Tuesday 21 April 2009

Gopeng preserving its heritage

The tiny, yet historic, Perak town of Gopeng, is easily bypassed. Travellers speed down the highway, stopping, briefly, at tolls, then race onwards to the North. Other travellers, not so concerned with haste, drive cautiously through the main Gopeng thoroughfare, unaware of streets and avenues spreading inward towards the forest and back in time to its own heritage.

Lying dormant within Perak’s silvery Kinta Valley, Gopeng is a town awakening from a sleepy recent past. Historically it has variously been a ‘tin’ town and a ‘rubber’ town, but is now girding itself to move into being a tourist town.

Uniquely standing at the Cameron Highland foothills, and within easy reach of Ipoh to the north, Gopeng is perfectly situated to appeal to vacationers seeking sumptuous rivers (ideal for white water rafting) and cooling rainforest resorts. It is a wonderful starting point for adventure and eco-tourism, and for the traveller wishing to visit the pungently magnificent rafflesia flowers.

The growth in enthusiasm for adventure holidays, in and around the area, has caused Gopeng to reappraise itself, and in so doing has realised that it is a town which has much to offer, not just within the realm of adventure and eco-tourism, but of its own heritage too.

Gopeng has a recorded history of at least one hundred and fifty years, shared by Malays, local Semai tribes people, Rawa and Mandailing from Sumatra, Chinese from southern China and Indians from their Tamil homelands. It is this mixture of divers peoples which makes Gopeng town distinctive, and gives it such a rich history.

It is a history which at all costs is worth preserving. One entrepreneurial former son of Gopeng, Bernard Yaw, teamed up with local historian, S.K.Phang, to do just that, by creating a centre to display some of that exceptional history and have, in turn, constructed a springboard for further historical research into the town.

The centre’s opening was planned to co-inside with World Heritage Day (18th April), and was the only venue in Malaysia where Malaysians, and foreign visitors could get together to celebrate, with the rest of the world, the crucial act of heritage conservation.

Heeding the call for conservation and preservation from organisations like UNESCO (United Nations Educational, Scientific and Cultural Organisation), a few heritage societies have sprung up in Malaysia. Law Siak Hong presides over the Perak Heritage Society which had an interest in the birthing of the new Gopeng History centre, and he had helped bring Papan, the home and clinic of Sybil Kathigasu, back to life as a museum dedicated to her and her Second World War work.

Together, the interested parties have enabled the general public to share in Gopeng’s history. Visitors may now mull over antique watches, historic currency, latex mangles and tin weighing machines. Thanks to people like Bernard Yaw, S.K.Phang and Law Siak Hong, Gopeng’s past is being preserved for future generations to further understand their own histories. The Gopeng History Centre now provides a focus for further heritage preservation and conservation, and a stop off point for visiting adventure and eco-tourists.

Outside the heritage centre, a marquee had been constructed to keep the heat off guests for the opening event. But more poignantly, on the road adjacent to the marquee, stood a man who had been selling ice cream from his wooden cart, for over thirty years. He, his cart and the bell he has used to summon customers for decades, were a fitting tribute both to World Heritage Day, to those who put in the effort and cared enough to bring the concept of heritage to Gopeng, and to the new history centre.

Monday 13 April 2009

Darkness


The Yin Yang symbol proposes that in every light there resides a fleck of darkness, and in every dark a fleck of light. Subconscious reveals consciousness and from the night, day.

It is inevitable that we should consider the two, lightness and darkness, inextricably entwined, latter born of the former, each linked, for eternity, in bonds of the other.

It is from mysterious obsidian shadows that Rembrandt’s philosopher becomes enlightened, a tangled helix staircase revealed in all its wooden glory; three translucent brides evolving from Jan Toorop’s symbolic gloom, which of the light and which the sinister.

There is a paradigm observed in the perpetual birthing of Moore's rotundity, Pablo's Classicism - the inevitable bragging chiaroscuro, moulding perception and giving pseudo-reality to Trompe L'Oeil faux, marred only by careless brush stroke.

It is the texture from which the sheen Pop Artist Allen Jones’ high heeled boots brazen a reflection, it is the absence of dark illuminating Ad Reinhardt’s, Zen abstract, black squares canvases, making visible the covert as sight adjusts to nuanced pigment, subtly discerning tone from tone, less dark from darkness.

It is the imaginary darkness of the dark Knight, the glint caught in the eye of all consuming madness which ties Dali to the clown prince, and the night watch’s lantern to that of Kyle Rayner’s darkest night.

Darkness and its opposition, though no longer opposite but sliding, melding, each bred of the other, depth, form, rolling curves revealing and maskings in their dexterity, for eternal darkness remains fecund, perpetually pregnant with its other.

It is the darkness of malaise, the o'er encompassing blanket of shadow from which phoenix hope springs - brother sun and sister moon - there buried in the other, the one, perpetually reaching for its nemesis, hand in fading hand.

Wednesday 8 April 2009

The Other Salina

Bitch he screamed, as Salina slammed the flimsy wooden door in his face.

You’re not even a real bloody woman - the panting white tourist shouted, as he began descending the flaking stairwell.

Bloody queer - he yelled.

Angrily, the plump, greying, middle-age man exited the moss-streaked concrete building and greeted the equatorial sun with a scowl.

As he walking out his white, short-sleeved shirt was already beginning to reveal damp patches under his corpulent arms, while his ‘tropical’ shorts visibly took the strain of his unaccustomed exercise.

Streets like a jungle

He walked, half on grass and half on gravel, mumbling to himself as he exited the compound. Salina could hear his footsteps faltering as he mounted uneven surfaces, but couldn’t, thankfully, hear his cursing. At the junction of the condominium compound and the main road, he hailed a red and white cab, climbed into the rear and barked a destination at the driver. The white tourist remained, moodily, unsatisfied.

So call the police

In marked contrast to her client, Salina was brown, slim, well toned, a little tall for a half-Malay, half-Thai woman, and had a slight bust. Salina’s medium length brown hair, once black, could have benefitted from some attention as it snaked across her shoulders, dry and a little brittle, producing fragile split-ends. Snug, faded, designer jeans, sporting rhinestones, hugged her slim legs and thighs, a tight fitting cotton blouse revealed what figure she had, open to the top of her, obviously, floral brassier and petite breasts.

Following the herd

Salina’s high cheek bones gave her the vague look of a model, but her slightly wider nose detracted from that. The beauty of her face stood on the sidelines between masculine and feminine, a cut of the hair - this way or that, could determine which the onlooker saw, and Salina used this knowledge to her full advantage. She was bodily aware, and adept enough with clothes, hair and make-up to present what she needed others to see.

Down to Greece - on holiday

Relaxing a little, she dropped her tense shoulders, breathed deeply and involuntarily shook the upper part of her body. Salina stood in her modestly tiled bathroom and began to massage the backs of her aching hands, pushing her fingers deeper into the skin, exorcising his touch. She tenderly fingered the pink scar on her neck, a present from a previously unsatisfied customer, now completely healed, one of the hazards of her trade.

Love in the nineties

Urgently she used creams and unguents to mask even the very essence of the greasy man they had just touched. In temper, and remembering his feel, Salina wanted to rip the very skin off her palms. She wanted, desperately, to eject the memory of his contact on her skin.

Is paranoid

Salina wanted to be rid of the experience of him, the smell of him, the ugly sight and sound of him. She wanted to expel the sense and the smell of his oily, slightly salty fat flesh, smelling of warm vinegar, cheap and stringently nasty aftershave mixed with the distinctive scent of prickly heat power.

On sunny beaches

If possible she would erase that evil leer of his, wipe it entirely from his perspiring, pock-marked face, his obscene, quirky smile that spoke only of his lust, his longing and nothing more - making an object of her, a commodity to be bought and used like so much Chow Kit pasar meat.

Take your chances - looking for

She shuddered at the very memory of touching his hairy, flabby flesh, now projecting all the negativity from her previous clients onto this one demanding fool. She felt nauseous and gagged at the thought of him, the thought of all of them. She could see the long line of demanding, expectant, lusty men all bent on slating their lust with her.

Girls who are boys

Salina felt intensely disappointed with herself, her predicament - this is not the life she had imagined, nor wanted, but then she remembered her financial situation and sighed. She was over committed - life wasn’t easy.

Who like boys to be girls

She looked across at her table, there, next to the cigarette pack and cheap pink plastic lighter, lay the money he had left for her, spread in a very poignant fan, placing it there, carefully, rather than putting it in her hands, it was, as if, somehow it exonerated him from the transaction, distanced him from all his lewd innuendo - a placation for his insults. But then he had ruined it by anger, when he didn’t get exactly what he wanted.

Who do boys like theyre girls

As the scent of sandalwood wafted from her ceramic incense burner, Salina lit a calming menthol cigarette, slumped down into her green plastic armchair, and fingered a blackened cigarette burn on the right arm of the chair, another memory, another client.

Who do girls like they're boys

A small frightened house gecko ran out from the chair, scampered up the magnolia wall then looked down at Salina, through bulbous eyes, quizzically.

Always should be someone you really love

Puffing out her frustration with each exhalation, Salina absentmindedly lost herself in the stroking of Cavafy - her mottled ginger cat, he, at least, showed her the affection she so longed for, especially now that Mark had finally gone.

Girls who are boys

She and Mark had been together for four loving years. First in their rented bungalow in Kedah, and then, when life became too difficult in that provincial town, they moved back to Kuala Lumpur and bought this apartment. Finally Mark had to leave to find work outside of Malaysia, promising to return - six months ago.
Sometimes, Salina reflected, her occupation as a masseuse was horrendous. It stank. It was hateful. It was as dark as the liver spots on the men she touched for a living. As vile as the breath they tried to disguise with Listerine or minted chewing gum. She involuntarily shuddered at her thoughts.

Who like boys to be girls

With the vaguest glimmer of a smile she recalled other times – better times when being a masseuse was a sheer joy. She recalled when she massaged the hardened muscles of a handsome young, fit man and smelled the delicious scent of his electric, vibrant body. The essence of his manliness pervaded her nostrils like a delicate perfume, the sweetest bouquet she would do anything to embrace, but restrained herself. Gladly she massaged his knotted tendons and muscles, accidently stroke thighs, kneaded wrists, smelled the scent at the nape of his neck, and near swooned.

Who do boys like they're girls

Over her career she would caress the cottons and flannels of many young men as they coyly discarded them, folding them neatly as an excuse to inhale their aromas, turn mock shyly away as they shed their final items and clothed themselves in the towels she kept for the purpose. And, when she was done, when the last drop of massage oil had been caressed into their skins, after they had changed, left, she would stand and gladly smell the essence upon her, and wistfully dream.

Who do girls like theyre boys

The flipside was when she was forced to go on autopilot, and, somehow, just get through the dragging hour without throwing up. It wasn’t easy. Sometimes the course detritus of male society trudged through her apartment, lugging their swollen, misshapen, frequently unclean bodies with them. Many were not there for the promised massage, they asked for extras, and sometimes, depending upon the man, his smile, his eyes, she gave extras, but it was at her discretion and very much depended upon her current mood. This is what had riled her last client – Salina had refused him, she hadn’t the stomach for it today – the anniversary of her marriage.
It was her body. She had the right to give, or not to give it to another. No price was high enough, if she didn’t feel she wanted to give.

Always should be someone you really love


You’re not even a real bloody woman - those words haunted Salina, stuck in her heart like Macbeth’s knife, she could sense the imaginary blood ooze out of her, bringing apathetic weakness. Salina’s head sagged a little in the lounger.

Avoiding all work

She knew what she was; she didn’t need any reminders from the likes of that white tourist.

Cos theres none available

Never once, since her divorce, did she hide what she was. In fact, ever since her marriage had broken up she had been determined to live her life honestly and openly, even if that meant derision from others, their sneers and scorn - often directly to her face. The small children, who, until this very day, still rapped upon her door and ran away, goading her, wanting her to know that she was different. Salina all ready knew how different she was,Salina owed it to herself to be herself, regardless of what other people might say or think. But it was never easy.

Like battery thinkers

Wind them tight...tighter, you don’t want the other children seeing those do you.
Said Fakhrul’s mother pointing to the boy’s growing breasts.

Count your thoughts - on one two three four five fingers

The bandages were already so tight that Fakhrul could hardly breathe. He gave a little sob.

Nothing is wasted

It’s bad enough that you are cursed with them - you don’t have to display them too do you.

Only reproduced

His mother couldn’t bring herself to say the word breasts, for fear that she might, unwittingly, condone these unsightly appendages growing on her son’s chest.
Why can’t you be like other boys, why do you have to have them? Aiyee Allah I am cursed.....

You get nasty blisters

It was a question Fakhrul couldn’t answer, he didn’t know. He wanted to be like the rest of the boys, but knew that he would always be different from them, half boy half girl.
I’ve given you a note to give to the teacher, excluding you from exercise.

Du bist sehr schen

But Ma I want to play please let me play.

But we havent been introduced.

Not as long as you have those, no, I don’t want you to bring any more shame on this family.

Girls who are boys

Those powerful words festered in the boy’s head, ached in his heart and buried into his memory. He needed to please his mother - his father had absented himself at the boy’s birth, never to return. Fakhrul needed to be the boy his mother wanted him to be, although his mother made his life hell for him. Even with his growing breasts and their enlarged nipples, which effectively separated him from the other boys, he still wanted to please his mother.

Who like boys to be girls

It had begun at puberty. First one, then the second breast started to enlarge beyond that which was normal for a pubescent boy. The clinic doctor said that the condition would disappear, in time. But it hadn’t. Fakhrul’s breasts developed on a par with the girls of his age. One doctor called the condition mild Klinefelter syndrome – something to do with ‘x’ and ‘y’ chromosomes and low testosterone, but neither the boy nor his mother could remember that. What they did understand was that the breast condition was irreversible without surgery, or hormone treatment. Fakhrul’s mother couldn’t afford the fees for either.

Who do boys like they're girls

Time slipped away. Fakhrul tried desperately to be a boy for his mother, and then, later, a young man. He wanted to be normal, act like the other boys, have girlfriends, fall in love, get married and produce grandchildren for his mother - so he tried.

Who do girls like they're boys

For years he buried his feelings under a weight of normalcy, strapped his emotions and longings under a harshly pulled belt of conformity, denying any urgings for his same sex and lying to his small, crushed, inner voice.

Always should be someone you really love

Fakhrul’s heart was not in his marriage. He tried so very hard to be the husband his wife deserved, the father the children needed, but he knew that he was living the worse kind of lie as he was untrue to himself, and to his own growing feelings, untrue to the very feminine sensitivities of his soul.

Girls who are boys

Depressed, Fakhrul walked an ever thinning line between the man he was supposed to be and the person he really wanted to be. As days drifted he fell into malaise, wrestling between his feelings and duty, his mind torn, tortured, skirting the outer circle of his private hell.

Who like boys to be girls

As he matured, Fakhrul’s feelings of living a lie increased, the constraints of being something other than his true nature pulled him down mentally. The once innocently happy boy had evolved into a morose man, snappy, discontented with his lot. He began taking alcohol, easing the growing pain, frequently being drunk in the evening, lying almost comatose on the hall floor, unable to walk to the bedroom.
His wife despaired at the man Fakhrul had become, cursing her choices but still supportive of the man she wanted him to be. She knew, somewhere deep inside, that this situation could not last, Fakhrul was too unhappy, and growing more so daily - then came a day, at work, when Fakhrul met the American, Mark.

Who do boys like they're girls

Mark’s brightly ginger, heavy hair was cut short to break the insistent waves of curls from cascading over his tanned, strong, benign face. His soft blue eyes sparkled intelligence, a neatly trimmed moustache revealed his fastidiousness.

Who do girls like they're boys

He chose to dress in a Thomas Pink Lewis stripe Winchester shirt, open at the neck and tailored at the waist, supported by a dark brown pair of Alexander McQueen black wool trousers, and matching accessories. Mark enjoyed wearing fine clothes. In his younger days Mark had been a tennis pro, and there was still the slender, athletic tone to his body. He kept in shape by frequenting a gym and running three, long, miles every morning before work - his health and looks being especially important to him.

Always should be someone you really love

Hello, may I.

Streets like a jungle

At six foot one inch Mark was stooping a little to reach the controls on the copier. This is why he, accidentally on purpose, stumbled and touched Fakhrul.

So call the police

Oh, sorry, how clumsy of me.

Following the herd

My name’s Mark, I hadn’t noticed you here before, and I would have noticed you, if you were here.

Down to Greece - on holiday

It was, until then, an ordinary day for Fakhrul - text to re-write, sentences to be made sense of, paragraphs to re-arrange - he was sublimely unaware that it was the day which was to exponentially change his entire life.

Love in the nineties

Shyly, Fakhrul mumbled some inane comment in return.

Is paranoid

Do you come here often, Mark uttered with as much irony as he could muster, giving the slightest of winks.

On sunny beaches

Fakhrul was already intoxicated with Mark’s delicate scent and that slight, electric touch on the back of his hand, at the photocopier, sent Fakhrul’s blood racing and his heart pounding hard enough to almost cause him to faint. Giddily Fakhrul looked up into Mark’s smiling eyes and immediately felt lost in their deep warm gaze.

Take your chances - looking for

Fakhrul smiled a pathetically weak smile – it was all he could manage as he struggled to control the emotions stirring within him, and to try to stop his body from melting in its entirety, over the copy-room floor.
Through a haze Fakhrul heard the words...

What time do you get off.

Girls who are boys

It was as if the sun shone, the sky rendered blue and the trees the most brilliant green. Fakhrul finally opened his eyes to the possibilities within him and smiled the most genuine smile he had ever smiled.

Who like boys to be girls

Four, er four-thirty, whispered Fakhrul.

Who do boys like they're girls

They met, and continued to meet throughout that week, and into the next. Then there was no time limit on their meeting, the minutes slipped into hours, the hours into days, days into weeks.

Who do girls like they're boys

As the sweet honey bee pollinates the expectantly waiting flower, bringing forth the delectable bud of fruit, so Mark’s enduring care enabled Fakhrul to become more than he had been, facilitated him to become the person he had always wanted to be - Salina. Fakhrul finally found the wonder of profound love in his heart.

Always should be someone you really love

It was like breathing for the very first time - that feeling of being oneself. It was impossible for Fakhrul to deny the satisfaction which he gleaned from the freedom of Salina.

Girls who are boys

And with the intense pleasure came the pain, guilt of his inner revelation.
Fakhrul struggled with his feelings for his wife and children, balanced against the new awakening inside of him. He had never been so torn in his entire life, knowing that finding a resolution would be a struggle. But Salina, this growing new persona was difficult to ignore, if, indeed, he had wanted to ignore her.

Who like boys to be girls

All throughout this transformation Mark was there, giving comfort, supporting Fakhrul in whatever decisions he was making. It seemed as though Mark was without any personal agenda, just being a true caring friend.

Who do boys like they're girls

In time Fakhrul left his job sub-editing at the newspaper, left his former life, his so-called friends and retrained as a masseuse. As Salina, she moved out from her previous home, leaving wife and children amidst much tears and heartache, and moved to Kedah with Mark to begin life afresh.

Who do girls like they're boys

Fakhrul knew there was no turning back, only moving forward into the new life as Salina. She grew her hair longer, bought a petite brassiere for the very first time and adjusted life to awakening the feminine within.

Always should be someone you really love

The transition period, from Fakhrul to Salina, was not without its difficulties – like learning to walk all over again, in high heels. But with each obstacle came the sublime relief of conquest and the intensely gratifying feeling of Salina’s progression.

Girls who are boys

Salina had opened herself to new possibilities, new potentialities which had come flooding in. Mark was at her side during those four, vital, transition years, to facilitate her change, supporting the woman Salina was to become. Then, suddenly, he was there no longer.

Who like boys to be girls

The armchair creaked. Cavafy leapt from his comfy position on Salina’s lap, hastening to the French-window doorway. A slight breeze tinkled the hanging aluminium chimes. A small yellow bird, with a black mask, took flight from the worn concrete balcony.

Who do boys like they're girls

Salina could hear footsteps mounting the stairway, pausing at the second floor - a knock on the door.

Who do girls like they're boys

Salina straightened her clothing and walked unhurriedly to the door, steadying herself for a confrontation, believing her last client to have returned. Cautiously she drew back the rusting bolt, clicked the door catch and slowly opened the door to the extent allowed by the protective metal chain.

Always should be someone you really love

Hi honey, I’m home.

Mark gave a huge, toothy, ironic smile from beneath his immaculately crafted ginger moustache.

Salina turned the MP3 player off.


text in italics is the song Girls and Boys by Blur and is copyrighted to them

Monday 6 April 2009

A Boy, A Guitar, A Comic


There is an image refusing to leave my head. It’s of a youth, guitar in hand, kampung serenading. This iconic image, for me, represents all that is Malaysian, the serenity of idyll, the incumbent artistic muse and preponderance to nostalgia.

Titian Muhibah: Serumpun, Senada Seirama, by Indonesian artist Bambang Toko Witjaksono, at the Valentine Willie Fine Art (VWFA) gallery, in Bangsar, Kuala Lumpur, also offers iconographic images, essences of the muse and a hint of nostalgia by the recollection of regional TV ‘bridge building’ programmes.

On a trip to Kuala Lumpur, the artist sought ways of re-creating a dialogue between the now disparate peoples of Indonesia and Malaysia, who share a common cultural heritage. After deliberation and research, the result was those canvases which depict a time when cultural commonality was most obvious, a time captured succinctly in American influenced comic books, and now in the work of Bambang Toko.

It’s an exhibition celebrating cultural similarity and bridge building between the races of South East Asia. In its daring graphic representations and recollections it further enhances the VWFA gallery’s reputation for introducing radically diverse art forms/stunningly new art pieces to Malaysian cognoscenti, and fervent followers of contemporary art.

Upon climbing the rather steep Bangsar staircase, the bemused visitor becomes faced with the first of a series of acrylic painted canvases, depicting colourful enlarged comic book panels - some as large as 150 x 200 centimetres. The viewer becomes immersed in an Indonesian romance genre comic book, and presented with a scene of young men, one of whom stands, blue shirted, acoustic guitar in hand.

The gallery caller is subsumed into the lush pages of a graphic comic book, walking through an intensely complex narrative telling not just of the ‘low’ versus ‘high’ art snobbery and confused thinking, but through multi-layered meaning, teasing, and at times enlightening, drawing them into not just the world of contemporary art, but a world sparkling with cultural nuisances spread way beyond that of the visual representation.

Bambang Toko Witjaksono, often referred to as just Bambang Toko, creates an exhibition of acrylic paintings, based upon comic illustrations and imagery of Jan Mintaraga, doyen of Indonesian comic book artists.

Within the work, there exists undeniable art historical references to Pop Art artists like Richard Hamilton, and the use of a D.C.Comics Young Romance comic cover in his collage Just What Is It Today That Makes Homes So Appealing (1956) and, obvious reference to Pop Art guru Roy Lichtenstein, whose canvases frequently depicted enlarged scenes from comic books and advertising.

Many of Lichtenstein’s canvas images, like Drowning Girl (1963) and Shipboard Girl (1965) were taken from D.C.Comics’ Girls’ Romance and Secret Hearts comic books, and, in many respects, Lichtenstein’s ‘borrowed’ imagery took secondary importance to his painting process. Lichtenstein’s work being more about a conscious representation of ‘Ben Day’ dots (the printing dots from which comic images are constructed), and the art making process itself, rather than comic book iconography.

Bambang Toko’s canvases are not those of Richard Hamilton or, Roy Lichtenstein. Bambang Toko takes a step back from the stylisation of Lichtenstein’s comic book imagery, and, unlike Lichtenstein, consciously and intentionally emulates the comic book style of Indonesian romance comic books, instead of denying it.

Seemingly then it is not Bambang Toko’s intent to create just another kitsch object, nor to simply brandish the creative process, but to signify and underscore a specific social cultural nostalgia. It is, with intent and purpose, that Jan Mintaraga’s culturally relevant comic book images are chosen, and specifically those panels represented in the Valentine Willie Fine Art gallery.

While Bambang Toko presents a progression of painted canvases, depicting comic book panels, it would be remiss to claim that progression to be sequential, as in sequential art (comic art). Rather, each canvas is viewed separately, due to the visual space between the works, and not sequentially as they might be found on a comic book page. The space between the works, here, is all important for it reminds the gallery visitor that these are works of art. In their transition from page to wall, they differ in actuality, and in meaning, from the comic book images they were taken from.

For Bambang Toko, Jan Mintaraga’s comic book images appear to encapsulate the stylistic nuances of the time, conjuring an era when American comic books, and western popular culture per se, was sweeping across Indonesia, Malaysia and The Philippines.

An age innocently shared, an age uniquely enwrapped by golden webs of nostalgia and recalled by the canvases in the Valentine Willie gallery. It is an age cosily remembered with the glorious aid of retrospective illusion. A sufficiently distant epoch, into which innocence and harmony may be projected, giving the comfortable fantasy of a golden age.

For Bambang Toko that time is the 1980s, but for the viewing audience that time could be anytime when nations are brought together. Recently Malaysia’s RTM TV station and Indonesia’s TVRI held a jointly produced programme called Ekspresi Gemilang as a continuation of the previous Senada Seirama and Senandung Serumpun TV programmes, aiming for closer musical ties between Indonesia and Malaysia.

Rather than deny his references Bambang Toko revels in them, even to the point of providing showcases in the gallery to display the original comic books and other social cultural ephemera associated with the images he has painted.

As the displayed material reveals, the exhibition Titian Muhibah: Serumpun, Senada Seirama forms part of a larger dialogue concerning accessibility of images and their cultural relevance. For, in those showcases nestle comic books, rock magazines and other cultural ephemera grounding the exhibition within its sub-cultural context.

The iconic image of the boy and his guitar, which had so haunted me, stood revealed in Bambang Toko’s exhibition Titian Muhibah: Serumpun, Senada Seirama. There it was, in its entire iconic signification, never more than a meter from my sight, a visual revelation engaging me in dialogues on art, culture, society, history and innocence, reminding me of another age’s Tarik Selampit storytellers.