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“A voice for the arts and artists”

The arts community get together to nominate its NMP. Khairulanwar Zaini.

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15 years ago

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Khairulanwar Zaini

“A voice for the arts and artists” – and two names emerged as potential Nominated Members of Parliament (NMP) to represent the Arts community. Audrey Wong, the artistic co-director of Substation, and Loretta Chen, the artistic director of Zebra Crossing.

The unprecedented experiment in social democracy held at Theatreworks’ premises, saw three candidates vying for the votes of their peers from the arts community – the third candidate standing was Robert Liew, the Managing Director of Arts Management Associates.

Conceptualized by a group of theatre heavyweights interested in providing greater representation and a “voice in Parliament” to “speak for arts and artists”, the idea culminated in this grassroots approach to recommend two names to Edmund Cheng, the NAC chairman and NMP selection coordinator for the arts, sports and media functional group. Two other individuals, Beatrice Chia and Tony Chew, however opted out of the process and will be submitting their applications independently.

“A brochure is a brochure”

Loretta emphasized the need of an Arts NMP to be a good listener and be attentive of the needs of the various sub-groups. The NMP would also need to be open and able “to mobilize people and harness different talent”. Also concerned with transparency, Loretta called for more clarity and accountability from the various panels deciding on matters of censorship – where decisions are almost always made by an amorphous “they”, she said.

She was also motivated to engage in politics from her stint as a Young PAP member, which gave her an insight to the fervent “political passion” of the older generation, whose concerns about bread and butter issues go largely unheard since they are unable to articulate their views.

Addressing concerns of her YPAP affiliations, she said she joined the organization after returning from the United States for “morbid curiousity and intellectual discovery” after reading a brochure about the YPAP’s inclusive and dynamic nature. However, her membership has since lapsed after she realized that “a brochure is a brochure” and that she was a “solo dissenting voice” in a YPAP that was more inclined to “reinforce the status quo.”

Against “economics-based, functional pragmatism” in the arts

Audrey explained that while an Arts NMP is unable to comprehensively represent the diverse group, she could listen and represent the interests of the community nonetheless.

She took issue with the “economics-based, functional pragmatism” approach that has been the cornerstone of policy-making in the arts sector in Singapore.

Another perennial concern for Audrey is to preserve the art as “a space for diversity”, which have been hampered by the recent amendments to the Films Act and the Public Order Act. Parliament is a good platform to rectify the unfounded impression that artists are “troublemakers” and are only interested in “disrupt(ing) public order”. 

Undertaking the “necessary evil”

For Robert, his vast experience and his PhD in inter-disciplinary arts allowed him to appreciate and grasp the diverse scope of the arts.

Hailing from the arts industry as opposed to the content-creation “community”, Robert provided a different dimension to the contest as an arts manager who  “performs all the necessary evils… to put the artist on centerstage.”

Being the only candidate from the “non-creative” sector, his experience in helming the Singapore Arts Festival as Artistic Director and holding the chair of the Association of Concert and Events Managers (Singapore) contributed to his understanding of how “policies are enacted”. He posited that this experience and knowledge of the bureaucratic workings and language would allow him to advance the interests of the community effectively.

Speaking in a personal interview, he also celebrated this “creative and determined response” by the arts community to carve out their own voice in a position with a tenuous function.

Hopes, expectations, sucesses

T. Sasitharan, the Director of Theatre Planning & Research Programme and one of the organizers, said that the measure of an Arts NMP is his/her ability “to increase the profile of artists … and the level of the discourse of the arts” in Parliament, while elucidating about “cultural production, art-making and the problems of art-making” and pushing for accountability from the authorities particularly on censorship issues.

Many individuals TOC spoken to were heartened by this pioneering grassroots process in selecting one of their peers to stand as NMP. Felicia, a visual artist, was gratified to see “artists getting together” while Gerald Chew, an actor, celebrated the “meeting of intents.” Gerald also expressed his hope for the Arts NMP to act as a “bridge” between Singaporeans and artists to induce a “mature reception of arts”.

Upon being elected, Audrey and Loretta both expressed the “humbling” and “amazing experience”. Addressing the need for inclusion of artists in public discourse, Audrey pointed out that the concept of content creation as espoused by the Renaissance City report was “not new” with local artists who are already involved, calling on the government to “empower and enable” them. Loretta was also concerned with barriers to content creation, particularly the limits imposed upon visual violence and gore, which would prevent a movie like Infernal Affairs from being produced in Singapore.

“Principled Compromise”

While Sasi is “not personally convinced of the legitimacy of the NMP” scheme, he believes that this is a “principled compromise” in choosing the “best representative” of the community “who knows what they’re doing, whom we can trust”.  Noting that the process is a “honest (and) sincere attempt to get responsible people who are qualified to speak for a community that feels underrepresented right now”, this community election is a shift away from the principle of NMPship from being an alternative independent non-partisan voice in Parliament to one of representation for functional groups.

Audrey was cognizant of this dilemma, saying that representing a diverse community will be hard and that it will be necessary to maintain “her own position” to be able to speak freely like other NMPs. Commented in similar vein, Sasi remarked that the Arts NMP was not a lobby about “the price of paint, the price of brushes” but “ultimately what the candidate wants to represent.”

This fledging process, which will be accompanied by robust discourse and vigorous conversations that goes beyond the arts community, is another step in developing the nation’s political maturity. Furthermore, this trailblazing effort may encourage other functional constituencies – including those not currently recognized – to legitimately seek for representation of their own and also review the current political framework of minority representation. 

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Indonesia

Miss Universe cuts ties with Indonesia chapter after harassment allegations

The Miss Universe Organization severs ties with Indonesia franchise due to harassment claims. Malaysia edition canceled.

Women allege body checks before pageant. Investigation launched. Safety prioritized.

Indonesia winner to compete in November finale. Height requirement controversy.

Published

1 year ago

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14 August 2023

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WASHINGTON, UNITED STATES — The Miss Universe Organization has cut ties with its Indonesia franchise, it announced days after allegations of sexual harassment, and will cancel an upcoming Malaysia edition.

In the complaint, more than a half dozen women said all 30 finalists for Miss Universe Indonesia were unexpectedly asked to strip for a supposed body check for scars and cellulite two days before the pageant’s crowning ceremony in Jakarta.

Their lawyer said Tuesday that five of the women had their pictures taken.

“In light of what we have learned took place at Miss Universe Indonesia, it has become clear that this franchise has not lived up to our brand standards, ethics, or expectations,” the US-based Miss Universe Organization posted Saturday night on social media site X, formerly known as Twitter.

It said that it had “decided to terminate the relationship with its current franchise in Indonesia, PT Capella Swastika Karya, and its National Director, Poppy Capella.”

It thanked the contestants for their bravery in coming forward and added that “providing a safe place for women” was the organization’s priority.

Jakarta police spokesman Trunoyudo Wisnu Andiko said Tuesday that an investigation into the women’s complaint has been launched.

The Indonesia franchise also holds the license for Miss Universe Malaysia, where there will no longer be a competition this year, according to the New York-based parent organizer.

In a lengthy statement posted to Instagram, Indonesia franchise director Capella denied involvement in any body checks.

“I, as the National Director and as the owner of the Miss Universe Indonesia license, was not involved at all and have never known, ordered, requested or allowed anyone who played a role and participated in the process of organizing Miss Universe Indonesia 2023 to commit violence or sexual harassment through body checking,” she wrote.

She added that she is against “any form of violence or sexual harassment.”

The Jakarta competition was held from 29 July to 3 August to choose Indonesia’s representative to the 2023 Miss Universe contest, and was won by Fabienne Nicole Groeneveld.

Miss Universe said it would make arrangements for her to compete in the finale, scheduled for November in El Salvador.

This year’s Indonesia pageant also came under fire for announcing a “significant change in this (year’s) competition guidelines” with the elimination of its minimum height requirement after it had crowned a winner.

In its statement, the Miss Universe Organization said it wanted to “make it extremely clear that there are no measurements such as height, weight, or body dimensions required to join a Miss Universe pageant worldwide.”

— AFP

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Malaysia

A Perodua service centre in Kuantan, Malaysia went viral for its strict dress code, Perodua responds

A dress code for vehicle servicing? A Malaysian car brand’s service centre dress code signage has puzzled netizens, raising queries about the need for attire rules during a routine service.

The manufacturer responded with an official statement after a flurry of comments, seeking to clarify and apologize.

Published

1 year ago

on

10 August 2023

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MALAYSIA: A dress code signage positioned at a service centre belonging to a prominent Malaysian car brand has sparked bewilderment among Malaysian netizens, who question the necessity of adhering to attire guidelines for a simple vehicle servicing.

The signage explicitly delineates clothing items that are deemed unsuitable, including sleeveless tops, short skirts, abbreviated pants, and distressed jeans.

The car manufacturer swiftly found itself flooded with comments from both inquisitive and irked Malaysian netizens. This surge in online activity prompted the company to issue an official statement aimed at clarifying the situation and extending an apology.

In a post that gained significant traction on the social media platform, politician Quek Tai Seong of Pahang State, Malaysia, shared an image to Facebook on Monday (7 Aug).

The image showcased a dress code sign prominently displayed at a Perodua Service Centre in Kuantan. Within the post, Quek posed the question: “Is this dress code applicable nationwide, or is it specific to this branch?”

The signage reads, “All customers dealing with Perodua Service Kuantan 1, Semambu, are requested to dress modestly and appropriately.”

Adding visual clarity to these guidelines, the sign features illustrative graphics that explicitly outline clothing items deemed unacceptable, including sleeveless tops, short skirts, short pants, and ripped jeans.

Delineating the specifics of the dress code, the signage stipulates that male visitors are expected to don shirts accompanied by neckties, opt for long pants, and wear closed shoes.

Conversely, female visitors are advised to don long-sleeved shirts, full-length skirts, and closed-toe footwear.

Perodua’s dress code sparks online uproar

Following the rapid spread of the post, Perodua’s official Facebook page found itself inundated with comments from both intrigued and frustrated Malaysian netizens, all seeking clarifications about the newly surfaced dress code policy.

Amidst the flurry of comments, numerous incensed netizens posed pointed questions such as, “What is the rationale behind the introduction of such regulations by the management? We demand an explanation.”

Another netizen expressed their dissatisfaction, arguing against the necessity of the rule and urging Perodua to take inspiration from the practices of other 4S (Sales, Service, Spare Parts, and Survey) automotive dealerships.

A concerned Facebook user chimed in, advocating for a more lenient stance, asserting that attempting to dictate customers’ clothing choices might not be in the company’s best interest.

Someone also commented in an angry tone, “Oi what is this? Going there for car service, not interview or working, right.”

As the discourse unfolded, it became evident that while some inquiries carried genuine weight, others chose to inject humor into the situation, playfully remarking, “If I wanted to buy a Myvi, I should buy or rent a formal attire first.”

“I sell economy rice at a hawker centre, I have never worn a long sleeve shirt and a tie… I guess I will not buy a Perodua car then.”

“I guess they will not serve those who wear short pants.”

Perodua addresses dress code controversy

As reported by Chinese media outlet Sin Chew Daily News, the manager of Kuantan’s Perodua Service Centre had acknowledged that the images on the dress code signage were misleading.

In response, the manager divulged that discussions had transpired with the head office, leading to the prompt removal of the signage to prevent any further misconceptions.

The manager clarifies, “We do encourage visitors to adhere to the dress etiquette, but we won’t go to the extent of restricting their choice of attire.”

He also revealed that currently, no complaints have been directly received from the public.

However, feedback from certain customers was relayed through Perodua’s agents.

Perodua also released an official statement by chief operating officer JK Rozman Jaffar on Wednesday (9 Aug) regarding the dress code on their official Facebook page.

The statement stated the dress code etiquette is not aligned with their official guidelines and they are currently conducting an official investigation on the matter followed by corrective measures to avoid the same incident from happening.

Perodua also extends its apologies for any inconvenience caused.

 

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