Keling Maya: Post-traditional Media, Malaysian Cyberspace and Me, presented at the Aliran Semasa Symposium, 2013, at the National Art Gallery, Kuala Lumpur.
Please Note: In this video the Japanese term ‘Dochakuka‘ is mispronounced ‘Dochakaku.’
“In the late 1990’s, as our children were growing up in Kuching, Sarawak, far from a Tamil milieu, I was always looking for ways to expose them to the sounds and images of Tamil culture. I found at the local night-market a copy of the 1995 film release, Muthu, starring Rajinikanth. I bought it for them and, to my delight, they loved it. What’s more, I found that I loved it too. Shortly afterwards, on a visit to Tokyo, I was surprised by a large billboard image of Rajinikanth in the Shibuya district. Somehow, Muthu had become a box-office sensation in Japan! Something ineffable in this icon from the notably colloquial
Tamil cinema, had enabled the film to achieve its unlikely crossover success in the equally idiosyncratic Japanese film world or nihon eiga kai. I recognized, in this anomalous crossover, the antithesis of the homogenization that was taking hold in the global arenas of contemporary art. “
The above is an extract from my essay contextualizing this project, titled The Koboi Project: diasporic Artist… diasporic Art, is included in Interlaced Journey: Diaspora and the Contemporary in Southeast Asian Art edited by Patrick D. Flores & Loredana Pazzini-Paracciani.
1 Keling Maya
7 Telinga Keling
8 Keling Babi
10 MGG Pillai