Front Row

Finding out about this new theatre company--Kudoclasm--that has in collaboration with Theatre Lounge Cafe, produced two shows which will be staged this and next month. ‘Erica’s Room’ and ‘On a Starry Night’ appear to be holiday offerings to bid farewell to the old year and to usher in the new.

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A conversation about the growth and evolution of this 9-year-old festival which caters to independent artists and performers. Tony Yap shares how the outdoor sites in and around the historical town contribute to the development of the festival and keep its character distinct and unique. Our guest reveals how his own performance philosophy and practice seep into the festival and its offerings.

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The artist talks about her 11th solo exhibition which comprises paintings on linen to graphite drawings and watercolour on paper. The artist situates herself in Malaysian art and explains her concerns and preoccupations with the domestic which she manifests on canvas and paper.

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The renowned arts critic and writer for ‘Times of India’ makes another visit to our capital. He gives a preview of his illustrated talk on an iconic Indian dancer--Ram Gopal-- who took classical dances from the subcontinent onto the world’s stage and in the process earned himself an OBE (Order of the British Empire). Dr Sunil Kothari points out the importance of official archives collecting and documenting history.

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Our guests--the founders of Miracle on Wheels--share on how to reshape our (mis)conceptions of abilities and disabilities. They explain how and why their performers, who move and dance with the aid of wheelchairs, challenge long-held perceptions.

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Celebrating Universal Children’s Day with Clap & Tap Children Orchestra. Hear the very young present a taster. The orchestra itself will be in a concert at the end of the year, collaborating with the Penang Wind Orchestra under the baton of Dato’ Woon Wen Kin.

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Our guests tell about the “complex interplay between gender and Islam,” and how that interplay is explore and questioned through the visual works in the exhibition. They inform on the artists involved, their artistic history and how the works for this exhibition titled ‘Hell, Heaven’ were curated.

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Our guests tell about two performances--two monologues--under the umbrella ‘Wayang Dari Sinkeh’, an expression which marries Bahasa Malaysia with Hokkien. They also paint for us the need to tell our local stories and underscore the importance of vernacular theatre.

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Our guests explain the nature of this musical--DiZang--which is based on the teachings of Ksitigarbha Bodhisattva. They explain why they think this production is not didactic and the dancer-choreographer shares on finding the dance vocabulary that forms the basis of the contemporary dances in this musical set in the 21st century.

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The artist tells why he has chosen collages as his medium of expression and how it offers him the form to articulate both his aesthetics and his perspective of life. The conversation steals into Choy Chun Wei’s creative process which is driven by the need to make meaning and fueled by “collage thinking.” And he, led by what he sees in his mind’s eye, squirrels away what he finds to manifest the imagined.

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