The fifth biennial international percussion festival organized by Hands Percussion. Bernard Goh introduces the international and local guests, including Ariefwaran who with choreographer Kathyn Tan, work with the drummers to create a new vocabulary of movements for the performance. Ariefwaran hints on what to expect from the percussionists. Together Bernard and Ariefwaran point to some new directions that this Malaysian troupe will be taking to create their works.

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The visiting artist and adjunct professor of illustration at Pratt Institute at Brooklyn was in Kuala Lumpur to exhibit her works, some 20 portraits depicted in a dreamlike state. While several of her works are dark--like the one of her son with two bombs falling into the sides of his head--most in this collection are light and whimsical. Like women with cupcakes and wedding cakes on their heads. Foster reveals what she strives for in her art and also on her most recent project, capturing women.

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When it comes to the local indie music scene, Azmyl Yunor needs no introduction. As a fiercely independent musician, Azmyl views his art as a way to comment on the social, cultural, and political aspects of life in Malaysia. With the country being under a new government, we talk to Azmyl about the role of popular art forms in a democracy - particularly as a form of dissent, critique, and protest.

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The Kancils is the Malaysian advertising industry awards. This year, in a bid to expand and redefine itself, the awards is introducing a two-day creative festival that aims to bring together practitioners from fields like the arts, filmmaking, and literature. But when it comes to the advertising industry, can the commercial aspects of the business ever truly be separated from the creative? We speak to the Kancils 2018’s creative council chairman and deputy chairman about what their industry can learn from these new initiatives.

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The acclaimed Malaysian play called “A Modern Woman Called Ang Tau Mui” by Leow Puay Tin has had numerous stagings since it was first written in 1993. One of the adaptations that has proven to be very enduring is director Loh Kok Man’s version, which has been staged in both Mandarin and Cantonese. With another staging coming up, Kok Man and visual artist Fairuz Sulaiman - who worked on video art for the show - talk to us about the play’s enduring themes and how it resonates far beyond being the story of one woman.

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Malaysians may know of wayang kulit, but not of shadows by a hand-dramatist. Drew Colby from England was in Kuala Lumpur for a little over a week entertaining children and adults alike and running workshops to teach those interested how to use their hands, arms and shoulders to create creatures in silhouette on a screen. Drew Colby tells about his journey into this performance art and the joy that it has given him.

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Seven Malaysian choreographers are coming together in a dance showcase called “Ilham: Inspiration”. Each choreographer uses their individual approaches to comment on living in a new Malaysia. Three of the choreographers talk to us about what it means to be a Malaysian dancer, and how they both found and examined their identities within their art.

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It’s been six years since popular comedy revue “Indicinelive!” went on hiatus, and it’s now back with fresh new material - and of course, with Malaysia Baru, there is plenty of fodder for humour. Some of the folks behind the latest edition of “Indicinelive!” talk to us about sketch comedy, Malaysian humour, and the challenges of keeping the funny alive.

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As a global arts practitioner, Asad uses the arts to create and nurture sustainable communities around the world, particularly amongst groups who are under-represented within the global arts landscape. He often focuses on contemporary Muslim culture, redefining stereotypical ideas of what Muslim arts can be. We speak to Asad about his work, and how young people in Malaysia and globally can create arts communities that are both authentic and self-sustaining.

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In Wei-Ling Contemporary, the artist meets the microphone to tell about his third solo exhibition there. Sean Lean plays with the triptychs. In the works, collectively called ‘3’, he captures “the past, present and future,” “the body, soul and spirit,” the naturally occurring three’s which feature in tales, folklore and religion. The artist describes and explains two out of the several works in the exhibition.

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