TAN ZI HAO - GUEST SPEAKER

www.tanzihao.net

This week, for our Malaysian Media and Culture lecture, Dr Carmen is sitting with us instead of standing in front of us in the class. As she promised, Mr Tan Zi Hao will be the guest speaker for this week's class.

Tan Zi Hao, installation and performance artist, a writer specializing in postcolonial theory and the sociology of body, and also a graphic designer.

He categorized his works into four sections,

1. Nationhood
2. Language
3. Body
4. Contradiction

Nationhood

• The Soil is Not Mine (2013)

This piece started off as a response towards the Lahad Datu crisis in 2013, and later developed into a project of storytelling regarding issues of identity, home and Bumiputraism. There are a total of 50 packets of soil up for exchange of something, anything that have high "Bumiputra value", as long as it can convince the artist. Each packet of soil contains of soil form Malay Reservation Lands, soil from the artist's home, torn copy of the artist's birth certificate, and the artist's sperm.

He wants to know how people, whether it is the Bumiputra or non-Bumiputra, like him, defines their own bumiputra value. He said the bumiputra value is vague because some of the bumiputra value that the official claimed, are not the ones that the people have in mind. Then who is right and who is wrong about it. Then is the people more important or the rules that never change to adapt to the people. Confusing yet this is always Malaysia's answer, you say it your way, I have it my way, confusing.

• Endless Possibilities (2013)

1 Malaysia is never enough for Malaysia when Endless Possibilities came upon. A set of 10 digitally printed rubber magnets, and he got people to see and think about the 'what if' question. He says that this piece served as a break the framework piece. For the 50-year-old Malaysia, what can we do to start a new path, and how would the new path exist if we only think in one way, especially in the way that we are all used to, the government way. I guess this is how propaganda works too, just in a improvised way, that the government present to us, as the nation's slogan. If we stop at 1, we will never be the number 1.

Language

• Negaraku. Bukan. (2014)

What if Negaraku. Bukan. My Country. Is Not. 我的祖国。不是。எனது நாடு. அல்ல. ਮੇਰਾ ਦੇਸ਼. ਨਾ. Menuaku. Ukai. Pogunku. Au. نڬاراکو . is our national anthem, we'll have to learn almost everyl possible language that exist in Malaysia just to sing the song. Then only we will be equal, because of the multiple national language in our national song. This ridiculous yet irony thought came across the artist's mind just like how and what if subtitles occupies all of the screen. He questions that how practical with multilingual piece or text is what it is handed to different groups of people. He gave us two groups of people that he belongs to both, the activists and the artists. He stresses that when social change is needed in activism, multilingual can be a burden, while for the artist, multilingual can be accepted to be open to many things. If something is published in Bahasa Melayu, that person may be arrested, but if it is published in another language, he or she may not face any controversial. He said that the authorities are afraid of the people that have the capital to convince people of their own kind, or in the rural area because of the language. This makes them feel threatened when they know you have the capability to convince people that they first thought you could not do so. Then what is equal in their eyes and in our eyes? 

• The Danger of Translation (2014)

The Danger of translation lies in that which is left untranslated. The artist said that although words are being translated into different language, despite they have the same meaning, it still can provoke people's idea through translation. He uses the multilingual "Danger" warning sign to show the possibilities that we misunderstood the meaning of the word when there is too much translation, and also how a certain words in a particular language can be dangerous to use but means nothing more when it is in another language. 

Body

The artist explained that how the presence of body matters, especially in a protest. He gave us two examples, which is Mohamed Bouazizi, a Tunisian street vendor who set himself on fire in protest of the confiscation of his wares and the harassment and humiliation that he received by the authorities. His self-immolation act has inspired many protests all over the world he also act as the catalyst for Tunisian Revolution on high unemployment, food inflation, corruption, a lack of political freedoms like freedom of speech and poor living conditions. 

The artist also mentioned #OccupyDataran in 2011, the people uses hands signal to express opinions and vote, this is to avoid shouting and disrupting speaker. Their use of silent expression shows that the presence of body and occupying space is powerful.

• Classroom (2012)

There is always this invisible line between teacher and students in the class, he said. He wants to challenge this line and can we not be an obedient body, that fits into the structure itself, without questioning.

In his performance art piece, titled Hegemonic No.2: Classroom, that he performed in a classroom in his university, as a response to an understanding of classroom as a production space. He said that classroom is like a factory. Once we speak, or voice out in a classroom, actions will be taken. Therefore, he performed on how to be a disobedient person, but quiet. He approached the students in the class and let them write their name on his hand. He then exits the classroom and write down on a piece of paper, such as "I will remember ____", the space is filled with the names on his hand. The repetitive lines resembles the typical classroom punishment. His lecturer then explains to his classmates about performing arts and what is the artist himself doing. He questioned that can students be beyond students, but as individual. I feel that being different to others is the start of the process of finding who am I, being afraid of changing is the worst thing that can happen. It is like stagnant water will eventually evaporates without making any effort of changing.

• Attempting Conflict (2012)

Attempting Conflict: When I look at you. You look at them. But they see me. Instead of you. Performed in an involuntary collaboration with his professor in Media and Conflict class. The artist is trying to attempt a minor conflict within the classroom by obstructing his professor's view while he lectured and spoke to the class. He said conflicts are always the subject for discussion but no one really pay attention to the "conflict" that arises during the process. We ignore the things that happen in our faces but focus only on other things that is being put up for discussion. He wish to challenge the form rather than the content and let people understand why he do so, and how people ignore things that they choose not to focus on.

• A Reminder of a Remainder (2015)

A happening carried out in conjunction of the Commonwealth Day , previously known as Empire Day to serve as an annual reminder of the glory of the British Empire. The artist targeted British institutions, both British Council and his university, University of Nottingham Malaysia. He placed 49 alarm clocks around both institutions accompanied by the message "Happy Empire Day! Commemorating the 49th Anniversary of Commonwealth Day'. - From a Young Commonwealth, www.tanzihao.net" All of the alarm clocks were set to ring between 3-4pm as there are more people there. His act without permission has caused panic and anger. However, some find it funny when inspecting the clocks. This piece has caused him to be fined by the police and had a meeting with the authorities of his university. He regretted for missing the chance to explain to the police about his performing art piece. This piece is set as a reminder of the remains and our resistance and complicity, of our independence and dependency. 

Contradiction

• Pest Control (2013)

An installation piece titled Pest Control 1110,709,428 (or, a Myth for Another). This piece consists of three replica snakes and sulphur around the each snake. The numbers are the dates of Bersih social movement, as the official colour for Bersih is yellow. A movement which demand for a clean electoral roll. He explains that Bersih is like a pest control project, the more the sulphur, the stronger the kill to the snake (many believe that sulphur can act as a snake-repellent but it has been scientifically proven to be ineffective). The artist said that resistant can be small scale, but long term, not large scale but short term. We demand for something we want with larger numbers in short term will not gain anything, however if the movement is prolonged and committed with consistency, the result will probably change. 

• Xenophoric Shellpickers (2014)

A performance lecture titled Xenophilic Handshakers, Xenophoric Shellpickers. This piece explains handshake itself is a contradiction. It is not just a symbol of relationship, love, and friendship, but it can also mean something on the other side, such as defensive, "I am watching you" in political handshakes. Handshake is first known as a short ritual of "I am not holding weapons, I show my palm and you show yours" and this leads to a handshake. He explains that handshake is also known as germs spreading action, and the bacterial is significant in handshake. These makes handshake a double edge sword. An intimacy that fulfills and threatens one another. He then showed us the Xenophora (carrier shell), shell that stick shells to balance itself and used it as a camouflage. The shell uses foreign to protect the self, using imbalance to balance. He sees the shell beyond the meaning of itself, using Xenphora to present a transhuman narrative and see things beyond itself. Handshake is his version of Xenophora that have attachment and carrier. He shook hands with the audience and collected the bacteria in a petri dish, it is later observed and photographed in the course of 10 weeks. Different handshakes will bring different stories and bacteria of itself, just like the dead shells that carried by Xenophora. He also reminds us that not to forget it is impossible to distant ourselves from the foreign.

LITTLE, MATTERS

What event is so significant that you think we should featured in Malaysia artwork?

Is is the responsibilities of Malaysia artist to create Malaysia artwork?

What is Malaysia artwork?

I think that sometimes being too obsessed on what or who we are is not a good thing at all. It is because it shrinks the possibilities bubbles, slowly the bubbles will stick closely to our bodies and puff, eventually we thought it is a good thing because we think we know 'ourselves', but to me it is not something that I will be very proud of myself. Perhaps being the 'same' with others means boring and dull to me at some point. That is why I think the 'significant events' mention in the question above should be something not everyone can see or hear. It should be some story that never been told before, not like something repetitive. For example, Malaysia's Independence Day is a day that every Malaysian know and considered 'significant' to almost every Malaysian. That is why many artwork are produced and created based on this event, or inspired by this event. Even years and years passed by, this event still contribute to many Malaysia artwork, or at least the re are drawing competition or colouring competition in primary or secondary schools. I guess it is a way to encourage Malaysia artwork, but not the obvious way. However, I think there are more important and significant events that should be featured in Malaysia artwork, such as some small matters that happened in the citizens everyday life. 

What I meant by small matters are things that may not affect most of the people at the area or country level, but in a family or a person's social circle. I know that in the lecture, I learned that some important Malaysia artworks will become a communicating and teaching tool for our future generations, but I think it is not enough because not only these 'significant' events need to be remembered, the stories of the people are far more significant than many things. Then what are the small matters? A tooth being kept under the pillow because of the toothfairy story that every mother tells their child can be a matter, it can be seen as something ridiculous, or it can be seen as a hope, anticipation, excitement of a child because of this story. It may not convince you that it is a good idea or good example, but what I want to say that small matters still can mean a lot, small matters still can be significant.

We have our own perspective, an event may be significant to you but not him or her. That is why I think we need to develop and understand what is significant to ourselves and others before blindly produce or create something that follows the trend or the 'significant' events mentioned by others or the media. Therefore, it is every Malaysian's responsibilities to define their own 'significant events', not the country's events but events that happens around us in our daily life. Who knows that one day these small matters that do not seem to be some significant events could save the mankind.

A Malaysian artwork is something that can represent Malaysia, and something the Malaysian have context of or understands. Malaysia have more things that just the culture here. However, it is good to support and do our best in helping Malaysia artist and artwork as an encouragement.

Things that we believe?

Maznah Ismail/Mona Fandey (1956-2001)

According to what the Wikipedia and few news platform, this woman is known as one of the notorious female criminal in Malaysia. She is was a pop singer before she involved in murder case of politician Datuk Mazlan Idris in 1993 together with her husband Mohd Affandi Abdul Rahman and assistant Juraimi Hussin. It is reported that the trio had a deal with the politician to help him boost his political career by using witch craft and taking part in supernatural ritual. He was killed by an axe on his neck and later cut into 18 parts and buried The trio was later being arrested as prime suspects and end up being sentenced to death by hanging.

Above is the story that I read from a few websites and news report, most of it described Mona Fandey is a cruel and dangerous bomoh. Even when I asked my mother whether she heard about this name, the first thing she said to me is, "Ohh, the bomoh.". Therefore I never really doubt the news or reports, until I read the article that Dr Carmen posted on Facebook. I'm shocked, as I always associate "bomoh" with Mona Fandey, and never thought of other perspective on this murder case. It made me think of how easily we trust the things said by others, or shared by others on social media. Even majority of the news covered bad and negative things about this woman, one or two reports that show different perspectives, the public wouldn't give much attention or believe it. Same goes to me at first, but since I've read about it on other perspective, which is from the prison officer that is closed to Mona Fandey, I really don't know what should I think of this person. I shall place this name under the "grey area" list. Maybe I can learn something more about this case in the class.

Another thing that made this case gained high publicity is because of Mona Fandey and her husband appeared to be constantly smiling and posing for press photographers. She also dressed extravagantly with bright and colourful designs on her dress, and by referring to the media and the people that went as her fans, made the public questioned what is she thinking. 

However, this case has cause many public interest internationally and even films produced based on Mona Fandey, such Mona by Amir Muhammad in 2002 and Dukun by Dain Iskandar Said. However, Dukun is not released as of December 2011 due to concerns relating to the contents of the film and her family. 

I couldn't find the complete version of both films, but I managed to find a short clip of Dukun in Youtube. I believe it could be a big leap for Malaysia's horror movie if it is released officially in the box office, since it portrays the local style witch craft and how hard is it to understand the doings of a person. Whether it is forced or she is also the victim of the case, we will never know. It annoys me and made me think of how the public, including me, focus on this woman rather than the other two partners of hers and the murdered victim. Is it because of our culture, that woman involving in such crime is a taboo? Or we are only judging this woman because of her "strange behavior" during the trials. Take away the black and white for a moment and think of the case in a neutral perspective, if the woman is not involved in the crime and not sentenced to death together with her partners, will anyone still remember this case till now? 

*If anyone found the full version, please give me a copy. Thanks =)

#LOVEWINS

Thanks to the internet, we can access to the information in another country, or the other side of the world.

I believed that most of us know what is #LoveWins is all about. Maybe not all, but roughly an idea about it.

Yes. It's about the SCOTUS or the Supreme Court of the United States ruling to legalize same-sex marriage on  26 June 2015 nationwide. It means that United States of America is dipping their full body in rainbow paints. Same-sex marriages will be known as 'marriage', just like heterosexuals marriages in all states. This is definitely a big, giant foot step towards equality, for the people there.

Some may think that, what is this all about for me when I'm here in Malaysia.

Barack Obama says, "When all Americans are treated as equal, we are all more free ". That makes me think of what is free in our country when equality is not even there, or not even close to what the Americans have. 

Now let's not talk about the nation, the country, and back to the arts in Malaysia. This makes me think of when I learned in my film studies class, about the queer films in Malaysia. When we got to watch one of Malaysia's very own queer film, Anu Dalam Botol or ....Dalam Botol. 

*Anu means penis in Malay

Overall it depicts gays, transgender and heterosexuality on a same Malay man in the film, and the man eventually fails to please everyone even himself in the end and live a life full of regrets. In 2010, the Film Censorship Board of Malaysia announced it would only allow depiction of homosexual characters as long as the characters "repent" or die. So did the film Dalam Botol passed the censorship and aired in Malaysia.

It is something to be proud of, since it is the first queer film in Malaysia that hits the box office, but I find it a bit ridiculous and sad about the film censorship in Malaysia. Films, that are part of the art movement in Malaysia is being restricted in a way, that some of the content is not so true and some of the process are not so easy at all. Maybe it is one of the reasons that makes people to be creative, like what I learned in the class.

I think it is not hard to work with restrictions, but rather sad when films are one of the escapes that people chase after for, but it cannot voice out for the people, to the people. Of course that is just what I think.



Here's a short film about the minorities become the majorities, and the other way round. Do you still feel the same about the 'minorities' ? or you want both to have equal rights now?

ANOTHER POST

Another Country , more like Another Post.

It seems like many people talked about Another Country in their blogs this week, but I wanted to share something a bit different, which is my experience on performing arts in Malaysia.


Hands Percussion


This is the first professional performing arts team that I know since secondary school. Before I go into why I know about them, and why I want to share with all of you about them, I'll give a short introduction about them first.


Hands Percussion or known as 手集团 joined the Malaysia performing arts scene in 1997. The way they use different drums and South-East Asia musical instruments in their contemporary theatrical drumming performance is one of the reasons that made them so special. One of the founder, Bernard Goh, is now also the Artist Director of Hands Percussion, is the first batch of student of Mr. Tan Hooi Song (1947-2008), which is the founder of 24 Festive Drumming. He founded Hands Percussion with Eric Ch'ng, and started to travel with Hands internationally and participated in many arts festivals and performing in more than 16 countries. They have full time performers and also part time performers. Every year, they held auditions and provide classes about drumming and performing to people that are interested in what Hands are doing.


Now at this point, it leads to why I know about them. It is because of 24 Festive Drumming.


I joined 24 Festive Drum or known as 廿四节令鼓 in the Form 1 and spent my whole secondary school life crazy about it. Crazy as in sacrificing at least 8am-12am on weekends and at most 8am-8pm on school holidays or before concert. To the point that parents think we are really mad about drumming. I mean who would not think that we're mad because of the long hours under the sun, sweating, bleeding, having bruises and sore body every time after training. This is the physical ones, not until we have arguments, with teammates, with parents, with school authorities, with neighbors that will threaten us with the parang knife every time we're having training at night until 9.30pm.


There are more and more stories and feelings that we have experienced as a team. A team without a coach, a team that will fight together till the end just because all we want is to play drums. I want to share with all of you, because I am proud of it and I feel that I am very lucky that I am able to get to know about Hands Percussion through drumming. It is more than a group of people playing this musical instrument together. It is about 24 drummers move in the same motion, playing the same rhythm at the same speed, immerse yourself in the storyline and character when performing. It is about 24 become 1.


Okay it seems like I dragged to far from what I planned to say about performing arts, but I just really wanted to share about Hands Percussion with all of you. Back to my main point, that is I've watched a few Hands Percussion's concert in KLPAC including,




Ri Yue Chu Yin

• Hands first gamelan concert with The Eight Mallets Percussion from Beijing. 

Souls in Love

• Consists of few pieces about different kind of love, presented in acting, singing, music and of course drumming. 

Knocking....

• A very memorable performance, Boyz Chew with a pile of name cards, and how he immersed into his character. 

Kaleidoscope II

• Hands drumming festival that includes many percussion groups from other countries and also Malaysia's very own BatteryHeadz Percussion 

Tchaikovsky on Gamelan

• Using mainly gamelan to present Tchaikovsky works. Impressive. 

These are just some of the pieces by Hands Percussion, Google about them and watch their Youtube videos and tell me what you think about them. Maybe we can save money and watch them perform live next time.


Me and my never closing conclusion is coming. I wanted to encourage many people to look into new things and give it a try when we can afford the tickets, not the very front rows one, but a clear view from your seat is more than enough. Just like buying cinema tickets, but this is a 3D performance, it's live, it gives you chills, on the spot. Your sensory system reacts before anything else. Try it again. Or think about it again if Another Country is your first experience. You never get that from big screen. You get that when you hear real voices, when you meet the eyes of the performers in this kind of shows. Nevertheless, after Another Country, I think this is a very good experience that I enjoyed very much because for me, it is totally something I didn't expect and didn't know anything about it, unlike performance from Hands Percussion, I can get a rough idea for some of their performances.


Below is of one their promo video about The Next.

YES IT MATTERS TO ME

Question: 

Do you identify yourself as a Malaysian? Why? Does it matter?

Here comes the first blog post that proves students will do anything to get marks or whatever to graduate. Ehem.. Well to answer the big Q. Yes, I, Amanda Ting Tse Hui do identify myself as a Malaysian. At least my birth certificate, my parents, my identity card, my license, my home address and probably my marriage certificate and death certificate in the future say so. Maybe it's too soon to say that these identification proved that I am a Malaysian, but there's also a low possibility that I'm not born here.. or I'm a Malaysian now because my parents done something illegal to bring me here. Maybe, just maybe. However, at least I learned myself as a Malaysian since I was born, since I was taught in kindergarten, primary school, secondary school, and now UTAR questions me, do I identify myself as a Malaysia. Of course I do.

Why? because all of the identification state so, and where I'm living now said so. However, I do believe that not only the things that we're born of, identify us, it should, and it is a combination of that and what we experience and learn throughout our life in Malaysia, or outside Malaysia identify us. For example, the things that we're born of, can be determined by the identification I just list above. For the experiences and lessons in our life, it is the culture here, the culture that we pick up since birth, the food we eat, the places we visited in Malaysia, the people we meet, and of course the language we speak and listen. It's an extraordinary experience, because you can never understand a Malaysian like a Malaysian do. I think this really explained the why question above.

Now does it matter even though I identify myself as a Malaysian. Ask yourself then, does it matter after you read what I wrote above? Does it changes what you think or who I already am? 

Yes it does, because you spend time to read it and I am a Malaysian, you can ask me anything that I know but not about the government, I know no shit about them. *runs away