New Stories from the Malay World

This is part of the draft paper presented at Asian Scholarship Foundation Alumni in Bali 19-20 November, 2006

3. The Performing Arts and Islam
Kelantan in Peninsula Malaysia has also been interrogated as the home for terrorist where there are many Islamic schools operating in “Pondok Style”. Actually this kind of Islamic schools have been there for a long time, probably for more than three hundred years. They teach Islam and Al Quran reading to children and teenagers. Most of the schools are supported by the State Islamic Council but many are supported by donations from rich individuals. When BBC brought the television crews to various schools in Kelantan, Chief Minister of Kelantan, Dato’ Nik Aziz, also known as ‘Tok Guru’ or great teacher, declared that “We are not the terrorist, we teach our children to live in a peaceful life without war and that’s the basic principals of Islam. He further expressed that ‘Those involved in the bombing of the World Trade Centre and Pentagon in America are criminals and they should not be labeled as Islam or Muslim. Islam is a religion of peace and compassion”!

The PAS government in Kelantan today is the very same government that banned Wayang Kulit in 1990 when they won the election. The PAS (Party Islam SeMalaysia/ Pan Islamic Party) government banned three performing arts of Wayang Kulit, Mak Yong and Manora. They believed that these performances have some un-Islamic components like “Puja” (adulation) and women exposing their “Aurat” (forbidden body parts for public exposure). Now, the PAS government is interested in developing tourism in the state but with the new concept of “Islamic Tourism”. In 2005, the state government declared Kelantan as the “Islamic State” and Kota Bharu as Islamic City. They invited all male Muslim pop artists to perform for the launch concert, rendering Nasyid songs (Arabic influenced beat originated from the Middle Eastern countries in 1950s) and pop songs with lyrics related to love for Allah. The audience was divided into three sections - all males, all females and family.

The state has also approved the all male theatre performances like “Tok Janggut” and “Tok Kenali” in 2004 and 2005. Tok Janggut is a story about the Muslim rebel during the British and Tok Kenali, a story about the religious leader in Kelantan. In 2004, the PAS government declared that Wayang Kulit is allowed to be performed in Kelantan if puppeteers agree to stage new story that has nothing to do with Hindu epics, Ramayana and Mahabhrata. Stories about Muslim leaders from like Sayyidina Omar, Othman or Ali are most encouraged. But until now no pupperteer has taken the challenge on the new Islamic story for Wayang.

In the contemporary arts scene, few new developments happened since September 11. I have develop a contemporary dance piece entitled “19142004” for ‘LALAK”, collection of ten contemporary dance works from five Malay choreographers, staged in Kuala Lumpur City Theatre in December 2005. The piece was inspired by the mass killings in South Thailand where the Thai Military had killed more than 1000 Muslim in 2005. As Malaysian, we do not seem to do much or able to do anything to remedy the situation. We could only cry every time we watch the people got killed on television and we are just a stone throw away, separated by a small river, Sungai Golok, cutting us away from our cousins. Pattani, Yala, Satun and Narathiwat, Kelantan, Kedah, Perlis, Trengganu and Pahang used to be one the old state of Pattani and Langkasuka, but divided into Thailand and Malaysia after the Bangkok Treaty in 1909. Kelantan was under emergency state for few years from 1910 to 1914, until the killing of Tok Janggut, leader of the rebel. This short piece was a dance theatre work combined contemporary movements with silat martial arts, set on stage with a table, a chair and a jug of red syrup with two side screens showing two different video works.

“Jerejak”, a one act play written and directed by Shahrul Fitri Musa is a fresh voice in Malaysian theatre. Jerejak is named after a small island in the north of Peninsula, near Penang Island, known for the Jail Island. This one act play tells the story about two girls in the jail, Jiha, a girl about to be released from the jail and Sada, a girl who keeps trying in escaping from the jail. Sada tries to include Jiha in her games and plays, playing different characters, from Hang Tuah and Hang Jebat to the court case of Saddam Hussein. Jiha, end up killing Sada and continues her death sentence in the same jail. The play catches the attention of the press, theater makers and young students from various local universities. The usage of physical body movement and streetwise girl’s language set a different tone in this Malay drama, staged in September 2006 at the Auditorium of National Museum.

“Tamu Dari Medan Perang”(Guest from the Fields of War), another Islamic play, was staged at Stor Teater, a small black theatre at Dewan Bahasa dan Pustaka (National Language Council) in May 2006, considered to be a laboratory for more experimental work. This one act play was written and directed by the well-known Malay contemporary playwright from the 1970s, Dinsman. He had disappeared from the theatre scene for more than twenty years but back with new vision, writing Islamic play. Guest from the War is about a woman from the war who confronted a king of another country to stop the war in her country.

“Laut Lebih Indah Dari Bulan” (The Sea is More Beautiful Than the Moon) by Namron was also staged at Stor Teater, just a month before Jerejak. Namron is labeled as an alternative theatre playwright and director. A graduate of National Arts Academy, Namron is married to a young contemporary dance choreographer, Junainah M.Lojong. “Laut Lebih Indah Dari Bulan” is a monologue about a typical Malay love story among Malaysian working class but this monologue surprised the audience with hypocrisy in their married relationship, Muslim man and devoted husband. Laut, the husband was arrested for killing a young child after his sexual pleasure. Indah, the name of the wife, is left alone to deal with her shock. The monologue received good audience and good reviews.

It is interesting to see this co-incidence where the four new works performed this year are looking at Islam from different angles, one is looking at our concern towards the Muslim countries like Iraq, Lebanon, Palestine, Afghanistan in the Middle East, attitudes towards Saddam Hussein, typical Muslim man’s life and his hypocrisy and our sympathy towards the killings of our Muslim cousins across the river.

In the past, we may think that Zapin and Hadrah are probably the two type of performances that are related or connected with Islam. Zapin, known for its Arabic influenced dance form through out the Malay world, mainly performed by all males, while Hadrah, a mixture of percussion, harmony singing and minimal movement also performed by all male performers. These performances are also known in the Indonesia, especially in Sumatera where Malay cultural has its connection. Sumatera also housed othet types of Islamic performances of Saman and Endang from Aceh and Padang. Both are related to the Islamic zikir (calling of Allah and the Prophet’s name) performance with vigorous hand and body gestures while sitting down on the floor.

Pekan Baru, a town in South Sumatera is the historical place where the last Sultan of Melaka died. Many many performance arts could be found here like Zapin, Joget, Mak Yong and Bangsawan theatre. My research visit to Pekan Baru was to observe the first contemporary dance fair there but found few Malay groups presenting new moves of Zapin. Tom Ibnor, a well known Indonesian choreographer from South Sumateran had developed Zapin and Hadrah dance into contemporary works in the early 1990s. His recent work in Jakarta called “Ticket to Bosnia” dealt directly with the issue of Islamic refugees from Bosnia at that time. But many Malay choreographers in the 1990s dealt with dance patterns with Islamic feel, mainly about the beauty and rhythm like the rest of Islamic arts with the arabesque design and calligraphy.

4. The New Arts of Islam
Arahmaini, a globe –trotting Indonesian performance artist with Islamic background presented her new work on Islam entitled “Stitching the Wounds” at The Jim Thomson’s Art Centre in Bangkok. The exhibition started in June and ended in September 2006 together with designing and movement workshop with the children of Ban Krua community, a Muslim community known for their weaving skill since the early start of Jim Thomson silk weaving. The community has a long history of migration since Rama I and the beginning of Bangkok. Most of them are Cham and Malay from the South of Thailand. The Thais called the Malays from the South as “Jawi”, referring to the language that they speak. Jawi is actually the name for the scripture used by the Malays in the old days, taken from the Arabic alphabet. Now, the Muslim of Ban Krua and Thailand are referred to as Thai Muslim and very few of the Muslim in Bangkok speak “Jawi”.

Arahmiani sees herself the same way as the Muslim minority in Thailand, having the issue of a mixed identity in her global travel. In her own words, she described her relation to Islam:

Arahmiani: In the last few years, particularly since the 11 September 2001 terrorist attack, I have had to come to terms with the idea that whether I like or not, I am perceived as someone belonging to a specific group of people with specific kind of cultural background. I have denoted more energy to examining and questioning my identity. Am I really like the people depicted by the international media? A woman with a heavy black veil? A woman who lacking the freedom to express herself? There seems to be a rupture between Islam’s image and the reality of Islam.

Arahmiani: There is fear and hysteria on the outside, and the reaction to that fear is violent and irrational. On the inside, there is a sense of polarization because since 911, Muslim see themselves as targeted victims. Thus, morality has become a sort of refuge, a way of asserting muslim identity and righteousness, perceived as necessary since we consider ourselves under attack.2

The concept of the project was to explore alternative images of Islam including researching the creation of images of Islam prevalent in the media since Iran’s Islamic Revolution, followed by those diffused in the aftermath of September 11, 2001, and many more images that probably inspire fear in the outside world. Even Arabic scripts have become “threatening” suggesting, suggesting terrorism and intolerance! Arabic names seem ominous these days; he or she is burdened with one possibly a suicide bomber.

Arahmiani: I have chosen two aspects of Islamic cultures that explore both conceptually and visually. The first is the Arabic alphabet, second is the special robe that Muslim women wear for praying, either in the mosque or at home. As symbols they have vastly different connotations, depending on whether one stands inside or outside Islam. I have created an installation piece consisting of ten sculpturally formed three-dimensional letters of Arabic alphabet executed as soft, stuffed cushions in different sizes and colours. The second piece is a huge colourful patchwork robe, suggesting the kind worn by women when they pray.

The children of Ban Krua, designed their own dress, chose their favourite colours, turned them into real dress that they wear during the opening of exhibition, dancing and singing their own songs and served the visitors biscuits in the shape of Arabic alphabets that they baked.

Iola Lenzi (2006) in context, content and meaning, quoted another Indonesian artist of mixed parentage of Javanese-Balinese based in Bandung. He began to focus on Muslim life and tackling his identity artistically in the years since sectarian tensions have flared in Indonesia in the wake of Suharto’s fall from power. His 2003 four minute loop single projection video Beach Time plays on the conceptual paradox of diametrically opposed perspectives and meanings according to where the audience stands culturally and religiously. The video, entitled “Beach Time” showed a fully clothed Muslim woman complete with head scarf, bathing at the beach. Viewer from a traditional Muslim society may find this image very familiar and very common to that society, but it would be shocking to the westerners. The difference in the visual impact is solely depending on the viewer’s perspectives.

In Malaysia, new approach to Islamic Arts is rather rare. In the past, few modern artists have explored the Islamic motives like the arabesque and calligraphy in the works - Sulaiman Esa, Khalil Ibrahim, Syed Ahmad Jamal and to certain extend, Yusuf Ghani. In an interview with a foreign press in United States in the 1980s, Yusuf Ghani was very serious about coming up with a national identity for Malaysian art:

Yusuf Ghani: It was a tough challenge to find the answer to my work in Malaysia. But Islamic and indigenous motifs were widely used in Malaysia. My "Protest" paintings created in America were obviously out of place. Therefore I decided to expand my work on cultural series. I felt that I could still communicate with people on how I feel about the world.

Yusuf’s art, though created in the realm of modern art, has been self-censored as a Muslim practicing in Malaysia. He himself does not see his work as Islamic art, but would agree to the idea of Muslim art. In the wake of Islam realization in the world, Yusuf and few other Muslim artists like Husin Hourmain, Shafee Ramli, Shuhaimi Fadzir, Amir Zainorin and Citi Yusouf were chosen to exhibit their works in Hague, Holland in 2007, presenting a different face of Islam.

Nafas, an exhibition started with idea and concept developed by Pat Binder and Gerhard Haupt together with the Institute for Foreign Cultural Relations (ifa). Nafas started in Berlin with the exhibition of art works by Lida Abdul (Afghanistan/USA), Ebtisam Abdul Aziz (United Arab Emirates), Vyacheslav Akhunov (Uzbekistan), Mounir Fatmi (Morocco/France), Amal Kenawy (Egypt) Nur Hanim Mohamed Khairuddin (Malaysia), Waheeda Malullah (Bahrain), Anas Al-Shaikh (Bahrain), Suha Shoman (Jordan) started since 10 November 2006 to 7 January 2007. Nafas is now on display at the ifa Gallery in Stuttgart. The exhibition will travel to several other countries including Singapore in 2008.

Nafas is a metaphor for the focus and broad outline of the project. In Arabic, Farsi, Urdu, Malay, and Indonesian, nafas is understood essentially as breath or breathing. A variation of similar origins is the Turkish nefes. The word appears in many combinations and nuances, usually with quite positive connotations. Nafas can be used in the sense of a "second wind", i.e., being able to endure difficulties, or in the sense of a refreshing breeze that soothes torment. When someone carries out specific activities especially well, for example excellent cooking, it is said that he or she has nafas-talent: a particular way, a personal style. Sometimes nafas is associated with the meaning of "freedom", for example in Sufism, a mystical current of Islam. The root of the word is nafs, which means "self" or "soul" in Arabic and which is regarded as the dynamic power breathed into a person’s body at the beginning of life.

All too often, the expression used as a conceptual tie, "the Islamic world", arouses stereotypical ideas that fail to correspond in any way with the complex reality and stand in the way of a non-prejudiced encounter with art. The phrasing in the subtitle of Nafas may seem problematical for its suggestion of a unifying view of the countries and regions with Muslim majorities, which this project aims to counteract. For even though both the "West" and the "Islamic world" are extremely heterogeneous and anything but monolithic entities, the general perception is that there is a conflict between two antagonistic blocs or civilizations bearing these labels that goes back very far in history and is fueled again and again on both sides.

In connection with the Nafas project, we use the term "Islamic world" and "Muslim world" to address and contradict the terms as they are widely understood today. Commonly accepted ideas are confronted with artworks hard to fit into the usual clichés and created by artists, Muslims or not, who locate their cultural home or essential sources of reference for artistic production in Islamic countries and regions. In this respect also, the Nafas project is conceptually linked to the online magazine "Contemporary Art from the Islamic World".

Nur Hanim Mohamed Khairuddin, the only Malaysian artist in the exhibition of "Nafas", presented her work from 2003 collection entitled “Serangga”. Hanim played with the definition of words like 'Serangga' which means insect, 'Serang' means attack, 'Rangga' means label/status and 'Rang' which means something like druming sounds. Her artist statement explained:

The ugly theatres of propaganda performed by Western media agencies enormously traumatise the followers of Islam. Islamic masses have been appended with unruly 'interpellations' indicative of a civilisational conflict and cultural ignorance: beard, turban, chador, burqa, harem, kalashnikov, jihad, mullah-primitive, dangerous, violent, enemies, beasts; orthodox, anti-feminism, sadistic, anti-modernism, terrorist, tyrant, militant. Being a Malay Muslim woman, I feel myself stuck in a dilemma. One part of me favours the modern world, sometimes "westoxifying" myself. The other side within me tries very hard to stick to the principles of Islam and my culture. My video is a personal answer towards contemporary radical political dialectics and social discourse unleashing uncertainties, dilemmas, predicaments, and dissatisfaction towards the absolute truth of the Islamic faiths. These dynamic and existential factors perturb the communities; thus generating a crisis of identity, feelings of isolation and alienation, social 'decentering', designification, deconstruction of meanings etc.

In the introduction of the video, a self-portrait slowly surfaces and gradually swarmed by 'insects' that finally compose an image of a burqa / purdah-clad feature. Music played by a collective underground band named 'Kakabara' is being performed throughout the video. A poem recited in Malay by emerging local poet Amirul Fakir entitled 'Akulah Perang' ('I am war') echoes in the background. At the very end, Hanim’s portrait re-emerges and recedes placidly. Hanim explained that our soul has to maintain all the strengths in order to 'live life long in peace with oneself through reconciliation of one's own identity in the globalization life.

According to the Koran (5:92): “O believers, wine and arrow-shuffling, /idols [taswir] and divining-arrows are an abomination, /some of Satan’s work; then avoid it.” The word taswir can refer to any sort of image. In later centuries this word and related forms, derived from the root verb sawwara, were used to refer to painting in particular; but taswir could also refer to a sculpture and more particularly an idol, and it is all but certain that, in the context of the seventh century, the original Koranic prescription applied only to pagan idols and not to all and any forms of figurative representation by artists. (Irwin: 1997, 79)

It is important to acknowledge that the guidance provided by haddits did not run all one way. Some suggest a limited tolerance of figurative imagery. Thus, though the Prophet had destroyed all the images of gods in the pre-Islamic pagan shire of the Kaaba in Mecca, he allowed a painting of the Christian Virgin with the infant Jesus to remain; and, as the Prophet’s child bride Aisha was known to have played with them, dolls were allowed for girls and were held to foster maternal instincts. The copying of trees, plants, and buildings by artists was generally held to be permissible, although some religious authorities maintained that people and other living creatures should not be shown with shadows. (Irwin: 1997, 80)

Perhaps these are the very reason why many Muslim artists all over the world now differing their artworks to Islamic Arts. One could be that they were trained in western and modern style of art making with different philosophies. But with the new realization among the Muslim communities around the world, there is a need to differentiate the Islamic Arts and Muslim Arts. What is now is the new trend that more and more artists are referring themselves from Islamic arts, especially after September 11, 2001. Christie’s latest showing too have featured Muslim artists from the Middle East with fine figure paintings in Islamic themes and calling them Muslim arts.

5. The Pop Islam
My new writing in my weekly column in arts and entertainment section in a Malay tabloid newspaper, Kosmo, in Malaysia, talked about the new trend in producing new young singers with more Islamic outlook, singing songs about love for Allah in different style of singing Nasyid song. Nasyid singing became popular in the 1970s, where many all males and all females group became popular in Malaysia and Indonesia. Now, new names like Mawi and Too Phat singing tunes of ballad, rock and rap joining hands with the modern Nasyid groups that already popular like Raihan and Rabbani. Raihan, Rabbani and Mawi are already crossing over to Indonesia to find their market. At the same time, Rock groups like Radja and Gigi are already popular in Malaysia.

Pop Islam as I recently coined in Malaysia is becoming trendy term and at the same time I found out that a writer in Iran has start talking about Pop Islam too, but referring to the current practice of the President of Iran. Perhaps, we in Malaysia could refer to him as similar move taken by the Chief Minister of Kelantan, Dato’ Nik Aziz

Amir Zainorin, a Malaysian artist living in Copenhagen, studied at Copenhagen Media School, Denmark, University of Missouri, Kansas City and University of Central Arkansas, USA, did his apprenticeship with Malaysian pop artist, Ahmad Azhari. In 2001 he did a performance installation entitled 'Art, Politics and Power' at the National Art Gallery, Kuala Lumpur. The concept behind the installation was about the relationship between art, politic and power.

Amir: The arts can be seen as an arena where emotional incompatibilities, social conflicts, and questions of status between people collide more intensely than they would in ordinary communication. Under the influence of economic globalisation, the decisions made by the relevant forces would affect cultural matters worldwide. The flags are a symbol of conquest for example when mankind went to the moon or the Mount Everest, and this is derived from our desire to show power whether be it of conquering new physical territory or epistemological space. 99 names of God (named Allah in the Quran) printed on 99 flags are the characteristic of God, which is believed when practiced and embraced can lead to one spiritual power and closeness to God. The rest of the flags are paper cuttings taken from newspapers, magazines and the internet to remind us of the strong influence of the mass media that somehow control or shape our mind and leads the course of our everyday life.

Islamic Art-Pop Islam in Bali

Assalamualaikum

Writing an article "New Stories from the Malay World: Repositioning Islam" has been great, especially when getting all the supports from friends from all over the world. I would like to thank Nur Hanim Khauruddin in Ipoh, Amir Zinorin in Copenhagen and Citi Youssof in London, not to forget Eric from Jim Thompson Bangkok, Arahmaini in Indonesia, Rohani Youssof, Yusof Ghani, Shahrul Fitri and Azahan Rani in Kuala Lumpur. However, this research is still a very early stage, esp for my writing. Check out
http://universes-in universe.org/eng/islamic_world/articles/2006/news_tips/nafas_stuttgart

www.citiart.co.uk

Wassalam.

Persoalan Pop Islam

PERSOALAN POP ISLAM

Dunia Islam menjadi semakin penting di dunia barat.
Walaupun pada mulanya Islam dikecam hebat setelah
peristiwa 911 di Amerika Syarikat dan pengeboman di
Bali, Indonesia, kini barat semakin ingin mahu
mengerti tentang Islam dan umatnya hinggakan
pelajar-pelajar universiti di Amerika Syarikat
diajukan untuk belajar mengetahui isi Al-Quran. Queen
Elizabeth II di Britain juga dikhabarkan telah
menyediakan surau kecil di kawasan istananya untuk
kemudahan para pekerja islam. Mungkin inilah suatu
permulaan
Tapi bagaimanakah pula dengan kita sendiri di
Malaysia? Apakah umat kita hanya menjadi warak,
bertudung dan berkopiah serta makan buah korma di
bulan Ramadhan? Sejauh manakah penghayatan kita kepada
islam? Apakah Islam Hadari yang dilancarkan Perdana
Menteri Abdullah Badawi hanyalah sekadar retorik untuk
dipertontonkan kepada kuasa-kuasa barat?, atau sebagai
konsep untuk memancing undi pengikut Islam konservatif
?, atau sebagai jentera mempertemukan umat kita yang
terpisah-pisah?.
Pendekata opulariti?semakin menjadi kunci kata
penting dalam dunia global ini. Populariti bukan hanya
penting untuk memenangi juara nyanyian atau anugerah
artis popular, tetapi juga menjadi aset penting untuk
parti politik dan dunia perniagaan!
Malah Parti Islam SeMalaysia(PAS) juga pernah
berkolaborasi dengan Mawi untuk pelancaran Kota Bharu
Kota Islam setahun yang lalu, dimana 40,000 orang
memenuhi Stadium Muhamad IV. Kolaborasi pop dan
politik diteruskan oleh Pemuda Umno Terengganu dengan
mengundang Mawi ke Kuala terengganu beberapa bulan
kemudiannya. Pun begitu, pihak Maestro dan Astro
menafikan yang mereka berkolaborasi dengan parti
politik, sebaliknya hanya memenuhi undangan dan
permintaan.bagi dunia barat untuk mulai mengiktiraf
dunia islam.
Pun begitu, masih ramai penganut-penganut islam dari
timur tengah yang gagal untuk melancung dan menyambung
pelajaran mereka ke Amerika Syarikat. Maka bernasib
baiklah kita di Malaysia dan Asia Tenggara kerana
dikunjungi para pelancung timur tengah yang melimpah
ruah. Kita juga semakin menjadi tumpuan para pelajar
Islam dari timur tengah, sekali gus menjadi pusat
pendidikan dunia islam!

Persoalannya, apakah umat Melayu di Malaysia sudah
menjadi semakin Islamik? Apakah kecenderungan
anak-anak muda ke arah mendengar muzik-muzik berbentuk
islam boleh dijadikan sebagai pengukur?
Lagu-lagu berirama nasyid menjadi popular di
pertengahan tahun 1990an dengan kehadiran kumpulan
Raihan pada tahun 1996 dan Rabbani pada tahun 1997.
Pun begitu, banyak juga kumpulan-kumpulan nasyid lain
yang cuba mengikut langkah mereka seperti kumpulan
Hijjaz, Brothers, Inteam, Mirwani, Firdaus dan banyak
lagi. Tapi kumpulan Raihanlah yang berjaya menembusi
pasaran Indonesia dan dunia islam di Eropah.

Sebenarnya dunia muzik kita juga pernah diperkenalkan
dengan nyanyian nasyid yang mendadak diakhir tahun
1970an dan awal 1980an, tetapi kesemua kumpulan
terdiri dari kumpulan wanita - Al Jawaher, Al Mizan,
Orkes Sinar Murni dan El Suraya. Terakhir lagu-lagu
mereka dikompilasikan oleh syarikat Universal yang
mungkin akan mengingatkan kita kepada lagu-lagu mereka
atau sekali gus menjadi sesuatu yang baru kepada
generasi baru. Antara lagu-lagu terkenal mereka
termasuklah Kembara Di Tanah Gersang dan Perjalanan
oleh Al Jawaher, Tangan Ku Hulur Maaf Ku Pohon dan
Junjungan Mulia oleh Al Mizan, Selimut Putih dan
Hikmar Fajar oleh Orkes Sinar Murni, serta Ikarat
Tuhan dan Mohon Undangan oleh El Suraya.

Tapi yang pasti, irama muzik islam juga sudah
berkembang, dari hanya berirama nasyid, lagu-lagu
ketuhanan ini sudah mula pandai berkolaborasi dengan
irama-irama pop yang lain. Telah lahir juga penyanyi
solo seperti Yassin, Waheeda dan Bienda yang
mendendangkan lagu-lagu berirama padang pasir yang
dipengaruhi irama Arab baru yang dipengaruhi lagu pop
Perancis. Pun begitu ada juga kumpulan muzik pop lain
yang berkolaborasi melahirkan lagu-lagu ketuhanan
seperti lagu Alhamdulillah yang dibawakan oleh
kumpulan hip-hop terkenal Too Phat yang menggunakan
suara pelakon muda terkenal Indonesia, Dian Sastro.

Sebelum ini juga ada juga album-album himpunan
lagu-lagu ketuhanan dari Mawi (Qasidah, Berzamji dan
Berlagu), Sharifah Aini dan Ahmadi Hassan. Tetapi apa
yang lebih berbeza adalah lagu-lagu ketuhanan berirama
rock yang dibawakan oleh kumpulan rock alternatif
Indonesia ?Radja dan Gigi yang sudah terkenal di
Malaysia dengan lagu-lagu cinta mereka. Lagu Lailatul
Qadar yang dinyanyikan oleh kumpulan Radja seperti
membuka era baru di dalam nyanyian ketuhanan.
Apakah lagu-lagu ketuhanan berirama nasyid akan terus
mendominasi dunia pop di Malaysia atau kita bakal
diserang dengan lagu-lagu ketuhanan berirama jazz,
hip-hop, rap, rock dan sebagainya. Apakah
penyanyi-penyayi kita akan bertukar imej untuk berdiri
tegak di dalam pasaran dunia islam.

Adakah Mawi akan kekal mendengar nasihat Tok Guru Nik
Aziz untuk menjadi role model kaum belia islam
Malaysia yang bersih dari dadah, arak dan skandal sex
dan mendendangkan irama-irama ketuhanan? Adakah Siti
Nurhaliza juga akan terus membawa imej bersih wanita
Melayu islam untuk menguasai pasaran hiburan Melayu
Islam di nusantara?

Persoalan seterusnya, apakah dunia hiburan kita akan
juga berusaha ke arah perniagaan halal?, apalagi
apabila kita di Malaysia semakin menempatkan diri kita
sebagai alal Hub?Pusat Halal Sedunia) serta menjadi
penghubung kepada perniagaan antara dunia Timur
Tengah dengan Asia Timur.
Sesungguhnya, kita sedang menyaksikan pertemuan dunia
popular dengan dunia Islam, dan kedua-duanya
memerlukan populariti dan saling memerlukan untuk
mempengaruhi umat dunia!

Dunia Fesyen Malaysia

Cari Paksi Fesyen Dunia
Dr.Zulkifli Mohamad

Dunia fesyen tidak boleh terlepas dari penampilan bintang-bintang glamour dan selebriti terkenal. Di Hollywood sendiri, para pereka fesyen terkenal dunia berebut-rebut untuk menghiasi tubuh glamour bintang-bintang kerana merekalah yang mampu mempamerkan keindahan rekaan dan kehandalan pereka ke mata dunia sewaktu acara anugerah gah seperti Oscar, Grammy, Emmy, Tony dan MTV berlangsung.

Begitu juga dengan kita di kota gemilang Kuala Lumpur yang bakal menampilkan Malam Seribu Bintang serta Malam Indah Selebriti di Kuala Lumpur Fashion Week. KL Fashion Week yang bakal berlangsung di kota kesayangan kita di Malaysian Tourism Centre di Jalan Ampang pada 12-15 November ini akan dikunjungi para media fesyen dunia termasuk CNN serta para peniaga dunia fesyen antarabangsa.

Mungkin inilah masanya untuk kita mempamerkan keindahan dan keunikan rekaan-rekaan para pereka kita, sekaligus, menampilkan model-model dan bintang-bintang jelita kita ke mata dunia. Ditambah lagi dengan keindahan budaya, kraftangan, alam semulajadi dan mentari kita yang menyinar sepanjang tahun, bagaikan sebuah musim panas yang panjang!

Tahniah kepada Tourism Malaysia, Pempena, MODA dan penganjur lainnya kerana mengembelingkan tenaga bersama untuk menampilkan acara dunia yang gilang gemilang ini. Kini kita sudah mulai bergandingan dengan kota-kota Asia lain seperti Bangkok, Singapura, Bali, Jakarta, Hong Kong dan Tokyo. Sekaligus cuba menempatkan diri kita ke dalam liga Fashion Week dunia seperti di London, New York, Paris dan Milan.

Mungkin boleh dikatakan yang inilah julungkalinya Kuala Lumpur mengadakan KLFashion Week, tetapi ada penggiat fesyen di Malaysia yang bakal menyangkal, dan mengatakan Kuala Lumpur pernah mengadakan Fashion Week di tahun 1998 yang dianjurkan oleh Majalah Rias. Tapi mungkin dunia fesyen kita tidaklah sehebat sekarang ini hinggakan acara tersebut terus terkubur. Empat tahun yang lalu MIFA(Malaysian International Fashion Award) mengorak langkah dan mengadakan fashion week dengan kerjasama Mercedez Benz, membawa pereka-pereka Asia masuk ke Kuala Lumpur.

Bali Fashion Week misalnya cuma diusahakan oleh seorang pereka fesyen Indonesia yang menetap di Hong Kong, Ika Mardiana, yang prihatin terhadap industri pakaian di Indonesia setelah krisis ekonomi dan politik di tahun 1998. Usaha Ika di Bali telah membuka jalan untuk mengadakan Jakarta Fashion Week beberapa tahun kemudian.

Mungkin juga Kuala Lumpur Fashion Week akan menjadi pencetus industri pakaian dan kraftangan negara sekaligus menjadi fashion week yang teguh dan terkenal dengan kegemilangannya. Ini tidak mungkin tidak boleh berlaku kalau semua pihak berkerjasama, terutamanya pihak MODA (Malaysian Official Designers’ Association).


MODA ditubuhkan sejak tahun 1990 sememangnya bertujuan mengembangkan industri fesyen dengan mengadakan keperluan industri dan menyediakan platfom kepada pereka fesyen tempatan. Tetapi mungkin perjalanannya tidak seindah yang diharapkan, apalagi apabila ada perebutan kepimpinan dan kuasa di antara pereka fesyen, sehingga ramai yang mengambil keputusan untuk berjuang sendiri.

Sebenarnya, banyak perkara yang perlu diusahakan oleh pihak MODA, tetapi ianya memerlukan kerjasama dari semua pihak, apalagi apabila industri fesyen kita masih berada diperingkat infan, yang baru mahu berpucuk. Untuk melahirkan sebuah industri yang mantap dan disegani di dunia, terutamanya di rantau ini, kita perlu mengadakan anugerah dan biasiswa, sekolah fesyen bertaraf dunia, skim pelaburan dalam fesyen untuk perniagaan fesyen, informasi tentang industri, rekaan, pemasaran, mengkaji gaya dan trend pasaran, gelagat pembeli, pusat pencarian kerja dalam fesyen industri, fesyen district, asosiasi dengan pengeluar tekstil, asosiasi dengan penenun, pusat sumber untuk semua yang terlibat dalam industri, serta kemudahan cukai pendapatan, seterusnya mengadakan forum antara yang terlibat di dalam industri, wakil perantara, mempromosikan rekaan ke luar negara, pertukaran antara bangsa, pembangunan usahawan serta suatu sistem praktis yang disahkan oleh industri.

MODA seharusnya memungkinkan jenama Malaysia menembusi pasaran dunia sekaligus berjaya menkonseptualisasikan trend pasaran dunia kepada para pereka fesyen, pengeluar tekstil, artisan industri kraf serta peruncit tempatan. Mungkin saja dengan kehadiran tenaga baru, Gillian Hung, yang diwar-warkan sebagai Guru Fesyen yang lama bertapak di New York, MODA bakal mengembangkan sayapnya dan terbang lebih jauh. Persoalannya apakah Gillian Hung mampu menyatukan pereka-pereka fesyen yang sudah bertapak dipersada antarabangsa? Atau MODA hanyalah sebuah persatuan untuk menyatukan dan memberi peluang kepada pereka-pereka muda yang baru ingin berkembang?

Industri pakaian dan fesyen dikatakan mempunyai nilai total ekspot tekstil dan pakaian berjumlah RM13,464.5 juta pada tahun 1998, iaitu 4.7% dari total ekspot dan ketiga terbesar dalam pertukaran wang, selepas industri elektronik dan kelapa sawit. Tekstil dan pakaian buatan Malaysia juga terkenal di dunia kerana kualiti dan ketahanannya. Pada tahun 2001 total ekspot meningkat kepada US$2.43 bilion dengan pengimpot utama dari USA, UK, Hong Kong, Singapura dan Japan.

Jenama-jenama terkenal dunia juga mengambil kesempatan untuk pengeluaran di Malaysia. Antara yang mempunyai kilang di Malaysia termasuklah Adidas, Champion, Calvin Klein, Nike, Ralph Lauren, Timberland, Gucci dan banyak lagi. Produser tempatan pula Anakku, Padini, PDI, Seed, Donna Knits, John Masters dan British India. Banyak pengeluar tekstil dan pakaian Malaysia yang sudah menembusi pasaran dunia dan terdapat banyak usaha juga sedang di jalankan untuk menarik pelaburan ke Malaysia.

Persoalan seterusnya, apakah industri fesyen kita berkerjasama dengan industri pengeluaran dan perdagangan antarabangsa yang dikelolakan oleh MATRADE dan Kementerian Perdagangan dan Perindustrian, industri budaya serta industri pelancongan? MATRADE dikatakan mendaftarkan lebih daripada 1500 pengilang dan pengeluar tekstil dan pakaian di Malaysia.

Perancis, sebuah negara yang mencatat nilai tertinggi di dalam pelancongan dunia serta dunia fesyen yang sudah lama bertapak mencatatkan pasaran berjumlah antara Euro6.6 bilion dan Euro4.410 bilion untuk pakaian siap lelaki dan kanak2 dalam tahun 2005. Ini dianggap pasaran yang sangat kuat persaingannya dan di dominasi jenama-jenama terkenal dan banyak syarikat Perancis kini memberikan tumpuan kepada pengeluaran yang berkos lebih rendah dengan mendapatkan bekalan-bekalan luar disebabkan harga pekerja. Mungkin inilah peluang kita untuk menembusi pasaran walaupun persaingannya amat sengit, terutama daripada Negara Asia seperti China dan India.

Pun begitu, kita masih mampu bertanding jika kita mempunyai suatu niche dan identiti yang tersendiri di dalam pasaran dunia. Mungkin inilah waktunya untuk kita menggali dan mencari keistimewaan kita sendiri di pasaran antarabangsa.

Kita juga mempunyai kelebihan lain dalam daya saing, seperti keupayaan mencetuskan pusat tumpuan dunia Islam moden di Asia. Persoalannya apakah kita mampu menghasilkan sebuah lagi acara gah dunia setanding dengan Fesyen Week yang sudah menjadi seperti cendawan tumbuh di merata kota gemilang dunia?

Komidi Mozikal Malaysia?

Mencari Sang Pencipta Lagu Muzikal
Dr.Zulkifli Mohamad

Malaysia terlihat seperti ingin menjadi sebuah negara pengeluar teater muzikal. Istana Budaya, pentas bertaraf dunia, terus menerus mementaskan persembahan teater muzikal Melayu, satu persatu dari Puteri Gunung Ledang, M Opera, Lantai T.Pinkie, Pentas dan Puteri Gunung Ledang lagi. Kuala Lumpur Performing Arts Centre (KLPAC) juga mulai banyak menghidangkan teater muzikal bahasa Inggeris seperti Pygmalion, Ah Beng, Girl From Ipoh, Broken Bridges dan akan datang Butterfly Lovers.

Stor Teater DBP (Dewan Bahasa dan Pustaka), yang banyak menampilkan teater-teater berbentuk eksperimental dan alternatif juga pernah mementaskan teater Nordin Hassan yang berbaur muzikal, Sarah.

Pendek kata para pengarah teater, komposer dan penulis teater kita terus menerus mencari fomula terbaik untuk menghasilkan bentuk Muzikal Malaysia. Kadangkala kita dilihat seperti sebuah makmal seni yang menghasilkan produknya untuk dipasarkan atau sebuah negeri pendalaman yang menghantar hasilnya ke pasaran dunia. Puteri Gunung Ledang misalnya akan dipentaskan di Esplanade, panggung antarabangsa di Singapura selepas Hari Raya Puasa nanti. Apakah M Opera dan muzikal lainnya akan mengikut jejak Puteri Gunung Ledang ke Singapura?

Pernah terdengar seorang penggiat filem Hollywood memuji Malaysia adalah sebuah negara bersifat muzikal, masyarakatnya yang sukakan nyanyian serta ramai penyanyi dan penggubah lagu berbakat.

Mohd Hafiz Askiak atau Hafiz adalah di antara penggubah-penggubah lagu yang berbakat. Beliau bukan saja seorang penyanyi tenor yang pernah dilatih oleh Siti Chairani Proehoeman, tetapi memiliki sarjana Master of Music Composition dari Duquesne University, di Pittsburgh, Amerika Syarikat sejak tahun 1998.

Sebelum berangkat ke Amerika Syarakat, beliau sudah pun menghasilkan komposisi muziknya untuk teater muzikal karya Hatta Azad Khan, Tanah Air Api Angin, persembahan UNIMASTAGE di Kuching dan Kuala Lumpur kelolaan Panggung Negara ditahun 1994. Sekembalinya dari pengajian sarjana komposisi muzik, beliau telah menghasilkan banyak komposisi untuk beberapa teater muzikal seperti Jati tulisan-arahan Hamzah Tahir dan Rosli Dobby tulisan-arahan Nurafifah Abdullah produksi UNIMASTAGE di Sarawak.

Komposisi muzik Hafiz banyak terpengaruh oleh range vokal tenornya serta teknik nyanyian seriosa hasil didikan Siti Chairani serta Koir Kebangsaan, malah beliau pernah menyanyi dalam satu koir bersama Ning Baizura dan Shafinaz Selamat. Malah Hafiz telah mencipta sebuah lagu Untukmu yang didendangkan oleh Ning Baizura sempena pembukaan Festival Filem Millenium Sarawak pada tahun 2002. Lagu berbentuk balada yang digubah khusus untuk nada suara Ning.

Pendidik di Universiti Malaysia Sarawak ini bukan hanya mengajar dan menghasilkan karya tetapi menjalankan kajian akademik, termasuklah “Analisa Lagu Pop Evergreen Bahasa Melayu (Malaysia) Di Tahun 1970-1980an: Satu Kajian Terhadap Form, Harmoni, Corak Melodi, Suara dan Lirik”. Sedikit sebanyak ianya mulai mempengaruhi karya-karya muziknya yang mulai berbaur antara muzik pop dan seriosa. Hafiz yang juga berminat dengan irama R&B akhirnya menghasilkan sebuah album, Kertas Putih, memuatkan 12 buah lagu ciptaan dan nyanyiannya sendiri pada tahun 2002.

Beliau juga banyak belajar tentang seni muzik ethnik serta Gamelan Jawa Sarawak semasa di sana, malah antara kenangan berharga semasa di bumi kenyalang itu adalah persembahan bersama kumpulan muzik Sarawak di World Rain Forest Music Festival serta menciptakan soundtrack untuk sebuah filem domentari berjudul “The Monument of Rainforest” terbitan Bear Creek Studio dari Amerika Syarikat.

Penghijrahan Hafiz ke Kuala Lumpur dua tahun lalu telah banyak membuka jendela-jendela pengkaryaan muziknya. Beliau diundang untuk mengajar vokal, muzikal dan bunyi di program teater, Faculty of Artistic and Creative Technology (FACT) di UITM Shah Alam dan menghasilkan muzik untuk teater Salina (A.Samad Said), Alang Rentak Seribu (Syed Alwi), Bukan Lalang Di Tiup Angin (Nordin Hassan), teater muzikal Selendang Jiwa (Mazlan Tahir) serta teater tari kanak-kanak, Chini (Zulkifli Mohamad) arahan Hamzah Tahir. Beliau juga dipertanggungjawabkan untuk mendidik dan memimpin suara latar untuk teater muzikal Puteri Gunung Ledang di Istana Budaya.

Kini beliau dipilih oleh Hatta Azad Khan dan Othman Hj.Hafsham sebagai komposer untuk mencipta 34 buah lagu untuk teater komedi muzikal “Pi Mai Pi Mai Tang Tu”. Beliau akan memulakan sesi latihan dengan pelakon-pelakonnya pada awal Oktober ini. Teater komedi muzikal ini akan menemui penontonnya pada 24 November 2006. Keputusan untuk mengadakan persembahan muzikal ini sudah terbuku di hati Othman dan Hatta sejak drama sitkom dimulakan lebih sepulih tahun yang lalu.

Siri komedi televisyen yang paling lama ini akan menampilkan para pelakon asalnya seperti Zami Ismail, Khadijah Tan, Sabri Yunus, Imuda, Angeline Tan, Sathia, Sulaiman Yassin bersama gandingan beberapa pelakon terkenal lain termasuk Zaibo, Nasrizal Ngasri serta pelakon muzikal Filipina yang bersuara lantang, Maria Yasmin.

Mungkin ramai yang ingin tahu tentang konsep teater komedi muzikal dan mungkin ramai yang meragui bentuk persembahannya. Sebenarnya komedi muzikal bukanlah sesuatu yang baru tetapi telah lama dipentaskan di Broadway New York dan West End London. Malah Peter Filichia, pengkritik teater dan muzikal terkenal di New York telah menulis sebuah manual untuk kumpulan teater yang ingin mempersembahkan teater muzikal. Beliau malah mengkategorikan muzikal-muzikal yang ada didunia kepada 24 jenis dan salah satunya adalah komedi muzikal. Antaranya termasuklah Once Upon A Time A Mattress, Three Guys Naked From the Waist Down, Sugar Babies, Little Me, A Day in Hollywood/ A Night in the Ukraine dan banyak lagi.

Ada juga yang bertanya berapa persen muzik yang akan ada di dalam Pi Mai Pi Mai Tang Tu dan dengan tenangnya Hatta menjawab yang 34 lagu akan dinyanyikan oleh karektor penting yang ada. P.Ramlee sendiri banyak mencipta lagu-lagu bercorak komedi di dalam filem muzikalnya. Sama-samalah kita nantikan muzikal yang akan mencipta satu lagi bentuk baru seni persembahan di Malaysia.

Susahnya Memartabatkan Mak Yong

Dua hari sebelum membawa Mak Yong untuk dipentaskan di Singapura, saya menerima panggilan talipon dari parimadonnanya yang sudah setahun berurusan, Mek Nab, beliau menyatakan yang dia tidak dapat menyertai persembahan di Singapura kerana tidak benarkan oleh bossnya di UITM. Sedangkan saya sendiri sudah menyatakan hal demikan kepada bossnya. Saya pun tak tahu nak ambil yang mana satu. Saya sendiri menjadi malas untuk menalipon bossnya atau memaksa dia. Saya begitu sedih dengan apa yang dilakukannya. Saya tahu ada orang yang dengki dengan projek ini. Saya terus menalipon pemuzik saya di kelantan dan dalam kadar segera mendapat gantinya, walaupun dia ada kekurangannya, tapi saya tahu dia ada kelebihannya. Dialah Wan Mah yang banyak berjinak-jinak dengan Mak Yong dalam pengubatan Main Peteri. Saya sendiri baru saja bertemu beliau beberapa minggu sebelumnya. Dia masih lagi pemalu di bawah pentas, tapi apapun dia mampu membawa wataknya dengan jayanya dengan ditonton oleh penggiat teater antarabangsa, terutamanya penggiat teater Growtovski dari Scandinavia. Kami terus di undang untuk mempersembahkan Mak Yong di Esplanade. Saya begitu berbangga dengan tawaran itu, di samping undangan lain dari India dan Bangkok. Saya juga berterima kasih kepada beberapa rakan saya yang membantu meminjamkan wang dan ada yang bersedekah untuk perbelanjaan passport antarabangsa. Sudah tentunya saya berterima kasih kepada Verina Tay dari Magdalena Singapore kerana menganjurkan program yang menarik ini, walaupun mencetuskan insiden-insiden dramatik di kalangan dramatis-dramatis wanita dari Asia dan barat.

Mak Yong at Magdalena Fest Singapore

Mak Yong Di Magdalena
Antara Teater Wanita Antarabangsa di Singapura


Seperti “Nasib Si Burung Pungguk’, mendayu-dayu di dahan kayu, memanggil purnama di malam kelam, tiada siapa yang ingin tahu, rupa yang buruk semakin suram. Begitulah juga Mak Yong di Kelantan, terus dipinggirkan apabila diharamkan pada tahun 1991, setelah Parti Islam SeMalaysia(PAS) memenangi pilihanraya dan memerintah negeri itu. Selain tidak membenarkan wanita membuat persembahan di khalayak ramai, Mak Yong juga dikatakan mempunyai unsur-unsur tidak Islamik dalam pembuka cerita, Mengadap Rebab. Mak Yong kini hanya dimainkan dalam cerita Dewa Muda untuk tradisi pengubatan Main Peteri di kampung-kampung terpencil.

Abdullah Nakula, historis Kelantan, pernah mengisahkan kegemilangan Mak Yong, sebagai persembahan DiRaja di bawah penjagaan Tengku Long Ghaffar, Tengku Temenggung sekitar tahun 1910 ke 1930. Tengku Long Ghaffar, mendirikan kampung seni berpagar bergelar ‘Kampung Temenggung’ di sebelah ulu Istana Balai Besar Kota Bharu, di Kubang Pasu. Kampung Temenggung dirobohkan setelah ada perpecahan di Istana Kelantan dan Tengku Long Ghaffar membawa diri ke sebuah pulau di Pattani.

Mak Yong yang dikatakan mula bertapak di Kerajaan Besar Pattani (dahulunya Kerajaan Langkasuka), merangkum Kelantan dan Terengganu dalam jajahannya. Raja-rajanya bergilir-gilir bertahta dari keturunan Pattani ke kerabat Kelantan. Tapi kegemilangan Pattani adalah semasa Raja Permaisuri Hijau(1584-1616), Biru(1616-1624), Unggu(1624-1635) dan Kuning(1635-86). Sekitar tahun 1688-1690, pemerintahan Pattani berpindah ke Kelantan dan berbalik semula sampailah kerabat Pattani memerintah Kelantan sekitar 1730. Sewaktu Peter Flores melawat Pattani pada tahun 1612 dia telah dipersembahkan dengan tarian Mak Yong dan Asyik yang dimainkan oleh wanita-wanita muda. Mak Yong menjadi seni persembahan dijajahannya di Kelantan, Besut dan Terengganu. Apabila Raja Permaisuri Biru menikah dengan Sultan Johor Riau, persembahan itu dibawa bersama ke Johor Riau. Kini orang-orang Riau masih ada serpihan seni persembahan tersebut yang masih dipanggil Mak Yong, walaupun ianya sudah dihiasi dengan tarian Ronggeng. Mak Yong Pattani juga dipengaruhi tarian Ronggeng dalam persembahannya.
Khadijah Awang, Seniman Negara, yang menonton persembahan teater tari klasik Asia Tenggara pada tahun 1968, dikatakan amat malu dengan kedaifan persembahan dari Malaysia kerana pakaian dan pemain-pemainnya yang sudah tua. Sepulangnya ke Kota Bharu, beliau mengambil keputusan untuk menubuhkan Kumpulan Seri Temenggung. Sebelumnya dia Khadijah adalah seorang penari Asyik yang hanya tertarik dengan seni setelah perkahwinannya pada umur 14 tahun. Ibu mertuanya, Primadona Lagenda Mak Yong, Che Gemala menjadi gurunya. Khadijah kemudiannya memodenkan persembahan Mak Yong, dengan memendekkan waktu persembahan serta menambahkan kilauan ke dalam busana. Mak Yong dibawa menjelajah hingga ke Eropah. Khadijah Awang dianugerahkan Seniman Negara pada tahun 1999 dan meninggal dunia pada tahun 2000 dalam usia 59 tahun. Selama hayatnya beliau berusaha mengajar Mak Yong kepada generasi muda di Akademi Seni Kebangsaan, USM dan UITM serta mementaskan kreasi baru bersama Panggung Negara dan PETRONAS. Sepeninggalannya, Mak Yong terus diajar di ASK, UITM dan USM oleh pembawa-pembawa obor pelapis.

Kini Mak Yong sudah menjadi sebahagian daripada khazanah dunia apabila UNESCO mengistiharkan Mak Yong sebagai World Heritage pada tahun 2005. Mungkin khazanah ini terus dipulihara, dikembangkan dan diuruskan dengan lebih baik.

Zainab Awang, dikenali dengan nama mesranya Kak Nab atau Mek Nab, adalah seorang primadona Mak Yong yang tidak kurang hebatnya kerana kelantangan suara serta lakonannya. Mek Nab lebih dikenali di daerah permainannya di Bachok, dan bermain Mak Yong sejak berumur 13 tahun. Dia diundang untuk mengajar penari-penari Suasana Dance Company oleh Ismail Kaya Bakti untuk teater tari “Cempaka Emas”(cerita Mak Yong asalnya Raja Tangkai Hati) pada 1982. Bersama “Cempaka Mas”, Mek Nab mempersembahkan tari ‘Mengadap Rebab’ dan ‘Tari Ragam’ hingga ke Hong Kong International Arts Festival dan Asia Pacific Theater Festival di Perth, Australia. Beliau mengambl keputusan untuk berhijrah ke Kuala Lumpur untuk meneruskan usahanya sebagai pemain Mak Yong.

Keterbukaan Mek Nab di dalam prinsipnya mempersembahkan Mak Yong bersama teater kontemporari telah mengundangnya bekerjasama dengan Ramli Ibrahim dalam “Siddharta”(2003), Fauziah Nawi dalam “Orang Kota Bharu”(2002), Zulkifli Mohamad dalam “Tanah Serendah Sekebun Bunga”(2004). Sebelumnya, Mek Nab banyak berkerjasama dengan Taruwat Ismail Bakti dalam persembahan bersama Yayasan Seni di tahun 1990an. Sekarang, Mek Nab menumpukan perhatiannya kepada pengajaran Mak Yong di Fakulti Teknologi Kreatif dan Artistik, UITM Shah Alam.

Tahun ini Mek Nab diundang untuk mempersembahkan Mak Yong di Magdalena Festival di Singapura pada 10-15 Julai, 2006, julung kalinya diadakan di Asia. Magdalena adalah sebuah pertubuhan penulis dan penggiat teater wanita dunia. Bermula dengan Magdalena Projek di Australia, sekumpulan anak muda dari Singapura mengambil keputusan untuk mendaftarkan Magdalena Singapura di bawah pendaftar persatuan dan mengadakan Magdalena Festival Teater Antarabangsa di Singapura. Magdalena dibantu oleh sekumpulan organisasi kerajaan, swasta dan individu di Singapura untuk menyemarakkan usaha mengenengahkan karya-karya wanita dari seluruh dunia, sekali gus bertukar ilmu serta saling berhubungan antara satu sama lain. Ini menghasilkan peluang untuk pengkarya wanita terus berkarya serta menjalinkan networking antara Asia Tenggara serta seluruh dunia.

Presiden Magdalena Singapura, Verena Tay mengungkapkan “kita harus bersatu serta berkongsi pengalaman dan belajar dari satu sama lain”. Antara nama-nama besar yang hadir di Magdalena Singapura termasuklah Jadranka Andjelic (Serbia), Ang Gey Pin (Singapore), Geddy Aniksdal (Norway), Rob Baum (US/Australia), Rosa Casado (Spain), Cristina Castrillo (Switzerland), Ananya Chatterjee (India/USA), Elizabeth de Roza (Singapore), Kerensa Dewantoro (Australia/Indonesia), Antonella Diana (Italy), Jill Greenhalgh (Wales), Bruna Gusberti (Switzerland), Deborah Hunt (Puerto Rico), In Source Theatre (Singapore), Low Yuen Wei (Singapore), Luh Luwih (Bali), Yani Mae & Women Community Bandung (Indonesia), Indija Mahjoeddin (Australia/Indonesia), Raka Maitra (India), Rita Matu Mona (Indonesia), Mime Unlimited (Singapore), Noorlinah Mohamed (Singapore), Philippine Educational Theater Association (PETA), Anita Ratnam (India), Anette Röde (Norway), Sally Rodwell (New Zealand), sacredCOW (Australia), Svarnabhumi Studio (Malaysia), Claire Wong (Singapore/Malaysia), Joanna Wong (Singapore), Wu Wen Cui (Taiwan), Anna Yen (Australia).

Ang Gey Pin misalnya, pernah bekerja di Workcenter Jerzy Grotowski dan Thomas Richards, Italy, sejak 1998. Geddy Aniksdal (lahir tahun 1955) adalah seorang actor, director dan pedagogis di Grenland Friteater of Porsgrunn, Norway. Rob Baum pula mempunyai lebih dari 15 tahun pengalaman dalam pergerakan ekspresif seorang actor, kombat pentas serta psikologi tubuh. Beliau mengajar drama dan teater di Monash University, Australia. Rosa Casado adalah seorang aktivis, kreator dan pemain, hasil kerjanya menggali kemungkinan menulis semula realiti yang mencungkil cara baru dalam berfikir serta mengembangkan ruang kepelbagaian. Deborah Hunt, sejak 30 tahun yang lalu memproduksikan karya asal teater yang menggunakan topeng, patung dan bayang, dia banyak berkerja di New Zealand dan New York.
Indija Moehiddin, campuran Australia-Sumatera telah menumpukan karyanya dalam mengembangkan teater tradisi Randai ke masyarakat Australia. Dia telah menulis dan mengarah “The Horned Matriarch: Story of Reno Nilam” (1998) serta karya untuk remaja Mr Stupid (Pak Pandir and his Waterbuffalo). Projek randainya yang terbaru termasuklah “Arthurian Randai Project” (2003) dan “The Ballad of Boldenblee” (2004). PETA, sebuah pertubuhan terkenal dari Filipina sejak tahun 1967 mendedikasikan kerja teaternya untuk masyarakatnya. Anita Ratnam pula adalah nama besar dan pemenang anugerah televisyen di Kota Raya New York di tahun 1980an, kembali ke Chennai (Madras), India dan mempelopori ARANGHAM (1992), menghubungkan tari dengan seni lainnya, mendirikan Arangham Dance Theatre (1993), portal dunia tari www.narthaki.com (2000) dan acara tari kontemporari tahunan The Other Festival (1998). Tidak ketinggalan adalah Joanna Wong, seorang pemain dan pengarah Cantonese Opera dari Singapura yang menjadi terkenal di China.
Festival yang berjalan mulai 10-15 Julai ini akan menampilkan pelbagai aktiviti termasuk demonstrasi persembahan teater, bengkel teater, forum dan dialog teater serta persembahan-persembahan terpilih yang akan bermain di beberapa venue di Kota Singa itu. Mek Nab dan Svarnabhumi Studio akan mengadakan demonstrasi persembahan Mak Yong serta bengkel Mak Yong di Muzium Negara Singapura. Demonstrasi Mak Yong akan mempersembahkan cerita Fakir Abdullah Raja Adil, sebuah cerita yang jarang dibawa oleh kumpulan-kumpulan Mak Yong di Malaysia, walaupun kita dikatakan ada 12 batang cerita Mak Yong yang terkenal. Kita sering disogokkan dengan cerita-cerita Anak Raja Gondang, Raja Laklin, Raja Tangkai Hati dan Dewa Muda. Tan Sri Mubin Sheppard pernah menerbitkan cerita-cerita Mak Yong dalam penerbitannya di tahun 1960 dan 1970. Tapi Prof.Ghulam Sarwar Yusuf banyak mengkaji dan menulis tentang teater tradisional Mak Yong.
“Fakir Abdullah dan Raja Adil” mengisahkan Fakir Abdullah yang hodoh dan miskin tetapi mengimpikan untuk menemui Raja Adil dan meminta untuk menjadi raja di negeri itu selama sehari setelah bertukar wajah yang sempurna. Walaupun dihalang oleh puteranya, Raja Adil membenarkan Fakir Abdullah menjadi raja untuk tempoh sehari, malangnya selepas sehari semalam Fakir Abdullah enggan melepaskan tahta. Beliau menghalau Raja Adil dan beliau terus memerintah. Fakir Abdullah akhirnya diserang oleh putera Raja Adil dan bertukar kembali menjadi buruk.

Mek Nab dan kumpulannya akan mengadakan demonstrasi “Buka Panggung”, “Mengadap Rebab”, “Pecah Cerita”, “Peran” serta “Tari Ragam”. Demonstrasi akan mempersembahkan sebahagian dari persembahan sebenar dengan memendekkan waktu persembahan. Apa yang menarik dalam persembahan Mak Yong juga adalah lakaran pentasnya yang bersifat ‘invisible’ dan ‘imaginary’. Walupun dulunya Mak Yong dipersembahkan dalam Istana mengadap raja dan orang kebesaran, ruangnya bertukar ke bangsal yang didirikan di kampung. Tapi ruang yang yang sesuai adalah berbentuk arena seperti juga panggung eksperimen. Itulah kelebihan dan keunikan Mak Yong, dan ini menyenangkannya untuk dibawa berjalan, dengan hanya tujuh pemain musik serta lapan pemain termasuk Raja, Permaisuri, Putra Putri, Peran, dan Dayang-dayangnya. Walaupun bahasa perantaraan Mak Yong adalah bahasa Kelantan-Pattani dialek, bengkel akan diadakan dalam Bahasa Inggeris untuk memudahkan peserta dari seluruh dunia memahami cerita dan struktur-struktur permainan dan latihan.

Mak Yong di Magdalena Singapura sekaligus mengimbau ke zaman Raja Permaisuri Biru di Abad Ketujuh Belas Johor Riau sekaligus menyaksikan dunia menatapnya dalam ruang realiti kosmopolitan.

________________________________________________________________________
Dr.Zulkifli Mohamad adalah pengasas pertubuhan seni dan budaya, Svarnabhumi Studio, yang mengkaji teater tradisional Mak Yong, Wayang Kulit, Manora, Asyik, Silat, Randai, Terinai dan mengembangkan teater tradisi baru Malaysia. AxiA (Arts Xchange in Asia) pula adalah organisasi tanpa-untung yang dipelopori untuk mempromosikan pertukaran seni dan budaya di kalangan seniman, penulis dan pengkaji di Asia. Beliau adalah alumni Asia Fellow, Islamic Scholars of Southeast Asia, SEASREP Foundation, Southeast Asian Artisan (Toyota Foundation/ UNESCO) serta volunteer UNESCO World Heritage Education. Email: Zubin_Mohamad@yahoo.com. Blog: http://Svarnabhumi.blogspot.com.

Earth Quake in Jogja: Indonesia Shaken Again

Death toll rises in Indonesia

News, World, Environment «
May 27, 2006
by Pavlos
People in Jogjakarta, Java, are still trying to recover the devastating 6.2 earthquake which devastated the densely populated area.

Last count speaks of at least 3,000 people dead, while an equal number of people are seriously injured or in critical condition. Many injured remain on the streets as hospitals have been damaged, or not safe in case of another earthquake. Countries around the world have offered to assist the government of Indonesia and send in rescue crews and humanitarian aid.

Although the fear of a greater earthquake striking is gradually decreasing, the near by Mount Merapi is causing great concerns. The government of Indonesia had been preparing prior to the earthquake for the possible eruption of the Merapi volcano. Now, it seems it will be very hard to avoid it, as scientists worry the earthquake managed to speed up the volcano. However, with the earthquake wreaking havoc already - Indonesian government may well be too overwhelmed right now. Perhaps unable to handle a concurrent natural disaster. If Merapi erupts, lava and poisonous gas would affect a land area inhabited by about 500,000 people who have already suffered much due to the earthquake.

International aid is on the way, while embassies are trying to locate their nationals. People visiting Jogjakarta who have not yet contacted their national embassy should do so as soon as possible as friends and relatives are actively seeking their whereabouts.

Meanwhile another 6.2 earthquake hit Papua New Guinea earlier today, and a 6.7 hit near the Pacific island of Toga. Both claimed no victims or damages yet as they were away from populated areas or underwater, however they concur to an elevated seismic activity in the Pacific.

I still don’t know of any specific fund-raising effort to support victims in Java, but a safe place to give, is always the International Committee of the Red Cross.

For more information, on the Jogjakarta situation, check out the Mount Merapi blog. Created to report on the Merapi Volcano situation and evacuation, now has earthquake information as well.

Siri Kotak Kaca Tari: Suara Dari Ruang Tamu

Saya telah mula membuka ruang tamu di Kotak Kaca di Balai Seni Lukis pda 6 Mei, dengan sebuah lukisan Symon, seniman Amerika yang menetap di Bali, sebuah cermin usang yng ditemui di Main Bazaar Kuching hasil tinggalan kolonial British, gunungn wayng Jawa dari Solo yang dibuat dari kertas kotak untuk kanak2, topeng Hanuman dari Phnom Pehn Cambodia, topeng yang dipersembahkan dlm persembahan Ramayananya, yang diperbuat dri paper mashe, sebuah wau pepatung berwarna orange, dua topeng Bali (orang tua) serta topeng separuh yang baru dari Jawa Tengah. Kami telah menonton bedoyo ketawang yang dipersembahkan kepada Sunan (King of Solo) pada hari ulangtahun koronationnya, tari perang lelaki di Jawa Tengah, Jogja, serta Waktu Batu dari Garasi di Jogja serta Bedoyo Silikon (Flesh From the Mountain) oleh Afrizal Malna dan Fitri. diskusi dengan beberapa teman artis underground telah menghasilkan beberapa idea untuk berkolborsi dlm projek yang akan datang.

Pada 15 Mei, saya membawa beberapa rakan penulis serta IT Design untuk melihat ruang yang masih dicipta, dengan menambah bebarapa objek lain termasuk, Skulptur Suparman dari Nino di Jogja, bebola merah yang dibeli di Bangkok sebelum Krismas 2004, sebelum Tsunami melanda, poster Aku Binatang jalam dalam Emas Sepuluh, dan Lalak, bantal2 batik serta selimat swissair bersama bebarapa buku seperti Symon yang ditulis oleh Philip Smith, Performance, Spirited Earth, serta Taman Indera putra oleh Mubin Sheppard. Dalam diskusi kita membincngkan tentang cerita Chini dan Tanah Serendah serta prekuelnya Kota Sang Naga yang masih dalam proses disiapkan ke buku!

Salam Manis dari ruang karya ini

Peruang - Zulkifli Mohamd, phd.(zubin_mohamad@yahoo.com)

Malaysian Musical: Where Are We Now?

Last year we have watched Puteri Hang Li Po directed by Rosminah Tahir, composition by Pak Ngah at IB and Uda dan Dara directed by Rahim Razali,composition by Yazid dan Yuzaifullah, early this year we have Puteri Gunung Ledang directed by Zahim AlBakri dan Adlin Ramli, music by Dick Lee and Roslan Aziz, M The Opera directed by Jo Kukathas, composition by Saidah Rastam, and recently someone tried to come up with instant musical Suzana@60. What was that actually? Musical or conceptualised variety show? and more to come, Musical P.Ramlee by Adlin Ramli dan Roslan Aziz. Roslan has produced Sheila Majid's Lagenda album dan recently EMI repackaged the album, after witnessing Dayang Nurfaizah released P.Ramlee album. In the past, many people attempted at singing P.Ramlee songs, from Wan to Liza Hanim etc. Hopefully, this musical is not about compilation of P.Ramlee songs, which could be done easily by RTM on their saturday nite show or Down Memory Lane show! What would be good is the life story about P.Ramlee. So where is this crave for Malay musical come from? Istana Budaya started with Keris Sang Puteri, Rubiah, Tun Perak, Tun Fatimah. Oh by the way, IB is staging Lantai T.Pinkie(dont know when this saga is going to end as this is probably the 3rd time the work is staged. But then again, Shakespere's work is being staged over and over again all over the world!) So what say you mate?

Siapa Berani(Indonesia) vs Siapa Boleh (Malaysia), Helmi Yahya Vs Zainal Alam kadir

Peradah DKI Ikutan Kuis Siapa Berani
Dalam rangka perayaan Hari Raya Nyepi Tahun Baru Caka 1925, Peradah DKI Jakarta bersama beberapa organisasi bernafas Hindu di DKI Jakarta tampil di Indosiar dalam acara Kuis Siapa Berani yang disiarkan langsung pada hari Ngembak Geni, tanggal 3 April 2003, sehari setelah pelaksanaan Catur Berata Penyepian.

Seperti biasa Kuis Siapa Berani diikuti oleh lima group dengan masing-masing group terdiri dari 20 orang. Lima organisasi bernafas Hindu yang tampil terdiri dari Abhiseka dengan pakaian khas India, Majapahid (Manggala Jawa Dwipa Hindu Dharma) dengan pakaian khas Jawa, KPSHD (Keluarga Pemuda Suka-duka Hindu Dharma) Jakarta Barat dengan pakaian khas Bali, KMHDI (Keluarga Mahasiswa Hindu Dharma Indonesia) dengan pakaian khas Dayak, dan Peradah DKI Jakarta dengan pakaian khas Betawi.

Pemakaian busana daerah yang beraneka ragam dimaksudkan untuk lebih memperkenalkan bahwa Hindu bukan hanya Bali, sebagaimana anggapan umat lain selama ini. Yel-yel yang dikumandangkan masing-masing group juga mencerminkan masing-masing daerah, tentu saja dengan dibumbui lelucon dan variasi joke agar lebih menarik.

Sebagaimana akhir dari sebuah permainan, harus ada yang menang dan yang kalah, kuis ini akhirnya dimenangkan oleh KMHDI. Menang dan kalah tidaklah terlalu menjadi masalah. Acara-acara semacam ini sangat efektif dalam mempererat tali persaudaraan di antara rekan-rekan se-Dharma sekaligus memperkenalkan Hindu kepada umat lain.
Source : Sugi

Helmy Yahya


Si Raja Kuis Makin Berani Gaet Ibu RT

Helmy Yahya secara mengejutkan semakin berani dan berhasil menggaet ibu-ibu rumah tangga (RT) dan puteri remajanya. Ia menemui para isteri dan remaja puteri setiap pagi, saat suami pergi kerja. Mereka dibuat terbuai menikmati kebersamaan dalam Kuis Siapa Berani yang ditayangkan Indosiar itu. Si Raja Kuis itu kini memang semakin digemari ibu-ibu dan remaja putri. Juragan hiburan televisi yang lagi laris lewat rumah produksi PT Triwarsana yang didirikannya, itu kini memasok puluhan acara ke berbagai stasiun televisi.

Sebagian besar acara itu berupa kuis. Di antaranya yang paling spektakuler dan membuatnya semakin populer terutama di kalangan ibu dan remaja putri adalah Kuis Siapa Berani. Kuis yang dipandu Helmy bersama Alya Rohali diikuti 100 peserta dan digelar langsung setiap hari dari Senin hingga Jumat, pada pukul 08.00 pagi. Minat publik terhadap kuis itu memang luar biasa. Setiap minggu ada 500 kelompok yang mendaftar.

Tak pelak, kuis itulah yang mengangkat sosok Helmy Yahya sebagai "super star pagi" yang ditunggu pemirsa, terutama ibu-ibu. "Market saya memang ibu-ibu he-he-he.... Tetapi, sebenarnya segmentasi kuis ini memang paling lebar, mulai anak-anak sampai jenderal, hingga ibu-ibu arisan," kata Helmy yang ditemui seusai acara kuis di Indosiar, Jalan Damai, Jakarta.

Akibatnya, wilayah pribadi pria kelahrian Palembang, 6 Maret 1962, dari keluarga dengan ekonomi pas-pasan, ini agak terusik. Ibu-ibu pedagang batik di Pasar Beringharjo, Yogyakarta pun mengenali sosok pria kelahiran Palembang 1963 itu. "Suatu kali saya jalan-jalan ke Yogyakarta. Saya memakai celana pendek dan kacamata gelap. Waktu saya cari batik di Pasar Beringharjo, ada ibu penjual batik yang berteriak, 'Ee... ada siapa berani!' Itu membuat saya terharu."

Di studio, tempat kuis berlangsung, suasana tak jauh beda. Ibu-ibu peserta kuis ramai-ramai meminta foto bersama Helmy. Begitu pula di dalam pesawat terbang, ada seorang pramugari mendekatinya. Rupanya pramugari itu hanya ingin menitipkan dua pertanyaan untuk dibacakan dalam kuis Siapa Berani.

Jagat pertelevisian, terutama kuis, sudah dikenal Helmy sejak ia bekerja pada Ani Soemadi yang dikenal sebagai "Ratu Kuis". Sekitar sepuluh tahun Helmy ikut menggarap belasan kuis televisi. Helmy kemudian bekerja mandiri dengan mendirikan perusahaan PT Triwarsana yang kini mempunyai tenaga inti 40 orang. Kuis dan acara televisi yang pernah digarap Helmy antara lain Kata Demi Kata atau Pesta Bintang di SCTV. Kini ia sedang menyiapkan tujuh paket acara hiburan televisi.

Kiatnya menggarap kuis sebagai tontonan visual yang menarik antara lain pertanyaan tidak boleh sulit, tetapi harus menarik dan merupakan fakta menarik. "Misalnya, saya baru tahu buah kiwi bukan dari Selandia Baru, tetapi dari Cina. Atau, harimau itu ternyata tidak terdapat di Afrika. Dari situ kita juga berbagi pengetahuan kepada pemirsa," kata Helmy yang berstatus dosen Sekolah Tinggi Akuntansi Negara (STAN) di Kebayoran Baru, Jakarta Selatan.

Sosok Helmy Yahya kini menjadi bagian dari jagat gebyar hiburan di layar kaca: sebuah dunia yang tak pernah diimpikannya. Ayahnya, Mohammad Yahya Matusin, adalah wiraswasta. "Saya dari keluarga bersahaja, bahkan boleh dibilang memprihatinkan. Ayah hanya pedagang kaki lima, penjual kacamata," kata Helmy yang bungsu dari lima bersaudara.

Meski kondisi ekonomi pas-pasan, orangtua Helmy berusaha menyekolahkan anak-anaknya. Bahkan, dua anak terakhir, Tantowi dan Helmy diupayakan bersekolah di Jawa. "Untuk modal kuliah kami di Jakarta, Ayah sampai menggadaikan rumah. Saya sempat merasa menjadi anak durhaka karena dulu saya marah kalau wesel belum datang. Padahal, orangtua saya harus pinjam sana sini untuk biaya hidup kami," kenang Helmy yang merampungkan kuliah di STAN dan melanjutkan program pascasarjana di Universitas Miami, Amerika Serikat.

Saat kuliah di Jakarta itulah jalan menuju bisnis hiburan televisi terbuka. Suatu ketika Helmy menyelenggarakan hajatan jazz di kampus yang menampilkan pemusik Ireng Maulana. Setelah cukup sering bekerja sama, pada tahun 1988 Helmy ditawari menjadi manajer Ireng Maulana. Dari gitaris yang menggarap musik untuk kuis Berpacu Dalam Melodi tersebut, Helmy berkenalan dengan Ani Soemadi. Sejak itu, jalan menuju jagat bisnis hiburan terbuka buat Helmy. "Tetapi, sungguh saya tidak kebayang bekerja di dunia hiburan. Cita-cita saya itu menjadi dokter atau penulis. Saya ini sebenarnya kan kecebur di dunia hiburan," kata Helmy yang di kampungnya di kawasan Bekasi Timur, menjabat sebagai Ketua RT.

Minat dan aktivitas Helmy memang sangat beragam. Ia menyukai olahraga terutama bola basket. Ia juga menggemari musik. Kini, ia sedang menyiapkan rekaman album Melayu Deli bersama pemusik Marakarma. Menurutnya, ini bukan usaha "mumpung populer". Musik Melayu Deli telah menjadi bagian dari masa kecilnya di Palembang. "Ayah saya penyanyi dan pernah memimpin orkes musik sejenis gambus."

Ia juga sempat mewujudkan impian sebagai penulis. Setidaknya, Helmy yang kala SMA menggemari novel Ashadi Siregar dan Eddy D Iskandar pernah menghasilkan lima novel, salah satunya berjudul Blok M (Bakal Lokasi Mejeng) yang pernah difilmkan sutradara Edward Pesta Sirait dan dibintangi Desy Ratnasari dan Paramita Rusadi.

Kini, Helmy akan mengarungi bisnis hiburan yang lebih besar. Sudah sekitar tiga bulan ia menjabat Direktur Pemasaran Perum Produksi Film Negara (PPFN). Perusahaan yang sepuluh tahun terakhir mandek produksinya itu disebutnya sebagai "Titanic", kapal besar yang nyaris tenggelam. Aset lahan seluas dua hektar di Jalan Otista Raya, Jakarta Timur, dan 1,5 hektar di Jalan Tendean, Jakarta Selatan, milik PPFN itu akan dikembangkan sebagai studio besar.

Mereka tengah menyiapkan untuk menghidupkan kembali film boneka Si Unyil. "Saya ingin anak-anak mempunyai tontonan dengan nilai Indonesia. Saya prihatin, anak-anak kita menjadi generasi smack down." Yang terakhir itu adalah acara hiburan "gulat" banting-membanting di sebuah stasiun televisi swasta dan diikuti banyak anak-anak.

Selain aktif sebagai presenter, Helmy juga menulis cerita yang dituangkannya dalam beberapa pustaka antara lain Buku Humor “Gelitik Tawa Cara Amerika” , Pustaka Jeka, 1985; Buku Humor “Tanya Serius Jawab Santai” , Pustaka Jeka 1986; Buku Remaja serial Lintar “Ketika Musim Duren Tiba” , Pustaka Jeka 1986; Buku Remaja serial Lintar “Balada Johny dan Retno” , Pustaka Jeka 1987; Buku Remaja serial Lintar “Cinta Elektrik” , Pustaka Jeka 1987; Buku Remaja serial Lola “Blok M, Bakal Lokasi Mejeng” , Pustaka Jeka 1988; Program PhD in Business (Marketing) pada JIMS , Jakarta, belum selesai; dan Buku Joshua Oh Joshua , Gramedia 2000.

Selain itu, ia juga menuangkan ide-ide dari cerita tersebut ke dalam film yakni: Ide cerita film “Ketika Musim Duren Tiba” , PT. Virgo Film, 1988; Ide cerita dan scenario film “Blok M” , PT. Parkit Film, 1989; Ide cerita film “Joshua Oh Joshua” , PT. RAPI Film, 2000.

Ia juga menjadi pembicara dari beberapa seminar seperti Activity Based Costing (ABC) Seminars, Finance Or Non-Finance Seminars dan Marketing Service Seminars.

Pria serba sibuk ini, memang sejak kecil sudah merai berbagai prestasi dan penghargaan. Ia lulusan terbaik dari sejak SD sampai perguruan tinggi. Beberapa penghargaan yang diraihnya adalah: Pelajar Teladan SLTA Sumatera Selatan, 1980; Pelajar Teladan Nasional, 1980; Juara Lomba Baca Puisi se-Sumatera, Medan, 1979; Juara Lomba Mengarang Puisi se-Sumatera Selatan, 1980; Juara Cepat Tepat, TVRI Palembang, 1978-1980; dan Juara Lomba Baca Puisi antar Mahasiswa se-Indonesia, Jakarta 1981.

Kini ia menggumuli sejumlah kegiatan yaitu: Direktur PT. Triwarsana; Dosen/Widyaiswara STAN (Accounting Theory, Accounting System, Etika Bisnis dan Marketing); Produser dan Kreator Kuis Joshua (Indosiar, setiap Minggu pk.17.00); Executive Produser dan Kreator ‘Pesta Bintang’ (SCTV, setiap Minggu pk.16.30); Executive Produser dan Kreator ‘ASAL’ (SCTV, setiap Jumat pk.21.00); Executive Produser dan Kreator ‘Kafe Dangdut’ (TPI, setiap Selasa pk.19.30); Tim Pembuat Soal Kuis Digital LG Prima (Indosiar, setiap Sabtu pk.14.00); Executive Produser dan Kreator ‘TERSERAH’ (SCTV, setiap Sabtu pk.21.00); Executive Produser dan Kreator ‘Mimpi Kali Yee’ (SCTV, setiap Kamis pk.19.30); Executive Produser, Kreator, soal dan Host Kuis Siapa Berani (Indosiar, setiap Senin-Jumat pk.08.00); Dosen di STAN; Presenter KOBATAMA (SCTV sejak tahun 1994); Ketua Bidang Luar Negri PB PERBASI, sejak tahun 1998; Deputy Secretary General South East Asian Basketball Association (SEABA) sejak tahun 1999; Humas Ikatan Akuntan Indonesia (IAI) Kompartemen Akuntan Manajemen , sejak tahun 1999; MC di berbagai acara (event); Pembicara/Moderator Seminar dalam bidang Marketing, Accounting, Finance dan Broadcasting; dan Direktur Marketing PFN.
Selain itu, ia juga sibuk sebagai presenter dalam event khusus, seperti:
1. PON 1993 (RCTI), sebagai Presenter
2. Asian Basketball Championship 1993 (SCTV), sebagai komentator
3. NBA final 1995 , Houston (USA), sebagai Host
4. Asian Badminton Championship , Jakarta 1995, Host
5. NBA final 1996 , Chicago (USA), sebagai Host
6. Olimpiade 1996 , Atlanta (USA), sebagai Host
7. SEABA Championship , Surabaya 1996, sebagai Host
8. Exclusive Interview ‘Kareem Abdul Jabbar’ , Jakarta 1995
9. Exclusive Interview ‘Magic Johnson’ , Los Angeles 1996
10. Magic Johnson All Star , SCTV 1996, sebagai Host
11. Lintas Selat Sunda , SCTV 1996, sebagai Host
12. Lintas Selat Madura , SCTV 1996, sebagai Host
13. Batman Triathlon , SCTV 1996, sebagai Host
14. NBA Japan Games , Tokyo 1997 (SCTV), sebagai Host
15. Kejuaraan Dunia Perahu Naga , Hongkong 1997, SCTV, sebagai Host
16. Exclusive Interview ‘Shaquille O’Neal , Jakarta 1997
17. Sea Games 1997 , Jakarta, SCTV, sebagai Host

*** Tokoh Indonesia, dari berbagai sumber.
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Taksu Jakarta

A Jakarta based writer Helly Minarty just told me that she was at Taksu Jakarta again last night for an exhibition and commented that I was not like few years ago. Then I google Taksu and found Hera Diani's article on Middle Mountain: Mirror Mirror that I produced in 2003.

`Middle Mountain' showcases one's journey
Features - June 06, 2003


Hera Diani, The Jakarta Post, Jakarta

Middle-Earth, according to the author J.R.R. Tolkien, is "the ancient world, the quiet of the world, when there was less noise and more green".

Then what is Middle Mountain?

Middle mountain is the top view of a mountain, where the space gets smaller and smaller, shrinking to a point where it is most crucial as the sharpest and most energetic power provider, but at the same time the most dangerous and most vulnerable.

It is a space where one exiles her or himself from what's surrounding her or him, except for the natural environment -- wind, light, soil, sky and the spirit within.

While Middle-Earth is inhabited by creatures like hobbits, elves and humans, Middle Mountain is occupied by several artists, Indonesians and foreigners, who gathered and created a performance called Middle Mountain: Mirror Mirror.

Scheduled to be held this Friday on 8 p.m. at the Taksu Gallery in Kemang, Middle Mountain is a theatrical installation of dance, text, visuals and sound, produced by Arts Exchange Asia and the Gallery.

Although some people may associate Taksu with the little gallery in Ubud, Bali, or the Taksu Studio Community in Surakarta, Central Java, Taksu Gallery in Kemang is actually related to the one in Kuala Lumpur, which was set up over five years ago.

The artists who will perform on Friday are Elly Luthan, Chendra Effendy & Naui.Indonesia.com, Maria Bernadeth, Zulkifli Mohamad, Agus M. Bendul, Renjani, Ade Darmawan, Alex Supartono, John Arata, Ann Wizer, Bidhu, and Anisah Korchack & Miss X.

The theme of Middle Mountain itself represents the process and journey of a person, and a meeting point where things exist, according to a press release. The journey is a journey of reflecting oneself, like seeing oneself in the mirror, so that is where the title of the performance comes from.

The reflections of self, the release says, might come as phrases of text, stories from the past; like a child being read a story before going to sleep and the story fades away; like glimpses of light passing before us, or trains of old black and white photos; like the sound of mosquitoes circling around your head and going away.

In each journey, however, one will decide what to choose, when to start and when to stop. One might go back to what he was reflecting, but the reflection might not always be the same each time he visits that frame of mind.

Each artist will perform or exhibit his or her work in the closed and open spaces of the gallery. The gallery will have the concept of a traveling audience by using two entry points: the so-called front and back entrance/exit, which creates fluidity and a spiral effect.

The two audience groups might come across the so-called tunnel of visual images, which connects the various parts of the artists' works.

Middle Mountain: Mirror Mirror; Taksu Gallery, Jl. Kemang Barat No. 5-7, South Jakarta; Friday, 8 p.m.

>>>>May be it is time to revisit Taksu in Jakarta

Larangan Erotisme Di Indonesia

SUARA PEMBARUAN DAILY 20 March 2006
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Seniman Dunia Minta RUU APP Ditinjau Ulang

JAKARTA - Ratusan seniman dan sarjana seni pentas dunia meminta agar Rancangan Undang-Undang tentang Antipornografi dan Pornoaksi (RUU APP) ditinjau ulang. Mereka meminta agar pemerintah dan kalangan elite politik Indonesia menyesuaikan RUU itu dengan kebutuhan seni dan budaya Indonesia.

Pernyataan para seniman dan sarjana seni pentas dunia itu terangkum dalam aksi pengumpulan tanda tangan meminta agar RUU APP ditinjau ulang. Rencananya, surat itu akan dikirimkan kepada Presiden Susilo Bambang Yudhoyono. "Kami, sarjana dan seniman dari dalam dan luar negeri menyampaikan keprihatinan atas RUU APP," ujar Aviva Kartiningsih Cohen, salah satu penggagas aksi pengumpulan tanda tangan itu, kepada Pembaruan melalui surat elektronik di Jakarta, Sabtu (18/3) siang.

Beberapa nama seniman dunia yang ikut menandatangani pernyataan sikap itu antara lain, musisi Gary McFarlane (Kanada), penata tari Zulkifli Mohmad (Kuala Lumpur), Ibrahim Hamid (Orkestra Melayu Singapura), Wayne Vitale (Pimpinan Gamelan Sekar Jaya, Amerika Serikat), Cindy Benton-Groner (Direktur Gamelan, College of William and Mary, AS), Jon Keliehor (Komponis dan Ketua Gamelan Naga Mas, Glasgow, Skotlandia), dan Jan van der Putten (Dosen Sastra Melayu, Singapura).

Dari Indonesia, nama-nama seniman yang ikut menandatangani surat itu antara lain Ikranagara (seniman), Rahayu Supanggah (STSI Surakarta), Nirwan Dewanto (sastrawan), Nor Pud Binarto (budayawan dan aktivis kemanusiaan), Andi Suandi (pelukis abstrak), Cok Sawitri (penyair), dan I Wayan Gde Yudane (komponis).

Menurut Aviva, seniman dan sarjana seni dunia sangat peduli dengan budaya dan seni di Indonesia. Menurut mereka, seni Indonesia sudah berkembang di luar negeri. "Jika akar seni dan budaya Indonesia dirusak, semua yang telah berkembang di luar negeri itu akan rusak pula. Sementara di sisi lain, dalam era globalisasi ini dampak RUU APP akan dirasakan pula di luar Indonesia," kata dia.

Seni pentas Indonesia, terutama seni gamelan, wayang, serta tari Jawa dan Bali, telah menjadi sumber kreativitas seniman dan sarjana seni dunia. Malah, seni wayang sudah diakui resmi sebagai Warisan Budaya Dunia Nonbendawi dari UNESCO.


Mengurangi Kreativitas

Aviva menambahkan, RUU APP akan melarang orang untuk menyiarkan, memperdengarkan, mempertontonkan atau menempelkan tulisan, suara atau rekaman suara, film atau yang dapat disamakan dengan film, syair lagu, puisi, gambar, foto dan/atau lukisan yang mengeksploitasi daya tarik tubuh atau bagian-bagian tubuh orang yang menari erotis atau bergoyang erotis. Aturan itu bisa ditafsirkan sebagai larangan terhadap seni tari daerah, seperti tayuban, joget, ronggeng, jaipongan, dan gandrung Banyuwangi.

Selain itu, sastra klasik ala Serat Centhini dan ceritera pokok pewayangan tidak bisa tampil lagi. Salah satu contoh adalah lakon Murwakala yang menggambarkan kelahiran Batara Kala. Pada lakon itu digambarkan Batara Guru terpesona melihat seorang perempuan sehingga kamanya (nafsu) timbul. Lakon ini paling penting bagi para dalang, tetapi bisa dilarang karena bisa dianggap erotis. Jadi, batas antara seni dan erotisme (langen dalam bahasa Jawa) kerap kali tidak jelas. (O-1)



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Last modified: 20/3/06

From Sakura to Selipar Jepun

Salam Sejahtera Semua
Monolog Sakura telah dipersetujui sebagai salah satu teater yang akan dipersembahkan oleh Stor Teater Dewan Bahasa. Walaubagaimanapun, kami masih menunggu keputusan peruntukan. Stor Teater juga akan dibuka semula selepas ubahsuai menambahkan tempat duduk penonton ke 100 orang pada bulan april. Mungkin the best time to perform would be June. Kami juga bercadang untuk meluaskan ruang persembahan dan mungkin melihat posibil;iti mementaskannya di Dewan Syed Nasir yang sudah lama tidak digunakan, sekaligus mempunyai banyak sejarah persembahan teater. Antara pelakon yang sudah bersetuju termasuklah Sallehuddin dan saikorkestra, Mislina, Joe Lee(Malay Mail), Azreen Andaman serta beberapa pemain jemputan. Terima kasih.

Coming Production>> Kembang Bungo Sakura (Monologue Series)

Kembang Bungo Sakura menampilkan empat karekter: Che Bungo Intan Berlian(55 tahun, seorang ibu rumah yang gigih berniaga untuk menyara keluarga), Yee(25 tahun, seorang transeksual yang hidup di desa sebagai Mak Andam), Kenanga(35 tahun, seorang transeksual yang menetap di singapura, asalnya dari keluarga Cina di Port Klang) & Che Hassan (55 tahun, pernah menjadi tahanan perang dunia II dan buruh keretapi maut di Burma). Pertemuan berlaku dalam tahun 1975 di Singapura. Saksikanlah nanti di panggung terdekat anda di Kuala Lumpur.

"Kota Sang Naga", Prequel to Chini

After the successful collaboration between storyteller: Zulkifli Mohamad, Director & Artistic Director: Hamzah Tahir and Children of Tunas Budaya - Jabatan Kesenian, Kebudayaan and Warisan, Wilayah Persekutuan, Chini, the children dance theatre was staged at the small theatre of Istana Budaya in September 2005. The production was an unlucky collaboration with the notorious producer consist of Mr.Mohzan, Ms.Intan Shahnaz and a Yayasan under the Ministry of Women, Family and Community Development). After 1 year rehearsal with the children and successful staging at the Istana Budaya, the producer failed to pay to the people involved, including 50 children performing. The writer is in the process of reporting the matter to the newspaper.

Despite of the unlucky collaboration, Zulkifli Mohamad is now ready with his requel to "Kota Sang Naga".

LALAK in NSTP Group Online

1. MA 04/12/2005 Melalak di Panggung DBKL Oleh ABIE ABDULLAH (387 wds)
MAHU atau tidak, perlu diakui dunia tarian di Malaysia kian malap. Sejak persembahan Emas 10 September di Istana Budaya tahun lalu, artistik itu bagaikan hilang daripada pandangan persada seni negara. Bukan tiada penonton. Buktinya, persembahan tarian dari French Dance Troupe di KL Pac baru-baru ini mendapat sambutan memberangsangkan.



2. MM 02/12/2005 Howling on stage By Amir Hafizi (758 wds)
WHEN people say lalak or melalak, the image they usually try to convey would either be kids yelling hysterically or a teenager singing in the bathroom relying more on passion rather than talent. Probably that's what five Malaysian choreographers wanted to portray through their contemporary dance anthology. Well, at least they're doing it with a whole bucket-load of talent.



3. BM 27/11/2005 Lalak selit tragedi Tak Bai Oleh Roslen Fadzil (325 wds)
KEMELUT yang pernah melanda tanah air mahupun negara serantau seperti tragedi tsunami serta pertumpahan darah di Tak Bai, Thailand adalah antara peristiwa hitam yang sukar dilupakan. Ia menarik perhatian semua termasuklah sekumpulan koreografer yang akan beraksi dalam satu kolaborasi tarian kontemporari menarik berjudul Lalak. Persembahan yang julung kali dianjurkan Dewan Bandaraya Kuala Lumpur (DBKL) dengan kerjasama Svarnabhumi Studio (SVB) itu akan dipentaskan di Panggung Bandaraya, Kuala Lumpur mulai 2 hingga 4 Disember ini.

LALAK

LALAK, A Contemporary Dance Theatre Production
Venue: Panggung Bandaraya, Sultan Abdul Samad Building,
Jalan Raja, 50506, Kuala Lumpur
Date & Time: Fri 2 - Sun 4 Dec 2005 Telephone: 03-2699 3872

Synopsis: The word 'Lalak' means to scream or yell loudly. This word just about sums up what the five gifted choreographer/dancers are longing to do - scream out against our increasingly materialistic world, where Western values are lauded and where art has taken a backseat to everything else. Lalak is also meant to be a dialogue that questions the integrity of Malay people in this era of globalisation.
The five choreographers who have joined forces to produce this are Syed Mustapha, Jasni Ahmad, Hamid Chan, Junainah Long and Zulkifli Mohamad. They have produced two dances each, one solo piece (where they will perform their own dance) and one group piece.

The program:
Choreographer: Syed Mustapha
Solo Piece: Keliru
Group Piece: Om Bak

Choreographer: Jasni Ahmad
Solo piece: Argo-Gede
Group Piece: Episod Hanuman

Choreographer: Hamid Chan
Solo piece: Paroiku
Group Piece: Kukuda

Choreographer: Junainah Long
Solo piece: Untitled I – Suara Tubuh
Group Piece: Untitled II - Wanita

Choreographer: Zulkifli Mohamad
Solo piece: 1914:2004
Group Piece: Jadi Jawa Jawi

Produced by Dewan Bandaraya Kuala Lumpur in collaboration with Svarnabhumi(SVB) Studio.

Links: http://www.dbkl.gov.my/panggung/index.php
Public Rating: (5 votes)
User Comments:

most wanted performance Sun, Dec 04 2005 17:26:06
satu persembahan yang menarik.setiap kareografer mempunyai daya tari yang dapat menarik penonton untuk terus duduk dikerusi.
posted by colourfull chicken situmas@yahoo.com
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syabas dbkl! Good Start! Mon, Dec 05 2005 02:54:38
Satu event yang seharusnya menjadi aktiviti tahunan dbkl. Harapnya memberi nafas baru kepada artis budaya dbkl untuk menerokai dunia kontemporari.
posted by anjung anjungtari@yahoo.com
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bolehlah... Wed, Dec 07 2005 15:22:02
tahniah kepada penari yang menjayakan lalak...
ada sesetengah koreografi itu memang menarik. dan ada juga yang menarik.
ada sesetengah koreogari yang menggunakan lagu yang sama dengan kereografi saudara en sukarji dari I.K.J UNTUK KOREOGRAFINYA yang berjudul MANOHARA semasa tari 2005.
kebanyakan koreografi ini menggunakan lagu dari seberang iaitu dari indonesia...
seperti yang kita tahu malaysia kurang khususnya pemuzik yang memgeluarkan lagu2 seperti yang dibuat oleh karyawan muzik indonesia iaitu lagu yang berunsurkan relax dan sebagainya....
tapi tak apa itu bukannya menghalang koreografer di malaysia untuk berkarya.. tak semestinya koreografi kontemporari yang menggunakan muzikkan...
tepuk dada fikirkan sendiri...
bye.....
posted by anak seni yang merdeka firdaus5419@yahoo.com
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bolehla.... Mon, Dec 12 2005 01:44:04
Exactly,this was my 1st time watching this kind of event, what we call that because i don't know much about it (please inform if i made a mistake).For me okla walaupun x faham but i can still enjoy the event,i bukannya minat sangat tapi i learned something new about drama tarian it give me some new experience in my life,drama tarian LALAK dari apa yang saya lihat ia merupakan satu drama tarian yang mana penari mengeluarkan satu expresi emosi,wajah,sikap yang boleh dikatakan abstract untuk dilihat.Walaupun begitu gandingan beberapa choreographer menjadikan drama tarian itu hidup.so that all from me.....arsyad
posted by muhammad arsyad arsyad85@yahoo.com.sg
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La La La Lak Wed, Dec 14 2005 15:47:16
Terima kasih orang yang menonton dan komen2 yang ada, amat berterima kasih. Kita ni masih baru dalam dunia tari kontemporari di Malaysia. Kalau ada sambutan kita akan meneruskan perjuangan ini, insyallah. Sememangnya Lalak menghidangkan perbagai bentuk tradisi tari kontemporari yang mungkin menarik perhatian orang yang berbeza, walaupu itu hanyalah secara kebetulan. Kita berharap tahun hadapan kita akan menampilkan karya-karya baru dari koreografer yang lain pula dan mungkin juga koreografer antarabangsa, sekurang-kurangnya dari ASEAN dan Asia kalau tidak dari benua lain. Seseungguhnya tari melayu di Malaysia tu ada pelbagai peringkat pengembangannya. Kita juga harus menyimpan khazanah yang lama kita ada seperti Mak Yong, Manora, Asyik, Gamelan, Terinai dsb. Selamat menonton.
Semuga seni tanahair terus berkembang.

SEA Films; SEA in Paris

Bingo : in Paris "Be with me" is played at this very same cinema near Pompidou where they gave the Thaï film.
Natalie, Paris, France

> Objet : Re: Singapore and SEA movie
>
> Hello Natalie and friends
> Great. Where are they showing that in Paris? The last
> time I was there, they were showing "Iron Ladies" the
> Thai movie on drag queens playing valleyball at the
> cinema near Pompidu. Probably more Thi movies showed
> in France like Tropical Malady. Late last year I also
> watch another briliant Thai "Citizen Dog". Early this
> year I watched an Indonesian movie similar to Citizen
> Dog called "Banyu Biru"(helly was the publicist for
> that). In KL thi year too I watch few more Indo Films
> like "Unggu Violet" "Tentang Cinta". Perhaps Malaysian
> better movie would be "sepet" shown in Cannes about
> young teenage girl fell in love with young chinese boy
> in a small town in Malaysia.
>
> Jim, I have great meeting with Jin Xiang and an audio
> docu film director and two poets in Shanghai during my
> ICAS conference.
>
> Jean Pascal. my god have not seen you for a long time.
> How's India? I just got my DR and will start looking
> for job again, anywhere in the world. But now enjoying
> making contemporary dance in malaysia as well as
> writing for internet arts magazine (www.kkiseni.com),
> also teaching part time for Arts Management at local
> uni.
>
> Azizah, any new film in Jakarta.
>
> Next year I am organiing Asia Documentary Film Forum
> in KL. Please send me something if you have anything.
>
> Hppy Eid
>
> Zul
> www.svarnabhumi.blogpot.com

>
> > Dear All,
> > Just to tell you I have seen an excellent
> > Singaporian film:
> > "Be with me" from Eric Khoo.
> > Nothing to do with the Marlin, Raffles and other
> > glittering symbols.
________________
Natalie Guignabaudet
Paris France

Race and Bronze Theory, and SEA Performing Arts

---js228 wrote:

> Dear Khun Zulki,
> I just had a time to read your article about
> Langasuka in full. Excellent
> work!!! I really enjoy that though
> I have a different theory concerning Srivijaya as
> the federation of the
> nautical princely city-states in
> Java, Sumatra and mainland Southeast Asia.
> Well...after reading several claims I tend to
> believe that there were no real
> centre of power in this
> region, but many city-states that were tied togeter
> by trades and family
> connection. Jayavarman II of
> Angor was the Sailendra from Java. The legend from
> the present day south of
> Thailand tells the story of
> a prince who arrived in Patani whose son found the
> city of U-Thong in Chao
> Praya river basin. The
> present Thai language itself (though the royal thai
> academy love to associate
> it with Tai-Kadai) is a
> creole language, which is a combination of different
> languages including
> Javanese & Malay. I myself am
> a descendant of Sultan Sulaiman of Singora who was
> of Persian stock from Java.
> Therefore, I strongly believe in the importance of
> transmigration and
> interactions between cultural
> group in the process of cultural formation of
> Southeast Asia. I have found the
> 'Race Theory' in the
> exisiting tradition of historical writing
> unstatisfactory and misleading. They
> create more conflict than
> understanding of how we became the way we are and
> how we want to be in the
> future.
> At the moment I am reading the history of Southeast
> Asian performing arts
> through the
> interpretation of bronze drums from Dongson Culture.
> Your account of
> Mayong/Manora and Naga is
> very useful as it helps me to be able to link many
> thing together. I will send
> a copy to you when I finish
> writing. I feel
> that you are one of a handful
> people I could discuss thing Southeast Asian with.
> Regards,
> Golf
>
> Jirayudh SINTHUPHAN

MAWI and PAS MALAYSIA

SO MAWI IS CELEBRATING KOTA BHARU AS ISLAMIC CITY OF MALAYSIA ON 1 OCTOBER. IT IS INTERESTING TO SEE HOW THE DIFFERENT CAMPS OF PAS HAVE DIFFERENT OPINIONS, WHICH IS VALID TO DISCUSS. BUT AT THE END OF THE DAY NIK AZIZ HAS HIS GOOD POINT. BRAVO NIK AZIZ

Last Nite in Shanghai and Giant Leap

It was my last nite in Shanghai. I came back to my funny hotel Joyage and found a note from my Berliner academic. He was drinking at with his German friend at a Shanghainese friend. I went and found myself discussing about living in Shanghai, where to stay out of Shanghai, to make money or to make art and next talking about their German rock band singing in Chinese. Next, this Shaihainese friend showed his new audio documentary video, mostly inspired by Giant Leap project. Then I told him that I was on it too, where they interviewed me and dance on it too. He was so impressed with the project and like to follow that. As for me, I have not seen it on tv except that I was told that the programme was shown on Discovery Channel and National geographic before Christmas 2002.

Border Crossing

So more people were killed in South Thailand, nearer to us now in Sungai Golok, two minutes cross from Rantau Panjang, Kelantan, 15 mins from my house in Pasir Mas actually. 131 people ran to Malaysia yesterday and Taksin wanted them back. Of course Thai government has declared South under "Emergency" status and they could arrest anyone, which is very unfair!!!!!!

For us, we only watch telivision and we could just switch off the telly!

I got a phone call from an america-french friend in Bangkok saying that nothing much of modern dance making in Bangkok. He is just taking and giving dance classes. And he though we have better luck in Kuala Lumpur. Are we?

Queens of Pattani

The Queens of Pattani



If stories give life to a place, those of the four queens of Pattani recall laughter and tears, love and revenge that shaped a chatpter of the little known history of this Islamic maritime kingdom about sex centuries ago. Subhatra Bhumiprabhas and Natiya Tangwisutijit trace the facinating story of the queens

Nobody knows what Princess Ijau might have thought when she ascended the throne as the first queen of Pattani in 1584.

After the death of her father, Sultan Manzur Syah, in 1572, Ijau and her two younger sisters had to endure 12 traumatic years witnessing brothers and cousins killing one another in their battle for the throne. The conflict was resolved when all of the male heirs were assassinated, paving the way for Ijau's ascension.

Today's historians - and, indeed, ancient European traders and travellers who arrived in the Islamic kingdom - had different views about Pattani's century-long rule by women. Some opinions appear more favourable than others. But the predominant conclusion was that Queen Ijau and her sisters who succeeded to the throne were no more than puppet monarchs. Behind them must have been capable male ministers who governed in her name without the queens' actual participation.

French traveller Nicholas Gervaise, for example, wrote in the 1680s that Raja Ijau was not allowed to enter at all into the secrets of state affairs.

"[The queen] had to content herself with the respect and homage which everyone formally rendered her as their sovereign," Gervaise was quoted in "Hikayat Pattani", a classic Malay account of the history of this Islamic kingdom.

"They [the ministers] did not allow her the freedom to choose her own high officials, but they never refused her anything which could contribute to her pleasure," he wrote.

Such a view, however, could not properly explain why under the rule of the queens, especially the first two, Pattani reached its greatest prosperity from maritime trade with Europe, Japan and around Southeast Asia. Prices for commodities, particularly foodstuffs, were at an all time low, pleasing the rich and poor under their reigns alike. Farmers were also recorded to have enjoyed irrigation projects initiated and supervised by the queens.

If they were just puppets, how did the three sisters succeed one another in a row? The youngest sister even managed to have her daughter become queen as well. They all survived several coup attempts amid a fluctuating political situation in the region. All the men who challenged their power were "dealt with" in different ways. Nobody knows what actually happened to them, but they were never seen again.

Reading between the lines, scattered historical accounts suggest the queens were capable rulers who knew how to play both internal and regional politics. In other words, the ancient kingdom of Pattani prospered "because of", and not "in spite of", the queens.

The three sisters - Ijau, Biru and Ungu - succeeded one another from 1584 to 1635. Their father named them after the colours of the rainbow - Ijau means green, Biru is blue and Ungu is violet. Whether the rainbow connotation was intended as a good omen, the princesses did have a shining future - they all made their way to the prestigious throne without much struggle.

Raja Ijau ruled for 31 years before she died, and passed the throne to her second sister Biru, who led the kingdom for seven years. The throne then passed to the third sister, Ungu, who reigned for 12 years.

Among them, Ungu was the only one married. Her sister Ijau made her the bride of Sultan Abdul-Ghafur Mohaidin Syah of Pahang, another influential kingdom on the Malay Peninsula. Princess Ungu gave birth to a charming daughter, Kuning, who succeeded her mother as the monarch. She reigned for about 50 years in what was one of the wealthiest and longest reigns for the region.

Perhaps Raja Ijau's understanding of regional politics was deeper than her ministers might have realised. She had Princess Ungu marry the sultan of Pahang, given the close connections between Pahang and Johore at the time, and also tightened relations with Johore, another strong political centre on the peninsula.

In retrospect, Raja Ijau turned to concentrate on strengthening relations with neighbouring kingdoms because Pattani became relatively independent from the influence of Ayutthaya, the powerful inland kingdom. Ayutthaya, from 1564 to the 1590s, was struggling for its own survival against Burma and Cambodia.

Secure politics entailed economic prosperity. Pattani itself was among the best natural harbours along the lengthy east coast of the Malay peninsula. The mid-sized kingdom enjoyed long-distance trade with China and India, as well as localised trade with Siam, Malaya and Indonesia. It served as an entrepot to which pepper could be brought from the neighbouring lands for Chinese merchants in return for luxury textiles and porcelain. At the same time Indian textiles were brought to Pattani in exchange for gold, spices and foodstuffs.

Raja Ungu knew her marriage to the sultan of Pahang was to secure political and economic prosperity for Pattani. Love was not a part of it. To her, the marriage was for the "love for her land". Her situation was not much different from other women of other kingdoms in the region in the same period. Their parents sent them as "gifts" for rulers of kingdoms they wanted to make friends with for their protection or other security purposes.

However, what was different for Ungu was that she returned to Pattani and became queen after Raja Biru passed away. Her daughter, Kuning, followed in her footstep decades later by marrying into politics and for the love of her motherland.

Raja Ijau died in 1616 and was succeeded by Raja Biru. It was Raja Biru who sent her ministers to Pahang to request the return of Queen Ungu after she became a widow when Sultan Abdul-Ghafur Mohaidin Syah died. Ungu also brought with her Princess Kuning, who was then four years old.

Princess Kuning was only 12-years-old when her monarch aunt Raja Biru arranged her marriage to a nobleman from Siam, Okya Decho, a son of the ruler of Ligor, or Nakhon Si Thammarat, who served the king of Ayutthaya. By the end of the 16th century, Ayutthaya's power was on the rise again during the reign of King Naresuan.

At the time, no one could read the heart of Princess Ungu, who watched her daughter's wedding in silence.

Soon after Raja Biru died, however, Raja Ungu, who succeeded her sister in 1624, arranged for her daughter to be remarried to the Sultan of Johore. Indeed, Pattani under the reign of Ungu adopted an anti-Siam policy. Unlike her two predecessors, Ungu refused to allow herself to be called by the Siamese royal title Phra Chao.

Perhaps, Okya Decho would not have asked to return to Nakhon Si Thammarat had he known he would not be allowed to take his young wife with him.

When informed of the new wedding of his wife, a furious Okya Decho asked for permission from the king of Siam to lead Siamese troops to attack Pattani. To aid her defence, Ungu received support from her late husband's state, Pahang, and the Sultan of Johore also led his troops to help his mother-in-law. The Siamese troops weren't familiar with sea warfare. The week-long war ended with the heart-broken Okya Decho returning home empty handed.

The love story of Princess Kuning didn't end there, but continued dramatically until her last breath. Raja Ungu died in 1635 and Kuning succeeded her mother to the Pattani throne. After the funeral ceremony, Kuning's husband left Pattani for his homeland. The sultan asked his younger brother and his mother to stay in Pattani to guard Kuning from her ex-husband Okya Decho.

But the sultan had left the fish with the cat. The prince of Johore went too far from the role of protector. The Malay historical account of Hikayat Pattani stated that the prince "violated" Kuning. However, the prince did not seem to have Kuning's heart for long. Raja Kuning found her lover had committed adultery with a court singer. The prince of Johore appeared to be madly in love with the singer whom he planned to give a royal title.

However, many ministers and the people took the queen's side. They volunteered to "deal" with the problem for her. Raja Kuning only asked her men to spare the prince's life. The prince was never seen in Pattani again. He safely returned to Johore while the prince's mother and their people were later escorted by the queen's men to their homeland as well.

No matter how chaotic her personal life, Raja Kuning never forgot her duty as the ruler of Pattani. During her reign, Pattani returned to the glorious era of international trade. The queen ordered her men to expand the mouth of the Pattani River and to dredge the river's tideway to welcome an increasing number of cargo barges. The bay of Pattani shone with lights from trader junks day and night. The Hikayat Pattani noted that the last queen didn't live on royal revenues, she made her income from the crops in her own gardens, feeding and clothing herself from the profits on the flowers and vegetables. Moreover, she turned her personal possessions into royal property.

Unlike her mother, who was hostile to Ayutthaya, Raja Kuning decided to make friends with the larger kingdom by paying a visit in 1641. The queen of Pattani was welcomed by King Prasat Thong of Siam. They re-established relations and Siam promised to end its interference in Pattani, at least during the reign of Raja Kuning.

A decade later, nonetheless, Kuning was forced to leave the throne by Raja Sakti of Kalantan who staged a coup in 1651 after she failed to handle the internal conflict between the sultan and another prince. On her way to seek refuge in Johore, the last queen of Pattani died near the shore of Kalantan. Her body was buried in a small village called Kampung Pancor.

The queen's laughter and tears and her "love for the land" was also buried there.


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Ayutthaya versus Pattani in the 'era of rebellion'



While many historians believe that Pattani had been a tributary state of Siam since time immemorial, and gradually incorporated to become an integral part of Siam, more-recently discovered journals of travellers and merchants of the era suggest otherwise.

The struggle to control Pattani was more than merely starting a few minor rebellions, as simplified in Thai chronicles. The resistance Pattani put up was determined, with residents of Pattani impassioned to defend the local Malay culture and determined to keep alive the historical ideal of an independent state of Pattani.

Jaramias van Vliet, the Dutch official of the Verenigde Oost-Indische Campagnie (VOC), or Dutch East Indies Company, who assumed a post at Ayutthaya in 1633, wrote about the Pattani rebellion during the earlier reign of King Maha Chakkrabat. He stated that Pattani had often sent tribute to Ayutthaya.

Later on, when King Prasartthong staged a coup and crowned himself in 1630, Raja Ungu, the ruler of Pattani, objected to paying tribute to the newly self-installed king. Apart from this affront to Ayutthaya, Pattani even sent troops to attack Phatthalung and Nakhon Si Thammarat, seized two vessels departing from Ayutthaya, and transported Chinese goods to Batavia.

In late 1633, Ayutthaya recruited troops to subjugate Pattani again, but had to delay the campaign for a year. In the middle of this intense atmosphere of war, the Raja of Kedah intervened and assisted in a reconciliation between the parties. King Prasartthong changed his mind and Ayutthaya sent a diplomatic mission to negotiate with Pattani again.

In March, 1636, during the reign of Raja Kuning, a Pattani diplomat came up to Ayutthaya. A preliminary agreement resulted in a "very important person" of Pattani coming up to the Ayutthaya court in August of the same year to pay a tribute of golden flowers to King Prasartthong. Pattani continued to pay tribute to Ayutthaya for several years. It is recorded as doing so in June 1639, while Kedah did her part in August of the same year. The situation, however, changed when Pattani joined Kedah and Songkhla to resist Ayutthaya during 1646-9. They even sent troops to attack and occupy Nakhon Si Thammarat for some time in 1649.

In late 1649, Ayutthaya sent troops to suppress the rebellion again. There is no detailed evidence about the battle, but it turned out that in September 1650, two ships of Songkhla brought a peace message with the usual golden flowers to pay homage to King Prasartthong.

Excerpt from a paper entitled "Ayutthaya in Pattani's Grasp: Historical Writings and Local History" presented by Davisakd Puaksom, Institute of Liberal Arts, Walailak University Nakhon Si Thammarat, at The First Inter-Dialogue Conference on Southern Thailand held in Pattani

Pattani

Pattani
Related: Thailand Geography

(both: pät´tänē´) or Patani , city (1990 pop. 41,605), capital of Pattani prov., S Thailand, on the east coast of the Malay Peninsula, near the mouth of the Gulf of Thailand. It is a port and the center of a region producing most of the spices grown in Thailand, as well as rubber and coconuts. Tin is mined and smelted, salt is extracted, and nests for bird's-nest soup are harvested. The people are for the most part Malay Muslims. Pattani was a seat of the Sailendra power during the Sailendra domination of the Malay Peninsula and later was the center of a Malay state, which was drawn into the Thai orbit. With Ayutthaya , it was one of the first places in Siam opened to the Portuguese in the 16th cent. At first bound only by tenuous links of suzerainty to the courts of Ayutthaya and Bangkok, against which it was several times in revolt, Pattani was reduced to provincial status in the 19th cent.

Pattani

Pattani Malay
A minority majority

Although the Pattani Malay make up only four percent of Thailand's population, they are the majority population within the five southernmost provinces of the country.

In addition to their location, the Pattani Malay are separate from the rest of Thailand in a number of ways. They are Malay in their race, heritage, language and culture. While Thailand is 94 percent Buddhist, almost all of the Pattani Malay are Muslim.

Traditional Pattani wear clothing which reflects their Muslim tradition. The majority speak Jawi, a Malay dialect.

The Pattani were a Malay people with a powerful kingdom that was overtaken by the Thai. They understand themselves to be a different people living under the Thai kingdom. Pattani often intermarry with the Malay across the Malaysian border rather than with the Thai.

The mosque and the community

The mosque and Muslim festivals and observance play an integral part in the life of the Pattani Malay people. The mosque is a place not only for religious practices, but also the place where cultural identity is expressed. It provides education and is at the center of community celebrations in these fishing and farming communities.

As a leader of the mosque, the Imam is often regarded as the leader of the village or community. Because there is a level of distrust of some Thai governmental authorities, who are Buddhist and speak only Thai, many of the Pattani turn to the mosque and Muslim religious and community leaders to provide a channel for voicing their concerns.

Another important figure in Pattani religious life is the "bomoh." The bomoh is a folk healer that acts as a mediator or median between the spirit world and the earthly world. He provides fortune telling as well.

Despite their resistance to the Thai language and culture, the Pattani have adopted the Thai belief in "phi's" or ghosts. So in reality, the Pattani practice a blend of Islam, folk and animist beliefs.

Population: +\- 2 to 3 million
Religion: Sunni Muslim
Language: Malay dialect; Thai
Geographical location/s: Five southern provinces of Thailand; substantive community in Bangkok, Thailand
Percentage evangelized (access to the gospel): 25 percent

Profile: Tradition: gone with the tide

One of the Pattani Malay's more colorful traditions, the "kolae" fishing boats are becoming more and more rare along the coast of southern Thailand. The kolae are striking because of the intricate paintings that grace the side of these long wooden boats. Beautifully carved and painted, most kolae display the image of the naga, a powerful mythical creature of the sea.

Built to last, these hand-crafted vessels are usually passed down from father to son. Many fishermen try to continue the tradition by refurbishing old kolae, because it is so expensive to buy a new one. There are only a few craftsmen left who make and paint the trawlers.

Bloody River - Tak Bai, Yala, Pattani

So they shot more people yesterday in Tak Bai. What do we do as Malaysians?

Blood Across the River - Tak Bai, Yala, Pattani

So we heard that 2 more people were killed yesterday in Tak Bai in Narathiwat Province, which is just across the river from Pengkalan Kubor, Tumpat, Kelantan. So what do we do as neighbour? As another Malay, another Muslim? as Malaysian? Are we going to boycott visiting Thailand? Bangkok? Phuket? How many of us would do that? What is ASEAN doing about it? UN?

I like to dedicate a piece called 19142004, connecting a piece of history from 1914 when the British slaughtered Tok Janggut in Kota Bharu Kelantan when the man tried to talk to people about what British did to them in Kelantan. He was slashed into 14 pieces and showed to the people in Kota Bharu. In 2004 600 people across the river - Tak Bai, Pattani, Yala and Narathiwat Province I Thailand were killed, just before Tsunami in Phuket. 100 people were killed in the mosque in Pattani. What do we have to say about that? Are we going to be arrested by Thai Government when we express ourself, when we cross the border shopping in Sungai Golok?

Preparing for Kota Si Naga2 - Naga: The Serpent

The word Naga is rooted in Sanskrit and means "Serpent". In the East Indian pantheon it is connected with the Serpent Spirit and the Dragon Spirit. It has an quivalency to the Burmese Nats, or god-serpents. In the Esoteric Tradition it is synonymous for Adepts, or Initiates. In India and Egypt, and even in Central and South America, the Naga stands for one who is wise.

Nagarjuna of India, for example, is shown with an aura, or halo, of seven serpents which is an indication of a very high degree of Initiation. The symbolism of the seven serpents, usually cobras, are also on Masonic aprons of certain systems in the Buddhistic ruins of Cambodia (Ankhor) and Ceylon. The great temple-builders of the famous Ankhor Wat were considered to be the semi-divine Khmers. The avenue leading to the Temple is lined with the seven-headed Naga. And even in Mexico, we find the "Naga" which becomes "Nagal." In China, the Naga is given the form of the Dragon and has a direct association with the Emperor and is known as the "Son of Heaven"...while in Egypt the same association is termed "King-Initiate". The Chinese are even said to have originated with the Serpent demi-gods and even to speak their language, Naga-Krita. For a place that has no serpents, Tibet, they are still known in a symbolic sense and are called "Lu!" (Naga). Nagarjuna called in Tibetan, Lu-trub.

In the Western traditions we find the sae ubiquity for the Naga, or Serpent. One simple example is the Ancient Greek Goddess, Athena. She is known as a warrior Goddess as well as the Goddess of Wisdom; her symbol being the Serpent as displayed on her personal shield. Of course, in Genesis the Serpent is a Naga who instructs the new infant (humanity) in what is called the Knowledge of Good and Evil. The Christian church has, unfortunately transformed the Initiate-Teacher into a tempting and negative demon-character. An apocryphal tradition says that Apollonius of Tyana, while on a visit to India, was taught by the "Nagas" of Kashmir. (See The Life of Apollonius, by Philostratos.) It is felt by many scholars of the Western Tradition that the life of Apollonius was taken from the New Testament, or that the narratives of the New Testament have been taken from the life of Apollonius. This is felt because of ! the undisputed and clear similarities of construction fo that particular narrative.

Naga is one of a handful of rare words surviving the loss of the first universal language. In Buddhism, Wisdom has always been ties, symbollically, to the figure of the Serpent. In the Western Tradition it can be found as used by the Christ in the Gospel of Saint Matthew (x.16), "Be ye therefore as serpents, and harmless as doves."

In all mythological language the snake is also an emblem of immortality. Its endless representation with its tail in its mouth (Ouroboros), and the constant renewal of its skin and vigor, enliven teh symbols of continued youth and eternity.

The Serpent's reputation for positive medicinal and/or life-preserving qualities have also contributed to the honors of the Serpent as STILL seen by the employment of the Caduceus. To this very day, the Hindus are taught that the end of every Universal Manifestation (Kalpa) all things are re-absorbed into Deity and the the interval between "creations." He reposes upon the Serpant Sesha (Duration) who is called Ananta, or, Endlessness. (See Ophiolatreiaby Hargrave Jennings)

by Soror Ourania
Reprinted from Thelemix and Therion Rising

Merdeka! Merdeka! Merdeka!

My Japanese friend asked me to take him to Putra Jaya this morning to watch the Independence Parade. I said that he could watch on tv, all channels will be showing. Then he said I am not true Malaysian. hem.....interesting. I sticked that BP ball with little Malaysian flag on it and I have Malaysian flag sapu tangan in my car, ready for any event. And I am sure I cant beat other people. Last last after midnite I went to buy nasi lemak in Pantai Dalam stall and saw whole crowd just came back from the Merdeka Celebration and this one old man wearing Malaysian flag from head to toe, reminded me of Late Sudirman except this old man was really old. Made me thinking, I wish would not be like that when I am old. Yesterday I commented to a friend-guru-brother of mine that the celebration is more like product placement and event for many companies in Malaysia. Well, that's our Malaysian soil is coming to be. I told my Japanese friend that the event at Putra Jaya is for policians and their voters. However, I still felt about it and remember that I used to watch the parade on tv every year when I was small. Announcer Mahadhir Lokman was good, the kids were so honest about their performance and seeing the King and Queen doing the things made me realised that we are a peaceful country and we hace a lot more to do towards 2020 civil society, the level of arts performance etc. The whole nite of concerts made me sleeping in my living room and straight to Merdeka Parade. After I watch Hotel Rwanda and criend and cried. This is the the kind of film that they should show on tv on Merdeka day. We have too much of singing concerts, cooking programmes and make over even on Merdeka day. It made me think "What have we done to help our Muslim Brothers and Sister across the Thai border? They are still killing our own people, Malay, Muslim?"

Chini's gone, but we have not got paid!

Chini, the production ended on 14 August 2005 at Isttana Budaya. But until today, more than two weeks after the show, we still have not got paid. We wonder what happened to the production company, Mufira with Mohzam and Intan Shahnaz as the key persons. They told us before that many company sponsor us but the money went out from Yayasan Kebajikan Negara (Under Ministry of Welfare, Women and Family - Datok Shahrizat) esp.during Tsunami. Can we believe that? recently also the Star newspaper reported that many companies in Malaysia cheated many people and organisation with the charity status. The Chini production was supposed to be staged a year ago but been postponed many times. No we wonder whether the money was used by the person of Yayasan Kebajikan Negara or Mofira, without the Minsister knowing. What should we do now? Report to newspaper? police report? minister?