FROM THE EDITOR’S DESK COVER STORY

STORIES AND THE THEATRE

BY ADIB KOSNAN

When I was growing up, stories were avenues of exploration and escape. The dystopian futures of comic books were scary but that was all they were at the time – stories. Imagining living a life as a superhero trying to right the wrongs of society, while at the same time stopping the world from destroying itself, occupied many of my evenings after homework was claimed to be done.

I would spend afternoons after school at my late grandmother’s home in Ang Mo Kio, watching Indonesian-dubbed episodes of Kamen Rider and pretending I could turn into him by using the walkway through the kitchen as a portal. During PE lessons and in after-school football sessions at the void deck, I would imagine scoring the last-minute winner for Singapore as they lifted the Malaysia Cup with my footballing heroes clamouring to congratulate me.

“An active imagination” – those were words more than one form teacher used to describe me back then. For me, it was as normal as brushing your teeth. In fact, even while doing that, I could probably escape to some planet and pretend to be a monster attacking spacemen while frothing at the mouth.

I did not know it then but using my imagination and pretending to be other people ended up being a big part of my life’s work. Many young children grow up using role-playing and pretending to be characters from stories they are exposed to, in books, movies or cartoons. I just happened to continue doing so and am lucky enough to make a career out of it.

TELLING STORIES FOR A LIVING I first entered the world of theatre in primary school. It was a creative story telling competition and I was forced to join; the teacher thought it would be a perfect outlet for me. I loved every minute of it, pretending to be someone else, showing all these emotions (some I have never felt before) and having everyone listen to me for those few moments before and after my character spoke or did something. People listen to you when you are on stage. Maybe they would not continue listening if you don’t capture their imagination or if they’re not interested in the topic, but for that few moments, you have their attention. That made me realise that I could tell stories and if I made them compelling enough, or if I was effective in how I presented it, these stories would be told and reside in the minds of the audience. They would take away their own reflections from it of course, but I could at least start a conversation and say the things I wanted to say. Every one of us involved in putting something on stage has a say in it. From how it looks to how it sounds, to what words are being said and how they’re being said – this was what made me fall in love with theatre.

Theatre has given me the platform and opportunity to tell stories like the ones I grew up with. It has given me an avenue to interact and socialise with like-minded colleagues and try to live in the shoes of characters I have never met before. It has given me a chance to tell stories that have become important to me and to the world that we continue to live in.

One of the most common misconceptions people seem to have about putting up a play is that it does not take much time. I mean, for a one-and-a-half-hour play, how much time does it actually need right? It approximately equates to an hour for every two and a half pages of script. So, a typical three-act play can be anywhere between 70 and 100 pages. That is the minimum amount of time you would spend in a rehearsal room.

The rehearsal room thus is such a special place. It is where words and ideas come to life, sometimes in the most unexpected ways. The time I spend with my fellow collaborators is one that I really cherish because all of us are giving a piece of our creative selves to come up with a new experience for the benefit of those who will eventually watch the play. The discoveries and conversations that take place in this space are often enlightening and encouraging. It makes us feel seen and heard, and there is an implicit acknowledgement that we are all part of a covenant of sorts. An amanah (trust) to put the story out there for people to see, hear and leave with their thoughts about it.

It all culminates in the performance itself – where the audience and the performers come together and experience something live, together. A piece of work, which has been developed in a few months or even years depending on when the playwright began penning down the first words to the story, is a culmination of a collaboration between producers, designers, directors, crew members and actors. The final piece of the collaboration puzzle is the audience who enters the space at the final stretch of the process: show time.

As a theatre maker, I feel anxious in those moments just before the audience enters. Will the story resonate? Will my performance move them? Will they leave the theatre with their thoughts provoked or would they dismiss the experience as a waste of time? These questions usually fade away into the background as soon as the show begins as the focus shifts towards ensuring the story is told. More often than not, you can feel the connection the audience has to a story and it reinvigorates and nourishes the performer on stage. You hear people understanding the struggles of the character, resonating with the stories in real time through their breaths, laughter and reaction and that is something that is unique to a theatre performance – you get real-time feedback, good or bad. You cannot replicate that. No amount of rehearsal can prepare you for it either.

THE IMPACT OF COVID-19 ON THEATRE This brings us to our current situation. While the COVID-19 pandemic has not stopped people from creating and expressing themselves, it has changed a fundamental aspect of performances: the interaction between the audience and the people on stage. How do you, as a performer, get the connection from a live audience when there isn’t one? It is a problem that is at the forefront of the minds of any theatre performer in this current climate.

As with any other industry, we have adapted in a few ways. Many have put our past works online so that people can revisit or catch them for the first time. This has its limitations as most videos taken of performances were for archival purposes and thus may lack the dynamism of a live performance. The video sometimes doesn’t do justice to the work as it is not meant to be experienced in that way. Others have held live readings of new or past works to an audience who can see us on their

Against the backdrop of an upheaval occurring around the world where people are fighting not only the pandemic but also for their rights to be seen and heard, stories become even more sacred. The ability to share these stories become more urgent despite the difficulties and obstacles that currently stand in front of us.

computer screens. While such sessions may not be as ‘full’ as a performance in the theatre, it gives us an opportunity to stay connected somewhat, and be reminded of the people in our community, colleagues or audience.

Safe or social distancing for the theatre scene hits us on several fronts. We miss the social interactions with our fellow collaborators in the rehearsal space. We miss the real-time interactions with our audience during show time. For some of us, the stage is a place of refuge. For all of my colleagues, it is our source of livelihoods and the current situation means a lot of us don’t know where our next paycheck is coming from. Against the backdrop of an upheaval occurring around the world where people are fighting not only the pandemic but also for their rights to be seen and heard, stories become even more sacred. The ability to share these stories become more urgent despite the difficulties and obstacles that currently stand in front of us.

The world will evolve, the future will become the new reality, and we will find ways to continue sharing what is dear to us. As I’ve grappled with these thoughts and issues as a theatre maker, I also am confronted with my personal hopes and fears as a son, husband and father. I do not have the answers on how to deal with them effectively, and I don’t think I ever will. But when the time and space allow me to, I will attempt to speak about them through the only way I know how: in the rehearsal space and in the theatre, through the words and actions of my characters, illuminated and supported by my collaborators.

For now, I find myself spending time with my son and daughter, pretending to be characters from their favourite cartoon series, Teen Titans, and having conversations, in character, about the people and the world we live in. It is a familiarity that I cherish and it is a cycle that repeats itself, but it’s one that allows me to connect with them. Until we step on the stage again, I’ll take this for now. Stories, after all, are all that we have.

Adib Kosnan is a theatre practitioner and educator. He was recently named Best Supporting Actor at the Life Theatre Awards 2020 for ‘ Angkat ’ by Nabilah Said and Noor Effendy Ibrahim. Adib is especially interested in improvisation and forum theatre as tools for creating awareness and enhancing communication.

Classical Malay Texts: Of Relevance and Reverence

BY MUHAMMAD FARIS ALFIQ MOHD AFANDI

William Shakespeare – a figure so far away from us here in Singapore, and yet we are well familiar with his works: Macbeth, Romeo and Juliet, as well as A Midsummer Night's Dream, to name a few.

Similarly, Islamic scholar Imam Al-Ghazali, though not a literary figure, has produced works that are so renowned, such as Ihya Ulumud-Din, Tahafut al-Falasifah, and Al-Kimiya’ as-Sa’adah or more commonly known as The Alchemy of Happiness, that they are often referred to as authoritative religious texts for Muslims around the world.

There have been many classical texts produced in lands so far from this island that have managed to make their way here and become prominent among the community. But what about texts from the region? Were there no local scholars or literati within the Nusantara? Or were their works eclipsed by other more noteworthy texts?

The absence of classical Malay texts in mainstream discourse does not mean that there was no intellectual fervour in this region. Rather, the region saw a slew of texts, but these texts were sidelined and marginalised in favour of others from different parts of the world. This article highlights the relevance of Malay classical texts in examining or studying the world today.

HISTORICAL EVIDENCE When Singapore celebrated the Singapore Bicentennial last year, marking the arrival of Sir Stamford Raffles 200 years ago, there were many debates surrounding the historical roots of Singapore and the lack of acknowledgement of the island’s civilisational past other than it being a ‘fishing village’ 1 .

If we were to take into consideration classical Malay texts in examining this narrative, it is myopic to claim that Singapore was indeed a sleepy fishing village in the 1800s. Sulalatus Salatin (Genealogy of Kings) written by Tun Sri Lanang in the 16 th century painted a rather The Malay Annals, as pointed out by several scholars, showed that Singapore was well-connected to the region. It was a cosmopolitan society and had relations with other parts of the world, such as the Majapahit Kingdom (which eventually led to the downfall of Singapore and the opening of Malacca), Kingdom of Siam and even China 2 .

With the inputs from the Malay Annals in the larger discourse on the history of pre-colonial Singapore, it gives a more balanced approach and a richer perspective. Though there are already works which acknowledge the presence of Singapore from the earlier period 3 , it is ever important to raise classical Malay texts not only as a form of historical evidence but as responses to the developments in history.

One of such texts which can be used to analyse the responses of the local community to colonialism back then is a collection of syair (traditional Malay poetry) by an individual known as Tuan Simi.

The responses towards colonialism in Singapore were captured in Tuan Simi’s Syair Potong Gaji, which described the working conditions under colonial capitalism.

In the syair, Tuan Simi narrated 4 :

Gaji yang dipotong kerja-kerja ditambah tempat pekerjaan ditukar dipindah di manakah hati sekalian tak gundah kerja yang bertiga seorang sudah

Sampai hatinya sungguh perintah sekarang memberi kecewa pada sekalian orang berlainan sekali dulu dan sekarang The pay is cut but the workload is increased the workplaces keep changing how can the heart not be sad? work that is meant for three is now done by one

How could they, the elites of today causing disappointment to everyone how different (things are) then and now

*Translated by author

The grievances laid out by Tuan Simi were not something unusual or far-fetched. In fact, the working conditions under colonial capitalism were deplorable and had an ever-lasting impact on the colonised for generations to come 5 .

From these two works alone, one can easily point out the importance of classical Malay texts in understanding the dynamics of Singapore’s history. First, to debunk the notion of Singapore being a “fishing village”. The study of classical texts such as Sejarah Melayu fosters the idea that Singapore was cosmopolitan and in a well-connected position in the region prior to Raffles’ arrival. Secondly, syair such as Tuan Simi’s documented the voices of dissent against the colonial authority.

However, the use of classical Malay texts is not just limited to the study of history. These texts are also useful in the study and understanding of religious ideas and political development in the region.

GOVERNANCE, ETHICS AND MORALITY While classical Malay texts may provide a glimpse into the historical window in this region, it is equally important to note that their relevance is not just within the domains of history. Classical Malay texts, too, contain ethical and moral reminders that are applicable in today’s context.

5 1 EUAN, G. SINGAPORE AT 50: TIME'S UP ON THE 'FISHING VILLAGE' NARRATIVE. THE INTERPRETER. FEBRUARY 27, 2017. AVAILABLE AT: HTTPS://WWW.LOWYINSTITUTE.ORG/THE-INTERPRETER/SINGAPORE-50-TIMES-FISHING-VILLAGE-NARRATIVE 2 LANANG, TS, AND MUHAMMAD, HS. SULALAT AL-SALATIN: YA'NI PERTETURUN SEGALA RAJA-RAJA (SEJARAH MELAYU). KUALA LUMPUR: DEWAN BAHASA DAN PUSTAKA AND YAYASAN KARYAWAN. 2009 3 SOUTH CHINA MORNING POST. MURDER, CIVIL WAR, FREE TRADE: THE MAKING OF SINGAPORE. JULY 5, 2019. AVAILABLE AT: HTTPS://WWW.SCMP.COM/LIFESTYLE/ARTS-CULTURE/ARTICLE/3017222/HISTORY-SINGAPORE-OVER-700-YEARS-SHOWS-CITY-STATES-UPS-AND. 4 RABBISYFINA, U. SUARA-SUARA PRIBUMI MELAYU 'DITINDAS' SEBELUM 1867 DIRUNGKAI DALAM PAMERAN. BERITA MEDIACORP. NOVEMBER 11, 2019. AVAILABLE AT: HTTPS://BERITA.MEDIACORP.SG/MOBILEM/SINGAPURA/SUARA-SUARA-PRIBUMI-MELAYU-DITINDAS-SEBELUM-1867-DIRUNGKAI-DALAM/4362200.HTML ALATAS, H. THE MYTH OF THE LAZY NATIVE: A STUDY OF THE IMAGE OF THE MALAYS, FILIPINOS AND JAVANESE FROM THE 16 TH TO THE 20TH CENTURY AND ITS FUNCTION IN THE IDEOLOGY OF COLONIAL CAPITALISM. ROUTLEDGE, 1977.

These moral and ethical reminders are in the form of rules, principles and stories “Malay rulers not only sought to preclude their pertaining to governance and the relationship between the ruler and the subjects. subjects from acquiring wealth independently himself (Peri manusia mengenal dirinya supaya mengetahui ia mulanya itu daripada ada dan It is evident that Tajus Salatin concerns itself with matters of governance and ethical today’s context. moral standards of a Sultan. Take for example Fasal Dua Belas of the Gurindam which Hukum ‘adil atas rakyat, Just laws enacted onto the citizens, of the court, they emphasized the importance of A good example of a text that is filled with ethical and moral principles for the ruling lineage and the possession of sacred regalia to elite is Tajus Salatin, or the Crown of Kings, written in 1603 in the Sultanate of Aceh by royal legitimacy. The creation and promulgaBukhari al-Jauhari 6 . tion of court texts was essential to this latter The manuscript contained a total of 24 chapters surrounding the ways of governance becoming themselves sacred, legitimizing that are filled with stories and advice. The chapters go from the call for man to know possessions.” 10 adanya itu betapa), and then to knowing God (Peri mengenal tuhan yang ia menjadikan alam Hence, not only were these texts integral dan Adam dan lain daripada itu) . It even covers the specific roles of different individuals in understanding the moral, ethical, and within the court circle (Peri pekerjaan segala penyurat itu, peri pekerjaan segala penyuruh itu, political principles held by rulers (and by peri pekerjaan segala pegawai raja itu) and the relations with the citizens (rakyat), Muslim some extent the rakyat) at that time, they or non-Muslim (Peri segala rakyat yang kafir dengan raja Islam itu) 7 . are also important as a sign of power and principles. Nonetheless, when appreciating these Syed Farid Alatas mentioned that the text was filled with Malay humanistic values that from a political, ethical, and moral was long in existent even before the Western conception of human rights was devised 8 . perspective, it is important not to glorify Hence, Tajus Salatin gives a localised perspective on governance and rights, that can be the texts wholly without looking at its complemented by studies from other parts of the world, giving it life and relevance in social conditions. process, expounding the ruler’s claims and legitimacy. texts, either from a historical standpoint or THE TYRANNY OF ROMANTICISED According to Azizuddin, he commented that classical texts including Tajus Salatin WRITINGS “preach good government and attack royal injustice. They urge the rulers to govern with While it is important to highlight the the advice of their ministers and to care for the welfare of their subjects. They uphold intellectual achievement of the Malays in the rights of their subjects to resist oppression, corruption and injustice.” 9 the past, it is equally important to pick and Much closer to home, Raja Ali Haji of Pulau Penyengat of the Riau Archipelago, wrote celebrated, or even emulated, in the Gurindam Dua Belas, or the Twelve Aphorisms, in explaining the ethical principles and current world today. mentioned: Shaharuddin Maaruf, in his book, Concept Raja muafakat dengan menteri, Ruler working together with the minister, length on the feudal elements that exist Seperti kebun berpagarkan duri. Like a garden protected by thorns. within the writings of classical Malay texts, Betul hati kepada raja, Intentions are in line with the ruler, which are currently reflected in the Tanda jadi sebarang kerja. A sign for matters to run smoothly. Malay(sian) society 11 . choose the relevant ideas that should be of Hero in the Malay Society, elaborated at Tanda raja beroleh ‘inayat. A sign that the ruler is bestowed with These feudal traits, as Alatas cited kindness. Shaharuddin, include:

This portion of the text shows the relationship between the ruler and minister. In this “(1) a servile attitude towards authority and the instance, Raja Ali Haji pointed out the traits needed of each of these individuals – a just acceptance of arbitrary notions of power; (2) ruler to ensure his or her mandate is supported by the people, and a minister who has a the undermining of the positive aspects of symbiotic relationship with him. individualism and, therefore, a lack of respect for the human personality; (3) a lack of respect These texts are not from the West. These texts are not considered to be ‘scientific’ in any for the rule of law; (4) no distinction between manner. However, it is important to note that these texts presented a form of political the public domain and personal domains of life; theory but in the context of the region. Moreover, the very existence of these texts shows (5) an emphasis on grandeur and an opulent a form of legitimacy to the ruler’s power as Walker notes: lifestyle; (6) indifference to social justice; (7) acceptance of unfair privileges for those in

6 TAN, H. TALES OF THE MALAY WORLD: MANUSCRIPTS AND EARLY BOOKS. BIBLIOASIA. NATIONAL LIBRARY BOARD SINGAPORE, JULY 14, 2017. AVAILABLE AT: HTTP://WWW.NLB.GOV.SG/BIBLIOASIA/2017/07/14/TALES-OF-THE-MALAY-WORLD-MANUSCRIPTS-AND-EARLY-BOOKS/ 7 HUSSAIN, HKM. TAJ US-SALATIN. KUALA LUMPUR: DEWAN BAHASA DAN PUSTAKA, 1992. 8 ALATAS, SF. ANTI-FEUDAL ELEMENTS IN CLASSICAL MALAY POLITICAL THEORY: THE TAJ AL-SALATIN. JOURNAL OF THE MALAYSIAN BRANCH OF THE ROYAL ASIATIC SOCIETY, 91, NO. 1 (2018): PP 29–39. AVAILABLE AT: HTTPS://DOI.ORG/10.1353/RAS.2018.0002 9 SANI, MAM. FREE SPEECH IN MALAYSIA: FROM FEUDAL AND COLONIAL PERIODS TO THE PRESENT. THE ROUND TABLE. 100, NO. 416 (2011): PP 531–46. AVAILABLE AT: HTTPS://DOI.ORG/10.1080/00358533.2011.609694 10 WALKER, JH. AUTONOMY, DIVERSITY, AND DISSENT: CONCEPTIONS OF POWER AND SOURCES OF ACTION IN THE SEJARAH MELAYU (RAFFLES MS 18). THEORY AND SOCIETY. 33, NO. 2 (2004): PP 213–55. AVAILABLE AT: HTTPS://DOI.ORG/10.1023/B:RYSO.0000023412.88260.C2 11 MAARUF, S. CONCEPT OF A HERO IN MALAY SOCIETY. PETALING JAYA, SELANGOR: STRATEGIC INFORMATION AND RESEARCH DEVELOPMENT CENTRE (SIRD). 2014.

position and power; (8) an obsession with power, authority and privilege for their own sake; (9) an undervaluing of rationalism and the philosophical spirit, and encouragement of myths that serve the interests of those in power; and (10) an emphasis on leisure and indulgence of the senses and the simultaneous undervaluing of work.” 12

If the study of classical Malay texts is to just exacerbate these traits spelled out by Shaharuddin, then it defeats the purpose of studying these texts for the future.

In his writings, Shaharuddin pointed towards the salient features of feudalism espoused in the classical texts to the working of politics in the Malay world today. From his reading of the political climate in Malaysia, the traits feudalism is entrenched – the unquestioning loyalty to the political elites, mimicking Hang Tuah’s undying support for the Sultan 13 . It can then be assumed that these are the features that are highly regarded within the community.

Certainly, these ideas are existent in Malay texts and the onus is upon us to sieve through and pick the humanistic ideas that lead to progress in the community.

CLASSICAL TEXTS OF THE FUTURE As we can see, the classical Malay texts presented in this article are just the tip of the iceberg. Now we see the relevance of classical Malay texts in the current context. As a refresher, Malay texts did not only show the pompous nature of the Sultans, or myths and legends that are out of this world, but it also carried stories of the lived realities, frustrations of the people, as well as the rules and ethics of governance. Thus, with the rich historical, social, and religious values, the question is, how then do we normalise the use of classical Malay texts in studying or analysing the society today? While language and accessibility to classical texts remain key barriers for these texts to be widely used in mainstream discourse, what is more important is the effects of historical amnesia among the Malay community.

According to Azhar Ibrahim, historical amnesia is “the result of the obliteration, relegation and denigration of historical memory and consciousness” 14 . The effects of this historical amnesia will then generate a society which has “a general disinterest in history; the relegation or undervaluing of history; and the mutilation or underdeveloped historical discourse in the academia or the dominant discourse” 15 .

This is the reason why classical Malay texts need to be appreciated and used in mainstream social, historical, and even political discourse. With these texts taking a backseat and disappearing from the social imagination of the community, the community will eventually lose a sense of identity, belonging and be historically unaware of the context we are

Muhammad Faris Alfiq Mohd Afandi is a Research Analyst at the Centre for Research on Islamic and Malay Affairs (RIMA). He specialises in the discourse on Islam in Singapore, Malaysia and Indonesia, sociology of Islamic law, and political Islam. He holds a Bachelor of Arts in Malay Studies from the National University of Singapore (NUS).

currently in.

12 ALATAS, SF. ANTI-FEUDAL ELEMENTS IN CLASSICAL MALAY POLITICAL THEORY: THE TAJ AL-SALATIN. JOURNAL OF THE MALAYSIAN BRANCH OF THE ROYAL ASIATIC SOCIETY. 91, NO. 1 (2018): PP 29–39. AVAILABLE AT: HTTPS://DOI.ORG/10.1353/RAS.2018.0002 13 MAARUF, S. CONCEPT OF A HERO IN MALAY SOCIETY. PETALING JAYA, SELANGOR: STRATEGIC INFORMATION AND RESEARCH DEVELOPMENT CENTRE (SIRD). 2014. 14 IBRAHIM, A. NARRATING PRESENCE: AWAKENING FROM CULTURE AMNESIA. SINGAPORE: THE MALAY HERITAGE FOUNDATION. 2014. 15 IBID.