five arts centre annual report 2017 · page 2 of 30 five arts centre 27 & 27a, lorong datuk...

of 30 Five Arts Centre

27 & 27A, Lorong Datuk Sulaiman 7, Taman Tun Dr. Ismail, 60000 Kuala Lumpur, Malaysia tel / fax: 603-7725 4858 mobile no: 6018- 202 8827 email: [email protected] www.fiveartscentre.org

FIVE ARTS CENTRE ANNUAL REPORT 2017 2017 was an extremely busy year for Five Arts Centre and our newly-refurbished black box, KOTAK at Taman Tun Dr Ismail, KL. This ‘busy-ness’ spilled over to 2018, with many of our projects extended to the 1st quarter of 2018, which is a large reason why our 2017 report is only coming now – we have been too busy! In total, we listed 38 events, projects, talks and forums that were organized and managed by our creative and production teams. These events can be fitted into 3 frames:

A. Programming for KOTAK, a new blackbox in Taman Tun Dr Ismail

B. Outreach and Archive

C. Experiments

Terbalik…mesti kena mata.. – an experimental workshop performance at KOTAK, TTDI.



HIGHLIGHTS OF OUR PROJECTS IN 2017 A. MAIN DALAM KOTAK! PROGRAMMING FOR A NEW BLACK BOX The impulse behind the proposed programming for KOTAK is one of experiment, play, and to create a space at Five Arts Centre and TTDI, of openness and difference. This idea comes from a feeling of narrowing intellectual and community space where Malaysians are becoming increasingly fixed in polarised positions of “them“ and “us”. Taking advantage of a physical space in the heart of a middle class neighbourhood, KOTAK’s programming seeks to bring in elements not often associated with this area. The programming can be discussed within the following frames: I. Trampoline Trampoline encompasses Five Arts Centre’s initiative to nurture, challenge and support emerging practitioners to create and stage work. For 2017, we continued supporting the 2nd edition of Tiga. This edition saw 3 new objects – a left slipper, a bouquet of flowers and a speed limit sign, given as a “creative baton” by previous Tiga writer Sharifah Leysha, to new writer Anjali Nijjar Venugopal. When Anjali presented us with her new text, Beautiful Flowers, touching on mental illness in young adults, we realized the text was too short for a 60-minute staging. At that point, working in our office was young director Syafiq Syazim, a recent graduate from ASWARA. There were some staging ideas floating in our office and we decided to “match” these ideas with Syafiq and Yiky Chew, our previous intern, newly returned from studying performance in France. Their pairing created the delightful and topical Kenapa Tak Tukar Nama, a 20-minute monologue about a recent Muslim convert’s insistence on keeping her birth name. These 2 pieces were “trinity-ized” with a new short piece by Syafiq called Peon. We had previously seen Peon, and felt that the piece had potential and we suggested Peon to be developed further under the Trampoline platform, which Syafiq agreed to. We took this opportunity to also invite emerging producers/production members from a different company and opened up the project to young producer Farah Idayu Kamsari and her team from Asterik Anak Seni to get involved. Together with Syafiq, the team came up with Tiga Dalam Kepompong, reflecting the developmental nature of this project. What became clearer from Tiga Edition 2, was the sense that work devised in a group had a particular relevant urgency and usefulness. The Tiga frame of the “creative baton” also evolved and was extended in different and exciting ways. II. Extensions This section relates to providing staging opportunities for artists in the Five Arts network and also to extend to those whom Five Arts had previously not worked with before. These projects and events included: • Gadis Jalan Burmah

A one-woman theatre play written by Redza Minhat. The 90-minute performance was directed by Ashraf ‘Modee’ Zain and performed by Farah Rani. We wanted to encourage a new audience to KOTAK and felt there could be positive engagement with the network of Projek Disco Baldi.

• Akta (10:15)

A 45-minute devised theatre performance looking into Article 15, Sedition Act 1948, along with its 2015 amendments. Directed by Ali Alasri, with lawyers-turned-performers Farah Rani and Arief Hamizan, and performer Mervyn Raj Manikam.



We were excited by the idea of a performance based on a legislature, however we discovered the task proved more complicated than expected for the young team, and they needed more resources to develop the piece. We debated and considered at length amongst ourselves, and eventually felt Akta (10:15) would best be served as a closed workshop showing. It was unusual (and painful!) for us to cancel a planned performance, and this experience reminded us of the needs by different young practitioners, as they attempt to develop their own methods.

• **2080 – A Day in Kuala Lumpur

**2080 was a technical show that explored life in a day and night, in a Kuala Lumpur of 2080, performed and narrated through the use of lights, projections, installations and sound. This experimental performance was conceived by 6 collaborators - Syamsul Azhar, Bryan Chang, Ali Alasri, Woon Siew Yin, Izzat Azmi and Armanzaki (Zak) Azrs.

We believe this show managed to expose KOTAK as a malleable space for performance – and not just for monologues or blackbox performances. We were heartened by the response for these shows and we felt we achieved our objective of opening KOTAK up to new audiences and new types of performances at TTDI.

**2080 – A Technical Show with no performers at KOTAK, TTDI.



III. Luar Kotak Over the last few years, members of Five Arts Centre have taken their work for touring and have networked in places such as Japan, Korea, Germany, etc… Looking at ways to build connections with practitioners we met, and issues we were exposed to, we sought to bring shows and discussion from other countries to KOTAK. These included: • DASH by Ho Rui An (Singapore)

Opening with footage of an accident captured from a dashcam, DASH considers how the accident—or crisis—becomes legible within a risk-managed and financially hedged era. Taking this condition of the dashcam as a point of departure, the lecture considers the broader logic of "horizon scanning" that underpins the foresight programmes of the Singapore government, which combine big data and scenario planning, as tools for "surprise anticipation".

Ho Rui An presenting DASH at KOTAK, TTDI. • Discussions with foreign practitioners

From August to October, we presented a series of public discussions with visiting art practitioners under the programme of “Don’t Renew Your Passport”. This was a way to bring the larger questions of performing, archiving and producing being asked by other, international practitioners, to our community in Kuala Lumpur. These included: • Dramaturgy discussion with Sophie Becker (co-artistic director, SPIELART Festival Munich). • Creative Producing discussion with Koh Jooyoung (South Korean independent producer). • Archiving & Documenting Singaporean Theatre with Daniel Teo (Centre 42). • Artist Talk and Archiving Workshop by Public Recordings (a Canadian performing arts

collective). Public Recording develops and presents projects that test hypotheses about group work through performance, education, publishing, and other collective gestures.



B. OUTREACH AND ARCHIVE Under outreach and archive, we considered ways to reach out to schools and the arts community, focusing on education and awareness. For schools, it was using Exchange Theatre as a method for teenagers to discuss issues faced. At the same time, we launched 2 public websites looking at archiving performing arts history as awareness and reference for the arts community. I. Exchange Theatre For 6 months, Five Arts Centre organized a training programme for 13 participants to learn the method of Exchange Theatre, a tool developed in France, to encourage spectators to participate with actors in exploring different courses of action in a particular social situation. These 13 participants were then sent out to schools to encourage students to bring forth issues that affect them. A performance was created which then toured into 6 schools in the Klang valley. The performance engaged students to suggest ways to negotiate issues faced by them. The pay was directed by French director Grégory Henno, dramaturged by Janet Pillai and performed by Anne James, Mooza Mohd, Ali Alasri, Gianne Yap, Hussain Sajad, Karen Hii, Lim Kien Lee, Mooza Mohd, Natasha Khanum, Perevenia, Rosheen Fatima and Zool Raimy.

Exchange Theatre performances in schools.

II. Archives Artist Led Archives is a ground-up approach by art practitioners to critically discuss, and effectively document our work for future reference. This initiative is driven by the lack of effort and focus in archiving performance currently in Malaysia. The objective of Artist-Led-Archives is to: 1) Employ and create critical dialogue and discussion as a method to archive and record our work. 2) Create other and new approaches to document work and events. 3) Consider new and relevant ways of documenting performance material.

This framework is unique as it is artist-led (as opposed to state and institution), therefore the methods of documenting have a closer degree of relevance to our work. Being artist-led, there are ideas on performance and artistic aspects to how the material is archived, focusing on making the material alive and relevant. This would be a new way of presenting archives. Under this frame, we have successfully launched 2 public websites:



• My Art Memory Project - www.myartmemoryproject.com The first phase of this website contains information about English-language theatre from the 1940’s to 2010’s. The creative lead was Kathy Rowland, and the producer was Ivy Josiah.

• The Arts Education Archive Malaysia - www.myartseducationarchive.com The first phase of this website contains information about the non-formal arts education programme from 1974 to 2000.

The creative lead was Janet Pillai, and the producer was Ivy Josiah.

Producer Ivy Josiah speaking at the launch of 2 online archives at KOTAK, TTDI. C. EXPERIMENTS Under this frame, members of Five Arts Centre continued to challenge and find new ways of looking at performing, while considering issues that impinge on our society and community. • Terbalik…mesti kena mata…

The creation of most performance is hierarchical in nature. Even in the most collaborative efforts, there is a hierarchy. The one at the peak of the hierarchy – director/choreographer – creates the work, and all other ‘departments’ commit to this vision, and create to realise this vision. Costumes, lights, set, sound – are created to realise the performance, which is the vision of the director/choreographer.

Terbalik was an experimental project that attempted to deconstruct this frame and turn it on its head. Terbalik assigned the lighting designer, Five Arts member Mac Chan, the role of creating the lights first. A performance was then created based on the lights, co-directed by Five Arts members Marion Cruz and Ivy Josiah with performers Chi Too, Janet Moo, Syamsul Azhar and Wong Tay Sy. Terbalik was produced by Suhaila Merican and performed in KOTAK.

http://www.myartmemoryproject.com/



• Wayang Dari SINKEH

Five Arts Centre member Chee Sek Thim is based in Penang and often relates the differences in infrastructure and audience capacity between Penang and Kuala Lumpur. Maintaining that the situation in Penang requires a focus to develop both audiences and practitioners, Sek Thim had initiated a platform known as Wayang di SINKEH. This platform encourages new work by providing venue support at Sinkeh, a boutique hotel and performing arts space run by Sek Thim. We felt we wanted to encourage Sek Thim’s effort and at the same time, we felt it relevant to introduce performances from Penang to a KL audience (Kotak). Two plays were presented – A Complete Woman, written and performed by Suzanne Teoh and directed by Chee Sek Thim; and The Storyteller, written by Lim Chung Wei and Wong Lay Chin and directed by Wong Lay Chin.

• Complete Futures of Malaysia

The Complete Futures of Malaysia is conceived as a generative series of projects that will unfold over several years, and in multiple chapters and formats – via performances, videos, exhibitions, and more.

Version 2020 – The Complete Futures of Malaysia Chapter 3 premiered at SPIELART Festival Munich in October 2017.

Version 2020, conceived and directed by Mark Teh featured political activist and artist Fahmi Reza, actor-performer Faiq Syazwan Kuhiri, dancer-choreographer Lee Ren Xin, and filmmakers Imri Nasution and Roger Liew. The creative team also included visual artist Wong Tay Sy and lighting designer Syamsul Azhar. The performance was produced by June Tan.



LIST OF EVENTS/ PROJECTS BY FIVE ARTS CENTRE 2017 No. Events Dates Performances (Five Arts Centre productions) - 3

1. Exchange Theatre training & performances to secondary schools. (6 schools, 8 performances) Dates of performance in schools

July - Aug 2

2. Terbalik...mesti kena mata... 10 - 13 Aug 3. Version 2020 at SPIELART Festival, Munich. 23 Oct- 1 Nov Performances & Showings (supported by Five Arts Centre) - 6 4. Gadis Jalan Burmah. 6 - 9 April 5. Tiga - tour to Penang, performed at Sinkeh. 9 - 11 Mar 6. Take The Lead, Make The Move - project by Chai Vivan. 18 - 20 May 7. Akta 10:15 - project by Ali Alasri, eventually done as an invite-only showing. 25 - 26 Aug 8. Tiga Dalam Kepompong. 23 - 26 Nov 9. **2080 - A Day In Kuala Lumpur 8 - 10 Dec Talks/ Discussions by local artists - 6 10. Fishbowl Conversation between young KL & Penang practitioners in Sinkeh. 10 Mar 11. Performance That Is Not Pretty, with Vivan, Yeoh Lian Heng & chi too. 15 April 12. Performance That Is Not Pretty II with Intan Rafiza & Sharon Chin. 15 July 13. In The Background with Mac Chan & Bibi Chew. 18 July 14. Penang-KL sharing between young practitioners during Wayang Dari Sinkeh. 18 Nov 15. Terbalik conversation with Mac Chan, Marion D’Cruz & Ivy Josiah. 12 Aug Out of KL to Kotak (performances/ workshops/ talks) - 8 16. DASH lecture - performance from Singapore. 21 - 23 Aug 17. Dramaturgy talk with Sophie Becker (co-artistic director, SPIELART Festival) 30 Sept 18. Creative Producing talk with Koh Jooyoung (South Korean indie producer). 30 Sept 19. Archiving & Documenting Singaporean Theatre with Daniel Teo (Centre 42). 8 Oct 20. Artist talk by Public Recordings 7 Oct 21. Workhshop by Canadian performing artists Public Recordings. 8 Oct 22. Wayang Dari Sinkeh, touring of 2 pieces from Penang, initiated under Wayang D'Sinkeh. 16 - 18 Nov Krishen Jit Astro Fund 2017 (45 Applicants) 23. Krishen Jit Astro Fund Press Conference. 9 Nov Archival Projects & Events - 6

24. My Art Memory Project website / archive. Sept 2016 - Dec 2017

25. Remember When... Uda dan Dara (1972) - oral history event with Faridah Merican & Rahim Razali. 28 Oct

26. Art Education Archive Malaysia (AEAM) website / archive. Mar 2016 – Dec 2017

27. AEAM KL roundtable. 19 Nov 28. AEAM Penang roundtable. 2 Dec 29. Launch of both websites 19 Dec Publication- 1

30. Excavations, Interrogations, Krishen Jit and Contemporary Malaysian Theatre Jan 2016 - May 2018



Performances, Screenings & Workshops (8 events publicised by us) 31. Lights out – dancing in the dark by Lights Out Dance ON 25 May 32. A Plastic Ocean film screening by Sampah Menyampah & Zero Waste Malaysia. 20 June 33. Tak Nak Straw Workshop 21 June 34. Beeswax Workshop 22 June 35. Tomorrow film screening by Transition TTDI. 9 Nov

36. Ghost Machine performance by Dirty Work Comedy, Australia. 27 Oct - 7 Nov

37. Animal Communication workshop by Elaine Tan. 12 Jul 38. Community Engaged Arts workshop by Janet Pillai & Sunitha Janamohanan. 30 April

FULL REPORT ON EVENTS/ PROJECTS by FIVE ARTS CENTRE EXCHANGE THEATRE Exchange Theatre - 'Respecting Differences' (participatory performance) Date & Time: 25 February 2017 at 3pm Venue: KOTAK @ Five Arts Centre, TTDI Sometimes a picture can be more relevant than a long speech, sometimes a painting can help understand the world better, sometimes a simple image can enlighten thoughts. A group of actors underwent training at Five Arts Centre on the theatrical form ‘Exchange Theatre’ to enlarge discussions and encourage collective reflection. Exchange Theatre is an educational programme using interactive theatre as a tool for learning and discourse through localised content. Built on a foundation of various theatre techniques and tools, the form seeks to create a safe environment where spectators can express their ideas, their doubts, their fears, and their difficulties about a topic. Exchange Theatre encourages spectators to participate with the actors and explore different courses of action they may take in a situation, and experience the possible consequences of their actions. It reveals the complexity of situations and also the possibilities to change them. Creative Team Dramaturg: Janet Pillai Director: Grégory Henno Leadmaster: Anne James and Mooza Mohd Actors: Ali Alasri, Gianne Yap, Hussain Sajad, Karen Hii, Lim Kien Lee, Mooza Mohd, Natasha Khanum, Perevenia, Rosheen Fatima, Zool Raimy and Lim Soon Heng (Training). Production Team Producer: Ivy Josiah Production Manager: Hoe Hui Ting Outreach Manager: Rosheen Fatima Stage Manager: Ong Tong Publicity Manager: Ong Yi Lyn



Anne James as Leadmaster introducing the process.

“Frozen image” at the end of the scene. EXCHANGE THEATRE FOR YAYASAN SIME DARBY’S INTERNATIONAL WOMEN’S DAY Exchange Theatre - #BeBoldForChange Date & Time: 23 March 2017 at 11am Venue: Sime Darby Convention Centre (SDCC) Producer: Ivy Josiah Director: Grégory Henno (France) Dramaturg: Janet Pillai Leadmaster: Anne James Actors: Lim Kien Lee, Mooza Mohd, Rosheen Fatima, Perevenia and Zool Raimy. The theme for International Women’s Day 2017 was BE BOLD FOR CHANGE. During the event, 6 out of a group of 12 actors performed for Yayasan Sime Darby’s International Women’s day event. They used a technique from Exchange Theatre called IMAGE THEATRE to illustrate the theme – ‘Be Bold for Change’. The actors created still pictures based on this theme to encourage the audience to think about the challenging roles of women and men in today’s constantly shifting world. There are no solutions, merely issues that will need to be considered seriously and for the audience to ponder upon the solutions. The actors presented about 20 images or still pictures in 4 sections for the audience to consider the main issues, and they closed with a short discussion. A brief title and introduction to each section was provided by the lead-master also called the host of the performance. These images were pessimistic, realistic, symbolic, and optimistic.



Anne James as Leadmaster explaining the title of the scene.

Group photo of the team with producer Ivy Josiah.

EXCHANGE THEATRE SCHOOL PERFORMANCES 4 JULY – 9 AUGUST 2017 Exchange Theatre – Friends#nofilter Dates/Venue: 1. 4 July 2017 - SMK BUD 2 2. 14 July 2017 - SMK Tropicana 3. 18 July 2017 SMK Bandar Utama 4. 25 - 27 July 2017- SMK Taman Sea (3 performances) 5. 1 August 2017 - SMK Kiaramas 6. 9 August 2017 - SMK Kelana Jaya

SMK Bandar Utama Form 4 students. SMK Taman SEA.



SMK Tropicana (Student voting for favourite scenes). Exchange Theatre was brought by Five Arts Centre to various secondary schools looking at issues faced by the youth. Creative Team Dramaturg: Janet Pillai Director: Grégory Henno Leadmaster: Anne James & Mooza Mohd Actors: Ali Alasri, Gianne Yap, Hussain Sajad, Karen Hii, Lim Kien Lee, Mooza Mohd, Natasha Khanum, Perevenia, Rosheen Fatima, Zool Raimy and Lim Soon Heng (Training). Production Team Producer: Ivy Josiah Production Manager: Hoe Hui Ting Outreach Manager: Rosheen Fatima Stage Manager: Ong Tong Publicity Manager: Ong Yi Lyn Number of schools: 6 schools Number of performances: 8 performances Number of students reached: 642 students Article: Hariati Azizan, The Star: https://www.thestar.com.my/news/education/2017/12/31/setting-the-stage-for-learning-and-discourse/

https://www.thestar.com.my/news/education/2017/12/31/setting-the-stage-for-learning-and-discourse/

https://www.thestar.com.my/news/education/2017/12/31/setting-the-stage-for-learning-and-discourse/



TIGA 1st Edition tour to Penang Dates & Times: 9 – 11 March at 8.30pm Venue: Sinkeh 105 Lebuh Melayu, Georgetown 10100 Tiga is a platform for new and emerging performing arts practitioners who are interested in developing their skills, be it writing, acting, producing or directing. An emerging scriptwriter would be given a task to write 3 scripts based on 3 objects. After the 3 scripts are performed, the scriptwriter will then nominate another scriptwriter and provide him/her with 3 new objects for 3 more new scripts. Tiga will then act as a ‘creative baton’ with each emerging scriptwriter passing on the challenge to another new writer. At the same time, new producers, new directors, new actors are also included in this loop. Tiga’s first edition in 2016 had Sharifah Aleysha presenting 3 new scripts based on three objects – bed, chair and knife. Tiga 2016 was first performed in Kuala Lumpur. The production was then performed in Sinkeh Penang in 2017. Tiga's three script synopses: Bed – A young woman battles with the idea of possession in a relationship. She doesn’t seem ready to be in a relationship but she can’t handle being alone either. When her relationship begins to fall apart, she realizes just how far she will go for it. Chair – A young woman is trapped in a loop. She can’t seem to move forward without giving up her past. She returns to the memory of her mother to make her toughest decision yet. Knife – A young woman discusses her sexuality in ways common but not so common to society. Sex is a taboo but not when you’re making fun of it. Written by: Sharifah Aleysha Directed by: Andy Darrel Gomes (Chair) Arshad Adam (Knife) Sharifah Amani (Bed - Based on a 2016 version directed by Fahad Iman) Performed by: Sharifah Aryana (Chair) Anissa Azis (Knife) Sharifah Aleysha (Bed) Executive Producer: June Tan Production Manager: Hoe Hui Ting Production Assistant / Stage Manager: Woon Siew Yin Lighting designer: Syamsul Azhar



Anissa Azis in Knife at Sinkeh, Penang. Sharifah Aleysha in Bed at Sinkeh, Penang. Sharifah Aryana in Chair at Sinkeh, Penang.



Take The Lead, Make The Move Dates & Times: 18 – 20 May at 8.30pm 20 May at 3pm Venue: KOTAK @ Five Arts Centre, TTDI A participatory performance that allows you to experience performance in an unusual way! ‘Take The Lead, Make The Move’ was a project initiated by Chai Vivan and supported by Five Arts Centre. It was a platform for the artist and audience to experience the process of making and creating, with the aim to present a final dance piece at the end of the event. The project sought to encourage participants to use a fun and accessible format, guided step by step by a lead master. Different action cards were prepared for the participants to choose from, and to later apply in making the dance by collaborating with a dancer, Ng Xinying. Take The Lead, Make The Move intended to break away from the conventional paradigm of performance, where audience members are passive and performers are active. By giving the agency to the audience to be involved in making of the dance, this event aimed to activate audiences to contribute to shape the performance in a fun way. Initiator: Chai Vivan Dancer: Ng Xinying

Participants involved in the choreography. Group photo with participants of 2nd show.



Panel Discussion: Performance That Is Not Pretty Date & Time: 15 April 2017 at 5pm Venue: KOTAK @ Five Arts Centre, TTDI This panel discussion focussed on the 'performing body' that is different in the performing arts, and on performances that are not conventionally known as performing arts. In performing arts, the body of the performer is presented as a well-trained, skilled, beautified body. In performance art, live art or public art performances, the body is mostly presented in a more 'neutral' or not beautified condition. The idea of the body that is ‘not performing’ but ‘is performing’. What is this difference? The panel attempted to dissect how artists from different disciplines use the body as the medium to express their ideas to achieve a goal, and, the different ways of using/presenting the body. Another objective of this discussion was to present ‘Performance’ with additional value and function, and not necessarily as just a form of entertainment. Panelists: Yeoh Lian Heng, Chi Too and Chai Vivan. Moderator: Grey Yeoh Initiated by: Chai Vivan Panel Discussion: Performance That Is Not Pretty II (Engagement in Public Spaces) Date & Time: 15 July 2017 at 11am Venue: KOTAK @ Five Arts Centre, TTDI The ‘Performance That Is Not Pretty’ series of panel discussions aimed to encourage questioning and thinking on what constitutes performance and performing. These discussions intended to dissect how artists from different disciplines use the body as the medium to express ideas to achieve their goal, and, the different ways of using/presenting the body. The discussions also sought to look at how performance can create different value and function, and not necessarily serving as entertainment. The second panel discussion aimed to discuss works carried out in public spaces and public spheres, and the contestations of current assumptions about performing, performing spaces and performing bodies. Invited artists shared their thoughts, concerns and choices leading to their art creation and public presentation. Panelists: Intan Rafiza, Mislina Mustaffa and Sharon Chin. Moderator: June Tan

June Tan (moderator) introducing the two panellists. Sharon Chin sharing her artworks.



In The Background? Artist talks by Mac Chan & Bibichun Date & Time: 18 July 2017 at 8pm Venue: KOTAK @ Five Arts Centre, TTDI In July, Five Arts Centre initiated a discussion between 2 practitioners from 2 different fields – lighting design and graffiti. This conversation hoped to provide insight into how these practitioners construct idea and meaning, as they shared their work, motivations, impulses and influences. While one is sanctioned and the other not, their work suggests shadows, noiselessness/anonymity, and the effect of their work – contributing/setting a landscape, the background, a scene. Artists: Mac Chan (lighting designer) and Bibichun (graffiti artist) Moderator: June Tan

Bibichun sharing one of his artworks. Mac Chan sharing one of his lighting works. TERBALIK….mesti kena mata... Dates & Times: 10 - 12 August 2017 at 8.30pm 12 & 13 August 2017 at 3pm Venue: KOTAK @ Five Arts Centre, TTDI TERBALIK...mesti kena mata... was an experimental workshop performance that attempted to displace the normal hierarchy found in performance making. The creation of most performance is hierarchical in nature. The one at the peak of the hierarchy – director/choreographer – creates the work, and all other ‘departments’ commit to this vision and create to realise this vision. Terbalik attempted to deconstruct this frame and turn it on its head. Terbalik provided the lighting designer the role of creating the lights first. A performance was later created based on the lights. The Creative and Production Team Lighting Designer: Mac Chan Co-directors: Marion D’Cruz and Ivy N. Josiah. Performers: chi too, Janet Moo Tein Ni, Syamsul Azhar and Wong Tay Sy Producer: Suhaila Merican Production Manager: Hoe Hui Ting



Articles: Carmen Nge, Critics Republic: http://www.criticsrepublic.com/2017/08/28/let-there-be-light-a-review-of-terbalik/ Ann Lee, Arts Equator: https://artsequator.com/terbalik-mesti-kena-mata/ Subhadra Devan, NST : https://www.nst.com.my/lifestyle/groove/2017/09/278334/illuminating-endeavour

Four performers react to the movement of lightbulbs. A Conversation – between Mac Chan, Marion D’Cruz and Ivy Josiah Date & Time: 12 August 2017 at 5pm Venue: KOTAK @ Five Arts Centre,TTDI In the experimental performance Terbalik…mesti kena mata…, the team took on the unusual approach of using the lighting design as the starting point to performance-making. How do other members of the creative team navigate this process when the workflow is inversed, allowing the Lighting Designer to provide the primary impulse? Can the jumbling of workflow sequence bring to attention intrinsic hierarchies (if any) and does this say anything about the nature of collaboration? What are the challenges, interesting surprises and unexpected discourse that come about when you "terbalik" the process? Artists: Marion D'Cruz (Co-Director), Ivy Josiah (Co-Director) and Mac Chan (Lighting

Designer) Moderator: June Tan

Ivy Josiah sharing her thoughts on the creative process.

http://www.criticsrepublic.com/2017/08/28/let-there-be-light-a-review-of-terbalik/

http://www.criticsrepublic.com/2017/08/28/let-there-be-light-a-review-of-terbalik/

https://artsequator.com/terbalik-mesti-kena-mata/

https://www.nst.com.my/lifestyle/groove/2017/09/278334/illuminating-endeavour

https://www.nst.com.my/lifestyle/groove/2017/09/278334/illuminating-endeavour

https://www.facebook.com/marion.dcruz.3

https://www.facebook.com/ivyjosiah



Version 2020 -The Complete Futures of Malaysia Chapter 3 Premiered at SPIELART Festival Munich Dates & Times: 28 – 31 October 2017 at 7pm 30 October 2017 at 5.30pm Venue: Gasteig BLACK BOX In February 1991, the Malaysian government published Wawasan 2020 (Vision 2020) – an ambitious initiative to transform Malaysia into a highly industrialized, wealthy, and self-sustaining nation state by the year 2020. The vision of the future was firmly anchored in the collective thinking, but in October 2016 the grand plan was suspended and Transformasi Nasional 2050 (National Transformation 2050) was introduced – a programme with almost identical content, but yet with a distinctly more generous timeframe. Theatremaker, activist, and curator Mark Teh, who as a child in school painted pictures of a Malaysia optimized by Wawasan 2020, critically examines this state-decreed vision in the world premiere of a work conceived for SPIELART. With his team of political activists, performers, and filmmakers he mixed documentation and fiction, and painted very different images of the country: from the best to the worst, from the most probable to the most improbable future for Malaysia. The Creative and Production Team Creative Producer: June Tan Director: Mark Teh Performers: Lee Ren Xin, Fahmi Reza, Faiqsyazwan Kuhiri, Roger Liew and Imri Nasution. Production Designer: Wong Tay Sy Lighting Designer: Syamsul Azhar Stage Manager: Hoe Hui Ting Production Assistant: Ong Tong Articles (All in German): Christiane Wechselberger, Muenchner Feuilleton: https://muenchner-feuilleton.de/2017/10/29/teh-spielart/ Michael Stadler, nachkritik.de: https://www.nachtkritik.de/index.php?option=com_content&view=article&id=14572:spielart-festival-muenchen-2017-das-festival-eroeffnet-mit-inszenierungen-aus-suedafrika-und-suedostasien&catid=38:die-nachtkritik-k&Itemid=40 Inga Bergmann, kunstnuernberg.de: http://kunstnuernberg.de/das-12-spielart-festival-in-muenchen/

Fahmi Reza and Roger Liew in Version 2020, Lee Ren Xin in Version 2020, SPIELART Festival, Munich SPIELART Festival, Munich

https://muenchner-feuilleton.de/2017/10/29/teh-spielart/

https://muenchner-feuilleton.de/2017/10/29/teh-spielart/

https://www.nachtkritik.de/index.php?option=com_content&view=article&id=14572:spielart-festival-muenchen-2017-das-festival-eroeffnet-mit-inszenierungen-aus-suedafrika-und-suedostasien&catid=38:die-nachtkritik-k&Itemid=40



http://kunstnuernberg.de/das-12-spielart-festival-in-muenchen/



Wayang Dari SINKEH Dates & Times: 16 – 18 November 2017 at 8.30pm Venue: KOTAK @ Five Arts Centre, TTDI The 2017 inaugural season of ‘Wayang di SINKEH’ in Penang comprised monologues and duologue developed by local practitioners based in Penang, from local stories and themes. All performances were held at the dedicated studio for the arts, and award-winning SINKEH Guesthouse in George Town. The studio is supported by revenue from the guesthouse, providing it with a sustained income stream for arts programming, human resource training, management and maintenance. In an effort to promote exchange and discussion between the performing arts scene in Penang and Kuala Lumpur, Five Arts Centre presented 2 monologues from the series, in a special double-bill offering of ‘Wayang Dari SINKEH’! Monologue 1: A Complete Woman Playwright: Suzanne Teoh Performer: Suzanne Teoh Director: Chee Sek Thim Lighting Designer: Kash Koe Mun Yoon A mother writes to her daughter on the eve of her marriage, offering timely advice and sharing her own experiences of marriage and childbirth. The monologue used a range of Chinese dialects to animate the characters that inhabit the mother’s universe, as she maneuvers the complex network of opinions, tradition and conscience while making some important choices in life. Monologue 2: The Storyteller Playwrights: Lim Chung Wei & Wong Lay Chin Performer: Lim Chung Wei Director: Wong Lay Chin Lighting Designer: Alvie Cheng One man’s journey as he confronts the unspoken truth that had shaped the lives of his family. As the monologue unfolds, we learn through the lens of each one of the family members, the kind of power trauma has had over their emotional and psychological wellbeing. Article: Malay Mail: http://www.themalaymailonline.com/features/article/heres-why-you-might-want-to-catch-wayang-dari-sinkeh#kbYrdCO3u2gSWGTz.97 Suzanne Teoh in A Complete Woman. Lim Chung Wei in The Storyteller.

http://www.themalaymailonline.com/features/article/heres-why-you-might-want-to-catch-wayang-dari-sinkeh

http://www.themalaymailonline.com/features/article/heres-why-you-might-want-to-catch-wayang-dari-sinkeh



TIGA DALAM KEPOMPONG Dates & Times: 23 – 26 November 2017 at 8.30pm 25 & 26 November 2017 at 3.30pm Venue: KOTAK @ Five Arts Centre, TTDI New short plays under the Tiga programme for emerging performing arts practitioners keen on experimenting and developing their skills (writing, acting, producing or directing). All short plays were directed by Syafiq Syazim and produced by Farah Kamsari. Beautiful Flowers Written by: Anjali Nijjar Venugopal Performers: Alya Farhanah, Kween Keela Kamarudin and Megat 'Adli. Emerging writer Anjali Nijjar Venugopal was nominated by previous Tiga scriptwriter, Sharifah Aleysha to base her script on 3 new objects – a left slipper, a speed limit sign and a bouquet of flowers. Beautiful Flowers is a story about a girl and her brother struggling to survive depression.

Kween Keela Kamarudin and Megat ’Adli in Beautiful Flowers.

Peon Devised and performed by Alif Azeman, Hazmi Faiz and Nik Aqil. Peon is a story of three young men travelling in a train. Things go awry when there is an announcement of a bomb on board. Who do we become when we are threatened?

Alif Azeman and Hazmi Faiz in Peon.

Kenapa Tak Tukar Nama? Devised by: Yiky Chew and Syafiq Syazim Performed by: Yiky Chew Relationships are built on love and faith. We marry for love, but do we change our name for faith? Muslim convert Hoe Mei Ying navigates the complexity of identity and faith while struggling to answer the question everybody is asking – “kenapa tak tukar nama?”

Yiky Chew in Kenapa Tak Tukar Nama?



Tiga Dalam Kepompong Team Executive Producer: June Tan Producer: Farah Kamsari Director: Syafiq Syazim Performers: Alif Azeman, Alya Farhanah, Hazmi Faiz, Kween Keela Kamarudin, Megat 'Adli, Nik Aqil and Yiky Chew. Stage Manager: Armanzaki Amirolzakri Asst. Stage Manager: Adeeq Amalyna Marketing & Publicity: Cahaya Jais Graphic Design: Najhan Articles: Ridzuan Abdul Rahman, Harian Metro: https://www.hmetro.com.my/rap/2017/11/286869/tiga-karya-dalam-satu-cerita Andy Darrel Gomes, Critics Republic: http://www.criticsrepublic.com/2017/12/11/the-politics-of-tiga-dalam-kepompong/ Joyah Rivers, Daily Seni: http://www.dailyseni.com/v4/tiga-dalam-kempompong-the-butterfly-effect/ DON’T RENEW YOUR PASSPORT From August to October, we presented a series of public discussions with visiting art practitioners under the programme of Don’t Renew Your Passport. This was a way to bring the larger questions of performing, archiving and producing being asked by other, international practitioners to our community in Kuala Lumpur. These included:

• Dash a lecture performance by Singaporean Ho Rui An. • Dramaturgy discussion with Sophie Becker (co-artistic director, SPIELART Festival Munich). • Creative Producing discussion with Koh Jooyoung (South Korean independent producer). • Archiving & Documenting Singaporean Theatre with Daniel Teo (Centre 42). • Artist talk and Archiving Workshop by - Public Recordings (a Canadian performing arts

collective). Public Recordings develops and presents projects that test hypotheses about group work through performance, education, publishing and other collective gestures.

DASH by Ho Rui An (Singapore) Dates & Times: 22 & 23 September at 8.30pm Venue: KOTAK @ Five Arts Centre, TTDI Opening with footage of an accident captured from a dashcam, DASH considers how the accident—or crisis—becomes legible within a risk-managed and financially hedged era. While the dashcam was originally designed as a device that bears witness to the accidents that happen to the vehicle to which it is fitted, its proliferation in recent years has inadvertently yielded a contemporary index of the accident in the form of the vast accumulation of crash footage on the Internet. Taking this condition of the dashcam as a point of departure, the lecture considered the broader logic of "horizon scanning" that underpins the foresight programmes of the Singapore government, which combine big data and scenario planning as tools for "surprise anticipation". As a crucial node along the electronic circuits of global finance as well as the sweaty regional routes crossed by

https://www.hmetro.com.my/rap/2017/11/286869/tiga-karya-dalam-satu-cerita

https://www.hmetro.com.my/rap/2017/11/286869/tiga-karya-dalam-satu-cerita

http://www.criticsrepublic.com/2017/12/11/the-politics-of-tiga-dalam-kepompong/

http://www.criticsrepublic.com/2017/12/11/the-politics-of-tiga-dalam-kepompong/

http://www.dailyseni.com/v4/tiga-dalam-kempompong-the-butterfly-effect/



disenfranchised migrant labour, Singapore is held up within the lecture as a privileged site to attend to the disturbances or “weak signals” that crop up on the horizon, from which a fantastic speculative economy—populated by the likes of “black swans” and “dragon kings”—is produced to affirm some narratives while extinguishing others. DASH was commissioned by Frontier Imaginaries for the group exhibition, Frontier Imaginaries: The Life of Lines, at QUT Art Museum, Brisbane, Australia. It came to KOTAK after being presented in Haus der Kulturen der Welt (HKW), Berlin and The Show Room, London in 2017. Articles: Hariati Azizan, The Star: https://www.star2.com/culture/2017/09/16/performance-lecture-dash/

See Tshiung Han, Critics Republic: http://www.criticsrepublic.com/2017/10/10/the-line-between-moving-and-not-moving-a-review-of-dash/ Art KL-itique: http://artklitique.blogspot.my/2017/12/dash-five-arts-centre-22-september-2017.html

SPIELART Festival co-Director Sophie Becker in discussion with June Tan on dramaturgy.

Ame Henderson and Evan Webber, members of the

Canadian art collective Public Recordings on their work and their project Performance Encyclopedia.

Daniel Teo from Centre 42 on creating living archives.

Workshop led by Public Recordings which saw an “analog” version of Performance Encyclopedia.

https://www.star2.com/culture/2017/09/16/performance-lecture-dash/

http://www.criticsrepublic.com/2017/10/10/the-line-between-moving-and-not-moving-a-review-of-dash/

http://www.criticsrepublic.com/2017/10/10/the-line-between-moving-and-not-moving-a-review-of-dash/

http://artklitique.blogspot.my/2017/12/dash-five-arts-centre-22-september-2017.html



ARCHIVE PROJECTS Two Archive Projects were launched on 19 December 2017 at KOTAK @ Five Arts Centre, TTDI. Project 1: My Art Memory Project Creative lead: Kathy Rowland Producer: Ivy Josiah PILOT PROJECT – Theatre from 1980’s to 1999. An archive project was initiated with a 15-month pilot phase (May 2016 – August 2017) that focussed on Theatre from 1980 - 1999. Other decades of theatre, and other focus areas (i.e. dance, music, multi-disciplinary performance) will follow upon completion of the pilot project. The website (http://www.myartmemoryproject.com/) holds a history of performing arts productions, a censorship database, critical resources, and an oral history podcast to help us understand the trajectories of development, the competing artistic movements, the experiments of form and the thematic concerns of past and present practitioners. This archive collection will be accessible physically (in hard copy) as well as on-line (digital archives). My Art Memory Project website homepage.

http://www.myartmemoryproject.com/



Remember When…Roundtable Series for My Art Memory Project Remember When … is an Oral History Project, comprising a series of conversations with pioneering Malaysian theatre practitioners, conducted before a ‘live’ audience. With each voice we hope to capture a reflective, complex and highly personal history of the local stage. The recordings of these conversations will be uploaded as Podcasts on MY Arts Memory. Roundtable 1: Remember When...Uda & Dara Date & Time: 28 October 2018 at 11.00am Venue: RUANG@ ThinkCity, Kuala Lumpur Participants: Datuk Haji Abdul Rahim bin Haji Mohd Razali and Dato’ Faridah Merican. Moderators: Kathy Rowland and Marion D’Cruz. Videographer: Kino-I Pictures

Conversation about Uda Dan Dara. Group photo with Aswara Students. Project 2: Arts Education Archive Malaysia Project Creative lead: Janet Pillai Producer: Ivy Josiah The Non-Formal Arts-Education Archive is a case study between 1974 – 2014 which attempts to unravel and understand the informal flow, transfer or exchange of knowledge that takes place in the arts world between and among generations, through non-formal training and practice. Non-formal arts education in Malaysia is a modern concept that flourished in Malaysia in the post 70’s period. It involved professional art practitioners or fresh graduates offering visual/performing arts programs for young people, outside of formal education - in association with, institutional or private settings, using modern instruction as a kind of alternative to the disappearing tradition of ‘master-student’ transmission. Among the several non-formal arts programs available at the time, was an informal theatre program for children introduced by the late Ismail Zain at the Komplex Budaya Negara (1970s), which later evolved into a multi-arts program entitled Teater Muda produced by Five Arts Centre KL (1992-2000). This program was recreated in Penang as Young Theatre (1999-2003) and went on to adopt an added feature of educational theatre (performed by adults for children). The program found new life yet again, by incorporating inter-generational heritage and culture education for young people, under the name of Anak-anak Kota in Penang (1999-present).



This archive collection will be accessible physically (in hard copy) while only a selected portion of best practice will be available on-line.

The Arts Education Archive Malaysia Project website homepage.

Arts Education Archive Malaysia Roundtable Series The roundtables brought together a small pool of professional art practitioners involved in visual/performing arts programs for young people, for a period of at least 20 years. The roundtables had in-depth discussion and reflection on the history of artists’ participation in arts education programs.

Roundtable 1: Arts Education Archive Malaysia

Date & Time: 19 November 2017 at 2.30pm Venue: Ruang@ThinkCity, Kuala Lumpur Participants: Charlene Rajendran, Carolyn Lau, Marion D'Cruz, Janet Pillai, Yvonne Phan,

Pauline Nisha, Adela Askandar, Imri Nasution and Nik Nailah Abdullah. Moderator: Mark Teh Rapporteur: Carmen Ng Videographer: Kino-I Pictures



Carolyn Lau sharing her past experiences. Janet Pillai analysing the notes from participants. Roundtable 2: Arts Education Archive Malaysia Date & Time: 2 December 2017 at 2.30pm Venue: UAB Building, Penang Participants: Tan Sooi Beng, Ho Sheau Fung, Chen Yoke Pin, Aida Redza, Janet Pillai,

Goh Hun Meng, Katharine Chua, See Tho Weng Yin, Ang Bee Saik, Kuah Li Feng, Pearlly Lim Pei Li and Faizah Jayakumar.

Moderator: Marion D’Cruz Rapporteur: Mark Teh Videographer: Kino- I Pictures

Faizah Jayakumar sharing her experience Short interview with Chen Yoke Pin. in the Heritage Heboh programme.



KRISHEN JIT ASTRO FUND 2017 The Krishen Jit ASTRO Fund was introduced by ASTRO together with Five Arts Centre in commemoration of the late Dato’ Krishen Jit and is aimed to provide deserving arts practitioners with monetary aid to pursue projects in the Arts. One of the main objectives of Krishen’s pioneering work was celebrating original Malaysian creativity in as varied and alternative ways as possible in all the areas of the arts. His ground-breaking theatre practice straddled and brought together a wide range of contrasting spheres, producing projects that were inter-disciplinary, multi-cultural, multi-lingual and experimental. Negotiating between academia and practice, tradition and contemporary pop culture, Hollywood and Bollywood, the mainstream and the marginalized, Krishen’s work articulated a Malaysian identity that was ever evolving and encouraged practitioners and audiences to reflect on their lives and societies. This is the spirit of the Krishen Jit ASTRO Fund. The Krishen Jit ASTRO Fund, works as an extension of this spirit to encourage and support creative work in Malaysia. The announcement of the Fund took place on 28 April 2006 at Utih…Celebrating Krishen. This was a commemorative event on the first anniversary of his death. The Fund was launched by Astro at this event. The Selection Panel for 2017 was:

• Tan Sri Datuk Norliza Rofli – Director, Department of Culture and Arts, Ministry of Tourism and Culture, Malaysia.

• Jolyn Gasper – Snr. AVP, Corporate Responsibility, Corporate Responsibility, Community Affairs, ASTRO.

• Leow Puay Tin – Playwright and Researcher, Sunway University. • Ravi Navaratnam – Representative from Five Arts Centre. • Mac Chan – Representative from Five Arts Centre.

The Fund is administrated and managed by Five Arts Centre. In 2017, the allocation of RM34,000 was to be distributed into grants ranging from RM2,000 to RM20,000 each, for training, workshops, attachments or residencies, experimental productions, writing, or creating new work in music, dance, theatre, writing, visual or performance art. Last year the Krishen Jit ASTRO Fund received 45 applications for projects in dance, theatre, film, video, publication, visual arts, music, animation, education, training and interdisciplinary work. 2017 GRANTEES AGNES LEE AGAMA The Grant: RM8,000 The Project: Eco Art Connects Interactive Art Installation ANRIE TOO and KELVIN WONG The Grant: RM8,000 The Project: The Emerging Directors Lab CHRISTINE MAY YONG The Grant: RM5,000 The Project: A teaching and learning space for Kelantanese music and performance.



LIM PEI ERN The Grant: RM8,000 The Project: Nyanyian Bumi – A collaborative dance project, RIDHWAN SAIDI The Grant: RM5,000 The Project: Teater Modular – a series of playlets staged together.

Krishen Jit Astro Fund 2017 Grantees. --------------------------------------------------------------------------------------------------------------------------------------------------



ABOUT FIVE ARTS CENTRE

Five Arts Centre is a dynamic collective of Malaysian artists and producers, dedicated to generating alternative art forms and images in the contemporary arts landscape. It is well-known for cutting edge performances in theatre, dance, music and young people’s theatre, and incorporates aspects of the visual and digital arts as well. The collective has performed and presented its work in Southeast Asia, Japan, South Korea, Hong Kong, India, Egypt, Australia, Canada, Germany, Austria, Belgium, Portugal, Switzerland, Finland, UAE and the United Kingdom.

Since it was formed in 1984, by theatre directors Chin San Sooi and Krishen Jit, and dancer-choreographer Marion D’Cruz, Five Arts Centre has been committed to articulating the complexity of Malaysian culture and identity through explorations and fusions of local vocabularies, forms and traditions, in relation to the global, modern and cross-cultural. As such, it has been instrumental in the growth of a Malaysian identity in the arts, that draws from multiple influences and hybrid histories.

For over three decades, Five Arts Centre has been at the forefront of creating experimental, interdisciplinary and intercultural work, providing platforms for the next generation of arts practitioners. Contemporary social, political and cultural issues impinging on Malaysian life are precipitated by way of performances, exhibitions, creative seminars and research workshops.

From 2004 to 2006, Five Arts Centre was the manager of Arts Network Asia, a regional organisation supporting arts work in Asia. In 2006, ASTRO and Five Arts Centre launched the Krishen Jit ASTRO Fund to support artistic work by Malaysians and others committed to the development of the arts in Malaysia. At the 12th Boh Cameronian Arts Awards in 2015, Five Arts Centre was awarded the inaugural “Most Inspiring Award”. In 2016, Five Arts Centre was awarded the “Praemium Imperiale Grant for Young Artists” from The Japan Art Association.

Today, the collective consists 13 individuals from diverse generations and disciplines. They are Anne James, Chee Sek Thim, Chew Kin Wah, Fahmi Fadzil, Ivy N. Josiah, Janet Pillai, June Tan, Kubhaer T. Jethwani, Mac Chan, Marion D’Cruz, Mark Teh, Ravi Navaratnam, and Suhaila Merican.

In addition to the work done within the company, individual members of Five Arts Centre, many who have full time jobs, continued to work in a range of areas – education, film, stage, activism, forums, conferences, workshops, talks…..

Five Arts Centre is supported by Astro, the Ministry of Tourism and Culture, the National Department of Culture and Arts, Yayasan Sime Darby, Kino-I Pictures and many Friends of Five Arts Centre.

IN CONCLUSION… In conclusion, 2017 was much too busy for Five Arts Centre! We remain grateful and appreciative of the support shown by individuals and institutions/corporations that allow us to carry out our art work. In many ways, we have been lucky to have met and worked with a range of talented, hardworking and committed practitioners. They in turn have inspired us to continue asking, investigating and presenting to the fore, critical questions for our community. ------------------------------------------------------------------------------------------------------------------------------------- Report prepared by June Tan, Hoe Hui Ting and Marion D’Cruz.

five arts centre annual report 2017 · page 2 of 30 five arts centre 27 & 27a, lorong datuk...

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