September 6-12, 2013
CAMBODIA CALLING From killing fields to economic transformation
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September 16-12, 2013
Contents View
A symbol in changing times
Business
Cambodia calling Society
The hijab and its many faces
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September 6-12, 2013
Contents Society
Buddhist Lent a heaven-sent chance to make sacrifices
Art Art
What’s eating the arts?
Recognition factor
September 6-12, 2013
Contents Travel
Keeping up with the nomads
Te c h n o l o g y
Artists revive abandoned factory
>>DATEBOOK
People
Mrs Beautiful
Happenings around Asia
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VIEW
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AFP
Royal extinction Japan’s Imperial family is at great risk of ceasing to exist one day
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JAPAN'S IMPERIAL FAMILY
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VIEW NATSUKI KOMATSU The Yomiuri Shimbun Tokyo
J
apanese Emperor Akihito will turn 80 late this year. Next January will mark a quarter century since his accession to the Chrysanthemum throne. The emperor was enthroned as “the symbol of the state” under Japan's current Constitution, becoming the first head of the Imperial family in its 1,300year history to assume that position from the beginning of his reign. The emperor has since joined hands with Empress Michiko, who is 78, in exploring the proper status of a national symbol in a democracy. Japan has experienced a number of unfortunate events during the emperor’s reign— most significantly the Great East Japan Earthquake, the disaster at the Fukushima No. 1 nuclear power plant and prolonged
THE EMPEROR’S SONS, CROWN PRINCE NARUHITO (FAR LEFT) AND PRINCE AKISHINO (FAR RIGHT), ARE TWO OF SIX HEIRS TO THE THRONE.
economic slumps. In the wake of the 2011 catastrophic earthquake, the Imperial couple visited disaster-stricken areas to offer words of encouragement to local residents. The emperor and the empress have also continued to pray that Japan will never again be visited by the ravages of war. By doing all this, the Imperial couple have established an image of how the emperor should conduct himself as the symbol of the state—namely, his obligation to place himself at the service of the people.
As circumstances stand today, however, the Imperial family is at risk of dying out. The family has 22 members, six of whom are eligible to ascend to the Imperial throne. Three of the six are direct descendents of the emperor: his two sons and his grandson.
POINT 1: Emperor Akihito is
distinct from Emperor Showa in that he was enthroned as the symbol of the state under the Constitution, while Emperor Showa was regarded as a living god during and before
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VIEW World War II, but defined as the symbol of Japan under the postwar Constitution. The emperor’s position as a symbol of unity of the people is expressed through his active and continual dedication to the people as well as his constant prayers for their well-being and peace. The Imperial Household Agency will soon announce the main points of a plan regarding the funeral rites to be performed for the emperor and empress and mausoleums to be built for the Imperial couple. Although both the emperor and empress have some physical ailments, the couple enjoys generally good health. The agency’s announcement of changes in the burial procedures while the Imperial couple is alive would have been unthinkable in previous years. Simplicity is the catch word for the new funeral rites. In
April last year, the emperor and empress announced their wishes concerning the matter, and the agency started studying specific plans in line with their feelings. One major point is to abandon the Imperial family’s tradition of being buried, a practice that has been observed since the early part of the Edo period (1603-1867). Instead, the plans call for cremation for the first time in 400 years, and reducing the scale of their funerals and mausoleums. In Japan, the dead are usually cremated, and many couples choose to be interred together. The agency’s decisions about the Imperial couple’s funerals, including reducing the size of their mausoleums, are intended to accommodate their wish to minimise the impact of the rituals on the economy and other aspects of the people’s lives. The agency’s latest decision about the Imperial couple’s
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VIEW funeral procedures, as well as the announcement of the decision, were based on their wishes. This indicates the Imperial couple’s clear determination to honour the traditions of the Imperial family, but also change what they believe should be reformed within the limits of their abilities. On March 16, 2011, five days after the Great East Japan Earthquake, the emperor issued an emergency video message to victims of the calamity and other members of the public through NHK. The message reflected the emperor’s belief that issuing such a message is one of the duties he must fulfil as the symbol of the state. The video message was also intended to express the Imperial couple’s determination to “give our heart to the victims and disaster-stricken people and serve them for a long time”, said Yutaka Kawashima, grand chamberlain of the
Imperial Household Agency. Some people compared the emperor’s unusual message to the radio broadcast on Aug 15, 1945, of Emperor Showa’s announcement that Japan would accept the Potsdam Proclamation and surrender to the Allies in World War II. Emperor Akihito’s message and Emperor Showa’s announcement are entirely different in both substance and circumstances. Still, the two messages may resemble each other in that both were direct appeals to members of the public, urging them to confront a national crisis. In 1989, the current emperor ascended to the throne as the symbol of the state, as dictated by the Constitution. This was in contrast to Emperor Showa’s accession to that status, which took place on the strength of the Constitution promulgated in 1946 and enforced in the following year, prior to which
he had reigned under the nowdefunct Meiji Constitution, which was promulgated in 1889. The emperor wears various hats—one as the head of the 1,300-year-old Imperial family, another as the chief administrator of Imperial rituals, a third as a gentle yet strict father, and others as a devoted husband and a scientist. However, the emperor’s basic thinking and behaviour are based on his desire to adhere to the Constitution. He is confident of his duty to proceed hand in hand with the empress in serving the country and the people, and act in accordance with that principle. In June 2012, Shingo Haketa, former grand steward of the Imperial Household Agency, spoke about the emperor’s feelings regarding his position. “The emperor is actively devoted [to fulfilling his duty], in the firm belief that his status as the symbol of the state is inseparable
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VIEW from his activities based on that position and that conducting activities is indispensable for his status as the symbol of the state.” Haketa’s remark rings true to this writer, who has had sufficient opportunity to closely observe the emperor’s activities. The Imperial system does not permit abdication. Although he will soon turn 80, the emperor follows a vigorous daily schedule of work that even young people would find hard, after undergoing prostate removal surgery and a heart bypass several years ago. The emperor has previously described his relationship with the people by saying “stay close to each other”. At a press conference marking his birthday in 1998, however, the emperor said his duty was to “serve the country and the people”. Makoto Watanabe, then grand chamberlain of the agency, said the remark was intended to
convey that the emperor’s duty is marked by “activeness”. One aspect of the emperor’s duty to serve the country is his promotion of international goodwill. The Imperial family distances itself from the government’s diplomatic activities, which could be deemed as a form of political action. Over the years, the Imperial family has adhered to this principle, interacting in the same way with all countries, large or small. After meeting the emperor and the empress, most foreign dignitaries find they have become admirers of the Imperial couple. Both the emperor and the empress are knowledgeable about various aspects of the world. Before meeting foreign guests, they study to gain further knowledge. On some occasions, the couple can speak about little-known parts of the historical relationship between Japan and the countries to which
their foreign guests belong. For instance, no foreign dignitary could resist being charmed by the emperor and the empress if they expressed gratitude to him for his country’s rescue of a wrecked Japanese ship several hundred years ago. The empress frequently states that friendly ties between two nations start from personto-person relationships. The Imperial couple’s cordial hospitality has done much to increase the number of foreign enthusiasts of Japan, thus serving what may be called as a guarantee of security for the country.
POINT 2: Given the current
membership of the Imperial family and the Imperial House Law, the Imperial family is at great risk of ceasing to exist one day. The emperor and other members of the Imperial family have a strong sense of crisis on this point.
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VIEW Prince William, who is second in line to the British throne, and his wife Katherine, Duchess of Cambridge, on July 22 welcomed their son Prince George, a greatgrandson of Queen Elizabeth. As Britain recently revised its royal succession laws, first-born children take precedence in the line of succession, regardless of their gender. Prince George is third in line to the British throne, a position he would have held even if he had been female. In constrast, under Japanese law, women born into the Imperial family are not in line for the Chrysanthemum throne, let alone those who become princesses by marrying an Imperial family member. The Constitution stipulates that “The Imperial throne shall be dynastic”, but does not refer to gender. However, according to the Imperial House Law, which applies to Imperial family members and was handled in
line with the Constitution of the Japanese Empire before the war, the person ascending to the Imperial throne must be a male descendant of the emperor through a line of males. The eldest son in the direct line has precedence in order of succession, the law says. Biologically, however, this system cannot be sustained without the use of concubines or adoption. Needless to say, the concubine system is intolerable in a democratic nation and was abolished at the time of Emperor Taisho. The law also prohibits the adoption of sons. The crisis regarding the Imperial throne is clear just by looking at the current Imperial family tree. The emperor’s sons, Crown Prince Naruhito and Prince Akishino, are two of six heirs to the throne. Prince Hisahito, the son of Prince Akishino, is the only heir among the emperor’s grandchildren.
There are currently eight princesses who were born into the Imperial family, but they are not entitled to succeed to the throne and will become ordinary citizens upon getting married. The notion of a “symbolic emperor based on his activities”, which is the philosophy of the emperor, and the idea in the Constitution of the emperor as “deriving his position from the will of the people with whom sovereign power resides” are inextricably linked. Other Imperial household members are engaged in various official duties in support of the emperor and empress. However, these supporting members may dwindle away or disappear in the era belonging to the generation of the emperor’s grandchildren. The patriarchal system was legally abolished in Japan after the war, but it remains in the Imperial household system. The emperor’s opinions are
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VIEW thus supposed to be reflected in the rules governing the Imperial family. However, the Imperial House Law is a law of the state, which should be revised in the Diet. Above all, the Constitution states that the emperor “shall not have powers related to government”. Based on this rule, Imperial Household Agency Grand Chamberlain Yutaka Kawashima explained in a 2011 lecture: “As he shall not have powers related to the government, is it expected that [the emperor] shall not be interested in circumstances of the state? This is totally wrong. He will not take either side of conflicting opinions on a certain subject. He will not express support of any opinion in such a case. In other words, he will not participate in a game of obtaining 51 per cent of the support in any matter.” The Imperial House Law
defines the rules for the Imperial family and is at the same time state law. The emperor and other Imperial family members thus cannot openly say that they want the current system to be changed, even if they face a crisis in which the very existence of the family is in danger. Suffice it to say, the emperor is deeply concerned about the crisis of the Imperial family.
POINT 3: Recent years have
seen two proposals to revise the Imperial House Law. One urged the acceptance of empresses regnant and matrilineal emperors to maintain the Imperial family. This idea was shelved after Prince Hisahito, a grandson of the emperor and third in line to the throne, was born in September 2006. Another reason the proposal was shelved was opposition to the idea of an empress regnant. The other proposal was a
revision of the Imperial House Law that would allow female members of the Imperial family to retain their Imperial status after marriage to prevent a decline in the number of Imperial family members. An expert panel on the Imperial House Law was established in 2004 as a private advisory organ to then Prime Minister Junichiro Koizumi. At that time, the Imperial family faced a crisis because no prince had been born since the birth more than 40 years earlier of Prince Akishino. The panel concluded that priority in order of succession should be given to the emperor’s first-born child, regardless of sex, and called for opening the way for the emergence of empresses regnant and matrilineal emperors. If an empress regnant’s son or daughter ascended the throne, he or she would be defined as a matrilineal monarch. The
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VIEW panel also called for allowing female Imperial family members to retain their Imperial status after marriage because otherwise the enthronement of an empress regnant might become impossible. If the Imperial House Law had been revised based on the panel’s conclusion, Princess Aiko, the daughter of the crown prince and princess, would have become second in line to the throne. There have been eight empresses regnant in Japanese history. But there have been no matrilineal emperors. Some conservatives strongly criticised the idea of a matrilineal emperor. As it turned out, Princess Kiko became pregnant and gave birth to a baby boy later named Prince Hisahito. This secured the line of succession through the emperor’s grandchild, thereby putting discussions on revision of the Imperial House Law on the back burner.
But if no son is born to Prince Hisahito in the future, the patralineal Imperial line will come to an end. The Imperial Household Agency asked the government in November 2011 to look into the possibility of revising the system to allow female Imperial family members to retain Imperial status after marriage. This was proposed out of concern that if all female Imperial family members married under the current system, Prince Hisahito would become almost the only Imperial family member not on the throne. In October 2012, the government presented a report containing a list of issues raised by the panel of experts set up in 2004 and some related proposals, including possible amendment of the Imperial House Law that would allow princesses to retain Imperial status after marriage. Another proposal urged that royal status be granted to the spouses
and children of princesses, but another proposal sought to disallow that. Imperial status would be limited to Princess Aiko, Princess Mako and Princess Kako, all direct descendants of the emperor. Whether other female royal family members would remain in the royal family would be left up to them. But discussions of these issues were dropped after the inauguration of the administration of Prime Minister Shinzo Abe, who opposes the idea of an empress regnant or a matrilineal emperor. Another proposal was to grant Imperial status to the male descendants of 11 royal family members who gave up their status 66 years ago in 1947. But because they were all born commoners and their wishes regarding Imperial status are unknown, it would be hard to obtain public understanding of this proposal. ÂŹ
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VIEW
WRITER’S NOTE
The US movie Emperor (Japanese title: Shusen no Empera) is a hit with the Japanese public. Although it is not always historically accurate, I still found it interesting as it describes how Americans and Japanese viewed Emperor Showa in those days. Making the emperor a symbol of the unity of the Japanese people has been beneficial not only to both countries but also to the rest of the world. However, if the current Constitution, drafted under the initiative of the General Headquarters of the Allied Forces, had retained a provision of the previous Constitution of the Japanese Empire specifying that the person
ascending the Imperial throne must be a male and a direct descendant from the emperor through the male line, succession would have been even more challenging because the current Constitution is difficult to revise. The current Imperial House Law was enacted hastily and can be revised with majority votes in both houses of the Diet. If revisions to the law to stabilise the succession of the Imperial family are postponed further, it would be tantamount to permanently closing the only way left for the Japanese people to decide the future of the Imperial family by themselves.
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SOCIETY
The hijab and its many faces The modern debate over the hijab is more on its political implications ADNAN R AMIN The Daily Star Dhaka Mustafa Ozer/AFP TODAY, THE HIJAB SERVES RELIGIOUS, SOCIAL AND PRACTICAL PURPOSES.
I
grew up watching my Nani and Dadi don the full-face niqab and burqa when they went out. My mother and aunts covered their hair and bodies. My siblings and cousins retained the latter tradition, at least during times of religious festivals and funerals. There was always gentle reasoning and persuasion from older generations, but I never saw coercion. I’d always assumed by the time I grew up the tradition would vanish. But then, I recently spotted a new hijab shop and wondered if the hijab wasn’t experiencing a resurgence. Islam prescribes hijab (Arabic “to cover”) for the body, mind and senses for both men and women. However, in a cross—cultural context — especially where modesty and downcast gazes are outmoded — the discussion staggers at the hijab. As the readily-visible symbol of religion in societies that are struggling to free themselves of the last vestiges of creed,
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SOCIETY
the hijab has become a thorny centrepiece of growing interfaith interactions. The hijab, popularly equated to women’s headscarf or face-veil, is hardly a new or unique concept. Veils have appeared in many shapes and forms in history. But what stirs the modern debate over the hijab, its necessity and its regulation — is not its cultural roots, but its political implications. Atta Kenare/AFP IRANIANS CARRY A MOCK COFFIN OF MARWA EL-SHERBINI, A PREGNANT EGYPTIAN WOMAN WHO WAS STABBED TO DEATH IN GERMANY, DURING A SYMBOLIC FUNERAL IN 2009. SHERBINI WAS KILLED IN A COURTROOM IN DRESDEN BY A RUSSIAN-BORN GERMAN AS SHE GAVE EVIDENCE AGAINST HIM AFTER HE HAD INSULTED HER FOR WEARING THE ISLAMIC HEADSCARF.
THE ‘OTHER’
In the post-9/11 era, the hijab has become intrinsically political. There are now fundamental questions about what it means and what authority gets to regulate it. More than anything else, the hijab has now become a religious-political statement in the West. In the East, it has been revisited and in some cases, has experienced resurgence among young, educated Muslims. But the frontline in the struggle over the hijab is taking place far beyond the traditional boundaries of the Islamic bloc. It lies deep inside the heartland of modern, secular democracies where the hijab has found new meaning as either an expression of extremism or a symbol of religious and cultural identities, depending on who you ask. France’s 2004 ban on headscarves in public schools, which affected 12 million (mostly children) was widely touted as an attempt to integrate Muslims to the French way of life. The message seemed clear: the hjab is a mark of the “other” and will not be tolerated on our lands. A vast majority of the population supported the move — which would lead to the 2011 ban on full-face veils in public. Violations now result in fines and
SOCIETY
mandatory ‘citizenship training’ — the latter being reminiscent of 18th century attempts to assimilate Native Americans into mainstream society. France’s Muslim population have been protesting the bans: if security was the issue, they demanded to know why Western facecovering items such as baseball caps, sunglasses and hoodies weren’t banned too. Many Muslims felt they were being deliberately targeted. But Rouf Bhat/AFP KASHMIRI MUSLIM WOMEN PRAY DURING SPECIAL PRAYERS TO OBSERVE THE MARTYR DAY OF HAZRAT ALI, COUSIN OF PROPHET MUHAMMAD, AT THE HAZRATBAL SHRINE IN SRINAGAR ON JULY 31, 2013.
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that isn’t necessarily true since French public schools also banned crucifixes, turbans and yarmulkes to ensure there were no religious undertones left in schools. In reply, Muslim activists pointed out that unlike Eid or Yom Kippur, Christian holidays were observed throughout the school system—and that was no less a religious statement. Many dubbed state bans on headscarves as pandering to antiIslamic sentiments among non-Muslim voters. For many Muslims, wearing a headscarf is not only about religious expression, it is about religious obligation. Many countries have since banned the headscarf in public institutions and it has given rise to much confusion. In BadenWuerttemberg, Germany—a court ruled that the ban on headscarves must apply to Christian nuns too. But the author of the ban argued that nuns’ habit including head-covering constituted a “professional uniform”—and was therefore admissible. Then a Muslim woman went to court after being rejected from a teaching job, argued “religious freedom” and was finally allowed to wear her hijab.
SOCIETY
In 2007, FIFA, world football’s governing body, banned players from wearing the Islamic headscarf, claiming it was “unsafe”. But then Sarah Attar got a standing ovation when she completed the 800m heat in the 2012 Olympics. In 2011, a Berlin dentist asked young Fereshta Ludin, to remove her hijab to get the job of an assistant. When she refused, the dentist also refused her the job on those grounds. Fereshta filed a case on grounds of discrimination. At the hearing, the dentist acknowledged the woman was qualified but argued that his refusal to employ her stemmed from the right to religious neutrality. The court ordered the dentist to pay 1,500 euros (US$2,000) in damages. Today, the practice and politics of the hijab is truly at a crossroads.
A SYMBOL OF FAITH
Whether one sees the hijab as the symbol of oppression depends largely on his/her own orientation. As historian Caroline Ford shows, Western perception of the hijab is influenced by its similarity to the nun’s habit. Therefore,
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the act of wearing it is often supposed to result in a loss of “civil personality” and forced claustration — as suffered by 19th century nuns. Also, much of what the hijab represents to Western societies is derived from images of diminutive women in turquoise-burqas herded around by the Taliban. Or from blackclad Saudi women who are forced to wear the hijab and kept from driving. Naturally, it is seen as a garb of shame, oppression and patriarchy. This is why Sarkozy called veiled women “prisoners behind netting”. But contrary to perception, many Muslim women in the West are choosing to wear head-scarves and veils. It is, to them, an act of worship and a vital component of their identity. Thus, while the symbol—the hijab— remains the same, the motivation behind it is evolving: coerced modesty is being replaced with religiosity and community-adhesion. There seems to be little understanding or acknowledgement of the fact that modern, educated women can choose to hold on to their faiths and their symbols.
SOCIETY
ISLAMOPHOBIA
The hijab, often discussed in the light of women’s right or right to religious freedom, fronts a darker side of xenophobia. In 2008, Alex Wiens, a stock controller, got into an altercation with a veiled Marwa el-Sherbini in a Dresden playground. He verbally abused Sherbini for several minutes, shouting “terrorist” and “Islamist whore” at the Egyptian woman. Wiens was eventually taken to court. In court, he suggested that that “people like her” were not really human beings and therefore incapable of being insulted. Note that he knew nothing more of Sherbini apart from the fact that she wore a hijab. After a guilty sentence, Wiens strode across the courtroom and attacked Sherbini with a kitchen knife, stabbing her at least 16 times. As her 3-year-old son, also present at the courtroom, was being moved out—her husband tried to stop Wiens and was stabbed, shot by a policeman and ended up in a coma. Marwa el-Sherbini died in the courtroom. She was pregnant with her second child. While Sherbini was dubbed “Hijab Martyr” in Egypt, where she became a potent symbol
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of Islamophobia and persecution—the incident received lukewarm attention in international media. It would be wrong to take the grievous incident to be representative of broad antiIslamic sentiments. But it illustrates, among other things, how the veil is perceived, not as a symbol of modesty, but as one of Muslim-ness. September 4 was declared “World Hijab Day” in 2004, “a day meant to celebrate a woman’s right to wear hijab”. First marked in 2004 in response to the start of Sarkozy’s war on headscarves, it has become a day to make a statement against bans on veiling. Meanwhile, Pakistan’s Jamaate-Islami Islamic party has been trying to use the occasion to further their demands that the hijab be made compulsory. The power-struggle over the hijab spans across ultra-secular states to ultra-conservative radicals and clerics. Both parties forget that Muslim women, like everyone else, can—and do everyday—reason and choose where the hijab belongs — on the head, in headlines or in the history-books. Adnan R. Amin is a Dhaka-based communications and strategy consultant. ¬
BUSINESS
Cambodia calling Its tragic past behind it, Cambodia is emerging as a key investment destination for small and medium enterprises
Tang Chhin Sothy/AFP
THE SUN RISES OVER CAMBODIA’S ANGKOR WAT, SIGNIFYING A NEW DAWN OVER THE ONCE WAR-RAVAGED NATION, FAST RISING AS A KEY INVESTMENT DESTINATION.
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BUSINESS
AN AERIAL VIEW OF ANGKOR WAT. THE WELL-PRESERVED NATIONAL HERITAGE IS A REMINDER OF CAMBODIA’S FORMER GLORY AS A MAJOR REGIONAL POWER.
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BUSINESS
A CAMBODIAN FARMER.
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BUSINESS
A CAMBODIAN CASSAVA PLANTATION WORKER GETTING READY TO PLANT. THE STARCHY ROOTS OF THE CASSAVA PLANT ARE A MAJOR SOURCE OF DIETARY ENERGY FOR MORE THAN 500 MILLION PEOPLE IN THE COUNTRY. Nevash Nair/The Star
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BUSINESS
I
Petaling Jaya
t was once home to a great civilisation. In the 12th century, the Khmer empire was Southeast Asia’s largest. Angkor was the centre of its power and a series of capitals were constructed during the empire’s zenith. Researchers concluded that Angkor was once the largest pre-industrial city in the world, and probably supported a population of up to 1 million people. Angkor Wat, the most well known and best preserved religious temple at the site, still serve as reminders of Cambodia’s past as a major regional power. However, in the 1970s the former French colony experienced one of the deadliest civil wars known to mankind. The strife led to the deaths of approximately 2 million people through the combined result of political
executions, disease, starvation, and forced labour in just four years. Those days behind it, Cambodia today is ready to return to its former glory. Cambodia joined the Association of Southeast Asian Nations (Asean) in 1999 and the World Trade Organisation in 2004 and has experienced an economic boom over the last 15 years. Its gross domestic product grew at 7.2 per cent last year. According to the World Bank, this growth momentum is expected to continue with projected growth rates of 6.7 per cent this year and 7 per cent in 2014. It is driven by strong exports, private investment, agriculture, diversification, and a solid macroeconomic position. Often overshadowed by its neighbours from the Greater Mekong area such as Vietnam, Thailand and, most recently, Myanmar, Cambodia has been undergoing a quiet transformation. After more than a decade
Nevash Nair/The Star
NEVASH NAIR AND JOY LEE The Star
A KAMPOT PEPPER PLANTATION. THE KAMPOT PEPPER IS THE FIRST CAMBODIAN PRODUCT TO RECEIVE THE DESIGNATION OF PROTECTED GEOGRAPHICAL INDICATION.
of growth—with just one hiccup during the global crisis in 2008—the newest member of Asean has begun attracting serious investment. Investor interest has been driven more by business growth than by the country’s
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BUSINESS promotion efforts, unlike other emerging markets. For many labour-intensive manufacturing operations, Cambodia has become an attractive option almost by accident. Bangladesh has lost its charm with a series of disastrous factory fires and collapses, bureaucracy weighs down Vietnam, while growing awareness of wage inflation in China has companies looking elsewhere in Asia. Cambodia, renowned for its relatively light-touch regulation of foreign investors, has emerged as a prime choice. Former Cambodian Prime Minister Ung Huot said, with Cambodia’s current investment policies, Malaysian small-medium enterprises (SMEs) should capitalise by investing in the country. “Cambodia is suitable for SMEs that are looking to expand or to set up shop overseas. Wages are competitive and it is good to come in early,” he said.
“Plenty of opportunities are available here, mainly in the agriculture sector. The government has been pushing for this sector to grow,” he added.
GOING CASSAVA
One Cambodia-based company has been luring Malaysian investors, both individuals and SMEs, to look at the investing prospects in the country. “Increased domestic demand and growing imports of flour, starches, and sugars provide an opportunity for investors and cassava has been competitively processed into these items,” said Valley of Wealth Pte Ltd chief executive Clement Woo. Valley of Wealth acts as consultants for investors who are interested in agriculture investment in Cambodia. Cassava, or tapioca, is one of Cambodia’s biggest agricultural products. It is one of the most important tropical root crops as its starchy roots are a major source of dietary energy for more than
500 million people and it is known to be the highest producer of carbohydrates among staple crops. According to the United Nations Food and Agriculture Organisation, cassava ranks fourth as a food crop in the developing countries, after rice, maize and wheat. Nigeria is currently the world’s largest producer of cassava. Cassava is a staple food in many rural communities because of its tolerance to drought and poor soil conditions and because it can be cultivated in generally difficult crop environments. “In Cambodia, cassava can grow and produce high yields in areas where maize and other crops will not grow well. It can tolerate drought and can be grown on soils with a low nutrient capacity, but responds well to irrigation or higher rainfall regions and to the use of fertilisers,” said Woo, who is working with Marco Robinson Sdn Bhd in Malaysia to facilitate investment in Cambodia.
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BUSINESS BLACK GOLD
Besides cassava, Kampot pepper has been also attracting plenty of foreign investors into Cambodia. The pepper is the first Cambodian product to receive “geographical indicator status” awarded by Cambodia’s Ministry of Commerce. Based on WTO guidelines, the status regulates every aspect of a product’s properties to assure both its high quality and regional distinctiveness —values that have been known among the growers for decades. Regarded as the “King of Peppers” due to its complex flavours and pungent aroma, Kampot pepper is highly sought after by chefs and food connoisseurs. It was considered an essential spice in any respectable restaurant in France during the mid 20th century, but faded from the world market due to the turmoil of the 1970s. According to a report in a local Cambodian daily, demand for Kampot pepper is outpacing
current supply even as areas of cultivation are expanding. “Pepper farms increased from 20 hectares in 2012 to 41 hectares this year. Moreover, crop yields have increased from 23 tonnes in the whole of 2012 to 27 tonnes in just the first three months of this year,” the newspaper said. “We see vast potential in Kampot pepper and this is something that Malaysians should look at,” said Woo. Cambodia still faces numerous development challenges. In particular, the effective management of natural resources and land, and environmental sustainability, and the pursuit of good governance. Although poor public services and corruption currently hinder development, the country is working hard on addressing the issues it faces. Even with the challenges, one thing is clear, as Cambodia’s development continues, it is set to become a serious regional contender.
FROM KILLING FIELDS TO ECONOMIC TRANSFORMATION
Cambodia has been ravaged by many years of war, but Youk Chhang, executive director of Documentation Centre of Cambodia (DC-Cam), believes that the country can still find its place in today’s global economy. Cambodia, he notes, is in transition, moving on from its history of genocide to a land of opportunity, which presents investors with avenues to participate in the development and preservation of the country. “You can invest in the infrastructure, education and so many other aspects. There are so many investment opportunities. If you don’t take it, someone else will. “Everyone here is at a crossroad so there are a lot of opportunities and everyone is equal. So it is up to you on how you want to pick your fight,” he said. Notably, dealing with Cambodia is challenging given the lack of basic infrastructure, particularly
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BUSINESS in rural areas, low levels of education and fear of corruption and renewed political instability. Last year, Cambodia was ranked 138 out of 183 on World Bank’s Ease of Doing Business Index. Nonetheless, Youk said there are loopholes in the system to take advantage of. “The system is so corrupt that there are so many loopholes to take advantage of. Challenges are not an enemy, it is an opportunity,” he noted. Currently, China is Cambodia’s biggest source of foreign investment. And Youk added that it is time for Cambodians to stop seeing themselves as victims of genocide and to engage the economic giant to elevate Cambodia’s economy. “China may be big, but we can be an elephant too one day. You can do a lot if you have a proper understanding of our history,” he said. It has been more than 30 years since the fall of the Khmer
Rouge regime but many of its survivors still live in the shadow of the genocide. Nearly two million people died under the regime from 1975 to 1979. Youk himself is a survivor of the regime. “But I have moved on with my life. Knowing about the past does not hold us back and we become stronger. Because of that, I am no longer a victim,” he said. Youk was 13 when the Khmer Rouge came to power. He was beaten in public and put in prison when he was caught stealing mushrooms for his sister. Youk was eventually resettled as a refugee in Texas, US, where he went on to study political science. He returned to Cambodia in 1991 as an electoral officer for the United Nationssponsored elections. The DC-Cam now helps map an alternative development path for Cambodia through social entrepreneurship, which
Youk tirelessly advocates. “How can Cambodia look forward to the future today? How do we get out from being a victim and survivor of genocide to go into the world of competition and be successful like everybody else around the world? “Remembering, sharing and learning about the genocide is important for us but getting into the social enterprise, using existing heritage sites, helps us move on and compete,” he said with a smile. Cambodia is a beautiful country with plenty of heritage sites, which Youk said are a good starting point for investment. They can be converted into resorts and museums with a research compound that can also generate income and allow the local people to benefit from their heritage. “Start at this grassroots approach, with social enterprise and preservation. If you want to invest in Cambodia, you must know the story of Cambodia,” said Youk. ¬
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SOCIETY People in Vientiane wait to give alms on the first day of the Buddhist Lent, which runs from July to October.
A time to go 'thirsty' Vientiane Times Vientiane
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SOCIETY
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uring Buddhist Lent, known locally as khao phan saa, many people in Laos decide to give up drinking alcohol for their own health and the sake of their families. Lent runs for three months each year, starting in July and ending in October. It is an important time in the Lao Buddhist calendar, when farmers traditionally stop drinking alcohol and focus on their rice crop. It is also a time free from traditional festivities. However, some people claim it's not easy to give up drinking because they have busy social lives and find it difficult to decline the offer of a drink. Some people habitually spend a lot of time drinking with their friends, which makes it hard for them to refuse to indulge at social gatherings. One man who has been more strong-willed than others is Aeung, 36, who lives in Hadxaifong district.
He has managed to give up drinking during Lent for two years in a row, but says he still enjoys a good social life. Normally, he drinks with his friends in the evenings after finishing work as a contractor on local construction sites, building houses. However, he sometimes felt the hangovers that alcohol induced were troublesome and often suffered unduly the following morning. “When I give up drinking for three months, I wake up feeling good each morning. I also have more money to spend on food for my family and I can save some as well,” he said. “If people want to give up drinking, I think Lent is the perfect time to do so. It might even lead you to give up drinking forever,” he added. One may or may not meet with success in this endeavour. It's up to each person to summon up the necessary will power and commitment. The more
People in Vientiane go to temple on the first day of the Buddhist Lent not only to give alms but also listen to reaching of Buddha.
YOUNG PEOPLE IN VIENTIANE STILL GIVE ALMS ON THE BUDDHIST LENT, ONE OF THE BEST REFLECTION THAT THE CAPITAL CITY IS STILL ABLE TO CONSERVE THE TRADITIONAL CULTURE.
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SOCIETY often you decline a drink, the better your chances of success. During Buddhist Lent each year, the Ministry of Health issues information about the dangers of drinking in general. The ministry highlights how spending a family's limited financial resources on alcohol can lead to poverty. “Alcohol may not only destroy a drinker's health, but the habit robs the family of food and other essentials because the household budget is spent on alcohol,” the ministry's information reads. The ministry also cautions about the impact that alcohol has on drivers. Their warning is supported by the Traffic Police Department, which recorded 3,170 road accidents nationwide from January to the end of June this year, resulting in 507 deaths. The report named drinkdriving and speeding as the two major causes of accidents. Vientiane had the highest number of crashes, with 817
accidents resulting in 124 deaths and 1,255 people reported injured. Notwithstanding the large number of fatalities caused by alcohol-related road accidents, awareness among the Lao population about the effects of driving under the influence of alcohol remains low. Many people are still unaware that those who drink excessive amounts of alcohol on a regular basis may become alcoholics, which can lead to an early death. There is no known common cause of alcoholism. However, several factors may play a role in its development. According to a doctor from the Ministry of Health, alcoholism is a type of drug addiction, with both physical and psychological dependencies. “Alcohol affects the central nervous system and works as a depressant, resulting in a decrease in activity, anxiety, tension, and inhibitions,” the doctor said. “Even a few drinks can result in behavioural changes, a slowing
in motor performance, and a decrease in the ability to think clearly so concentration and judgment become impaired.” Alcoholics also suffer from liver disease, which can progress to cirrhosis. The heart may also be damaged. Alcoholism can take many years to develop. At first an increasing tolerance of alcohol develops which means a person can consume a greater quantity of alcohol before its adverse effects are noticed. Over time, an alcoholic will drink more and more without realising the effects. Some people are able to gain control over their dependence in the earlier phases before a total lack of control occurs. The problem is, no one can easily identify which heavy drinkers will be able to regain control and which will not. Police and doctors are advising that people who do not want to be included in this year's road death statistics should play it safe by not drinking and driving. ¬
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What’s eating the arts? There are fundamental issues that make the performing arts in Malaysia a struggling field
CINTA SANG ARNAB, A PLAY ABOUT A WOMAN WHOSE SUICIDE ATTEMPT IS INTERRUPTED BY A RABBIT, WAS ONE OF THE MANY FREE PERFORMANCES STAGED AS PART OF KAKISENI’S 10-DAY FESTIVAL EARLIER THIS YEAR.
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ARTS NATALIE HENG The Star Kuala Lumpur
F
or the longest time, there has been something missing in Malaysia’s performing arts scene: an advocacy movement. As aptly summed up by actor and director Jo Kukathas, ”Artists aren’t always the best people to negotiate with government or corporations. What we need is an intermediary.” In many countries, arts advocacy groups are common. Malaysia could do with more individuals or independent organisations working to source funding for artists, says Kukathas. And so enters Low Ngai Yuen, and the current incarnation of Kakiseni. Kakiseni was founded by Kathy Rowland and Jenny Daneels as an online platform to facilitate dialogue between artists. Low
volunteered to carry on after they left in 2011. Now headed by Low, Kakiseni has its own office, manned by a small army of bright and passionate individuals. A set of government-funded grant schemes, mentor-mentee programmes and even a 10day festival packed with free shows, art installations, forums and workshops, are the result of over two years of hard work. Lobbying takes persistence, of which Low—a tenacious workaholic and irrepressible theatre activist—has shown an admirable amount. “It took me about a year before I was invited to the right meetings,” she laughs. Getting to know people and sitting in on round table sessions gave her the chance to raise issues about Malaysia's performing arts industry. The formula is such: find out from practitioners
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ARTS what their problems are, and then be the bridge that champions those issues. So what are the issues? They are indeed numerous and interconnected, and it begins with a lack of awareness. The fact that few are aware of theatre means a limited audience attends performances; there is a perception that theatre is only for “certain types” of people. Perhaps this explains why many Malaysians tend not to have a thriving and prolific performing arts scene in their list of top priorities, and why we compare so poorly with other countries when it comes to patronage and government funding for the arts. Ticket sales, even when a show plays to full houses, generally only cover about 40 per cent of production costs. “It’s about scalability,” explains Low. “The work you put up will only run for a certain amount of time, so if your ticket sales cover that particular show, it doesn’t
help you cover your next show.” The remaining half needs to come from external funds— your philanthropists, your government grants, your corporate sponsors etc, she adds. Not having those alternative sources of funding means that anyone who decides to put on a show faces the risk of struggling to recoup their investment. Sometimes, actors and crew offer their services for free; often, they get paid a minimal amount. This, in turn, has obvious implications for the sustainability of theatre companies. For many years, these financial risks and sacrifices have meant that Malaysian theatre today largely survives on an ad hoc basis. Each new project brings on a whole new set of financial challenges and worries. This tough environment does nothing for the incubation and development of new talents—the uncertainty and lack of room
for professional commitment inhibits the natural progression from amateur to professional. Asked what constitutes a healthy performing arts industry, Low replies: “A healthy arts scene is one that grows every single year—from the number of performances to audience numbers, to the number of new artists coming in. It also entails a good mix of quality shows, re-staging of old as well as new works, traditional and experimental as well as serious and light-hearted performances.” As such, Malaysia’s performing arts scene has been in stagnation. Few original productions see the light of day, many performances feature the same old talents, serious drama or experimental works are few and far between, and productions are mostly frequented by niche audiences. Does anyone make a profit? Low laughs again. In most cases, the situation is very far
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ARTS from even “struggling to break even”, she says. This is the reality of Malaysian theatre.
SHEDDING LIGHT ON SOCIETY
Art as a vehicle through which a community can celebrate its collective identity—history may furnish us with dates, names and landmark events, but to truly grasp the essence of society, we turn to art, which affords people the freedom to express, reflect, inspire and think. June Tan is a member of the multilingual, multidisciplinary arts group known as the Five Arts Collective. She’s been producing shows for over six years because “every time I sit down to discuss how to stage a performance, a part of my brain opens up—it’s the part intent on discovery, on answering questions about what makes us human.” What makes it special for her, she says, is the raw and honest nature of how
an artist performing live can connect to an audience. There is an immediacy originating from the lack of physical boundaries, which simply cannot be replicated through any other medium. But theatre is powerful for other reasons too. Kukathas has the perfect anecdote to illustrate how theatre can help us cast the light of public discourse upon the buried roots of a society’s insecurities. During a talk-back session after a staging of Alfian Saat’s Nadirah, which tackles Malaysia’s love-race-religion triangle of taboos, a university student who was watching theatre for the first time stood up. “He said, ‘As a science student, I like to ask questions. Now, all my friends are Chinese, but there are some Malay girls in my class, and I was speaking to one in the canteen. I asked how she would feel if her husband decided to take another wife,
but my [Chinese] friends told me, you shouldn’t ask questions like that, because it is her culture, nothing to do with you,’ ” recounts Kukathas. Kukathas recalls how he stated that this made him feel sad, because he wasn’t trying to be difficult—he was genuinely just curious about polygamy. Having watched Nadirah, however, the student said he felt the play was talking about all the things that he wanted to talk about, but felt he wasn’t allowed to. The most moving thing about it was seeing the tears in his eyes when he said: “This is what I want, so much what I want, and I feel this is what people want.” Kukathas’ story shines a light on the important role the performing arts can play in reflecting the issues and concerns of contemporary society. “Seeing someone literally embodying a dilemma that you are facing can be very moving, and that’s the power that
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ARTS theatre has. It’s a very cathartic, transformative power,” she adds.
TYPES OF ART
In assessing its value to society, it is important to acknowledge different interpretations of the term “the performing arts”. Some may use the term to refer to all forms of art, such as dance, drama, and music performed before an audience. Others however, such as Kukathas, draw a distinction between art created in response to market demand, and art created in its own right—be it as social commentary, the expression of original ideas, or as an exploration of new and groundbreaking aesthetics. The Malaysian classical Indian dance icon Ramli Ibrahim points out that such a distinction is important: “It’s the difference between products that pander to the common denominator, and ‘serious art’. “Anthropologically I find
Starbucks and Lady Gaga to be valid representations of the cultural pysche; however, whether those things need as much support as the Mak Yong, or serious films, or experimental arts, is another matter.” Practitioners often say there is a difference between “entertainment”—a banner under which many consider to include the popular musicals of the West End and Broadway, and “art”. A defining characteristic of the latter is perhaps that for it to truly thrive, it must not be held captive to market forces. Part of this is caused by the often exploratory nature of art, which Pentas Project founder Loh Kok Man elaborates on: “Art is like science—you need time to experiment and try new things. Sometimes it becomes a failure, sometimes it becomes a success.” For him, traditional art is important because it tells the story of humanity’s cultural evolution.
Of equal if not greater importance is contemporary art—because it says something about who we are now, and how our society and culture are evolving today. “It represents what we are living and feeling now, and what we understand about our society,” Loh adds. But the question is: can art in this context sustain itself ? It would seem that there are some things that can’t run on capitalism. In fact, the British economist John Maynard Keynes (1883-1946) once called the exploitation of art by prostituting it to the purposes of financial gain, “one of the worser (sic) crimes of present day capitalism”. As such, he believed in supporting the arts, and was instrumental in the setting up of an arm’s-length government institution that would channel funds into the arts—the British Arts Council—the model of which has been emulated by
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ARTS nations all over the world. Many recognise that for art to thrive there must be room for risk. In a famous recorded radio broadcast aired a year after his death, Keynes offered his definition of “the artist”: The artist walks where the breath of the spirit blows him. He cannot be told his direction. He doesn’t know it himself. But he leads the rest of us into new pastures, and he teaches us to love and enjoy what we often begin by rejecting, enlarging our sensibilities and purifying our instincts.
GET 'EM WHILE THEY'RE YOUNG
There is nothing like the plasticity of a young brain—it is often said that if you want to teach values to children, get ’em young. But we don’t, and that’s the problem, says arts educator and practitioner Joseph Gonzales. “The arts is not in our national school syllabus,” he
points out. “We don’t nurture an arts-loving population from the time people are young.” The Dance Faculty dean for Malaysia’s only university specialising in the arts— the National Academy of Arts Culture and Heritage (Aswara)—Gonzales feels this is a critical point. Certain countries, for example Australia, England and Singapore, have formalised performing arts subjects. Students can opt to include things like dance, drama, media arts, music and visual arts as part of their core curriculum. The rationale? These subjects help develop creativity, imagination, understanding, critical thinking and selfconfidence in students. They help young people learn how to communicate ideas about their individual and collective worlds to others in meaningful ways. The opportunity to analyse and immerse oneself in the
diverse works of artists from all over the world also helps young people develop into more wellrounded individuals because they gain a better understanding of local and international cultures, traditions and histories. In Malaysia, however, such enrichment tends to be ad hoc—schoolchildren are lucky if they have the option of joining a drama or dance club during co-curricular sessions. That’s not to say that the government hasn’t made any effort. The Ninth Malaysia Plan noted ambitions to “create a Malaysian society that is well balanced, outstanding and appreciative of arts”. And in 2007, Malaysia got its very first Arts School or Sekolah Seni, an arts-focused school run by the Ministry of Education. Those who successfully audition for places get to experience secondary school life through a system which incorporates planned and systematic arts education
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ARTS on top of the normal syllabus. Such schools are supposed to have equipment, facilities and programmes geared towards the stated objective of polishing and nurturing students’ potential and talent to participate in arts and cultural activities. Such schools do face challenges of their own, from getting parents to see the value in sending their children there, to teething problems such as getting soundproofed rooms and a full complement of quality equipment. The schools are, in many ways, still finding their feet. There are only two such schools at present, one in Johor Baru and one in Kuching, out of over 2,200 secondary schools and 2.2 million students in the country (2011 statistics). The question arises: should we be making more effort to make the benefits of the arts more accessible to all students, not just for those who are interested to pursue a career in the field?
THE MISSING PIECES
Malaysia’s Arts Schools represent a collaboration between the Ministry of Education and the National Department for Culture and Arts, a portfolio which has suffered something of an identity crisis over the years. Malaysia can’t seem to make its mind up over the role and relevance of arts and culture to society; between 1987 and today, the department has been under various ministries including the Ministry of Youth and Sports; and now most recently, under the freshlyminted Ministry of Tourism and Culture. Deriving a clear sense of the value that arts and culture bring to the nation would seem like an important objective. Is development of the arts mainly a means to attract tourist dollars? At policy level, is the development of the arts seen simply as a fulfilment of our responsibility to preserve our cultural heritage?
Or can the official stance acknowledge a more intrinsic and inward-looking value, where arts and culture are seen as more than just a tourism asset, or emblem of our collective cultural identity; but also an avenue for self-enrichment at the individual level? Despite the constant flux, the department has managed to get some long-term initiatives off the ground; one example is an outreach programme running since 2000 that aims to instill a better appreciation for the arts within schoolchildren. “We work through the cocurricular curriculum,” says department director-general Norliza Rofli. “We don’t envision that they [the students] all become actors, but at least, they will know what acting is about.” Under the programme, trainers are sent to schools once a week for six months each year, working through the arts societies to teach students about theatre or
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ARTS acting. Sometimes, the content is tailored to teaching specific art forms, for example Mak Yong and Wayang Kulit in Kelantan, or Cak Lempong in Negri Sembilan. Norliza says about 1,000 schools participate in the programme. Even so, for just one hour a week, the programme captures a small section of Malaysia’s schooling population. What’s more, it is overshadowed by a larger problem: a lack of trained teachers. In fact, this is one of the major limiting factors to piecing together a functional infrastructure for nurturing the performing arts, and creating an arts-loving population. Professor Mohd Anis Mohd Nor, a professor of Ethnochoreology and Ethnomusicology at Universiti Malaya’s (UM) School of Performing Arts in Kuala Lumpur, points to a glitch in the factory line. “You have music teachers
coming out of Sultan Idris University of Education (a teacher training college) because music is offered as an O-level or SPM exam paper. But dance and theatre aren’t O-level or SPM subjects. Hence, at the moment, we don’t have teachers graduating in dance, theatre or other forms of the performing arts.” Of course, tertiary institutions are producing a stream of undergraduates and postgraduates qualified in the performing arts, Anis adds. “But they are being snapped up fast by the market as a whole, because in this industry, there is a dearth of qualified people. Between teaching and being creative, most graduates would rather be in the creative side, right?”
BUILDING BABY BRIDGES
There is one more missing piece to the puzzle. Institutions such as Universiti Malaya may offer undergraduate
and post-graduate courses in the performing arts; the road to get there, however, is often bumpy unless a candidate is able to impress the interview panel. Undergraduate courses usually entail specific entry requirements. If you want to study science, you are expected to have some science subjects under your belt after completing your STPM (A-level equivalent) or matriculation courses. Those qualifications act as a bridge to bachelor-level degree programmes. Unlike subjects like engineering, accounting or the sciences, however, there isn’t much available in terms of subjects that prepare students for the arts. Perhaps the scarcity of such a link can be blamed on a lack of coordination and foresight, arising from the separation of education and higher education as portfolios held under two separate ministries (since reunited under the education and higher
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ARTS learning ministry following the 2013 Cabinet reshuffle). Either way, Anis explains how entry into UM’s degree programme in performing arts works: “Applicants are put through an aptitude test. If they choose to major in music or drama, for example, we will ask them to play an instrument, or dance,” he explains. “The trouble is, out of the many potential students audited from STPM level every year, very few usually qualify because they don’t have a background in the subject.” Anis isn’t worried about practitioners who decide to build on their knowledge through further education, because such applicants don’t usually have a problem making it into the course. As an educator, however, he feels it is necessary to provide as many bridges as possible for those who are interested to pursue their interest in the arts. This is why he wants to add on to the current entry points.
At the moment, these generally consist of getting a diploma in the subject area through an institution like Aswara, or displaying an exceptional degree of talent or experience during the aptitude tests. Hence, Universiti Malaya is tabling a matriculation programme of its own that is specifically geared towards the performing arts and connect directly to its degree programme —something it is qualified to do, being a research university. “As we have matriculation for the sciences already, we are now creating (a programme) for the arts. After obtaining their SPM, students can do a one-and-a-half-year course, completing both a general course component as required by the education ministry, along with a secondary component geared towards specialisation in the field,” Anis said. Nothing is set in stone yet; the university has forwarded
its blueprint to the ministry. If all goes well, he says, there is an indication that other universities will follow suit. “Universiti Malaya already has a full-fledged Performing Arts programme, from a Bachelors degree to PhD level,” Anis points out. This is a move that closes the loop, creating a streamlined pathway for more youths to pursue their interests and gain formal skills in the field of performing arts. In fact, deepening the existing functions not immediately associated with the “creative” is something that practitioners like June Tan feel needs to be done. A producer with the Five Arts Collective, Tan thinks this includes getting better at producing, stage management, production management, project financing and publicity. “We need to take a good look at how we place the arts in our education system,” she adds. ¬
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Photos provided to China Daily
Recognition factor Contemporary Chinese artists have found popularity overseas, but their work remains unknown in most of China SU ZHOU AND LUO WANGSHU China Daily Beijing
CANG’S SERIAL WORK IDENTITY EXCHANGE (2004), DEALS WITH THE RAPID CHANGES IN CHINESE SOCIETY BROUGHT ABOUT BY ECONOMIC REFORM.
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hinese contemporary art seems to be entering its springtime. Overseas buyers—both individuals and institutions—have taken a keen interest in recent years, with work being snapped up and shipped abroad. And major Chinese cities too appear to have embraced it, with areas such as Beijing’s 798 Art Zone providing a space for today’s artists to be inspired and create. But Cang Xin, one of China’s most controversial art figures, is not so certain that a golden summer awaits. “High auction prices don’t represent a boom in contemporary Chinese art because they are part of a bubble,” says the 46-year-old. He was among the first contemporary artists to use space in 798, but he decided to leave because it had become “too commercial”. The bubble Cang sees in the foreign market, he says, has been stimulated by China’s years of reform and opening-up.
“People from overseas are still curious about the real China, which they probably can’t find on the news, television or in literature. Contemporary art, unlike mainstream culture, reflects a piece of China they are interested in." Cang’s serial work “Identity Exchange (2004)”, dealt with the rapid changes in Chinese society brought about by economic reform. For it, he collected photographs of himself wearing the clothes of other people, from all walks of life. The work, which captures profession, social status and identity at a particular time in China's development, was popular with overseas audiences. Cang’s other work, which includes performance art, paintings, sculptures, installations, videos and photography, has also grabbed the attention of collectors abroad. Red Mansion Foundation in London, Partner for Art Foundation in New York and the Czech Prague International
CANG XIN, ONE OF CHINA’S MOST CONTROVERSIAL ART FIGURES, SAYS TARGETING PROBLEMS IS THE NATURE OF CONTEMPORARY ARTISTS BECAUSE ‘WE ARE ALWAYS THINKING CRITICALLY’.
Museum all display his artwork. Many examples show a respect for nature. There are also influences of shamanism and Cang’s experience of travel to the northern territories in Australia, where he says he once witnessed local people playing music at home which drove out flies “like magic”.
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ARTS SEEKING UNDERSTANDING
Talking with Cang, it is clear the path of a contemporary artist in China can be a tough one. Cang, a Manchurian, was born in Inner Mongolia autonomous region and moved to Hebei province with his parents when he was 5. He moved to Beijing to pursue his dream of being an artist in 1992, settling in a village close to the city where many people lived by scavenging in rubbish dumps for things to sell. “We could hardly afford to eat and were always looking for somewhere to scrounge a meal,” he says. “I was working at a photo agency, so I had a little regular income each month. We all borrowed money from each other and helped each other out.” Living conditions have improved for Cang and most other contemporary artists, but public indifference continues to be an issue. While traditional art is welcomed, contemporary art is usually shunned, he says. Edward Sanderson, a British
curator and writer based in Beijing, who is writing a book on Cang, says he has learned much about the misunderstandings Cang’s work has created. “One of Cang’s series of artworks titled ‘Communication’, is a collection of photographs of Cang licking different things: photos, a snake, even the Great Wall. This is beyond our common-sense understanding because culture teaches us not to put something unclean in our mouth,” says Sanderson. “Things like this become a stereotype and we can easily dismiss it due to misunderstandings. But artists have their reasons and they want to push us to think. This is the charm of contemporary art.” Sanderson says patience is key, noting that contemporary art in China is a mere 30 years old and needs more exposure here. “The understanding of contemporary art needs theoretical grounding,” says Gu Zhenqing, an independent exhibition planner, “which
means education in school and university should focus on more categories of different art.” Cang isn’t annoyed by misunderstandings. Instead he takes it as an opportunity to explain his art. When a language barrier made this difficult abroad, he used body language and invited people to become a part of his performance art. While contemporary artists still face struggles, there is no doubt that times are better. Cang no longer scrounges for food, but enjoys a large workshop in Beijing with several assistants. He is currently working on a giant piece of artwork with a Buddhist theme. While the government has supported contemporary art by funding spaces such as 798, Cang believes this is not the right direction. “The way to support us is to leave us alone,” he says. “Governments should be tolerant of artistic expression. Targeting problems is the nature of contemporary art because we are always thinking critically.” ¬
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Resurrecting old buildings Hanoi's abandoned factories are given a new lease as art and lifestyle zones
LE HUONG Viet Nam News Hanoi BAR BETTA FACTORY, A NIGHTCLUB POPULAR WITH DOMESTIC AND FOREIGN YOUTH, IS A NEW ADDITION TO ZONE 9 IN HA NOI, VIETNAM.
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olding a brush in his hand, painter Phuong Vu Manh wipes away the sweat running down his forehead before completing the final strokes of his painting. A few rays of sunlight shine on the canvas from holes in the roof, which were originally part of the air ventilation system of an old pharmaceuticals plant. The walls of the room are still pock-marked with the remnants of shelves and production lines from the old plant. The glass louvered windows give the room an impressive 1960s atmosphere. Manh is a fairly new renter at Zone 9, which is Hanoi's new art district, as word has it amongst artists and art lovers. The buildings are still being renovated by many new renters. Building materials are scattered here and there or beside the wellpolished windows of established fashion shops and cafes. Zone 9, as the artists renting space in the area call it, is located at No. 9 Tran Thanh Tong Street, deep
inside the gate of an abandoned pharmaceuticals plant facing the French-colonial era Pasteur park, includes five buildings dating back to the 1960s with various architectural styles with influences from France, Russia and China. The lush area is covered by shady green trees, though one curious fact is that Zone 9 is situated next to the funeral house for the Ministry of Defence and visitors can sometimes hear the announcements from the ceremonies for the dead echoing next door. Before becoming "famous among art lovers", only a small part of the area was used for washing and parking, while most of the complex remained abandoned awaiting a construction plan that was frozen due to the economic downturn. The story only began late last year when a few artists first found the place, and now it is booming as everyone can see. The five blocks of Zone 9, which has been occupied by many types of artists, now has yoga and painting studios, dancing classes, around five
PAINTER PHUONG VU MANH WORKS ON A PAINTING AT HIS NEW STUDIO AT THE REVIVED FACTORY.
LOCAL AND FOREIGN TOURISTS ENJOY DRINKING AND DANCING AT THE REVIVED FACTORY NIGHT CLUB.
visual art studios, several fashion stores, bars, cafes, restaurants, photo studios and even private houses. "A friend introduced me to the place, which I found spacious, reasonably priced and suitable for me to create," Manh told Viet
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ARTS Nam News, "It's not too far from my home and I can also gather a lot of my artists friends." A few families have even renovated the fifth floor of Block A to live in. "The renter offers us a threeyear rental contract, but they can take the place back anytime by giving just two months advance notice," said a renter, who prefers to remain anonymous, "That's why we make use of as much of the original architecture as possible in order to save money." Remnants of old steel pipes from the plant have been turned into flower pots, existing precast concrete bars have been used to design desks, kitchen tables and bathroom shelves. Wild plants growing on the roof of the rustic building have been turned into decorative plants. Each rough cement corner of the building, due to the skilful hands of the renters, who are also painters, now have various flowers in bloom. "It's very cool here even during summer night, as there are too
many big trees surrounding the area," he said, "It's an ideal place to stay in the middle of this small crowded city."
NEW ARTS HUB
It's easy to explain why artists were among the first to move into the area: They are very creative people who can turn a ruin into an attractive, decorated place to live and work. "This place is ideal for many purposes, not only running a cafe," said writer Nguyen Quy Duc, owner of Tadioto Cafe in Block A and one of the first people to move to the new site, "The place can even host drama shows and fashion shows. This can be a place for artists, architects and writers come to chat. And it's great if they also attract other art lovers from the city." Photographer Jundat, will open a photo studio here but doesn't intend to do business at his new premise. Instead, he has a lot of ideas for young art lovers. "I will organise photography training courses, small music shows
and fashion shows which will be completely different from official shows," he said. "Young audiences will have more of a chance to get a closer approach to performance arts from a different angle." "There seems to be no borders between shops, cafes, studios and restaurants," said student Nguyen Phuong Linh, who is a frequent visitor to the site, "People can just wonder from shops to studios. There is no busy traffic to worry about." "Parents can take their children here to join a painting class and they can enjoy the site's shops, cafes and libraries while waiting to pick up the kids," she said. Architect Tran Vu Hai, who runs Bar Barbetta in Block B, a place that mostly stirs up the area at night, noted that the environment at the site was quite favourable for business as well. "This is the first ever unique artful environment in Hanoi," Hai said. "I hope it will further develop into a centre for arts and entertainment beyond the three-year time." ÂŹ
| September 6-12, 2013
PEOPLE
MRS BEAUTIFUL The first Asian woman to be crowned Mrs Universe, Carol Lee talks about how she balances between being a good mother, loving wife, successful career woman and passionate activist
Lee Mei Li The Star Petaling Jaya
W
ith her towering fivefoot-eight frame and a picture-perfect smile, newly-crowned Mrs Universe 2013 Malaysian Carol Lee is a striking woman who knows how to make an entrance. Despite her worries of tripping onstage and a sudden bout of rashes on her face, the 39-year-old mother won the coveted title of Mrs Universe, becoming the first Asian woman, and the first Malaysian, to be crowned the world’s “most honourable married woman”. The pageant title is awarded to women aged between
| September 6-12, 2013
PEOPLE
25 and 45, taking into account their family and career as well as involvement in a significant cause. Back in Kuala Lumpur, the chatty and downto-earth beauty queen shares her experiences in the Mrs Universe pageant in the Caribbean, accompanied by her husband Kenneth Lee and five-year-old daughter Klarissa. She recounts how her family had been trying to watch a live streaming of the pageant but was cut off halfway due to a bad Internet connection. “So then, did you know mummy was going to win?” Lee prompts her daughter. A confident “Yes!” came forth, and the room lit up with laughter. Satisfied with the response, Klarissa scrambles onto her father’s lap to share a game on the iPad. While Kenneth, 42, is proud of his wife’s achievements, the same can’t be said of his newly-acquired nickname: Mr Universe. “I don’t think I have the body of a Mr Universe,” jokes the general manager of a multinational company. “As they say, opposites attract. Carol shines in the limelight. I prefer to support her behind-the-scenes.”
DETERMINED TO WIN
Born in Selangor but raised in Penang, the news presenter and former talk show host grew up in a middle class family alongside her elder brother. She was
| September 6-12, 2013
PEOPLE a tomboy, and has always been competitive, excelling in sports from her early days at school. Lee, a management and marketing graduate, has always stood out literally, due to her height. She took full advantage of that, and started modelling in her late teens and even participated in the Miss Malaysia Chinatown pageant (now known as Miss Astro Chinese International), where she emerged the winner. Fresh in her 20s, Lee was sent to Hong Kong to compete in the Miss Chinese International finals, but didn’t win the crown. “When I heard about the Mrs Universe pageant, I saw it as a second chance at succeeding,” she says. “It has always nagged at me that I didn’t perform as well as I would’ve liked in the Miss Chinese International pageant. I wasn’t prepared at all for the finals in Hong Kong and my
Cantonese wasn’t that great. I felt like I was just given an air ticket and told to fly there,” she recalls. Still, Lee’s participation in the Mrs Universe pageant was unplanned. Her name was recommended to the Mrs Malaysia Universe organisers just as they were looking for potential candidates. After a succession of interviews, Lee was appointed as the Malaysian representative who would compete at the finals in Palm Beach. With the full support of her family, the mother-of-one took the Mrs Universe calling seriously, and gave herself 10 months to mentally and physically prepare for the finals. At the pageant, Lee wore clothes by Malaysian designer Carven Ong, the Asian Top Designer of the Year in 2009. One of Ong’s notable creations was the national attire Lee paraded at the pageant, which
featured several large hibiscuses, Malaysia's national flower, suspended over her shoulders.
QUEEN OF CONFIDENCE
In line with the pageant’s theme and initiative this year, Lee is actively involved in raising awareness on domestic violence. She launched the “Nationwide Campaign Against Domestic Violence”, in partnership with KL Sogo and All Women’s Action Society (AWAM), in July. The year-long event aims to encourage volunteers to join forces as advocates and trainers to educate the public on domestic violence, from informing them on where to get aid to educating them on its causes and effects. As a requirement for the Mrs Universe finals, Lee prepared a three-minute presentation supporting the cause, which she believes must have left an impression on the judges and led
| September 6-12, 2013
PEOPLE to her win. The popularity votes by fellow Malaysian supporters, also helped her clinch the title. Lee claimed the Mrs Popularity subsidiary title, garnering 88,649 votes in the online fan votes contest. Coming in at a close second was Mrs USA Amanda Grad, who scored 88,556 votes. For Lee, the biggest challenge was in competing with much younger contestants. “When they announced the winner, it actually took me awhile to realise that they had called me. I needed confirmation from the other contestants before I dared step forward,” she says. As Mrs Universe 2013, Lee hopes that she has helped set an example, especially to the victims of domestic violence, that anything is possible if you put your mind to it. “I think no one even thought that an Asian would win this pageant. For the women out there
who have allowed their boyfriends or husbands to lay even a finger on them, I hope to be a pillar of strength to inspire them to stand up for their rights and to ask for help. If you put your heart to it, anything is possible.” With her win, Lee’s list of responsibilities has just gotten longer. She already has a lot going; apart from anchoring TV3 Nightline, the working mother is a sought-after emcee at local events and on the side, manages a child enrichment centre, Starz Studio, at KL Sogo. Time management is key when it comes to leading a balanced life, she says. Having taught in a kindergarten for several years, Lee says her main passion has always been children. “I help KL Sogo manage a daycare where parents can drop their kids off to shop at ease. I also like to nurture children’s talents.”
Lee has been organising pageants for children, but with a twist: instead of just one winner, all the contestants would be honoured and crowned for the day. “A lot of kids don’t understand what losing is about. I’ve seen them cry and it can be detrimental in the long run. What I want is for the kids to just experience being a prince or princess for the day and be acknowledged for all that they’re worth.” In her daughter’s eyes, Lee is a mother who happens to be Mrs Universe. “I hope that I can inspire my daughter to focus ‘out’, instead of ‘in’. There’s nothing like seeing the people around you happy and knowing that you’ve made a difference in their lives. That’s something that will last. I hope that she’ll build her confidence through that,” Lee shares. ¬
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TRAVEL
Keeping up with the nomads CHULARAT SAENGPASSA The Nation Dundgovi, Mongolia
A
vast expanse of blue sky spread like a blanket over immense grasslands dotted with white tent-like structures and a smattering of goats, sheep, cows and horses is the image that flashes into my mind when I think of Mongolia in the summer. With the sun shining so brightly and temperatures touching on 30째C, it's sometimes hard to fathom the freezing conditions so typical of a Mongolian winter. I'm part of a group travelling in this massive landlocked country
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DESPITE THE TOUGH CONDITIONS, MANY MONGOLIAN PEOPLE ENJOY THE FREEDOM OF THE FIELDS.
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TRAVEL
FAMILIES IN RURAL MONGOLIA REMAIN AS LARGE AND EXTENDED AS THEY WERE WHEN GENGHIS KHAN FOUNDED THE MONGOL EMPIRE BACK IN 1206.
| September 6-12, 2013
TRAVEL
TYPICAL MONGOLIAN FARE—BOILED MUTTON AND BIG BOWL OF GOAT'S CHEESE.
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TRAVEL
DESPITE THE TOUGH CONDITIONS, MANY MONGOLIAN PEOPLE ENJOY THE FREEDOM OF THE FIELDS.
| September 6-12, 2013
TRAVEL
DESPITE THE TOUGH CONDITIONS, MANY MONGOLIAN PEOPLE ENJOY THE FREEDOM OF THE FIELDS.
| September 6-12, 2013
TRAVEL
DESPITE THE TOUGH CONDITIONS, MANY MONGOLIAN PEOPLE ENJOY THE FREEDOM OF THE FIELDS.
| September 6-12, 2013
TRAVEL
that shares its borders with Russia to the north and China to the south at the invitation of the World Society for the Protection of Animals (WSPA). Our destination is Dundgovi province, where we will observe how the local population is managing to cope following the abnormally bitter cold in the winter of 200910 that cost their livestock some 16 million animals. Here, the differences between day and night are more pronounced than in the capital Ulaanbator 250 kilometres to the north, dropping to a chilly 12째C after dark. The locals, however, probably find it warm: in winter, the temperature can easily fall to minus 50째C. It takes us almost seven hours to travel to Dundgovi and it's only as our four-wheel drive vehicle crosses the line from town to countryside that we realise that the snake-like
earth brown line we'd seen from the air is in fact the road. Unlike the highways that link the provinces to the capital in most other countries, the road to Dundgovi is unpaved and unlit. No markers point the way so drivers must either be very familiar with the route or have GPS in their vehicles. Potholed tracks criss-cross the land, most of them used by rural Mongolians as they search for new locations to set up camp. In a country where the government owns most of the land and the grasslands provide the vital food for their livestock, these nomadic families are often forced to relocate five to six times a year. Staring out of the windows, we spot goats, sheep, horses, cows and even some camels munching on the ankle-level grass that carpets the tree-less
landscape. Gas stations are non-existent and when nature calls, we scurry off into higher terrain for a little privacy. Soon we arrive at our destination, a tented camp in the middle of nowehere. Drinking water is scarce so the locals slake their thirst with goat milk, vodka or "airag", the local spirit made of fermented horse milk that's traditionally served to visitors. Families in rural Mongolia remain as large and extended as they were when Genghis Khan founded the Mongol empire back in 1206 so we are not surprised to be greeted at the first house by a family whose members range in age from three to 80 plus. After serving us a welcome snack of wafers and vodka, our host Ts Erdene-Ochir proudly shows us his snuff box. These beautifully carved containers, usually made of jade or ivory,
| September 6-12, 2013
TRAVEL
are passed on from fathers to sons, he explains. "I wouldn't sell this even if you offered me US$300,000," says the 61-year-old with a smile. Lunch is served in another ger, the home of D Hayanhyrvaa, and features typical Mongolian fare —boiled mutton and big bowl of goat's cheese. In the countryside a sheep is killed only for special occasions, like the New Year, and one pot is enough to feed a family for the whole month. The parts, offal included, are put in a big pot then cooked with little salt on a stove fired by animal dung inside the ger. It's surprisingly tasty and smells great. The trick, we're told, lies with black river stones. Preheated stones, put into the bowl during the cooking process, help absorb any bad odours. Our visit apparently also counts as a special occasion and
the family is delighted with the opportunity to eat mutton. We look on with pleasure as one small girl happily devours goat cheese and mutton along with guests for a full hour then, her appetite sated, curls up and falls asleep in front of the food table. The next ger is shared by two young families with a total of eight members. "How on earth do they manage to find a romantic moment?" murmurs one of our team. Despite the tough conditions, many Mongolian people enjoy the freedom of the fields. Saiutuya, who works most of the year teaching biology and chemistry, spends the summer on the steppes. As she busies herself milking the goats, she tells us she hopes to retire from academic life in two years and become a full-time animal breeder. "But for the disaster
(which killed most of his animals), I could have owned a helicopter now," laments her husband, L Sujirjin, 52. Trucks, four-wheel jeeps and motorcycles surround most of the gers and all are equipped with a satellite dish, solar panels and a satellite phone. A humidity gauge inside the ger tells the nomads when it is time to move. The toilets are outside and just like the ones in the city are dark and dank, fabricated with two pieces of wood placed on top of deep holes. The strong smell makes us long for the road where nature's call can be answered in the fresh air. But for all the inconveniences, we are charmed by the country and its people and as we wave farewell to our kind hosts, our thoughts are with them for a fast recovery and more clement winters. ÂŹ
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IF YOU GO
Most travellers arrive in Mongolia through Chinggis Khaan International Airport, 18 kilometres from Ulaanbaatar. Mongolia Airlines and Air China operate direct flights from/to Ulanbaatar and Beijing. Korean Air also flies daily from Seoul to Ulaanbaatar. TransMongolian train runs once a week from China's capital to Mongolia. The summer is the best time to visit, with the day time temperature averaging 21째C. FOR ALL THE INCONVENIENCES, MONGOLIA IS A CHARMING COUNTRY.
DATEBOOK
| September 6-12, 2013
TOKYO
HIBIYA OKTOBERFEST 2013 Beer lovers will be delighted to know that this year’s Oktoberfest in Tokyo will be bigger than ever, promising no less than 10 Bavarian bacchanales, as well as popular German beers and other brews that are rarely found outside Munich. When: Until September 16 Where: Hibiya Park
DHAKA
RHYTHM OF REALITY: THE WORKS OF GANESH HALOI In collaboration with Kolkata’s Akar Prakar Gallery, the Bengal Gallery will show case a solo exhibition of the works of noted Indian abstract painter Ganesh Haloi. When: Until September 8 Where: Bengal Gallery
DATEBOOK
| September 6-12, 2013
KUALA LUMPUR
PYROBEAT The first musical fireworks competition will be sure to astound as six countries (including Malaysia) try to out-do one another with their best fireworks display, performed to a musical track of their choice. When: October 2 Where: Putrajaya Precinct 5 Info: www.pyrobeatfestival.com
TOKYO
ART AQUARIUM 2013 “Art aquarium� producer Hidetomo Kimura uses light tricks, traditional Japanese motifs and thousands of live kingyo goldfish for this fascinating exhibition. When: Until September 23 Where: Nihonbashi Mitsui Hall
DATEBOOK
| September 6-12, 2013
BANGKOK
CHICK COREA IN BANGKOK The world renowned jazz pianist will perform live in Bangkok with American jazz band The Vigil.
BANGKOK
THE TEN TENORS LIVE WITH ORCHESTRA Having performed in at least 250 shows worldwide, the touring rock and classical Australian singing troupe will take the stage in Bangkok, accompanied by a full orchestra When: September 22 Where: Thailand Cultural Centre Info: www.bangkokfestivals.com
When: September 22 Where: Thailand Cultural Centre Info: www.bangkokfestivals.com
| September 6-12, 2013