"ULEK mayang ku ulek, Ulek dengan jala jemala, Ulek mayang diulek, Ulek dengan tuannya puteri…"
The haunting melody from the song permeates the darkened theatre, casting its spell on the audience. Completely transfixed, I too find myself lost in the ancient tale of the sea princess who fell in love with a fisherman, sung so exquisitely on this balmy evening by songbird mezzo-soprano, Chaing Yi Ling.
Leaning back contentedly into my plush crimson seat, I couldn't help feeling excited.
It's been so long since I've caught a good performance. Having been raised in England and on a staple of West End shows, I've been craving a night at the theatre. Any theatre.
And the majestic Panggung Bandaraya DBKL, located across Dataran Merdeka, Kuala Lumpur doesn't disappoint.
It's certainly the perfect venue for Opera Serikandi Nusantara: The Preview, helmed by critically-acclaimed composer, Dr Tazul Tajuddin. The show, a vocal, piano, and choir musical opera, fuses the Malay traditional art forms of Mak Yong, Menora, and wayang kulit with modern compositions, gamelan and digital visual content.
This preview performance, featuring local talents such as Khairunnisa Diyana Md Noor (vocals-soprano), Chaing Yi Ling, Dr Phang Kong Chien (vocals-tenor) and the award-winning UiTM Chamber Choir led by Dr Masashi Kishimoto, with Dr Bernard Tan on piano, offers the public a teaser of the reimagined tales of legendary Malay princesses such as Puteri Gunung Ledang, Puteri Saadong, Puteri Hang Li Po and Puteri Santubong. The full-length show is slated to premiere in the capital in May 2022.
"In composition and performance, Opera Serikandi Nusantara explores the hybridity, the mix between East and West… the Western art form of opera and arias with a local story, and local performers," explains Dr Tazul about his masterpiece.
As songs after songs resound magically in the inky darkness of the historic theatre hall, built back in 1896 and designed by colonial government architect, Arthur Benison Hubback, I couldn't wait to discover what else KLWKND 2021, a series of arts and cultural programmes happening in the heart of KL as part of Art in the City organised by the Cultural Economy Development Agency (Cendana), has to offer.
REALISING A VISION
"You know, I do feel that I got the vision and concept right. I wanted to merakyatkan the arts and all the ingredients that I thought was very important, whether it's buildings, food, people, fashion, history and so on," begins KLWKND's festival director Joe Sidek, during a post-lunch tete-a-tete in the classy lobby lounge of The Chow Kit — An Ormond Hotel days later.
Looking the epitome of lelaki Melayu terakhir (last Malay male) in his rather fetching sarong and a black songkok (close-fitting rimless cap with straight sides and a flat top) perched on his head, Joe, affectionately called the father of George Town Festival, which he founded in 2010, is in contemplative mood.
Whilst he's happy to have given life to KLWKND, he acknowledges that it's not perfect; or at least, not in the way he'd have liked to see it unfold. "I wasn't able to perfect all the layers of my 'layer cake'," he surmises solemnly, adding: "For example, one of my weaknesses is orchestration. Although I had fabulous ingredients, I couldn't afford to bring in a curator for, say, the Bamboo House at The Godown. If I'd had the budget, definitely it would have been much better."
(The Godown Kuala Lumpur, an arts centre and event space in the heart of KL city, was transformed into a Rumah Buluh or Bamboo House concept with fixtures and sculptures installed in collaboration with local architecture studios and indigenous organisations.)
The Bamboo House, explains Joe, lacked curation. Everything was just put together in the various spaces. Solemnly, he adds: "But you know what, despite that, I'm hopeful that because people have been exposed to it, they'd end up wanting to work with bamboo."
He points to the success of Ernest Zacharevic's murals in Penang. The young Lithuania-born artist became exceedingly popular in Penang after completing a series of six street art murals entitled Mirrors George Town as part of George Town Festival 2012.
Continues Joe: "Before Ernest's murals, there were no murals. And guess what? Now you see everyone doing murals. So, it's the same with this bamboo thing. I'm hoping that when people stumble upon this, it will inspire them to do something. It doesn't have to be just bamboo. Maybe it could be a whole community of artists taking the craft of batik or the material of bamboo to the next level."
Having done George Town Festival, he's quick to point out that KLWKND is a different kettle of fish altogether. "George Town is a village — a walking village," exclaims Joe, who's also chairman of the Federation for Asian Cultural Promotion.
Adding, the affable 60-something elaborates: "Here in KL, it's disconnected and people don't feel connected. So, it's really a first attempt at putting all the dots. That's why we have di sini, di situ (over here, over there). I don't think it has worked really well but at least the dots have been placed. Hopefully next year, DBKL and many other strong partners will come in and connect it with transport, with dressing up, with campaigns and so on."
Expression thoughtful, Joe once again reiterates that he's not unhappy with how things have gone. After all, he has managed to "sell" a story about spaces, narratives, buildings, and sites. "And it will grow," he says softly, adding: "This is the starting point. Do you know it takes eight years for a festival to be anchored?"
LEARNING PROCESS
What has been his biggest challenge putting together KLWKND, I couldn't help asking, whilst taking a furtive sip of my cappuccino. The many days of checking out all that KLWKND had to offer is beginning to take a toll on my 'battery'. I can only imagine how tired the maestro is.
"Money," he replies, tone wry. "Money and more money. Had I been able to afford people who could finish up the orchestration for me, then it'd have been a more polished festival. But it's okay. At the end of the day, the idea is sold."
Continuing, the affable Negri Sembilan-born arts activist says: "Maybe somebody else could have done a better job. But my idea was to bring everyone together, to unite all the elements of the arts, and putting it out there that it's about the 'us' and the 'we'. And in that respect, I've met my target. There's been so much positive vibes."
One of the things it has also resulted in is connectivity. "I've met so many people through this process. And that's something I value. For me, it's always a learning curve. From this outing, I've learnt about my weaknesses, where I need to improve, and most importantly, the fact that there are a lot of good people out there that I'd love to interact with."
It's important that everyone comes on board to help share the story, believes Joe. Pointing to a row of books lining the bookshelf in front of us, he says softly: "It's like a good book. Unless somebody tells the story of the book, then it's only a one-inch cover that nobody knows about."
Adding, he postulates: "One of the weakest links here is the storytelling (getting the word out), whereas with the George Town Festival, I was in full control. That's why I was able to garner global eyeballs."
Expression thoughtful, Joe confides: "I want the word to reach out not only to the 'converted' but also to an audience that doesn't really subscribe to the arts or are exposed to it much. But I'm learning how to make things better. Insya Allah, kalau ada rezeki, I'll be able to do a better job."
WORK IN PROGRESS
In order for Malaysians to move forward in the arts, everyone needs to be involved, believes Joe. The "buy in" is important. "We can't just have the dancers dancing in their own small pond and thinking that's good enough," he exclaims, adding that it's about world domination and placing Malaysians out there on the global arena.
"And I think we can," he says, tone resolute, before adding with a chuckle: "It may sound delusional but I'm a delusional person with a plan!" He goes on to point to the fact that as Malaysians, we have cultures that are thousands of years old. "So why do we always look up to the western psyche when it comes to arts narrative? he poses, exasperation in his tone.
Adding, Joe, who was in England at the age of 18 for his studies, continues passionately: "Do you know, we were selling elephants to India? The whole world passed through us and traded with us. We were cosmopolitan before the Americans and yet we look at the west as our benchmark. Why?"
A long sigh ensues as Joe leans back into his chair, his exasperated lament over. I agree, I tell him and he smiles gratefully. Then, as if realising that he'd strayed somewhat from our chat about KLWKND, he lobs me a sheepish look.
"These last four years — at least for me — have been about learning, re-looking and re-imagining," continues Joe, softly, before confiding that the Covid-19 pandemic had been good in a way as it had enabled him to re-think things.
MORE THAN A VILLAGE
Joe, who's had an interest in the arts since his childhood, is proud to share that he has nine students under his mentorship. They've been working with him for the last six months. Eyes lighting up, he shares: "It's magical. These are students who have never been exposed to the arts; most of whom hail from small towns. And they're helping me. That's why I'm happy. At the end of the day, everything's work in progress."
The idea, he adds, is to get everyone to work together and pitch in. And THIS is the hardest part when it comes to Malaysia. But he's not giving up. Says Joe: "This time around, I didn't really get 100 per cent pitch in — but I know I will get it, someday. At the end of the day, people won't be able to 'see' until you actually lead the way and show them."
As they say, it takes a village to get things done. But in Joe's case, it's probably going to take more than a village to realise his vision. Swiping the songkok off his head and cradling it in his well-lined hands, Joe muses: "With this one, it has taken more than a village. And you know what? It's probably going to need several villages or an entire township to make something like this work. I can't do it alone."
Studying the expression of weariness that seems to have crept up on his face, I couldn't help wondering aloud why he bothers. What keeps you driven? I ask Joe, whose background is as an industrialist. Incidentally, he used to run a factory producing textile chemicals many moons ago.
His smile is serene when he replies: "My father's and mother's gene pools! My father was a latent artist who really wanted to do something. He went for screen tests. Meanwhile, my grandfather wrote poetry. But they never had the opportunity to bring or unleash their talent. My mother, by the way, loved the garden and beautiful things. I think our strengths come from our parents."
For Cendana's latest news and programmes, go to www.cendana.com.my
KLWKND festival
THE Arts and Cultural Economic Development Agency (Cendana), a unit of MyCreative Ventures Sdn Bhd, in collaboration with Joe Sidek Productions launched the inaugural KLWKND Festival, which took place from Nov 25 to Nov 28 around Kuala Lumpur city. KLWKND was one of the initiatives to strengthen the country's arts and culture sector to enable Keluarga Malaysia to appreciate and value local creative artwork.
The KLWKND Festival featured more than 40 programmes involving performances and works from more than 150 art and culture activists in eight locations, including Panggung Bandaraya, Central Market, Gamuda Mall Bukit Bintang (GMBB), TM Museum, RexKL, the RuMa Hotel and other locations around Kuala Lumpur.
The KLWKND programme also coincided with "The Light Project", and several interesting and free programmes for the public, including Bamboo House at The Godown KL, Best of Malaysian Craft, Kicau Bilau at the Art Market, Art of Film-Feature, a film art performance by Amir Muhammad, which told the story of the city of Kuala Lumpur using old footage and screened award-winning films, and a reading by national literary figure, Prof Emeritus Dr Muhammad Haji Salleh, Datuk Dr Mohd Anwar Rethwan, Datuk Dr Zurinah Hassan, and Datuk Dr Siti Zainon Ismail.
There was also LOVE MY (Malaysia) Batik, which showcased batik paintings from private and public collections, in addition to a batik mural painting event by five visual artists whose work will be distributed to selected schools in Malaysia.
Founder and chief executive officer of Cendana, Izan Satrina Mohd Sallehuddin, said: "As part of the country's recovery efforts, Cendana is aware that the efforts to restart, revitalise and build the economy for the arts and culture sector, require various efforts, not only in terms of policy, support funds, capacity building, but also the commitment of various parties, as well as the industry to want positive development for this sector.
"KLWKND is important to explore the story and history of the city of Kuala Lumpur in an effort to position Kuala Lumpur as a city of cultural and creative arts."
Apart from the KLWKND Festival, Cendana is also hosting the SENSORii Digital Media Exhibition at RexKL, Jalan Sultan from now until Dec 28, and the National Cultural Conference Symposium on December 11 and December 12 at the University of Malaya, Kuala Lumpur.