Faisal Tehrani

I have heard so much of the writer Faisal Tehrani. So finally I meet him in 2008 for the first time and did an interview with him and the story appeared in the sun in July 31 2008.


Title : Writing for change

Faisal Tehrani, 34, is a rising star in the literature scene. This novelist has won prizes and awards, including the prestigious Anugerah Seni Negara in 2006. His kind critics predict this talented writer, whose real name is Mohd Faizal Musa, is a national laureate in the making. Others say his writings are Islamic extremism, anti-West and are ultra-nationalist. He speaks frankly to Bissme S. about his controversial image, early days as a writer of erotic literature and the future.

Tell me your start as a writer.
I became a writer when I was 16. Dewan Bahasa dan Pustaka (DBP) had this programme Minggu Penulis Remaja. They pulled out a few potential writers from different schools and started giving us writing lessons.

Did you always want to be a writer?
When I was young, I wanted to be a writer for the wrong reasons. I wanted to show off to my friends and tell them: ‘I can write ... what can you do?’ I was also earning good pocket money. I was the first one to have a handphone when I was in university. It was more of an ego thing, a glamour thing, a money thing.
When I turned 22, I changed. I wanted to became a responsible writer. I wanted my writing to change society for the better. Writers should not only write stories, but be philosophers as well. They should offer solutions in society.

What inspired you to become a responsible writer?
I met Pak Samad (A. Samad Said, a national Laureate) and Shahnon Ahmad (another national Laureate who wrote the controversial Shit which is a sharp criticism of the political climate in 1999). These two writers influenced me in many ways. Pak Samad gave me many books from international writers ... writers from countries that are oppressed. I was so inspired by Shahnon’s fire and courage. That changed my perception, my principles. I also went to Kerpan, Kedah. What I witnessed there, also changed me.

What happened in Kerpan?
I saw a group of farmers whose land had been confiscated by the government for a mega project (prawn breeding). The villagers told me stories different from what was reported in the media. They were oppressed. It was not a fair negotiation.
Their story actually inspired me to write my first work of fiction Perempuan Politikus Melayu (The story loosely centres on a rich Datuk who confiscated some farmers’ land without mercy).
Because of the title of the book and because it was published during reformasi (when Datuk Seri Anwar Ibrahim was sacked as deputy prime minister), everyone quickly related the book to (Datin Seri Dr) Wan Azizah (Anwar’s wife who headed Parti Keadilan Rakyat after Anwar was sent to prison).
Then, my second novel Cinta Hari-Hari Rusuhan came out. In it I touched on the student movement and the Baling demonstration. Once again people said I was talking about Anwar Ibrahim. But both of these novels have nothing to do with Anwar Ibrahim or his wife, Wan Azizah. They are about human rights. These books are about oppression.

What is your personal view on Anwar Ibrahim?
I met him only once. That was after he was released from prison. As a person, I like him. He is seems to be a nice guy. But A. Samad and Shahnon Ahmad always tell me, ‘as a writer, you have to analyse people ... you have to analyse issues ... if you want to bring them in your pages.’ I started to analyse Anwar and I found contradictions. That is all I will say about him.

Some people think Anwar will make a great prime minister. What do you think?
That is subjective matter. Why should Anwar be the prime minister? Why do we put the burden on him only? We are not lacking leaders, are we? Why don’t we give the prime minister’s post to someone from the younger generation? There is a younger generation in PKR, PAS, DAP and Umno, with new ideas. They should be given a chance.
What about Nurul Izzah (Anwar’s daughter)? She is refreshing. She must have some new ideas. PAS has a few fresh faces who are liberal and sophisticated. DAP’s Lim Guan Eng seems to be cool. He even took pictures with Ning Baizura (singer) and flew in economy class.
The older guard ... they always have had some dramatic episodes in their past and these could easily become ... an issue. We should give the younger generation a chance.
Look at the Russian president. He is very young. (Dmitry Anatolyevich Medvedev. Age: 43) Look at America ... they might elect (Barrack) Obama. He is young. (Age: 47). The whole world is changing for a perspective from the young and for new ideas. I think Malaysia should walk a similar road.

You feel a writer must write to change the world for the better. But today, some people, including writers, have lost the belief that the power of words can change the world for the better.
When I was a teenager and when things were not right, my mum asked me to write letters to the newspapers to complain about stray dogs roaming freely, garbage not being cleared regularly, etc. But then things began to change slowly. The stray dogs were caught, the rubbish got cleared regularly and changes began to take place slowly. The power of words did change the situation. I also believed at that time that all "that letter writing to newspapers" spurred my interest in writing. (laughs)

Why do you prominently feature Islam in your novels?
One of the reasons is because I find there is a vacuum. Not many writers write about this and there are so many demands. When I meet readers during book festivals and fairs, they always encourage me to write on such subjects. Islam is facing many challenges now and I want to offer my views on the religion.

Some people say that based on your writing you are an Islamic extremist. Are you?
People who do not read my stuff will jump to that conclusion. Just because I write about Islam, people think I am an extremist. I feel I write more about human rights and oppression than Islam. Human rights is part of religion.
When the film Fitnah was shown, people wanted Malaysians to boycott products from Holland. I opposed the idea. I believed such boycott would get us no where. In fact, I said let us Muhasabah (look within ourselves) and ask why this film-maker (Dutch parliamentarian Geert Wilders) created that film.

Why didn’t you support the boycott?
Personally, I felt Fitnah was depicting Osama bin Laden, the Al Qaeda leader. It is not me. I do not interpret the Quran like that .That guy (Osama) interpreted the Quran like that. Extremism is an act by certain groups. It is not related to Islam at all.
Fitnah is different from Salman Rushdie’s The Satanic Verses. The Satanic Verses was written deliberately by Salman Rushdie to not only insult Islam, but also the British people and their former prime minister Margaret Thatcher.
Geert Wilders wrote Fitnah because he is confused. Let us have a discussion about this and find ways to solve this.

There must be other reasons why people jump to the conclusion that you are an extremist.
People also jumped to that conclusion again when I criticised Yasmin Ahmad’s film, Gubra. (The story touches on a bilal and his wife’s close relationship with their neighbours who happen to be prostitutes). I just didn’t like the film. I think the film is superficial.

Did you have a problem with the scene where the bilal is touching the dog?
No, not at all . In fact I did not mention it in my review. But I do like Yasmin’s Mukhsin because it is more sincere. People did not read my reviews on Mukhsin. They just read my review on Gubra and when it was out, some of my friends avoided me. They isolated me. They put me aside.

How did you feel about being isolated? Did you wish that you didn’t write anything about Gubra or that you didn’t write too much on Islam?
I cannot stop my friends if they want to avoid me. I wish I had written more about Gubra. I really do not like that film (laughs) and I cannot avoid myself from writing on Islam ... it is just inside me. I majored in Islamic studies in the university.

What other misconceptions do people have about Faisal Tehrani?
They also say I am an ultra nationalist. In one of my articles, I said the official language is Malay and that the Malay language should be approved as the language for films, art and literary works. So people started calling me an ultra nationalist. I also opposed the idea of science and mathematics being taught in English. They have been taught in the Malay language since the 1960s, so I asked why are we changing?
Just because Tun Mahathir (former prime minister Dr Mahathir Mohamad) thought that a few students cannot speak English he felt we should teach Science and Mathematics in English. How can you learn English grammar from Mathematics and Science? It doesn’t make sense at all.

There is an assumption that you are anti-Westerner. In your book 1511H Kombat you had Muslim soldiers take over the White House.
People in Germany thought this book was cool and wanted to translate it. (The book is being used as text in one of the universities in Germany). They say ‘we dream this will happen to the White House’. Some European countries hate America. It is not about the East hating the West or the West hating East. It is just about what one particular government is doing.
America has supported a lot of vicious stuff around the world. It is not just what they did in Iraq. It is also about what they did in Vietnam, Korea. Have we forgotten Hiroshima and Nagasaki? Now I am sounding like Iran. (laughs)
Why am I depicted as a West basher? There are other writers who did the same thing. Just because I wrote one novel where Muslims took over the White House, people are calling me names, but my book fulfilled the fantasy of many young readers. It became one of my most celebrated novels from which I am still earning royalty. A certain Western power is oppressing many countries, so I speak against it.
One day, when China becomes a super power and starts oppressing other countries, I will write about it. Then people might say I am anti-Chinese. But I am not. Like I said earlier, I write about human rights, I write about oppression.

In your early years, you wrote some erotic short stories. Are you ashamed of those works?
I will never deny that I wrote them. Those works carry my name. Some young readers have told me that they find my early works are very sexual, erotic and help to spice up their imaginative minds for something (laughs).
A part of me feels very embarrassed, but I also believe that if I didn’t write those stories, I would not have been able to arrive at this point. I might not have become a writer at all.

Do you look down on writers who write erotic stuff?
Seriously, I cannot say I look down on them. Some of them are really brilliant writers ... even better than me. But I do not write such stuff any more. It doesn’t interest me.
Personally, I avoid discussing principles of writing or other writers. My belief is that if what we write leads to a society becoming irresponsible, then it is not good. A writer should promote good things … changes that we can believe in.

Some people say the literature scene is going through a bleak period.
I see a bright future for serious literature. The Malay market is flooded with romance and thriller novels. People are bored and tired of such novels. They are looking for something different to read. Serious literature is slowly gaining a foothold, especially with those who have become frustrated by cheap thrillers.

Is Dewan Bahasa dan Pustaka doing enough to promote serious literature?
I am a product of Dewan Bahasa. If I say they do nothing, it is not fair. But when you are a government agency, you have bureaucracy, you have too many rules, you have too much red tape. They should think like an artist, they should think creatively.

What changes would you like to see taking place in the literary scene?
I’d like to see our works being translated not only into English but also other languages. But we are not doing that. I will also like to see the works of local writers who write in other languages being translated into Malay. We should be translating Kee Thuan Chye and K.S. Maniam’s works into Malay.

Is the government playing its role effectively to promote serious literature?
Saying the government is not promoting literature at all is unfair. Compared to Indonesia, we are better off. Their government doesn’t do anything at all.
The Malaysian government has been helpful in many ways. But we are moving to Vision 2020. We want to be known as a first world country. We should be doing more. We have to put more effort into literature.

Would you see any of your novels made into films?
Yes, Tunggu Teduh Dulu may be made into a film. It is one novel where I do not deal with heavy issues. It is about two women struggling to plant papayas. The theme is suited to the Malaysian audience.

Do you have any film-maker in mind?
If it is Yasmin, I will be willing. She is a good movie-maker. I am willing to sit down with her and discuss the project with her. If others, I might have some doubts. Most of our films are illogical.
One of my short stories Cahaya Pada Jiwa (Light On Soul) has been adapted into a TV drama. It is about corruption. The director changed the contents so much till it became illogical. I can understand when you adapt literature to screen, there will be changes. But to make a logical short story into an illogical and complicated TV drama is really damaging.

I heard that you are dabbling in film-making. Is that true?
Yes. I am interested in making short films. I have made one that is loosely based on the recent election and it is called Bulan Mengambang Ke Langit KL. (In it, he looks at how the opposing party was trying to get its message across without the help of the mainstream media).
I am also planning to make a short film called Air (Water). There are a lot of proverbs about water and I want to translate them into images on the screen.

Shah Alam Protest

This article has recently appeared in the sun (Oct 7, 2010). It talks about a protest that took place in shah alam that turned ugly. Here two film makers are talking about their documentary touching on this matter


Shah Alam protest

First-time filmmakers Sheridan Mahavera and Siti Nurbaiyah Nadzmi talk to Bissme S about their documentary on the cow-head protest, Kisah Tauke Mancis dan Minyak Tumpah.


What motivated you to make this documentary?
Sheridan: As a journalist, I did the story on the protest. (Where protesters marched with a cow’s head). I felt I never got into the real story behind the protest. As I looked at all the reports, a lot of them were superficial. They didn’t go into the heart of the matter. I wanted to write the story behind the story. I did have a vision this story should be a film. But I didn’t have money and the time to make this film. Komas has a freedom film festival where you can submit a proposal and if they find your proposal to be good, you will be given a grant to do your film. I applied and got the grant (RM6,000). I roped Siti into the project because she has script writing experience. We used to work in the same organisation and we worked well together. (Sheridan is now a freelance journalist while Siti is attached to an English newspaper portal.)


Is the documentary going to offer something new?
Sheridan: Yes. Because of the scarce publicity, the protest issue had been framed as one religion against another and one race against another. But that is not the case. It is not a religious issue. It is not a race issue. We are a plural society with many religions. We are one of the most plural societies on earth. It is a mismanagement in the planning of our communities. It is a problem of governance. It is a problem of how Malaysians deal with their history. It is a problem with local authorities in how they organise and plan their communities.
You have to ask yourself why Petaling Jaya doesn’t have any of these problems. In Petaling Jaya, you have temples, mosques and churches and some of them are built next to each other. In Seremban, a friend of mine told me there is a Hindu temple in the middle of a Malay community and the Malays have no problem with it.

Siti: You have other people labelling this incident as a religious issue and not really solving it. When we did this documentary, we talked to a lot of people. We did a lot of research. We found out there is a deeper layer to it. The people of Shah Alam felt cheated because the whole issue has given them a bad light. It is not about them being racist. It is not about them being intolerant towards other religions. The real problem has not been resolved in the last 20 years. They have been living with this problem for 20 years.
I would not like to reveal too much about this problem. It would be like giving away the story. Come and see the documentary. All I can say is the film is supposed to remind us how extremism can easily be fuelled when we fail to understand the context and manage such situations rationally. The temple has been in Section 19 (before it was relocated to Section 23) even before Shah Alam was developed. We have seen the master plan of Section 19 and the temple was not indicated in the plan. We cannot tell the audience what to think. But I can only hope after watching the documentary, people will leave the hall, thinking that there is always two sides to any story.


What is the main goal of this documentary?
Sheridan: There are ethno and religious extremists who want to manipulate you … who want to incite you. Do not be swayed by them. You had a case of a non-Muslim politician entering a surau blown out of proportion. She was invited to visit the surau. She didn’t give any religious talk. She was explaining certain government funding that people can benefit from. People should be mature and should not be swayed by emotional religious manipulation. They should see things beyond race and religion.


Some people may feel you are sensationalising this issue. What do you have to say?
Sheridan: I will argue with that. There are no films done on it. There are not enough articles written on it. People misunderstand this issue. With this film we hope to deal with this misunderstanding … to change people’s opinions about this issue. It is an issue that begs to be dealt with.

Siti: When I write I aim to be objective. I always try to give two sides of the story and it is the same here. Before we even began to write our proposal to Komas to get the grant, both of us went to the ground and did our initial research. I do not want to be accused of riding on the popularity of the story. I do not want to be accused of sensationalising the story. There is a real issue and people of Shah Alam have been fighting for it over 20 years. Till today it has not been resolved. We are portraying their plight.


What is the biggest challenge you faced?
Siti: Both of us are writers with the print media and we had never held a camera before. It took us time to be comfortable telling the story we wanted to tell in visual forms and we had to make it engaging as well.

Both of you have different opinions. How did you solve your differences?
Sheridan: We had a lot of discussions before production began. We sorted out our differences. We made sure we were on the same page with the storyline, on who we wanted to interview, visuals we would use and music. We were co-directors. It had to be our story. If we were not able to sort out our differences, we would not have made this film.

Siti: He comes from a political background while I do general news and human interest stories. Naturally our approaches were different. When we were drafting the concept behind the documentary, we agreed it was not going to be a political documentary. It was going to be about the people … about community we live in. A friend has said this is a film about loggerheads by loggerheads.


Do you think your documentary might be censored?
Siti: We rather not think about it.

Sheridan: I do not think so. The documentary tells people not to be racist. I do not see that as a problem. Do you?

What do you think about race relations in this country? Some people say that it is hostile. Do you agree?
Siti: I do not think we have any major problem in that department. Even the experts we talked to agree with this statement. I do not deny that we have religious extremists. They are a small minority but the problem is we have let the minority voice become louder.

Sheridan: The extremists in this country are a very small minority and that is their weakness. But their strength is that they are vocal while the majority is silent. It appears as if the minority are speaking for the majority. We have to understand that some groups want to create racial problems because it benefits them. They get political mileage. They get into the papers every day. You get into the papers every day by saying crazy things. (We laugh) Seriously, the crazier the things you say, you get into the paper a lot more. It is not to say we, as journalists, like to sensationalise things. People are trying to sensationalise themselves and we are just writing about them.

Some people say we had better race relations in the 60s and 70s. Do you agree?
Sheridan: I think the belief that race relations were better in the 60s and 70s is an illusion. It is like looking at the past through rose tinted glass. After doing a lot of research, I think there was probably a lot more intolerance then. We didn’t have much inter-mingling. The Malays were living in the village, the Chinese were mostly in urban areas and (many) Indians were in estates. We were more separated then. But now there is greater movement between us, it forces people to be more integrated ... it forces people to be more tolerant … it forces people to accept the fact Malaysia is made of different races and you have to deal with it. The whole idea of race relations being better back then is nostalgic. For the people who said the 60s were the golden age of race relations, I like to ask them what happened in 1969?

Does the Shah Alam incident paint a bad picture of Islam as an intolerant religion?
Siti: When I started the project, I thought the social engineering of Shah Alam had caused this problem. The majority were Malays and Muslims. I thought they (the people of Shah Alam) wanted to be the dominant race … they wanted to be the dominant religion. When you dig deeper you will find that is not the case. The Malay people in Section 19 Shah Alam had lived beside the temple for the last 20 years. Even the Indians (in Section 23) were protesting over the relocation of the temple to their area.

Sheridan: The people who stayed in Section 23 did not agree with the protest. They have said this is not what Islam is all about. But a small group of people have hijacked this issue. I hope the film will kill that perception that Islam is intolerant.


Both of you were in the print media. Now you have become documentary makers. Was it difficult to move from one medium to another?
Sheridan: You should try it. It is so much fun. Journalism is always about telling stories. The people you interview are characters and you have a plot line which is basically the issue that you are going to highlight. The only difference is I am telling my stories in moving pictures

Since both of you are Malays and Muslims, some people may accuse you of doing this documentary to justify that Muslims and Malays are not racist in this particular incident.
Siti: We cannot help being Malays and we cannot help being Muslims. But our intention is genuine. We are not putting any record straight. We made this documentary to correct our own perception. We thought it was a race and religion issue. But it is not. We have been fair in presenting the facts to our audience. We interviewed people from the temple, people from current and past administrations and people who stayed in the areas.

Sheridan: If you judge us as Malay and Muslim first, film-maker second, then you are not going beyond race and religion. You should judge people by their actions and not by their race and religion. I think we have been objective in presenting our facts.


What is your next project?
Sheridan: I am working on a book that talks about Islam. It is more like I am writing letters to Muslims; to get them to think about certain things that have been happening in this part of the world; to talk about certain challenges the Muslims are facing; to make Muslims see a broader perspective of Islam than what they have grown up with. The book is part memoirs and part self discovery. Islam has a broad intellectual tradition. For ages, Islam has nurtured mathematics, astronomy, medicine and engineering that Europeans have used to create their renaissance. It is more of getting the Muslims to rediscover a different part of their faith that would probably help them see the world in a different light.

Siti: I am working on a book on Mariam Johari who was stranded in Korea after World War II. During the Japanese Occupation she was abducted and forced to become a labourer. Then she was taken to Korea. In 2007, when she was 84 she wanted to return home. But she lacked the proper travel documents. Finally, she got her Malaysian passport. She wanted to die in her own country. But her dream was not achieved. She died in Korea. Her body was brought back. It is a dramatic story. I think she is an extraordinary woman because she lived in a country not knowing the language and the culture.


The documentary will premiere at the Komas
Freedom Film Festival on Oct 16 at Auditorium
Menara PKNS, Petaling Jaya. For details, go to
www.freedomfilmfest.komas.org

Uthaya Sankar SB

You find very few non Malays dabble in Malay writing. One of them is Uthaya Sankar. In this interview which was published in the sun July 16 2009 . Here is the article

Suggested Headline : Straight from the heart

Award-winning writer Uthaya Sankar SB tells Bissme S what he thinks of the literary scene, his run-ins with Dewan Bahasa dan Pustaka and racism.

Why do you get angry when journalists ask you about your excellent command of Bahasa Malaysia?
If the journalists were to ask me how come I am fluent in German, I would understand their curiosity. German is not my mother tongue. German is not my national language. By the way, I don’t know German. But to ask a Malaysian "how come you are so good in Bahasa Malaysia" is an insult. I believe every Malaysian should be able to converse and write well in Bahasa Malaysia.
Many assume that I grew up in a Malay environment and that is the reason I can write and speak Bahasa Malaysia well. But that is far from the truth. I grew up in a village (Aulong Lama in Taiping, Perak) where the majority were Indians and there were only two Malay families.
Bahasa Malaysia is our national language. I regard Bahasa Malaysia as my first language. When a Malaysian is not good in Bahasa Malaysia, then it’s news. I wouldn’t have minded if the journalist asked me why I was not so good in Bahasa Malaysia because that would have made more sense. However, over the last few years, journalists have stopped asking me this question. Thank God for that.

Tell us more about the "little war" with Dewan Bahasa dan Pustaka (DBP) over the use of the term "Bahasa Malaysia"?
It started in 1999. This year I am celebrating my tenth anniversary of this so-called war. (Both of us laugh.) It all began when I submitted a collection of short stories to DBP for publication. The collection comprised stories from ten Malaysian Indian writers including myself. In the foreword I wrote, an editor in DBP wanted to change the word "Bahasa Malaysia" to "Bahasa Melayu". When I still wanted to use the term "Bahasa Malaysia", he started to lecture me that the term doesn’t exist. The matter was even taken up to (prime minister) Datuk Seri Najib Razak who was then the education minister. He made a statement to the press that it was all right to use the term "Bahasa Malaysia". But DBP said it’d only publish the book if I used the term "Bahasa Melayu". In the end, I did not allow the book to be published by DBP.

Why are you obsessed with the term Bahasa Malaysia? What have you against the term Bahasa Melayu?
I have nothing against the term "Bahasa Melayu". I will not stop anyone from using "Bahasa Melayu". But it pisses me off when someone – or anyone for that matter – says I can’t use the term "Bahasa Malaysia". I am not doing anything illegal. The term was introduced in 1970 and reinforced by the cabinet in 2007. Therefore, nobody has the right to stop me from using it. The more you try to stop me from using "Bahasa Malaysia" without any valid reason, the more I want to use the term. It is like parents telling you that you can’t love this girl and you start loving her even more.

What is your honest view of DBP?
DBP works at a snail’s pace. Once it does get a manuscript, it can take years to publish it. It’s also an open secret that it does not have a good marketing strategy. DBP should learn from Alaf 21 (a publication house owned by Kumpulan Karangkraf Sdn Bhd). Alaf 21 starts its marketing and publicity drive long before the books hit the market. Publishing books per se is not good enough anymore. You need to promote the books vigorously so readers will pick up the books. You need to make sure the books are available everywhere.
But this is not happening in DBP because most of the time, the books are merely available in the Dawama (the marketing and distribution department of DBP) storerooms.
Therefore, it is not surprising that (national laureate) Datuk A. Samad Said has taken back the rights to most of his books from DBP and wants to publish under his own publishing house, Wira Bukit Sdn Bhd. Haslina Usman has also done something similar with her father (national laureate) Datuk Usman Awang’s works by taking back all the copyright from DBP and publishing under UA Enterprises Sdn Bhd.
DBP is given the task and responsibility to look after our national laureates but it appears it is not doing a good job. The fact that these national laureates do not want to be under DBP’s umbrella doesn’t paint a good picture of DBP. I submitted a letter to DBP recently to officially take back the rights to my books under it. I have no other choice. In 2007, I gave DBP a letter to reprint my books under their publication since there was a demand for my books. But it has not done anything to date. It’s a sad fact that DBP is not proactive.

Why do you think DBP is not proactive?
Every year, DBP is getting funding from the government to publish a certain number of good quality books. It does not have to generate profit since it relies on the government funding. It feels as long as it publishes books, it has done its job. This has to change.

Some people believe DBP should be privatised so it will be more effective. What do you think?
Dawama (the marketing and distribution department of DBP) is privatised. But I do not see any real change. Privatisation is not the answer. It is the mentality of the people involved that should change.

You often criticise DBP. But it gave you your first big break. Some might say you are biting the hand that feeds you. What is your comment?
My relationship with DBP is more of a father and son. When a father makes a mistake, it is the duty of the son to point it out. I am doing my duty as a son. I am just asking them why are they neglecting their other sons (Usman Awang and A. Samad Said). I am just asking DBP (or anyone else for that matter) why can’t I use "Bahasa Malaysia" when there is such a term. What I am saying is based on facts. This is not slander. Whenever DBP has functions, I still attend and I still give my support. As I said, ours is a love-hate relationship.

Have you written anything in English?
I think in English but I prefer to speak and write in Bahasa Malaysia. I would not mind if people wanted to translate my stories into English, Tamil or Chinese.
Funnily enough, Institute Terjemahan Negara Malaysia (ITNM) translated one of my stories into English recently and I never knew about it. I only got to know that my story (Nayagi) was in the Sea of Rainbows anthology when I went for the book launch. I have nothing against ITNM translating my work. But I would have appreciated it if ITNM had at least informed me about it.
DBP has also translated one of my stories (Yang Aneh-aneh) into English and it was supposed to be featured in An Anthology of Malaysian Short Stories. But frankly, I would be surprised if the book gets published by 2020.

Is it true there is discrimination and as a result a lot of non-Malays are not keen to write Bahasa Malaysia literature?
I do not think discrimination exists. In fact, the many magazines under DBP are always looking for non-Malay writers to write Bahasa Malaysia literature. In fact, they pay very well. But the editors do not seem to get enough contributions. In this case, I blame the (non-Malay) writers. They like to jump to a wrong conclusion that their works will not be accepted and that discrimination exists. Of course, you cannot expect publications to accept every material that non-Malay writers submit. The works should be of a certain standard.
I always advise my editor friends not to accept stories in Bahasa Malaysia just because they are submitted by a non-Malay. You accept the work because it is a good piece of writing, regardless of race. In the past, Kumpulan Utusan had a literature competition category for non-Malays who write in Bahasa Malaysia. I do not agree to having such a category. Why have a separate award for non-Malays? If it is a competition, everyone should be in the same level. Of course I am happy that Utusan has scrapped this category.
Many non-Malays also have this assumption that you must write about Malay or Muslim characters if you want to get your stories published. That is not true. Most of my stories are about Indian families. The editors are always looking out for different cultures to be featured in their magazines.
The writers must also make sure the fiction they submit is free of spelling mistakes, so the editors do not have a headache going through their work. Read your work 101 times before sending it to the editor. Do not expect your editor to correct all your silly mistakes that you should have corrected.

So far no non-Malays have made it as sasterawan negara (national laureate) and this proves discrimination exists. One good example of this is the poet Dr Lim Swee Tin.
Associate Prof Dr Lim Swee Tin should be recognised as sasterawan negara, not because he is non-Malay but because he deserves it. He has created some masterpieces. I do not know why he has not been awarded sasterawan negara title till now. Maybe no one has nominated him. I am submitting a nomination. Like I said, he deserves the title.

Romance novels and popular fiction sell better. But why do you write serious literature?
I have nothing against people who write romance novels and popular fiction. But I like to write stories that make people think. Perhaps, 95% of readers are looking for romance novels and popular fiction, compared to only 5% who are looking for serious stuff. Let me cater to those who are hungry for serious stuff.
I strongly believe that God wants me to write something other than romance novels and popular fiction. I believe my writing talent is God’s gift and there must be a reason for His gift.

Do you think writers should write just to tell a story or their stories should have some moral message to make the world a better place?
If you are a writer with morals, it will be reflected in your writing. If your mind is corrupted, it will also be reflected in your stories. I have never written a story with the aim of putting a moral message across. But subconsciously, the moral values in me would be reflected in the stories I write. The readers are a better judge of that.

What do you think of our prime minister’s 1Malaysia concept?
It could be a brilliant concept to strengthen racial unity. But I think we are going overboard. For example, the TV station where I work is so keen to cover anything that has to do with the different races in this country. The media seems to be desperate to get non-Malay faces on the TV screen.
Ironically, last year (in April 2008, one year before the 1Malaysia concept was launched), I went out to cover a news event that featured Telegu New Year celebrations. In the end, the story was not aired in the Bahasa Malaysia news.
I was curious and wanted to know why the story was not used. The editor in charge told me, it was a story about an insignificant minority group and she also accused me of bringing "unsur-unsur Keling" (Keling elements) into the Bahasa Malaysia news.
I resigned immediately from my post as news editor because I felt her statement was racist. I did not want to work in a news department where racism exists.

A Samad Said

A National Laureate talks his his frustration over the scenario that is taking place in the local serious literature scene. The article appeared in the sun newspaper in Marc 6 2008

Suggested Headline : Malay lit under threat

National Laureate Abdul Samad Muhammad Said, better known as A. Samad Said, has 65 books to his credit, from short stories to poetry. His popular novels include Salina, Hujan Pagi, Cinta Fansuri and Langit Petang. The state of serious Malay literature in the country, however, makes the writer sad, angry, and frustrated. He tells Bissme S. he has given up all hope of it getting the recognition and support it deserves.

What is the biggest challenge you face as a Sasterawan Negara (National Laureate)?
To get real recognition, to have all your work accepted, especially in school. As a writer, you usually want your books to be accessible to students, who will be your audience in the future.

There was recently a news report that two years from now, books by national laureates would not be included in the school curriculum. What is your opinion on this matter?
Some clever guys in the Education Ministry have said Sasterawan Negara books shouldn’t be included in school because they are difficult. During my school days, we studied William Shakespeare, George Bernard Shaw, John Buchan’s The 39 Steps and Lord Byron. They were hard. But we had good teachers as intermediaries ... to help us understand the text. When you are 18 or 19, you already know these famous literature figures.

So you don’t agree with the move?
I think what they are doing is insulting. Usman Awang, Keris Mas and Shanon Ahmad have been writing for almost 50 years.You cannot just say all the work of Sasterawan Negara are difficult. There are bound to be one or two books that are suitable.
You can say my poem Al-Amin is very difficult. But I have another poem Kita Ini Tetamu Singgah, which has been made a song. That poem is easy.You must have teachers to help you understand the text, so you have some knowledge of good literature.
When Anwar Ibrahim was the Education Minister, and then when he was Finance Minister, he took care of this. He respected literature. He remembered writers. He even sent me books ... good books ... to read. He would invite Sasterawan Negara to read poems and their work for his office functions. This is rarely done now.
He even invited W.S. Rendra from Indonesia to read poems for his functions. He encouraged reading.
Even in Tun (Dr) Mahathir (Mohamad)’s time, he sent me books. He wrote "Samad, you should read this." They (Mahathir and Anwar) created situations where you love literature, where you loved writers.

Do you think these situations no longer exist?
Yes. It is very clear from what they are doing.

Some people say you’re angry because you’ll get less in royalties when your books are not used in schools.
I am 72 now. I don’t need a lot to survive on. I just need a small amount of money. I don’t even have a car. So I don’t have to worry about petrol and road tax. It is not about royalties. I don’t mind that they don’t want to use my books.

So you believe fewer youth will develop the reading habit as a result of the move?
Yes. With the help of the Education Ministry, this will happen. Just think of these students two decades from now. They are not exposed to good literature.
If you start saying the work of Sasterawan Negara are difficult at school level, then don’t expect them to touch these books when they leave school. You are sending out a clear message - do not read the work of Sasterawan Negara. Everything should start in school. We are not creating a situation where people will read good literature.
In America the students are studying To Kill A Mocking Bird, and in England they go for Lord Of The Flies. All are difficult books. If you want simple books, then just read ABC all the time.

Are you sad at the situation?
I used to be. But not anymore. I am angry now. They should be respecting Sasterawan Negara. But they are not.

What is your hope for serious Malay literature? What changes would you like to see the government make?
I don’t want to visualise anything anymore. I have no more hope. I will leave the situation the way it is. There is a small group of people in the ministry who are so clever, let them go on being clever. If they want it like that, let it be. I want to make them happy.

It appears that you have given up?
Yes. I have given up. I am sick of it. I don’t care any more. I am defeated.

What is your view of Dewan Bahasa dan Pustaka (DBP)?
They have no tongue. (Writers association) Gapena (Gabungan Penulis Nasional) has no tongue now. They have not shown any reaction to this school situation. Their silence shows that they agree with what the ministry is doing.

The last time we spoke, you said you were trying to get from DBP the copyright for your books so you can publish your own books. Did you succeed?
Not all. They have given me the rights to 12 books, but not to seven others ... the most important ones ... the ones I want.
DBP always says the work of Sasterawan Negara is difficult to sell. When you ask for your copyright, they don’t want to give it to you.
I think it is the right time to give me the rights to all my books. What is the point of keeping the copyright for my books if people are not interested in reading them?

Is it your opinion that we do not appreciate Malaysia’s literature figures?
I believe so. I have just returned from Korea after attending an Asia Africa Literary Festival. I was there for nine days. It was wonderful to see how they loved books and writers.
There was a special segment on me on TV. I was so inspired that I have written 68 poems and will compile them into a book called Soneta Pohon Ginkgo (available in the market in April).
My poems were recently translated into Bangla and launched in Bangladesh. It appears that I am beginning to be appreciated in other countries. So I don’t worry that my country doesn’t appreciate me.

Do you think the country will ever learn to appreciate you?
When you are no longer here, then they will appreciate you. They will sing praises of you. They will say we have lost a shinning star from the sky. They will say you are so good. They will say hilang tak dapat diganti. (what is lost cannot be replaced)

You constantly criticise DBP. But they gave you your first big break. They launched you into stardom by publishing your books. Some might say you are biting the hand that feeds you.
Yes. I bite the hand if I see the hand doesn’t really give me good things (laughs). It is wrong to say DBP gives me anything.
The people give tax to the government and the government goes through DBP and then DBP gives the money to me.
It is people’s money that published my books. If I owe anything to anyone, I owe to the people who paid taxes. I don’t owe DBP. It is their mission is to see what allocation they have and give the money to the authors who they think can give back to the country. The money is not from the DBP director’s own pocket. Some people think I might have grudges against DBP. But that is not the case.

What kind of roles do you like to see DBP play in promoting literature?
I don’t want to complain about DBP anymore. What is done is done. What I care about now is just give me back my copyright and I will be happy.

How do other Sasterawan Negara feel about the situation?
Maybe I am the only one who is not happy with what is happening. Maybe the others are happy. I should not represent them.

What do you think of your own writing and your own work?
I keep meeting people who ask me about the same book I wrote almost 50 years ago. I wrote it when I was 23. I’m going to be 73 in April and people are still taking about Salina (his first novel). It is as if they don’t know that I have written 65 books.
I have gone into short stories, novels, essays, poems and plays. But people keep coming back with the same book. Yes they know me, it doesn’t necessarily mean they read my work. I believe they read my work only when they are in school. (Salina is a school textbook) Only those who want to be writers read all my books later.

How do you know people don’t read your other books?
I know when people read my work. When I ask questions about my books, they grope in the dark. Reading is not easy. Unless you have cultivated the habit, you will not read. Things are becoming easier with the existing graphic novels. Now they can see pictures only. The intellectual groups always complain that my books are difficult to read, my books are difficult to study.

So why don’t you make your books easy to read like popular fiction?
I am always moving up. I should not go down. They (readers) should also go up. If they don’t understand me, it doesn’t mean I am wrong. I am 72 and I have been through all sorts of experiences. I don’t just make a sentence. I care about every word I write, whether it is reasonable, whether it is beautiful. Schools must help them come to that level. Instead they just say the books are difficult, so let us run away from them.

You could write in English. Why don’t you write in that language?
People have in the past advised me to write in English, so I will get a bigger audience. But I want to create Malay literature. When I die, I want to leave behind a khazanah Melayu (Malay heritage). You can have my work in English after you translate it. A lot of writers in the world write in their mother tongue and have their work translated into English.

Some say you see English as a colonial language and as a result dislike English and refuse to write in it.
(feigning disapproval) Yes. I dislike the English language. Yes, I don’t like it that you write in English ... You have no alternative because English is the language of the world. Most of what I have read is also in English. As I said earlier, I want to create Malay literature.

So why haven’t we translated your work as well as that of other Sasterawan Negara in English so the books can be sold in the overseas market?
You should ask this question to DBP and the National Translation Institute. That is their work. I wonder what the function of the institute is if they don’t translate work.

Do you think the media is supportive of serious Malay literature?
They are not helping. Malay newspapers do not have a specific literary editor ... I don’t know about English language newspapers. As a result, good books get ignored. Bad books get advertised and supported. Good literary events don’t get reported.

Do you think you have come to a stage where critics are afraid to criticise your work and say what you have produced is the work of a genius?
We do not have good critics. I don’t worry about that. But there are people who still say I write rubbish. There have been arguments before this on why a book like Salina, in which I write about prostitutes in Singapore, should be promoted in school. They say the topic is not suitable for students. But in America students read To Kill A Mockingbird, which is about racial discrimination. They want to explain to students about racial discrimination.

How would you like to be remembered?
As an A. Samad Said who was always unhappy with what was happening around him.

Why this unhappiness?
I want different things. I dream of a caring society, where there is peace, where we respect each other, where we will always smile always, where we shake hands and hug each other. We don’t get that in Iraq or Pakistan or Indonesia, and we don’t get that in Afghanistan. But this is the world, This is not heaven. You get that only in heaven.

Some people believe this is zaman kejatuhan (the era of the downfall) of serious Malay literature. Do you agree?
I do not think literature has jatuh (fallen). There are still new young writers such as Faizal Tehrani and Nisah Harun who are writing serious literature. If I can fall down, they too can fall down. But I always tell them to continue to write no matter what. But there is no appreciation for what you have given them. I would say this is zaman kejatuhan penulis (the era of the downfall of writers).

Did you ever imagine that serious literature would be in the doldrums when you first started writing?
Never. When I started writing (in his 20s), I thought the writing scene would have a vibrant and marvellous future. But I was wrong. If they don’t want to read my books, what can I do? If they don’t want to read books, what can I do? They will be stupid because they don’t read.

In the current situation, how do you motivate yourself to write?
There are times when I want to give up writing altogether. But when I pray, I feel peaceful and I become inspired.
Lately, I have been painting and drawing. I held an exhibition recently and sold 20 paintings. I got more than for what I write.

Seeing the present state of serious Malay literature, do you ever wish you could turn back the clock and had never chosen to be a writer?
I would still want to be a writer, even knowing this would be the ending. I will not change the fact that I am a writer. Writing is in my blood.

What is your advice to budding writers who want to dabble in serious Malay literature?
I have no more advice for writers. They no longer need my advice. They know Malay literature will not be supported.

Amir Muhammad

It was always pleasure to interview film maker cum writer Amir Muhammad. He never fail to give you interesting quotes. This interview appeared in the sun on June 30th 2005 where he speaks on various topic from the famous gangster to the sacked Deputy Prime Minister Anwar Ibrahim. Here is the article

Suggested Headline: A rebel with a cause

OUTSPOKEN and opinionated with a touch of humour. That is the best way to describe this interview with AMIR MUHAMMAD. Malaysians first knew him as a writer. His pieces have never failed to arouse. This 32-year-old had his first work published in the national newspaper New Straits Times at the age of 14. Later he diversified, sat in the director's chair and made several independent films that entered a handful of international film festivals. His first work was Lips To Lips in 2000 followed by 6horts two years later. His most prominent work thus far has been The Big Durian which he made in 2003. It centres on a real-life event that took place on the night of Oct 18, 1987 when soldier Prebet Adam ran amok while armed with an M16 in Chow Kit, Kuala Lumpur. His action triggered a city-wide panic and rumours of riots. Now Amir plans to make films on the exiled former Communist Party of Malaya leader Chin Peng and criminal Botak Chin. In a chat with BISSME S. he shares his views on politics, press freedom, movies, art and censorship.

theSun: Tell us about the first time you got your work published?
Amir: I was in Form 2. It was a book review. From then on, I just submitted articles to NST and they got printed. This was way before the Youth Page. A 14-year-old can get published so easily....That says more about the standard of our newspaper than it does about my quality as a writer. (laughs)

Whose book did you review?
I can't remember the title of the book.

What made you move from writing to film making?
I enjoy watching movies. I didn't grow up surrounded by film people. In fact, the first friends I made in the film industry was U-Wei Saari. (A controversial film director)
I interviewed him for the NST in 1993 when his first film Perempuan, Isteri Dan....? came out. I was on my summer vacation from law school from UK then and I continued to stay in touch with him even after I returned to law school.
He encouraged me to take up film. Without him, I literally would not have thought a life in film was possible. We don't keep in touch much anymore but I will always be grateful to him for that. So if my career flops I should blame him too. (laugh)

So what was your original ambition?
To be a writer. I never stopped writing even though I don't write regularly. I wanted to be a writer since I was 12. I loved reading books. It is quite obvious reading will inspire you to write.

You wanted to be a writer but strangely, you took a law degree. Why didn't you take up a writing or journalism course?
If you want to be a writer, probably one of the worst things you can do is take a writing or journalism course.

Why?
Writing is not a technical craft. Writing is more to do with experiences and reading. That is something a school can't teach you. Writers themselves had advised me that if you want to write, don't take a writing course.
Writers can come from any background. Anton Chekhov was a doctor and Franz Kafka worked in a bank. I think someone who opens a bar, someone who is a prostitute. someone who is road builder, someone who is a waiter - that sort of person would make a better writer.
After all, you are writing based on your experiences and the people you meet. If you take a writing course, you only meet people who want to be writers. If you attend a film school, you will only meet other wannabe film makers, so your films end up being about the world seen from other film makers' point of view.

If you had become a lawyer, what kind of lawyer do you think you will become?
I would probably be a bad lawyer. I was inspired to take up law after watching LA Law. The show made law look quite exciting and glamorous. I figured it early on, the reality was not like that. You spend less than ten per cent (of the time) in court and other time is spent on research and paperwork. Rather be a bad lawyer, it is better not to be lawyer at all.

Were there any other reasons for you took up law?
I had a study loan from Petronas. If you are taking a study loan from Petronas, there are only four subjects you can take - law, accounting, medicine and engineering. I thought law was the easiest. Now I am paying them back painfully RM1,000 per month. Now every time I need petrol, I will avoid Petronas station. I am already giving them enough money. (laughs)

You had your first art exhibition. Tell us more about that?
It was a flop, unfortunately. I didn't sell a thing. There were five of us who had our first-ever exhibition. All together, there were 25 digital photographs and I only had three pictures. They touch on the Ramadan month and shows Ramadan can be commercial and spiritual month.

What inspired you to go into the art world?
I was sick of the mediocrity of the art world and I wanted to drag it down even further. (laughs). I made a painful discovery that nothing above RM400 can't be sold and my pieces are priced at RM1,000 each. The people who came to the exhibition tend to be cheapskates. We must find ways to get the "mak datin" crowd. Maybe my next series should be on the mak datins ... maybe nudes.

You have not answered the question. Why did you enter the art world?
Why not? There are a lot of galleries around and it was fun to do. Basically whenever I am asked why I am doing something, my motto is that it is seemed to be a good idea at that time.

You love jumping from one thing to another?
I get restless easily. I get bored easily. I kind of admire people who can do the same thing forever and I can't imagine being like that.

Let us talk about your films. So far you've done independent films and for limited audience. You have not done anything for commercial cinemas. Why?
I am getting my first commercial release in early September. It is called Ada Apa Dengan Indonesia? It is a documentary about Indonesian politics and film making.

Tell us more?
In the middle of last year, I followed an Indonesian film crew and cast when they were making a film called Gie that was set in the 60s. The film is based on a book entitled Catatan Seorang Demonstran which focused on the life of a Chinese student activist Soe Hok Gie - during the last year of Sukarno and the first few years of Suharto's (tenure).
At the same time, Indonesia was having its elections. I decided to make the documentary that parallels the elections with the making of this film. After all, an election is the making of a nation.

Do you think Malaysians will be interested to see a documentary about Indonesian politics and film making?
There is a certain curiosity about Indonesia. We have so many things in common and we are different in other ways. A lot of things happen in Indonesia first. End of this year, I will be shooting another commercial movie called Susuk (a black magic spell used to maintain one's beauty).

Tell us more about Susuk?
It is a horror movie that is set in the film industry. I am the co-director and the director is Naeim Ghalili (a Persian American). In case it flops, I can always blame Naeim. (laughs).
Given a choice, I will not make a horror movie. I don't think I can be that scary. They just waved all this money in front of me and it was difficult to say no. Besides, the theme can be interesting. It goes to show how far one would go to succeed.

Our censors can be very touchy about horror films. So do you think Susuk will face problems?
I have not sent Ada Apa Dengan Indonesia? to the board yet and I am not sure of the fate of this movie. Ironically, if I were to release the movie in Indonesia and it will be uncut. I have seen far more radical and critical documentary. Our censors are not quite in touch with how democratic Indonesia is.

What is your view of the board?
I think they seem to have loosened up a bit. Pontianak Menjerit was passed uncut. I think censorship cannot be viewed in isolation. It is always a part of whatever political force happens to be dominant at that time. It is never something in isolation. It is a selection of whatever image the government wants to portray at that time.

So you believe the political situation controls the censorship?
Of course. Don't we know that! We want less censorship because we don't want to just scare people. We want less censorship so that certain issues that can be discussed in the media. Which include documentaries.
They seem to be lenient now. But it can change very quickly. If the government feel they need to be more Islamic because PAS is getting powerful, the censorship will be stringent.

What about your road movie Lelaki Komunis Terakhir ... on the communist leader Chin Peng based on his autobiography Chin Peng: My Side Of History?
I don't want to speak about it I have not begun any work. I really don't know how it will turn out. I plan to complete the film before year end.

There is talk you are going to interview Chin Peng in Southern Thailand. Is that true?
Yes. I will try to, but interviewing him is not the main point here.

Some people regard you as unpatriotic for making a movie on the communist leader. What is your comment?
People who are trying to tell their other countrymen to shut up are the least patriotic.

Why?
Because they are narrowing what being Malaysian is.

Do you think you're unpatriotic for making a movie on Chin Peng?
I think the result will speak for itself. If I said I am patriotic I may not be accurate. The same thing about being unpatriotic. It depends what the result is.
To me, in any country, the people who most loudly proclaim that they love their own country are usually the worst people in that country... that is why you get fascist... that is why you get right wingers ... that is why you get extreme Christians in America.
These are the ones who always say how much they love their country and they are the ones doing the most damage to it. Ordinary Malaysians who don't feel the need to proclaim it are more patriotic than those who make a big deal about it.

Since Chin Peng's autobiography, there has been a keen interest to put up theatre performances and making independent films that touch on communism. Why do you think people are so interested in the communism era out of the blue?
All of a sudden, all these information is made available to us. There come a time when you want to explore Malaysian stories, you will start to think is that all the story we have ... don't we have more stories than this. You will try to find whatever alternative reading of history that is out there.
I think people all over are starting to feel a bit dissatisfied that there is one superpower in the world today. Whatever America says, everybody has to either agree or get invaded. Maybe the interest in communism is like going back to a time when the world was actually more bipolar ... There was not only one superpower; there was an alternative. It gives you a glimpse into a time (when) there were other possibilities. It is terrible to think that, forever, America is the only force ... the only superpower.

What is your view on communism?
In theory, it is the beautiful ideology. Given a choice, people like to share. Given a choice, people would not like to be more rich and more powerful than their neighbour.
But in practice, there has never been a communist country which has not descended into dictatorship. It is not what the ideal of communism is supposed to be. The system has been abused. It is quite understandable that we mistrust its theory.

We hear you are also making a movie based on (gangster) Botak Chin?
I am trying to get a friend of mine Danny Lim to direct the film on Botak Chin and I will be the producer. He has written an interesting article on Botak Chin. There are people who idolised him and viewed him as some kind of Robin Hood. (Botak Chin was a KL based gangster/robber who was No. 1 on the wanted list in the mid-70s and was finally shot dead in a hail of bullets by the police).
In The Big Durian, you touched on Pbt Adam (soldier who ran amok and went on shooting spree in Jalan Chow Kit in KL in 1987). Now you are making movies on Chin Peng and Botak Chin. Why the fascination with these types of individuals?
Other people make films on Leftenan Adnan and Tunku Abdul Rahman. Everyone is making these types of movies. You must always do something to fill a gap. You must always do what you are interested in.

Why the keen interest in Pbt Adam, Botak Chin and Chin Peng?
Don't know. If you read Malaysia's history books, these people wouldn't be there so much. There might be a footnote, a paragraph or two written about them. These people are a part the collective imagination of Malaysians. These people are a pool of resources. In other developed countries, they can make films on all kinds people - from kings to crooks. Why are we restricting ourselves?

Do you like to be controversial for the sake for being controversial?
That can be quite tiring. Not only for myself but (also) for other people . A lot of films and books that were controversial at that time, later people don't remember them. I don't see myself as controversial. It's fun to annoy people. It is too easy to be controversial in Malaysia. The slightest thing could be controversial.

We hear you want to release Lelaki Komunist Terakhir in the cinemas. Do you really believe it will get the green light from censors?
I don't know. It's not up to me to decide.

What if the censors ask you to make cuts? Would you comply?
It depends. I would prefer uncut. I've lived in this country almost all my life and I know what people can take and what people cannot take. Where did we get this idea that every movie and book must not offend anybody. What is wrong if a movie or a book offends some people? You can't please everybody.

What is the greatest misconception people have about you?
I don't think people have misconceptions about me. People don't even know I exist.

You were sacked from NST in 1999. Why?
I was not really sacked. I was never a full-time staff in NST. My column was stopped during the general election in 1999 because it was thought to be un-helpful to the government in its bid to win the election. It says more about their paranoia. Now everything is okay. I can write for them any time.

Did it affect you in any way?
It was not a big deal. In a way, it was good. I had a bit more free time. I could do different things. I directed my first theatre performance The Malaysian Decameron. But frankly speaking, writing a column doesn't take much of my time.

Did the incident cause you to question Press freedom?
I was questioning it right from the start ... even before my column was stopped. You don't need an incident like that to question it.

People always complain of a lack of press freedom in Malaysia. What do you think?
The journalism graduate feels there are many things we can't do. In reality, it is not as bad. People have to be honest and follow what stories there are.
We are always suspicious in nature. For example, the corruption case gets played up in the media, we will question why these cases are being played up and whether somebody is out to get them. We have not got to the stage where we will say "yes, it is a corruption case and it should be played up". We always question, if something is exposed, then it is to fit into someone's agenda. It is not as bad as the critics say it is.

Tell us your experience in NST?
Writing for the NST was fun back then because people like Salleh Ben Joned and Johan were contributing to it. Also, the editors (I worked with) were liberal, down-to-earth and humorous in the way I think of as quintessentially Malaysian. I never felt like I was dealing with people twice my age. The last editor I had was Kee Thuan Chye, but before that there were Rose Ismail, Fatimah Abu Bakar, Aishah Ali and Sheila Rahman. I consider my NST years to be my true schooling experience.

You only directed one play, The Malaysian Decameron, in 1999. Why didn't you direct more plays?
It wasn't very good but it had a few good jokes. It was part of the director's workshop series headed by Joe Hasham and the late Krishen Jit.
I don't think I can be a Namron or a Mark Teh. I am too impatient and shallow to be a good theatre director. All those rehearsals! In movies at least, you can cheat with editing. But there is something magical about watching a good stage performance like Lembu or Baling.

You seem harsh on Yusof Haslam's movies.
I have watched all of his movies and I paid to see them. How you can say I am harsh on him. What is most interesting about Yusof Haslam is he started out as a bus conductor. He has the potential to make films about ordinary people, yet he only makes movies about people who have swimming pools.
He probably thought people will not see movies about bus conductors. But a film like Mekanik which is about ordinary people can pull in the crowd. Then again, who am I to lecture him on what kind of movies he should make?

Your views on the most expensive local movie, Puteri Gunung Ledang (RM20 million)?
There were certain things good about it. I think people were less forgiving because the hype was massive. They made terrible blunders. The art direction was terrible and it wasn't edited well. I like the dialogues and the performances were above average. It was not the ultimate movie that we were told it was. But I admire the fact someone was willing to try something big.

Tell us more about your parents? Do they support what you do?
My father Muhammad Abdullah was a civil servant who worked through several ministries. The last ministry he was attached to was the Transport Ministry. In the 60's, he was on the censorship board. I don't know how long he was there. Maybe just for a few weeks. Maybe they got rid of him because he didn't ban any movies (laughs). My mother Asiah Kechik is a housewife and is always busy.
I would think certain parents will be alarmed if their children did not do law and would rather do something that is uncertain. But they never stopped me as long as I was interested in something and I was not starving.

How many siblings you have? What do they think of you?
My sister Siti Dura is an engineer. She is quite busy with her job and doesn't devote much time to thinking about what I do. But she is very responsible ... much more responsible than me. For example, she did not forget to make restaurant reservation for the recent Father's Day. We balance each other out. (laughs)

What do you think of our current Prime Minister?
As much as you (can) get annoyed with (Tun Dr) Mahathir, he was such a galvanizing force (but) he was (also) so polarising. You either like him or don't like him. The Opposition was in a much healthier state in Mahathir's time. Pak Lah is a nice guy. He never seems to get angry. He is very friendly. He has taken the wind out of the Opposition. What else do you have to complain about?

Now you seem to be pro Mahathir. Why the change?
(laughs) It is like Britain after Margaret (Thatcher). She is a kind figure you either hate or love. You miss her after she is gone. A politician is a collection of his policies and of his actions. You like certain policies and actions more than others.
I supposed I like Mahathir's sense of impatience - he always had a sense of unfinished business - he always felt there was so much more to be done. It is kind of inspiring for a young country to have this kind of image. But nobody should be in a position of power so long. Because then it is just about the power.

Are you a supporter of Datuk Seri Anwar Ibrahim?
I don't think I am a supporter. I am not a member of any political party. While he was in government itself, he was the big sponsor for dubious things like Bahasa Baku.
He seems to be the sort of person who like the surface details more than anything else. He always claimed to have read a lot ... I don't think he was as well read as he claimed. Well, he has written a lot of wonderful things and they have never been translated into action.

What is your view on Putera Umno?
It is going to be a place where potential entrepreneurs join where they create networks and make connections. (read Sun Weekend last week for conversations with Putera Umno chief)

Are you anti-government?
Everybody should question the government as well as the Opposition. Since the Opposition is not in the news so much, so what do you have to question them about?

Why don't you join any political party and make changes from inside?
I don't want to be a politician. I question them as a taxpayer... someone who gives them money ... we are the one paying their salary. It is so wrong to pay for their lifestyle and then you have to shut up.

So are you anti-government?
I am frequently anti-government. Then again, if PAS comes to power, I might be equally anti-government too.

Joe Hasham

Here an interesting interview from Joe Hasham who speaks about the local theatre scene which appeared in the sun newspaper in Oct 11. 2007

Title: Play not the prima donna

Veteran actor-director Joe Hasham whose most recent work was the acclaimed Tunku The Musical says Malaysian actors are generally a spoilt lot who do not bother to perfect their craft. He also tells BISSME S. that Malaysian audiences tend to turn down their noses at local plays. At 59, he has been involved in theatre for more than 40 years and has directed more than 100 plays. He and his wife Faridah Merican, the First Lady of Malaysian Theatre, run The Actors Studio as well as swanky theatre venue The Kuala Lumpur Performing Arts Centre.


theSun: What is the biggest challenge that a theatre artist like you faces in this country? 

Joe Hasham: Thankfully, I am blessed in that I don’t have to worry about earning a living. I think with most theatre artists in this country, their biggest problem is trying to earn a living. It is absolutely no different anywhere else in the world. Actually, our performing artists are a little bit more fortunate than other performing artists anywhere else in the world.

Why do you say this?

Because there are more jobs than there are people. Why do you think the Actors Studio ends up using the same people all the time? We are trying as much as possible to get new people and I am sure other theatre companies are also doing the same.

Can you give an example?

For instance, if I was casting Tunku The Musical in Australia which has almost the same population as Malaysia, for the lead role, I will have at least 100 people who could do the part. Here we have one or two who could do the role. So there are more jobs and fewer people. Whereas in Australia, UK and America, there are not many jobs but so many people.

Why do you think there are fewer people in the local theatre scene?

It is a cultural thing, particularly among the Chinese. Because Chinese families are a little bit sceptical about their children devoting their time to the performing arts; the parents feel they should be getting a degree, become a doctor, businessman, accountant, lawyer or engineer.
That is why you find within the performing arts in this country, we tend to get a lot of Malays and a lot of Indians. Because they really have a passion for it.

So, are you saying the Chinese don’t have a passion for the arts?

It is not to say the Chinese do not have a passion for it, they do. But I think the family and the cultural restrictions are a little bit stronger. So my biggest problem is finding people and trying to nurture the young talents. Faridah and I are forever nurturing young people who can write, who can direct and who can perform. It is a never-ending battle.

What changes would you like to see taking place in local theatre?

Last year, The Actors Studio had Sarah Jane Scaife conduct a workshop on Beckett (the writer Samuel Beckett). She is a renowned Beckett exponent. If she were to give the same workshop in Australia, England and America or anywhere in Europe, people would be clamouring to join the workshop. I mean not just people, I mean top actors … established actors. When we did the workshop here, sure we got the quota we wanted. But not one established actor (turned up).

Why is that?

Malaysian actors think they know it all. That is the impression we get. It is not just me saying this. The majority of Malaysian actors are very spoilt and they do not take the opportunity that is given to them.
They feel it is not important to make time to do courses. It is a different mindset in Australia, UK, Europe and America.
The actors (there) are forever trying to improve. They will attend as many workshops as they can. They will attend as many acting classes as they can.
Top actors are forever revisiting this kind of classes. People like Dustin Hoffman and the late Rod Steiger were forever revisiting their basics. Our actors are not really interested in doing this because, I believe, they think they are above it.

How do you change this mindset?

It can only happen over time. I often tell my actors that they are lazy. I have no compunction telling them that. I often tell them that they need to revisit themselves. I often tell them that they need to be choosy about the work they do… about the work they accept... about the directors they work with.
On the other hand, I also appreciate the fact that they have to earn a living, particularly those who are full-time actors. I think the younger actors, the less experienced ones, feel once they have done one thing, suddenly they know it all. Of course, that is wrong.
There are actors all around the world who have been acting for more than 50 years who are still searching and who are still perfecting their craft.
For us in Malaysia to really be able to say we are professional in theatre, this attitude has to change.

Are the actors angry when you call them lazy?

I do not care if they are pissed off with me. I am not here to win a popularity contest. My mission is to nurture the creative talent. I do not hold back.
It breaks my heart to see really talented people just scratching the surface of their talent. If they are willing to put more into it, they could be world-beaters.
Absolute discipline towards their craft is necessary. A lot of Malaysian actors do not think there’s anything wrong in arriving for rehearsal late. They do not do it when I am directing them because I will taruh (scold) them. They do not seem to realise that by being late, they affect the entire cast. Because sometimes they are the integral part of the scene, (but) they are not there.

Do you think the government, in particular the Ministry of Culture, Arts and Heritage, is doing enough for theatre?

That is an interesting question. Nobody is perfect. In certain areas they are doing a lot. It is no secret I am probably one of (Culture, Arts and Heritage Minister) Datuk Seri Dr Rais Yatim’s biggest fans. I think what the man has done and what he is attempting to do, in terms of making performing arts flourish, should be applauded.
He is only being hindered by his predecessors. That is probably not their fault, either. Because at that time we didn’t have a Ministry of Culture, Arts and Heritage. We had a Ministry of Tourism and Culture. Tourism was the main push because it was bringing in a lot of money.
One would have to be a fool not to notice the difference in the performing arts ever since we got the Ministry of Culture, Arts and Heritage. The funding for theatre and the encouragement we have been getting are positive.
It is not perfect. Datuk Seri Rais Yatim would admit that himself. It takes a long time to change a mindset. The other people in the ministry need to be re-educated and change their mindset. It is happening slowly. I think there is great hope.

Why do you think some theatre personalities feel the Ministry of Culture, Arts and Heritage is not doing enough for theatre?


I have no idea. Theatre people are very quick to criticise. Sometimes it is emotional criticism without taking stock of what they are really saying.
I think he (Rais) is doing as much as he can. I think he has done very well. He is a lawyer (by training). He has a certain quality and style about him. He understands what the performing arts are all about.
The only problems I can see the ministry having is trying to change the mindset of some of the officers further down the line who have certain ways of operating and giving funding to certain organisations. Now that is changing, slowly. The ministry is totally open to any form of theatre – Indian, Chinese, English and Malay.

What is your view on censorship?

Whichever country you go to, there is censorship in one form or another. There is an old saying: When in Rome, do as the Romans do. If Caesar is paying your salary, don’t cut Caesar’s head off.
We have a set of rules and regulations and we try to abide by them. Sometimes we can find ways around them intelligently and there is nothing wrong with that. It is our responsibility as theatre practitioners to keep on pushing the edge… pushing it as far as we can go.

Some theatre personalities have long complained about censorship. But you sing a different tune. Why?

When the powers that be object to certain things about their play, some theatre personalities will immediately go to the media and complain the authorities ban this and that. We do not do that. That is one sure way of upsetting everyone and not getting what you want.
If you treat them with respect, and if you treat them as equals, and if you sit down with them and say, can we please have a dialogue about this … Can you please explain to us why you are objecting to this? And you will find most of the objections will be watered down. And you may find you will have to make one or two minor changes.
Our authorities are not idiots. Some of them may not be the most intelligent people in the world but they are not idiots. They know what they are doing.

It is difficult to believe you do not have any complaints about censorship.

Faridah and I do not touch on political issues. It doesn’t concern us. Also, the religious issue. Anyone who wants to get involved in a religious argument in theatre is mad. If you are going to talk about religion or portray religion on stage, there are ways of doing it. Some people are putting it just for the sake of putting it.
Then, there is nudity. Many countries do not allow you to be nude on stage. Many countries, I mean western countries, as well.
One area where we probably have more censorship than any other country is politics. But this is the country we live in. What are you going to do? Bash your head against the wall? You may as well become a politician. Fight your battles in politics; don’t fight them in theatre.

So you believe in working with the censors?

Yes. I certainly do not believe in fighting with them because you can’t win. It has been proved from time to time you can’t win. I believe in dialogue. I believe in confrontation. You confront the issues with the people who are telling you that you can’t do this. You talk to the people instead of going to the press. You may have to reach a compromise. But life itself is a compromise.

Some people say that theatre, especially English theatre, caters to the elitist and the arty-farty. What is your comment? 

I do not believe theatre caters to the elitist and arty-farty. I think it is the people who make theatre elitist and arty-farty.
There are a lot of Malaysians who will not go for local theatre. But they will pay RM350 to watch a second-grade show from the West End or Broadway. They will pay a huge amount of money to see that. But they feel spending RM40 to see a local play is too much.
I have met so many people who say ‘I do not see Malaysian theatre’ and I feel like slapping them. Maybe that is our fault, too. We have not educated them about Malaysian theatre.
The Actors Studio caters for the man-in-the-street. If you notice the price range of our tickets, we have family packages, senior citizen’s rate, children’s rate and the disabled rate. We try to keep the price of tickets as low as possible.
We do not make theatre for the elitist. If you are just targeting the elitist you might just roll over and die. Theatre is not for the elitist.
When Shakespeare wrote his plays, he was writing for the man- in-the-street. They (the public) used to stand around the circle and watch his plays being performed. These were ordinary people like cobblers and farmers.

Why do you think our audiences are reluctant to see local plays?

They are ignorant. They don’t know any better. Just because something is from abroad, it doesn’t necessarily have to be better. Look at Puteri Gunung Ledang The Musical. It is a brilliant production. It is better than any production that I have seen that has come to our country.

The silver screen promises more fame and fortune. Why haven’t you tried directing films?

On many occasions, I have been asked to direct the films here. I take one look at the script and I have to decline. Unfortunately, our scriptwriters are not up to par yet. When I look at some of the awards given out, it is an absolute joke. I walked out from one particular film 30 minutes after it started. But the same film ended up winning four awards recently.

Where do you see yourself five years from now?

Faridah and I hope to make a big influence in schools. We want to bring arts to school. We’ve already had meetings with the Ministry of Education. It has built two performing arts schools. We hope to be able to work with them and expand it on a broader scale … to take it to a national level. For the performing arts to really thrive, it has to start from pre-school. We need to expose them to the performing arts from young. We do not want all of them to become actors. But at least they get knowledge and they will become better people for it. Performing art of any kind will only make us better.