Showing posts with label Penang. Show all posts
Showing posts with label Penang. Show all posts

Wednesday, 22 January 2025

Book Review: A Stitch in Time | Lee Su Ann

A Stitch in TimeA Stitch in Time by Lee Su Ann
My rating: 4 of 5 stars

A Stitch in Time is a pretty lighthearted read.

Gavin Lai presents as something of a ghost through most of the book, but he's not a scary ghost - just a self-absorbed young actor trying to get back into the real world.

Clare Chong, a super quiet, introverted girl, is the only one in the school who can see him. Which means she's the only one who can help him. She has to confront her fears and inadequacies in order to solve the mystery of his disappearance... while he has to face himself and what has brought him to this place.

90s pop culture references abound, which makes it fun (and maybe a little nostalgic) to read as one who grew up in those times. I'm not sure if present day YA (ie the real target readers) would find that as exciting, or just incomprehensible. I mean, they're still using FAXES and DIAL-UP internet, and there are no smartphones! Only old-fashioned, large, bulky mobile phones that only business men use...

View all my reviews

Monday, 29 July 2024

Yam Seng Lah: Wait, who’s making a scene now?


You walk into a restaurant for the Tan family reunion. There are familiar and unfamiliar faces, but on the whole you’re not quite sure who is who or how they’re related to you. Or if they even are. But you’ve been invited, and this is quite a fancy-looking place, so you might as well just make yourself at home.

There’s some drama going on in the background: cousins squabbling, so-and-so monologuing, gossip and rumours making their rounds. Nothing unusual. What’s a family reunion without a huge shouting match anyway? There are five branches of the Tan family here—really, who is that making a scene now?

*

Source: facebook.com/dabbledabblejer.co

Yam Seng Lah by Dabble Dabble Jer Collective and Curios-City was quite the experience. I attended the immersive theatre-and-dining show on Saturday evening, 27 July. Doors to The Lazy Bar opened at 6pm, creating a waiting space for those attending to check in and receive their “name cards” denoting which of the five families they were supposed to be part of: Tan, Teng, Raj, Mapon, Lee (I think?). I don’t know if I missed part of the instructions/information because I joined my group a little late, but this would’ve been a good time to set up quite a lot of expectations for the show.

At 6.30pm, we were ushered into Curios-City’s main dining hall. There was a bit of confusion—choose your tables, get snacks, wander around, look at family photos stuck on the pillars… but we were not really given enough time to do all this before things (sort of) kicked off with various family photos on the main stage, organised by individual “families” plus a whole group photo. I say sort of, because it was all terribly confusing.

Felicia Teng (Ysabel Loh) and Willy Teng (Yee Heng Yeh) threw us into the whole drama side of things after the photo with their dialogue (squabbles) about Sweet and Sour (chicken) versus Grandma’s Fried Chicken, playing up the differences between the studious girl making her way in fashion design in London and the spoiled party boy living it up and trying to assimilate in the USA. It was a great reflection on comfort food—especially for Chinese-Malaysians far from home, where just going to the nearest “Chinese” shop doesn’t actually reflect how things taste back home. Flavour profiles change in the diaspora, and I speak from experience when I agree that Chinese food overseas does not quite taste like Chinese food back home. (Also, what do you call yourself when you are a diaspora of a diaspora? Are we Chinese or Malaysian diaspora now?) We were then called to take our seats for dinner; most of the rest of the show was performed in between courses.

I am PEKASAM came next, with Darynn Mapon (Darynn Wee) bursting into the restaurant right off the plane from Sarawak carrying a tub of pekasam and an air fryer. The start of the monologue had Wee speaking as if she were the pekasam itself, which came off as a little awkward and weird, before she segued into what this traditional dish really meant for her and finding her identity as a half-Chinese, half-Bidayuh woman. Personally, I felt that the dual narrative could have been combined a little better. Trying pekasam itself was interesting (heh)—but it was much milder in taste that they made it out to be. It was also nice to have different variations of how it can be eaten!

This was followed by Sofea Lee’s (Sofea Lee) reflection in Laksa Lessons on how only one kind of laksa is true laksa for her, despite the fact that there are so many different styles of laksa throughout Malaysia that all bear the same name. This was the only piece that truly used the ensemble as a whole, with some kind of group speak going on so it felt the most “performed”. Two kinds of Northern laksa were served; I’m assuming the non-sour one was from Kedah.

Life is a Brief Khichdi was the final (main) course of the day, which involved rumours from the Raj family, a “secret” stove at the back, and a directed migration to “see what they’re hiding”. VJ Raj (Villmett Thanakody) fiddled with the stove, gave a monologue about khichdi and missing his grandmother, then made a pot of khichdi on the spot. The staging was such that since he invited us (the Raj family) to sit on the benches at the back of the stage before the others came around to kepo. Because he was mostly facing the crowd, this one fell a little flat for me. Maybe it’s because I was looking at his back? Then again, this is the third show I’ve seen Villmett in, and in all of them I have felt that his emotions were just not quite there. So there’s that.

We moved back to our seats for khichdi before being called again to a separate cooking area at the back for Love is a Plate of Kesari, where Monica Raj (Charity Yong) cooked Kesari with the help of Wee and Yee while reminiscing about her grandmother’s kesari and the last time she had it at fifteen. I couldn’t help loving this one because I originally published this creative non-fiction piece by Miriam Devaprasana as part of Nutmag 7: Inheritance in 2023. They tweaked it to fit the staging but Yong gave a delicately emotional performance to round up our dessert.

With these last two dishes also being cooked on the spot, we were offered a home-recipe version of the dish in contrast to the more modern/fusion restaurant version—the homestyle version was obviously better, despite how slapdash the cooking process looked!—which I thought was a fantastic personal touch.

*

Source: facebook.com/peopleideasculture

As a whole, Yam Seng Lah was an interesting exploration of food, memory, and culture. It offered a lot to reflect on, and a lot to taste as well! I won’t comment more on the food because I’m a picky eater, but everything was edible even with my limited palate (I was a little worried pre-show). There were some weaker spots in the performances as mentioned, but all the separate monologues mostly hung together, especially with how the separate narratives and families tied up at the end.

Where it failed for me was in how it was set up—I loved the fact that this one Tan grandma had such a multicultural extended family, but I still have no idea how the families are connected or how each character is related to each other. I don’t even know if I got all five surnames right even after scrolling through their social media for clues. Felicia and Willy at times sounded like cousins, but also felt like siblings (I’ve been told they’re cousins); I couldn’t figure out if VJ and Monica Raj were siblings or husband and wife; and if both Sofea’s and Darynn’s fathers were the ones related to this Chinese Tan family, why were their surnames Lee and Mapon respectively? I wish they’d given us a copy of the family tree along with our “family names” while we were waiting at the doors. Moving the family photos outside would also have helped with this, besides giving us more time to actually look at them.

Seeing that immersive theatre isn’t quite common, it would have been helpful to have a little announcement (or reminder) when the doors opened that once we entered the hall, the actors were already in character, and we were not waiting for a traditional type “play” to start. It took a little while for me to figure out what was going on; amidst the general confusion of where to sit and herding towards snacks and photos, it was only when Loh and Yee got into their actual scripted dialogue that things really began to click for me.

Though in all honesty, part of this disconnect could have been because I know most of the cast personally. As quite a few of the scripts were written by the actors themselves about their personal experiences, there was quite a weird blurring of lines between reality and fiction. I do wonder if this affected the general visiting audience in the same way, or if they would have been a little less disoriented.

*



Dinner concludes with a song, a dance, and the longest, loudest yam seng everyone in the room can manage. You look around and feel like you’ve gone through a journey with them, even if you still don’t know who they are. The family fight has been settled—for now—and it looks like you’ll be added into yet another WhatsApp group you’re probably going to mute immediately. But hey, that’s family, right?

You leave, sated. Thoughtful. Maybe a little nostalgic. Maybe it’s time to head for some comfort food after all that fancy restaurant stuff?

*

Despite all my quibbles, I loved what Dabble Dabble Jer Collective and Curios-City presented in Yam Seng Lah, as part of George Town Festival. It was a true celebration of our mixed, slightly confused cultures that’s coalesced into our Malaysianness. The restaurant itself was a lovely, cosy place that really set the mood. The music (Bernadine Jeanne Abeysekra) was superb and added to the vibe of the night—changing according to the culture of each piece. I guess I understand the need for the dim lighting—and the coloured lights were a nice touch—but I do like to actually look at the food I’m eating, instead of having to move the table light back and forth every time any one of us wanted a little more light!

This second show by Dabble Dabble Jer Collective, whilst quite a vast difference from their 2023 debut, Burden of Proof, is equally as stellar. It’s amazing to see the thought and care they put into each performance they craft—making it not just mindless entertainment, but something that reaches deeper into your soul.

Here’s to their next show!

Yam Seng!

Source: facebook.com/dabbledabblejer.co


Friday, 9 February 2024

Hair the Dragon

In conjunction with the year of the dragon and Chinese New Year, here's a short story I wrote and performed at the Butterworth Fringe Fest with Readings@Tanjong last year. 

HAIR THE DRAGON

They say that the tunnels under George Town are where the dragons used to live. I don’t know about that. It’s 2023, for God’s sake. What dragons? Have you ever seen a dragon? They’ve probably been hounded—or hunted—to extinction by now. It’s not like we’ve seen any in recent decades. Centuries, even. The stories still stick around, though. 

Like the one my uncle’s uncle’s uncle once told my uncle’s uncle, who told my uncle who told me about this dragon that he used to know. Yeah, but unlike the song, it wasn’t a breakup. It wasn’t even a romance. More like a…threat?

Anyway, back in ye olden days, we used to have wells. There’s one at Kuan Im Teng—The Goddess of Mercy Temple—if you want to know what a well looks like, though no one uses it anymore. It’s like this deep hole that’s all dried up and probably filled with rubbish, but that’s where people used to get fresh water and stuff in the past, no kidding. They didn’t twisty-turny or pushy-pully, yay clean water! You had to work for it by going out to the garden, to the well, and pull up a bucket of water on a chain. Then boil it or something so you don’t die. The water, not the bucket. You reuse the bucket. 

If I lived back then, I would have lots of muscles. Or I would be dead of dehydration. Probably dead.   


So, there’s this network of wells, and obviously they’re connected by tunnels, all the way from Fort Cornwallis through to Masjid Kapitan Keling. Or not so obviously because they’re hidden underground. I haven’t seen them myself and I don’t plan to. I don’t think half of them are even accessible now, so I really don’t think we have dragons living in Penang anymore. Where would they even stay? 

Source: https://atap.org.my/maps/ 

I’ve been trying to imagine this, but the best I can come up with is like the underground sewer network, which eww, why would a dragon live there? Aren’t they supposed to be majestic creatures of death and destruction and all that? 

But lots of the old stories say that dragons like caves, so I suppose this was maybe what they were used to. I dunno, I thought they’d hoard enough money to buy themselves a mansion or two. Maybe dragons are just weird that way.

This dragon that my uncle’s uncle’s uncle used to know was called Hair. Not because he had a lot of hair—dragons don’t have hair, they have scales. I definitely have the intonation wrong, but it’s something like the Hokkien word for prawn? Ha, He, Heh, Her, Haaaaiiir. ANYWAY. It probably means something else and may not even be Hokkien so who knows what his name is actually supposed to be? Hair is easier to say for a banana like me. 

Right. Back to the story. 

Hair is an ancient dragon, because all dragons are ancient, and my uncle’s uncle’s uncle was ancient, so everyone I’m talking about is very old right now and mostly dead. Except the dragon, because dragons don’t die, and my uncle, because well, he’s only seventy-ish. He still has a strong heart and he’d be here telling you this story except he doesn’t speak much English and he says his legs get tired, but I know that’s a lie because he always goes for these long walks to the apartment on the next road to see his mistress. (Who he thinks we know nothing about.) Now, if there were tunnels in Butterworth, I’m sure he’d be all for using them so that no one could follow him to her place.

I wonder where I can find that info...

I met Hair once. Or at least, I think it was him. My uncle wasn’t really clear in the introduction, but I think my Chinese was passable enough to understand that he said, “This is Hair the Dragon,” instead of “This is Prawn the Loan Shark.” Which is what I hate about Chinese languages, you know? Everything could be another word if you say it wrong and it should be so pretty and witty and poetic but really it’s not. Plus, I can’t really tell the difference between Mandarin and Hokkien and Cantonese and whatever else. So, who knows what my uncle really said?

The guy I met is now a Facebook friend, which is kind of cool, assuming I met the dragon and not the loan shark. If they even are the same person. He looked like a human, which is a thing I’m told dragons can do. Maybe you should prod your neighbour and see if they’re really human. They could be a dragon in disguise. 

Anyway, next year is the year of the dragon, which is Hair’s year. He hates it, apparently, and says it’s supposed to be mine. Because Rats and Dragons get along or something like that. Don’t ask me the specifics, it’s not like I believe in it anyway, but I believe in knowing stuff. Knowing stuff is always helpful. Maybe that’s why Hair likes me. I know a lot of stuff. 

But you’d think that you’d like your own year, right? I thought so too, because I always thought that if it was your year, they would favour you, right? Your greatest cable, right there. Boom! Direct connection to the gods or whatever. But he told me that having the same year as your zodiac animal was actually bad because then you would clash with them. The only way to resolve that is by signing a “peace treaty” with your “zodiac animal general”. Which is stupid. Like, we’re Chinese, we’re buddies, right? We’re Penangites, we’re buddies, right? So if you’re both dragons, you should be buddies, right? 

The problem, I was told, was that whilst Hair is a dragon, he’s not one of the dragons of the zodiac. There are five elements in the cycle, like earth, fire, wind, water, heart, by your powers—no, that’s Captain Planet. This makes me feel old, but I don’t think anyone remembers who Captain Planet is anymore. The shiny white guy with green hair? That anti-pollution campaign cartoon? Oh well. 

The five, um, Chinese elements, which I don’t remember, means there are five different dragon generals, and Hair isn’t one of them so I suppose that puts him in opposition with all of them. Unless I’m getting this wrong and all this applies only to humans and not to dragons. 


All that aside, Hair used to live in the tunnels under George Town for whatever reason. I’m actually still not convinced there are tunnels. Or that dragons lived there. Though I was told that if you visit the Pinang Peranakan Mansion—you know, that light green building where they filmed The Little Nyonya—there’s another well leading to a tunnel right there. I remember visiting once, but I can’t for the life of me remember if I saw a well. But they might have filled it in and covered it up because, well, tourists. You don’t want things falling in that might awaken something scarier than a dragon. 

SOOOOOOO...

They say the tunnels of George Town were used for other nefarious reasons in those days, besides potentially housing dragons which are not Balrogs. One of those reasons was to smuggle drugs like opium and other, um, illegal items, like guns and weapons. There was a gang war going on, after all. And a war against the British. I could be getting all the years wrong, so don't quote me on this, but anyway, another place where you’re supposed to be able to find a dragon—or THE dragon—in the tunnel network is at the Cheah Clock Tower, which was built to summon a dragon to save Penang from the Big Bad Mat Salleh. I guess it didn’t work because it's now called the Queen Victoria Memorial something or other.

So, the supposed tunnels somewhere under George Town is where my uncle’s uncle’s uncle met Hair, because dragons were honourable creatures who very much did not like smuggling going on in their homes, even if those homes were smelly old tunnels. I mean, I would be upset too, if someone were to use my house as their gang’s hideout and potentially get me into trouble. And obviously, my uncle’s uncle’s uncle was one of those involved in the smuggling. 

It was kind of how my family made their money back in ye olden days. It’s not like all the stuff they smuggled was bad, just controlled, kind of like if you bring chewing gum to Singapore now. Smuggling things like spices and tea to evade taxes was quite A Thing back then because He Who controls the Spice controls the Universe… It really was just that the British wanted to own all the things and didn’t want anyone else to have the money. And my family wanted to get in on that money, at least, until Hair frightened the living daylights out of this ancestor of mine so much so that he avoided the tunnels from then on and went back on the straight and narrow for pretty much the rest of his life. 

I’d like to say that my uncle’s uncle’s uncle never saw Hair ever again, but that’s not the truth. Hair kind of stuck around and checked in on him every once in a while to make sure he didn’t go back to smuggling things in tunnels, which is why, I guess, this story kept getting passed down through the generations. Plus, the story goes, after meeting Hair one too many times, the whole family just up and left George Town and moved to Butterworth. 

Actually, I should ask Hair whether he really lived in the tunnels of George Town or if all that was just a stupid story my uncle’s uncle’s uncle told my uncle’s uncle to entertain him, who in turn told my uncle, who in turn told me because I like knowing things and maybe I’m just gullible like that. I guess I’ll message him when I get home. He’ll probably laugh himself silly and say that everything my uncle’s uncle’s uncle said was a lie. 

He’s probably Prawn the Loan Shark anyway.

That's all, folks!

Originally written for and performed at:


Friday, 20 October 2023

#bookreview: Hantu Macabre | Jill Girardi

Hantu MacabreHantu Macabre by Jill Girardi
My rating: 3 of 5 stars

Hantu Macabre started off great. Suzanna Sim, the half-American, half-Malaysian protagonist is based in George Town, Penang, so I started off loving the Penang vibes. The setting is described with so much detail and love that you can tell that Girardi really did enjoy living here. There's a series of grizzly murders and Sim sets off to solve them with the help of her assistant, a toyol named Tokek. Some of the cases take Sim to other parts of Malaysia as well, but I felt those places weren't described with as much care or detail as she did George Town.

The thing that ultimately felt off to me was the way it was written and/or structured. The series of murders are all interconnected, but in many ways, it felt like a bunch of short stories/novelettes that were put together instead of a cohesive novel.

Part I, the one titled "Hantu Macabre" itself, felt like the best part of the book.
Part II was a leeeeetle bit too outlandish for me, involving magical Japanese swords and undying generals from the Japanese occupation. But whatever. Here's where we figure out who the recurring antagonist is, and that she's going to be the actual main nemesis in this book.
Part III flipped back to a more Malaysian paranormal crime feel, and also reveals more about Suzanna Sim's past. It's the most substantial part of the book and should've probably been the climax. See, there was this big black magic event that happens and felt like it could be the Big Battle but it doesn't... end... there.
In Part IV, Sim spends a lot of time doing nothing especially interesting before the final show down happens. It does, however, also solve the mystery of Sim's past besides resolving the main crime issue of the whole book. And then it ends on a line, which I guess sets it up to have more books in the series.

Ultimately, I felt like, as a novel, Hantu Macabre started off with great promise but kind of petered out.

View all my reviews

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I've been behind on posting reviews, so I figured eh, whatever, I'll post even if it's not a Wednesday. lol. So, bonus post, I guess? Or belated one.

This one's for October's TBR challenge. I have a couple of ARCs to read this week for books that are releasing in October, so I'll probably be skipping the stretch goal. 


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Affiliate buy link here:

Saturday, 11 March 2023

#review: Fresh 14.0 | ZXC Theatre Troupe

Okay so I did this thing (again) where I went to see a show without knowing anything about it except that my friend wrote a script in English, but it was going to be performed in Hokkien with surtitles. 

SHOULD BE OK KAN. SUPPORT YOUR FRIENDS KAN.

It was actually this:


I dunno what all the other words say, I only know Fresh 14.0 hahaha. And I'm too lazy to google translate. So anyway, the first 3 plays were in Mandarin (probably) and only the last (Heng Yeh's) was in Hokkien, and apparently my half-past-six Hokkien is better than my non-existent Mandarin, who knew! (I knew) But anyway, the surtitles were much better written and felt more complete than the ones during A Complete Woman.

Some general notes on the overall experience first. I know this show isn't catered to bananas like me, but... these would probably also help the Chinese theatre-goers, I feel. 

(1) The thing with programme booklets (and why we have them, even if it's a one-page A5 flyer) is that it helps the audience understand the background or premise of the play(s), even before the show starts. I suppose there has been copious stuff posted on their facebook page (which I didn't know existed until now that I'm writing this and stealing their pics), but none of it was at the venue, that I saw at least. ETA: I found a QR code on the FB page but it doesn't want to open on my phone. Also, all of that is in Chinese, which brings me to...

(2) There should also have been a little more general translation for the technical type things as well, especially all the really, really long announcements before the show, between the plays, and after the whole event. With the existence of English surtitles - the ushers even tell you where to sit/where the surtitles will be projected - you're basically inviting a multilingual crowd so there's an expectation that other things should be translated as well. Beginning with the usual "we're about to start, turn off your phones, no recording" etc which can be just the usual pictograms on the screen. 

Right. So the four plays. 


Bathroom was the first play. And this is where context is important because... when it first started, I thought it meant that was where the scene was taking place (obvious, there was a bathtub there). Adding a few lines for as playwright, director, & actors' names (which I think was what they were announcing) would have clarified that a bit. 

Anyway, remember: no programme booklet, no foreknowledge of what on earth is happening. A woman struggling with depression is in the bathroom, where she can be free to be herself. She's talking to another woman about the past, bringing up memories that don't quite match up sometimes. I could never figure out who they were to each other. Were they friends? Sisters? Is she talking to herself and this is a split personality of sorts? Was it like the happy side of the person talking to the sad side? Is it her past talking to her present?

It was all very metaphorical, a long search for something amidst multiple internal breakdowns and external crises. What was the significance of the white balls and the one random blue one she was looking for but not really looking for? Was she cutting? Was she committing suicide? I dunno. Nothing was obviously explained in the dialogue itself, and nothing in the scene clued me in. 


The second play, I don't eat meat with bones, started off well. Three people and a dog get lost in a cave. They start off optimistic (don't worry! my boyfriend will find us soon!) but when their supplies run out after 3 days, they have to start making difficult decisions. Will the vegetarian let the others eat her dog in exchange for a packet of dried mangoes? Will the young man who's afraid of choking on bones finally eat meat that has bones? And when that too is gone, do they just lie down and die or do they start sacrificing each other for their own survival?

The Dad figure (idk the character's name or the actor's name lol) stood out in showing his slow descent into madness, his obsession with survival to get back to his wife and son at the expense of everyone else. And yet he's still The Dad, taking care of the others and trying to get them to eat. There was a rather amusing discussion of reincarnation (if you will reincarnate as a chicken if you eat chicken, does that mean you need to eat humans to be reborn as a human?!) and holding on to your principles in times of crisis. What would you do if your survival depended on it? 

I'm not sure if the playwright/director meant it to be a funny show. I mean, it's an absurd situation and people laugh at dark things, but some of the humour felt a little displaced alongside the horror of the scene. I also felt rather ambivalent about the ending, which didn't quite make sense to me. Honestly, I felt that the play could have ended about half a scene earlier and it would have been much stronger for it. 


Ok, I'm not sure what the actual name of this play is. It sounded really lyrical on the screen something about the fog and the heart and the ocean? But Google translates it as The Dark Ocean, I Am Alone (which ????? lol). I guess I'll just call it Ocean??

The theme for Ocean is rather similar to Bathroom: facing the past, dealing with depression. The protagonist is sitting looking out at the sea, where he finds peace. At first, he cannot see the three others, who are very clearly representations of himself from different times in his life. And when he finally sees them, he doesn't recognise who they are, finding fault with how they live their lives. But soon he has to face up to reality, to remember amidst the crippling fog, and learn to let go of the past in order to move forward in life. 

The only thing that threw me off a little, was that there was this fog horn going at intervals and I kept thinking that the boat would crash into them and kills them or something. HAHAHA. But the ending felt rather hopeful with him burying his past in the sea! Side note: I do hope that their feet are okay because I could see leftover detritus from the earlier play on the floor... and that looked painful. 

This was overall very beautifully done, with amazing choreography. Even though the actors cycled through various characters in presenting the past to the protagonist, it was always very clear what was going on. And the dance at the end! So good!


And finally, the play I was actually there to see: 163288. (Eh, why no fancy pic with all the cast for this one?)

I was impressed with Ocean, but I can definitely say this was my favourite (not cronyism). It was hilarious and also very thought-provoking, exploring friendship and money, and how the latter can make or break the former. Even when both friends are adamant that they will help each other out no matter what since they're practically family

Two friends are looking for a tree stump which has a spirit that can grant wishes... for a price. But when the price turns out to be a hand, will either of them be willing to give up a hand (or mutilate the other) to get the winning numbers for the lottery? (do you want to give up a hand to the spirit or give up a kidney to the loan shark?)

And so starts a hilarious argument over whether one needs to pay back loans between friends, whose need for money is greater, whether brothers with cancer are burdens, and what they would do with FIFTY BILLION RINGGIT.

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There's another run of the show tomorrow (12/3) at 3pm. More info on ZXC Theater Troupe's page!

Monday, 27 February 2023

#musicmonday: Budaya 4.0: Cerita Kita | A Tapestry of Malaysian Tales

The kids (lol) over at Berklee Malaysia Association wrote music to 12 stories of Malaysia as part of their showcase and in conjunction with GTLF2022. Here's the description:

The Berklee Malaysian Association (BMA) is proud to present BUDAYA 4.0: Cerita Kita (A Tapestry of Malaysian Tales). This year, our student-run concert aims to showcase music inspired by 12 stories of Malaysia from its unique fusion of multiple cultures that is influenced by the indigenous, immigrant and colonizing powers.

Our show presents original music composed by the students of the Berklee Malaysian Association that are inspired by local Malaysian voices, utilizing traditional and modern instruments from different ethnic groups. We aim to create a contemporary sound that pushes the boundaries of sonic standards, while presenting a narrative of how different communities and cultures solidified into a uniquely diverse Asian country.

Out setlist includes three stories from ‘Home Groan’, a collection of fiction, non-fiction, poetry, and graphic art, compiled and edited by Anna Tan. It features work by twenty-two writers and three artists, all either based in Penang, or with a connection to Penang, Malaysia.

You can currently get Home Groan here:

Penang: Hin Store | GerakBudaya/Hikayat

KL: Riwayat

Online: Malaysian Writers Society | Working Desk Publishing

Ebook: Google Play

Sunday, 20 November 2022

The #BookLaunch Tour for #AbsolutionNovel starts tomorrow!


The Absolution launch tour starts tomorrow! Which means that sales also start tomorrow! Get ready to click those buy buttons! :D

I'll be updating these links to the actual posts throughout the entire tour, so do check back here every day! 


24 November

22 November

23 November

24 November

  • GTLF LAUNCH EVENT @ Digital Penang with Daphne Lee – https://daphnelee.org/ Join us in person at the Digital Penang Event Hall at 10:30am! The Malaysian Writers Society will also have a book booth at the UAB building, where you'll be able to buy my books! (Plus books from other Malaysian writers)


25 November

28 November

29 November

  • Karnival Oren @ Level 3, Komtar. In conjunction with Penang Goes Orange, over 80 booths will be set up for this sales carnival – including one by Teaspoon Publishing! Catch us there from 9AM to 5PM. 

30 November


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Don't forget our launch week sales starting tomorrow!

Find them on your favourite ebook store:


Purchase direct from TeaspoonPublishing:

Ebooks: Amok | The Tale of the Hostage Prince | Absolution

Paperbacks: Amok | The Tale of the Hostage Prince | Absolution (pre-order)

Saturday, 16 July 2022

#review: Ignite Solo Performance Festival 2022 - Week 1

I guess FB ads do work. 

Ch'ng saw an ad on Facebook yesterday and so we ended up catching the first night of the Ignite Solo Performance Festival Week 1 at iBOX Theatre. Two performances, A Complete Woman and Kenapa Tak Tukar Nama, form Week 1's offering. Week 2 will be at Jetty 35, featuring Hujan Pagi and 11:11 A Tribute to Loving (V3).


Two questions immediately came up:

1) Where on earth is this theatre, why is the address in some office complex?

2) Got subtitles or not? 

First time at this space!

iBOX theatre is on the second floor of Sunny Point Complex and was relatively easy to find because a) they had the poster above right by the lift telling you where to go, and b) you can actually see the theatre itself on your right the moment the lift doors open. It's pretty small, black box style, and fits about 50 pax. (We counted 6 rows of 7 chairs in the main seating area, there were a few more chairs in front of the sound desk. They could probably add more in a pinch, but I don't know if there are still any SOP limitations.)

And yes, they have subtitles. They have all the subtitles. 

A Complete Woman

This monologue, written and acted by Suzanne (directed by Chee Sek Thim), explores the lifecycle of a woman from marriage and pregnancy to the birth of a daughter, coming full circle to the woman writing a letter to her eighteen-year-old daughter who is about to get married. 

It's a very heavy monologue, though it starts off somewhat light, talking about the blessings of getting married and being pregnant, and how everyone is happy for you. It also explores the different taboos and practices around pregnancy - and this was just between two different Chinese dialect groups (in this case Cantonese vs Teochew), proving that there really is no Chinese monoculture, even in Malaysia. Some of these points - including the part where she was stuck in GH and couldn't understand the nurses speaking in Malay - could have been funny, but presented as it was (by a woman who seemed to feel trapped in her marriage), it felt more like a panicked cry for help. 

Where it turns dark is when she talks about not being prepared - how the child was an accident in a moment of passion and how she desperately wanted an abortion because she was not ready for marriage and children. There's also a reference to her mother staying in an abusive marriage because that is her home and she will not let it go. It felt like a distorted point of pride for her at being able to "keep the family together", implying that the current rate of divorces show that these modern women are not tough or dignified enough to hold their marriages together.

At the end of it all, the daughter (and the audience) is burdened by the question: are you ready? Are you ready for the way that marriage will change you? Do you realise that getting married is not just being in love, but also having to adapt to and change for the family you are marrying into? Is your identity strong enough for that? Can you hold on to yourself through the pressures your in-laws will put you through, and emerge the other side still complete and whole? Does marriage make you complete or are you already complete before marriage?

This was the one I worried about because it's... Chinese theatre and I am a banana hahaha. A Complete Woman was mostly in Mandarin, with some Cantonese, Teochew, and Malay. There were English subtitles, but these were not very well done - ignoring grammatical mistakes, there were parts where the translation didn't quite make sense. In fact, there was this whole section that either wasn't translated or the projector got stuck, because the words didn't change.

Performance-wise, it was a good show, though I probably didn't get the full experience, being distracted by reading and figuring out the subtitles. But as I said, it was also very heavy-hitting, ramping up pretty quick and staying there for quite a while, so you get an overwhelming hit of raw desperation and not many other emotions. Maybe if you could understand the actual dialogue it would hit you differently. 


Kenapa tak tukar nama?

Hoe Mei Ying wants to get married to her boyfriend Zahari - and they've already gotten tickets for their honeymoon at 70% off during the Matta fair! The only problem is that she needs her new IC after her conversion to Islam, but JPN is delaying the process because she refuses to change her name. 

Yiky Chew's performance was brilliant. As a solo performer, she switches between different roles seamlessly, but also leaving the audience with no doubt as to which character she is playing at any point. I especially loved her portrayal of Puan Fatimah, the woman at JPN who interviews Mei Ying to try to convince her to change her name to a Malay one even though it's not required by law. 

Despite the hilarity of the situation and the way Chew played it up for laughs, it is also a very poignant piece. Zahari points out that no matter what happens, no matter her name, it's still just the two of them, in love. Mei Ying's parents panic (What? When did he propose?) and point out all the difficulties she might face, from being unable to eat pork anymore to whether her body might be snatched by the authorities in case of death. Mei Ying describes the goosebumps she had during the conversion ceremony and how surreal it felt. 

But Mei Ying's declaration of why she wants to keep her birth name is the one that resonates the most: the connection to her forefathers and the generations before her by the surname she bears, the love with which her grandparents had picked out her given name even if it is a very common name. And while she may change her religion and marry into another culture, these connections with her past, her race and ethnicity itself do not change. So why should she change her name? Why must she meMelayukan herself? (Muka masih Cina lol)

Kenapa Tak Tukar Nama? is primarily in English & Malay, though the section with Mei Ying's parents had some Chinese. There were subtitles throughout in both English & Chinese. I only looked at them at the points where they were speaking Chinese, so I have no major thoughts about them.

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Both plays worked well together thematically, with their emphasis on marriage and its impact on a woman - whether through cultural norms or the inner workings of bureaucracy. One thing that stood out was the fact that both these pieces were biographical - it's not fiction or conjecture, not a simple "what if". A Complete Woman was written from Suzanne's own experiences; Kenapa Tak Tukar Nama? was developed by Chew and Syafiq Syazim (the director) based on the experiences of a friend as told to them by that friend and their family members.

There was a Q&A session after the two plays, which is not something I've ever seen done in English theatre. I don't know if it's a common thing in Chinese theatre? 

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If you have no plans for today, do catch their performances at 3pm and 8pm. It's worth the RM40!

Pretty sure you should be able to walk in because the theatre was less than half full on Friday. Though if you want to check and reserve tickets, you can contact them at:

FB专页 / Facebook Page: Triple I Production House

电话号码 / Phone No.: +604 – 296 4353

WhatsApp: +6011-2070 6550

Sunday, 15 May 2022

Sesi Seni with #PenangArtDistrict

I recently sat down with Swarna from the George Town Literary Festival to talk about my writing journey.

It actually came out a few days ago but I was too scared to watch it until now. heh.

Sunday, 21 November 2021

#GTF: Between 01 exhibition | Tan Lay Heong (A response)

You live in the in-between. You've been living there since the pandemic started, since the day the gomen ask you to stay home, stay safe. Lindung Diri, Lindung Semua. The days bleed into each other, the weeks into months, the months into years. It has been eighteen months since you've seen the light.

Who have you really protected?

The plastic boxes pile up in your house, one for every meal. Almost. You can still handle making your own breakfast, when you decide to have it. What's the point? There's no rush hour, you can deal with waking up a little later, working on a slow cup of caffeine, and then having a large brunch delivered. One more plastic box, until all you are is plastic boxes, stacked up in precarious columns, hanging boxes deep on the racks, painstakingly washed to get the oil out. 

Who has your hand-washing saved?

You reach, you grasp. You slip. It's always that way, has always been. Your hands are not strong enough to hold; no one's arms  are strong enough to keep you. Out of the corner of your eye, you see them run. Like everyone has left you. There is no hey let's hang out when you can't; when you're boxed in, boxed out, plastic shoulders slumped. There is no real you. Your conversations stall in the first line. I'm fine. Nothing new. You're more boring than ever.

Who has your isolation helped?

So you live in the in-between, in the shadows. You are a shadow. You are all the things you have forgotten, all the things you have put on hold, all the plans you've shelved, all the hopes you've seen wither. But there is light, and there is dark, and even in the Saturday of the soul, there is hope. Even the dimmest of lights can shine. The smallest leaf still casts a shadow. And maybe in the in-between is where you are finally perceived, when the brightest of lights shine through you.

Who keeps you safe?

But you -

You are

where the light shines through

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Photos taken at Between 01, an art installation by Tan Lay Heong (and others!). More info here: georgetownfestival.com/2021/programmes/between-01/ 

You can pre-book a viewing slot via this form, but actually... you can also just fill in the form when you arrive. The form offers 1-hour slots, but it's not like you have to turn up on the hour or for the whole hour. There's a 12-minute dance video that is looped and you should probably sit in the little plastic igloo for the surround-sound impact.

Friday, 18 December 2020

#fridayflash: Regrets (excerpt) from #homegroan: A #nutmag anthology

Home Groan: A NutMag Anthology cover

Catherine Chong stood in the middle of the road on Puncak Bukit Mutiara and stared at the house in front of her. It was a squat, blocky thing that didn’t look like much from the outside—standing at road level, it appeared to be a very small single-storey house with a tiny front porch.

She frowned at it, then checked the address again.

It was the right house…

But it wasn’t what she’d expected to see, not with the vague memories she still held of this place. It was supposed to be huge, palatial. Three-storeys high, a wonderland she and Julia had roamed, going from room to ever larger room, conquering balconies that overlooked the sea, snuggling in the white wicker swing.

Maybe it’s bigger on the inside. Catherine snorted as she stepped off the road and approached carefully. It’s not a Tardis.

Walls spread out on both sides, blocking the rest of the house and its grounds from sight. That, at least, felt right. 

She knocked on the door. A minute later, Catherine slapped her forehead. Obviously, no one was going to answer because no one was currently living there. She had the keys in her pocket. Still, her school friends had once told her it was courtesy to knock anyway, to let any spirits living in there know you were entering. Catherine wasn’t sure if she believed in spirits, or if that rule applied to anything other than hotel rooms. She dug in her pockets and pulled out the keys.

A soft “hello” still slipped off her tongue as the door creaked open to a mid-sized room with sagging racks and shelves. For a moment, she was transported back into the past, a seven-year-old clinging to her mother’s hand as she visited a new school friend for the first time. Julia had been sitting in the wicker swing, her twin, James, perched somehow on its rounded back, both staring with identical large, brown eyes.

She blinked.

The swing now lay on the floor, the sad, rusty chain dangling from the ceiling.

Catherine stepped in without taking off her shoes or closing the door. Despite the still-bright daylight, the interior of the house was rather dark. She fumbled along the wall until she found the light switch. There was a faint fizzle and then nothing. With a sigh, she pulled out her phone from her pocket and turned on the torch.

The room didn’t open out to a bigger living room; it led instead to a circular stairway heading downwards.

Of course, you dummy.

She’d remembered the three floors right, just not the direction. The house went downwards, not up.

Catherine hesitated at the top of the stairs, looking down into the dark hole that gaped before her. She glanced at her phone. It was already six in the evening. If the house was already this dark now, she didn’t want to be inside when the sun set without a proper torch, or working lights. She made her way back out of the house, turned off the phone torch, then locked up.

“I’ll be back,” she said aloud, though she wasn’t sure who she was speaking to—herself or the house. Maybe both.

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Check out our NutMag blog tomorrow for another excerpt!

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