Sanif Olek & Sayang Disayang

The Singapore Film Commission has nominated Sanif Olek’s Sayang Disayang for consideration in the Foreign Language category of the 2015 Academy Awards (Oscars). Today, theSun published  my interview with Singapore based film maker Sanif Olek who talks about his film. 

Headline : Malay Movie For Oscars 
By Bissme S

Singapore filmmaker Sanif Olek is on cloud nine. The Singapore Film Commission has recently nominated his first feature film, Sayang Disayang, for next year’s Academy Awards’ consideration in the Foreign Language category. This Malay language film, which highlights various Malay cultural nuances, centres on a bitter, old man named Pak Harun, who dislikes his live-in nurse, Murni. But Murni goes all out to win the heart of the old man, including cooking his favourite dish, sambal goreng, the same way his late wife used to cook it. Playing Pak Harun is well-known Malaysian actordirector- producer-writerand- sports commentator Datuk Rahim Razali, 75, while acclaimed Singaporean stage actress-director-and-educator Aidli Mosbit plays Murni.
Sanif, who has won several awards for his television works in Singapore, started working on Sayang Disayang in 2009 but only completes the film last year due to a lack of funding. The 44-year-old filmmaker shares his thoughts on his first feature film effort.

*Have Singaporeans seen the film and what was their reaction?

The film premiered during the 2014 Southeast Asian Film Festival in singapore in May. Subsequently, it has a limited, general release during [Singapore’s] national day period in August. I’m pleased to say that the screenings were well attended by Singaporeans of all races. For many, it was an eye opener into the various Malay cultural nuances beyond the superficial traditional dances and songs that many are familiar with at typical Malay cultural showcases and exhibitions.

*Why do you think the Commission picked a Malay film like yours to represent Singapore in the Oscars?

I find Singaporeans are maturing and willing to embrace the diverse voices that make up the Singapore narrative. I recall at one point, not too long ago, that Singapore’s identity was regularly and only represented by the voice of the majority group. As a result, many non-Asians often get the impression that Singapore is not from Southeast Asia.There are many ethnicities that make up Singapore and now, these various ethnicities want their voices to be heard and film is one of the outlets where this can happen.
Technically, Singapore is located at the heart of the Nusantara (Malay Archipelago) and it would be foolish not to ‘exploit’ what this diverse region has to offer.
My desire in the film was to showcase the rich cultural heritage that the Nusantara has to offer, [and] not just on a superficial level.I also notice that many Malay language films from this region are national-centric and only focus on their respective markets [while] Chinese and Indian films do not necessarily make this distinction.
It’s [also] very hard to name a Nusantara cinematic icon that can stand among the Chinese and Indian cinematic icons, who are familiar to international cinema audiences, such as Bruce Lee, Gong Li, Maggie Cheung, Tony Leung, Amitabh Bachchan, Aishwarya Rai, Rajinikanth, etc.”

*Malay food plays a prominent role in your film.

I have always been fascinated by how the dishes from the Nusantara are traditionally prepared. The preparation for many of these signature dishes – sambal belacan, assam pedas, sambal goreng – are passed down from one generation to the next, usually from mothers to daughters. No two women are similar, therefore, their cooking process depends on their respective personal traits and instincts. As result, no two assam pedas dishes have the same flavour even though these dishes mighthave the same ingredients.
There is an old Malay saying that states the the kitchen is the root to the family tree and being able to feed the household keeps the family intact.

*Why a Malaysian for the lead?

When I was writing this film, I already had Rahim as the main protagonist. I have watched many of his films and I am amazed by his charisma. I know he is very selective about his film projects. When he agreed to act in my debut film, it really boosted my morale as a filmmaker.

*Who are the directors you admire and why?

Zhang Yimou and Chen Kaige for their great narrative vision when it comes to cinematic mise-en-scene’ [visual theme]. When I was in film school, I had a hard time  differentiating between television and cinema. I remembered watching Raise the Red Lantern and I had a clear idea what this rather elusive cinematic mise-enscene
concept is all about.
Lars Hallstrom, for his intelligent treatment of the melodrama in his films, and Jean-Pierre Jeunet, for the way he craft his subjects by the actor’s physical form and further exploiting the hyper realism through camera work and wardrobe.
Luc Besson, for his skill of mixing popcorn and art. His films can appeal to the lowest denominator yet remain stylish and sophisticated.
Also Terence Malick as he can sustain a narrative without dialogue with just his gorgeous visuals.

The film maker Sanif Olek 

A scene from Sayang Disayang

Rahim Razali plays bitter widower in Sayang Disayang

Isa Kamari

This is an interesting interview where it has generated various kind of reaction. Some like it and some don't. I find the award winning novelist Isa Kamari has spoken from his heart. Isa Kamari is the second novelist I have interviewed in Singapore. The first one being Alfian Saat. Isa Kamari interview was published in theSun on Oct 7


Headline : Humanistic Islam


Singaporean novelist Isa Kamari has been conferred the S.E.A. Write Award, the Cultural Medallion -- Singapore’s highest award for art -- and the Anugerah Tun Seri Lanang. He tells BISSME S. that religion comes before his art.


Have you faced challenges writing in Malay in Singapore?


There are no major challenges faced by writers in Singapore who write in Malay. We enjoy freedom and the support of the government in our literary pursuits in terms of publishing, translation and project grants. There are also literary awards such as the Golden Point Award and Singapore Literature Prize offered for outstanding literary work in the four official languages – English, Malay, Chinese and Tamil.


Why don’t you write in English, which will give you a bigger audience around the world?


I think in Malay. It is only natural and more impactful if I write in Malay. English is my working language. Every language has its own cultural codes and historical references. Of course, I would want a bigger audience. As a stepping stone, some of my novels and poetry have been translated into English. Three translated novels were recently published; two more novels are in the pipeline. I am also trying to get my work translated into other languages and published in other countries besides Singapore, Malaysia and Indonesia.


Why do you prominently feature Islam in your work?


Islam is an essential part of me; so it is only natural that I write about it. However, I prefer to approach Islam from humanistic perspectives. I write about experiencing Islam as human beings with limitations, dreams and aspirations, confronted with the realities of the modern world.


Do you consider yourself a Muslim artist, focusing only on the subject of Islam


I am a Muslim first, an artist second. Being creative is my way of worshipping God. Islam is a way of life. So indirectly, I am writing about life. I have no qualms about not being an artist, as long as I am at peace with God and myself.


Your novel Tawassul portrays the cloning of Prophet Muhammad and has been considered controversial. Some have accused you of blasphemy.


I guess such reactions can be expected since my writing challenges established norms. I have chosen to push the out-of-bounds markers to provoke readers into thinking deeper about challenges we all face today which affect our beliefs and value systems.
With regard to Tawassul, there are two camps. Some readers accuse me of desecrating the Prophet. A particular reader goes to the extent of accusing me of creating a false Prophet. The other camp of readers is of the opinion that I have written an avant garde piece of Islamic literature that addresses pertinent issues faced by modern Islamic societies.
Another novel which has been perceived to be controversial is Kiswah which some conservative readers feel is pornography. Others think I have written a piece of literature that is fresh and touching. Kiswah attempts to bridge the duality of sexuality and spirituality.
My latest novel Duka Tuan Bertakhta, published this year, might be perceived as controversial because I did not mince my words in describing the stupidity and follies of the Malay Sultanate in bygone years.


Tell us more about Duka Tuan Bertakhta. What motivated you to write it?


I have always wanted to write “the Singapore story”. What better way than to write about its founding in 1819. In Duka Tuan Bertakhta, I offer an alternative history of the founding of the island by Stamford Raffles. He has always been portrayed as a hero in the official version of Singapore’s history, but I discovered that he was really a scoundrel who had blood on his hands.
The novel also relates how the British took advantage of the conflict between the families of the Sultan of Johor and the Yamtuan Muda of Riau, and duped the greedy and weak Sultan Hussein and Temenggong Abdul Rahman into “selling” Singapore to the British East India Company, which took full control of the island in 1823.
I was disappointed when a similar situation arose in 1874 when the British took advantage of the fight between three parties for the throne in Perak and Raja Abdullah sought the help of the British to establish him as the Sultan. The Treaty of Pangkor was signed and became the model for the British to subsequently “rule” the Malay lands by proxy of the Sultans.
This novel is pertinent because recently the issue of whether Malaysia was ever colonised by the British was brought up. I smiled when I read about it. You have to read Duka Tuan Bertakhta to appreciate how Singapore became the keystone and launching ground for the colonial ambitions of the British in the Malay lands.


Have you ever gotten into trouble for writing on these issues?


So far, I have not been sanctioned by anyone. I hope that I would not have to face such troubles in the future. I am just interested in telling the truth.


Have you alienated anyone with your writings, especially on religious issues?


You can’t please everyone. People inadvertently do get hurt or disagree strongly with some of my views, but I never seek to break any bond of friendship. I welcome healthy conflict as long as it remains civil and is based on respect and tolerance.


What is the greatest misconception people have about Islam and Muslims around the world?


Islam is more feared than respected by many. The fear comes from not understanding that it is a peaceful, tolerant and inclusive religion. The fear is compounded by terrorism by fundamentalists such as Al Qaeda and Jemaah Islamiyah. However some of the comments and criticisms directed at Muslims deserve to be considered squarely and earnestly by Muslims, in particular the resistance of Muslim communities to change. A lot of work has to be done within Islam to facilitate the willingness of Muslims to be adaptable and embrace changes which do not go against the teachings of Islam.


What can be done to change this unflattering image of Islam so it would not be feared and seen as intolerant?


The best way is to lead by example. Muslims have to come out and portray Islam as a religion of peace, love and understanding. Efforts must be made by them to bridge the understanding between different faiths. Muslims must lead dignified, just and compassionate lives so that the beauty and glory of Islam are manifested in everyday living for others to appreciate and emulate.


Why do you say Muslim communities are resistant to change?


I think it has to do with the way in which history is interpreted by most Muslims. It is true that we can learn from the past. But it is equally important that we have a firm grounding of the present and a vision for the future. We should not copy everything from the past but be able to differentiate between principles and forms in religion. To remain relevant to the present and contribute to advancement in civilisation of the future, we must be willing and brave to rethink and reformulate some of the forms while remaining faithful and true to the principles in religion.


What is your opinion of the Lina Joy case (where a Muslim converted to Christianity)?


I did not follow the case closely, but from the little that I know, I have this to say. As much as I would wish that she remains a Muslim, I would respect her choice to embrace any faith she desires. It is meaningless to enforce a legal ruling to keep her within the Islamic faith if she is determined to denounce Islam either secretly or openly. My position is based on surah Al Kafirun (The Disbelievers) in the Quran.


Please explain surah Al Kafirun?


Let me quote the verses:
“Disbelievers!
I do not worship what you worship,
nor do you worship what I worship.
I shall never worship what you worship,
neither will you worship what I worship.
You have your own religion and I have mine.”


Should Muslims be allowed to convert to any religion they want?


Choice of one’s own religion is a fundamental right of every human being. There is no compulsion in religion. In as much as I would welcome the conversion of others to Islam, what right do I have to prevent a Muslim from converting to another faith? Of course as a matter of concern, I would offer counsel to the person who wants to leave Islam, but the final decision entirely rests with that person. Every human being has to answer to God of his or her own accord. I would have done my part if I’d tried to convince that person to remain within the fold of Islam.


What is your stand on freedom of expression – about books that mock religion and God?


Everyone has the right to express his thoughts and feelings freely, as long as it does not infringe on the rights and freedom of others. Books that mock religion and God would inevitably infringe on the rights and freedom of the adherents of the religion and should be removed from circulation for the public good.


There is always talk that Singapore Malays face some form of discrimination.



Discrimination happens everywhere. I prefer to regard is as a challenge which has to be overcome. Some of my work addresses these challenges squarely.


In what way?


In my novels, I try to break stereotypes and prejudices that result in discrimination through the creation of characters which are caught in challenging and conflicting situations. For example in Satu Bumi, my character Tan Swee Mei was adopted by a Malay family during the Japanese Occupation and fell in love with a Malay politician. She who had changed her name to Aminah was later killed by a group of Chinese during the racial riots in 1963 when they found out that she had become “Malay”.
In Atas Nama Cinta (Nadra), a Dutch girl Maria Hertogh was adopted and brought up as a Muslim by Aminah, a Malay businesswoman in Tjimahi and Kemaman. Maria’s biological parents wanted her back and a legal battle ensued in the colonial courts of Singapore. The tensions that arose resulted in racial riots in December 1950. These two novels in particular dealt openly with the issues of prejudice and discrimination. The purpose is to invite cross-cultural dialogue between readers.


What is the philosophy and message in your work?


My philosophy and messages evolve through my writing career. You have to read my work to trace the evolution. However, I have always believed that life is essentially spiritual and writers must be sincere and uphold truth regardless of the consequences.


How do you continue to sharpen your writing skills?


I don’t drive. I take public transport to ponder on issues and observe people. I also love to read and travel. To me, writing is not just about having the skill to put words together, but the conviction and courage to delve deeper into life through the exploration of thoughts, and coming to terms with emotions that might evolve, and sharing these with others in a beautiful and convincing way.


I understand you sing.


That happened by accident. A friend wrote some songs based on my poetry. We approached another friend and formed a band called Sirrfillsirr (Secrets within Secrets) in 2004. We have produced two albums so far: Cinta Arafah and Kurnia. The songs are mainly spiritual in nature. We have a niche following in Malaysia and Singapore. Our concerts and gigs are generally well received.


Famous writers from the East such as Haruki Murakami (Japan), Rabindranath Tagore (India) and Zhou Weihui (China) had their work translated into English and gained international acclaim. Why is the same not the case with writers who write in Malay?


Honestly, I think we have not reached such a calibre. We have good writers such as A. Samad Said, Anwar Ridhwan, Masuri S. N., Suratman Markasan, just to name a few. But we have not yet produced great writers. And the quality of English translation of some of the work of these writers leaves much to be desired too.


Some believe the themes Malay novelists adopt are very Malay culture-orientated, which an international audience cannot relate to.


Yes, that is partly true. It is not so much in the subject of the writing but the lack of depth and breadth of the work that causes the lack of interest. I believe there are many readers around the world who would want to know us better. It is just that we have not produced work appealing enough to capture their hearts and imagination.


What can we do to enable Malay writing to gain international appeal?


We simply need to produce great works. No amount of promotion or advertisement will work if in the first place we do not have great works to share with the world.


What is the biggest change you would like to see in Singapore?


The change is already taking place slowly. People are more open and willing to voice their opinions and express themselves.


Three of your novels have been translated into English. How do you overcome the challenges in translation especially in maintaining the essence of the work?


The translator of my novels into English is my wife, Dr Sukmawati Sirat, who knows me better than anyone else. We would discuss the translation, but I would let her have the final say before sending it to the publisher. (Isa’s novels which are available in English are Satu Bumi (One Earth), Tawassul (Intercession) and Atas Nama Cinta (Nadra).


Describe your childhood years? When did you begin writing? Which writers inspired you?


It was very tactile in nature. I lived in a kampung and have wonderful memories of catching spiders, playing in drains, stealing chickens and climbing fruit trees. I have related those memories in my novel Memeluk Gerhana. I started writing when I was in school, and published my first poem in Berita Minggu in 1979 when I was 19. I have not stopped writing since. In my younger days, I read the work of W.S. Rendra, Pramoedya Ananta Toer, Anwar Ridhwan, Latiff Mohidin, Rabindranath Tagore, Rumi and more. There wasn’t one particular writer who inspired me. I guess all of them influenced me in their own special ways.


You are an architecture manager with the Land Transport Authority Singapore. How do you balance your job and writing? Will you write full-time?


Architecture is my profession. Writing is my passion. I spend most of the day at work. I write mostly at night when everyone is asleep. Once, my chief architect at the Housing Development Board, my first place of work, told me that the secret to good art is being focused during its production. I have taken his advice and tried to be productive and distinctive in my art by focusing on it whenever I could, although I am tied up with a demanding day job. I wish I could retire from my day job and devote my time fully to writing, but at the moment I have responsibilities and commitments.


What is your opinion of the development of Bahasa Melayu?


A language is alive when the community uses it. A language is also dynamic as it goes through transformation in accordance with the demands of the day. It also has different facets. As a cultural language, Bahasa Melayu is slowly losing its significance. There are fewer Malays who can articulate and speak their thoughts and feelings eloquently in proper Bahasa Melayu.
As a working language, it is also losing its importance because Malay is not the language of knowledge, science and technology in this region or anywhere else. As a common language, it is still alive, although it has been adulterated by the mixing with other languages especially English.


What about Malay literature? Do you think there are fewer people reading serious Malay literature compared to Malay pop fiction?


I don’t believe in the division between serious literature and pop fiction. It is an artificial segregation created by academics. In my opinion there is only good and bad writing. The current situation in which the so-called pop fiction dominates the scene is symptomatic of the banal consumerism prevalent in our age. People tend not to think deeply and appreciate the finer aspects of life any more. It is a sad and sorry state which needs to be reversed if we want to lead more meaningful and fulfilling lives.


What changes would you like to see in Malay literature?


To see a Malay Nobel Prize winner in Literature in the next 20 years. I think it is possible.


Some people believe writers should change the world by having moral messages in their work.


We live in a globalised world. Writers play an important role in conveying messages of love and peace, just like everyone else who cares about mankind and our Earth.


What advice would you give young writers?


Be brave and honest in your writing. In the early phases of your career, it is only natural that you emulate other successful writers. But as you mature, you should listen more to your own inner voice and not be afraid to explore unchartered territory.

Alfian Saat: I Love My Country, I Hate My Country

Today I am highlighting an interview that has appeared in theSun recently (July 1, 2010). The person in the spotlight is Alfian Saat, an award winning poet and playwright from Singapore. He talks about his relationship with his own country. What I like best about the article is the headline : I love My Country I Hate My Country. But the headline was not my idea. The full credit should go the editorial team of the sun particularly my sub editor Ravi. Any way enough talking! Now let me present you the Alfian Saat's interview

Headline : I Love My Country, I Hate My Country
Award-winning Singaporean playwright Alfian Sa’at talks to BISSME S about writing and his love-hate relationship with his homeland.

What are some of the challenges you face as a writer in Singapore?

Where do I start? Some of the challenges that we face are universal. It is difficult to make a living and a career out of writing and publishing in Singapore. For a country of 4.5 million people, I believe that there are fewer than 10% who are active readers. From that percentage, even fewer pick up and read works written locally. Readership is a challenge. We don’t have a reading culture. If you look at the bestseller lists, they are works, in a sense, already successfully and globally marketed, like Harry Potter. A lot of self-help books reach the bestseller list. That happens to be the reading diet of the Singapore population.

Why is this the reading pattern?

I think it comes from this idea that any kind of reading should be sort of instrumentalist, which means that you don’t read for pleasure alone. You read for some kind of edification. You read for a purpose, like improving your life. I find self-help books strange and presumptuous, trading on the idea that you can actually prescribe certain things for every single individual.
I think we are a complex people and I believe in us as individuals. I don’t think one self-help book is going to have the one size fits all solution. I must say in terms of theatre, it is a little better because you are not competing with international works. We are able to make inroads when it comes to theatre.
Of course (Singapore’s) film-makers and writers who are producing literature are facing stiff competition from Hollywood and pulp fiction paperbacks from other parts of the world. We are also competing against books by people who won the Booker prize or who are Nobel laureates. There is an attitude among Singapore readers who will say: ‘You have not won some international award, why should I read you?’

Are you not happy as a Singaporean?

Yes (we laugh). But I have to qualify this. It is unhappiness, an agitation, which I think is a source of a lot of creative energy. It is not a paralysing kind of unhappiness. It is an unhappiness, I think, that compels me to try to figure out certain questions. What it means to be a Singaporean … nationhood, belonging, ethnicity and identity. I hope it is not just something that ends up being a kind of involuted, armchair critic kind of complaining. I am, of course, unhappy.
Picking up a copy of Straits Times in Singapore can ruin your morning. You wonder whether they really had to report on the ministerial speech at a community centre.
It is just rehashing the same thing you have heard for the last four decades. It is so pro-government. The Opposition is always portrayed in an unflattering light.
But it doesn’t take much to read between the lines. Obviously, I am not happy with the situation. I feel as if I am not getting real access to the real information.

From your writings, one feels you faced some discrimination as a Singapore Malay?

I have been a beneficiary of the system. It is not as if I am a Malay, I am denied, like say, access to subsidised education. It has not happened to me.
But I don’t think writing is solely about your own personal grievances. I have this platform where I can share certain ideas and information. There is a certain responsibility to speak up on behalf of other people who have been discriminated against because of their ethnicity. I have heard a lot about working class Malays facing discrimination. I believe I should write about all these incidents.

Are Singapore’s Malays being discriminated against?

Singapore likes to compare itself to Malaysia, using Malaysia as a negative example. Apparently, the twin pillars of Singapore’s ideology are meritocracy and multiracialism.
Singapore’s ideology sounds good on paper and in principle. But what they ignore is that not all races are in equal proportion in society. There is still a dominant Chinese majority in Singapore. When you are the majority, you form the bulk of your market. Your images in the media are everywhere, etc. So you need to do something a little extra for the minorities who are not going to have this kind of resources simply because they form a smaller number.
But I think a lot of people in Singapore especially the Chinese don’t realise what they are enjoying is majority privilege. They think that just because everything is supposedly meritocratic, there is no such thing as market forces that will favour the majority. Why don’t I see Malay faces in magazines and advertisements? The reason is simple. Because you want to sell to the majority. The buyers want to see faces they can identify with. The question is what should the state do to prevent minorities from feeling alienated by all these market forces?

Can you cite an example of blatant discrimination?

There is still discrimination in the army. A Malay would not be assigned to a sensitive position in the army. They will not get to deal with areas like military intelligence and handle more sophisticated weapons. It has been happening for so long. But the thing that makes me unhappy is the government doesn’t admit it.
When these questions are raised, they keep insisting the army is meritocratic. It isn’t. I’d rather have a government that comes out in the open and says: ‘We do not recruit Malays into higher ranks because of security issues ... because we think their loyalty might be torn between Singapore and neighbouring countries.’ Only when this is out in the open, perhaps then we could have some healthy discussions.
But if they do this, of course this would invite a response from neighbouring countries. I believe that none of the neighbouring countries want to attack Singapore. It has no strategic depth. No natural resources. The rhetoric in Singapore is that other countries are ‘envious of our success’. I don’t think there is envy. But there is pity. Because here is a country with such a delusional sense of self-importance that it devotes so much of its budget to defence, and wastes productive years of the lives of its adult males through mandatory conscription.

But if you were the defence minister would you put Malays in higher positions in the army?

Yes, I would. Even the Israeli army recruits Arabs. In terms of social integration, it is absolutely important we do not mistrust any members of our society.
I believe their rationale is the Malays still have an attachment to Malaysia and we need to wait for several years until they feel fully Singaporean. But my rationale is: How can we feel fully Singaporean if we are not integrated into the army and made to feel Singaporean? Just because you are born in some Singapore hospital doesn’t make you feel Singaporean.
You have to go through a certain rite of passage and citizenship that makes you feel for your country. It must make you say: ‘I will fight for the army because it happens to be an army that trusted me to fight for my country.’ You must have confidence that a citizen will execute his duty as a citizen. Malaysia has had non-bumi generals for so long. Singapore never had a Malay general since independence in 1965. Only last year we had an Indian-Muslim colonel promoted to the rank of brigadier-general. It has taken them so long to appoint a Muslim general.

How do non-Malays in Singapore react to your statements?

I have more non-Malay friends than Malay friends in Singapore. I always put my views in an honest way but never in an aggressive way that will make them feel offended and defensive. But for some people in Singapore, even raising such issues puts them on the defensive.

Some consider you are ultra Malay. What is your comment?

To be an ultra Malay, I have to speak Malay well and be rooted in Malayness ... wearing songkok, samping, waving the keris (he laughs). But I don’t. I speak to my parents in Malay. But my first language is English. I even dream in English. So it is hard to be a racial chauvinist when you can’t even speak the language well. When I see a lot of this ultra Malay gestures in Malaysia, I feel nauseated because they are the same as the ultra Chinese in Singapore. Someone raising a keris is the same as a Chinese talking about the superiority of Chinese culture and their 5,000 years of civilisation.

Have you gotten into trouble with the law over your views?

I have never broken any law. But I also know there is the ISA where you do not need any evidence to catch you. I have not been detained under the ISA. But in Singapore, the process of making art comes under so many regulations. There are so many guidelines we (the artists) have to subscribe too. I had issues with censorship.

Can you give some examples?

In one of my plays, I wanted to include a scene where in the future, Malaysia decides to cut the water supply to Singapore. So some Singaporeans travel to the North Pole to transport back some icebergs. The scene was considered sensitive and we had to pull it out.
In 2001, in my poetry collection, History of Amnesia, there was a bit where I included poems on ISA detainee Chia Thye Poh. He had spent 32 years in detention under the ISA. I had a hard time getting a publishing grant (from the government). In the end, my application was turned down with no written explanation.

What misconceptions do people have about you?

That I am an angry young man. But when they meet me, they are surprised to find me soft-spoken and mild. They can’t match the writer and the person. I feel I have disappointed them.

Why are you often in Kuala Lumpur?

I am inspired whenever I come to Kuala Lumpur. I feel there are little pocket freedoms which I do not find in Singapore. There is greater freedom of expression in Malaysia. The idea of democracy is better practised here. There are no demos in Singapore. The idea is foreign to Singaporeans. Nobody has any idea what takes place in a demo ... what it feels like to shout a slogan or even hold a placard. Of course there are also repressive measures when it comes to Syariah law here. I do not want a kind of Jais (Jabatan Agama Islam) in Singapore. I do not want moral policing or even vigilantism.

Why do you want to see a demo in Singapore?

I am not saying that we should have one just for the sake of it. But if there is some legitimate grievance, then this avenue should be available. I think it is possible to have demonstrations conducted in an orderly fashion. The Singapore government is not so much afraid of the law and order aspects of allowing a demonstration. They are more afraid of public expressions of unhappiness over their rule.

Many Muslims believe the community needs the moral police. What is your comment?

We should be clear about the reach of the law when it comes to governing behaviour. When you behave in a way that harms others, obviously it is a crime and you need laws to curb it. When you are doing certain things in private and where the principle of harm cannot be demonstrated convincingly, I don’t think those are things that require legislation.

Do you hate your country?

In the foreword to my latest book (Collected Plays One), Ivan Heng (a Singapore theatre director) said that after reading my works, he realised that I hate Singapore as a lover would. Only the ones you love can hurt you. For example, if a waiter serves you late, you get annoyed but forget about it the next day. But if you felt wounded by someone you love, the pain stays for very long.
If I felt affected by some things that are happening in my country, a part of it is because I love Singapore. Of course, not in a facile, flag-waving kind of way. The frustrations come from seeing so much potential going to waste and being neglected.

What made you want to be a writer?

I wish I could tell you that there was a book that transformed my life and I wanted to be a writer. I wish I could tell you that I met this author and we shook hands and I felt something pass through me and I wanted to be writer. But the reality is I just love writing. Writing is one of those few things in life that I am probably good at. Writing is something that keeps me sane, that keeps me balanced, and that keeps me alive.

Alfian is doing a residency at the Instant Café House of Art and Ideas (CHAI) in Kuala Lumpur and will be conducting writing workshops. Those interested can log on to http://blog.instantcafetheatre.com/2010/06/writing-workshops-by-alfian-saat-singapore/)