31st January 2010
Showing posts with label Sunday People. Show all posts
Showing posts with label Sunday People. Show all posts
Saturday, February 20, 2010
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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.
Thursday, August 13, 2009
0
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. :)
Tracks for Quality
Published in Sunday People, New Sunday Times
9 August 2009
Tracks for quality
MAX KOH
THIS is a man with a mission.
Audi Mok is geared to do what may seem an impossible task – to get more people to listen to Malay music.
Mok is no stranger to the local scene. As a music producer, he has worked with some big entertainment guns including Faizal Tahir, Datuk Siti Nurhaliza, Ning Baizura, and young ones like Suki.
His songs — including Cinta Datang Lagi by Dina, Generasiku by OAG and v by Nikki and Zahid — have enjoyed huge radio play.
Mok ardently believes that Malay music has the potential to reach out to non-Malay music fans and listeners.
How? Well, “make music that sounds new and current”, he says. “Something that anybody would listen to regardless of the language used.
“If you look at pop music in Japan and Korean, you can see that local music still outsell those from overseas. Why? It’s because their music sounds new and current. I believe that we can do that someday as well,” explains Mok.
The first step, he says, is to break ingrained perceptions about the local Malay music industry.
“The sad reality is that local Malay music often has bad connotations. Whenever you mention Malay music, old rock music and ballads immediately come up to mind. And why is that? Why is that Indonesian are associated with new, modern music while Malay music is associated with those old tags? I believe that we can produce good music that is on par or better than them.” “I want the Indonesians to one day say ‘Let’s make it sound Malaysian!’ instead of the other way round.” In other words, Mok wants to make Malay music sound “cool!” Mok, who recently tied the knot with singer Nikki, believes that production quality and keeping up with the times has to do with everything about it.
“I believe that there is a social-economic reason for this with the biggest challenge being language. Sad to say, it’s a reality that most of the newest technologies are taught in English. It’s really hard to learn the new stuff when there is a language barrier and technology is just too fluid.
“When it becomes overwhelming to learn new stuff, some just give up and stick to the old ways,” explains Mok.
The second step is to change the perception of Malaysians regarding local music.
“We Malaysians have no pride in our music. But I don’t blame the public because most of our local music lack in quality. That’s why I am hoping to break the mould so that the people can see that there’s progression in the industry with new sound and future.” To help him accomplish his mission, Mok was recently chosen as one of the celebrities under the Intel-P1 Industry Trailblazers Adoption Programme.
As such, Mok was given a notebook based on Intel Centrino 2 processor technology, a netbook powered by Intel Atom processor, a P1 Wiggy, and free P1 WIMAX subscription for 12 months.
Mok is only too happy to show off his new toys at his production studio in Petaling Jaya.
If you think that music producers don’t need all that gadgets, think again.
“As a music producer, we all rely heavily on our computers for recording and mixing. If you come into my studio, you’ll notice that all the physical soundboard is not there. We do it all on the computer,” shares Mok enthusiastically.
Well, if Batman has his utility belt, Mok has his new arsenal of gadgets.
9 August 2009
Tracks for quality
MAX KOH
THIS is a man with a mission.
Audi Mok is geared to do what may seem an impossible task – to get more people to listen to Malay music.
Mok is no stranger to the local scene. As a music producer, he has worked with some big entertainment guns including Faizal Tahir, Datuk Siti Nurhaliza, Ning Baizura, and young ones like Suki.
His songs — including Cinta Datang Lagi by Dina, Generasiku by OAG and v by Nikki and Zahid — have enjoyed huge radio play.
Mok ardently believes that Malay music has the potential to reach out to non-Malay music fans and listeners.
How? Well, “make music that sounds new and current”, he says. “Something that anybody would listen to regardless of the language used.
“If you look at pop music in Japan and Korean, you can see that local music still outsell those from overseas. Why? It’s because their music sounds new and current. I believe that we can do that someday as well,” explains Mok.
The first step, he says, is to break ingrained perceptions about the local Malay music industry.
“The sad reality is that local Malay music often has bad connotations. Whenever you mention Malay music, old rock music and ballads immediately come up to mind. And why is that? Why is that Indonesian are associated with new, modern music while Malay music is associated with those old tags? I believe that we can produce good music that is on par or better than them.” “I want the Indonesians to one day say ‘Let’s make it sound Malaysian!’ instead of the other way round.” In other words, Mok wants to make Malay music sound “cool!” Mok, who recently tied the knot with singer Nikki, believes that production quality and keeping up with the times has to do with everything about it.
“I believe that there is a social-economic reason for this with the biggest challenge being language. Sad to say, it’s a reality that most of the newest technologies are taught in English. It’s really hard to learn the new stuff when there is a language barrier and technology is just too fluid.
“When it becomes overwhelming to learn new stuff, some just give up and stick to the old ways,” explains Mok.
The second step is to change the perception of Malaysians regarding local music.
“We Malaysians have no pride in our music. But I don’t blame the public because most of our local music lack in quality. That’s why I am hoping to break the mould so that the people can see that there’s progression in the industry with new sound and future.” To help him accomplish his mission, Mok was recently chosen as one of the celebrities under the Intel-P1 Industry Trailblazers Adoption Programme.
As such, Mok was given a notebook based on Intel Centrino 2 processor technology, a netbook powered by Intel Atom processor, a P1 Wiggy, and free P1 WIMAX subscription for 12 months.
Mok is only too happy to show off his new toys at his production studio in Petaling Jaya.
If you think that music producers don’t need all that gadgets, think again.
“As a music producer, we all rely heavily on our computers for recording and mixing. If you come into my studio, you’ll notice that all the physical soundboard is not there. We do it all on the computer,” shares Mok enthusiastically.
Well, if Batman has his utility belt, Mok has his new arsenal of gadgets.
Sunday, July 26, 2009
0
A Cut Above
Published in Sunday People, New Sunday Times
19 July 2009
A cut above
Surecut Kids is a two-piece deejay act that hails from the Gold Coast in Australia. They recently rocked the house when they performed for the first time in Malaysia at Laundry Bar.
Comprising Boozy B (Benjamin Honey) and Junior Kid (Mike Perry), the act uses four turntables and a MPC (a type of drum machine) to layer songs, scratch and create live remixes at the fly.
What sets them apart from other acts is that they play different genres – from party hip-hop, funk, reggae, rock, nu-breaks, R&B, and swing to the odd 80s hits.
The two are not afraid to make fun of themselves, and would often don gorilla suits and draw fake moustaches on their face to hype the party up. It’s pretty cool, check their MySpace out.
They met in high school when they were in the same surfing class.
“We weren’t really good friends in school. I didn’t used to like Benjamin at first,” says Perry with a grin.
“But after school, we became really good friends,” adds Honey. “We got ourselves some turntables and started throwing parties for our friends on weekends. And before we knew it, we were playing club gigs and for big festivals.”
At the beginning, the duo also used to rock the mics with rhymes, thus coming up with the initial group name, ShureCut Kids.
“Well, we basically came up with the name because we were cutting two records together and used to make rhymes on our Shure microphones. Both of them add up, and you get Surecut Kids,” says Honey.
Oh, and they dropped the ‘h’ and added the Kids to make it sound cooler.
Surecut Kids has performed with international artistes including M.I.A, Justice, Chemical Brothers, Donovan Frankenrieter and Vanilla Ice. Yes, Vanilla Ice.
“Oh yeah. That was weird. We were initially pretty excited about it, as we expected some cool retro music. But Vanilla Ice has become some serious hardcore metal band now,” says Perry.
“We were watching from backstage and Ice was screaming into the microphone backed by some crazy-loud drums and guitars. It was deafening,” recalls Honey.
The two will play anywhere. “It doesn’t really matter for us, as long as the crowd is awesome and jives along to our music.”
Surecut Kids is cutting its own tracks in addition to spinning popular hits. “We hope to put out a record soon enough. We just want to become bigger and badder at what we do.”
19 July 2009
A cut above
Surecut Kids is a two-piece deejay act that hails from the Gold Coast in Australia. They recently rocked the house when they performed for the first time in Malaysia at Laundry Bar.
Comprising Boozy B (Benjamin Honey) and Junior Kid (Mike Perry), the act uses four turntables and a MPC (a type of drum machine) to layer songs, scratch and create live remixes at the fly.
What sets them apart from other acts is that they play different genres – from party hip-hop, funk, reggae, rock, nu-breaks, R&B, and swing to the odd 80s hits.
The two are not afraid to make fun of themselves, and would often don gorilla suits and draw fake moustaches on their face to hype the party up. It’s pretty cool, check their MySpace out.
They met in high school when they were in the same surfing class.
“We weren’t really good friends in school. I didn’t used to like Benjamin at first,” says Perry with a grin.
“But after school, we became really good friends,” adds Honey. “We got ourselves some turntables and started throwing parties for our friends on weekends. And before we knew it, we were playing club gigs and for big festivals.”
At the beginning, the duo also used to rock the mics with rhymes, thus coming up with the initial group name, ShureCut Kids.
“Well, we basically came up with the name because we were cutting two records together and used to make rhymes on our Shure microphones. Both of them add up, and you get Surecut Kids,” says Honey.
Oh, and they dropped the ‘h’ and added the Kids to make it sound cooler.
Surecut Kids has performed with international artistes including M.I.A, Justice, Chemical Brothers, Donovan Frankenrieter and Vanilla Ice. Yes, Vanilla Ice.
“Oh yeah. That was weird. We were initially pretty excited about it, as we expected some cool retro music. But Vanilla Ice has become some serious hardcore metal band now,” says Perry.
“We were watching from backstage and Ice was screaming into the microphone backed by some crazy-loud drums and guitars. It was deafening,” recalls Honey.
The two will play anywhere. “It doesn’t really matter for us, as long as the crowd is awesome and jives along to our music.”
Surecut Kids is cutting its own tracks in addition to spinning popular hits. “We hope to put out a record soon enough. We just want to become bigger and badder at what we do.”
Young touch to old tunes
Published in Sunday People, New Sunday Times
26 July 2009
Young touch to old tunes
MAX KOH
Davis and Peters
Can the young hear the music of the older generation? The musical Kaki Blue is the litmus test, writes MAX KOH
THE musical, Kaki Blue, pairs 21-year-old singer-songwriter Nick Davis as the musical director, for the first time, with veteran Mervyn Peters as the chorus master.
Peters has 40 years of experience in the industry, worked in numerous local and West End musicals, and won a BOH Cameronian award in May for his work in Ismail: The Last Days.
Davis, an exuberant self-taught musician, is known for his role in Shanon Shah’s Air Con.
Kaki Blue is about our youths and their National Service experiences. To be staged at the Kuala Lumpur Performing Arts Centre next week, the musical features a predominantly young and new ensemble of talents.
The show is Mark Beau de Silva’s maiden attempt at writing a musical, which he hopes will capture the “spirit of post-millennial youth”. After this, de Silva leaves on a three-month residency at Hooyong Performing Arts Centre in Korea.
“I’m really honoured that Joe Hasham contacted me to do this as it is something different from the things that I’m used to do,” says Davis who also has a small role in Kaki Blue.
“For the first time, I don’t have to do much writing as we are playing covers of songs of the yesteryears.”
The musical will feature songs of yesteryears such as It’s My Party, Girls Just Wanna Have Fun, If I Had A Hammer, Walk Like A Man, Rave On, Monday Monday, and Come Together among others. However, these have been given an indie-rock twist.
“It was really fun researching, as I am not familiar with most of the songs. Take, for example, The Animals’ Gotta Get Out Of This Place. It has a very basic bass groove with a 60s feel to it. I rearranged it by adding some distortion, palm muting and power chords to give a modern-alternative rock feel,” explains Davis.
The arrangement process was fun for Davis as he was able to draw influences from bands of his school years.
“I thought a lot about the punk bands that I listened to in school such as Blink 182 and Sum 41. I feel Kaki Blue is different from the usual orchestra concept, so there will be a different kind of live band that plays really grungy stuff,” adds Davis.
And how does Mervyn find the new arrangements?
“He is very open to ideas. Obviously, I learnt a lot from just watching him because he has years of experience behind him.”
Davis, who actively gigs with his trio, The Snow Symphony, initially found the task of being musical director a little intimidating.
Despite that, Davis took it up because he “likes to do things that are impossible” and learn new things.
“Because I am a self-taught musician, Peters has helped me to understand music further. In fact, he is encouraging me to go learn music after this,” adds Davis.
“Peters is a cool guy to work with. He has a very interesting sense of humour because he tends to keep a straight face when telling you a joke. If you look past the funny comments, you realise that he is in fact trying to tell you something.”
“Davis has a lot to learn,” says Peters, “but I don’t mean it in a condescending way. It’s just that this is something new for him but he is very focused and dedicated.
“He’s really a good guitarist and knows what he wants in his head,” adds Peters, who first appeared on stage in 1975 as part of a choral group.
“What he needs to do is to take it further by studying more about music.”
Peters himself was a self-taught musician in the 1970s and used to conduct church choirs. “I didn’t know how to read music but I had a really good ear for music.”
He then made a conscious decision to study music further and developed from there. “I felt it was one of the best decisions I made because it opened so many doors for me. I wouldn’t be where I am today if not for the decision that I made then.”
Peters brought in some of the West End musicals in the 1980s but went backstage and focused on technical work such as lighting design in the 1990s.
He then returned to the “musical side” when he was roped as choral director for Broken Bridges in 2007.
He has since worked on award-winning musicals with the KLPac such as Tunku The Musical and Ismail: The Last Days. He is currently the personnel manager for the Malaysian Philharmonic Orchestra.
“Davis is easy to work with because he can adjust easily to changes. He is really open to suggestions and a nice fellow overall, not to mention talented,” adds Peters. With the whopping 42-year difference between Davis and Peters, was communication a barrier at all?
“The age difference is not an issue at all because it really depends if the person is easy to work with. The difference between Davis and I is that I have experience while he’s at the beginning of the journey.”
Peters adds that he has still new things to learn.
“You know, I’ve never stopped learning. It is important to remember that no matter how successful a show may be, you have to do a personal postmortem and identify things that you can improve on.
“For Kaki Blue, it was a new experience working in a different style where music sheets are not prepared for the ensemble! It was challenging because there was no notations to determine how long you should hold a note for. Instead, everything is committed to memory only,” adds Peters who feels that notations would have made practice more productive and easier.
“But it was really refreshing to work with the ensemble. This group is particularly lively in the way they work. Sure, at times I found them unfocused and not used to the regimented practices and it took time to get used to singing as a unit.”
Seventy per cent of the cast are newcomers and most of the cast are still in school.
“But I suppose that is what makes them interesting. I know that some of them visited YouTube to listen to the original songs because they complained during practice, ‘But that’s not the way the original song goes!,’” says Peters.
“That’s the whole idea! We are not trying to be produce carbon-copy covers of the original. We are trying to bring a sense of originality to the songs,” he adds with a laugh.
Kaki Blue features 18 songs from the yesteryears with lyrics changed to suit the storyline. It is directed by Joe Hasham and features the choreography of Laskhman Balakhrisnan and set design by Yusman Mokhtar.
• Catch Kaki Blue at KLpac from July 30-Aug 16. Tickets: RM100, RM80, RM60, RM40, and RM30 (students, senior citizens, disabled and ex-NS trainees). Weekday (Tues-Thurs) tickets at RM30. Call 03-40479000 or visit www.klpac.org.
26 July 2009
Young touch to old tunes
MAX KOH
Davis and Peters
Can the young hear the music of the older generation? The musical Kaki Blue is the litmus test, writes MAX KOH
THE musical, Kaki Blue, pairs 21-year-old singer-songwriter Nick Davis as the musical director, for the first time, with veteran Mervyn Peters as the chorus master.
Peters has 40 years of experience in the industry, worked in numerous local and West End musicals, and won a BOH Cameronian award in May for his work in Ismail: The Last Days.
Davis, an exuberant self-taught musician, is known for his role in Shanon Shah’s Air Con.
Kaki Blue is about our youths and their National Service experiences. To be staged at the Kuala Lumpur Performing Arts Centre next week, the musical features a predominantly young and new ensemble of talents.
The show is Mark Beau de Silva’s maiden attempt at writing a musical, which he hopes will capture the “spirit of post-millennial youth”. After this, de Silva leaves on a three-month residency at Hooyong Performing Arts Centre in Korea.
“I’m really honoured that Joe Hasham contacted me to do this as it is something different from the things that I’m used to do,” says Davis who also has a small role in Kaki Blue.
“For the first time, I don’t have to do much writing as we are playing covers of songs of the yesteryears.”
The musical will feature songs of yesteryears such as It’s My Party, Girls Just Wanna Have Fun, If I Had A Hammer, Walk Like A Man, Rave On, Monday Monday, and Come Together among others. However, these have been given an indie-rock twist.
“It was really fun researching, as I am not familiar with most of the songs. Take, for example, The Animals’ Gotta Get Out Of This Place. It has a very basic bass groove with a 60s feel to it. I rearranged it by adding some distortion, palm muting and power chords to give a modern-alternative rock feel,” explains Davis.
The arrangement process was fun for Davis as he was able to draw influences from bands of his school years.
“I thought a lot about the punk bands that I listened to in school such as Blink 182 and Sum 41. I feel Kaki Blue is different from the usual orchestra concept, so there will be a different kind of live band that plays really grungy stuff,” adds Davis.
And how does Mervyn find the new arrangements?
“He is very open to ideas. Obviously, I learnt a lot from just watching him because he has years of experience behind him.”
Davis, who actively gigs with his trio, The Snow Symphony, initially found the task of being musical director a little intimidating.
Despite that, Davis took it up because he “likes to do things that are impossible” and learn new things.
“Because I am a self-taught musician, Peters has helped me to understand music further. In fact, he is encouraging me to go learn music after this,” adds Davis.
“Peters is a cool guy to work with. He has a very interesting sense of humour because he tends to keep a straight face when telling you a joke. If you look past the funny comments, you realise that he is in fact trying to tell you something.”
“Davis has a lot to learn,” says Peters, “but I don’t mean it in a condescending way. It’s just that this is something new for him but he is very focused and dedicated.
“He’s really a good guitarist and knows what he wants in his head,” adds Peters, who first appeared on stage in 1975 as part of a choral group.
“What he needs to do is to take it further by studying more about music.”
Peters himself was a self-taught musician in the 1970s and used to conduct church choirs. “I didn’t know how to read music but I had a really good ear for music.”
He then made a conscious decision to study music further and developed from there. “I felt it was one of the best decisions I made because it opened so many doors for me. I wouldn’t be where I am today if not for the decision that I made then.”
Peters brought in some of the West End musicals in the 1980s but went backstage and focused on technical work such as lighting design in the 1990s.
He then returned to the “musical side” when he was roped as choral director for Broken Bridges in 2007.
He has since worked on award-winning musicals with the KLPac such as Tunku The Musical and Ismail: The Last Days. He is currently the personnel manager for the Malaysian Philharmonic Orchestra.
“Davis is easy to work with because he can adjust easily to changes. He is really open to suggestions and a nice fellow overall, not to mention talented,” adds Peters. With the whopping 42-year difference between Davis and Peters, was communication a barrier at all?
“The age difference is not an issue at all because it really depends if the person is easy to work with. The difference between Davis and I is that I have experience while he’s at the beginning of the journey.”
Peters adds that he has still new things to learn.
“You know, I’ve never stopped learning. It is important to remember that no matter how successful a show may be, you have to do a personal postmortem and identify things that you can improve on.
“For Kaki Blue, it was a new experience working in a different style where music sheets are not prepared for the ensemble! It was challenging because there was no notations to determine how long you should hold a note for. Instead, everything is committed to memory only,” adds Peters who feels that notations would have made practice more productive and easier.
“But it was really refreshing to work with the ensemble. This group is particularly lively in the way they work. Sure, at times I found them unfocused and not used to the regimented practices and it took time to get used to singing as a unit.”
Seventy per cent of the cast are newcomers and most of the cast are still in school.
“But I suppose that is what makes them interesting. I know that some of them visited YouTube to listen to the original songs because they complained during practice, ‘But that’s not the way the original song goes!,’” says Peters.
“That’s the whole idea! We are not trying to be produce carbon-copy covers of the original. We are trying to bring a sense of originality to the songs,” he adds with a laugh.
Kaki Blue features 18 songs from the yesteryears with lyrics changed to suit the storyline. It is directed by Joe Hasham and features the choreography of Laskhman Balakhrisnan and set design by Yusman Mokhtar.
• Catch Kaki Blue at KLpac from July 30-Aug 16. Tickets: RM100, RM80, RM60, RM40, and RM30 (students, senior citizens, disabled and ex-NS trainees). Weekday (Tues-Thurs) tickets at RM30. Call 03-40479000 or visit www.klpac.org.
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