Marina Mahathir on Mahathir Mohamad

This story was published in theSun newspaper on  June 15, 2012  in conjunction with father's day that falls on June 17.  It is story about a  close relationship between a father and daughter who have different opinions but who still  respect each other.  

Headline : My Father's Daughter 

By Bissme S 

THE world knows him as the former prime minister of Malaysia but to Datin Paduka Marina Mahathir, Tun Dr Mahathir Mohamad is the man she calls dad.He was strict about matters pertaining to school but, at the same time, very affectionate towards his children, says this writer and human rights activist about her father.

“He cannot tolerate bad manners and rudeness,” adds Marina, 55, who is the first of seven children of the 86-year-old Mahathir and Tun Dr Siti Hasmah Mohd Ali.

“I remember as a child, he spanked me because I stuck my tongue out at our gardener.”

But when it comes to his 17 grandchildren, it is a totally different picture. The strict father turns into a much more lenient and indulgent grandfather.

“Once I smacked one of my children lightly and he scolded me: ‘Don’t smack my granddaughter’!

But like any child growing up with strong opinions, Marina’s obvious support for the Bersih street demonstrations last year and this year had set some tongues wagging that it had caused a serious rift between father and daughter.

Marina, however, denies this. “I took part in Bersih because I believe in fair and clean elections. I don’t think I’ve done anything wrong.

“I’ve stated my opinions and my dad has stated his opinions. Our opinions happen to be different.

“But both my father and I believe that it’s okay to have different opinions.”

She feels that some people are making a big deal out of their differences in their opinions.

“They want me to say that my dad’s opinion is wrong. I’m not going to do that. He is my father. Would you do that to your father?I respect his opinions the way he respects mine.”

Marina also feels that her father had brought about much progress to the nation during his tenure as prime minister.

“I know people would say that I only have good things to say about him because he’s my father.

“But I’m sure that our history would reflect a much more balanced account of his contributions to this country.

“As people enjoy the fruits of development, they want more. In particular, they want more space for different ideas to be aired and for that, they need the freedom of expression and speech.”

Marina says Malaysians generally do not appreciate her father until they travel and meet foreigners, especially other Asians, who yearn for a leader like him.

Recalling a 2008 visit to the Asian University for Women, on whose International Advisory Committee she sits, in Chittagong, Bangladesh, she says the people there looked up to her father and regarded him with respect and admiration.

“I was treated like a rock star’s daughter when I was there,” she recalls. “Everywhere I went, I was greeted by journalists and people eager to meet me just because I was related to him.

“They admired dad for what he had done for Malaysia. They wished they could have a leader like him.”

On allegations that Mahathir had curbed press freedom in Malaysia when he was the prime minister, Marina has this to offer: “He had, shall we say, a fractious relationship with the media. It was one of those things I’d always disagreed with him.

“But he was always far-sighted when it came to new technology.

“I remember one of his ministers wanted to ban the use of fax machines but he would not allow it.

“We must also not forget that he set up the Multimedia Super Corridor.

“Whatever you may say about my dad, you cannot deny that he has an intellect far superior to that of most people today. He certainly reads more than almost anyone in public office too.”

When asked about her opinion on internet forums that criticise her father, she says: “I don’t read what they say. What’s the point of reading them? They are not going to change their opinions, no matter what you do.

“My father had never gone around thinking that he’s the most popular guy on earth. If you do your job with the idea of being popular, you already have the wrong approach.

“For that matter, I don’t even read his fan forums either.”

She also points out that her father was a strong supporter of women’s rights and one of the few leaders around who had the guts to stand up against those religious scholars who used religion to deny women their rights.

“Once, my friend told me that she had heard an Ustaz declaring in his religious sermon that ‘it’s better to roll in mud with a pig than shake hands with a woman’.

“Later, I told this to my mum and she related it to dad.Then, at the very next Umno general assembly, my father brought up what the Ustaz had said and asked how he could have forgotten that his mother, sisters and wife were also women and how he could have spoken of them in such a degrading manner.

“For saying that, my father received a standing ovation, including from those women who really should have stood up against men who have such a sexist attitude.”

Helmy Samad On A Samad Said

The story appeared in the sun newspaper in conjunction with father's day. I highlighted the story of writer cum publisher  Helmy Samad talks about his father National Laureate A Samad Said. The story published on Monday June 25, 2012 

Headline : On being the son of a living legend

WRITER-publisher Helmy Samad can talk to his father about anything – including his love life.That's how he describes his relationship with his father, National Laureate A. Samad Said.

"He knew who all my girlfriends were," adds Helmy, the second of five children in the family.

Last year, when his marriage was on the rocks, Helmy instinctively turned to his 77-year-old father for advice. "My dad only said one thing to me: 'Jadi anak jantan (be a man)'," he recalls. 

Now, at 48, Helmy is a single parent to two boys – Muhamad Firdaus, 23, who is pursuing a Master's degree in Mass Communications, and five-year-old Ali.

"My eldest son and my father have different ideologies and they can debate for hours," Helmy says. 

"But my father doesn't mind the difference of opinions between them. He feel it's better for his grandson to have a stand in life than to have none at all."      

One virtue that Helmy's father taught him is kindness and now he is instilling this value in his sons.

"These days, people believe that kindness is a mark of a loser," says Helmy. "But some of the greatest people in history displayed kindness and one of them was Mahatma Gandhi."

"It's not easy to be kind," he adds. 

Helmy also points out that his father never scolded his children in public.Recalling an incident which occurred in his childhood, Helmy says his neighbour had caught him smoking with his friends. When the neighbour complained about it to his dad, Samad had said: "So what?"

"My neighbour went away feeling embarrassed but I got a two-hour lecture from my dad. The point was that he didn't want to embarrass me in front of the neighbour."

When he and his siblings were young, his father also instilled in them a love for the arts by encouraging them to draw and paint.

"If he liked one of our paintings, he would buy it at 50 sen or so. That reward created some kind of excitement in us and also healthy competition between me and my siblings."

Ten years ago, Helmy gave up his lucrative career as a computer programmer to follow in his eminent father's footsteps. He became a writer. 

"My father discouraged me [from becoming a writer] and he kept telling me that a writer's life is a hard life," he says. 

"But at the same time, he gave me books to read to broaden my horizon."  

When some of his short stories were published, there were some critics who began to compare his writings with that of his father's.

Helmy became frustrated at one point and even quit writing for a while.

"I was just starting out as a writer and to make that kind of comparison was unfair," he says. "I believe my writing style is different from my father's."

But his dad advised him to continue writing. "He told me that it's only natural that people will compare me to him and with other writers."   

Last year, Helmy finally went back to writing and even started a publishing company, Wira Bukit Sdn Bhd, which mainly publishes his father's books.

"But my father and I are lousy businessmen," he says, laughing.

"We like giving away books because we want to encourage reading among Malaysians. But then giving them away for free is not good for business."

To date, Helmy has written three novels which have yet to be published.  

"I'm more mature now to handle any comparisons that critics may make between my literary works and my father's," he says.  

Of late, his dad had been making headlines for taking part in the recent Bersih 3.0 protests and some quarters had even accused him of creating trouble in the country.

Helmy begs to differ, saying: "Like all peace-loving citizens, my dad was merely pressing for fair elections and seeking an end to corruption.

"My father has always fought against injustice. If he sees something is wrong, he would speak out."  

Although Helmy admires his father's courage, he fears for his safety.

"My father lives a simple life and moves around freely ... it's easy for someone to harm him. I've voiced out my concerns but dad says life and death is in God's hands." 

Mislina Mustaffa : Homeless By Choice

Recently I interviewed the actress Mislina Mustaffa where she talks about her interesting project Homeless By Choice.  The article was printed in theSun on April 25, 2012. 

HOMELESS BY CHOICE 

By Bissme S

FRENCH author and feminist Simone de Beauvoir once said that 85% of a woman’s daily life is spent cleaning the dirt that keeps coming back.This remark influenced local actress Mislina Mustaffa to embark on an interesting journey – to go homeless for a year.

“When you have no house, you have no dirt to clean,” says the 41-year-old. “I’m curious to see what I’ll be doing with this 85% of my time.”

Mislina is keeping a journal to record all her experiences from her adventure and plans to turn it into a book for publication next year.She also intends to use the journal as the basis for her thesis in her studies in the future, most likely in the field of performing arts.Interestingly, it was not difficult for her to give up the place she had called home for the last eight years and disposing off most of her furniture, except for a few of her favourite books and paintings which a friend would be keeping for her.What she found difficult was giving up Atan and Mong, her dogs who had been with her for more than a year. Fortunately, she managed to find a new home for them.

“I learnt that it’s easier to give up material things,” says Mislina, who has acted in films such asAnak Halal, Talentime and Cun, as well as Karaoke that was screened at the Cannes Film Festival in 2009.

Asked if she plans to get her pets Atan and Mong back, she says: “I’m sure the new owners will get attached to the dogs and they to them. It will be cruel, heartless and unfair to tear them apart.”

For her project, which she dubs ‘homeless by choice’, Mislina only has four changes of attire and basic essentials in her bag. If she has a film or TV drama shoot, she will stay in the city. Otherwise, she will be travelling all over Malaysia.So far, she has visited Pulau Tioman, Peang and Bintulu in Sarawak, staying mostly in budget hotels. She has met people from all walks of life – from a Canadian hippie to a Korean student who could not speak proper English.

“The journey has been tiring but the experience has been enriching,” she says.

Mislina has also adopted ‘a couch service’ from good friends as well as kind-hearted strangers who offer their couch to her to bed down for free. 

“Usually, I would stay with them for two or three nights,” she says.

Most of the time, her gracious hosts are kind enough to invite her for lunch and dinner as well.So far, she has stayed with four families, and mingling with them has exposed the actress to new experiences.

“When I stayed with a Chinese family, I noticed a picture of a rhinoceros pasted on their front door,” she says. “Later, I learnt that it’s a fengshui symbol to keep robbers away.”

Mislina says staying with people from different backgrounds has helped her to sharpen her skills as an actress.

“Through this project, I hope to get to know our society and its people a little better.

“Should I write a script in the future, I’ll include bits of my experiences. It’ll make the script more interesting and realistic.”

Mislina also hopes to show that a woman has many choices in life. “Many Asian women’s ultimate goal is to get married, have kids and have a house that they can call home,” she says.

“They have become slaves to this social and stereotypical image. All their efforts, money and energy are dedicated towards this goal.

“It’s okay to have a home. But your home should not become your prison. Your home should not be your only dream.”

Mislina’s ‘homeless by choice’ project has also helped her to create a better bond with society.She says many actors have this wrong perception that they should not mingle with ordinary folks. They, in fact, feel that they should remain reclusive and exclusive.

“They would make their assistants do all their chores for them, even buying fruits from a street vendor. And, they definitely wouldn’t think of queuing up at a coffee shop to get a cup of coffee.

“But we actors represent society. We play roles that we see in society. If you refuse to be associated with society, how convincing are you going to be in your performances?

“For instance, if an actor has to play a fruit seller, how will he know the emotions experienced by such a person? This is why some actors put up such shallow performances.”

Actors cannot be aloof and keep away from society. They should be part of society, adds Mislina.

Kee Thuan Chye

This story was published in thesun newspaper on April 4, 2012. I think this story is enough tell you there are many Malaysians who cares about this country . Here is the article 
 Headline : Writing for a better Malaysia


In his book, No More BullShit, Please, We’re All Malaysians (which is a compilation of previously-published articles), journalist-cum-columnist Kee Thuan Chye expresses his personal views about the country he lives in. He does not hold back his punches and speaks without fear or favour. The book offers readers the voice of a concerned Malaysian who cares enough about his country to speak up and gives his candid views on topics close to his heart – a united Malaysia where every citizen is treated equally, irrespective of his race or religion. Here Kee shares his thoughts on his book.


Your book gives the impression that you are very critical of the country. Any comments? 


The impression my book gives is that I don’t agree with some of the things that the government is doing and the direction the country is taking, one example being dividing the citizens along the lines of race and religion.My articles express my desire for a better Malaysia.As Malaysians, we have been conditioned into believing that the government is the country. But it’s not. Governments come and go. We must learn to make a distinction between the country and the government. That’s the reason I’ve added a quote by Howard Zinn (an American author and activist) who said that dissent is the highest form of patriotism. If you are patriotic, you would want to protect your country from the people who are ruining it, especially if they are the ones running the country. What I would really like to see is the elimination of race-based politics and the politicisation of race and religion. And I would also like to have a government that’s corruption-free.


Because of what you wrote about the NEP (New Economic Policy) in your book, those who don’t understand your true intentions might say you are anti-Malay. How would you respond to that?


I’ve a lot of respect for the Malays and their culture. In fact, I think the Chinese in this country are different from the Chinese in other countries because Malaysian Chinese are gentler in their ways, thanks to being influenced by the ‘halus’ (gentle) aspects of the Malay culture. I really admire the gentleness in the Malay culture. I often use Malay cultural elements such as pantun, dikir barat and wayang kulit in the plays I write. I’ve given truly Malaysian names to my children. (He has named his daughter Soraya Sunitra Kee Xiang Yin and his son, Jebat Arjuna Kee Jia Liang.) I call my children by their Malay names.If people insist I’m anti-Malay, well then, I’m a crazy anti-Malay!


Can you elaborate on your stand that the NEP should be replaced with one that gives every race in Malaysia an equal chance.


 I think the NEP should be replaced by a policy that truly helps the poor, regardless of race. I think it divides the people if you have a group known as Bumiputras and another known as Non-Bumiputras. It creates two Malaysias. If you institutionalise privileges for a particular race, you will not be helping that race in the long term. They will not be motivated to compete. They will find it hard to survive on their own. You will actually be bringing more harm to that race. Even the late deputy prime minister Tun Dr Ismail Abdul Rahman acknowledged that the NEP shouldn’t go on for too long, or it would make the Malay race worse off. He was a visionary, he could see that happening. And, indeed, it’s happening now. But on the other hand, there are also many successful and brilliant Malays who have achieved success on their own. So if they can do it, other Malays can too. The government needs to give the Malays as a whole – not just the well-connected ones – the confidence to achieve on their own. They should be provided with better education, and rigorous work ethics should be instilled into them, rather than keep them beholden and dependent.


As a writer, are you resentful that recognition is only given to works written in the national language and not in other languages?


I wouldn’t say I’m ‘resentful’, but I would say I feel sad that this is so. I’ve always said we must give due importance to the national language. It’s the language that is supposed to unite us. But we also need to respect and accommodate other languages. I’ve been criticising those who came out with the policy that only works written in the Malay language is considered as national literature. Why should that be the case? By doing that, they are actually dividing us, instead of bringing us together.I feel that as long as you are a Malaysian, any literature you write should be considered Malaysian literature. Language should not matter. For instance, if a piece of Malaysian literature is celebrated throughout the world and it’s written in Tamil, Iban or Kadazan, are we going to say that it’s not Malaysian literature?


You were a full-time journalist for 30 years. You must have missed a lot of opportunities for speaking your mind boldly. Looking back at your life, do you have any regrets?


None at all. I did what I believed was right. I did my job as I believed it should be done. After I retired, I was offered a public relations writing job. If I had accepted the offer, I could have got myself a cushy set-up. But I turned it down. In all my years in journalism, I never did any spin writing or write anything for the sake of pleasing anyone.But if you want to push the envelope, you must be prepared to take the bullet. If you want to fight for what you believe in, you must be prepared to take what comes, and I’ve taken quite a bit. But I’ve no regrets. I can sleep easy. I can hold my head up high.

Bayu Utomo Radjikin

Bayu Utomo is one of my favourite Malaysian painter. I simply loves his work. I had the opportunity to interview him and the story was published in the sun newspaper on Nov 18. Here is the full story




Headline : Basic Instinct




MALAYSIAN figurative artist Bayu Utomo Radjikin has had his work exhibited in the United States, Britain, Austria, India and elsewhere. The award winning artist tells theSun there is an urgent need to take our art outside Malaysia.


* Your father was a teacher. Did your parents ever object to you being an artist?


No. Where I come from (Tawau, Sabah), as long as you have made it to university, you have made your parents proud. They will feel they have fulfilled their duty as parents. What course you take at university is never an issue. I took a degree in Fine Arts from University Technology Mara in 1991. They just want to see you succeed.


What has been the best compliment and the worst criticism you have received in your 25 years as an artist?


My name was surprisingly mentioned in school text books. It is a compliment when the young know of you and your work. As for criticism, I have yet to receive any.


Are the media playing their role in promoting Malaysian art?


The media wants to cover something that’s interesting. If art no longer interests people, you cannot blame the media for not covering it. Perhaps we should be putting on more exciting exhibitions to grab media attention. I do feel that whenever the media cover an exhibition, they are more interested in reporting who came to see it. Maybe artists need to explain an exhibition, so the media understand the concept behind it. In that way, they will be more tempted to write about it.
I would also like to see more in-depth writing on the arts. Everyone knows about the late Ibrahim Hussein and his work that is worth millions. Yet, there are no real discussions in the media on why it is worth millions or why it makes his a popular name around the world. Everyone knows that the late Syed Ahmad Jamal was awarded the Seniman Negara, but there are no real discussions about his art work in the media so that people will understand why. I may be asking too much of the media, but it would be good if we could have that.


NURTURING TALENT


Tell us more about your gallery, House of Matahati (HOM)?


It was created by Matahati, an art group consisting of five members, and was established in 2007 as an independent art space. Besides exhibitions, we have a programme to help nurture artists, especially young ones. We have a six-month resident programme for local graduate artists. We give chosen artists an allowance, basic art materials and a studio to work in. At the end of the programme, the work they produce will be exhibited in this gallery. So far, 11 artists have been on the programme. We also have international residencies where foreign artists stay at HOM for a month and interact and connect with local artists and the art scene. The most recent is the SAGE (Southeast Asia Art Group Exchange), where we are inviting artists from Indonesia and the Philippines to stay here in Kuala Lumpur and visit artist studios, galleries and collectors with the locals.
HOM also has the MEAA (Malaysian Emerging Artist Award) that is given to young and talented artists to pursue a direction in art practice, and lastly the Matahati Art Fund where some of the money we collect is channelled to artists who want to run art activity locally. We also give to relief funds such as after the Yogyakarta earthquake and the Mount Merapi eruption.


Some artists believe the government gives the arts less priority than other areas.



The answer can be yes and no. Culture and the arts are still on the government’s agenda, but of course culture gets more emphasis. Maybe the physical form of culture is more attractive. It is easier to sell as a brand outside Malaysia, to pull in the foreign tourists. There seems to be less dedication to showing our art outside Malaysia, I guess.
But recently, there have been increasing efforts to showcase our work elsewhere. However, some of us find the whole business of promoting our art outside Malaysia a little bit superficial. And when things are done superficially, they don’t last.


An example of superficial?


Contemporary art is very in now, so they make all our work fit into this segment. People in the art scene feel they don’t put the right work in the right perspective.
They have been promoting art outside Malaysia since late last year, and hopefully, there will be consistent efforts every year. We promote everything on an ad hoc basis. Consistency is important if we want to make an impact. All you need do is to consistently promote our work for five years, and you will see results.
We have put up many exhibitions, most showing local art to the locals. We feel good about ourselves. Other Asian countries like Indonesia and the Philippines are showing off their art abroad. We don’t even showcase our work in this region. When people think of an art hub in Asia and finding new talents, they don’t look at Malaysia. Most of the time, they go to Indonesia, the Philippines, Thailand and Singapore.
It is important to take the work of our artists elsewhere so that there will be a platform for new artists to emerge. If you look in a small pond, you will find the big fish eating the small fish. For the small fish to grow, effort must be made to take the big fish out of the pond and put them in the ocean.
The same principle applies in the art world. For young artists to grow in Malaysia, established artists must be given a different market to conquer. Of course we cannot place the whole responsibility of introducing our work to the world on the government’s shoulder.
In Indonesia, artists know the government cannot help much to promote their art, so they do it on their own. You find Indonesian art galleries, collectors and buyers so confident that Indonesian work will have international appeal, that they take the initiative to showcase artists and collections all over the world. That adds more value to the collections and the artists get exposure, too. Sometimes, I find Malaysian artists don’t feel the urgency of the need to take their work elsewhere.


Do we have work with international appeal?


Yes, but we don’t have to be super good to be noticed. People who look for art from other countries, are usually looking for something different – something they cannot find in their country, but something they can still relate to.


Some artists consider the National Art Gallery (NAG) a white elephant.


I have done a few projects with NAG and they are helpful and keen. But as a government agency, there is still red tape to adhere to. For me, if NAG is lacking in some way, the artists should come forward and make comments and suggestions, so that the gallery can run more efficiently. NAG is like one big umbrella and like it or not, Malaysian artists come under it. NAG and our artists have a father and son relationship. The father should do whatever’s best for his son, but if he is doing something wrong, the son should tell him and work with him to make things right. Yes, there is some limitation there, but don’t make that a fence that prevents things being done. NAG has the power to shape the art scene.


What change would you like to see at NAG?


NAG staff and curators should get more training. I am not asking for world standards; if they can be as good as the Singapore Art Museum (SAG), I would be happy. At SAG, the curators often present well-researched art exhibitions. Often you find relevance and the connection between one piece and another. Sometimes NAG has too many exhibitions, which leads to lack of research and depth. But I believe they realise that and want to improve.


Some say art in Malaysia caters to the elite.


I don’t agree. The public can access art in this country. NAG is open to the public. Perhaps art is owned by the elite – it doesn’t matter who owns it. Manchester United may be owned by one person. But MU has fans all over the world who admire the players and feel they are part of the team as fans. Same goes with art. Look at the Mona Lisa – maybe one museum owns it, but everyone in the world sees and appreciates it.


OUTSIDE REALISM


What change would you like to see in the art scene?


I’d like to see artists working together to achieve bigger goals for Malaysian art. For example, we know Malaysians prefer realism work such as landscapes, figures, portraits etc. Artists should come together to get Malaysians to appreciate different types of visual art that are less popular such as abstracts. I know some will blame the education system for not educating students on art. But I believe the era of blaming the system is over. We, as artists, should take the initiative to educate Malaysians.


Why is it that artists don’t work together towards this end?


In most other art fields, they have to interact with others to get their work done. They cannot work alone. For example, a film maker must work with his cast and crew to complete his film. A choreographer needs to work with his dancers to present his dance piece.
But a visual artist has the freedom to work alone. He can be in his studio alone and create his pieces. Artists are very individual and comfortable being alone. This is why I feel they should work together. They need a bigger voice to be heard; they need to be united to be seen.


You love creating work dealing with figures. Why?


I don’t have the answers to that. I think it’s better not knowing why you like something. I believe if you overanalyse, you might end up not liking it and stop doing it.
In art, an artist deals with something he does not understand. His search is what makes him keep doing it. The day he understands why he paints a certain theme, he stops doing it and moves to another. I believe the biggest difference between sciences and the arts is that science wants to be discovered, and art does not.


Islam forbids the painting of figures and portraits. How do you deal with this as a Musli


From what I understand, you should not produce work that will be worshipped like God. I have always been comfortable with what I have been doing. The day I feel uncomfortable doing figures, I will stop painting them. I have many young Muslims artists who come to me for advice on whether they should do figures and portraits, and I simply tell them: “Follow your heart. If your heart says don’t do it, then don’t. It is between you and God.”


Some say you are not versatile and adventurous with your themes.


An artist must do what is in his mind and heart. I have an artist friend who constantly changes his themes and techniques; he cannot do the same thing. He is simply following what is in his mind and heart. I want to change, but at this moment my body and my heart won’t allow me to. I still have so much more to discover in what I am doing now. I also don’t want to be forced to do something for the sake of showing my critics that I can be versatile.


Are there messages in your work?


These days, I am more interested in capturing emotions than having messages in my work. I am more interested in seeing the audience’s emotions when they see my work.




What is your advice to young artists?


If ten people graduate as doctors, you can bet almost all will become doctors. If ten people graduate as visual artists, you will find only two or three earning a living as visual artists.
Life as an artist can be tough; it cannot promise you an easy, comfortable life. Sometimes people buy your work and sometimes they don’t. But an artist must continue to paint in whatever circumstances.
Like everyone else, an artist’s life has its ups and downs. As an artist, you can really count the number of days when you are up. There are more down days than up, but those experiences shape and make you. To sustain yourself, you must be stubborn and follow your heart; you must really have a passion for art, which is a difficult thing to do.

Isa Kamari

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


Headline : Humanistic Islam


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


Have you faced challenges writing in Malay in Singapore?


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


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


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


Why do you prominently feature Islam in your work?


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


Why do you say Muslim communities are resistant to change?


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


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


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


Please explain surah Al Kafirun?


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


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


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


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


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


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



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


In what way?


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


What is the philosophy and message in your work?


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


How do you continue to sharpen your writing skills?


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


I understand you sing.


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


What is your opinion of the development of Bahasa Melayu?


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


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


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


What changes would you like to see in Malay literature?


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


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


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


What advice would you give young writers?


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