Showing posts with label Singapore. Show all posts
Showing posts with label Singapore. Show all posts

Sunday, September 15, 2013

Amit Virmani: Audiences need something to keep them engaged


Singapore-based filmmaker Amit Virmani’s debut, “Cowboys in Paradise”, was one of the most talked-about Asian documentaries in recent years. The controversial film on sex tourism in Bali (Indonesia) garnered international acclaim and has been broadcast in over 110 countries.
His second documentary feature film, “Menstrual Man” (2013), is already making waves. The film documents the struggles of India’s Muruganantham, a school dropout who realised that the majority of women in India couldn’t afford sanitary pads and decided to do something about it. A Netflix audience favourite at Hot Docs 2013, the film underscores the importance of empowering women to combat poverty and highlights the power every individual has to make a difference.
Amit is a graduate of Southwestern University, Texas, where he was honored with the Feminist Voices Award.

Monday, July 29, 2013

Charity screening of 'Menstrual Man' in Singapore

Singapore-based filmmaker Amit Virmani, who shot to fame with his first film, Cowboys in Paradise, is screening his second documentary film, Menstrual Man, in Singapore on 6 August 2013.

This is a charity screening so friends in Singapore please help this effort. Book your tickets online today!

“Menstrual Man” tells the inspiring story of a man who rose from below the poverty line to stand up for the ignored and forgotten. It underscores the role of social entrepreneurship in combatting poverty, and the importance of economic empowerment of women to enable a better world.




MENSTRUAL MAN
SINGAPORE CHARITY SCREENING
August 6, 2013. 715PM.
Golden Village Great World City
$20
All profits go to MPEVDS, a village development society featured in the film.


More Details here

Friday, July 26, 2013

An evening with a Hollywood editor


Yesterday, I spent nearly two hours in the company of a veteran Hollywood video editor.

His name is Kris Trexler and he is an Emmy Award winning editor. Los Angeles-based Trexler has been nominated for the Emmy’s five times in his 30-year career. Twice he has won it. He has worked on hit TV shows in the US, such as In Living Color, Ellen, Titus, According to Jim, and Rita Rocks. He has also edited some music videos of Michael Jackson and Tina Turner and has worked on the taped segments of the Academy Awards.

Most recently, Trexler has been editing the hit Disney dance and comedy show, Shake It Up. After three successful seasons, the show is folding up and Trexler has been hired to edit another hot TV show in Hollywood. His new work starts from next month.


Trexler was addressing some local video editors in the Singapore Media Academy (SMA) in a talent forum yesterday. He is a regular visitor to Singapore and he conducts an editing master class here once a year. He also taught editing at Nanyang Polytechnic a couple of years back and loves Singapore as a city.

Trexler is a self-taught editor. He did not go to any film school. He learnt all the tricks of the editing trade on the job.

Trexler started out in his editing career at a time when digital editing was just taking birth. There was a demand for technicians who could learn to edit films (video) on computers and Trexler jumped into the fray. He became one of the pioneers of computerised video editing, using the revolutionary CMX system to edit “All in the Family” and “The Jeffersons”, top rated CBS network comedies in the late 1970s.

Ever since, he has been constantly employed. He works for eight months and then takes a four month break. It is during the break that he conducts his editing classes.

Video literacy and editing

Today, video is ubiquitous (thanks to smartphones and YouTube and Facebook) and there are plenty of awfully edited videos on the Internet, he said. If people could learn the basics of editing, they could really improve their home videos.

I call this need video literacy. Today we live in the world of videos—from surveillance footage to our casual videos taken through our iPhones and iPads. They all end up somewhere on the Internet. Like we learnt how to read and write in school, how to use syntax and grammar, the same kind of literacy is required to handle the language of video.

In the SMA forum, most of the discussion centred on editing software.

Trexler lamented how Apple’s Final Cut Pro (FCP) X has disappointed professional editors. FCP was a great piece of editing software and after Apple discontinued FCP 7, it fell out of favour. When Apple had announced FCP X after a hiatus of several years, Trexler was over-excited. He wanted to use it to cut his next project on. When the product was finally released and he downloaded it from the App Store, he was disillusioned with what he saw.

The new version is not convenient for editing longer footage, he said. Creating and using duplicates is a problem with the software. However, he thinks that FCP X is great for editing documentaries.

After his initial rejection, Trexler is slowly coming to terms with FCP X again and is exploring it.

Hollywood is a 100 percent Avid town, Trexler said. All Hollywood editors use Avid to edit their footage. Most Hollywood productions use multi-cam footage (videos shot with four-cameras, A, B, C, and X). It is easier to edit such footage on Avid. Avid also has some unique features which other softwares don’t have, he claimed.

Trexler also appreciated Adobe’s editing software, Premiere. He said the software has evolved over the years and many editors are using it now (though not in Hollywood). Apple’s loss (after the folly of FCP X) has been Adobe Premiere’s gain.

If you are budding video editor, Trexler has one simple advice for you: you should learn both FCP and Avid. If you know how to use FCP, it should not be difficult to learn Avid in a day.


That’s what Trexler thinks. You want to try?

Wednesday, December 26, 2012

Why I wrote The Singapore Decalogue?




My first collection of short stories, The Singapore Decalogue: Episodes in the Life of a Foreign Talent (Red Wheelbarrow Books, 2012) was released in November this year at the Singapore Writers Festival. The book was supported by the National Arts Council Singapore under the Arts Creation Fund grant.
In this collection of short stories, I have tried to create vignettes of life in Singapore. This is my tribute to this city state, which has built its social capital with great wisdom, civic sense, and quotidian practicality.
Like many modern metros, the Lion City is compact, with people of various ethnicity and nationalities living side by side. Though they live mostly secluded, private lives, there are times when their paths cross. This civic commingling of people can be harmonious or chaotic, depending on the circumstances.
In these stories, I have tried to portray the hopes and frustrations of a few interconnected characters (that was truer for the earlier draft when the characters were varied). The bustling metropolis attracts all kinds of people who want to make a life here. What happens to their dreams? What kind of struggles do they go through? Do they feel alienated? What do they love about the city? And so on.
Through the panoply of characters, mainly built around a main character, Asif Basheer, an aspiring poet from India, I have woven together a web of stories that throw light on various contemporary themes. The initial aspiration, following in the footsteps of Tolstoy and the Polish filmmaker Krzysztof Kieslowski (especially his film cycle, The Decalogue), was to explore themes based on the Ten Commandments, but I finally transformed the idea. I was anxious, even afraid, that the stories might come across as too moralistic or formulaic if I went down that route. Nevertheless, my moral concerns about making choices in life still shaped and informed the stories in The Singapore Decalogue.
As I have said elsewhere, more than a writer I am an inspired reader. In terms of actual inspiration behind the stories in this collection, there were many influences—both from life that I have seen from close quarters and from books that I have read over the years. So, in these stories, besides expressing my appreciation of the city and its people, I have also tried to pay my debt to many of my favourite writers and their works that I have benefitted from. The first story, that introduces the main character, is my homage to Fyodor Dostoevsky. In fact, the story begins in the same way as the master’s novel, Crime and Punishment. His protagonist, Raskolnikov, a conflicted and aspiring intellectual, finds a modern day reflection in my main character, Asif Basheer. As the stories unfold, we become privy to Asif’s trials and tribulations and see life in Singapore through his life’s prism. We meet characters who interact with Asif or come into his life. In the earlier version, Asif’s story culminates in a bizarre incident in Boat Quay—Singapore’s commercial heart but that has changed in the final version.
In the original version, the last story summed up the aspects of Asif’s life in epistolary form and it was meant to be my tribute to Gustave Flaubert who wrote some of the most beautiful and passionate letters that I have ever read. In my view, this completed an arch—the first story and the last—as both Dostoevsky and Flaubert were contemporaries in 19th century Europe, and died one year apart (1880 and 1881 respectively). This was how I had tried to connect the past with the present. No matter how times change, people and their hopes and sufferings remain the same. Besides these two great writers, there are stories in the collection that are inspired by the styles of my other favourite writers—James Joyce, Ernest Hemingway and Hanif Kureishi. Initially, my model was Joyce’s Dubliners in which he tried a naturalistic depiction of the Irish middle class life in and around Dublin in the early years of the 20th century. A lot changed from the initial idea but that was what I had in my first draft.
A note of explanation here: by dropping big names (Joyce, Hemingway, et al.) I don’t claim any greatness for myself (how could I?). That would be preposterous and arrogant of me (some have already charged me of being a snob because I don’t like most of the books that are being published today, especially fiction—so I don’t want to aggravate matters here). I am doing that because I want to acknowledge my debt and put on record that I drew inspiration from their works, and that I feel a sense of kinship with them (as many reader would feel towards their favorite writers).
The first draft of The Singapore Decalogue was ready in 2011 and as I started working on the book with my publisher and my editor, the contours of the collection began to change. The publishers had liked the opening story, Crime and Punishment, so much that they wanted to have Asif Basheer, the main protagonist, as the lead in each story. That was not my plan.  This meant that I had to drop almost half the stories from the collection and write new ones. I needed some time to do that. By that time, I was also working on my non-fiction book, The Resurgence of Satyam, and had started work on a screenplay. So, there was a hiatus between the first batch of stories that I wrote in 2010-2011 and the later stories that went into the collection. They were written after July 2012.
I still like some of the stories that were dropped from the first draft. Who knows? They might go into The Singapore Decalogue 2.
Copies of The Singapore Decalogue are available at Kinokuniya, Singapore for purchasing and at all branches of National Library Singapore (NLB) for borrowing. 

Monday, January 30, 2012

Why can't Singapore filmmakers make The Descendents?

Last night while I was watching Alexander Payne's The Descendents (2011) in Cathay Orchard, I was thinking: why can't filmmakers in Singapore make a film like this?

Now, there is a reason why this thought crossed my mind.

The Descendents
is a small-scale film set in the islands of Hawaii. In the film, a land baron (George Clooney) tries to re-connect with his two daughters after his wife suffers an accident and goes into a coma. Like his last film, Sideways, Payne's new film is also about relationships and is based on a novel by Kaui Hart Hemmings.

Geographically speaking, the plot of the film revolves around two Hawaiian islands, Oahu and Kauai. The main city, as shown in the film, like Singapore, has highrise buildings, hotels and resorts. Singapore also has many neighboring islands. Developing property in parts of these islands is one of the main activities of economic growth.

The Descendents is a little, heartwarming comedy, and given its setting, a story like this could have been easily recreated in Singapore or Hong Kong. However, I have not seen a beautiful film like this, based on relationships, made in Singapore or Hong Kong. Most of the films coming from this part of the world are either heartlander comedies, gangster-cop films or horror films or films made with an eye for international awards. I wonder why?

Thursday, November 10, 2011

Dr. Susan Lim's search for justice

In recent months, well-known Singapore surgeon Dr. Susan Lim has received enough media attention here and abroad in the wake of her run-in with the Singapore Medical Council (SMC). Last week, the judgment on her appeal against constituting a second disciplinary committee by the SMC was reserved.

SMC, whose job, among others, is to determine and regulate the conduct and ethics of registered medical practitioners in Singapore, wants to conduct a second disciplinary inquiry into the Ministry of Health's accusation against Dr. Lim that she overcharged a patient--the sister of the Brunei queen--over seven months in 2007. Her controversial medical bill, still unpaid, after discounts, stands at $12 million.

The first SMC disciplinary committee had to stand down after Dr. Lim's lawyers claimed it had per-judged the case (The New Paper, 11 Nov, 2011). Dr. Lim's lawyers want to exploit this 'standing down' of the first committee to avoid being further investigated. "It was illegal, improper and biased," said Dr. Lim's lawyer in the court of the SMC's disciplinary proceedings (The New Paper, 11 Nov, 2011). However, the SMC's lawyer insists that there is a case against Dr. Lim since there is no evidence of an agreement between the doctor and the patient of a fee agreement, and so the overcharging was unjustified. Who knows if this case leads to the standardization of fees by medical specialists in Singapore, just like Britain is contemplating legislation next year to curb excessive executive pay?

I had briefly written about this case before as it had caught my attention (a writer always keeps a lookout for interesting stories; Hemingway, when he was in Paris, loved to read crime stories in the scandal sheets). It sounds callous and heartless but that is how writers are.

Months later, upon reading my piece, one day I was invited to meet Dr. Susan Lim's team. They wanted to present the facts, their side of the story which was not sufficiently covered in the media, in front of me. I wondered why they would want to do that for an insignificant blogger like me? Maybe it was because of the questions that I had raised in my previous blog post.

One the one hand, I was curious; on the other, I was apprehensive, not sure about going for the meeting. A meeting meant an obligation to write a piece. Or may be not. But as is the case with me, I am too soft-hearted to say no to anyone. I also had to think of the possibility of any consequences of my writing about an ongoing case. Should I be afraid of anything? The moment I thought of that, of being afraid, I knew what I should do. I went right ahead to the meeting. Ideally, the whole country's media, and not just me, should have been called in to an open press conference for them to be presented with the facts of the case.

The meeting lasted more than an hour. It was a pleasant meeting. Like any corporate briefing, there also was a representative of a PR company present there. At the end of the meeting, he asked me to get in touch with him if I needed any more info. "Shop talk," I smiled and got out of the meeting venue.

A reputation collapses under the weight of newspaper headlines

After the meeting, I was thinking about the beleaguered surgeon and her staff (I don't know how many of them have already been retrenched because of lack of funds). What a price to pay for a royal engagement? One the one hand, Dr. Lim's image has been tarnished because of the heavy media coverage and the chatter in the blogosphere: she has been portrayed as a greedy profiteer, as if she were not a top surgeon but a buccaneer, prizing profit out of human misery (even though the 'misery' was royal in her case). On the other, she has lost her business. A medical practitioner of 30 years standing, Dr. Lim once (in 2007) led the largest surgical practice in Singapore with 33 staff at two clinics in two of Singapore's top private hospitals. Not long ago, according to her team, Dr. Lim's business was worth about 80 million dollars in valuation. Today, that business has gone kaput, bankrupt. Dr. Lim is a pioneering surgeon in Asia; she is a star speaker in conferences all over the world.

Imagine losing your business after achieving such great success, after climbing such great heights, and on top of that, being labelled a greedy person, a profiteer. And for what? According to her team, it was merely for going out of her way to treat the patient. She should have billed the patient every month. Then the issue of outstanding bills would not have arisen.

According to her team, the doctor has been wrongly accused of having no fee agreement with the patient. But the agreement was only verbal--or so it was said. Their point is that Dr. Lim had been assured by the royal patient that Istana (The Royal Palace of Brunei) would take care of her fees and she should not worry about it. True to the promise, for six years, the doctor was paid her fees, whatever the amount, without any questions asked; but, once the patient passed away, the same kind of fees were deemed outrageous. According to her team, the Brunei government were appreciative of her services and only wanted a benchmark or justification from the Singapore authorities for standardizing fees.

Since the rest of her story is well-known, encapsulated here in this video (http://www.youtube.com/watch?v=FaonTloTdzk) (brought to my notice by her team) and numerous press articles and blog entries, I will not go into much detail. As a writer and artist, I am only interested in the individual.

From the meeting, I emerged impressed by the fearlessness and perseverance of Dr. Lim's team. All they want is to get her name cleared.

Justice and Fearlessness: A Faulknerian quest

After the meeting with the doctor's team, I had been thinking of the controversial case. Why is it important for anyone but her? Why should anyone bother about what happens to her? She is not even an underdog! (It is simple human instinct to champion the underdog) She is well-set and is married to a rich banker. I have been wondering about all these questions when one afternoon, as if by serendipity, I came across a volume of American writer William Faulkner's Essays and Speeches in a library. Some of the Nobel prize winning writer's thoughts jumped at me, making immediate connection with my quest at hand as well as with numerous uprisings making headlines around the world.

In speech after speech, if Faulkner has emphasized on anything, it is fearlessness. In his Nobel prize acceptance speech in 1950, he said that the basest of all things is to be afraid. In 1951, addressing the graduating class of University High School, Oxford, Mississipi, he said: "What threatens us today is fear. Not the atom bomb, nor even fear of it...Our danger is not that. Our danger is the forces in the world today which are trying to use man's fear to rob him of his individuality, his soul, trying to reduce him to an unthinking mass by fear and bribery...because they themselves are baffled and afraid, afraid of, or incapable of, believing in man's capacity for courage and endurance and sacrifice."

In the same speech, Faulkner says: "It is not men in the mass who can and will save Man. It is Man himself, created in the image of God so that he shall have the power and the will to choose right from wrong, and so be able to save himself because he is worth saving;--Man, the individual, men and women, who will refuse always to be tricked and frightened or bribed into surrendering, not just the right but the duty too, to choose between justice and injustice, courage and cowardice, sacrifice and greed, pity and self...so never be afraid. Never be afraid to raise your voice for honesty and truth and compassion, against injustice and lying and greed."

Dr. Lim is fearless and is seeking justice for herself and her team. If she thinks she has a solid case, which she thinks she has, why can't she allow SMC to conduct another inquiry and prove her point? After all, SMC has the responsibility of regulating the conduct and ethics of registered medical practitioners in Singapore. If SMC does find something wrong in her case and passes a regulation which she might consider unfair, she still would have recourse to justice, won't she?

One can understand that her faith in the SMC is shaken after what happened in the first disciplinary committee. But my hope is that Singapore, having made its name on the back of championing hard work, fairness and justice, will give Dr. Lim a fair chance to clear her name.

Tuesday, September 27, 2011

Singapore 'Borders' closed

It is curtains for Borders in Singapore.

The only functional Borders outlet at Parkway Parade closed its door on Monday. For good.

Last Saturday, I made a trip to the bookstore. Books were being sold off at 70 per cent discount. I knew that all the good books would have gone by now. Still, I wanted to go to the bookstore one last time. So, I went. Like a pilgrim, I had to make that last journey.

As expected, there was a good crowd. Most of the books left in the store were crap. Yet, people thronged the shelves that had some stock left on them. Half the bookstore's shelves were without books. There were 'Out of Bound' signs to prevent the public from entering those spaces.

I spent more than an hour looking for books I could buy. I found a couple of novels and two books on screenplay writing worth buying. My daughter found two books that she wanted to buy. I waited for almost half an hour to make payment for my purchase. It was all very civil. When I paid for the books, the counter clerk looked me in the eye and said, "Thank you". If it were business as usual, she would have said, "See you again, sir." We both knew it was the last time. But there was nothing on her face. No smile, no sorry, no regret.

I stepped out of the store and looked at it one last time.

With Borders' closure, a chapter has ended for book-lovers in Singapore. I will miss a bookstore like Borders. I think it was not lack of customer support that killed the store. It was the rent. Singapore's escalating rent is killing many businesses, most of them small businesses. Selling books is not just business--it is more than that. Bookstores should be given the non-profit treatment, and every Mall should give discounts in the rental for bookstores. Bookstores are like parks in a city. What kind of ROI do we expect from them? If a bookstore goes, the loss is ours.

Thursday, April 07, 2011

A world beyond pink laptops

This is from my CIO Asia technology blog:

Women are seeking a world beyond pink laptops. They want a larger role to play in shaping the world through technology and leadership opportunities. They want a significant representation at the high table in government, civil society groups and corporations.

These were the impression I came back with after attending the opening night of 'Women leaders of New Asia'. The summit was held in Singapore by Asia Society, USA, between 31 March and 2 April.

Read the full blog post here.

Tuesday, March 29, 2011

Double Bill: The curious case of Dr. Susan Lim

Doctors are usually mild-mannered people. They are service providers. They do their job and mind their business. Controversy is something they want to keep at an arm’s length.

If you follow the Singapore news, you will know of Dr. Susan Lim, one of Singapore’s path-breaking surgeons. Willy nilly, the top surgeon finds herself mired in controversy these days.

The doctor has asked the Singapore High Court to disallow a second disciplinary committee’s constitution by the Singapore Medical Council (SMC) to look into a grave charge on her. According to reports, she allegedly overcharged one of her royal patients (Penigran Anak Haja Damit) and billed the Burunei palace $24.8 million for breast cancer treatment between January and July 2007 just before the patient died. The council wants to investigate if the claims of mark ups and inflated bills made by the relatives of her patient, the deceased sister of the Queen of Brunei, are true.

Yesterday, the high court resumed hearings in her case. Dr. Lim was absent from the day long hearing but her lawyer explained how her invoices added up. The Straits Times reported today: “The SMC’s portrayal of Dr. Susan Lim marking up certain bills is false, mischievous and scandalous, her lawyer told the high court yesterday.”

Days in Paradise

From Europe on a skiing trip with her children, Dr. Lim tweeted: “Lessons in life go against the grain of doin good; never provide services even to a regular client without payment upfront; it can backfire.” (March 20)

If you know the background of her case, you will know what she is possibly alluding to.

Her next tweet is: Life is beautiful.

Is it? For her?

If you look at today’s newspaper’s headlines, you would wonder: What must be going on in her mind? Of course, she is rich. She has hired an expensive Queens Counsel, Ian Winter. Yet, moving between Moutiers to Courchevel, where she wants to enjoy the freshness of spring skiing, don’t the headlines from back home weigh her down?

What intrigues me is this: why did she bother to take on the establishment, the SMC and so on? Why does she want to fight back? Why does she want a judicial review?

Is she fighting for her reputation? If so, what’s wrong with that? A doctor’s reputation is all that she has. It is a delicate thing—takes a lifetime to build. One misstep and it is sullied. In today’s digital age, damage to one’s reputation stays for ever—a lifetime of embarrassment.

Is she fighting to get her millions back? The bills that, even after a fifty per cent discount, remains unpaid?

If that is the case, is it (to attempt to get one’s due back) a commercial dispute (between the doctor and the patient’s family) or is it a breach of medical propriety?

I think this question is at the heart of the matter.

Beyond the surface

The intense media coverage that this case has garnered—coupled with the fact that it affects Singapore’s image as a great destination for medical tourism—puts the onus back on the media. The media needs to get to the bottom of the matter.

Dr. Lim sounds very concerned when she tweets like this: “Let not an honest citizen be trampled upon by public authorities when their injustice and irregularities are exposed.”

What injustice? What irregularities?

If there are irregularities indeed, will the media uncover them? Dr. Lim is again skeptic: “the challenge to the media in reporting, is to delve deeper than merely scratching the surface and to report with substance and intellect.”

What is it that Dr. Lim wants the media to find out and expose? What’s beyond the surface? Is there something we have not seen yet?

Now that it has been revealed that the second SMC panel’s head was a rejected admirer of Dr. Lim and SMC’s rebuttal that its rule was not changed to target the beleaguered doctor, it would be interesting to see how the case moves forward and how does the media go after the proceedings. I think it is a great chance for the Singapore media to show its mettle.

What do you think? Which way will the case go? Will the institutions hold Singapore’s reputation of being a just and fair country? Will the media step up to the plate?

Sunday, September 26, 2010

Are Asians congenitally dishonest?

After the recent revelation of “spot-fixing” in the Pakistani cricket team, the question that was being debated on Indian TV channels was this: are we congenitally corrupt?

This is a question that ought to be asked by all Asians. Corruption sweeps across Asia like a disease. Just look at the cases of corruption in India and Pakistan. There are plenty of recent examples: Match-fixing scandals in Indian and Pakistani cricket teams, alleged tax evasion in the lucrative Indian Premier League (IPL) cricket tournament, bungling in this year’s Delhi Commonwealth Games, alleged corruption in the allocation of 2G spectrums by India’s telecom ministry. Across the border, Pakistan’s Asif Zardari has been known as Mr. Ten Percent. This percentage might have gone up now that he is the President, according to his niece Fatima Bhutto .

With the exception of Singapore, all Asian countries are by and large corrupt. From the top level politicians to low level officials, dishonesty runs deep in our blood. From China to Malaysia, Indonesia and Philippines, no country escapes the taint of corruption. Of course, this is borne out by the figures of Transparency International, the global anti-graft body. To get a sense of the spread of corruption, just look at the world map at the Transparency International’s website : as you move from East to West, the deep blue color fades to light blue, indicating less and less perception of corruption in the Western world.

Let us consider some specific figures: Transparency International puts India 84th on its corruption perception index with a 3.4-point rating, out of a best possible score of 10. For a contrast, look at New Zealand. It ranks first with 9.4 points. Singapore is 3rd with 9.2 points. Somalia is last on 1.1 points, which is more or less mirrored by Myanmar (1.4) in Asia. The index for China is 3.6, Malaysia 4.5, Thailand 3.4, Indonesia 2.8 and Philippines and Bangladesh are is 2.4 each.

If the water is too clean, there are no fish

Given their size, the incidence of corruption is more prominent in the case of the two Asian giants, India and China. Almost one-third of Indians are "utterly corrupt" and half are "borderline", said Pratyush Sinha, the former chief of India’s corruption watchdog, Central Vigilance Commission . India’s former Union Law Minister Shanti Bhushan recently told the Supreme Court that at least eight of the 16 chief justices of India (CJIs) were "definitely corrupt". It might sound ludicrous but one of the anecdotal explanations behind India’s ability to survive the 2009 global financial meltdown was that India had plenty of black money. According to one estimate, the Indian black money stashed away in Swiss banks and other accounts may be of the order of US$1.4 trillion.

The news from China is not good either. Corruption is consistently rated the number one concern by Chinese, ahead of pirated goods and pollution . Unlike India, because of its system of governance, there is often no report of corruption at the top of China’s political hierarchy. However, media reports abound in corruption scandals involving China’s government officials and businessmen. China's anti-corruption watchdog has said 106,000 officials were found guilty of corruption in 2009, an increase of 2.5 percent on the year before.

Not just officialdom, corruption also touches the business world of China. A moderate tolerance of corruption is a fact of doing business in China . People who do business there live by the proverb, “If the water is too clean, there are no fish.”

Interestingly, China at least has the image of cracking down on its corrupt businessmen and officials. A BBC report said that the number of government officials caught embezzling more than one million yuan ($146,000) in 2009 jumped by 19 per cent over the year. The government says the increase is due to better supervision of the problem. In September, China has ordered death penalty for food safety crimes (Today, Sep 17, 2010)—a much reported crime that caused deaths of infants and children in the last few years in the country.

In India, corruption is seen as part of ‘bad governance’, or accepted with a creative spin called the jugaad culture. Upright Indians who are against the culture of corruption give examples of China when it comes to dealing with corrupt officials. For instance, the former head of oil giant Sinopec, Chen Tonghai, was sentenced to death last year for taking nearly $30m in bribes. Many Indian commentators on TV demand China-style executions of corrupt Indian leaders and bureaucrats.

Why are we so corrupt?

All this is background. The main question that often gets lost in the discussion is why are we so corrupt whereas we blame the West to be materialistic?

India and China are two of the oldest civilizations in the world. Corruption would have existed in these cultures in one form or another but the levels it has reached now, when these countries are once again part of a historical boom, is alarming. This is a great comedown for a country like India whose official slogan is Satyamev Jayate—truth prevails.

Is it that the sudden economic boom has warped our minds? This can’t be entirely true as there has been a history of corruption and scandals in India, for example, even before the era of economic liberalization. So what explains this explosion of corruption?

“When we were growing up I remember if somebody was corrupt, they were generally looked down upon,” Sinha said about corruption in India. “There was at least some social stigma attached to it. That is gone. So there is greater social acceptance.”

In India today, it is agreed that the love of materialism has ripped apart the moral fibre of the country. Sinha said that in modern India “if somebody has a lot of money, he is respectable. Nobody questions by what means he has got the money.” What Sinha says is it in a way an expression of the Hindu attitude of fatalism, and acceptance of the fact that we are living in Kaliyug, the era of vice?

Similarly, in the older generation of Chinese, there is widespread anger at the ostentatious lifestyle enjoyed by some Communist Party officials, police chiefs and bosses of state-owned companies, according to the BBC’s Quentin Sommerville. Canadian journalist Jan Wong, who studied in China in the 1970s, reports in her book, Chinese Whispers (2009), about the attitude of the present day’s Chinese youth: “Now young people are different. They don’t want to enter the party. They just care about money. In the old days, we had a zhandou mubiao (a battle objective): ‘Serve the people’, ‘Everything for the revolution’. Now there is a spiritual crisis. People have no goal except to get rich.’

No goal except to get rich—that sounds true for the youth of all Asian countries today that have opened their doors to marketisation. But that still does not explain the high incidence of corruption.

The problem can’t be just materialism that has been parachuted in through the forces of globalisation. If it were so, the perception of corruption in the West would be higher too because we have always accused the West to be more materialistic than us.

The explanation, in my opinion, lies in the governance structure and the application of the rule of law. That’s why Singapore, despite being part of Asia, is a shining beacon, an exemplary corruption-free state where a police officer can be jailed for as petty a crime as stealing 70 dollar from a lost wallet (this is not even a case of bribery!) . Singapore is corruption-free and Singaporeans don’t accept corruption because the government is honest and rule of law is applied without discrimination. Also the fact that Singapore’s ministers and civil servants are well paid helps to check their corruptibility.

In the final analysis, I don’t think that Asians are congenitally corrupt. But when they see their top leaders, their civil servants and their society’s rich and famous getting away with loot and murder, they too learn to accept and practice dishonesty in life and business. In Asia, corruption is more of a survival tactic than an ingrained human trait, though if it remains unchecked, it will not only dampen a country’s economic prospects but will also lead to its spiritual suicide.

An edited version of this article appeared in The Daily Star, Dhaka (24 Sep, 2010).

Saturday, July 24, 2010

Postcard from Phuket


[This is the first part of my Thailand travel notes]

A trip to Phuket and Bangkok was waiting to happen. I’ve been living in the South East Asian region for the last 5 years and yet I hadn’t travelled to these tourist clichés on the map of Thailand. Perhaps one main reason why I was not eager enough about visiting these places was their commonplaceness—everybody goes to Phuket and Thailand. From Singapore, going there is as clichéd as being a heterosexual.

I’ll give you an example. Just before I was to start for Phuket, one of my colleagues rubbed it in: “You are going to Phuket? Huh, I’ve been there twenty-five times!”

Got it?

Seriously, I guess one can’t beat the argument in the age of low cost airlines (just like you can’t beat tweeting and watching pirated DVDs—almost everybody is at it). As Naipaul has remarked, travel has become so plebian now. Tourism is so much part of our globalised lifestyle that anyone who saves a penny or two or owns the wondrous credit cards travels once or twice a year to arrogate to oneself the status of belonging to that global jet set that regularly rubs its bum on the leathery smallness of low cost short-haul flights.

So, when an opportunity (to attend a regional tech event which later on got cancelled) to visit Phuket and Bangkok arose in May this year, I said enough was enough. Even clichés needed to be struck out of my travel diary. Earnestly, tickets were booked one month in advance.

When the time to fly came, it suddenly didn’t seem like a good time to visit Thailand: The Red Shirts had been protesting against the present government in Bangkok for more than a week and one of their rogue generals had just been shot. Bangkok was under siege and the city was under partial curfew. To my chagrin, the tech event that I was supposed to attend shifted its venue from Phuket to Singapore. But I was in no mood to change my plans. Given this background, my colleagues were a bit suspicious of my sanity when they came to know that I was travelling to Thailand, and was not paying enough attention to the news.

And what was I thinking? Dude, what is the fun of travelling if it was not laced with a bit of danger? My philosophy is that travel mixed with a bit of a danger makes it an adventure. For me, the curfew and the protests did it. So, one sunny morning, off we went to Phuket on a Jet Star flight.

The Sea, The Sea

When the plane was about to land in Phuket International Airport, I looked down the window and the surface of the Andaman Sea that spread beneath us presented itself like an immobile expanse of boredom, a blue bedspread, rumpled as a grandmother’s creased cheeks.

At the immigration, the visa officer looked bored and stern. No swadika, no smile. Hello, is this Thailand, I wondered. Thankfully, visa was free (The Red Shirt’s troublemaking in Bangkok had hit tourist traffic throughout Thailand) and it straightaway meant a saving of 3000 bahts for me. I suddenly felt lucky and wallet-wise, marginally closer to Donald Trump (remember I am a journalist married to austerity, not a banker or a businessman). The queue at the immigration was small and it didn’t take much time to clear immigration and collect our luggage. I love the breeziness of small town airports!

Outside, it was a bit warm. A hotel taxi was waiting for us. The taxi driver was amiable. Once inside the air-conditioned cab, I asked him a few questions and he said a lot of yeses with smiling nods. It simply meant that the conversation was flowing in only one direction—mine. It took us forty-five minutes to reach our hotel which was near Patong Beach, fifteen kilometers west of Phuket town. The road to the town was in great condition which coursed through the hill-like greenery-filled landscape of the island. My wife felt a bit pukish but I and my daughter were okay. Sporadically, the road was flanked by single-storied houses, shops and business establishments. On the way, interestingly, I saw more mosques than temples.

We had reached the airport around nine in the morning and by the time we checked into the hotel, the first thing that demanded attention was our hunger pangs—a uniformly felt family experience. I changed into shorts and a T-shirt and came down from my hotel room to recce the area for food outlets. The whole place was infested with big and small inns and hotels and western style brasseries, coffee shops, restaurants, and hawker outlets. Given the heat and lack of choices, I settled for a pepperoni pizza and some fresh fruits and beat a hasty retreat to my hotel room. A little rest and then we ordered lunch. The lunch was standard Thai food from the hotel’s kitchen: the order was misunderstood, the chicken meat was harder than usual and the portions were, maybe, let’s put it this way, good enough for ladies but not sufficient for a grown up Indian male with a moderate to good appetite.

In the afternoon, we took a stroll on Ao Patong—a three kilometer stretch of sandy beach. Some Western tourists were relaxing on chaise lounges, barbecuing their bodies or sipping their drinks under colourful parasols, a book spread on their knees. Clichés I know but what do you expect on a beach? Young couples and surfers played with the waves in the shallow waters, their smiles and laughter adding mirth to the somber sea.

On the beach, my wife thought the Andaman Sea was a bit darkish and I quickly remembered its devastating tempestuousness during the Asian tsunami. Thousands had perished. I didn’t want to think about the tragedy, so I turned my attention to my four-year old daughter. She was the happiest: she loves the sea and the sand and she rolled about in it for a while. And I thought, children were usually happy because they had little memory. I bought a fresh coconut and we shared it “as a family,” the way my daughter loves to put it.

A thin and turbaned middle aged Muslim man, with a dark beard, sat on the sand behind me. He was with a young boy. They looked straight out of a madrasa. What were they doing on the beach, I wondered. Were they enjoying the dancing waves or were they there to soak in the pleasure of beach revelers, to be in commune with them, indulging in a vicarious pleasure? How would I know? “Where are you from?” he asked me. “From Singapore,” I said, adding a wan smile. Would he ask for money, I feared. The man did not talk much. He looked rather sad. I kept an eye on him. The man and the boy left in less than half an hour. I felt a sense of relief but I immediately questioned it: why did I feel relieved? The man had every right to be there (there was a Muslim cemetery bang opposite the beach); he was like everybody else except for his dress. He could even be one of the original inhabitants of the area (this being the South of Thailand), but now he looked more alien than others there. An oddity! The image burnished in my memory, headlined, an oddity.

A little later another man came. He was a Thai. “Where are you from?” The same question. I replied. He showed me a piece of paper. He was collecting funds for Tsunami victims. I had my doubts. He could be a fraud. I apologized and waved him off. It is easy to dismiss a request when you talk to a man from behind sunglasses.

In the evening, the lights came on and the streets magically came alive with people—in cars, in tuk tuks, on scooters, on foot. There were touts everywhere: men and women asking us to buy stuff, dine at sea food joints or get massages. Every few steps, a tuk tuk driver or his agent would offer us a ride. A mini truck passed by slowly, with young boys on board in shorts mocking a Muoy Thai sparring, advertising for a super championship match in town. There was music and noise everywhere, the sheer liveliness of a place that thrived with human interaction, energizing the participants and onlookers alike. And I thought, dude, where are the protesters? Where is the unrest? Later, I saw a story in the Phuket Post (30 April- 13 May): Phuket backs the PM. “More than a thousand Phuket people delivered a handwritten letter to Go Wichai at the Provincial Hall on 19 April (hoping)…that the letter will encourage PM Abhisit (Vejjajiva) and his party not to resign and dissolve parliament…” In short, the Phuketites were for business and for normalcy.

Taking in the festiveness, we walked up to Jung Ceylon, a modern shopping complex where all your StarBucks, MacDonalds and Carrefours are. I experienced an effusive sense of relief but at the same time was struck with a sense of smallness—what a little world of brands made my mental universe. “Daddy, I want to eat junk food,” my daughter whispered in my ears when she found herself magically transported into this mini Singapore. She craved for a Burger King meal and that’s what we bought her. Surely, a guilty pleasure. We did some shopping in Robinsons and Carrefour and grabbed our dinner in the Jung Ceylon’s food court, and that’s where I made my greatest discovery: an Indian food stall named Bismillah Kitchen.

Amid all kinds of Thai food represented there, I was glad to find Indian food represented too. Also, this was the only food joint that displayed a halal sign, indicating that their food was kosher. Coming from Singapore, we were spoiled as Singapore has hundreds of halal certified food stalls and eateries. The stall was being manned by a young Pakistani man, Hassan. We ordered our dishes in Urdu and felt quite at home. The microwave-heated food was miraculously delicious (rice, dal, potato with peas and a bowl of meat with gravy; the pudina chutney was amazing) and so inexpensive that I decided to come there for all our subsequent meals. A single Burger King meal cost us about 250 bahts--and here we were getting nearly home cooked food for the whole family for just about 200 bahts. It was unbelievable.

Over the next few meals, I got to know a little bit more about Hassan. He was from Punjab and instead of venturing to Dubai or London as most of his countrymen do, he moved to Thailand. “There are lots of opportunities here,” he said. He was happy to see someone from the subcontinent. “Saheb,” he said, “I hardly see any Pakistanis come here. They seldom get out of the country.” “True,” I said, “There are reasons for it”. Then we talked about politics. “What is sad is that in Pakistan, Muslims are killing each other because of politics,” he said. Hassan was not much educated but he knew what was going on in his country.

Changing the topic, I asked him, are there a lot of Muslims in Phuket? “Oh, yes,” he said, “and they are very strong.” How, I further pressed him. “They are strong in business and they have a lot of clout.” Perhaps that explained why I saw so many mosques in Phuket.

Then he complained about a neighbouring stall owner who sold Thai food: she sold both chicken and pork and yet had the temerity to brandish a halal sign on her stall to attract Muslim tourists. “How could she do it?” Hassan said. Are you going to complain to the authorities? “No,” he said, “But next time they come on inspection, they will take action against her.”

I promised Hassan that I would write about his food stall. He was thankful. On the last day, he gave a free treat to my daughter: Milkmaid poured over a hot parantha. “Yummy,” my daughter declared.

For our remaining days in Phuket, we avoided the tourist traps and did more of the same—walking around, shopping and more family bonding over food and siestas. We even gave the Phuket Fantasia, a nightly dinner buffet with a Las Vegas-style show, a miss. Each ticket costs around 1800 bahts.

The night before we moved over to Bangkok, I took a stroll down the Soi Bangla, Patong’s liveliest party zone. The road is flanked by drinking holes and was crowded with tourists and street performers. Amid pulsating music, I could see mostly Western tourists drinking beer in bars and young girls and ladyboys pole dancing for the patrons. Some touts tried to entice me to free sex shows that I refused with my polite nods. The market-like open air atmosphere on the Bangla Road gives one a totally different experience, unlike the closed door revelry of Singapore’s Duxton Hill or Hong Kong’s Wanchai district. Good for those who like this kind of stuff.

A shorter version of this travelogue was published in The Daily Star, Dhaka.

Friday, July 09, 2010

Bengal's Balzac

When I was asked to review Rajat Das’ debut novel (Paper Boat, Flame of the Forest) I approached the offer with skepticism. Why? I had little experience of reading a novel as long as 800 pages. Believe me, I have considered Vikram Seth’s A Suitable Boy many times in libraries and bookstores but that novel’s heft has always come in the way of my reading pleasure (and I prefer doorstoppers from Ikea). Man, don’t get me wrong. I love Seth, I love that Golden Gate man. What a charming writer! But I am happy having read his From Heaven Lake.

Similarly, I have great respect for grandpa Leo Tolstoy. But War and Peace? That’s for a time when I feel more grown up and a little less like Anthony Bourdain—intellectually footloose, carefree, and a little less ready for suffering—of any kind. Ditto for Don Delillo’s Underworld and Vikram Chandra’s Sacred Games (I tried the latter; it reads like well-written Bollywood kitsch).

I am one of those people who think a novel should be as long as Camus’ The Stranger. That novel is of an optimal length, a benchmark for me, apt for our attention-deficient generation. Look at some of the best loved novels by J M Coetzee, Hanif Kureishi, Bruce Chatwin, Junichiro Tanizaki and Ismail Khadare. They are not heavier than a Starbucks bagel. But they are great literature, good stuff to read. A good story is like a life well-spent: not how long it is but how good it is what matters.

You think I am just making some catty remarks, leaving my prudence in the basement of my foolish mind. But the fact of the matter is that I am trying to be honest. This brief detour of my toe-deep knowledge of literature, or my approach to reading, was warranted. I am no James Wood. Accepting one’s shallowness is humiliating but at the same time it’s liberating.

Now you know why I was so skeptical. Also, in an age when Joyce’s Ulysses is being read in twenty tweets flat, how can one save one’s brain from not developing a schizophrenia of sorts, attention divided between work, email, multimedia and social media (if you don’t believe me, read Nicholas Carr’s Is Google Making Us Stupid?). To tell you the truth, before this internet era, I was able to read Tagore’s novels. In translation. There, I have said it.

Coming to Paper Boat, my expectation was for a saga in the pre-Independence India, set in the undivided Bengal of the early 20th century. It already sounded boring because so many novels have been written tracing family histories in different parts of India. However, the novel’s title was intriguing. Paper Boat! Hmm…it sounded like a mini Titanic.

The novel claims it has been written in the Uppanyaas tradition of vernacular India—a novelty in this time of cheap thrillers and quick metro reads (though they have their own market, I admit). Clearly, here is an author with some gutsy ambition, I thought. The guy does not want an easy walk into the sunset, a rite of passage for many well-read and well-travelled Indians who find time to pen a novel or a memoir in their post-retirement days. Nothing wrong with that. Nirad Chuadhuri published his first novel when he was in his 50s.

So, with some expectation and with some trepidation, I began to read Paper Boat. I dipped in and out of it over weeks, even months (I am a slow reader and I read 3-5 novels simultaneously). What blew me away was the passion and hard work with which Rajat had put together this sprawling story. Even the language and diction that Rajat has employed in this work are in tandem with the era with which he is dealing in the plot—a pre-television era story with a pre-television era writing style. I could see his blood, sweat and sinews in the work.

In terms of plot, the story is about Nalini, a strong-minded feminist, who lives in Birat Gram. She is a beauty, a brilliant student, a fine debater: she is a perfect specimen of womanhood, flawless (that makes the character less realistic). There is a school romance, a near romp in the classroom and lots of talk among aunts and cousins about finding suitable grooms or brides. Then tragedy strikes and Nalini is on her death bed. But her daughter Rani tries to save her mother by performing an unusual feat. The story goes back and forth in time, narrating the story of Nalini, and at the same time, noting the social changes that take place in and around her in undivided Bengal.

This is a quintessentially Bengali novel: the author makes gentle observations, the characters are chatty, sometimes naughty too and there is enough intellectual banter to engage the reader.

What the novel suffers from is over-description. The novel starts with the description of the setting, the village of Birat Gram. It reminds me of Balzac. But Rajat’s Birat Gram is more complicated than Balazac’s Paris, in say, Old Goirot. Clearly, Rajat has overdone it and that richness of description, though beautiful, mars the flow of the story. The storm scene in the first part of the novel is marvelously written, but it tests one’s patience as it has been written in great detail.

This problem persists throughout the book. At one place, Rajat takes two pages to explain Bengali cuisine, and how it is different from European cuisine and so on. And here is an example of how meticulously Rajat describes a cottage: “The property was square-fenced, by razor wire in front, by brickwork at the back. The fence had horizontal rows of wires a foot apart. Columns of wooden poles, placed at intervals, took the weight of the fence. On the left, the fencing ended perpendicular to a sidewall; and on the right it ran six feet away from, and parallel to, the other side wall, ending further down at a wall that formed an L shape with the sidewall” (page 119).

Reading this passage, even a Martian would know what the writer is talking about. This level of description shows Rajat’s eye for detail but somehow it disregards the reader’s imagination.

Perhaps deliberately employed but the choice of Rajat’s narrative style makes readers like me go slow on the reading. We are used to reading novels in contemporary idioms. Read this: ‘Somnambulating to a washbasin at a far corner of the room, he splashed cool water on his recoiling face. He straightened up, to eye himself in the mirror hanging by a reluctant nail…’, page 55 (italics mine). Somnambulating? A reluctant nail? How about a shot of a reluctant tequila?

Another example: ‘To an informed, particularly from close range, mind, this gobbledygook palace was a cacophony in architectural noises,’ page 73. This stuff is deep fried in metaphors.

And this one is almost funny: ‘This aspect of her personality put the school’s code of discipline under pressure it hadn’t the hind experience to parry,’ page 92.

The novel is not just overwrought; it could have hugely improved with a healthy dose of editing (For example, ‘This lot was for those could not read…’, page 54; ‘He came to because rain, goaded by ferocious winds, was splashing his face’, page 57)– typos in the book that distracts one from the reading experience (Here is more: ‘But he not that someone’, page 59; ‘Her giggle was the single excess did not irk him spontaneously,’ page 115).

Nevertheless, despite its heft and turgidity, Rajat’s first novel is a remarkable work of fiction—it takes you on a tour of a time and a place that reads like a legend, with a cast of characters whose gentleness seem surreal in our insensitive times. Only you have to have the stomach for it.

Thursday, April 29, 2010

George Orwell's 'Animal Farm': Not 'Just for Laughs'


George Orwell’s two seminal works of fiction, Animal Farm and 1984, were written in a tumultuous time. Animal Farm, published in 1945, was written as a Stalinist era dystopian allegory which made Orwell famous in the post-war world. 1984, published in 1949, another dystopian work of fiction, documented totalitarianism and its methods of controlling people—perpetual war, government surveillance and mind control.

Today, these two works of Orwell are more relevant than they ever were. If you take the Chomskyian view, not much has changed—only the Stalinist regime has changed to late capitalism, where the rule of the pigs has transmogrified into the rule of the corporate oligarchs—the war on terror is perpetual, technology is enabling the government to track their citizens with ever greater ease and corporate media plays as the mind controlling arm of the rulers. Democratic socialism (that Orwell subscribed to) is dead.

At such a time, when W!ld Rice chose to stage Animal Farm (adapted by Ian Wooldridge) to kick off its 10th anniversary celebrations, the expectations ran high. Would it echo the siege of our times? Would it mirror the globalised utopia that we live in today—trapped in our consumerism and relative powerlessness?

The good news is that the production lives up to the expectations. The adaptation has been well localized and it leaves the audience in no doubt that the play speaks to them about their own everyday reality (work hard, pay the rent-seekers, and work harder—a slippery slope of never making enough, never having enough). To establish this connection, there are hints galore and you don’t have to be too discerning to spot them.

The writer (Orwell and Wooldridge) and director (Ivan Heng) make us take ample note of the fact that tyranny is the fate of human beings. No matter how many times they overthrow a tyrant, there will always be a new tyrant who will rise from their ranks. Revolutions spring in our breasts the hope for a new future and every time, after the war has been won, blood has been shed, sacrifices have been made, this optimism is crushed by a new tyrant, rising like a phoenix in a new avatar, necessitating another revolution. There is no escape from this human fate—the cycle of revolution and tyranny.

There is also a comment on the role of organized religion (which is ironically so Marxist): Moses the Raven keeps referring to the Sugarcandy Mountain. I wish this oblique reference to a life of perpetual happiness in the heaven could have been made more direct and contemporary. Like in the scene where Squealer distributes the apples among the sheep (audience) and calls them organic produce. That is contemporization and it is wholesome.

The plot, as it were, is faithful to the book and the characters are selfsame—Old Major, Napoleon, Snowball, Squealer and so on. The actors have played their part so convincingly that you forget they are playing animals and that they are talking about things that are familiar to your bone. Pam Oei as Squealer gets the most laughs but then at times the play falls in the danger of skidding into the realm of comedy (as in a skit—in satire, we must remember, the desire for social change remains underlined). Lim Yu-Beng as the sinister Napoleon is impressive. Gani Abdul Karim as Boxer is believable but it is Benjamin (sorry, missed the actor’s name but the guy who plays the donkey) who takes the cake for me.

The static set of the Manor Farm is a bit simple, even boring. However, the music by the man in white Jenson Koh nicely complements it. In a particular scene, I like it when he walks on to the stage and creates a storm with his drum sticks. Bravo! I also like the ‘Who let the dogs out’ part—it gives the play a cool contemporary feel, sutures it to our present times (why did I think of Abu Gharaib when that song played on?).

As David Hare has said recently, in Stalinist Russia, the most powerful protest you could make was to stage Hamlet. In our globalised land, it could well be George Orwell’s Animal Farm.

Full marks to the cast and crew of Animal Farm for this powerful and timely production. It’s a must see for anyone who has a taste for reality.

When: 21 APRIL – 08 MAY 2010

Where: DRAMA CENTRE THEATRE, SINGAPORE

Wednesday, April 28, 2010

iPads in Singapore

From my official tech blog:

Last week, we ran an IDG story about Apple’s iPads selling well in Asia ahead of the official launch. The report mentioned that iPad appeared to be selling well in Asia despite the fact that Apple's official overseas launch wasn’t until the end of May.

The report was filed from Taipei. It said that the popular iPad was on sale at two stores near the main electronics bazaar in Taipei, the capital city of Taiwan.

Well, it turns out that Singapore is not that far behind Taipei in terms of iPad sales. This is not surprising at all because Singaporeans are gadget lovers anyway. Not too long ago, they had displayed their love for Apple’s products with serpentine queues when iPhone was first launched by SingTel here.

Personally speaking, it was only last week when I first saw an iPad in Singapore. I was attending a publishing workshop when I spotted an Indian entrepreneur, Manish Dhingra, director of Mediology, playing with the device. Naturally, many from the crowd, including myself, were interested to have a look at it, something that Manish graciously offered.

“I got it in the US,” he told me. Manish happened to be in the States when the iPad was launched and luckily he could secure a piece for himself before the stores ran out of the supplies (perhaps you know that iPads are manufactured in China).

During the workshop itself, one of my colleagues mentioned that some people were selling iPads through online forums in Singapore. They were selling the pieces with marked up prices. For example, the 16GB (without wi-fi) iPad should be available for around S$700 (US$499). It was being sold for S$1,500 and above! And people were snapping them up!

iPads at Mustafa

This Monday, my colleague Allan surprised me when he told me that he was getting his iPad from Mustafa. Mustafa, if you don’t know, is a very well-known 24 hours Indian specialty superstore in Little India, Singapore’s famous district for everything Indian. I thought Allan was joking. How could Mustafa be selling iPads? Was it even allowed?

A little later, a triumphant Allan returned with his black iPad. “I got it at Mustafa,” he preened. “Mustafa had imported around 70 pieces and now I think they are down to 3.” I’m sure it would all be gone by now, I thought as I was talking to him.

Allan’s wasn’t a bad deal. He got the 16GB wi-fi iPad for S$1,089 all right. Compared to the exorbitant rates being charged elsewhere, this is not a bad rate.

I did a little more research. Apparently, the iPad is being sold at many more places in the Lion City: Sim Lim Square, Far East Plaza, Lucky Plaza, Funan IT Mall, and City Square Mall. Moreover, some enterprising Singaporeans are selling new iPads shipped from the US on eBay. Naturally, they are charging a premium rate for them.

More

Friday, November 13, 2009

Theatre review: Sofaman

Sofaman is a collaboration between Singapore’s The Necessary Stage and The KnAM Theatre from Russia. This intercultural, multilingsofaman_smallual collaboration incorporating soundscape and multimedia focuses on the fundamental questions of today’s postmodern life: what are people looking for? Is the material progress made under the canopy of the globalised and capitalist marketplace that the world has become—billions of consumers, cogs in the wheel of capitalism—enough to satisfy our human yearnings?

The play involves a storyteller and the characters of his stories. The storyteller is the title character who sits on a wheel-chair like contraption and wears a white oversized headgear with a little light in it. He tells stories to a man with a suitcase. In turn, the man with a suitcase exchanges stories with him. But the play comes to life through the stories of the sofaman and the characters that dwell in his stories.

As the play progresses, a Singaporean woman and a Russian man fall in love but they quarrel about where to settle down. Their expectations from life are different, as different as summer and winter (snow). A Western woman develops a bond with a Malay Singaporean who has speech difficulties. Crossing barriers of language, they touch each others’ souls, give comfort to each other. How does it happen? Why does it happen? That is what the play seems to make us to think about.

The play’s characters, set in a mall (or a marketplace), remind us of our disjointed, cold urban lives. Their lives—full of chores, some travel but no family bonds—remind us of the perils of urbanization and how it can create vacuum in our souls. At the same time, the man from Russia, who presumably comes from a less urbanized setting, is consumed with the warmth and opportunities in a new, hyper-urbanized location (read Singapore). It is the juxtapositions of these two worlds—and the conflicting expectations of its inhabitants—that form the core of this drama. The play successfully brings forth the idea that love and rootedness, no matter how much progress we achieve in terms of materialism, will remain the eternal magnets for human souls.

In a way, the play recognizes the ills of life under capitalism. As German economist Sombart observed in the 19th century, even though capitalism enhances productivity and creates a higher material standard of living, it also cause loss in quality of life, robbing people of inner peace, of their relationship to each other and to nature and of the faith of their father. The play might not advocate people to overthrow the capitalist system but in a way it does question the illusions it perpetuates. It portrays the waking of workers (characters) from “thingafication” or “reification” (a construct by 20th century Hungarian philosopher and economist Georg Kukacs), “the inability to see that the human relations created by capitalism were the results of particular historical conditions that could be changed by human will.”

In well over 80 minutes, the play takes us through a surfeit of images and sounds and emotional landscapes of different shades. The audio-visual work is brilliant in the production. But this sometimes takes away from the emotional impact of the story as it interrupts our continuous dream.

This is a complex production and directors Alvin Tan and Tatiana Frolova and writer Haresh Sharma deserve full credit for weaving this intricacy in a presentable, less abstract avatar. In the cast, Siti Khalijah is outstanding but other actors such as Elena Bessonova, Dmitry Bochanov, Vladimir Dmitriev, Julius Foo and Jean Ng shine too. And the cameo by Charlie Chaplin is certainly a casting coup!

Performed in English, Russian and Mandarin
Get your tickets at www.sistic.com.sg

Dates:
5 - 7 Nov & 11 - 14 Nov 2009, 8pm
7 - 8 Nov & 14 - 15 Nov 2009, 3pm

Venue:
The Necessary Stage Black Box
#B1-02 Marine Parade Community Building

Tickets:
$27 | $22*

More here

Thursday, November 05, 2009

P. N. Balji: On journalism, journalists and Sri Lanka

Journalism today is under attack everywhere, both in physical and ethical senses. Newspapers are dying in the developed countries. The internet model is still being figured out. Journalists are being fired as newspapers fold up city after city. From the readers' perspective, corporate-controlled media carries less and less credibility.

In the developing countries, the situation is different. The media is struggling between censorship and greed. In India, where the media sprawl is stupendous, there are reports of unethical practices (News for sale: How media is squandering its credibility). In Sri Lanka, both the profession and the professionals are feeling the squeeze.

Veteran Singapore journalist and editor P N Balji shares his views on journalism in the context of the situation in Sri Lanka in this interview with a Sri Lankan paper. His remarks on journalism and his advice to journalists are pure wisdom--something all journalists and editors anywhere in the world should read and keep in mind:

I recommend objective activism. By that I mean present as many sides as possible. And let the readers decide. Media can never give the truth. It can only give some truths. Make sure you give every shade of opinion on a subject. Don’t rush into print with unconfirmed stories. Check and double check. Make corrections the next day if there are inaccuracies.

If you don’t have the passion for the profession, please don’t get into it. With the world becoming more complex and major shifts taking place, we need journalists who can slice and dice the issues and say with confidence and some certainty what it all means to your reader.


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Friday, October 09, 2009

War, love & sex

The Deer Hunter, a 1978 war drama co-written and directed by Michael Cimino, is not your typical Vietnam war film. It's not your Apocalypse Now or Platoon. Perhaps its appeal lies in its small town characters, primarily factory workers, played by Robert De Niro, Christopher Walken, John Savage and some other actors. Meryl Streep plays the love interest of Christopher Walken. Robert De Niro is also interested in her. The innocence and playfulness of their lives suddenly vanishes when they are thrust into the Vietnam War. The war upturns their lives and they are never the same again. The scenes in Vietnam, especially the underwater prison scenes and the Russian roulette scenes, are unforgettable.

More than the performances (though Robert De Niro, Christopher Walken, John Savage and streep have given fine performances in this film), it's the film's structure and its editing that struck me as unique. The film starts with scenes of happiness, a bunch of wild, playful factory workers, wedding and frolicking scenes in the small town and ends with a death and a funereal atmosphere engulfing the townsfolk. But life goes on. The editing is without frills. Notice it especially when the story goes back and forth between America and Vietnam.

It is difficult to imagine soldiers like Robert De Niro, Christopher Walken, John Savage and many others coming to Singapore for R&R during the Vietnam war. But this is largely what happens in Saint Jack, a 1979 film based on 1973 novel by Paul Theroux.

The movie, which was banned in Singapore until a few years ago (2006), is about Jack Flowers, an Italian American pimp in Singapore, who tries to make money by setting up his own bordello. His plans go awry when he is beaten up by the Chinese mafia and his brothel is destroyed. He goes a little more deeper into more humiliating circumstances before he finally wakes up to his own dehumanization and finds his moral compass.

Ben Gazzara plays the main character in the film, and I loved his performance. He is totally into the role. The film's director, Peter Bogdanovich, has done a great work--at least it shows us the Singapore of 1970s. This was the first Hollywood film to be shot on location in Singapore.

According to the director, the film was suggested by Orson Welles to Peter's Guru, Roger Corman. Corman bankrolled the project and Peter came over to Singapore to shoot the film. The Singapore government was opposed to the film's shooting. Peter had to create a fake synopsis (more than 35 pages long!) for a film called "Jack Of Hearts". The film was shot and made purported to be "Jack Of Hearts" and not Saint Jack. Peter counts it as one of his two best films (his most famous and acclaimed film being The Last Picture Show, 1971). It won him the best director award at Venice.

The film is part of, as it were, Singapore's history now. Though there is some nudity in it, there is an uncanny charm in Ben Gazzara and his friend's character, who dies in the film. Even Peter Bogdanovich plays a part as Eddie Schuman.

There is something in the picture--maybe it is Ben's moodiness, his interpretation of the Jack character, his walk and talk, his gait, his soulful gaze, his philosophical smile--that makes you aware that you are watching a classic. I was moved (and disturbed) by the scene where Jack sends his dead friend's ashes to Hong Kong via post and the post office girl flicks the pack (Jack says the packet contains personal effects) into a pile of postal stuff. Life, gone--just like that! What if it were me in that box? Is life so meaningless that it could be flicked off and forgotten like that? It is elements like these that ennobles the film, despite its seedy setting, and in turn, the viewers.