Front Row

In the last episode of the series, our guest begins with Stravinsky’s ’Rite of Spring’ and close with references to reel-music, original soundtrack to films coming out of the studios. He frames contemporary music in the context of soundtracks which accompany visual sequences on the screen but which may not be meaningful listened to by itself.

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In the last episode of the series, our guest begins with Stravinsky’s ’Rite of Spring’ and close with references to reel-music, original soundtrack to films coming out of the studios. He frames contemporary music in the context of soundtracks which accompany visual sequences on the screen but which may not be meaningful listened to by itself.

See omnystudio.com/listener for privacy information.

These Asean-based image-makers, with their cameras, tell about what they have captured and the stories behind the images. They share their ‘frontline’ tales of observing humanity and of interpreting its experiences.

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Our guests take us back to a time just before the country’s independence, reimagining the songs and music of that time. Tay Cher Siang of WVC share on the music while Janet Lee shares stories that surround these songs.

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Our guests take us back to a time just before the country’s independence, reimagining the songs and music of that time. Tay Cher Siang of WVC share on the music while Janet Lee shares stories that surround these songs.

See omnystudio.com/listener for privacy information.

This episode, we focus on the minority identities of East Malaysia, whose stories, our guests argue, are often hidden, lost in the larger narrative of Malaysia. We learn from them about the issues of representation, and how important it is to have a specifically Sarawakian/Sabahan voice.

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The dance was choreographed and premiered in 1996. Then five young Malaysian men, barely in their twenties, in Hong Kong, joined by a mainland Chinese danced ‘A Boy Story’. Twenty-one years later the same five Malaysians--more mature and ‘better grounded’, so says the choreographer, Yuri Ng--will be dancing at the DiverseCity KL International Arts Festival 2017. The filmmaker has documented and he and the choreographer talk about the dancers, the dance and the performance which will be preceded by the documentary.

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The dance was choreographed and premiered in 1996. Then five young Malaysian men, barely in their twenties, in Hong Kong, joined by a mainland Chinese danced ‘A Boy Story’. Twenty-one years later the same five Malaysians--more mature and ‘better grounded’, so says the choreographer, Yuri Ng--will be dancing at the DiverseCity KL International Arts Festival 2017. The filmmaker has documented and he and the choreographer talk about the dancers, the dance and the performance which will be preceded by the documentary.

See omnystudio.com/listener for privacy information.

In his latest exhibition, the artist’s works hang side-by-side with photographs taken by the late Almarhum Sultan Ismail Nasiruddin Shah, the fourth Agong and 14th Ruler and Sultan of Trengganu. Jin Leng tells about his time in Trengganu when he was an art teacher at Sultan Sulaiman Secondary School and about his ideas on Malaysian art.

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Collaborating with practitioners of traditional Japanese Noh drama, visual artists and musicians and other contemporary dancers, our guest explores what happens when Southeast Asian trance rituals are rubbed against the formality of Japanese Noh. How far can trance rituals stretch Noh, and how disciplined can be trance be by the formal strictures of Noh? More some when the movements are created by dancers trained in contemporary dance.

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