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MCG Newsletter - Jul 2002

Following Month's Newsletter

Many of you may be travelling on holidays or returning to your home countries during the next couple of months. Members visiting the Netherlands have the opportunity to follow up a subject that we have concentrated on recently, the spice trade. Four hundred years ago the first multinational company was formed in Amsterdam to trade in a variety of goods including expensive spices. This was the VOC, the United East India Company. There are a number of events and exhibitions being held to celebrate this four hundredth anniversary. Amsterdam Historiche Museum, the maritime museums in both Amsterdam and Rotterdam as well as many other country-wide exhibitions, covering a variety of topics from porcelain to pepper, tell the story behind the VOC, and in the process reveal the fascination these traders had with the Orient.
For those staying in Kuala Lumpur, trade and sea routes can be explored from another angle at the Muzium Negara's "Malaysian Maritime Archaeology", exhibition, which is now scheduled to continue until the end of the year. This excellent exhibition, which recently featured in "Newsweek", highlights the significance of the trade sea routes and this is further emphasised in the first section: "Malaysia at the Crossroads" of the long awaited exhibition catalogue. The catalogue illustrated with paintings, sketches and photographs covers the background to each of the eleven wrecks in the exhibition and discusses the ceramic finds and describes them according to region. A copy of this comprehensive catalogue is now in the MCG library.
Members not taking a break from KL still have an interesting choice of events for the month. A visit to Desa Paku, the home and garden of Mushlim Musa at Alor Gajah, Malacca is July's first event. Mushlim has built a beautiful traditional Malay house, while the garden has allowed him to concentrate on his passion for heliconias. The combination has created something akin to earthly paradise - you will not want to leave! In contrast a trip to Putrajaya will take us to view the most contemporary face of Malaysia, the country's new Federal administrative centre. We are fortunate to have a guided tour by one of the curators of the "French Memories in Malaysia" exhibition at Muzium Negara. This photographic display charts the involvement of the French in many aspects of Malaysian life from commerce, education, literature and much more. July also sees the conclusion of Religion 101, exploration of Buddhism, with a second talk by the Reverend Dr. K. Sri Dhammanada.
New in July will be the start up of the Explorers' Group. This is an opportunity for members to discover more about KL with like-minded companions. The MCG Library will be open from the middle of the month for those who would like to do some book browsing. At the moment the MCG website is under reconstruction, but hopefully will be completed and up and running by the end of this month.
Wonderful news from Sophie Lindeskog, the new Membership Secretary. Sophie had a beautiful baby daughter Josephine 28th May. Congratulations!
Finally this month MCG says farewell to three committee members: Ninette Reis, who has served as Vice-President and as an active Events Planning Team member; Kathryn Dupuis who is MCG's inaugural Book Club Convenor and has worked behind the scenes with a sharp eye and a red pen proof-reading the newsletter; Alison Ross who has been the indefatigable Events Planning Team Co-Ordinator working with great energy to ensure events really did run to plan. One aspect is very noticeable - that all the ladies multi-tasked and were always prepared to help with the MCG in any way. Thank you ladies for your invaluable contributions, we will miss you. Good luck to you all with your future endeavours!
Diana Cooper

REPORTS ON PREVIOUS EVENTS

MUGHAL ART OF INDIA - 10 May 2002
It is always a pleasure to attend an exhibition at the Islamic Arts Museum. Doubly so when we have the head curator, Dr Mandana Barkeshli, to guide and explain the treasures we are viewing.
This exhibition, which holds 175 artefacts, took two years to organise. It is held in joint partnership between the National Museum New Delhi and the Islamic Arts Museum Malaysia. Included in the exhibition are exquisite examples of coinage, miniatures and portraits, illuminated manuscripts, calligraphy, arms and armour, textiles and jewellery.
The Mughal Empire was one of the greatest dynasties of India, spanning over three hundred years. The Mughal rulers were Muslims and exposed their subjects to Islamic values and culture. This period witnessed the combination of artistic triumph with prodigious power and sumptuous luxury.
The Mughal Emperors were the first leaders to wield power over such a large portion of the Indian sub-continent. As a result of the rich resources of India, the Mughal Emperors were able to indulge themselves in lifestyles of opulence. Fortunately, the Mughal rulers expended a great deal of material wealth in the patronage of the arts.
The artefacts exhibited are truly multicultural, as they exhibit a unique amalgamation of native Indian art with Iranian and European influences. Much attention was paid to the design and craftsmanship of the pieces. Intricate carvings and paintings, delicate yet bold calligraphic script; this exhibition is a true feast for the eyes.
Dr Mandana shared many interesting insights into the pieces on exhibit. The Mughal love of intricacy extended beyond the finished pieces. For example, recipes for the paint used in the miniatures were written as poetry. We were alerted to observe the armour closely. Not only was the exterior intricately decorated, but also the inside was beautifully lined with delicately woven patterned fabric. This was to remind one that beauty comes from within.
The Islamic Art of India exhibition will continue until 30 June 2002. While visiting, allow time to view the permanent collection of the museum and browse in their wonderful shop. This museum is an underutilised treasure.
Sharon Gibbons

SPICE TRADE LECTURE
Prof Loh Wei Leng from the History Department of the University of Malaya gave us a most interesting lecture on the history of global trade.
In the first millennium this involved trade between Europe, Asia and North Africa along the Silk Road and the maritime Silk Road or Spice Route. Silk, ceramics and porcelain were traded as well as all manner of perishable commodities. From the 15th Century after Magellan circumnavigated the world, the Americas were included. However up to the early modern period the trade was segmental in nature. The Turks, Venetians, Arabs and Persians traded with India who traded with South-east Asia who traded with China. Spanish galleons then connected these trade areas but it wasn't until the advent of steam ships in the 19th century that real global trade took place. Prior to that trade winds determined the trade routes and also the availability of ports for refuelling.
Genes, diseases, art techniques and cultural behaviour and religions were also brought along the trade routes, as Pastoralists traded with Agrarians. Spices were particularly important because they were required to preserve food and and make it palatable. They were also used for their medicinal value. As early as the 4th century the Romans paid gold and silver for pepper and in the 14th century a pound of pepper cost the equivalent of a sheep. Chillies came from Latin America and have had a profound influence on world-wide cuisine, especially in Asia.
We were certainly enlightened that the Silk Route involved far more than silk and the Spice Route far more than spices.
Suzanne Davey

MALAYSIAN ANTIQUE JEWELLERY
Parameswara, the founder and first sultan of Melaka, would be as amazed to meet his 35th descendant today, Mak Ungku, YAM Raja Teh Zaitun binti Raja Kamaralzaman, as we were. Her spirit of adventure, her curiosity and passion for life are his living legacy. Amongst her many talents and skills, (to cite a few: she is a perfume, stress management and gems expert), she found the time to thoroughly entertain us with a private viewing of antique Nonya jewellery pieces.
A collector of specifically sourced Malaccan Nonya gold and silver costume ornaments, she carved a pear to demonstrate the art of cutting intan the old fashioned way. If you have come across a Nonya kerongsang - a brooch to fasten the kebaya - you would certainly be puzzled by the multi facetted diamonds, seemingly incoherent cuts due to the rough technique of dividing a main stone into smaller ones. Thus the different sizes and shapes would be scrutinized to set the patterns for a piece of jewellery. This reminds me of how similar the approach was when devising the final shape of a piece of jade according to the colour distribution. Adaptation to the material to enhance its beauty rather than going through the sophisticated treatment of turning a bland stone into an eye catcher (a reflection of our times!?). If beauty is in the eye of the beholder, as Mak Ungku seemed to emphasize at the end, just listening to her, I must say, my head was spinning! Oblivious of her royal stature, her easy and confident way of grasping any subject she feels an interest towards, flowing like a diamond river, her verve was as captivating as the sparkle of a rare gem. She could have talked to us about any obscure, minor Italian Renaissance painter, and still have us gasp at the beauty of an overlooked, enlightening detail.
Cartier, Bulgari, Tiffany are leading masters in the jewellery business and still, somewhere, unbeknownst to the grand public, lies a hidden treasure of past goldsmiths' skills in the Peranakan fashion. Invention and imagination were the solace of these isolated individuals with no research and marketing team. They were left on their own to explore the spirit and circumstances of their times: real artists who transcended and transformed hybrid cultural influences into a unique, genuine and living art form. After all, any form of art is the representation and continuation of a defined or undefined existential dimension.
The value of these little treasures may not be great to the gemstone expert as they were basically made as adornments rather than as impressive valuable pieces. Today, this Nonya jewellery art form has disappeared hence their increase in value. Who would not be happy to own an original Etruscan fibula? That is bound to happen to the Nonya-style jewels. Their numbers are limited and they have become collectors' items. Ultimately, I salute the visionary in Ma Ungku (she even read my palm!) and I wonder if she might have found the philosopher's stone!
Anna Pera-Couzet

PANTHEON OF THE GODS AT BATU CAVES
Shankar Kandasamy gave another wonderfully interesting lecture in our Religion 101 course on Hinduism. This time it was a 'lecture on the move' with Shankar speaking to us as we travelled in the bus to Batu Caves and then continuing while we walked around the gallery.
The gallery at Batu Caves is at road level to the far left of the long stairway. The gallery houses many statues of the gods. Here Shankar explained why the gods are portrayed the way they are. All Hindu gods represent aspects of the one God, Brahman.
Shankar explained so much to us that I can only give you a tiny glimpse in this write up of all we were told.
The gallery is in a cave because caves have a special significance to Hindus as they represent the spiritual heart. The gallery we walked around had many of the gods in scenes familiar to all Hindus.
As you walk in to the gallery, a statue of the elephant headed god Ganesh is on your right. Ganesh represents the supreme state of human perfection and also the practical path to that state. The elephant head on a human body is meant to represent supreme wisdom. The elephant trunk represents intellect.
Ganesh's big belly represents the universe, meaning the universe is contained within God. Vishnu is one of the gods of the Trinity and represents the power of sustenance. The other two powers manifest in the world, namely creation and destruction, are personified as Brahma and Siva respectively. Vishnu is a blue colour. Blue represents the sky - which in turn represents the qualities of God as all-pervasive, all-protective and as the sky brings the rains, blue also represents fertility.
Shiva the destroyer holds a trident that represents the release of man from the human body.
The Serpent represents the five senses and their control. Subramanian has six faces and 12 arms. The six faces represent the six virtues namely compassion, selflessness, patience, forbearance, friendliness and peace. In each hand of the 12 arms is held a different symbol for meditation. In meditation a person concentrates on each symbol, each symbol has a different meaning. Examples of the articles being held are a lotus, a bell and a flame. The flame represents the connection of the human with the divine.
The cockerel in Hindu philosophy represents time and space and the bull represents the breath of God.
The Shiva Linga which is an oval shaped article represents God as form and formless, spirit and nature always in union.
The pantheon of the gods is so vast and complicated. However, as I understand it, it is ultimately a system, which enables man to contemplate and remember and thus emulate the myriad qualities of God. It reminds people of the spiritual side of life and encourages them to lead a worthwhile, good life while making spiritual progress.
Ref. A. Parthasarathy - The Symbolism of Hindu Gods and Rituals
Alison Ross

SPICE FACTORY VISIT
On 28 May, 2002 more than 40 members had a fascinating visit to Mr Kannan's Spice factory in Klang. We were shown how the various spices are ground and combined to form curry powders to formulas specified by the customer. Mr Kannan gives a very personalised service to his clients letting them grind their own spices in such small amounts as a kilogram, as well as dealing with vast mounds of spices.
A wonderful aroma filled the air as we watched the spices being ground and then roasted for our benefit. Mr. Kannan was delightfully candid with us in his approach to keeping the customer satisfied. Tumeric for example is a reasonably expensive spice, however when the client is only prepared to pay a lesser amount per kilo than the spice is worth, then the spice is simply cut with ground broken rice! So it seems that with spices you certainly get what you pay for!
Mr Kannan was however extremely generous to us and we were given large bottles of ground cinnamon and curry powder to take home, plus detailed notes on the medicinal value of some spices particularly cinnamon. After a performance of Indian dance by Mr. Kannan and his students, an Indian meal at a local restaurant completed our morning.
Suzanne Davey

THE MAMAKS OF MALAYSIA
On Wednesday 05 June Datin Halimah Said gave us a delightful presentation on the Muslims originally from the Madras area in India who settled in Malaya during the 19th century and made their mark as traders and small business men, and subsequently became known as the Mamaks from the Tamil word for Uncle. She gave us both an historical perspective and also a personal one, having been married to a Mamak for more than 30 years.
The British census had a category until 1911 of Jawi-Peranakan, used for locally born Malays of Indo-Malay ancestry. But after 1911 they were officially known as Malays. However they have remained a distinctive social group in many ways, with many Mamak settlements being found in Penang, Malacca, Kedah and Perlis.
Originally Turks and Arabs traded with the Gujaratis and Tamils on on the Malabah coast (the Kling) and Coramandel Coast (the Chulias), taking Tamil wives and converting them to Islam . Originally they settled in the trading port of Malacca, moving to Kedah when the Portuguese and Dutch took over Malacca. There was also a wave of migration of the Chulias to Penang. They were excellent traders, arousing some jealousy amongst the local Malays.
They apparently have special characteristics of resilience and industriousness enabling them to compete successfully with their Chinese and Malay competitors in trade. They gave their children a secular education often in British schools, enabling them to penetrate government and educational ranks. They teach their children to be forward in the family and to dare to be seen and heard! They are encouraged to reach for their dreams and are extremely sociable with many interactions between their extended families.
All in all Datin Halimah left us with a new insight and a warm feeling towards the Mamaks, and we will certainly think of their origins next time we have a roti canai or a teh tarik!
Suzanne Davey

BITS AND PIECES

WANT TO DO A GOOD DEED?
1. Dayspring Training Centre. Provides vocational training for 60 mentally handicapped children.
Needs: volunteers to teach the children and contract work for them such as packaging, recycling and other simple tasks. Address: 4 Jalan Solok Limau, Taman Meru, 41050 Klang, Selangor. Contact: Jimmy Low at 03-3342 7467 / 016-311 1370.
2. House of Joy. Cares for 33 abandoned children from 11 months to 18 years old.
Needs: volunteer tuition teachers for primary and secondary school students, daily provisions such as canned food, shampoos and detergents, a washing machine, air-conditioners for study rooms and recycled books and clothes. Address: Lot 23, Taman Tenaga, Batu 9, Jalan Puchong, 47100 Puchong. Contact: Ms Lee Cheng Mun or P.S. Tang at 03-8070 4497 / 012-224 6396.
3. Rumah Sayangan. Home to 12 orphans between five and 18 years old.
Needs: financial donations as they are fully dependent on public donations, school bags and regular supply of fish, meat and eggs. Address: 16 Jalan Siput 3, Taman Billion, Cheras, Kuala Lumpur. Contact Charissa Giam at 039131 6663 / 012-951 3557.
4. Clothing Bank . Every day, 8am - 8pm. The Rotary Club of Kuala Lumpur Di-Raja has set up a clothing bank in aid of the poor and victims of natural disasters and war.
Collection centres: Hotel Istana, Scott Villa, (Brickfields), Royal Selangor Club (Dataran Merdeka and Bukit Kiara Annexe) and the Royal Commonwealth Club (Damansara Heights). Tel: 03-2166 3136.

Introduction To Musical Theatre
Every Sunday, 8pm - 10.30pm
Llewellyn Marsh, the musical director of Rep21, conducts this course that focuses on the theoretical and practical aspects of musical theatre, tailored to the students' abilities.
RM300 (6 weeks)
Actors Studio Academy, Lot 2, Plaza Putra, Dataran Merdeka, Jalan Raja, Kuala Lumpur
Tel : 03-2697 2797 E-mail : academy@theactorsstudio.com.my

Pottery Course
Every day
Be creative! There is a class suited for everyone, from beginners right up to advanced. Journey through the basics of hand-building, glazing and wheel-throwing with classes held for all levels every day. Time and days of classes can be arranged to your convenience.
Trial classes: RM70 per class (3-hour session)
Beginners' course: RM250 (4 sessions, 3 hours per week)
Intermediate/advanced course: RM280 (4 sessions, 3 hours per week)
Clay Expression
Lot 757, Block C, 5 Jalan Subang 3, Petaling Jaya, Selangor Tel : 03-5628 1613
E-mail : info@clayexpression.com
Web site: www.clayexpression.com
Information taken from Klue.com.my web site

ODISSI - A CLASSICAL INDIAN DANCE
Odissi, originated in Orissa and is perhaps the most lyrical Indian classical dance form. The postures of Odissi reflect specific moods. The movements are swaying and graceful. It is the dance of love, delight, and intense passion, lyrical, pure, divine and human, all rolled into one. The performance and enjoyment of Odissi dance recital, so tender and vigorous and devotional, moving in sculpturesque poses, is an unique experience; a constant source of delight & inspiration. It transcends all the limits of communication leading to a rich aesthetic & spiritual experience.
Traditionally the classical dance form of Odissi was performed as mahari or devadasi dance, in front of and dedicated to Lord Jaganath in the temples in the state of Orissa, particularly in the temple of Lord Jaganath in Puri and the famous Konark Sun Temple. Having been revived from virtual obscurity, it is possible that Odissi is an even earlier dance form than Bharata Natyam, another better known south Indian temple dance form, with sculptural forms of Odissi dating to 2nd century BC.
With social and political change in Indian society and later the suppression of the 'mahari' or 'devadasi' tradition by the British authorities, this classical dance form moved out of the temples and took up a place in the wider Indian society, being performed by individual dancers, travelling and local dance troupes. This process began in the 16th century with young dancers called 'Gotipuas', performing the dance outside the temples.
Much of Odissi was revived while India fought for her independence through the early years of last century and after Independence in 1949. It was necessary indeed for some of the regeneration of the dance to arise from research on the sculptures of the temples in Orissa because a very significant part of the dance had been lost. It was revived by a number of individuals, who crystallised the repertoire and trained new performers and teachers; people such as Pankaja Charan Das, Kelu Charan Mahapatra, Mohadev Rout, Deba Prasad Das and Hare Krishna Behera. The great teachers of the classical dance forms are known as gurus and are treated with great respect by their pupils, the relationship being more like that one has with a priest.
The classical dance form of Odissi is a dance form made up of its own vocabulary of foot positions, head movements, eye movements, body positions, hand gestures, rhythmic foot work, jumps, turns and spins. The dance form is then in turn made up of traditional dance pieces which have been handed down from teacher to pupil. Some of these pieces have been formulated in the distant past when it was used in temple worship; others arise from the great Indian spiritual writings, such as poetry and epic stories, and finally there are modern pieces which have been the inspired work of the gurus and choreographed by them
. The key noticeable difference between the two forms, Odissi and Bharata Natyam, is that Odissi has more curves of the body which can make it a more sensual dance form, as opposed to the athleticism and angular nature of Bharata Natyam. Poses, as one might find in Indian sculpture, are at the core of Odissi. The most beautiful of these is the 'tribunga' position, with three bends in the body, at the neck, waist and knee. If you go to any collection of Indian art, you will see sculptures of goddesses and dancers in 'tribunga' position dating back many hundreds of years.
Copyright © 1995 The International Communique Ltd
Odissi classes are taught in Kuala Lumpur at Sutra Dance Theatre in Titiwangsa, Temple of Fine Arts in Brickfields, and the Actors Studio, Bangsar.

OTHER COMMUNITY EVENTS

MUSIC:
Vince Jones - 15 & 16 July, 8.30pm
Vince Jones, Australia's leading jazz vocalist performs for two nights. Backed by a first rate band, Jones will not only sing but play the trumpet as well.
RM200, RM150, RM100, RM50 (Concessions: RM170, RM127.50, RM85, RM42.50)
Dewan Filharmonik Petronas, Tower 2, Petronas Twin Towers, KLCC, Kuala Lumpur
Tel : 03-2051 7007, E-mail : dfp_boxoffice@petronas.com.my. For more information, visit www.dfpmpo.com

Flint the Celtic Sensation-Celtic Music 26&27 July-8.30 pm. Tickets RM30.
Sutra Amphitheatre, 12 Persiaran Titiwangsa 3, Kuala Lumpur (off Jalan Kuantan, beside Istana Budaya)
Tel : 03-4022 9669, E-mail : sutra12@hotmail.com. Open 11am-5pm

THE ARTS:
Identities: Who We Are - 1 April - 30 June
An exhibition of the "Malaysian identity" that brings together works by Simryn Gill, Loke Wan Tho, William Samwell and numerous other artists.
Admission is free. National Art Gallery, 2 Jalan Temerloh, off Jalan Tun Razak, Kuala Lumpur
Tel : 03-4025 4989 / 90, E-mail : bsln@po.jaring.my. Open 10am-6pm (including public holidays)

Colours Of The Wind - 8 June - 15 July
Sharifah Zuriah Aljeffri presents her eclectic style of painting, which fuses Chinese free-brush technique with Western techniques and materials, as well as Arabic script.
Admission is free. Sutra Gallery, 12 Persiaran Titiwangsa 3, Kuala Lumpur (off Jalan Kuantan, beside Istana Budaya) Tel : 03-4022 9669, E-mail : sutra12@hotmail.com. Open 11am-5pm

Menjejak Kembali: 20 Years Of Malaysian Art At The Australian High Commission - 14 - 28 June
Latif Mohidin, Suleiman Esa, Yeoh Jin Leng, Khalil Ibrahim, Chang Fee Ming and other prominent artists make a showing at this commemorative exhibition.
Admission is free. Australian High Commission, 6 Jalan Yap Kwan Seng, Kuala Lumpur
Tel : 03-2146 5770. Open 8.30am-4pm (closed Sat & Sun)
For more information, e-mail ranee.govindasamy@dfat.gov.au

Japan Festival: The Dolls Of Japan - 2 - 15 July
Japanese dolls of all shapes and sizes, from different parts of Japan, make a showing at the National Library, with intricate little costumes that includes those worn in the traditional arts like noh and bunraku.
Admission is free. National Library, 232 Jalan Tun Razak, Kuala Lumpur
Tel : 03-2687 1700. Open 12pm-6pm (Mon), 10am-6pm (Tues-Sat), 10am-5pm (Sun)

DANCE:
Dance and Shakuhachi (Japanese Wind Instrument) - 29&30 June, 8.30 pm. Tickets RM30.
Sutra Amphitheatre, 12 Persiaran Titiwangsa 3, Kuala Lumpur (off Jalan Kuantan, beside Istana Budaya)
Tel : 03-4022 9669, E-mail : sutra12@hotmail.com. Open 11am-5pm
Japan Festival: Memorandum - 28 & 29 June, 8.30pm
An interesting blend of various art forms like dance, music, visual art and architecture, this modern multimedia performance by Dumb Type from Kyoto, Japan, takes today's advanced techniques and presents to you a new scope of contemporary art.
RM80, RM55, RM25 (Buy 5 get 1 free)
Tickets available at: Axcess: 03-7491 9999 (tel), www.axcesstickets.com
Istana Budaya, Jalan Tun Razak, Kuala Lumpur. Tel : 03-4025 5932/34
For more information, call the Japan Foundation of Kuala Lumpur at 03-2161 2104 or fax 03-2161 2344 or visit www.jfkl.org.my

Rhythm Of The Dance - 2 - 7 July, 8.30pm - 6 & 7 July, 3pm & 8.30pm
Irish traditional dance as we're all familiar with-that is, in the style of the mega-famous Riverdance and Lord Of The Dance. Directed by Carl Hession, starring Aisling Holly. (Sneak preview on 12 June at Piccolo Mondo, Jalan Bukit Bintang, Kuala Lumpur.)
RM200, RM150, RM80 (evening shows), RM160, RM120, RM64 (3 July & matinees)
Tickets available at: Axcess (03-7491 9999) or www.axcess.com
Dewan Merdeka, PWTC, 41 Jalan Tun Ismail, Kuala Lumpur. For more information, call Oz Entertainment at 03-9133 3999

Weijun-Contemporary Dance-12&13 July, 8.30 pm. Tickets RM30.
Sutra Amphitheatre, 12 Persiaran Titiwangsa 3, Kuala Lumpur (off Jalan Kuantan, beside Istana Budaya)
Tel : 03-4022 9669, E-mail : sutra12@hotmail.com. Open 11am-5pm

THEATRE:
June at Asia-Europe Institute - 12, 19 & 26 June, 8.30pm
12 June-Red Firecracker, Green Firecracker : 19 June-Rizal : 26 June-Manan Of The Spring
Admission is free. AEI Auditorium, University Malaya, Jalan 16/4, Kuala Lumpur
Tel : 03-7967 4645, E-mail : asia_euro@um.edu.my

BOOK CLUB NEWS

BOOK REVIEW

Letters From Malaysia
In 1951 Ted Miles was young, enthusiastic and full of religious inspiration. He was also at the beginning of a journey that would lead him from his home in California, America to the shores of Malaya.
He came with all the excitement that only a 24 year old can feel when at the threshold of a dream and imbued with the sense that being a Methodist missionary was the way to introduce Christianity to the world. Coming to Malaya was a pre-missionary post for Miles, who hoped to take up full missionary work after his three-years' teaching experience in Kuala Lumpur and Bentong.
No one could ever doubt his sincerity, his stamina or his enthusiasm for the local people and he did achieve some remarkable things for one so young. Perhaps it is the way that Americans bring up their children to have a strong sense of 'self', coupled with the unswerving belief in God that he carried with him, but young Miles worried me quite a lot in this book.
The book is comprised of letters that Miles wrote to his brother half a century ago when this land was troubled, and living here for anyone (but particularly a 'westerner') was a challenging experience.
About 75% of me admired his courage, while the rest of me was appalled at his innocent arrogance. If I'd employed him I would have been continually on edge and wondering which of my directives he would ignore. He was so fired up with the mounting belief that he knew the people of this country better than anyone else (and he had God on his side) that he ignored or defied anyone who stood in the way that he had chosen. Perhaps God was on his side because he survived, and was obviously admired by many, but I would still be interested to hear from the people he crossed, and find out their version of events.
There is a touch of fanaticism in some of the things that Miles did and wrote about, yet he could be extraordinarily generous with both his time and his money, and he so much needed the acknowledgement from his family for what he was achieving. Such incessant striving towards goals makes me wonder about the background that would produce such a 'driven' individual, and yet he also enjoyed the beauty of solitude and taking long hikes into the jungle.
The difficult times between 1951 and 1956 are lightly referred to and we are given something of an insight into what life was like then from Miles' point of view. This slim volume is an easy read - all in letterform, and I found it intriguing for what is not written as much as for what is. There were moments when I could not help comparing Miles to the personality of 'Lawrence of Arabia'. Perhaps the world needs this kind of maverick to get things happening against the odds, but his kind of ego could never be easy to live with --- unless others were totally compliant. I think he needed a mum around to tell him when enough was enough!
Priced at RM39.95, this book is on sale at MPH.
Jan Thornton

Chapter I
Report on Dusk by F. Sionil
Our discussion started with consideration of Suzanne's questions both about the potential audience for this book on the Philippines and about the Filipino author's choice to write in English. We were all grateful for what we perceived to be his mission to educate a large English speaking audience about a chapter of history, involving many of us by association, but about which we know surprisingly little.
The best example of this in the group was Renata who, although she read it hurriedly and not too fondly, was motivated enough to do further research on the occupation of the Philippines by the Spanish and by the Americans. For instance, we learned from her that the American invasion at the turn of the last century was retaliation for a Spanish attack on American interests elsewhere. The book had left us wondering what they were doing there.
Like Renata, many of us were slow to warm to this book. Some became disenchanted with the development of the central character, his mission and his sense of duty, which did not ring true to his character, especially when expressed in the shooting of an American soldier. Others saw this act as a natural progression based on the horrors he had seen and on the lack of acceptance by the very people he was sent to help; perhaps his final act can be best understood as an act of self-defence.
Dusk recounts a spiritual as well as a physical journey, and our journey through its pages was a learning experience.
Kathryn Dupuis

Chapter II The Age of Kali by William Dalrymple
The Age of Kali was written by a man who considers himself a travel writer, and indeed this book can be found on most sites regarding travel in India. William Dalrymple is thought to be a reticent author, and admits this book is one of journalism rather than travel. It was apparently hard to find information about him other than the front sheet blurbs. The Age of Kali is considered to be one thousand years and Kali symbolises the destruction of evil. Kaliyug is an era of materialism, the rise of male power, and the book contains instances and examples. Thank you Carol for all the background you provided, discussion became lively and informed.
In discussion over the dark subject matter, the group thought Dalrymple highlighted reality, and was writing to create interest, seldom voicing his own opinions overtly. There is individual plight rather than collective grief or generalisation. Yes, it was a book of doom, but not gloom and we all enjoyed the style and humour within it. The stories showed a tapestry of how things are, not a romantic picture leaning in any particular direction. The range of contacts and subject matter showed his success as a writer in being able to be related to by all walks of life. His depth of knowledge of India captures the 'essence' of India of the time, the style is simple wording but eloquent nonetheless
. The piece on Benazir Bhutto showed how the local populace viewed her, not as the way she was presented to the western world through the media. We admired him for his stand. Other political stories shocked us with the criminality of the politicians, the corruption was not such news. India was likened to 'the Wild West of America' last century.
Dalrymple admits the book shows the negative side of India but portrayal is surrounded by insights into the background which show an understanding. His length of time in India enable him to make fine distinctions, it was not a cursory once over story. Yet he was able to bring an outsiders' viewpoint and could see shades of meaning that may escape those who lived amongst the contradictions without questioning. He thought being a Scot he could write objectively about a country that was being colonised; we felt he had the sensitivity but not for that reason.
We decided we would/could recommend this book to people planning their travels to India and would definitely be motivated to read other books by him.
Thank you Jeanne for sharing your house and your dog with us for a superb morning, which could have gone on if we had not agreed so emphatically on the last question. Thanks you also to Archana and Mallika who gave us valuable inside information on India, enriching us.
The next book we will be reading is The Quiet American by Graham Greene.
Sue Thomas

Chapter III -The Glass Palace
An impressive new novel from Amitov Ghosh chronicling the history of Burma from the 1885 British invasion to the political upheaval of present day Myanmar (formerly known as Burma). The story is set primarily in Burma, Malaysia and India when the British exiled the King of Burma to Ratnagiri, India. The book offers glimpses into the history of the region as well as telling a tale about how these historical events affect the real lives of the people of these countries. Rajkumar is first presented as a young 11-year-old Indian boy who is stranded in Mandalay due to the death of his family from a plague and becomes caught up in the British take-over. He is mesmerized by the Burmese Royal Family's home called the Glass Palace that is so named because of the 'shining crystal walls and mirrored ceilings.' During the chaos sparked by the British soldiers when they invade the Royal Palace and begin looting, Rajkumar enters the Palace; whilst there, he encounters Dolly a 10-year-old orphan girl and the queen's personal attendant. Dolly is exiled along with the Burmese royals to a strange land. Almost 20 years later, Rajukumar has become a successful teak-trader and has created his own empire in the Burmese teak forests. During his business dealings that take him to India, he finds Dolly and convinces her to marry him. During her exile Dolly becomes a life long friend to Uma the wife of the Royal Family's Collector (an official appointed to 'look after' the Royal Family). Their families grow and their lives intertwine and are influenced in different ways by the political atmosphere of the times, from the exile of the Burmese Royal Family, through Japanese intentions of further occupation in Asia, the Second World War and the fight for independence by Burma, India and Malaysia. Colonialism, trade, education, independence and, most of all love, change their lives.
Claire Josiak

ISLAMIC ARTS MUSEUM SEMINAR.
Venue is the Auditorium at the Rehal Terrace of IAMM, Jalan Lembah Perdana. Admission to the event is free.
Saturday 6th July:
At 11.30am (please note time change).
Topic for this seminar is Islamic architecture and gardens. Dr Arshad Islam will present the first lecture "The development of Muslim Architecture Under the Delhi Sultanate". Dr Shaukat Mahmood will conclude by discussing "Paradise on Earth- The Concept of the Islamic Garden".

IAMM Exhibitions.
"The Spiritual Edifices of Islam" Exhibition continues until 3rd July.
The exhibition features 33 graphite sketches of some of the most important mosques of the world spanning a period of twelve centuries. Mosques from Guangzhou, Istanbul, Pakistan, Spain. Morocco and many other countries are highlighted. Also included in the Exhibition are eighteen works, a variety of prints, watercolours and pastel sketches of significant architectural monuments in America, Europe and the Middle East. All these are the works of the Syrian artist Wahbi al-Harir Rifai, described as the last of the Classicists. IAMM is open 10.00 am to 6.00pm Tuesday to Sunday. Entrance fee is RM8.

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