[unbroken line] deadlines and skylarks


There’s nothing like a deadline to get things going. Already with several voiceovers to edit by the 8th, a client’s voicereel to deliver, some research work for a media company I temp for to look up and lines to learn for an opera I’m acting in, getting an email through from Oval House marketing and publicity about their deadline for marketing blurb submission, you’d think I’d be running round like a headless chicken. Maybe inside I was. But instead I retreated to my studio and took to skylarking. Twice. It had to be done. By the end of them I had sorted out a date for my photoshoot and a date to shoot my wefund promo. It’s a miracle what a deadline can do.

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I thought I’d go back to basics. Just me and my chinese brush. Maybe this will appear in the Hope Riding commission later on this month when I start work on it in earnest. I have a feeling that that commission will look very different to anything I’m working on at the moment.

This is where the adventure gets exciting, folks. Are you on for the ride?

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[unbroken line] Opening My Legs More


I had my first Balinese Dance lesson yesterday at Puja’s place where she lives with her husband in North London. Their home really reminds me of being back in Kuala Lumpur, where houses on hillsides of Kenny Hill and Damansara were upside-down, with the public spaces being on top and the family spaces downstairs, because you entered from the upstairs. This is one such a home.

She has a dark wood balcony which looks out to the long garden below and the french windows are framed with broad-leaved plants and climbers. I could be back in South-East Asia somewhere. Inside it’s fully carpeted with the occasional carved Balinese mask and statue. There are also some carved wooden banana plants, ripe with bananas. I am in a kampung house on stilts. I want to go back there.

We talk about Unbroken Line and what it means to me and what I need Puja to do as she’s on board as choreographer – and dance teacher. If you have seen Puja dance, she is like that in real life, mercurial and cheeky, with ideas  firing from her brain like the quickfire dance moves. I’m going to have a lot of work cut out for me.

She first teaches me the different forms of dance – male dancers wear trousers and consequently have a wide stance which can be low. Female dancers wear sarongs which can constrict movements, consequently their dances are concentrated in the upper body, with more intricate movements in the hands and head. Then there is a dance form danced by either male or female where the character is both male and female while being neither male nor female. It is a wide-stanced dance with intricate upper body gestures and mudras, to use Hindi phraseology. She teaches me the seledet which is the eye movement. High for male dancers, to the side for female and somewhere in between for cross gender characters. Then comes the stance. Then moving from one stance to another, in the Baris, there are steps in between and seledet in between those. But first, you have to stand before you can walk. Here I’m trying to get that right.

This is meant to be ‘right standing, low’. Watching this video I can hear in my mind’s ears Puja saying “Open your legs more!” I don’t get that instruction very often.

In this video, I’m trying to walk. It’s the hardest thing to do right. It’s more of a swing of the ankles than anything. This is going to take me a long time. I’m glad that I have the time to learn and perfect this stuff. All of these are basic moves.

It makes me wonder how far I’ve got to go with my learning. I know some of her girls have been dancing with Puja for 7 years to get to performance level. I’m trying to do this in 5 months. Am I brave for showing these early first steps to the world? Who knows. I know that I have to start somewhere.

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[unbrokenLine] Balinese Dance Class by Jamie Zubairi


I got in touch with Balinese dancer and teacher Ni Madé Pujawati who is a member of S.E.A. Arts who lives and works here in London. Over a coffee in a cafe in Hampstead Heath I told her about my project and how passionate I was about it, hoping to infect her with the same passion. Job done. As she wasn’t that busy with teaching this year, she was able to help! Joy.

Puja also told me of a brilliant musician called Nye Parry who works in both gamelan and Western music composition, which really got me excited. My mind flew to where the character of Dollah could be, trapped in feeling that his culture was too restrictive but unable to feel part of the modern western world, expressed musically and not just in dance form.

We agreed on a date for my first lesson after her performance with Gamelan Lila Cita at the LSO St Luke’s. The more I see and hear this music performed the more I think I need original score for Unbroken Line. Can anyone help?

Here Puja and I pose after her tour de force performance of Terunajaya.

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Unbroken Lines


Well, I thought I would start blogging about my progress and process of how UNBROKEN LINE has come about.

It came to me April 2011 when Kath Burlinson and I were working on it in Suffolk over a few days. We had completely torn apart what was “Skylarking” from 2010. Initially I didn’t like the beginning which was me talking to a computer and the audience. But it really wasn’t theatrical enough as an experience.

After much discussion, a few close tears, some improvisations (one memorable improvisation involving a cake that my mum made for a birthday which might find its way into another play somewhere) it was evident that we were structuring a very different play to SKYLARKING 2010. This was something deeper, something which I knew was going to be bigger than anything I’d tackled before in my writing: my heritage. What it means to be Malaysian. What it means to live on this earth, How Do you Do What you Do When You No Longer Are What You Are. Does Dolah find the answer? Who knows. Kath and I gave myself the luxury of not having a deadline to make any decisions on that part.

Fast forward a year later: we have a date for the debut of this new play. December 2012 at the Oval House Theatre Studio.

Meanwhile, here am, writing a play, is a year after that structural workshop and the date of December is set. There are a lot of things to do. This is where I start blogging about it.

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[poem] They Came On Bicycles


I thought I would start recording my poems in order that I would get better at reading them and delivering them.

I must have written this about 2 years ago now, coming up to 3 years ago, about something my dad told me about his childhood. He never speaks about his childhood.

Malaysia, or Malaya back then, during World War II is something that hasn’t really seen much made of on tv or films, beyond ‘Tenko’. I don’t think there has been much about it on tv. It was regarded as a shameful retreat for the British as they were forced south to the island of Singapore to escape being captured and tortured. Or was it? I didn’t watch Tenko. Only the parody.

Please feel free to comment those of you who have soundcloud. Even those of you that don’t, please feel free to comment. Comment is free.

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[art] Village Among The Trees


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Thank You Louise Bourgeois


I received an email from a friend last week which had a a footer a quote from the artist Louise Bourgeois which went

“An artist can show things that other people are terrified of expressing.”

Rather than being obvious, it spoke to me. The words reverberated the walls of safety that I cling to in several areas of my creative life – in Painting, I’ve often felt braver when exploring new materials, new series of artworks. I sometimes paint in public and call it Skylarking (I will be Skylarking next month at the Flat Planet Cafe in Great Marlborough Street on the 15th of March), the subjects that I delve into during a skylark depends on the audience, what I perceive from them. In turn I have to start to be an open channel before an event – whatever comes out don’t block it, let it flow. Whatever comes in, accept it and take it up. It’s not really painting, it’s not really acting, it’s expressing the moment and committing it visually or aurally. Sometimes I balk at the things that emerge or that I’m shown, but the thing is to go there.

In Theatre, where I’ve often felt the tension of being an actor and a theatre-maker exhausting: I was always one wanting to take direction like a good boy, while always wanting to create from my own ideas. I’m sure I’ve often worn a director down with trying new things every time and not being consistent, but maybe it’s because small changes in scenes manifest themselves outwardly to how I will say something or show something of simply, just am, onstage. But mainly the quote said to me “Don’t be afraid of going there onstage, you’re doing this for the audience, not for you”. Whatever I want to express but often balk at – is not about me, I’m just the vessel. I once attended a workshop where I wanted to explore the disgusting on stage and not be afraid of it. Most of my work deals with the aesthetics of taste, I can’t remember any significant role where I had to present myself as foul or anything like that. I just didn’t go there. Thank you Louise Bourgeois. We have permission now. It’s part of my job description.

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Thanks Jo Caird


Hello all
I was having one of those weeks where I’ve started re-evaluating my year so far and The Resolutions. Not just ‘Stop Playing Bejeweled Blitz’ but ‘Spend more time with Actual Friends, look after myself more’ and all that. (I’ve started going to the gym and loving the experience. I did get chatted up but I think my nervous chortle may have been mis-read as ‘I’m laughing in your face!’ I haven’t seen the chatter-upper since… so it’s fun so far).

Anyway I came to a minor realisation one day the other week. I finally got closer to something that I think I am. Not what I’m meant to be, not what I want to be, but what I actually am. I can’t explain to you what I exactly am. I’m a man, nearly 40, a brain haemorrhage survivor, an actor, Anglo Malay, an actor, painter, voiceover person, I make people laugh (I can’t help it).

But something else. These things started to feel comfortable, which, for the first time, I started to like what I saw. I like what I feel.

Up to now, all my choices focus on what I didn’t have, what I wanted to be, not on who I am and what I have got and that was starting to feel really wrong, really negative. I was walking through London thinking about where the next paycheque is coming from, how I’m going to find the money to pay for this course, or the shortfall in rent or some equipment to make my studio run more efficiently, when it hit me: how do my friends and peers see me? They see me as somewhat successful, somewhat assured in my talents and fearless in my skills. I don’t wait around for things to happen, I try and make things happen, I try. If they don’t happen, I just keep doing them. It’s what I do.

But, as I said,  it was one of those weeks when I wasn’t hitting the auditions rate, and after the self-esteem kickaround that was November, things could only get better, I said to myself. One of those really vacuum weeks where nothing I did felt right. Has anyone ever had those weeks? I certainly get those. My friends certainly had mentioned that I haven’t been my usual sparky self. (3 different friends on separate occasions. Worrying). One day on twitter I noticed that my follower rate was up, but theatre people. Nothing unusual about that but there weren’t any hot girls promising empty hot love if I spanked them. These were theatre people. I wondered what I’d just tweeted. Throughout the day a lot more actors and theatre folk started following me. Maybe it was the DM from Stephen Fry. I couldn’t work it out. In the afternoon, my actor friend Gabby Wong mentioned that I was on the WhatsOnStage Blog as Jo Caird’s 100 Theatre People To Follow on Twitter right after James Quaife and James Seabright. Read it. It’s an amazing list. I’m listed there as “@jamiezoob – tweeting about the trials and tribulations of being an actor.”

I thought ‘I’d better start taking myself more seriously and start tweeting about acting and theatre…’ To be honest, I don’t unless something really moves me. Sometimes I tweet minor revelations of process or acting. I tweet a lot about nonsense and inanities which seem to make people’s day pass lighter. But really, it made my day. It made my week, it turns out. In reality  it’s a bloggers opinion list, in an online magazine which does get a wide readership. People have been following me all week since (and none of them have left, I must be doing something right). But really, it’s a list, it’s someone’s opinion and it’s published online read by other tweeters. I don’t really care. It was exactly the lift that I needed. Bizarrely, the vacuum imploded. I got a message from a mutual friend of ours saying that Jo was amazed that people are overjoyed for being on the list, but really, Jo, thank you. This may be the blogosphere eating itself and being self congratulatory but, more importantly, it made me feel like there was a stamp of validation on something that I rather like – just  being me.

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[poem] Refraction (After Tracey Rowledge’s “Surface”


Refraction
(thank you Tracey Rowledge and Jerwood Space)

Staring at the refraction of myself
Deciphering its message,
All the shimmering blackness
Shines! Headfirst into its
Murk, tumbling in space,
Floating tarpits
Surround. I search
For clarity. I am
Drowning in your scratches.
I find your hand,
Hold you for a second
Then let you go, seeing
If we will fall or fly.
Seeing if your face
Will be there
As I break surface
Coming up for air.

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[acting] where am I going?


I’m on my way to an audition for a commercial. Nothing life changing, financially, just something that’ll make life a tiny but easier and it’ll be good for the showreel. Financially it’ll be like making a month’s salary in a day, after taxes, so that’s got to be something. This sounds like I’m complaining but I’m not. I guess I haven’t even got it yet but I’ve already divvied out the money between the little pots that require feeding whenever there’s plenty. At least I’m getting auditions – I know plenty of acting folk who haven’t heard from their agent in years. And I’ve heard of buyouts that are in their hundreds not the couple of thousand that this is promising. I’ll be using a technique that Denise Freeman told me about getting what you want. Let’s see if this works.

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