TANDA PUTERA & SHUHAIMI BABA

On September 18 theSun published an interview of mine where I have interviewed Shuhaimi Baba talking about her latest film Tanda Putera.  

 Title: That one day in May

Datin Paduka Shuhaimi Baba shares her views on her latest movie which revisits an unpleasant part of our nation’s history

BY Bissme S

Award-winning filmmaker Datin Paduka Shuhaimi Baba’s latest movie Tanda Putera delves into a dark yet significant chapter of Malaysia’s history.Its storyline centres on how the late Tun Abdul Razak, who was prime minister from 1970 to 1976, and his deputy, the late Tun Dr Ismail Abdul Rahman, restored racial harmony and peace in the country after the infamous racial riots of May 13, 1969. 

Award-winning actor Rusdi Ramli plays the titular role of Abdul Razak, while model-turned-actor Zizan Nin takes to the screen as Ismail. Others in the cast of local celebrities include Faezah Elai, Linda Hashim, Kavita Sidhu and Norman Hakim.

Here, Shuhaimi sheds more light on Tanda Putera, produced on a budget of RM5 million and set for a nationwide release on Nov 15.

*Why did you make this film?

I wanted the younger generation to be aware of the May 13 incident, how racial riots almost destroyed our country and why we shouldn’t let this happen again. We must now selfishly safeguard the peace of  this country.
“This is not a political film. It’s a film about humanity. No country in the world has faced a similar situation like ours, where both the prime minister and deputy prime minister had to brace a critical illness (Razak was suffering from leukaemia and Ismail had a heart problem) while having to handle tension among various racial groups.
“These leaders put the nation before their health. There were allegations that Razak had orchestrated the racial riots just to win the election. But I believe that was impossible.”

*Why do you think these allegations existed in the first place?

I don’t understand much about politics. But what I do know is that in politics, you have camps and you want to safeguard your power base, so you create conspiracy theories.
Our research shows that after Singapore left Malaysia (in 1965), there had been many efforts to destabilise this country.
The young people today do not understand that at that time, the threat of communism and radical elements were very real. It’s difficult to imagine the situation today, because our country is so peaceful now.

*Comments have been made that you make the Chinese look bad in this film. What do you have to say to that?

You cannot judge the entire film by just looking at the trailer. In the movie, I highlight the communists who create chaos but I also feature Malay gangsters who cause discord too.
There is also a rally before the 1969 election where some people are singing songs that praise Mao Tse-tung. Some are holding placards that belittle the Malays. It’s clear the rival groups are going beyond the limit.
What upset me most were the remarks I received (via Facebook). They were racist, rude and vulgar. I didn’t create those images in the film out of nothing. I have done much research [on the subject].”

*What have you learnt about Razak and Ismail while making this film?

I learnt of Razak’s great love for the people, especially the poor and the destitute. He always carried a book with him wherever he went. The book was called The Pathology of Leadership and it tells about leaders around the world who are suffering from critical illnesses and how they are dealing with it.
These leaders believed that they should not make their ailments public as it could destabilise the country. So, Razak kept his illness a secret because he didn’t want to weaken the country.
As for Ismail, I found out that he had given his Chinese maid a loan so that she could buy her own house. Apparently, she is still keeping the house in remembrance of  Ismail.
I was also always under the impression that it was Tunku Abdul Rahman who gave former prime minister Dr Mahathir Mohamad the boot from Umno.
“But I was wrong. It was Ismail.”

*Is there any other historical event in our country that you would like to make a film on?

I would like to make a film on how Mahathir saved our country from economic disaster in 1998 when the world economy crashed.
Then there was the sacking of Datuk Seri Anwar Ibrahim by Mahathir, which gave rise to  another dramatic chronology of events in Malaysia’s history.

Saloma & Sharifah Aini

Today I am highlight a story that appeared in  the Merdeka supplement  of theSun  newspaper  in Aug 31, 2012. Here is the story  

The two nightingales of the nation

Biduanita Negara is the most prestigious title awarded to singers who have contributed immensely to the music industry and to the nation. The first singer to receive this honour was the popular Saloma in 1978. 28 years later, after Saloma’s death, Persatuan Penyanyi, Pemuzik, Penulis Lagu Tanah Air (Papita) honoured this title to the evergreen Sharifah Aini in 2006. Indeed, the two nightingales are our national treasures and this Merdeka, theSun’s BISSME S. pays a special tribute to them.  

SALOMA

Saloma’s real name was Salmah Ismail. Born on Jan 23, 1935 in Singapore, Saloma harboured the ambition of becoming a singer from young.

“When we were children, she would always tell me: “I will become a famous singer and you a famous actress.” 

“I asked her – ‘Why would you become a singer and I become an actress?’ She told me that I was fair and she was dark,” said Saloma’s elder sister, actress Mariani. 

Saloma’s prediction became a reality. Mariani won a beauty pageant and was offered an opportunity to become an actress. Saloma made her mark as a singer. At the age of 13, Saloma was singing at weddings and festive events.At the age of 17, she was singing at the nightclub circuit and dabbled in acting. She also performed in Australia, Hong Kong and Bangkok.

One of her fondest memories with Saloma was when they were working with the Malay Film Productions (MFP). It was a Singaporean film studio, set up by the Shaw Brothers – Run Run Shaw and Run Me Shaw – in 1947, producing Malay films.

The sisters had a great time meeting and mingling with popular Hollywood actors – from sultry actress Eva Gardener to the great thriller director, Alfred Hitchcock, who visited Singapore as well as the MFP.  

“I remember we helped Elizabeth Taylor to get dressed in a songket,” she said.

“John Wayne carried us in his arms when he took pictures with us. Marlon Brandon was checking out my sister from top to toe. My sister was then known as Singapore’s Marilyn Monroe.”      

Mariani claimed that the sisters had never had any fierce arguments.

“When I was seven and Saloma was five, we had a big argument,” said 79-year-old Mariani.   

“Our father was angry at us for quarrelling and tied us to a guava tree for hours. Ants were all over our legs.

“We suffered. Since then, we were so afraid to quarrel because we do not want our father to punish us again. Even as grown-ups with our father no longer around, we carried on with the tradition of not quarrelling with each other.”

In 1961, Saloma got married to the legendary multi-talented P. Ramlee. It was her third marriage.     

“P. Ramlee and I were dating,” said Mariani.

“We were supposed to get married. But when I learned that my sister Saloma was in love with him, I sacrificed my love for her.”   

P. Ramlee disliked the idea of Mariani becoming an actress. So Mariani went into acting and that was enough for P. Ramlee to end their relationship.

“But I have no regrets of giving him up,” she said.  

“You can always find boyfriends and husbands but not sisters.”  

She pointed out that P. Ramlee was the love of Saloma’s life and a part of Saloma died when P.Ramlee succumbed to a heart attack at the age of 44 in 1973.

“She (Saloma) always said to me – With him gone, I have no reason to continue living,” said Mariani.  

“I had to comfort her and always encourage her to carry on with her life without Ramlee.”   

Ten years later, on Apr 25, 1983, at the age 48, Saloma passed away due to liver failure associated with jaundice. She was buried next to P. Ramlee, as she had wished.

“After my sister died, for 20 years, I refused to listen to any of her songs,” said Mariani 

“I refused to see any of her movies. I sent all her pictures to my daughter’s house. I did not want anything that reminded me of Saloma. Any memories of her would just bring tears to my eyes.” 

Now that she has come to terms with her sister’s death, Mariani expressed sadness and disappointment that her sister’s contribution to the entertainment industry has been overlooked.

“Every year, the authorities will hold prayers (tahlil) for P. Ramlee on his death anniversary,” she said.

“But no one holds any kind of prayers for my sister on her death anniversary. She had contributed a lot to the entertainment industry. 

“Till today, her songs are played in the radio. Saloma’s voice is very unique and cannot be imitated. Her voice is a gift from God.”      

Mariani is nevertheless grateful to see the set up of Saloma Theatre Restaurant in 2001 to honour her sister’s contribution to the nation. Mariani’s daughter Melissa Saila, who is also an actress cum director, is in the midst of making a docu-drama that depicts the life of Saloma. 

Titled ‘Hanya Saloma’, it will have eight episodes, half an hour each, which is likely to be aired in television next year.

“Most people only remember my aunt as the wife to P. Ramlee. But she was a star of her own right. Her life should be documented. She should not fade away,” said Melissa.  

She remembers her aunt as an introvert, reserved and shy, unlike her mother who is an extrovert and loud.

Initially, Melissa wanted to make a four-part TV series that focussed on Saloma and her mother as two sisters making a name in the entertainment industry.

“Sorry to say I could not find the budget to make this TV series,” she said.

SHARIFAH AINI

For Sharifah Aini, the road to success was not an easy one. Her childhood years in Johor Baru were filled with poverty. It was her grandparents who took care of her.

Her grandfather was only a taxi driver. To earn extra income for her household, she began working when she was seven years old.

“There were several jackfruit trees behind the house I lived in. When the trees bore fruits, I would sell them to the village folks. I was the youngest peddler in my village,” recalled Sharifah Aini.   

She would also grind chillies into fine paste and earned RM1.50 for every two kilograms of ground chillies produced.

“My fingers suffered from handling too much chillies,” said Sharifah Aini, who will be celebrating her 45 years in the music industry next year. Her other source of income came from stitching Baju Kurung Johor, where she made RM2.50 for every dress. 

At the age of seven, she braved herself to sing in front of the crowd at funfairs where her payment ranged between RM5 to RM10 and ten Satay sticks.   

“Seven of us would be packed in a car like sardines and travel long distances from Johor Baru to funfairs in places as far as Pahang, Kelantan, Perlis, Kedah and Perak,” she said.

One thing she is truly grateful about her childhood years was that her grandparents had filled her life with love and care.

She remembered one occasion where her grandfather saved every penny so he could buy her a pair of red Bata shoes that she had desired. She also recalled one Hari Raya where her grandmother took three of her best baju kurung and trimmed them to Sharifah Aini’s size. 

“They had given me so much love that I felt secured and I didn’t feel poor at all.”

Her big break came in 1967 when she entered a singing contest organized by Radio Television Singapore. 

She bagged the second place and at the same time caught the attention of a recording company that offered her a recording contract.

Her first album, ‘Seri Dewi Malam’ released in 1968, became an instant hit. She was hardly 17 when fame came knocking at her door. 

“I came to KL with only RM75 in my pocket and with the ambition to be someone successful,” she said.

One of Sharifah Aini’s idols that she really admires and wants to emulate is the popular TV host, Oprah Winfrey.

 “Over the years she has helped a lot of people from the less fortunate in undeveloped countries to people in her own backyard,” she said.

Sharifah Aini, who has a son, takes care of over 2, 500 orphans. Over the years she has performed in countless shows where the profits have been chanelled to various charity organizations, especially orphanages.

“One advice I would like to give young artists out there is to be charitable and give back to the society,” she said.

“The peace you will feel is simply indescribable.”

When asked about some of the misconceptions people have about her, she said: “People like to think I am a diva who is difficult to work with. I have two maids who have been working with me for the last 20 years. I have a driver who has been with me for the last 28 years. If I am so difficult to work with, do you think they will stick with me for so long?”  

Sharifah Aini, who had had two failed marriages, said that she is still open to finding the right companion.

“I want to grow old with a best friend,” she said.

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.