The Two Sides of Shuenda

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


Two sides of Wong Shuenda
MAX KOH



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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

He eventually graduated with high distinction in 2006.

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

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

So what else inspires Shuenda besides music in his career?

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

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

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

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

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

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

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

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

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

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

Booked For Success

Published in Sunday People, New Sunday Times
5 July 2009




Click on picture to read.

Long Time Coming

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


Long time coming
MAX KOH



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


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


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

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

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

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


Director of Photography Aaron Chung and director Kerol.

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

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

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

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

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

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


Any resemblance to Karam Singh Walia?


Remp-it meets TV reporter...


Emmett as a newsreader in the video.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

*Pictures courtesy of Aaron Chung and Kerol.

Marion dazzles (Sunday People)

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


Marion dazzles



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

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

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

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

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

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

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


D’Cruz relating her experiences using a Balinese topeng tua 

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

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

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

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

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

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

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

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

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

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

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

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

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

Gostan Forward offered a mix of performances and lecture (I’d rather call it story-telling), and confirmed D’Cruz as a pivotal figure in the local dance scene. But watching snippets of her performances just whetted my appetite for a full performance.

Pictures by Philip Craig