknown plays because he felt they needed a bigger audience.

I could understand why he chose these two plays. Branching out from the usual comedy fluff, the plays had depth and posed themes and questions that were thought-provoking.

It challenged the stereotype perceptions of Malay women and made us ponder over how experiences had shaped the identities of women today.

For a play performed in Bahasa Malaysia and Manglish, Kisah Gadis was a welcome departure from the fluff and shallowness of mainstream Malay offerings.

Let’s just hope that this would be a start for more thought-provoking plays from Megat, Adiwijaya, Redza and their ilk. Kisah Gadis certainly bodes well for the future of theatre.

His Right Step Forward (Sunday People)

2008-10-12T15:03:00.000-07:00

First published in New Sunday Times
12 October 2008

His right step forward

MAX KOH signs up for a night of dance lessons with famous Austrian dance teacher Reinhard Polt, and leaves enamoured.

ALONG Jalan Tun Razak, while the traffic was moving at a snail’s pace, another dance was happening inside a BMW showroom.

Renowned Austrian dance teacher Reinhard Polt, garbed in a grey suit and pants, grabs hold of his young partner and begins to teach the floor how to do the waltz. “Lift your hands up, and hold her close to you,” he instructs gently. “Forward, side, close; back, side, close.”

As the music begins to play, the gentlemen take their partners’ hands and begin to dance their night away. “You need to hold her close to you,” he quipped at a nearby couple who was standing too far apart.

Among the dignitaries, parents, sponsors and guests, there I am holding my partner’s hand as we attempt to do the waltz together. Am I nervous? Yes. Fearful? A little.

Never in my life did I think I would learn ballroom dancing, let alone in a BMW showroom in downtown KL. And I have two completely useless left feet when it comes to dancing.

But thanks to Polt’s exceptional tutelage, and after countless stomps on my partner’s foot, I can now do the basic waltz steps!

As the night progresses, we also learnt the basic foxtrot, cha cha, rock and roll, and the Midnight Quadrille.

That’s my favourite. It’s a form of line dancing where couples stand in two lines facing each other. Then everyone begins a ritual that involves a lot of curtsying, bowing, circling around and exchanging partners. It’s like something you see in Victorian-era inspired films like Pride & Prejudice.

The free dance lessons were hosted by the Austrian Embassy Kuala Lumpur in conjunction with the Viennese Ball to be held on Oct 25 for the second time here. The Viennese Ball will see hundred debutantes performing the polonaise, quadrille and Viennese waltz during the opening of the traditional Austrian event. These couples aged 15 to 23 years old were selected out of many hopefuls and the best couple of the night will be given the honour to dance at the Vienna Opera Ball in Austria next February.

“We decided to have these classes for the non-debutantes because we want the guests to dance together with us during the ball. It would make the evening more fun!” says Polt who has trained debutantes from Athens, Berlin, Beijing, Tunis and Singapore.

Among the guests that evening were dignitaries as well as guests from the media. Some debutantes also attended the night in order to learn more from Polt, dubbed as the Dancing Ambassador of Vienna.

The ball, which originated as a traditional public ball in the 18th century, can be enjoyed by anyone across the world. It has been held in Abu Dhabi, Athens, Brussels, Shanghai and New York.

“Today, almost everyone in Austria takes part in a ball. The engineers will have their own party while the accountants will have their own,” says the debonair Polt in his melodious voice.

Well, we certainly had a ball too, with smiles and giggles while everyone tried to coordinate their feet to the music.

The ball is a strictly “black tie” event, commemorating Austria’s National Day. For more information, visit www.vienneseball.my.

Theatre: Tale of Two Women (Sunday People)

2008-10-12T14:45:00.001-07:00

First published in New Sunday Times

27 September 2008

THEATRE: Tale of Two Women

Kisah Gadis explores the lives of several women as they reflect on the road travelled and the journey ahead. Director Megat Shahrizal speaks to MAX KOH about the double bill featuring Mangli and Gadis Jalan Burmah

FOR two plays that examine the lives of two women, it seems ironic that they should be written and directed by men.

But actor-director Megat Shahrizal is unfazed by this. Instead, he looks at it as a challenge; not only directing a woman’s perspective, but also working on two relatively new plays by emerging playwrights.

It is also Shahrizal’s second attempt at directing after a long hiatus since his award-winning Tat Nenas in 2004.

However, the time to direct his second play could not have come at a more opportune time.

Director Megat Shahrizal

“I was really fortunate to have won the Best Director Award (for Tat Nenas) for the Theatre Festival Malaysia in 2004.

“However, after that, I decided to focus on my acting as that is my first love,” says the 30-year-old who has acted in plays such as Puteri Gunung Ledang The Musical, P.Ramlee, and films such as 1957 Hati Malaya and Jarum Halus. He played former Prime Minister Tun Dr Ismail in 1957 Hati Malaya.

“After four years, the time is ripe for me to direct again or I might lose the touch. It’s really good timing because I’m not too busy, my friends are not too busy and the right scripts came along,” says Shahrizal who is pursuing his masters in performing arts at Universiti Malaya.

Kisah Gadis is a double bill production that explores the lives of two women as they reflect on the road travelled and the journeys ahead.

The first play, Mangli, tells the story of two longlost friends whose paths cross again at a bus stop after many years.

Their meeting forces them to rediscover each other and soon the conversation veers from pleasant to hostile, and the revelation of an attempted psychological suicide.

The second play, Gadis Jalan Burmah, features the monologue of a 42-year-old unmarried woman filled with anger, wit and humour.

Written with the local Malaysian context in mind, the protagonist Kartini Shuib contemplates about her past loves, her imminent future, and whether to go out with that prospective insurance salesman Kassim Rahman.

But what drew Shahrizal to these two plays?

“I chose these two plays because I want to see new writers getting attention in the theatre circuit,” explains Shahrizal.

“Having watched these plays before, I felt that they deserve a bigger audience.”

Mangli is the maiden effort by Adiwijaya and has only been performed thrice to a small audience.

“Adiwijaya is a friend of mine. After all, the theatre circle is so small that everyone knows each other. For years, we have been pushing him to write a play as he is an accomplished short story writer. After so long, he finally wrote a play and I decided that I must direct it... and get as many people as possible to watch it,” adds Shahrizal.

On the other hand, Gadis Jalan Burmah, is the fifth script penned by Shahredza Minhat (Redza), also an accomplished actor, having appeared in Otak Tak Centre, Romeo & Juliet and TOAST!

“These two scripts are really strong and I hope that I can bring it to a bigger audience,” said Shahrizal who studied Business Management but quit after getting bored in the industry.

On how the script is going to be interpreted by men, Shahrizal is totally taken aback that no women have given any input in the practice sessions yet.

“It’s seems really interesting that after so many practices, no one including the production crew said anything like ‘Wait, this is not how a woman thinks’. I supposed the script is really strong enough,” muses Shahrizal.

“In fact when I presented the script to Faridah Merican, she really liked it and agreed to be the executive producer.”

Shahrizal deems the two plays as a light production with a twist at the end of Mangli. The cast includes Ashraf Zain, Tuan Faisal and Sherry Abdullah.

This double bill marks the second instalment of The Actor Studios’s Teater Rakyat programme. The first was Anak Bulan Di Kampong Wa’ Hassan by Gene Sha Rudyn.

Being billed under the Teater Rakyat banner, Shahrizal is quick to offer his definition of the term.

“When people hear the term Teater Rakyat, they immediately think about traditional theatre. But that perception does not restrict me.

“To me, it simply means a play that is written by a Malaysian that is accessible to the Malaysian audience regardless of language or race. As long as it can connect to the audience, it is Teater Rakyat.”

Kisah Gadis will be staged at KLpac’s Pentas 2 from Oct 22-26, 2008. Tickets: RM25 (adults)/RM10 (students). Special preview night on Oct 22 and Saturday matinee on Oct 25 at RM10. Call 03-40479000 (KLpac) or 03-20949400 (The Actors Studio @ BSC) or visit www.klpac.com.