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Hik Bersamak (2022) with Projek Rabak for the 59th Venice Biennale

This project was created with and under Projek Rabak. Other artists include Dhan Illiani Yusof, Mohd Jayzuan, Mohamed Lutfi and Yahya Torek.


We started our works by spending the night in Kampung Ras, our friend, Yahya Torek's home. I wish I could say I worked intensely on this trip, but in true Projek Rabak fashion, we swam in fast rivers, ate a lot, laughed a lot and talked a lot about nothing and everything late into the night.


We became friends with amazing people like Bah Cong (pictured below in neon green sunglasses). The picture of him flipping through an autobiographical book of Andy Warhol, surrounded by tropical greenery with crickets chirping over the hot sticky afternoon, will stick in my mind for the longest time.


Throughout our stay, we learnt about the cultural, geo-political and spiritual differences encountered by the Semai community in integrating with a modern Malaysia where political and private parties are increasingly hostile and aggressive, especially on matters such as development on indigenous land and logging.


From these conversations, it is apparent that the Semai community's culture is facing an imminent erasure. Combined with a lack of access for basic necessities and the State's neglect towards their autonomy or opportunities to socially mobilise, the Semai community is trapped between a rock and a hard place.


They just want a seat at the table where decisions are made on the land the live in. But letters go unresponded, phone calls go unheard and protests lead to violent and unjust arrests. Disillusionment creeps in and created a generational trauma on this community. They have to be self-sufficient because they cannot rely or trust anyone. Prior to going into the village, they were also wary of our presence and possible exploitation. Having so used to being taken advantage of, this is only natural as a coping mechanism.

Despite these adversities, the Semai community welcomed us with open arms and hearts. They were one of the kindest people I have met who hoped for nothing in return. We warmed up to them very quickly.

When I came home, I immediately started work. For this project, I was tasked with process drawings - portraying the processes we have undergone to get to Venice Biennale.


Overloaded with all the information I have gathered from the trip, I decided I want to shed light on how multidimensional this community is. Why is it that when we talk about indigenous communities, we are always focused on the generational trauma the State has inflicted on them? Yes, those things are important too but why can't we talk about the things that make us all human - love, food, art, philosophy, mundane moments we treasure which make up this big and crazy thing we call life? Why must we box indigenous communities into the issues faced by them and define that into their sole identity?


I made 12 drawings in total, about love, religion, life, Projek Rabak's creative process, other various political issues faced by the community.


Some Semai houses have one front door and one back door. Some Semai houses have two front doors and zero back door. When a Semai house has one front door and one back door, it is a house for men to enter to have meetings and women to exit to let the men conduct meetings. When a Semai house have two front doors and zero back door, men and women can both enter to conduct meetings and leisure discussions.
The Tale Between 2 Doors is a piece of artwork on gender disparity in Semai architecture. Read alt text for the full text.

In one of the conversations, I asked about love, dating and relationships in Semai culture. "Typically, how many years or months do you "date"? Do you date?" They said it really depends. In newer generations, they have the freedom to date for however long they like. The man we spoke to married his wife in 4 months. Then I asked him, what happens if someone refuses a proposal? What happens if someone rejects someone's love? He said the night before the man comes to profess his love, the girl would leave home in the dead of night. She would leave her home and never come back. She would leave the community. The next morning, the man would show up to the girl's house to profess his love, only to find that she is gone.
Rejection is an artwork about how Semai men who profess their love are rejected in the village. Read alt text for full text.

In Semai culture, 'dreams' is a religion that transcends all religion. No matter if you're Muslim, animist or Christian, dreams play an important part of Semai belief. Leaders within the community cannot elect themselves. Instead, they have to dream of the 'chosen one'. Whoever who dreams of being elected, will be the leader of the community. Dreams are also a sign and calling for them, warning or blessing them in their sleep.
The Dreamer is about how dreams play a big role in Semai religion and spiritual beliefs. Read alt text for full text.

In one of our conversations, our Semai friends taught us the medicinal secrets of nature. They go to the hot springs to mend their bodies. They drink the spring water to regain health and vigour. Nature's medicine has been taken away from them. It now costs RM 12 to get into a hot spring. And it is filled with tourists.
Let Me In is an artwork about how tourism development adversely impacts the Semai community. Read alt text for full text.








I have also made a collectible item in conjunction of Venice Biennale. It is a map of Kampung Ras.



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