We were privileged to have the Malaysian icon of dance, Ramli Ibrahim, give us a unique lecture-demonstration.

Whatever one tries to say about Ramli is redundant; it is better said and visually represented in the wonderful new book "Ramli/The Heart of Sutra" by James Murdoch, compiled to celebrate Ramli's 50th birthday.

This wonderful morning, Ramli explained his career, his experience of classical, western ballet and modern dance coupled now with Indian Classical dance (Odissi and Bharata Natyam).

Ramli started with classical ballet in Australia and danced for many years with the Sydney Dance Company and with the legendary Rudolf Nureyev and Margot Fonteyn on one occasion.

Ramli walked us through traditional Indian dance - how simple restricted movements of tribal dance change when they move into more spacious folk dance, and how sophisticated and stylised they become in classical and court dancing.

To separate the substance from the form where flashes of vibrant colour intermingle with hypnotic eyes and rhythmic tinkling of jhanjars (dancing bells).

Ramli explained the major dance traditions of India to us:

1. Bharata Natyam
2. Odissi
3. Kathakali
4. Manipuri
5. Kathak
6. Kuchipudi
7. Mohini attam

With Ramli were four of his students to help us understand the differences between Bharata Natyam and Odissi. He visually taught and danced and demonstrated with his proteges from his now famous school "Sutra House". He showed us the different "rasas" or emotions in both styles.

It was magical to see the passions of love, valour, compassion, wonderment, laughter, terror, disgust, anger and serenity translated into dance poses.

Ramli depicted these in stylised Bharata Natyam stances and the students in casual, flowing Odissi poses. However, he explained these are only "postures", but in dance emotional reactions become spontaneous. Feelings become routine.

"You can not say I do not feeling like laughing or crying. You just do it spontaneously, by technique," said Ramli. He ended by explaining that technique is the beginning of the path of dance. It is however empty without the spiritual angle. "The true dancer must achieve oneness, that is the aim between physicality and spirituality."

When asked how much time he spent meditating before a performance, Ramli explained that it was a luxury for those who could just dance i.e. who were "pure" artists. For himself, Ramli is a choreographer, set-designer, sound and light technician, tour leader, cheerleader and much more.

The inspiration and implementation of his many dreams come through his school and studio, Sutra House. Few men are privileged to dream and manifest their daydreams into the fabric of reality. What Ramli dreamed about as a young man, at 50 he has realised. His biographer, James Murdoch has this to say about him, in his accolades:

"Whatever Ramli Ibrahim decides, we can be sure that it will be related to the elevation of the status of the Malaysian artist and to further the development of the arts in Malaysia, to take its place in the community of nations, not just in Southeast Asia. The prescience to conceive this came to him 25 years ago.

He has never wandered from his lodestone that has continuously guided his life. A great artist is always a messenger from the future."

So Ramli has danced his way into the hearts and minds of his audiences in Malaysia, in India and the rest of the world. His most recent feat was dancing at all the National Monuments in India. He posed and danced at the Purana Kila, the 'Old Red Fort' in Delhi, in North India and at 'Khaju Rao' the ancient temple of love which depicts the Kamasutra in South India.

This was a real sutra (journey) for him. The culmination of many dreams. So for Ramli, dreams and reality continue to merge into artistic accomplishments and achievements.
- Loubnan Jumabhoy

I was very interested to read about this event in the June newsletter and immediately said to my sister, Peke Yan, "Let's go!" Not that I am a fan of Chinese dance, but because I knew nothing about it at all. I know a bit about Ballroom, Latin & Indian dance but not Chinese. Yipes!

This morning, we had a treat from Zhou Gui Xin and his wife Ellie.

Zhou Gui Xin, 46, is from Shangdong, China. He is one of China's finest dancers and trained in ballet, Chinese classical and folk dance at the National Academy of Arts in Beijing.

He was also a principal dancer with Beijing Performing Arts Company and Shanghai Ballet. His impressive resume goes on and on. Ellie studied at the Royal Ballet School in London.

Zhou was like a tour guide and gave us a whirlwind tour of China through his dance presentations. Through his student and translator, Chan Ngim, he first described the different regions of China, and then through his dancers, he showed how the environment and way of life are expressed in dance.

There are two categories of Chinese dance:

This Monday, the Explorers group went to visit 'Pusat Latihan Polis', commonly known as 'Pulapol', the Police Training Centre in Jalan Semerak, KL.

We were warmly welcomed by the police, and after some refreshments and an informal conversation with some of the officers we listened to an informative briefing by Tuan Ramli, the Deputy Superintendent at Pulapol.

Construction at the site began in 1937. From 1941-1945, the Japanese used it as a camp.

In 1945, the British reclaimed it as the Police Training Centre. The first commander was Mr J D Fairhead. Between 1945 and 1957 all the Commanders were British. However in 1957, after independence from the British, the first Malaysian Commander was appointed.

The aim of the centre is to be the 'Prime Training Institution', which educates and trains civilians to become 'efficient and intelligent officers'. The training centre motto is 'Not a single day without Training'.

The prerequisite education, basic police-training period and rates of pay after graduation are as follows:

1. Constable: Student requires a lower certificate of education or equivalent and Malaysian Certificate of Education. The training period is for six months. The basic salary is RM1,000 per month including an allowance.
2. Inspector: Student requires HSC (A Level) or a diploma from local universities. Training is for 12 months. Basic salary is RM1,400 per month including an allowance.
3. Cadet: Student requires an honours university degree. Training is for 12 months and the basic salary is RM2,000 per month.

The current intake at the centre comprises 305 Inspectors, 46 of whom are women and 1,145 Constables.

There are no female constables being trained at the moment. It is possible for all trainees to rise through the ranks from constable to inspector.

Although the majority of trainees are Malay, applications are welcomed from all cultures and religions. The centre is keen to promote acceptance and understanding of different cultural and religious backgrounds.

Many students find the training difficult especially at the beginning. Classes start at 5.30am and sometimes do not finish until 10 pm.

For the first two months, the students are not allowed any contact with their families. It is interesting to note that the policemen's first posting is never to their hometown.

Tuan Ramli explained that the ratio of civilians to police officers in Malaysia is vastly different to that in other countries. In Kuala Lumpur, there are approximately 1,700 civilians to each officer, whereas in most western cities there would be about 200 to each officer.

Classroom tuition includes Criminal Law, Criminal Procedure, Investigative Skills and English. Field training includes Parade Ground Drill, Swimming, Self-defence, Martial Arts and the Shooting Range.

ASP Abu Bakar B Mansoor, the centre's Liaison Officer, was our guide for a comprehensive tour of Pulapol. Firstly we had a demonstration from a group of students doing martial arts, after which we were able to talk with the trainees.

We then went to the Parade Ground where groups were marching and performing drills. Swimming is an important part of the training. We also had a chance to talk to the swimming instructor and see the facilities available.

We then went on to the 'Dog Unit'. We witnessed a demonstration from some of the dogs and their trainers. Great skill was shown by one of the dogs in correctly identifying one suitcase containing drugs out of a number of suitcases.

In another demonstration, a large number of similarly shaped containers were placed in one area, all but one contained harmless substances. The dog was able to correctly detect explosive material in one of the small metal containers.

The dogs are from England, at an approximate cost of RM13,000 per dog. They undergo 16 weeks of training before they go to work. All instructions are taught to the animals in Malay.

In 1997, the United States sponsored a group of Malaysian dog handlers to travel to America for explosives and anti-terrorism dog training.

The last section in Pulapol that we visited was the Shooting Range. We watched as students fired at targets with live ammunition!

Each trainee had 20 shots. For each shot fired accurately into the target area, five points were allocated, giving a possible total of 100. After the shooting demonstration, we were shown one of the target boards, where the trainee had scored the maximum possible of 100 points. Very impressive!

The Explorers were given a plaque by the Acting Commander Superintendent Hassanudin Bin Hassan, as a memento of our visit to the Police Training Centre. We found all the officers and staff of Pulapol to be extremely hospitable and informative.

Our thanks must go to Deputy Superintendent Ramli and one of the English teachers, Puan Azleanar, for their assistance in organising the tour.

I and the other Explorers now feel as if we have a greater understanding and insight into the training of police officers in Malaysia.
- Margaret Butorac
Photos by: Margaret Butorac

Geeta Jayabalan, who has a masters in Law, is a freelance writer, has three daughters, is very physically active and gives cooking lessons twice a week.

This busy lady was very generous with her time in teaching thirteen MCG members about Indian Thali. As we arrived at her magnificent home, we were given Nimbu Pani (sweet lime with mint and salt and pepper) and Masala Chay (Indian tea).

Then, dressed in a lovely violet Indian outfit, she rolled up her sleeves and proceeded to show us how to make an especially thick and creamy variety of yogurt and a yogurt-based vegetable Raita, a simple yellow Dhal (lentils), Dhal soup, Saagwala Murgh (chicken with spinach, watercress and mustard leaves) and a deep-fried puffy bread called Pooris.

She also gave us a hand-out with more recipes and ingredient terminology in four languages. In her well equipped and spacious teaching kitchen she demonstrated in detail and encouraged us to taste and comment.

To do the deep-fat frying we went to the outer kitchen and took turns rolling small pieces of dough, making it perfectly round by turning it after each roll until it was thin and even.

All morning Geeta gave us tips on the spices - where to buy the most perfect ingredients and safety in deep-fat frying.

When it was time to eat, we sat around an elegant long table with a large bouquet of local flowers and stainless-steel dishes.

Geeta explained that the word "Thali" traditionally referred to the plate the food was served on although it has come to mean a multi-dish meal. There is a careful balancing of bitter, sweet, sour, spicy, salty and astringent dishes.

We each had a Thali plate. On it there were five little bowls with small servings of Vegetable Raita (yogurt with vegetables), Aloo Gobi (potatoes with cauliflower), Teen Ratna Dhall (three bean dhall), Dhall Shorba (dhall sambhar with tomatoes) and Carrot Pudding.

Spiced Basmati rice is placed in the centre of the large plate with dabs of three kinds of pickles to the right of it.

Pooris are placed on the rice or beside it. We had Hot Mutton Periatal and Chicken with Spinach Sauce as well.

Small amounts are served because it is socially unacceptable to leave any food on the plate. But more of everything is offered freely.

She also recommended that we eat with our right hand in the Indian tradition. Most of us did, although beginners lack finesse!

With every word and movement we could sense her great love of cooking and entertaining. It was indeed an honour to spend a day with Geeta.
- Sheila Clarke