Today theSun published my interview with Bade Azmi who speaks about his film Sindiket that deals with the controversial topic of human trafficking
Headline: Trafficking In Pain
By Bissme S
Director Bade Azmi daringly tackles the dark and risky topic of human trafficking in his latest film, Sindiket .
“A lot of Malaysian police action movies feature the subject of drugs,” explains the 52-yearold.
“I wanted to be different.”
Opening in cinemas on April 6, the RM3 million movie centres on Inspector Rudy (played by Sharnaaz Ahmad) and Inspector Sabrina (Daphne Iking), who are trying to bring down a crime organisation under the evil Galang (Rashidi Ishak), who specialises in human trafficking.
At the same time, the film depicts what happens to the victims of human trafficking, by following two college girls Amira (Sharifah Amani) and Noreen (Liyana Jasmay), who are kidnapped and lured into prostitution.
Before writing the screenplay, and as a part of his research, Bade (right) watched many documentaries and read a lot of reports on human trafficking.
“From my research, I learned that human trafficking is the second highest crime committed, after drug trafficking, in the world,” he says.
“There is a lot of money to be made from human trafficking, and that motivates many crime organisations to get involved. I would not be surprised that in the future, human trafficking may even [overtake] drug trafficking as the most committed crime.”
While it is a major part of his film’s plot, Bade explained that he wants to dispel the commonly-held view that human trafficking is all about kidnapping young girls and forcing them into prostitution. “Human trafficking is more than just about young girls being duped into prostitution and sex,” he says.
“Sometimes, people of all ages, including children, get kidnapped and killed for their organs. Some are forced [into slave labour].
“Human trafficking is a painful subject. People are forced to do things that they do not like. The way I see it, human trafficking is modern-day slavery.”
Despite tackling such dark themes, Bade has made sure Sindiket has enough fast-paced action scenes to keep the audience entertained.
“I want my audience to be aware of this issue, but I also want them to enjoy the film,” he says.
“I do not want to present a documentary. I have to balance the seriousness of the subject with the entertainment value.”
Bade is more than familiar with what it takes to produce a good action film, having helmed acclaimed productions such as KL Menjerit (2002), Gangster (2005) and Castello (2006).
He says: “Some people have the impression that when you make an action film, you do not
[that] all you need are fast-paced action scenes.
“Let me tell you that they are wrong. Good movies are all about emotions and the only way you can stir emotions in your audience is if you have a strong storyline. If you look back at my movies, you will see that I always have a strong storyline [in them].”
Bade also talked about another one of his films, which is currently showing in cinemas – the historical biopic Kanang Anak Langkau, The Iban Warrior. This film is based on the true story of decorated war hero and Iban warrior Sergeant Kanang Anak Langkau, who bravely fought the communists during the insurgency period from the 1960s to 1980s.
“All my previous films are fiction except for this one,” he says.
“I have to make sure I do not run away from the facts. The last thing I want to do is to bastardise history.”
Bade wishes he could have spoken to Kanang himself as part of research for his movie but unfortunately, the warrior passed away in 2013. Bade instead did the next best thing, and interviewed some of the soldiers who served under Kanang’s command. He even spoke to the late
sergeant’s family members.
“I wanted to get an [idea] of what this man was like,” he says.
Bade even managed to persuade the war hero’s youngest son, Corporal Langgi Anak Kanang – himself a soldier – to play his father in the film. Others in the cast include Adi Putra, Johan Asari, Zach XFactor, Adam Shahz, Livonia Guing and Ruzana Ibrahim.
“This movie is about people who made sacrifices so we have a safer nation,” he says.
“Only when we have a safe nation, we can progress, and we can have development. We must never take our safety and our freedom for granted.”
Yesterday theSun published my interview Deborah Chan who had give up her high paying corporate job to help the needy. Read the full story below
Headline: Giving Up For The Needy
By Bissme S
In 2014 , Deborah Chan and husband Terence Ooi left their high paying corporate jobs and cozy lifestyle in Kuala Lumpur and, together with their one-year-old son Seth, moved to the rural countryside of Battambang in Cambodia.
“My husband and I wanted to take a year off from our jobs and make a commitment to philanthropy,” says Chan, 35, who was in the tourism industry, while her husband, 34, was with an IT company.
Partnering with an international NGO in Cambodia, the couple decided to help build four literacy centres for village children who otherwise would not have a chance to be educated. The project was supposed to be for a year, but the couple extended their stay for another year.
“What we did, did not make sense to a lot of people,” says Chan, who studied for a degree in journalism in Perth, Australia.
“We were making good money and climbing the corproate ladder. We had just become parents. Most people in our shoes would probably stay on with their corporate jobs and enjoy the benefits. But our need to contribute, to make society a better place, was far stronger, so we took the risk to come out from our comfort zone. You do not have to wait until your hair turns grey to do good things.”
Chan, who has over 12 years of experience in community development projects and mission works, knew she would meet resistance from friends and family.
“But in the end, I received more support than resistance,” she says. Adjusting to life in a foreign land – and to their roles as philanthropists – was not easy. They had to go through many lifestyle changes. For starters, they had to use motorbikes and bicycles to get around, instead of the cars they were used to driving.
“Grocery shopping felt like a chore, and I often returned home sticky, sweaty and covered with dust,” she recalls.
There were also issues with the house they rented in Cambodia. It was vacant a year before Chan and her family move in, and as a result, creepy crawlies had taken residence.
“There were giant spiders the size of my palm, and snakes and scorpions in the garden,” she says.
They could not enjoy any privacy in their own home either. They had to open their doors to visiting volunteers from overseas. In the end, they got used to sharing their home with total strangers. “When you open your world to many people, you will have many meaningful friendships and conversations,” she says.
In the end, all their sacrifices were worth it, when they saw their work had brought tremendous joy to the children. Now, Chan and her husband are back in Malaysia, where they were supposed to resume their professional careers. But that did not happen either. They have embarked on yet another philanthropy project. Based in Kota Kinabalu this time, they are working with NGOs to educate and mentor children and youths in rural areas.
Chan explains that most of the children do not live near their school, and they would spend two hours to travel to school, and another two hours to get home. So they decided to raise funds to build a hostel near the schools for the children, who will only return home on weekends.
“For those parents who cannot afford to pay [the hostel fees], we have a barter system with them,” she says.
“Since most of them are farmers, they will give us what they plant. For those parents who are not farmers, they can offer their services to the hostel, such as cooking and cleaning.”
Chan has set down all their experiences in a memoir, Live to Last. Describing the reason for writing the book, Chan says: “My memoir describes the life lessons I have learned. I believe in the power of storytelling, and its ability to inspire people.
“I hope my memoir will inspire readers to learn [from] my life lessons and craft their own journey with less U-turns.”
An interesting chapter describes one experience when she was 18 and an intern with an organisation called Metro Ministries International in New York, which provides education to troubled street children. It was 2001, and she was a witness to the collapse of the World Trade Centre on 9/11.
“I was at the World Trade Centre just a week before the tragedy, as a tourist and snapping pictures,” she recalls.
She has not forgotten the nightmarish scene, and believe life has given her a second chance. Hence, she wants to dedicate herself to help and inspire others.
When asked who inspired her, Chan cites her late grandmother Ruby.
“She loved telling me the stories of her life. She was a midwife who would travel from one village to another to deliver babies. She would give her services for free to those who could not afford to pay.
“I will always be indebted to my grandmother for her kindness, and her passion for telling stories."
Footnote : Live to Last is available at major bookstores at RM35.90
The well known Malaysian actor, director and producer Jins Shamsuddin passed away recently. As a tribute piece to the legendary Jins Shamsuddin, I have reproduce an interview I have done with him years ago where he talks about his experience making the historical epic Bukit Kepong.
Headline:A Warrior of a Man
By Bissme S
On March 1, the Malaysian movie industry lost a talent who had beensynonymous with modern films –Tan Sri Jins Shamsuddin, who died age 81.
A veteran actor of nearly 50 films and director of 10, Jins is best
remembered for his 1981 iconic film, Bukit Kepong, that was based on a true event that took place during the Malayan Emergency.
On Feb 23, 1950, some 180 members of the Malayan Communist Party attacked a police station in Bukit Kepong, Johor, manned by 18 policemen who defended the station and the civilians until the end.
Jins not only played the leading role of Sergeant Jamil Md Shah but also directed and produced the film, which went on to win eight awards at the third Malaysian Film Festival, including for best film, best director and best actor. The film has since been remastered into high definition in 2015.
Years ago, I managed to get Jins to share his experience on his epic
movie in an interview published in theSun on Aug 30, 1999.
To me, what he said about his experience acting, directing and producing Bukit Kepong summed up the man that he was and the legend he would become.Here is an excerpt of that interview in Jins’ own words:
“For six years, the script by the police authorities was floating around. No producer dared to take on the project. A big budget was required for the movie and there was no assurance that it would
succeed at the box office.
“The then Inspector of Royal Malaysia Police (Tun Mohammed Hanif Omar) approached me. I had been making family dramas such as Menanti Hari Esok, Tiada Esok Bagimu, Esok Masih Ada, among others whose successes led other producers to jump onto the bandwagon.
“Eager to set another trend, I agreed to make Bukit Kepong. Filming began in 1980. The cast and crew of more than 400 people spent more than six months at Bukit Kepong. I was the first to arrive and the last to leave.
“During those days, there were no hotels around the place. Everybody stayed at the mosque and in private houses. I turned the Penghulu complex into a big office where I stayed and worked.
“The budget for the film was RM1.3 million. It was a huge budget in 1980. I had to take a loan from the bank. To rebuild the whole village for the set alone cost RM80,000. I was taking a huge gamble.
“Luckily, the movie collected more than RM1.7 million at the box office. Many people returned for a second viewing. It also attracted the non-Malay crowd.
“The police were very supportive and supplied 40,000 blank ammunition and 400 varieties of guns for the filming. They even assigned 180 Chinese policemen to act in the movie [and] provided security arrangements for the film crew.
“But I had difficulty getting Bukit Kepong’s Chinese residents to act as extras.They felt the movie would be a negative portrayal of their ancestors who had helped the communities under threats of death.
“I played the part of Sergeant Jamil and suffered a scar across
my stomach from some blank bullets. My mother passed away during the filming so I had to rush back to Taiping for the funeral.
“I also had problem with the censorship board. They did not like the idea of Malay and Chinese at war and suspended the film.
“My office in Kuala Lumpur was located at Jalan Ampang, Kuala Lumpur, near the golf course where the [then] Yang DiPertuan Agong [Sultan Ahmad Shah of Pahang] played. The Agong used to drop by my office. I took the opportunity to mention the Bukit Kepong suspension.
“Upon his Majesty intervention, the Home Minister agreed to release the film on two conditions.The first was the inclusion in the film a preamble by a notable figure to talk about the incident. I managed to get our first Prime Minister Tunku Abdul Rahman to do it.
“Second, the movie must only be shown after the elections. Bukit Kepong was completed in 1980 but only hit the cinemas in 1982. After the movie was completed, three surviving policemen confirmed it was a very accurate portrayal of the event.
“I wanted it to be screened in the Asia Pacific Film Festival. But the jury thought it was unsuitable.”
Jins had intended to make another patriotic movie, Pasir Salak, based on the murder of the first British Resident J.W.W. Birch in Perak.
According to him, most of our history was written from the British
point of view and he wanted to show this incident from our local viewpoint.
“The Pasir Salak Project faced many hurdles along the way. One of the biggest was the budget. Some British producers agreed to pump in RM120 million but they wanted a change the storyline.
“They wanted to portray Birch as the hero and the Malay community as barbaric. I disagreed and even threatened to sue if they went ahead and made the movie based on my script.”
Sadly, Jins was never able to turn his Pasir Salak Project into a reality.Nevertheless, his contribution to the Malaysian Film industry will never be forgotten. Rest in peace, Jins.
Today theSun highlights my interview with Zikri Rahman, Nurul Aizam and Ridhwan Saidi on their interesting project LiteraCity: Kuala Lumpur Literary Fragments
Headline: Turning the Pages On KL City
By Bissme S
OUR NATION’S capital, Kuala Lumpur, takes centrestage in a unique new publication that is the brainchild of local writers Zikri Rahman, Nurul Aizam and Ridhwan Saidi.
LiteraCity: Kuala Lumpur Literary Fragments is their attempt to depict the city through the lens of Malaysian literature, focusing on novels, short stories, poems and plays.
“We hope that the book will excite readers to hold open discussions about [the nature of] our city,” Zikri says.
“We are trying to explore the connection between space and
literature. We are looking at how imagination helps to [create] a place. We wanted to do re search [that we could] share with the masses, not just with academics.”
Zikri was the one who came up with the idea, and Ridhwan and Nurul joined him on the project, which took about a year to complete.
Both Ridhwan and Zikri contributed their own essays to the book. They also interviewed about 30 local artists, writers and activists to discuss these luminaries’ favourite literary works that featured Kuala Lumpur. Unfortunately, due to space constraints, they were only able to include 10 interviews in LiteraCity.
Despite this, the book managed to reference or discuss 150 works of literature spanning 45 years, from 1970 to 2015. It is the team’s hope that LiteraCity will help shine a light on some of the more obscure titles mentioned, and perhaps even encourage readers to search these works out.
Zikri added that the team was unable to include works in languages other than Bahasa Malaysia or English, because the team “lacked the mastery” of other languages.
I found the interviews in the book very intriguing and eyeopening. To me, the best is the interview with national laureate A. Samad Said, in which he gives an insight into his early years as an author.
A. Samad says: “During my time, the writer is first a journalist. Becoming a journalist makes it easier to reflect on events and meet people. From there, we shape it into drama, short stories, poems and we insert our thoughts, opinions and messages.”
He also shares his own memories of the city, including why a certain location in Kampung Baru is known colloquially as Jambatan Gesel, and even recalled when his own “mischievous nature” drove him to explore the notorious ‘belakang mati’ (dead-end) areas in Kuala Lumpur, where he would talk to prostitutes.
In another interview, writer and literary critic Chuah Guat Eng points out the tendency for writers of novels set in contemporary Kuala Lumpur to touch on crime and co rruption. She adds that in her own stories, she uses the city as a metaphor. In her early writing, the city is used to illustrate the impact development has had on the environment.
Meanwhile, award-winning author Wan Nor Azriq in his interview describes a short story that caught my attention – Dari Luar Kurungan by Razak Mamat. The plot centres on the main character who visits Zoo Negara and feels pity for the caged animals. He then opens all the cage doors to allow the animals to escape. Azriq also mentions Roslan Jomel, whose short stories focus on characters in the city who feel isolated and alienated.
Publisher Amir Muhammad, in his interview, points out two plays by Jit Murad – Gold Rain and Hailstones, which focuses on the lives of the rich, young urban folk, as well as A Flight Delayed, which takes place at KLIA (Kuala Lumpur International Airport). Amir adds that A Flight Delayed could very well be the first play to take place in KLIA.
Controversial author Faisal Tehrani also appears in LiteraCity, where he discusses his short story, Perempuan Anggerik, which touches on the racial riots that took place in Kuala Lumpur in 1969. He recalls: “I relied on my mother’s stories when she [was] working at Kuala Lumpur Hospital. She would tell me about staying back to handle the emergency cases.”
LiteraCity is an unflinching look at the good, the bad, and the ugly of Kuala Lumpur. Nurul, who edited the book, points out that readers can see the changes in the landscape of Kuala Lumpur over the four decades, through the works mentioned in the interviews.
“I cannot see the KL the same way any more after getting involved in this project,” she says.
“I can [now] feel the richness of KL. I can feel [the city] is more vibrant.”
Footnote : LiteraCity is now available at most bookstores at RM30.
Film director Eric Ong talks to theSun about his first feature film Adiwiraku that tells a true story of a teacher making difference in the live of her students .... Read the full story here
Headline: To Gigku With Love
By Bissme S
CHERYL ANN FERNANDO left the comfort of her home in Kuala Lumpur to teach English in a rural school in Sungei Petani, Kedah, from 2013 to 2015. She faced countless problems such as poverty, absenteeism, and family conflicts among her students. Despite all that, she was determined to help her students overcome their fear of speaking in English. To give them more
confidence, she set up an English Choral Speaking team to take part in a competition.
“She was teaching high school students who could not even spell properly,” says 52year-old Eric Ong, who was so inspired by her determination that he turned her struggles into a film, Adiwiraku. The two-hour biopic opens in cinemas on March 9.
Ong adds: “Instead of just complaining and [trying to shift responsibility], she took matters into her own hands and found ways to change the situation for the better. Her story is very inspirational.
"Today, our society is filled with critics and complainers. They are eager to point out the flaws in our system, in our laws, and in our society. Criticism and complaints do not lead anywhere. We should be more like Cheryl Ann.
“Whenever we see a flaw, instead of just complaining and criticising, perhaps we should find solutions to make the situation better.”
Playing Cheryl Ann in Adiwiraku is local model and actress Sangeeta Krishnasamy. Others in the cast include Xavier Fong, Wan Azlyn, Farra Safwan, Ahmad Adnin Zidane, Irdina Tasmin, Balqis Sani, and Rizal Fahmi. Ong has also cast some of Cheryl Ann’s real-life students in the film.
“I [gave] them some acting workshops before they faced the camera,” he says.
“They were excited to be in the film. They were telling their own story. I was really satisfied with their performances.
“It’s a unique experience for me to have people playing themselves in a biopic that I am directing. It is an experience that I will treasure for the rest of my life.”
What about the real Cheryl Ann?
“She visited the set during filming,” Ong said.
“She was making sure my production team and I did not abuse her students (laughs).
“She cried after watching the film. I am sure the audience will cry, too.”
Ong recalls his favourite scene in Adiwiraku where a student, who has been missing Cheryl Ann’s classes for the last three months, suddenly reappears. The hardworking and brilliant student easily catches up on what she has missed in her absence.
“Then, the student goes missing again,” Ong says.
“This time, Cheryl Ann manages to track her working at a gas station. She keeps reminding the girl about the importance of education in order for her to have a better future.
“Then, the student shocks Cheryl Ann with one question: ‘Have you ever gone without food for three days?’
“The student adds: ‘If I die from starvation, what future will I have?’ “Her answer leaves Cheryl Ann speechless. We cannot understand someone’s misery till we live in their shoes.”
Adiwiraku is Ong’s first feature film. He has more than 15 years of experience working in Malaysia, Singapore, the Philippines and Indonesia producing television programmes ranging across various genres. Ong studied films at Universiti Malaya. He has always wanted to be a filmmaker.
But it was his grandfather who first instilled the love for films in him. “During my school holidays, I would stay with my grandfather,” says the Malaysian-born Ong, who has been living in Singapore for the last 10 years.
“There was a cinema behind my grandfather’s house, so my grandfather and I would go watch films almost every day.”
The young Ong even befriended Ali, the cinema’s ticket collector, who secretly allowed him into the cinema for free several times.
“Ali even brought me to see what was going on behind the big screen,” he says.
“I even got to watch some movies ‘backwards’.”
Ong is now planning to direct his second feature film, another biopic that takes place in Sarawak. He refuses to reveal too much about the film, especially on its subject.
“All I can say is that my film will highlight an inspiring story that touches on racial harmony,” he says with a smile.
Today theSun published my interview with two award winning actors from Indonesia, Arifin Putra and Reza Rahadian. Read the full story below
Headline: Actors without Boundaries
By Bissme S
AWARD-WINNING Indonesian actors Arifin Putra and Reza Rahadian were in Bangkok recently to promote the second season of the HBO Asia series, Halfworlds. They were the only actors from the first season to return to the show, reprising their roles as demons who regard the human race as their number one enemy.
Asked what made him take up the role again, Arifin, 29, joked: “The producers forced me at gunpoint to reprise my role.”
But he admitted to having grown fond of the story, and loving the whole universe that the cast and crew built up last year.
“So when they asked me to return for season two, I did not have to think long to say yes.”
When asked what is the difference between the two seasons, he said: “In season one, the characters are driven by fear, whereas in season two, [they] are driven by hope.”
His character, Barata, is also less grim and more optimistic in the new season.
For Reza, 29, what he loves most about Halfworlds is that he got the chance to work with actors from other Asian countries. In season one, he worked alongside actors from Malaysia and Singapore while in this season, he shared the screen with actors from Thailand and the Philippines.
“There is a lot of ‘cross culture’ taking place on the set, and I love that,” Reza said.
“I want to be an actor without boundaries.”
He added that his character, Tony, has far more intense action scenes this time around. Interestingly, both actors had initially never wanted to make acting their career. Arifin had followed his older sister to a television commercial shoot in 2000, and was asked to become an extra.
“I loved the fact that I could earn pocket money while having fun,” he said.
That experience sparked his interest in pursuing a career in the
entertainment scene. After seven years in television, Arifin made his film debut in the Indonesian romantic comedy, Lost in Love, in 2008.
But the roles that really shot him to stardom were that of a psychopathic cannibal in Macabre(2009), and his turn as the overly-ambitious son of a mob boss in The Raid 2: Berandal (2014).
As for Reza, he had wanted to be a national swimmer. When this dream failed to materialise, he took up acting seriously.
Like Arifin, Reza started his acting career on television before
taking on film roles. The role that put him on the map was that of former Indonesian President B.J. Habibie in Habibie & Ainun(2012), and its prequel,Rudy Habibie(2016).
To get into the skin of his character, Reza spent more than seven hours interviewing the former president. The actor is also rumoured to be taking on the role again a third time in a future film.
Aside from their nationality and acting backgrounds, both actors
also share a mixed parentage. Reza’s dad is Iranian and his mum, Indonesian.
“I never had any kind of conflict [about] whether I’m Iranian or
Indonesian,” he said.
“Since I was born and [raised] in Indonesia, I’m Indonesian.”
But it was different for Arifin who was born in Mainz, Germany,
before moving to Jakarta at the tender age of three.
“For the Germans, I was not German enough, and for the Indonesians, I am not Indonesian enough,” he lamented.
Initially, Arifin was confused about his identity. But with time, he
learned to appreciate the diversity of his heritage.
The two said that the competition between actors in Indonesia is intense but healthy.
“It gives you a reason not to stay in your comfort zone, and you will always be learning and improving,” said Reza.
But they lamented the fact that the same old faces are dominating
the film awards, and said the Indonesian film industry is in dire
need of new blood to inject excitement and prolong its longevity.
Reza pointed out that many young actors prefer to act in television series because they get paid more compared to films.
However, he said: “In television, when one role makes you famous,
you will be [typecast]. You will keep doing the same old stuff on
television. You do not push yourself out of your comfort zone.
“In films, you have a chance to play a variety [of roles].”
Reza stressed that one needs to be a little patient to enjoy the
rewards that films can give, and sadly, patience is one thing missing
from the younger generation of actors.
Arifin added that some producers are only keen to hire actors who have many followers on social media.
“It is sad if an actor get chosen for a role [just] because he has high
number of [followers], and not because of his talent,” he said.
“You must understand you may have thousands of followers in your social media, but it does not necessarily translate into money. They may not necessarily buy tickets to your films.”
As for their future plans, Reza expressed a desire to sit in the
director’s chair – he has already helmed three short films – while
Arifin wants to be a film producer.
Another interesting interview with the performer cum activist Mislina Mustaffa who has just released her next book Are You Talking About Trust, Mislina Mustaffa?
Headline : Journey To Find Herself
By Bissme S
Three years ago, Mislina Mustaffa received a plane ticket to watch the World Cup in Brazil as a birthday gift from a close friend. Her journey, however, did not end in Brazil.
For two years, the outspoken actress and activist continued on her way, visiting other parts of world such as Colombia, Cuba, Jamaica, Scotland, Maritius, and many more.
Mislina then jotted down her travel experiences in a book, Are You Talking About Trust, Mislina Mustaffa?.
The book breaks from literary convention by bearing no page numbers, and not carrying the title on its cover. In a recent interview, the 46-year-old talks about the revelations she gained on her soul searching journey around the world, as well as her views on how she’s come to terms with her own vulnerabilities.
Can you tell us more about your book?
My book is more about the inner journey of a traveller. Many travellers do not speak about this inner journey because it can be ugly and painful.
I always thought I was the most radical woman … I always thought I was so strong, and that I could survive anywhere in the world. This journey has forced me to acknowledge my vulnerable side. I learned that you can be strong and vulnerable at the same time.
In the past, when I was sad, I ignored this emotion. I [kept] myself busy so [that] I would not think about my sadness. But not any more. Now, whenever I feel sad, I learn to sit down and feel the sadness. I’m honouring my sadness.
Strong is me, and sadness is me, too. To accept myself, I have learned to love the ugly and the beautiful side of me.
Do you think readers can accept the radical way your book is presented?
My book’s title is Are You Talking About Trust, Mislina Mustaffa?. So, I must trust myself and have the courage to present something different and experimental. I must also trust that my readers will take what I am serving.
As an artiste, I love experimenting. In an experiment, nothing is guaranteed, and everything can go wrong. It is always very delicious to experiment with something that people are afraid [of] … Experimenting gives you freedom.
*Your mother died while you were in Brazil. People criticised you for not returning home for her funeral.
First of all, my value does not increase or decrease based on people’s respect. I have gone beyond the belief that you have to be with someone because you love that person.
Before my mother died, we talked a lot about life. My mother wanted a career. She wanted to be a teacher. She wanted to travel. But my mother came from a period where her father believed a woman [only needed a basic education]. She did not get to pursue her dreams. She became a housewife. But she always encouraged me and my siblings to pursue our dreams. If I had not gone on that trip, she would have been upset and disappointed. I listened to what my mother wanted, and that can be called love.
I brought my mother’s spirit along [in my travels]. And it is not rare to find me speaking to my mother whenever I see something beautiful.
Tell us one emotion that has changed drastically because of your travel?
My relationship with God has changed from fear to love. In Brazil, I visited [the statue of] Christ the Redeemer. There were a handful of tourists taking pictures of Jesus and praying.
It was the World Cup season in Brazil at that time and out of the blue, a group of famous footballers visited the place. Suddenly, the tourists’ focus was on the footballers. Everyone was crowding around the footballers ... the tourists were cheering and screaming. The atmosphere was almost like a party. Once the footballers left, their attention returned to Jesus.
If a similar situation were to happen in Malaysia, you can bet it will become a controversy, and their behaviour will be seen as disrespecting God.
Personally, I like to believe in a loving God. I really believe that God understands these people have no malicious intent to disrespect Him. They were just too happy to see their football idols, and a good God will want his followers to be happy.
You are also a performer. Are you doing any interesting performances?
I am venturing into something that is call body movement. I am using bodies ‘that are not suitable for dancing’. I am encouraging these bodies to move. I want everyone to appreciate their bodies in whatever shape [they] are in ... to appreciate their own soul. I want them to know a soul is always beautiful … a soul never gets ugly.
(the many faces of Mislina Mustaffa)
