Negotiating difference in Krishen Jit’s theatre: Staging identities and contesting boundaries in multicultural Malaysia
The politics of difference in a multicultural society such as Malaysia is an area of increasing interest in an environment of global anxieties about the "clash of civilisations" (Huntington) and the "flows of culture" (Appadurai). As the lines of race, religion, language and gender become more prescribed by the "authorities" of state and media, they are also diversely contested by those who do not fit or who choose to resist these narrow defines and limiting dictates. Krishen Jit, doyen of Malaysian theatre, dealt with issues of difference and sameness in his multiple staging of Malaysian identities. His theatre process and practice were in several ways critical interventions into the Malaysian cultural landscape. This article will examine some of the strategies used in Krishen Jit's theatre that dealt with cultural difference and emerged as a valuable response to the tensions of identity in Malaysia. It interrogates his choices for theatre and how they indicate a conscious engagement with issues of plural identities within a multicultural mosaic. It seeks to offer a perspective on how the theatre provides an apt site for questions of agency and belonging that arise in negotiating issues of exclusion and inclusion within a plural socio-cultural space.
Staging stories that build empathy for mental illness in Singapore: Spaces of dialogue in Off Centre
This article examines how Off Centre, a play by Haresh Sharma about mental health in Singapore, first devised and produced by The Necessary Stage (TNS) in 1993, provides a valuable opportunity for audiences to encounter characters labeled “mad” or “off centre” (a colloquial term in Singapore for being mentally ill), who are often looked down upon and relegated to being “useless” in the highly efficient and success-driven urban context of Singapore. It considers how audiences are challenged to respond sensitively and dialogically through a questioning process that builds empathy for persons struggling with mental health. I argue that when Off Centre imbricates the audience in the inner worlds of the characters to dialogue with them, it generates a pedagogical process by creating a space where sensing, listening to and questioning what happens to these characters becomes a way of learning about their battles and beliefs.