Shave for leukemia

The boy on my right, is Ashaari Rahmat. On my left, Afiq. Note Afiq’s hair.

Last week Afiq messaged me about him participating in the World’s Greatest Shave in support for the Leukemia Foundation. His hair, horribly long if you ask me, is two and a half years old. This is indeed two blessings in a shave. By doing so, Afiq is also raising funds for the cause. Click here to learn more about the project and how to donate.

He also created a Facebook Event page for this. Even if you can’t actually attend, by clicking Attending, you will help generate awareness for such a cause. He can be contacted at afiqrahmat [at] gmail [dot] com

One commendable thought that crossed me was that, it’s a project/cause started by Australians for Australians. This Malaysian boy studying in Melbourne decided to take part and invested quite a sum of effort to contribute.

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On the ship on the night we had to dress up. Simba here did it effortlessly.

Review of breaking and lagi lah

For the past week, RA has been talking about a few plays. 2 of which had its last show on Sunday afternoon. I caught Break-ing on Thursday with theatre analyst Niki. On Sunday, to Lagi Lah with Jennie, Nawar and Linda.

Yes. All these people have only names and you’ll find no pictures of them, or me, here. Only an idiot would make himself look bad in his own column.

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Three plays by three directors

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I’ve to admit I didn’t quite get Silence, Please, by Jo Kukathas. The storyline that is. I got the gist of it. Certain parts what the story evolved around, showed the maturity (I suppose that’s the word) of the writer. The sub-messages as well was brilliant. As a matter of taste, it was a little slow for me and it did make me feel lost watching this as I had to keep on trying to piece it together in my head.

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Directed by Loh Kok Man, Repot?[Mind+Mine] was a play that had 95% of the script in Mandarin (or was it Cantonese). With subtitles of course. I didn’t expect to enjoy it as much as I did. There was defintely an almost equillibrium between the element of humour and message/theme. One of the things it seeked to determine and pose to the audience was, what is the national language, first language and mother tongue of a person. A conundrum namely with non-Malays who live in Malaysia.

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The last one, WIP did good but prolonged pauses turned me off a little. On top of the idea of promoting the freedom of thought, it also made close reference to the ISA which I’ve been researching about of late. This one was directed by Nam Ron and I was waiting for that X element from him in this one because of his previous work. Just as when I was beginning to feel disappointed, that element came in towards the end of the play. And it came well.

*Part 2 of the ISA series that I’m writing for RA will be out this coming Monday.

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I’ve always insisted on not saying things like, ‘for Malaysian standards, this was good.’ But that is indeed the case sometimes. That description is apt no matter how politically correct you wish to appear. Worse still if you grew up hearing and watching West End musicals and then you start watching local productions that is at most, considered to be post infant or perhaps pre adolescence.

What this one did was that, it would take a song from a famous musical or movie, alter the lyrics and theme to suit the Malaysian context. It did not help that my ears could not catch on as fast as Jennie’s in spotting the origins of half of the parodies they were doing.

But to break it down simply, at least 60% of the songs performed was brilliant. Definitely.

Some were off simply I believe because of two things. Some songs needed more,

• movement and/or people on stage. This was especially so with the somewhat barren stage they had. To compensate with more props and decor would be an alternative, but an expensive one indeed as the context (although all Malaysian), was a revolving one.
• singing by more people. Not just the one or three that they had on stage. But perhaps the whole cast if need be, for the sake of ‘delivering’ the song. Some just needed that grand effect with stronger melody.

That said, the parody of Tomorrow (from Annie The Musical) regarding how a Dato’ Hu must wait till ‘tomorrow’ for his cheque, perfomed solo by Mia Palencia was simply super.

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Martin khor’s climate trade import duties

Thus making them, collectively achieving a pseudo critical analytical consensus derived from a council that merely groped the elephant in the dark. Separately declaring the trunk, tusk, tail, torso as the negative, blindly thinking it all as one and the same thing.

*This post was originally written on Tuesday 27th August. Part of this post was published on RA 7 days ago with the title ‘Elephant Analysis’.

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Last Monday over breakfast I read a rather simple yet good (to my lowly standards) piece written by Martin Khor. No. Not Michael Kors. Khor is an economist and Director of the Third World Network. He has been critical regarding the negative effects of globalisation for third world countries. Excerpt from ‘Climate to be used for trade protection’,

He (Sarkozy) indicated that when France takes over the presidency of the European Union (it did so in July), he would advocate the use of higher duties on imports that contain higher carbon content.

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This can be taken to mean that if the amount of carbon dioxide emissions exceeds a certain level in producing one unit of a product, then extra duties may be placed on that product, thus raising its cost and discouraging imports.

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Developing countries, consider this unfair. Firstly, developed countries have historically been responsible for much of the carbon dioxide that has built up in the atmosphere, giving rise to global warming. There were then no punitive measures against their high emission-products.

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Secondly, they have superior technology and can produce goods with lower carbon content than developing countries and thirdly, they have so far refused to transfer these technologies to developing countries at affordable prices.

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The use of trade measures is thus unfair to developing countries. They are also against the spirit and principle of the UN Framework Convention on Climate Change (UNFCCC), which mandate that developed countries must finance the costs of actions dealing with climate change in developing countries and that discriminatory trade measures should not be taken.

A few things you can note from the piece above.

Capitalism, democracy, globalisation or a combination of either could in fact makes the rich richer and the poor poorer. While I agree that (the overrated) democracy is the best system we have available, that does not make it great. The excerpt above is a reflection of one of the many loopholes that democracy offers.

In fact, present day no country has adopted the doctrine of democracy wholly a 100%.

Being in the generation that went to school in the post-cold war era being told that democracy is great, and communism is shite (without ever being told what either of them actually works or stand for), I’ve come to note that due to peer pressure most have a tendency to want to appear to be politically correct and politically conscious. Thus making them, collectively achieving a pseudo critical analytical consensus derived from a council that merely groped the elephant in the dark. Separately declaring the trunk, tusk, tail, torso as the negative, blindly thinking it all as one and the same thing.

Going back to the article, I suppose to some extent, this is somewhat in congruent with Marx’s view that capitalism breeds war. If we share the same foresight, that is.

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*The writer is not an economist, nor a graduate in economics. Or political science. His view is, the elephant tastes like chicken.

Ancient indian yogic text

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It is better to live your own destiny imperfectly than to live an imitation of somebody else’s life with perfection.

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- Bhagavad Gita

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Lagi lah

It’s back!!! With the same fun filled song & dance numbers, all new cast, and an all new venue, The Actors Studio with the support of KLPAC brings you Broadway Parodies Lagi Lah! Since everyone had so much fun last year, we’re bringing it back just for you. This time round we’re taking

*All text & photos are from the Broadway Parodies Lah blog/site. Note that the photos below were not taken from Pentas 1, but from the foyer of KL Pac where they had the press conference. Click here to read the writeup on them from The Star.

*Besides what is already clearly on the poster, below are other information that might be of your interest. :)

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It’s back!!! With the same fun filled song & dance numbers, all new cast, and an all new venue, The Actors Studio with the support of KLPAC brings you Broadway Parodies Lagi Lah! Since everyone had so much fun last year, we’re bringing it back just for you. This time round we’re taking it on a nation wide tour as well! Ipoh, Penang, Melaka, JB, Kuching, KK…here we come!

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With sikit pinjam konsep from the Western “Forbidden Broadway” spoof show, The Actors Studio proudly presents “Broadway Parodies Lah!”, a rich rojak of slices of Malaysian life garnished with a big splash of humour and served up on a platter of great songs. A Malaysian feast of spoofs that is sure to fill your stomachs with laughter. Somenew songs oso got!

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Written & Facilitated by : Brian McIntyre
Choregraphed by : Farah Dato’ Sulaiman
Production Designer : Edna Tan
Artistic Director : Joe Hasham
Executive Producer : Dato’ Faridah Merican

Featuring :
Mia Palencia (songwriter with fabulous jazz feel – M The Opera)
Tria (the new Judy Garland of Malaysia! M The Opera, Audition reality TV)
Zeqhty Nattrah (dancer and stage performer – PGL, P Ramlee the Musical)
Tabitha Kong (Sparkling voice! Tunku, Drunk Before Dawn, Pygmalion the Musical)
Janet Lee (theatre veteran, classically trained – Magic Flute, Merry Widow, Tosca)
Sarah Low (new talent singer and dancer – Rose Rose I Love You)
Shahila Johan (terrific young talent – major in classical voice ASWARA, KL Young Singers)
Glamorique Arshad (veteran performer – Mikado, Stand and Deliver, Jalan Impian, Tunku)
Ho Soon Yoon (actor, singer in Broken Bridges, Tunku, conductor [In The Mood] )
Sham Sunder Binwani (veteran stage and comedy actor – Aladdin)
Keith Yew (dancer, singer – La Cinturita, Sing Sing Sing!)

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Dare to bare

Written by Miss Not Ascertainable. She writes for RA, about fashion, style & sorts, every Thursday. The comments section for this column is open. You may leave a comment in the field below. -

I’m a very simple person, in thought and actions. In my eyes anyways.

My dad and I were on our way out to run some errands today. And when I walked down the stairs (in my eyes, acceptably dressed, showered and smelling pretty good!), my beloved father took one look at me and said,

Darling, why don’t you put some make-up on?

….hold on… WHAT? My dad? The one who wears polos from 1984 with pride because it has lasted him years !!?!!

I am in my mid twenties and I don’t wear make-up.
I do – ish, on a night out, I wear some eye liner and mascara, maybe some blusher if it’s a really special occasion. I don’t venture into the unknown world of daily make- up wearing, the whole concealer, foundation, powder, eyeliner, mascara, eye shadow, blusher, and lipstick ( is there more?)

My friends, however, feel naked without it, or in their own words, ‘I feel like I haven’t got a face on.’

Is it time for me to move with the times?

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*Written by Miss Not Ascertainable. She writes for RA, about fashion, style & sorts, every Thursday. The comments section for this column is open. You may leave a comment in the field below.

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Wheel basketball life

It happened years ago. It has stuck with me since, and I find it awfully relevant to me today in relation to where I am, as well as in observing my friends, peers and contemporaries.

I overheard something said from one notable player to another, in the middle of the court, between passes, during a casual pickup game of basketball in campus. Both of them represented the varsity and state team. Both had the same name. Except one was modest chap, and the other, otherwise. That said, I think what was said encapsulates all sorts of characters and facades.

Kita ni hidup macam roda. Ada masa kita dekat atas, ada masa kita dekat bawah.

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(This life is like a wheel. There are times when we are up there, there are times when we are down there.)

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Emergency: A Multi-Arts Festival!

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Five Arts Centre is proud to present,

Emergency: A Multi-Arts Festival!

The Annexe Gallery, Central Market 11am-7pm
Thursday October 16 – Sunday, October 26
Jalan Hang Kasturi Kuala Lumpur, Malaysia
60377254858 fivearts@tm.net.my
Its page on Facebook + Official Site

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Sebuah Darurat Dua Minggu is a multi-arts event. The project examines and re-presents ideas, narratives, and images from the first Malayan Emergency, from 1948 to 1960.

The festival follows the on-going and exciting emergence of documentary arts practices in Malaysia which is a curious blend of re-examination and re-presentation of historical data, events and ideology by contemporary artists.

Project participants include many of Malaysians’ dynamic creative talent such as Amir Muhammad, Azmyl Yunor, chi too, Chu Chu Yuan, Elaine Pedley, Fahmi Fadzil, Fahmi Reza, Grey Yeoh, Hardesh Singh, Hari Azizan, Jerome Kugan, Leow Puay Tin, Lim Chung Wei, Marion D’Cruz, Mark Teh, Mislina Mustaffa, Norman Teh, Wong Tay Sy, Yee I-Lann and many more.

The project will comprise theatre performances, film screenings, an exhibition, plus an exciting roll of different interactive presentations daily. All events are free except for the theatrical performances.

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EMERGENCY FESTIVAL!

Events schedule below. Subject to change.
Exact dates and times for specific events TBC.

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12 YEARS

Exhibition – Thu 16 to Sun 26 Oct 2008, 11am to 5pm
Curated by Wong Tay Sy, Norman Teh and Grey Yeoh

“[T]he victor writes the history while the loser fades away….” Is that always true? Challenging this notion along with new ways of presenting history without being preachy, one-sided and linear, curators Wong Tay Sy, Grey Yeoh and Norman Teh explore the Malayan Emergency. The exhibition focuses on contextualising visual materials from the Malayan Emergency within our contemporary framework and offers an alternative and interactive approach to presenting history. A key element of this exhibition is the demonstration of the effect of the “presentation” of history. This effect of documentation is viewed from the perspective of the contemporary project collaborators and the interpretation of historical materials from the Emergency era.

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Operasi Oktober

Thu 16 to Sun 19 Oct 2008, 8.30pm
Theatre Performance – Directed by Fahmi Fadzil

Fresh from winning “Best Group Performance” at the 6th Boh Cameronian Arts Awards, Fahmi Fadzil directs an improvised tale where “over a series of encounters, four people meet in anticipation of a revolution, but they don’t know that it has already begun.”

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New Village People

Thu 21 to Sun 26 Oct 2008, 8.30pm
Theatre Performance – Directed by Hari Azizan

Hari Azizan, director of the much publicised “Vagina Monologues” brings us a story where “the lives of two good friends change forever when they are forced to leave everything behind by the British army and start afresh in a New Village during the Malayan Emergency.”

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Revolusi ‘48

Mon 20 to Sun 26 Oct 2008, 8.30pm
Film Screening -Directed by Fahmi Reza

The sequel to Fahmi Reza’s highly successful “Sepuluh Tahun Sebelum Merdeka”, “Revolusi ‘48″ follows the largely unknown armed revolution for national liberation launched against British colonial rule in Malaya 60 years ago. This documentary tells the untold story of those who struggled in the anti-colonial guerilla war of independence, during the Malayan Revolution of 1948.

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Presentations, performance & participatory events

Re: Search Re: Source

Thu 16 to Sun 26 Oct 2008, event time varies
Curated by Mark Teh

Mark Teh continues his dissection of historical events (”Baling (membaling)”; “Dua, Tiga Dalang Berlari”) with an investigation and re-presentation of themes, issues and stories from the Malayan Emergency period. With participation from some of Malaysia’s foremost creative personalities, history is presented as an activity that can be creative and participatory.

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Please refer to the forthcoming festival guide for time and date of presentations. These presentations include:

• Filmmaker Imri Nasution will examines the parallel developments in studio-era Malay film industry and the Emergency.
• Writer-filmmaker Amir Muhammad will provide alternative interpretations of films made during the Emergency.
• Visual artist Chu Chu Yuan of 1948 Artspace will talk about the “Entry Points” art projects in the New Village community of Seri Kembangan, Serdang.
• Visual artist Yee I-Lann will provide a fascinating perspective on the geography and history of Sabah before, during and after the Emergency.
• Filmmaker-designer Fahmi Reza will present a 1-hour performance-lecture, every day throughout the Emergency Festival!
• Dancer-choreographers Marion D’Cruz & Elaine Pedley will create a lecture-demonstration of Communist propaganda dances.
• Playwright Leow Puay Tin will curate and perform a selection of texts about or from the year of Merdeka.
• Singer-songwriter Azmyl Yunor will rearrange songs from the Emergency era, as well as create new songs inspired by this time.
• Poet-singer-songwriter Jerome Kugan will DJ two nights of “Disko Darurat”!
• Composer-new media activist Hardesh Singh will create a sound installation using music, sounds & speeches collected from the Emergency era.

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