The Temasya Kampong Gelam was held last week 18-19 November 2011, being a "festival showcase of art and music" organised by the Malay Heritage Foundation.
An invitation was graciously sent out to filmmakers via email to submit their work, in a showcase scheduled for Friday, 18 November at 9.45pm to 10.45pm. I jumped at the opportunity to showcase my film, AMEEN, which incidentally is the third film in my LOVE Trilogy film compilation. AMEEN will be in competition at the upcoming Jogja-NETPAC Asian Film Festival (13-17 December 2011). This event seemed perfect to share AMEEN to the local audience who might have not seen my work beyond those in commercial television.
The Singapore Malay Film Society "SMFS" was also approached to submit films from its members. Subsequently, AMEEN and only 2 other films from the society was eventually screened that evening. I was there to support the event in person, also this would be the perfect chance to interact with the audience.
It appeared I was the only filmmaker in attendance.
With all respect to the organisers, there were many things that were disturbing that I sincerely felt strongly about. I do not wish to comment on events other than the respective film screening.
Like all "artistes", I am very passionate about my film work. The filmmaking process is laborious. It involves
1. a period of personal experiences that are eventually encapsulated in the script,
2. pre-production that involves negotiating with the cast and crew about availability and character development respectively,
3. production where it involves the actual shooting of the film for a few days depending the complexities of the story and cast availability.
4. finally the post-production - assembling the film footage and integrating it with a soundtrack, ie., finishing the film.
The whole process for a properly-executed, short film would have taken 6 months - minimum. Also, a large number of short filmmakers complete their film using independent resources, ie self-funded.
If only the organisers had appreciated the complex process that had gone in filmmaking I would imagine they would have given more consideration into the venue and schedule of the screening. The screening was allocated at the tail end of the day's long event. It felt like an afterthought. AMEEN was the first film to be screened but I was disheartened to observe that 5 minutes into it, a large chunk of the audience, which I noted were young teens from an orphanage, was herded out of the cavernous, air-conditioned tent (the Malay Heritage Centre complex is shut for redevelopment). I understood the curfews imposed on these kids - it was already past 10pm by the time AMEEN screened.
Now put yourself in the shoes of a filmmaker whose audience walked out on your film. Or how about you sitting in a cinema and having a crowd of latecomers walk across your view, or a performer with a heckler at the front row, or a batik painter discovering your work being used as a doormat? I think you get the picture. A handful of VIPs were there but I observed they looked too exhausted to concentrate on the films properly. Halfway through AMEEN, the were only a handful of people in the audience. The VIPs left at the end of AMEEN.
Just prior to the event day, observing that no one raised the matter on honorarium, I gently voiced the issue. Typically an honorarium is a healthy acknowledgment by organisers to filmmakers and this practice is common at many film events. Nevertheless the organiser responded surprised, which stumped me.
I was stumped because I was puzzled that the issue of honorarium was raised by myself - not the Singapore Malay Film Society. I am stumped because this sort of event would be the perfect environment where the Society could have exercised its ideals, facilitated and promoted some education of the filmmaking process to the public. One can speak only of revival of the "golden age of Singapore Malay filmmaking" too easily, it seemed. I do not wish to dictate how a society or an organisation should be run but ignoring basic ethics of handling films (that include negotiating of venue, schedule and overall positive acknowledgment to the artiste) is not one of them.
I wonder how would the late Hussein Haniff might have reacted. P Ramlee would have already turned in his grave to discover how his films are being handled these days. For those unaware, these dudes were legendary Malay filmmakers.
In such an event, films, filmmaking and cinema are not about fulfilling KPIs nor it is about standing on ceremonies. Films are made to empower the community that the filmmaker choose to represent. Films give that community a voice with its stories. Like other artistic pursuits, films have a voice and this voice deserves proper avenue and facilitation so that the voices can be communicated effectively.
Is such slipshot handling of films the way forward to educate films, filmmaking and cinema to the endearing local adik-abang-kakak-pakcik-makcik?
Nevertheless, on behalf of the filmmakers whose films were screened, I sincerely extend our gratitude to the organisers for the opportunity to screen our work. I hope it would be a better showcase in future.
reflections of an observer and storyteller
Friday, November 25, 2011
Thursday, November 24, 2011
Film screening - overseas.
I'm very pleased to announce the following!
The film À LA FOLIE made an appearance at the inaugural Perth-Singapore Short Film Festival. This is it's premiere in Australia. Finally! The festival ran from 11-12 November 2011.
The film AMEEN is still travelling.
AMEEN was selected in Maskara Shorties - a non-competitive, curated short film festival held on 24 September, at Rumah Pena in Kuala Lumpur, Malaysia. The film, À LA FOLIE, was also screened at this event previously.
Come 13-17 December, AMEEN has been selected to compete at the Jojga-NETPAC Asian Film Festival 2011. For those not aware, this is the same festival that À LA FOLIE received the "Best Short Film" award from in 2009. I couldn't attend the festival then to receive the prize as I was in the middle of a television shoot. I'm crossing my fingers this time if I can make a short trip to meet the organisers and fellow film lovers in Jogja.
NETPAC is a very important organisation and to be recognised itself is an honour. More information to what the NETPAC stands for, kindly visit this link.
Thank YOU so much for supporting my film work.
All these films are also available in the LOVE Trilogy compilation DVD. All sale proceeds of this DVD go to the RAMUAN RAHASIA film fund.
The film À LA FOLIE made an appearance at the inaugural Perth-Singapore Short Film Festival. This is it's premiere in Australia. Finally! The festival ran from 11-12 November 2011.
The film AMEEN is still travelling.
AMEEN was selected in Maskara Shorties - a non-competitive, curated short film festival held on 24 September, at Rumah Pena in Kuala Lumpur, Malaysia. The film, À LA FOLIE, was also screened at this event previously.
Come 13-17 December, AMEEN has been selected to compete at the Jojga-NETPAC Asian Film Festival 2011. For those not aware, this is the same festival that À LA FOLIE received the "Best Short Film" award from in 2009. I couldn't attend the festival then to receive the prize as I was in the middle of a television shoot. I'm crossing my fingers this time if I can make a short trip to meet the organisers and fellow film lovers in Jogja.
NETPAC is a very important organisation and to be recognised itself is an honour. More information to what the NETPAC stands for, kindly visit this link.
Thank YOU so much for supporting my film work.
All these films are also available in the LOVE Trilogy compilation DVD. All sale proceeds of this DVD go to the RAMUAN RAHASIA film fund.
The Exemplary Bawean 2011
Some time during first half of 2011, I received an email from Persatuan Bawean Singapura "Singapore Bawean Association" for a little lunch meeting at Hajjah Maimunah restaurant at Joo Chiat Road. I was a little anxious when I was greeted by what seemed like the whole committee from the association! I've not been married yet, but the occasion felt like a Malay pre-nuptial merisik ceremony, haha! There were no less than 8 persons from the committee asking me all sorts of questions - all pertaining to my ethnicity and work. I guess they wanted to have a sneak of how rooted I am as a Singaporean Bawean and curious about my work.
Well to cut the long story short, I think I must have impressed them. Perhaps where I am personally and professionally, checked well into their conditions to something that I never expected in my whole life would qualify into :)
The Bawean Teladan "Exemplary Bawean" award was presented on 11 September 2011.
This prestigious, bi-anual award is handed to Singaporean individuals of the Bawean ethnicity who have excelled in their various fields of work, but most importantly one that puts the ethnic group to the forefront in the national/international professional arena. Previous recipients were the late Hj Ridzuan Dzafir (1999; ex Director-General, Trade Development Board; ex President, Singapore Islamic Council 'MUIS'), Uztaz Hj Embik Ali (religious leader), Hj Ahmad Dawam (Bawean Putera Sepak Takraw Club), Sujimy Mohamad (media entrepreneur) and Hj Suhaimi Salleh (financial entrepreneur). I am recipient number 6.
It was only when the media reported the event on it's front page that I digested the situation. I'm humbled to be placed among the respectable award receipients before me.
It's just, surreal.
I am terribly humbled by the fact that my own community, the Baweans, recognise my work. (The other Malay main ethnic groups in Singapore are the Javanese and Bugis). It's overwhelming to know that people out there connect with what I'm doing professionally.
This award just not about me, it's about the brave elders in my family who uprooted and left their homeland. I dedicate this award to these pioneers without whom, Singapore would be a different place. Truthfully, along with the other accolades in television and still-fledgling film work, I have never envisioned that I would be a Exemplary Bawean (or receive an award of this stature). The responsibility that comes with this award cannot be underestimated.
So, what happens after this? I hope to be consistent, both professionally and personally. This journey is a constant learning experience. And yes, I am still human.
My journey started with the intention to consistently do the best that the circumstances would have allowed. Awards and accolades are truly, bonuses. What's important for me is that my work would make a difference to people's perception of the human condition. I don't set out deliberately to make a change but I need my audience to realise and connect with me that we can make a change, that we can empower ourselves in whatever circumstances we might be in. Perhaps being one of the handful Malay students in my secondary school at Anglo-Chinese School (when there was only one ACS - Barker Road) and subsequently being one of the pioneering 2 Malay enlistees (!!) for National Service at the 1st Commando Battalion naturally taught me to stand out among the crowd. Perhaps growing up in working-class Boon Lay estate taught me to rise above that neighbourhood, to break the cycle and be the best.
I have to admit there's still a murmur of discomfort among some local-born Baweans - too embarrassed to own up their roots socially. Perhaps for the reputation that the early Baweans might have brought when they arrived these shores. We are too aware of the lingering, not-too-positive impressions the other ethnic groups might still have on the Baweans.
I only have this to say to these insecure folks - you're your own victim, when you succumb to your own baggage! You are what you perceive other to be. I quote Lady Gaga - "Just put your paws up, 'cause you're born this way baby!".
الحمد لله All praises due to Allah
I have made this short video especially for the event. It was a scramble for ideas. I didn't want a corporate video about me. I want it to be a tribute to my family that has supported me in this journey. And to celebrate the local Bawean community that has come a long way ever since our forefathers set sail with their little "perahu" (or so I was told by the elders) on the treacherous seas separating Bawean island in Indonesia and Singapore.
I thank my uncle, Haji Ahmad Purut, for kindly obliging to be in this video at such short notice. He speaks Bawean in this video. Also my mother, Hajjah Isah, who had no clue then why I would want to make a video of her making the Murtabak/Roti Bawean :P
News of the event travelled fast and a couple of media in Bawean wrote about it too! I'm pleasantly surprised. This is truely special to be acknowledged by the kind folks in Bawean! Thank you so much.
BERITA HARIAN (Page1, 19 Sept 2011, Singapore Press Holdings)
Heritage and history
Dear friends, my apologies that this blog has not been updated as regularly as much as I would've wanted to. Too many things happened and as you might not be aware, sitting on the computer nor socialising over overpriced coffee would be the last thing I want to do after 12++ hours of shoot!
If you had followed my previous blog, one of the projects that had occupied me was a tremendously satisfying documentary series called PROJECT NEIGHBOURHOOD. I have always wanted to move away (when possible) from the typical light "info-ed/magazine" programmes that you typically watch on commercial television. PROJECT NEIGHBOURHOOD was what I consider a "real" documentary. This is something I'm moving on to besides television drama series and making films for cinema. The previous documentary I did was MODERN PILGRIMS during the summer of 2010.
In the previous blog, I wrote that I'll be doing 3 episodes. But I ended up completing 4 episodes - Jurong, Serangoon, Tiong Bahru and Bukit Timah. Much thanks to the folks at Oak3 especially Wan, Amalina, Jun, the assortment of APs/researchers, Noli (!!) and Mannix, whom I sensed kinda shared the same visual aesthetics as myself. We used the Panasonic AG-AF102 to shoot this series - a first for me in regards to the camera. It was a satisfying journey for me as this series also touched on heritage and people. Doing documentary is an extension of the "info-ed/magazine" programmes that I have done in the past. We uncovered HEAPS of information that I personally would have loved to be included in the programme. But the network and executive producer :P had other objectives to fulfill. Oh well, it's television and it's ...er, kinda cool as long as I still get to pay my bills ...haha!
Memorable moments
1. Jurong
This episode is something close to me personally due to the fact that I have been staying in Jurong all my life! However the estate still amazes me as there are still "nooks and corners" in Jurong that I have not discovered or heard of but never explored. This may sound cliche but that's the truth. For example, the Thow Kwang pottery at Jalan Bahar and that conversation with battle veteran Col (Ret) Goh Lye Choon who was one of the pioneers instrumental in setting up the training modules for National Service. It was touching to hear stories of the early settlers of the flats in Jurong. I should also add that my family was the first few families to move into Boon Lay and I could relate closely while listening to their stories.
2. Serangoon
I do not live in Serangoon but this episode relates emotionally to me for two reasons - I love Little India and importantly, the fact that Serangoon was one of the location where the Baweans pioneered in Singapore. This episode was filmed a few days after I was graciously handed the prestigious Bawean Teladan 'Model Bawean" 2011 award by the Singapore Bawean Association. It was humbling and just THE story I need to tell the mainstream audience who may not be aware of the contribution of the Baweans in early Singapore. The other main Malay ethnic groups are the Javanese and Bugis.
3. Tiong Bahru
I was a little apprehended when I was task to direct this episode as Tiong Bahru is an estate that I have no connection personally, other than the Art Deco architecture knowledge that I picked up during my previous trip to Brussels. I visited the house of Victor Horta who propelled Art Deco and Art Nouveau in Brussels. I recalled the old parts of Brussels while observing the old streets of Tiong Bahru.
4. Bukit Timah
This episode could be one of the most interesting episode for me personally. We covered Bukit Brown cemetery - a haven of Singapore pioneers, Adam Park - I didn't realise that it was the site of an actual WW2 battle field in Singapore (the other being Pasir Panjang where the Lieutenant Adnan Saidi of the 1st Malay Regiment fell), the famous Bukit Timah Nature Park - do you know that the forest is older than the Amazon and that it has the only other natural park sited in a city other than Rio De Janeiro? Bukit Timah was also where the Railway once ran through and yes, where the British totally gave up on Singapore during WW2. Further, to discover there actually existed a Mr Chew Boon Lay, whom Boon Lay estate was named after, via his tomb felt surreal. Oh, I attended Anglo-Chinese School (when it was still one school at Barker Road) thus I can relate to the theme for this episode.
Enjoy!
If you had followed my previous blog, one of the projects that had occupied me was a tremendously satisfying documentary series called PROJECT NEIGHBOURHOOD. I have always wanted to move away (when possible) from the typical light "info-ed/magazine" programmes that you typically watch on commercial television. PROJECT NEIGHBOURHOOD was what I consider a "real" documentary. This is something I'm moving on to besides television drama series and making films for cinema. The previous documentary I did was MODERN PILGRIMS during the summer of 2010.
In the previous blog, I wrote that I'll be doing 3 episodes. But I ended up completing 4 episodes - Jurong, Serangoon, Tiong Bahru and Bukit Timah. Much thanks to the folks at Oak3 especially Wan, Amalina, Jun, the assortment of APs/researchers, Noli (!!) and Mannix, whom I sensed kinda shared the same visual aesthetics as myself. We used the Panasonic AG-AF102 to shoot this series - a first for me in regards to the camera. It was a satisfying journey for me as this series also touched on heritage and people. Doing documentary is an extension of the "info-ed/magazine" programmes that I have done in the past. We uncovered HEAPS of information that I personally would have loved to be included in the programme. But the network and executive producer :P had other objectives to fulfill. Oh well, it's television and it's ...er, kinda cool as long as I still get to pay my bills ...haha!
Memorable moments
1. Jurong
This episode is something close to me personally due to the fact that I have been staying in Jurong all my life! However the estate still amazes me as there are still "nooks and corners" in Jurong that I have not discovered or heard of but never explored. This may sound cliche but that's the truth. For example, the Thow Kwang pottery at Jalan Bahar and that conversation with battle veteran Col (Ret) Goh Lye Choon who was one of the pioneers instrumental in setting up the training modules for National Service. It was touching to hear stories of the early settlers of the flats in Jurong. I should also add that my family was the first few families to move into Boon Lay and I could relate closely while listening to their stories.
2. Serangoon
I do not live in Serangoon but this episode relates emotionally to me for two reasons - I love Little India and importantly, the fact that Serangoon was one of the location where the Baweans pioneered in Singapore. This episode was filmed a few days after I was graciously handed the prestigious Bawean Teladan 'Model Bawean" 2011 award by the Singapore Bawean Association. It was humbling and just THE story I need to tell the mainstream audience who may not be aware of the contribution of the Baweans in early Singapore. The other main Malay ethnic groups are the Javanese and Bugis.
3. Tiong Bahru
I was a little apprehended when I was task to direct this episode as Tiong Bahru is an estate that I have no connection personally, other than the Art Deco architecture knowledge that I picked up during my previous trip to Brussels. I visited the house of Victor Horta who propelled Art Deco and Art Nouveau in Brussels. I recalled the old parts of Brussels while observing the old streets of Tiong Bahru.
4. Bukit Timah
This episode could be one of the most interesting episode for me personally. We covered Bukit Brown cemetery - a haven of Singapore pioneers, Adam Park - I didn't realise that it was the site of an actual WW2 battle field in Singapore (the other being Pasir Panjang where the Lieutenant Adnan Saidi of the 1st Malay Regiment fell), the famous Bukit Timah Nature Park - do you know that the forest is older than the Amazon and that it has the only other natural park sited in a city other than Rio De Janeiro? Bukit Timah was also where the Railway once ran through and yes, where the British totally gave up on Singapore during WW2. Further, to discover there actually existed a Mr Chew Boon Lay, whom Boon Lay estate was named after, via his tomb felt surreal. Oh, I attended Anglo-Chinese School (when it was still one school at Barker Road) thus I can relate to the theme for this episode.
Enjoy!
Thursday, September 22, 2011
Ramadan/Syawal 1431 (2010)
I have meant to put this up during Ramadhan this year to commemorate 1 year of my visit to the Holy Land. I was tasked to direct the documentary "Modern Pilgrims" for MediaCorp's ChannelnewsAsia. I look back at the series with fond memories. Three things come to mind.
1. The project was delayed for one year, ie the trip was supposed to take place in 2009, but delayed by paperwork. Alhamdulillah, on 3 September 2010 the crew and I left for Madinah. I would also like to add that it was Ramadhan 1431 through Syawal 1431 when I made that trip. I arrived Madinah during the last 10 days of Ramadhan and left Makkah at the end of the first week of Syawal.
2. I was raised in a conservative Islamic environment - my parents pursued their utmost responsibilities to be the best Muslim parents. Although I attended up to Primary 6 in a Madrasah (Islamic school) - somehow, pop music seems to be more appealing. So it was high anticipation, excitement yet apprehension as to how I would "perform" in the house of GOD. I'm still perfecting my self.
3. It was in the middle of the northern-hemisphere summer when we arrived, in Ramadhan. The temperature was up to 45 degrees celcius. I had to be sure I get ALL the items I had planned to film, liaise with the ground via the fixer on our daily programmes, which was a tough call. AND on top of that the ibadah itself. It was hard, Subhanallah. I had an awakening - an awakening of my self. And the extreme humility I felt in His presence. 2 things - visiting the Prophet Muhammad SAW at his tomb and THAT sunset experience at Mt Uhud. Masya'Allah! And of course that moment as I faced the Kaabah. It was magical to be at THE centre of gravity where all of solats/prayers are directed - wherever one can be in every part of the world.
As the filming team did not restrict ourselves to just the respective city centres, we often wandered off the beaten tracks, ie, making friends with the endearing locals and visiting quaint street corners where these locals hangout in both Madinah and Makkah. I also got to know closer the rich Ottoman heritage that is being eroded and bulldozed by the current Saud government. The various stories of the human condition from people I spoke to in the streets - determined kindred spirits who made their way to the Holy Land despite poverty and other personal drives - were so inspiring and humbling! So much were going on that could be told but unfortunately were not within the documentary's narrative (and telecast duration). And I feel fortunate to be able to connect with the Holy Land this way.
In the midst of these challenges, I completed a total of 4 Umrah rounds in Makkah. The first round was completed at around midnight on 1st Syawal 1431. We returned to Singapore on 18 September 2010. Alhamdulillah
Here is the documentary.
UPDATE: Since 2010, I have been blessed with resources and time to revisit the Holy Land again during the summers of 2012 and 2015. Alhamdulillah.
1. The project was delayed for one year, ie the trip was supposed to take place in 2009, but delayed by paperwork. Alhamdulillah, on 3 September 2010 the crew and I left for Madinah. I would also like to add that it was Ramadhan 1431 through Syawal 1431 when I made that trip. I arrived Madinah during the last 10 days of Ramadhan and left Makkah at the end of the first week of Syawal.
2. I was raised in a conservative Islamic environment - my parents pursued their utmost responsibilities to be the best Muslim parents. Although I attended up to Primary 6 in a Madrasah (Islamic school) - somehow, pop music seems to be more appealing. So it was high anticipation, excitement yet apprehension as to how I would "perform" in the house of GOD. I'm still perfecting my self.
3. It was in the middle of the northern-hemisphere summer when we arrived, in Ramadhan. The temperature was up to 45 degrees celcius. I had to be sure I get ALL the items I had planned to film, liaise with the ground via the fixer on our daily programmes, which was a tough call. AND on top of that the ibadah itself. It was hard, Subhanallah. I had an awakening - an awakening of my self. And the extreme humility I felt in His presence. 2 things - visiting the Prophet Muhammad SAW at his tomb and THAT sunset experience at Mt Uhud. Masya'Allah! And of course that moment as I faced the Kaabah. It was magical to be at THE centre of gravity where all of solats/prayers are directed - wherever one can be in every part of the world.
As the filming team did not restrict ourselves to just the respective city centres, we often wandered off the beaten tracks, ie, making friends with the endearing locals and visiting quaint street corners where these locals hangout in both Madinah and Makkah. I also got to know closer the rich Ottoman heritage that is being eroded and bulldozed by the current Saud government. The various stories of the human condition from people I spoke to in the streets - determined kindred spirits who made their way to the Holy Land despite poverty and other personal drives - were so inspiring and humbling! So much were going on that could be told but unfortunately were not within the documentary's narrative (and telecast duration). And I feel fortunate to be able to connect with the Holy Land this way.
In the midst of these challenges, I completed a total of 4 Umrah rounds in Makkah. The first round was completed at around midnight on 1st Syawal 1431. We returned to Singapore on 18 September 2010. Alhamdulillah
Here is the documentary.
UPDATE: Since 2010, I have been blessed with resources and time to revisit the Holy Land again during the summers of 2012 and 2015. Alhamdulillah.
Tuesday, September 20, 2011
Project Neighbourhood
I am currently researching/shooting/editing a new series called Project Neighbourhood. I'm drawn to the series because these series is about a celebration of the community spirit as well as an analysis of the efforts and movements that help to uphold it. It is about the people and their memories, the effects of infrastructure on people, the lifestyle that binds people and the future of the people. It's also about heritage which I'm growing to be more interested in.
I am directing 3 episodes - Jurong, Serangoon and Tiong Bahru.
Jurong
Having lived in the west since I was forever :) I thought I'd have Jurong at my fingertips. Man, I was wrong. Firstly it was nice to reminiscent my childhood. Apart from the new housing flat buildings, there was really nothing much else in Boon Lay. I remember many of us could still smell the paint and concrete from the flats. The piece of land where the markets and malls are located along Boon Lay Place was still a barren grassland. I'm also intrigued by the stories of two gentlemen who were among the first batch in the National Service. There is also the pottery factory along Jalan Bahar that is just counting it's away days to closure. Now, I've stayed in the West all my life and I've only stepped into this pottery heritage enclave. An then, there's the quaint story of Pandan Gardens. Do you know that Pandan Gardens was considered a backwater estate in its early days. It's amazing to listen to stories of it's residents who stayed and formed close-knit communities. At one point, I recalled hearing stories of how Pandan was sinking! Not forgetting is the story of a funeral broker whose perspective of business of the dead changed when there was a death in his immediate family.
Serangoon
The Little India neighbourhood has always fascinated me with its authentic colours, smell and beat. But Serangoon offers more than that. There was a map drawn by a Mr Jackson during colonial times that suggests Serangoon Road runs across Singapore, beginning "downtown" Singapore of the time and Northwards to Hougang thru Sembawang! It could stand as the longest road in Singapore. Some said Serangoon comes from the bird, the ranggong, that once populate the area. Besides stories of the pioneering Indian merchants and ex-convicts (during colonial times, Singapore was an Indian penal colony) there were also stories of the Baweans. Now you wonder where or who this group of people are. There hailed from Bawean, an island north of Surabaya in East Java, Indonesia. The Baweans occupied many of the shophouses that they called the Pondok (or Ponthuk), which turn out to be a large, encompassing support system providing refuge for the new arrivals and Baweans who arrived prior. It's fascinating that at one point the number of Pondoks was so overwhelming that the area where they resided, ie Kampong Kapor, was also known by Kampong Boyan. There was even a mosque built by and named after the Baweans. Further up northeast, there is of course the hip, middle-class enclave of Serangoon Gardens. IN the midst of the tranquility, Serangoon in the past was a refuge of big-time criminals! Many shootouts (!) took place too when police raided these refuges.
Tiong Bahru
Tiong Bahru conjures images of art deco, whitewashed residential flats. The flats are unlike the 20-30 storey housing flats you see in the heartlands. But these are 3-5 story walk-up apartments. Dwelling further, Tiong Bahru in its heyday was like the present "Punggol 21" estate. It housed mainly 2nd generation Singaporeans of middle-class parents. Many of the residents were regular wage-earners. Take a walkabout along the lanes in this district, one is transported back into the 50s and 60s. There is a sort of vibe that one feels when one takes a walk into the old estates. The only other estate that brings me that sort of throwback is Old Airport Road. Do you know that many of the swinging pop bands of the 60s were from Tiong Bahru. There is also the Monkey God Temple that has just commemorated its 91st anniversary. Away from Tiong Bahru, there were the folks from the quarters at Singapore General Hospital. This estate was a total contrast to the swanky Tiong Bahru. LIke Bukit Ho Swee, the folks from the quarters represent the real working-class residents. However, regardless of their background, these folks have one thing in common - The Great World, a mega-huge entertainment center that catered to all walks of life and tastes.
NOTE: Project Neighbourhood is an 8-episode, 1 hour documentary series to be telecast on the OKTO channel. (Date + time TBC)
I am directing 3 episodes - Jurong, Serangoon and Tiong Bahru.
Jurong
Having lived in the west since I was forever :) I thought I'd have Jurong at my fingertips. Man, I was wrong. Firstly it was nice to reminiscent my childhood. Apart from the new housing flat buildings, there was really nothing much else in Boon Lay. I remember many of us could still smell the paint and concrete from the flats. The piece of land where the markets and malls are located along Boon Lay Place was still a barren grassland. I'm also intrigued by the stories of two gentlemen who were among the first batch in the National Service. There is also the pottery factory along Jalan Bahar that is just counting it's away days to closure. Now, I've stayed in the West all my life and I've only stepped into this pottery heritage enclave. An then, there's the quaint story of Pandan Gardens. Do you know that Pandan Gardens was considered a backwater estate in its early days. It's amazing to listen to stories of it's residents who stayed and formed close-knit communities. At one point, I recalled hearing stories of how Pandan was sinking! Not forgetting is the story of a funeral broker whose perspective of business of the dead changed when there was a death in his immediate family.
Serangoon
The Little India neighbourhood has always fascinated me with its authentic colours, smell and beat. But Serangoon offers more than that. There was a map drawn by a Mr Jackson during colonial times that suggests Serangoon Road runs across Singapore, beginning "downtown" Singapore of the time and Northwards to Hougang thru Sembawang! It could stand as the longest road in Singapore. Some said Serangoon comes from the bird, the ranggong, that once populate the area. Besides stories of the pioneering Indian merchants and ex-convicts (during colonial times, Singapore was an Indian penal colony) there were also stories of the Baweans. Now you wonder where or who this group of people are. There hailed from Bawean, an island north of Surabaya in East Java, Indonesia. The Baweans occupied many of the shophouses that they called the Pondok (or Ponthuk), which turn out to be a large, encompassing support system providing refuge for the new arrivals and Baweans who arrived prior. It's fascinating that at one point the number of Pondoks was so overwhelming that the area where they resided, ie Kampong Kapor, was also known by Kampong Boyan. There was even a mosque built by and named after the Baweans. Further up northeast, there is of course the hip, middle-class enclave of Serangoon Gardens. IN the midst of the tranquility, Serangoon in the past was a refuge of big-time criminals! Many shootouts (!) took place too when police raided these refuges.
Tiong Bahru
Tiong Bahru conjures images of art deco, whitewashed residential flats. The flats are unlike the 20-30 storey housing flats you see in the heartlands. But these are 3-5 story walk-up apartments. Dwelling further, Tiong Bahru in its heyday was like the present "Punggol 21" estate. It housed mainly 2nd generation Singaporeans of middle-class parents. Many of the residents were regular wage-earners. Take a walkabout along the lanes in this district, one is transported back into the 50s and 60s. There is a sort of vibe that one feels when one takes a walk into the old estates. The only other estate that brings me that sort of throwback is Old Airport Road. Do you know that many of the swinging pop bands of the 60s were from Tiong Bahru. There is also the Monkey God Temple that has just commemorated its 91st anniversary. Away from Tiong Bahru, there were the folks from the quarters at Singapore General Hospital. This estate was a total contrast to the swanky Tiong Bahru. LIke Bukit Ho Swee, the folks from the quarters represent the real working-class residents. However, regardless of their background, these folks have one thing in common - The Great World, a mega-huge entertainment center that catered to all walks of life and tastes.
NOTE: Project Neighbourhood is an 8-episode, 1 hour documentary series to be telecast on the OKTO channel. (Date + time TBC)
Friday, July 29, 2011
An upcoming judging gig
It is always an honour when I get that call to share my experience in television or filmmaking to respective enthusiasts. In the 15 plus years I've been in this industry (since graduating from film school in 1996), I may have not gone through as much as others. My journey is still a work-in-progress, but I look forward to share these pains(!!) and joys I experienced - with the hope that others do not have to go through (again) these pains, or at least not the full yard. And of course, celebrate the joys of creating and collaborating with like-minded creative souls.
I have been invited by the organisers of an upcoming filmmaking event called ciNE65, to be one of its judges. One of the reasons I agree to this gig is that the competition dwells on the Singaporean identity - what is contemporary Singapore and what a rooted, Singaporean is like. I have visited and revisited these themes in all my films.
We are all unique Singaporeans. Come participate and tell our stories, with our own voice. A Malay saying goes, "Kalau bukan kita sendiri, siapa lagi?" - go figure this one out yourself, it's expressed in the Singapore national language!
In studying the final submissions, I personally would like to see something beyond the typically sentimental/rose-tinted/romanticised approach that has flooded local videos/films when such nationalistic/heritage/nostalgic themes are touched on. Just like the national anthem, we progress onward! Majulah Singapura!!
Let's be clever with originality.
Several videos to serve as notes for filmmakers have been recorded. You can find these videos below. Thank you to the team at Sinema for making me look good :)
Participate. Collaborate. Tell your story, convincingly.
I have been invited by the organisers of an upcoming filmmaking event called ciNE65, to be one of its judges. One of the reasons I agree to this gig is that the competition dwells on the Singaporean identity - what is contemporary Singapore and what a rooted, Singaporean is like. I have visited and revisited these themes in all my films.
We are all unique Singaporeans. Come participate and tell our stories, with our own voice. A Malay saying goes, "Kalau bukan kita sendiri, siapa lagi?" - go figure this one out yourself, it's expressed in the Singapore national language!
In studying the final submissions, I personally would like to see something beyond the typically sentimental/rose-tinted/romanticised approach that has flooded local videos/films when such nationalistic/heritage/nostalgic themes are touched on. Just like the national anthem, we progress onward! Majulah Singapura!!
Let's be clever with originality.
Several videos to serve as notes for filmmakers have been recorded. You can find these videos below. Thank you to the team at Sinema for making me look good :)
Participate. Collaborate. Tell your story, convincingly.
Wednesday, June 15, 2011
The LOVE trilogy dvd
To push fund-raising efforts for my upcoming, still-incomplete feature film, RAMUAN RAHASIA, I have compiled my short films into a single dvd disc, called The LOVE Trilogy.
The LOVE Trilogy consists of the award-winning films LOST SOLE, À LA FOLIE and AMEEN.
Each of these films has different themes and the characters that reside in these films echo the various interpretations and personifications of what love could be about. LOST SOLE takes off after Friday noon solat when kiayi Haji Sabtu discovers to his dismay that his slippers are missing. The search to find his slippers leads to self-discovery. À LA FOLIE takes its inspiration from the classical Ramayana texts. Set in Singapore’s “Little India” at Serangoon Road, this second film in the trilogy explores love with a post-modernist take on this much-beloved literary classic. The final film, AMEEN, explores what it means to love behind facades of spirituality and flawed veneers. Visit this link for details.
S$20 each. Overseas orders add S$10 for postage (registered airmail).
Transaction methods
PAYPAL acct: sanif.olek@gmail.com
Post Office Savings Bank acct no: 085 827 227
Please email reeljuice@gmail.com for quantity & postal address.
The LOVE Trilogy is also available at Wardah Books (Bussorah/Arab Street) and BooksActually (Tiong Bahru Estate), Singapore.
All proceeds from the sale of The LOVE Trilogy dvd goes to the RAMUAN RAHASIA film fund appeal.
The soft launch of The LOVE Trilogy dvd was held on 19 June, in conjunction with KONSERT RAMUAN, a music festival that brings together various international and local-based Singaporean artistes, performing in solidarity to raise funds for RAMUAN RAHASIA. Please visit this link for the concert.
UPDATE: Here is the review of The LOVE trilogy dvd.
The idea of using children for the cover is to illustrate LOVE in its purest form and a child's innocence exemplifies this perfectly. Artwork by Sanif Olek.
The FRONT COVER
The BACK COVER
The LOVE Trilogy consists of the award-winning films LOST SOLE, À LA FOLIE and AMEEN.
Each of these films has different themes and the characters that reside in these films echo the various interpretations and personifications of what love could be about. LOST SOLE takes off after Friday noon solat when kiayi Haji Sabtu discovers to his dismay that his slippers are missing. The search to find his slippers leads to self-discovery. À LA FOLIE takes its inspiration from the classical Ramayana texts. Set in Singapore’s “Little India” at Serangoon Road, this second film in the trilogy explores love with a post-modernist take on this much-beloved literary classic. The final film, AMEEN, explores what it means to love behind facades of spirituality and flawed veneers. Visit this link for details.
S$20 each. Overseas orders add S$10 for postage (registered airmail).
Transaction methods
PAYPAL acct: sanif.olek@gmail.com
Post Office Savings Bank acct no: 085 827 227
Please email reeljuice@gmail.com for quantity & postal address.
The LOVE Trilogy is also available at Wardah Books (Bussorah/Arab Street) and BooksActually (Tiong Bahru Estate), Singapore.
All proceeds from the sale of The LOVE Trilogy dvd goes to the RAMUAN RAHASIA film fund appeal.
The soft launch of The LOVE Trilogy dvd was held on 19 June, in conjunction with KONSERT RAMUAN, a music festival that brings together various international and local-based Singaporean artistes, performing in solidarity to raise funds for RAMUAN RAHASIA. Please visit this link for the concert.
UPDATE: Here is the review of The LOVE trilogy dvd.
The idea of using children for the cover is to illustrate LOVE in its purest form and a child's innocence exemplifies this perfectly. Artwork by Sanif Olek.
PS: Just in case you are wondering, these kids are my nieces (Syiqin & Adila) and nephews (Alif & Syafiq), in a beautiful moment captured on my camera more than 12 years ago.
Thursday, June 2, 2011
KONSERT RAMUAN
KONSERT RAMUAN is a music festival that brings together various international and local-based Singaporean artistes, performing in solidarity to raise funds for Sanif Olek’s yet-to-be-completed feature film, RAMUAN RAHASIA. Together, fascinating flea market with vendors selling eclectic products adds colour to the event!
Date: 19 June 2011
Time: 10am – 6pm
Venue: Goodman Arts Centre. 90 Goodman Road, Singapore 439053
Public transport: Mountbatten MRT station | Bus 30, 196, 14, 158, 401
Date: 19 June 2011
Time: 10am – 6pm
Venue: Goodman Arts Centre. 90 Goodman Road, Singapore 439053
Public transport: Mountbatten MRT station | Bus 30, 196, 14, 158, 401
Raise Money Online with GoFundMe.com
Saturday, May 14, 2011
Art and the “lowest denominator"
Please allow me to ramble...
2011 marks fifteen years eversince I graduated from film school in 1996. When I first enrolled into film school in 1993, it had been a case of circumstantial convenience than a deliberate “plan” to “be” a director in film or television.
Between the first humbling industry award to the most recent one I received in March 2011, I reflect upon the many questions that has been posed to myself. The questions range from innocent ones like “have you always wanted to be a director” and “is directing hard” to “does it pay well” and more profound ones like “what sort of change do you intent to make with your work”. Pondering over how to best respond to these queries, I often mused at how these “standard questions” are now turned to me – I have been the one to post these. But none had really prepared me to face what eventually became a main critique to my Malay television work – that my work in drama tend to be too “arty-farty” for television.
Puzzling.
I have a simple philosophy when it comes to work - to stay committed and complete it effectively respective of the circumstances. I recall during national service a sergeant major, in optimism, would constantly remind us “there’s always the 50-50 chance a mission would fail”. This advice prepares and challenges me to come up with effective solutions.
Growing up in the local Malay community, observing them and subsequently serving them with television content, my like-minded peers strive to produce content that steers away from the “makcik-makcik” (loosely translated, “matronly”, or non-contemporary) appeal. There is always a struggle to cater to commercial television that attempts to net the widest demographic groups and appeal to the vast spectrum of intellectual leanings as much as possible within a single programme. The network’s strive to hit high "ratings" for these respective programmes (which translates to the healthy bottomline) for itself has been a bane to producers and directors like myself.
I stress that my intention in television is always about serving the community. I have always been thoughtful about my audience and my training in anthropological analysis and social documentary at the university have made me sensitive to the fragile human condition and how to serve it effectively. Before attending film school, I was doing photography and my transition to the video spectrum had been a breeze. From film school, I learnt that structure in storytelling and how to tell that story effectively cannot be underestimated. And one of these methods to communicate one’s storytelling is the mise-en-scène.
Now, when the critique to my television drama work is that it's too arty-farty, I am puzzled - primarily for two reasons. Firstly it attacks my sincere intention and secondly, it promotes an inaccurate, unhealthy perception of my work and my self. This association simply disregards my philosophy of promoting education to my production and to add value to my content. Furthermore, it simplifies my capacity as a multi-genre television director. I believe the television awards in various genres I have received up to this point stressed my capabilities.
One only needs to listen closely to the ground the common complaint to local Malay programming is its regressive tendency for mindless, dumbing-down programming at the audience. This is where I feel mise-en-scène, on top of a good script, would perhaps alleviate these concerns. Low-denominator appeal doesn’t mean low-brow nor low-concept. Mise-en-scène goes a long way to inculcate quality programming on easy entertainment for my heartlander Malay audience.
Have I overestimated the audience in applying mise-en-scène to my work? Does local Malay dramas have to regularly site itself among the generic, recycled and inward? Does the local Malay audience deserve constant dumbing down programming?
Here I would like to stress that television, like film, is primarily a visual medium. A good script doesn’t need implausible, didactic dialogues. I need not tell the audience I am drinking Milo from a red cup when the audience can see the red cup. However the audience want to know why I’m using a red cup to drink that Milo.
Or perhaps the important television folks have miscalculated my techniques? Perhaps they have underestimated the essence of directing itself – that directing is not just a technique of framing actors, recording them emitting dialogues lines and ensuring camera continuity. Perhaps they have overlooked the positive feedback from the ground that my work is often unique, identifiable and “different”. I humbly mused when audience says my work looks appealing or “beautiful”. Thank you :)
Even cooking shows need mise-en-scène to render the food featured appealing on television. Many such shows produced locally in my humble opinion has fallen into the generic, in such a way that these have failed to communicate the essence of the flavour and taste of the cooking. But I digress...
Elaborating on Wikipedia’s definition, the mise-en-scène encourages motivation and brings nuance to the actor’s movement, the dialogues, the location and finally the framing of the action. A composition without mise-en-scène is like a Malay rendang dish without the kerisik (grated, toasted and grounded coconut paste), the Chinese laksa without coconut milk and the Italian spaghetti dish without the tomato base.
The human condition is sensitive. Each story deserves its own visual character and treatment.
Perhaps my recognition in recent years as a “filmmaker” has further clouded them into thinking that I’ve been too arty-farty to "dumb down" or steer myself for other genres. One only needs to study my past television portfolio to see that I have done comedy programmes too. I couldn't speculate more.
One should remember that the cast in the television series, Friends, are not comedians, but actors. Thus, perhaps these detractors need to do their own research to understand the “filming language” before diluting my techniques.
Just as it has been my ambition to propel Malay films in a manner Chinese films have been brought to international appeal by Zhang Yimou, I would like Malay television to level it’s standard to the best that comes out of Hollywood. I would like these critics give room for people like myself to nurture and improve Malay televison as much as I, in my capacity as a director, listen to my actors to earn their best performance and always keep to the plot. It's a small enough industry, let's not further wedge its development.
Assumptions are termites of relationships.
2011 marks fifteen years eversince I graduated from film school in 1996. When I first enrolled into film school in 1993, it had been a case of circumstantial convenience than a deliberate “plan” to “be” a director in film or television.
Between the first humbling industry award to the most recent one I received in March 2011, I reflect upon the many questions that has been posed to myself. The questions range from innocent ones like “have you always wanted to be a director” and “is directing hard” to “does it pay well” and more profound ones like “what sort of change do you intent to make with your work”. Pondering over how to best respond to these queries, I often mused at how these “standard questions” are now turned to me – I have been the one to post these. But none had really prepared me to face what eventually became a main critique to my Malay television work – that my work in drama tend to be too “arty-farty” for television.
Puzzling.
I have a simple philosophy when it comes to work - to stay committed and complete it effectively respective of the circumstances. I recall during national service a sergeant major, in optimism, would constantly remind us “there’s always the 50-50 chance a mission would fail”. This advice prepares and challenges me to come up with effective solutions.
Growing up in the local Malay community, observing them and subsequently serving them with television content, my like-minded peers strive to produce content that steers away from the “makcik-makcik” (loosely translated, “matronly”, or non-contemporary) appeal. There is always a struggle to cater to commercial television that attempts to net the widest demographic groups and appeal to the vast spectrum of intellectual leanings as much as possible within a single programme. The network’s strive to hit high "ratings" for these respective programmes (which translates to the healthy bottomline) for itself has been a bane to producers and directors like myself.
I stress that my intention in television is always about serving the community. I have always been thoughtful about my audience and my training in anthropological analysis and social documentary at the university have made me sensitive to the fragile human condition and how to serve it effectively. Before attending film school, I was doing photography and my transition to the video spectrum had been a breeze. From film school, I learnt that structure in storytelling and how to tell that story effectively cannot be underestimated. And one of these methods to communicate one’s storytelling is the mise-en-scène.
...Recently, the term has come to represent a style of conveying the information of a scene primarily through a single shot - often accompanied by camera movement. It is to be contrasted with montage-style filmmaking - multiple angles pieced together through editing. Overall, mise-en-scène is used when the director wishes to give an impression of the characters or situation without vocally articulating it through the framework of spoken dialogue, and typically does not represent a realistic setting... (WIKIPEDIA)
Now, when the critique to my television drama work is that it's too arty-farty, I am puzzled - primarily for two reasons. Firstly it attacks my sincere intention and secondly, it promotes an inaccurate, unhealthy perception of my work and my self. This association simply disregards my philosophy of promoting education to my production and to add value to my content. Furthermore, it simplifies my capacity as a multi-genre television director. I believe the television awards in various genres I have received up to this point stressed my capabilities.
One only needs to listen closely to the ground the common complaint to local Malay programming is its regressive tendency for mindless, dumbing-down programming at the audience. This is where I feel mise-en-scène, on top of a good script, would perhaps alleviate these concerns. Low-denominator appeal doesn’t mean low-brow nor low-concept. Mise-en-scène goes a long way to inculcate quality programming on easy entertainment for my heartlander Malay audience.
Have I overestimated the audience in applying mise-en-scène to my work? Does local Malay dramas have to regularly site itself among the generic, recycled and inward? Does the local Malay audience deserve constant dumbing down programming?
Here I would like to stress that television, like film, is primarily a visual medium. A good script doesn’t need implausible, didactic dialogues. I need not tell the audience I am drinking Milo from a red cup when the audience can see the red cup. However the audience want to know why I’m using a red cup to drink that Milo.
Or perhaps the important television folks have miscalculated my techniques? Perhaps they have underestimated the essence of directing itself – that directing is not just a technique of framing actors, recording them emitting dialogues lines and ensuring camera continuity. Perhaps they have overlooked the positive feedback from the ground that my work is often unique, identifiable and “different”. I humbly mused when audience says my work looks appealing or “beautiful”. Thank you :)
Even cooking shows need mise-en-scène to render the food featured appealing on television. Many such shows produced locally in my humble opinion has fallen into the generic, in such a way that these have failed to communicate the essence of the flavour and taste of the cooking. But I digress...
Elaborating on Wikipedia’s definition, the mise-en-scène encourages motivation and brings nuance to the actor’s movement, the dialogues, the location and finally the framing of the action. A composition without mise-en-scène is like a Malay rendang dish without the kerisik (grated, toasted and grounded coconut paste), the Chinese laksa without coconut milk and the Italian spaghetti dish without the tomato base.
The human condition is sensitive. Each story deserves its own visual character and treatment.
Perhaps my recognition in recent years as a “filmmaker” has further clouded them into thinking that I’ve been too arty-farty to "dumb down" or steer myself for other genres. One only needs to study my past television portfolio to see that I have done comedy programmes too. I couldn't speculate more.
One should remember that the cast in the television series, Friends, are not comedians, but actors. Thus, perhaps these detractors need to do their own research to understand the “filming language” before diluting my techniques.
Just as it has been my ambition to propel Malay films in a manner Chinese films have been brought to international appeal by Zhang Yimou, I would like Malay television to level it’s standard to the best that comes out of Hollywood. I would like these critics give room for people like myself to nurture and improve Malay televison as much as I, in my capacity as a director, listen to my actors to earn their best performance and always keep to the plot. It's a small enough industry, let's not further wedge its development.
Assumptions are termites of relationships.
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