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Birth of an Island Nation, and a Political Legacy

TUESDAY, OCTOBER 18, 2022

SRT and Aiwei’s restage of “The LKY Musical” was another success

Because of the seemingly neverending pandemic, I could not remember the last time I was in a large-scale proscenium theatre with 2,500 audiences enjoying a grand musical. Thanks to the combined efforts of Singapore Repertory Theatre (SRT)–whose “Forbidden City: Portrait of an Empress” from two decades ago has been a fond memory–and Aiwei, the critically acclaimed and highly popular 2015 production of “The LKY Musical” was recently restaged at the Sands Theatre in Singapore. This much-awaited “first large-scale musical in Singapore in over two years” was another success and many performances in the three-week limited run were completely sold out. 

Retelling the life and works of the late founding father Lee Kuan Yew from his Raffles College student time in 1941 when Singapore was a British colony on the brink of Japanese occupation to the Proclamation of Singapore in 1965 when Singapore and Malaysia were officially separated in the stage time of only about two and a half hours, late American playwright Tony Petito’s book for this musical was based on Meira Chand’s story and captured only the essence of key moments. Thanks in part to director Steven Dexter, the show never felt too rushed, nor sounded like an information overload.

My theatregoing partner, a Singaporean, commented at the intermission that it reminded her of what she studied in school; for me, who didn’t go to the same school, it indirectly explained many facts about one of the world’s fastest developing economies, most densely populated countries and least natural resources and a uniquely peaceful multi-cultural society although it ranks very low in the happiness index. I finally clearly understood, after a few trips to Singapore every year, for example, why Singapore has four official languages with English being the lingua franca despite the fact that the majority of population is of Chinese descent and why LKY’s People’s Action Party (PAP) has been, and will probably be, enjoying landslide victories in all general elections there–there’s neither term limit for premiership nor constitutional court too.

The dream team of lyricist Stephen Clark and composer Dick Lee’s work here might not be as enchanting as their “Forbidden City”; it still served its purpose of moving the story forward and elaborating certain key moments. In this male-dominated story, and society, I was especially touched by Kwa Geok Choo’s, LKY’s wife and secret behind his success, solo number “I’ll be Here”, part of which is, “I know that it’s my place to walk behind him. But in my heart we’re walking side by side. The faith that we shared; We dreamed and we dared. I know that I tried.”

In fact, the credit here was also due to Kit Chan’s immaculate portrayal of the former first lady and even though her stage time was much less than that of the title character, the audience could always feel her presence. As LKY, Adrian Pang was effortlessly immersed into the character and, as a result, the audience got to see different sides of the hard-working and strong-willed politician. In a supporting role of union leader and politician Lim Chin Siong, LKY’s foil character who eventually took a different political path, Benjamin Chow’s arresting performance could match Pang’s at every beat and the same could be said for the ensemble who performed other minor roles.

The highly practical and neutral set design by London-based artist takis nicely fit both the horizontal and vertical massive space of the stage as scenes were continuously presented at different sections and levels which were deftly illuminated by Singaporean lighting designer Gabriel Chan. In short, “The LKY Musical” was an international production of a local story.

Interestingly and of course fittingly, the last number was Singapore’s national anthem “Majulah Singapura” during which the audience was invited to stand up, and many of them did although I would assume not as many as the initial run in 2015 when Singapore celebrated the 50th anniversary of independence. That said and given the show’s tagline “History; His Story; Our Story”, I would never call “LKY” an ultra-nationalistic work. There’s plenty non-Singaporeans can learn from LKY’s life and works relatable to anyone.

A rumour is that a theatre company in another Southeast Asian country, with more exciting politics, was planning “The PC Musical: He Just Never Quits” for APEC Meeting next month but a recent controversy around a stand-up comedian’s jokes on him has now put this project on hold. This is notwithstanding the fact that he himself wrote a few hit songs that can be easily put into the musical and many performances are expected to be sold-out thanks to thousands of military personnel who’d be bused in. Back in Singapore, judging from the audience reactions that Sunday evening, I’m sure the show will, and by all means should, be restaged soon. Check out www.facebook.com/theLKYmusical for more information.

Next month, SRT will stage Kendall Feaver’s multi-award-winning family drama “The Almighty Sometimes” at their home stage KC Arts Centre in Robertson Quay. After pandemic hiatus, their annual outdoors production will return to Fort Canning Park with “A Midsummer’s Night Dream” next May. Visit srt.com.sg for more details.

Pawit Mahasarinand

The writer’s trip was supported by SRT. Special thanks to Charlotte Nors for all kind assistance.

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Locals, tourists in South observe ceremonies marking end of Buddhist Lent

WEDNESDAY, OCTOBER 12, 2022

Locals and visitors in Songkhla’s Hat Yai district flocked to a momentous ceremony that featured a boat being towed with an image of Buddha on Songkhla lake on Tuesday.

The ceremony, also known as “Lak Phra Tang Nam”, is a part of traditions in Southern provinces to mark the end of Buddhist Lent Day.

Apart from Lak Phra Tang Nam, an almsgiving event called “Tak Bat Tevo” took place on Tuesday.

The ceremonies received a good response from locals and tourists as they were suspended over the past two years due to the Covid-19 crisis.

Lak Phra Tang Nam has been observed by Southern locals for many generations. A similar ceremony was held in Nakhon Si Thammarat, Phatthalung and Krabi.

The ceremony is based on an event when Buddha returned from daowadung (heaven) to earth on the first waning moon of the 11th lunar month.

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Devout Buddhists flock to temples to give alms as monks mark end of Lent

TUESDAY, OCTOBER 11, 2022

Faithful Buddhists flocked to Samut Prakan’s Wat Bang Phli Klang on Tuesday morning to give alms to monks as part of the annual Tak Bat Devo festival.

The Tak Bat Devo festival is an annual almsgiving tradition held every year to mark Buddha’s descent to Earth from the celestial world. The term is derived from the Pali word Devorahana.

The festival is held on the day after the end of the Buddhist Lent or rain retreat, which ended on Monday this year.

Devout Buddhists usually give monks alms of rice, dried food, flowers and incense sticks.

Phra Khru Palad Suwatana Silakhun, the abbot of Wat Bang Pli Klang, led monks from several temples in the district to receive alms.

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Ayutthaya residents brave floods to make merit at end of rains retreat

MONDAY, OCTOBER 10, 2022

THE NATION

Ayutthaya residents braved floods and took boats to make merit at a temple for the end of the rains retreat (Wan Auk Phansa) on Monday.

Flooding from the nearby Chao Phraya River has left Wat Ban Phat in Bang Pa-in district under 1.50 metres of water.

Wooden walkways have been built from the temple’s gateway and living quarters to give worshippers and monks access to its assembly hall.

The surrounding neighbourhood is also underwater but locals are taking boats and braving the swollen river to make merit at the temple on the opposite bank. Among them are elderly worshippers seen making their way with difficulty across the temple walkway to the hall.

Samlee Chanthongbai, 66, lives in a house atop stilts located opposite the temple. She said her home is perched two metres above ground but floodwaters have almost reached the floor.

She added that she usually rows across the river to make merit at the temple for several days each year. However, flooding is so heavy this year that she has decided to risk making merit on only one day while giving Wan Auk Phansa a miss.

The water level in Bang Pa-in is rising continuously after flow through the Chao Phraya Dam in Chain Nat was increased to 3,113 cubic metres per second following weeks of heavy rain and runoff.

THE NATION

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A vast variety of French contemporary dance

TUESDAY, OCTOBER 04, 2022

THE NATION

An old friend texted me last month asking for a recommendation for a performance to watch in the ongoing Bangkok’s 24th International Festival of Dance and Music, quite possibly an international performing arts festival with the highest number of “Swan Lake” presented.

Without any hesitance, and knowing that she had watched a few versions of “Swan Lake”, I suggested Ballet Preljocaj’s new version of it. Records have shown that contemporary French choreographers have so much fun with the classics, she agreed and booked her ticket. 

Unlike in Thailand where the definition of contemporary dance is often limited to reinterpretation of classical narratives or styles, French choreographers have a much broader spectrum to work it. Recently, I returned to Festival Montpellier Danse in southern, and sunny, France and enjoyed this variety.

For Compagnie Nacera Belaza’s new work “L’Envol”, veteran French-Algerian choreographer Belaza was inspired by the harrowing image of the man falling from the Twin Towers on 9/11.

With the entire Studio Bagouet at the Agora almost always dark and accompanied by vexing soundscape, she created tormenting images of him with her dancers’ movements without any help of other staging techniques. The stark contrast between that sunny afternoon outside and the darkness inside also created anxiety, if not fright, among the audience. Losing both balance and control, the falling man in his life’s last moment seemed to exude calm and graciousness out of his freedom to take control of his life until its very end.

A few days later, the audience also had a chance to watch the company’s previous works as the double-bill comprising “L’Onde” and “Le Cercle” was presented at the same venue. Traits of traditional northern African dances were evident in both, so did Belaza’s meticulous control of lighting and sound which again captivated her audience’s perception of the works. In the latter, the two Belaza sisters Nazera and Dalila were almost always synchronized in their repetitive movements that organically responded to the changing beats of the music. In the former, a piece for five dancers whose movements subtly changed, the connection with the audience was stronger. As the choreographer explained that she wanted to “bring the spectator into a state of contemplation, as if in front of the ocean”, the work proved that she indeed walked the talk. No surprise it was honored with Prix de la révélation chorégraphique in 2008. 

In traditional European theatres, opera, ballet and orchestra companies shared the same stage and classical ballet performances were accompanied by live performance of the in-house orchestra. The same cannot be said for contemporary dance companies who break free of this structure and so a contemporary dance performance with live music is a special treat.  

In a live art and dance company PLAY’s new work “Empire of Flora” presented at Théâtre la Vignette on the campus of Université Paul Valéry 3, director Michèle Murray put DJ Lolita Montana on downstage left. In creating what she referred to as “a springtime of bodies”, she was inspired by 17th century painter Nicolas Poussin’s illustration of mythological characters’ metamorphoses into flowers. In fact, Montana’s music was not merely accompanying the four male dancers’ vibrant movements, it was interacting or communicating with them, and us the audience, throughout the performance and her strong presence were like the fifth dancer’s. The experience was uniquely spontaneous and unpredictable.

At the Hangar Theatre, a black box studio in arena-stage configuration, the audience watched the movements of five fully naked dancers who never stood up yet formed many shapes as they interacted with one another as well as the soundscape, including a few spoken texts. Monochromic yet never monotonous, Eszter Salomon’s “Monument 0.9: Replay” also featured Garth Robert’s set design with mirrored panels above the performance area providing different perspectives of the physical compositions. 

At the same venue in end-stage configuration a few days prior, 69-year-old artist Muriel Boulay’s “Danseuse” was a dance monologue in which she recounted in words, movements and images, at a leisurely pace, her professional life which we, dancers or not, all could learn from. Upstage was a bar and downstage a chair and a table with a lamp and a box of her precious keepsakes like pointe shoes, real props which helped illuminating her intriguing life starting from her rhythmic gymnastics training at a very young age, then her admission to the Paris Opera Ballet School when she’s 12 and difficulties for her career such as the fact that she’s 1.74 metres when she’s 16 and considered too tall. Interestingly, Boulay got married, had a child and took classes in Bharatanatyam among others before she became a star performer at the Lyon Opera Ballet, had a spinal cord operation and later joined Jean-Claude Gallotta’s Émile Dubois Group. 

In the end, the audience realised that “Danseuse” was not only a French dancer’s touching personal account sincerely delivered but an insightful peek into the development of French contemporary dance.

The festival concluded on a, fittingly, celebratory mood as the Choreographic Ensemble of the National Superior Conservatory of Music and Dance of Paris performed the late Dominique Bagouet’s last work “Necesito, pièce pour Grenade” at the open-air Agora Theatre. Bagouet was the founder of Festival Montpellier Danse which, notably, has received strong support from the city from the beginning. The young ensemble matched the piece’s bright and sunny tone with sheer vivacity and could effortlessly handle a variety of dance styles from different cultures. It’s a reminder that amalgamation of arts disciplines has contributed to the development of contemporary dance as well as a sign for its future in this European country marked by freedom of expression.  

The 43rd annual edition of Festival Montpellier Danse will return next June. For more details, check out www.montpellierdanse.com. To learn more about the above companies, cie-nacerabelaza.com/en/, www.play-michele-murray.com/ and esztersalamon.net/

By Pawit Mahasarinand
Montpellier, France

The writer’s trip would not be possible without kind support of Montpellier Danse’s Maiwenn Rebours and Ambre Martin as well as the French Embassy in Thailand.

Photo: “L’Envol” by Laurent Philippe; “Empire of Flora” by Ronan Muller; “Monument 0.9: Replay” by Amelie Rosier; “Danseuse” by Hugo Mozet; “Necesito” by Ferrante Ferranti
 

THE NATION

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Cheek-piercing religious devotees sacred ritual in Phuket

SUNDAY, OCTOBER 02, 2022

THE NATION

Devotees in Thailand’s Phuket Island has resumed a week-long sacred ritual carried out during the annual vegetarian festival after long hiatus and events being scaled back due to the coronavirus outbreak in 2020.

Worshippers from the local Chinese community have their faces pierced or walked over hot coals at local shrines in the name of purification. They also believe that going without meat, sex, and alcohol in the ninth lunar month of the Chinese calendar also helps achieve good health and peace of mind.
 

In Phuket’s downtown on Friday (September 30) hundreds of devotees and worshippers marched in a procession in respect to Chinese gods. Some with their faces pierced with sharp objects say the meaning of the piercing is a symbol of the sinful things they might have said during the off-vegetarian season.

“For me personally, we use our mouths to talk, right? And naturally, it may be speaking of the good or sinful things during the off-season (of vegetarian festival). We may have spoken good or bad things, so the piercing is for us to feel the wrong and sins we’ve committed,” said Patcharaporn Phromchai.

Devotees said that after the procession is done, they do not feel pain but felt like they have done their part to pay respect to the gods and goddesses they worship.

“I feel normal, I don’t feel tired or anything, I feel just fine. And it doesn’t hurt at all, I don’t feel anything, I can smile and eat too,” Pantila Sae-Lao told Reuters after she has had metal pokers removed from her face.

Some of the most thrilling features of the Vegetarian Festival are the many, oftentimes gruesome, ceremonies held to appease the gods. During the festival, religious devotees, dressed in white to represent observance, walk barefoot over hot charcoal and take part in extreme body piercing rituals, which include piercing one’s cheeks with swords and spears to ward off evil spirits and invite another year of prosperity.

The 9-day Taoist celebration, also known as the Nine Emperor Gods Festival, is observed during September 25 to October 4 this year.

THE NATION

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New Saraburi Buddhist tourist attraction

THURSDAY, SEPTEMBER 29, 2022

THE NATION

The bilingual Buddhist tourist attraction of Saraburi Manasikarn will open tomorrow, September 30.

The project, created by the Knowing Buddha Foundation for the Protection of Buddhism, is in honour of the Buddha and aims to cultivate a good conscience among people. It took five years to complete.
 

Manasikarn Hall is separated into two sections.

One features a multimedia exhibition titled “Journey Through the Life of Buddha”, combining images, light and sound and a video with a cinematic feel.

Further down is the “Stupa Hall”, where visitors can pay homage to Buddha’s relics, a Phra Borommalokkanat statue with a lap width of 30 inches and an embroidered Buddha image.

The other section comprises an area for meditation, where visitors can learn about and feel inner peace.

This helps all participants to live a moral life, the meaning of “manasikarn”.

All presentations are bilingual (Thai and English), aimed at local and international visitors.

Saraburi Manasikarn is located in the midst of beautiful scenery of Phra Phutthabat Noi Mountain in Kaeng Khoi, Song Khon subdistrict – a 90-minute drive from Bangkok. It is open Tuesday to Friday 10am to 5pm and on weekends 9.30am to 6pm. It is closed on Monday.

The entrance fee for Thais is 20 baht and foreigners 50 baht. Children, students, elders, handicapped people and monks can enter for free.

THE NATION

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Southerners take part in colourful Sat Thai fest

WEDNESDAY, SEPTEMBER 28, 2022

THE NATION

Thais in southern provinces flocked to temples on Sunday (September 25) to celebrate the annual Sat Thai festival, which is held at the end of the tenth lunar month.

Sat Thai Day is an occasion to make merit by honouring spirits of the season and one’s deceased relatives. Rites and ceremonies vary among different communities.

The ceremony is sometimes referred to by locals as “sending off grandparents into the next life”, and is an activity that boosts community unity.

According to local beliefs, Sat Thai Day is one on which deceased relatives can come back spiritually to visit their living descendants to receive “merit”, which they can take to their next life.

On the special occasion, people visit temples and make merit by presenting offerings to Buddhist monks and praying away all bad karma experienced by their deceased relatives, so that they are forgiven and can have a peaceful, happy next life.

Most temples build an elevated platform on which visitors place extra food as offerings for the deceased who have no relatives. After a while the foods are considered “consumed” by ghosts and therefore up for grabs by ceremony participants, who believe that eating a ghost’s leftovers is considered good luck.

To make the occasion more entertaining, some temples place the food on top of an oiled pillar instead of a platform, and those who manage to climb and get the food first are considered winners.

THE NATION

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Phetchabun celebrates unique Buddha festival

MONDAY, SEPTEMBER 26, 2022

THE NATION

One of the world’s most unique Buddha-related events, the “Um Phra Dam Nam Festival”, is currently being held in Phetchabun province, where it originated.

Um Phra Dam Nam in Thai language means “diving while holding the Buddha’s image”.

According to local legend, the festival began when a group of fishermen failed to catch fish and were resting on the river’s bank. Suddenly, a rapid current arose, and a golden Buddha idol happened to float by.

The villagers brought the image to the main temple of Phetchabun, but it disappeared mysteriously and was found back at its original spot on the river.

Since then the locals have celebrated the festival to pay their respects to the Buddha, in the belief that it will bring them happiness, peace and prosperity.

The annual festival began on September 23 and ends on September 28, and is being organised at four venues — Phetchabun Intrachai Archaeology Hall, Wat Trai Phum, Wat Bot Chana Mara and Phetbura Buddhist Park.

The highlight of the festival is a parade of the Buddha image, named “Phra Phuttha Maha Thammaracha”, through the city, culminating in the person carrying the idol diving into the river. The event also features performances, activities and merchandise.

Thanks to the efforts of Phetchabun government agencies, this event has expanded from local to a provincial festival. Provincial agencies also aim to promote this festival among Asean countries in the future.

THE NATION

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Thailand-Norway Ties Still Flourishing After 117 Years

BY LINE : THE NATION

WED, SEPTEMBER 14, 2022

The Friendship Between Thailand And Norway Began 117 Years Ago When King Rama V Visited Oslo In 1907 As Part Of His European Tour.

The king had travelled around the world, especially in Europe, to promote Thailand as a developing, independent nation. This was after the Kingdom lost a lot of territory, including Laos, in the 1893 Franco-Siamese War, or the Incident of RS 112.

King Rama V visited Norway two years after the Nordic nation became independent from Sweden on October 26, 1905.

Thailand’s Ambassador to Norway Vimolbajra Ruksakiati said that now there are some 30,000 Thais, mostly women, living in the Nordic nation. Most of them live in Svalbard, followed by Oslo and Trondheim.

“Even though the distance between Thailand and Norway is huge, Thais were the first foreigners to visit the area,” she said.

Vimolbajra, who began her mission in Norway in December 2019, said the two countries have been cooperating on various aspects, such as telecommunications, digital farming and clean energy.

She also believes that the two countries can work together to create sustainable clean energy.

“Thailand and Norway have the same targets in tackling environmental issues and pollution,” she said, adding that advanced technology is necessary to make the cooperation successful.

The envoy added that Thailand’s Commerce Ministry was currently negotiating a free trade deal with the European Free Trade Association (EFTA), which is comprised of Norway, Iceland Switzerland and Liechtenstein.

“This will benefit both Thailand and EFTA members as it will be Thailand’s first FTA in Europe,” she added.

Meanwhile, Thailand’s soft power – its cuisine – has been making a mark in Norway for a few years now.

Penpaka (last name withheld), the owner of the restaurant “Benja Siam Syd” in Trondheim, said Norwegians had developed a taste for Thai cuisine.

She said she opened this second branch about a year ago after running her first restaurant, “Benja Siam Midtbyen”, successfully for 10 years. Penpaka moved to Norway with her Norwegian husband 22 years ago.

She said the most popular dishes in her restaurants are “phad Himmaphan” (stir-fried vegetables with roast duck and cashew nuts), “phad Thai” (stir-fried rice noodles) and “phad priew wan” (sweet and sour pork).

Renu (last name withheld), who owns “Thai Restaurant by Renu” in Kristiansund city, also said her food had received a good response from locals.

She has been living in Norway for 28 years and opened the restaurant with her husband some five years ago.