31st January 2010
Showing posts with label New Straits Times. Show all posts
Showing posts with label New Straits Times. Show all posts
Saturday, February 20, 2010
0
Monday, January 11, 2010
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Come Lex Dance
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.”
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.”
Sunday, December 6, 2009
0
Fluid Portraits
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
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.
Monday, November 30, 2009
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Wednesday, November 18, 2009
0
Sarimah speaks out
Published in Sunday People, New Sunday Times
15 November 2009
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.
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.”
“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.
15 November 2009
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
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
“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.
Thursday, November 12, 2009
0
Moving to the groove
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.
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.
Monday, October 5, 2009
0
Monday, September 21, 2009
0
Documenting Change
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?
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.
.JPG)
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.
Sunday, September 13, 2009
0
Thursday, September 3, 2009
0
Going Digital (Merdeka Issue)
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
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
Sunday, August 23, 2009
0
Feel the heat
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.
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
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.
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.
Sunday, August 16, 2009
3
Mystical Sculptures of Mah Meri
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.
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.
Thursday, August 13, 2009
0
Ushering in New Year with pizzazz
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.
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
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.
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
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
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
Sunday, August 9, 2009
0
True Blue Heroes
Published in Sunday People, New Sunday Times
9 August 2009
Click on picture to read. :)
9 August 2009
Click on picture to read. :)
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