Interview: From Purpose to Impact

‘Never setting any boundary before her art...Amirah aligns purpose and impact in a greatly versatile way. Her calls for unity and peace come with perfect timing...”

Thank you for the thoughtful write-up and the opportunity to discuss my music. You captured the deep passion and purpose that inspires my artistic journey.

#3rdCulture #EastMeetsWest #Unity

Protocol to Manage Stress and Loneliness

This is the protocol I use to manage my stress and loneliness as an autistic person.

First step is to unplug. The constant noise, messages, and digital stuff just drains me. So I make sure to create quiet, peaceful spaces for myself. I'll meditate, take a silent bath, or go hiking with just a notebook - no phone or music. I let myself fully process my thoughts and feelings without any filters.

Then I ask myself two important questions:

1. Why do I feel this way? What is the root cause of the stress or loneliness I'm experiencing? I dig deep to understand the core issue.

2. How can I fix this? What specific actions can I take to address the problem and find a solution?

I write everything down - the problems and the potential solutions. Seeing it all laid out helps me think more clearly.

Next, I take action on those solutions. I put my plan into motion, step-by-step. But I don't just do it once and stop. I constantly re-check if it's working. If not, I'll adjust my approach and try again until I get the result I want.

This routine is how I manage the sensory overload and social fatigue that really overwhelms me as an autistic person. It gives me control and helps me find the calm I need, even when everything feels chaotic.

#EastMeetsWest #Minimalist #3rdCulture

The First Piece of Clothing I Designed

This minimalist white modern kurta top was one of the very first pieces of clothing that I designed.

I was looking for something very specific - something functional, easy to match (I don't like spending a lot of time figuring out what to wear), comfortable, doesn't wrinkle easily, can be worn casual or formal, and represents my cultural identity and roots. But I couldn't find it in the stores.

So I decided to design it myself.

Here I am wearing my white minimalist modern kurta top. I paired it with a pair of black vegan leather jeans and white loafers. Yes, I'm a loafers girl forever!

This kurta top is exactly what I was looking for. It checks all the boxes. Functional, easy to style, comfortable, and it connects me to my cultural heritage. I'm so glad I took the time to design this piece myself instead of just settling for what was available.

Sometimes you just can't find what you need, so you have to create it yourself. I'm proud of this minimalist kurta design. It's become a wardrobe staple for me.

My First Podcast Interview!

I had such a great time speaking to TL Mazumdar and being a guest on his podcast. It was a wonderful opportunity to share my artistic vision and passion for using music to bridge cultural divides.

#3rdCulture, #EastMeetsWest #Unity

An Interview: A Message of Unity Through Music

If there was ever a time in our modern history when we need unity, it is now. In our politically, culturally, and physically divided world, it can be easy to retreat to our tribes, and often for good reason. But there is also plenty of space for messages about unity to remind us of the common good among us as human beings.

Malaysian musician Amirah is an artist who believes in the message of unity wholeheartedly and is using her talents to spread that message wherever she can. The award-winning singer/songwriter grew up in Malaysia and blends traditional Eastern sounds with more modern Western pop music, showing unity through the medium of music.

Both of her latest singles 'You Are My Land' and 'Tell Me' are cinematic in scope with luscious live strings and modern pop drums. Originally composed in Malay, her music explores faith, freedom, and the endless search for meaning for who we truly are as a people. Amirah's lyrics speak specifically to women of color who fight for their dreams, as she confidently creates her inspired music and stays loyal to her heritage.

We spoke with Amirah to go deeper into some of these themes and learn more about her music, her background, and her message.

Tell us about your journey into music – where did it all start for you?

I was a very introverted child growing up. I gravitated toward my grandfather's old piano, which he had bought for my mother when she expressed interest in learning to play. Eventually, my mother enrolled me in piano lessons, which I am eternally grateful for. I started composing small piano pieces as a child, and later picked up the cello, an instrument I have grown to deeply adore. Over time, I became a songwriter, composing songs for other artists and various projects.

One day, a song I had composed and sung myself, a piece calling for unity, caught the attention of the national news in Malaysia. Due to this unexpected turn of events, I was encouraged to start singing and performing my own original songs.

Growing up in an Indian and Malaysian family you have been influenced by cross-cultural influences. Can you tell us how that defined your sound and you as an artist?

I am very proud of my biracial heritage. Growing up in the melting pot of cultures that is Malaysia definitely shaped my sound and who I am as an artist. I was exposed to both Malay and Indian cultures at home, and I learned to deeply appreciate, understand and love them both. The music, language, dance, and fusion of foods in Malaysia are absolutely extraordinary. There is nowhere else I have seen where a person can experience such incredible diversity and blending of traditions in a single nation.

However, this richness of cultural influences also raised many questions for me regarding my own identity. How could I embrace both my modern sensibilities and my deep cultural roots? Why did I have to choose between them? This sparked my journey of experimenting and fusing traditional Eastern instruments into my cinematic pop music. It was a way for me to authentically express the full breadth of my artistic and personal identity.

You are also an activist who wants to give greater representation for women of color especially. What are some of the causes you are passionate about?

I am a feminist, and have been since I was a child, almost by default. I have always questioned everything. Being unfairly treated due to my gender damaged my self-esteem for a very long time. I remember telling a relative that I wanted to be a doctor, only to be told that if I did, I would be too old to get married and no man would want me. Some of my school teachers even told me I was too dark-skinned, which they equated with being ugly, and they asked me to stay away from the sun. I was also taught to be ashamed of my body as a woman. It was a very lonely experience, not having anyone to discuss these topics with, and never meeting anyone who shared a similar mindset as a child and teenager.

However, I have now grown to deeply love my beautiful skin color and my body. I look up to Zainah Anwar, a Malaysian female activist, whose articles I loved reading as a teenager. They gave me a glimpse of hope that there were other people out there who thought like me.

Tell us about your latest singles “You Are My Land” and “Tell Me”. What are the messages behind them? 

I was literally in tears when I composed "You Are My Land" on the piano. The song is an expression of my deep love for my country, Malaysia, and the pain I feel in watching it be torn apart by power, greed and corruption. I also thought about people from other countries who have had to flee their homelands due to war. With the worldwide pandemic and so many people being uprooted and displaced, I feel that the message of this song will resonate strongly. I have been very touched by the positive, heartfelt responses and comments I've received from people all around the world.

"Tell Me" is the English version of my song "Katakanlah", which poses the question of who we truly are. Are we defined by our name? Our face? With the urgent call for racial equality and unity, I believe it is critical for people to start asking these important questions. Why do we hurt others simply because of the color of their skin or their religious beliefs? When we hurt others, we only end up harming ourselves, and humanity and the planet pay a devastating price. During times of pain and division, it's important for us to realize that we are not alone. Sometimes, that realization alone can be the start of the healing process, allowing us to unite and work towards a better future.

How do you balance wanting to stay true to your heritage with the often narrow confines of the music industry and what is considered “pop music”? 

Balancing my desire to stay true to my heritage with the often narrow confines of the music industry has been an ongoing challenge, and one I grapple with in many ways. There was a time when I couldn't even listen to the radio for several years because of this conflict.

However, the rise of the internet has been a game-changer. More and more artists are now able to express our true creative visions musically without being pigeonholed into specific genres. Genre boundaries are becoming increasingly blurred, and alternative sounds are gaining greater acceptance.

The world is our audience now, not just a particular geographic location. I work incredibly hard to stay faithful to my own artistic vision and not let genre classifications dictate how my music should sound.

I understand the practical need for genres when it comes to music distribution and discovery. But those categories should not be allowed to influence the artistic creation process itself. I ask myself every day to ensure I am always serving the music first, and never shortchanging my creative vision.

Your lyrics explore faith, freedom, and the need to find meaning. Can you share more about this, and why it has become an important part of your music?

I've always had a curious mind since I was a child. I questioned everything, because freedom is extremely important to me. Personally, I've turned to songwriting as a means of expression during my loneliest, most isolated, and painful times - the times when I felt misunderstood and didn't belong. It is through the act of songwriting that I am able to express my pain, my struggles, and my deepest truths. Sometimes I feel that music is the only thing that truly understands me.

Who are some of your musical heroes, and why? 

Some of my musical heroes include Jacqueline du Pré, Ryuichi Sakamoto, Anoushka Shankar, Yo-Yo Ma, and Tan Sri P. Ramlee. Each of them has endured immense personal challenges in their lives, some of them extremely tragic.

Ryuichi Sakamoto, in particular, is one of my favorite composers. I greatly admire how he endured and defeated throat cancer, never giving up on his "personal legend" and always striving for greatness.

I also have a deep admiration for cellist Yo-Yo Ma, for creating The Silk Road Ensemble as a means of spreading a message of unity through music. And I'm in awe of Anoushka Shankar's courageous collaborations and her work in breaking down barriers as a female sitarist.

None of these artists gave up on their dreams, even in the face of adversity. They have all inspired me with their resilience and dedication to their craft.

We live in such a divided country, and world. How do you hope to unite people with your music? 

I always remember what my cello teacher said - that music has the power to profoundly alter people's emotions. As musicians, we must remember that we hold a great responsibility when wielding that power. Do we want to create music that promotes harm and conflict? Or do we want to craft music that helps people feel connected and heal?

Music is incredibly powerful because it has the ability to transcend boundaries. There is at least one situation where you can find people with opposing beliefs come together in celebration - at a music concert. During a performance, people seem to forget their cultural and political identities, uniting instead in the magic and spirit of the music. Even if it's only for a night, that shared experience is so meaningful.

Through my music, I hope to pose important questions in people's minds. I want to help them realize that, at our core, we are all the same - we all want the same fundamental things in life. My goal is to use the unifying force of music to bridge divides and bring people together.

What can listeners look forward to next from you?

I am working on releasing a few more songs and completing my full album project. I plan to share a lot of behind-the-scenes content and updates with my audience as that creative process unfolds.

Alongside my music, I have also been designing my own East meets West clothing line, which I'm excited to be releasing soon. Additionally, I'm in the process of creating a miniseries of East meets West-themed YouTube videos that I hope will resonate with my fans.

People can check out my latest creative projects and releases on my website. I'm really looking forward to continuing to share my artistic vision and message of unity through this diverse array of mediums - music, fashion, and video content.

My goal is to use every platform available to me to bridge cultural divides and bring people together.

#3rdCulture #EastMeetsWest #Unity

An Interview: Bridging Differences Through Songs

“Unity and equality shape my music as these values affect me greatly,” says singer of Malay-Indian parentage.

UNITY is a value close to singer-songwriter Amirah’s heart. It is even reflected in her music.

For this lass of Malay-Indian parentage, assimilation of different races comes naturally.

“As a child, I would hear my father play Hindi songs while my mother played her keroncong music,” she told The Sun in a recent email interview from Los Angeles where she is based.

Her first release, You Are My Land, tells of the pain she feels as Malaysia goes through political challenges. This was followed by Tell Me that questions Malaysians’ identity.

“Values such as unity and equality shape my music because these issues affect me greatly.

“Unity is the driving force in my life and it breaks my heart when I see people hurt or fight each other. Unfortunately, racial polarisation has reared its ugly head,” Amirah said.

“When we focus on our differences, we are divided,” she added.

“However, when we focus on our shared humanity, we see that we are all the same.”

To push her message of unity across, Amirah blends traditional Malaysian sounds with Western pop music.

Amirah began composing music on the piano at the tender age of 11. Her introduction to the gamelan during her teens set her on a path to fuse traditional Asian culture with Western modernity.

Gamelan is a traditional musical form that has its roots in the Malay archipelago.

“It is sad that this beautiful music has been forgotten by the young. It will be a great loss if we do not incorporate it into our culture,” she said.

Her sentiment for her culture and tradition, combined with personal identity issues she faced in the past, led her to embrace her roots.

“When I started writing songs, the big names in the local music scene then were Datuk Seri Siti Nurhaliza, Nadeera, Atilia Haron and Alif Satar,” she said.

Amirah attended the annual American Society of Composers, Authors and Publishers conference that eventually led to an introduction to producer Jeff Bova.

“It was like the doors had finally opened for me. Jeff understood my musical concept instantly.

She moved to Los Angeles to record her first album.

The album was scheduled to be released late last year but it was delayed due to the rapid spread of Covid-19 in the United States.

But for Amirah, the delay was a blessing.

Being autistic, she has trouble functioning with background noises and large crowds.

“With the lockdown to curb the pandemic, there is less noise in my surroundings and there are no crowded places,” she said.

Amirah has come a long way. Just recently, the singer-songwriter reached the semi-finals in the International Songwriting Competition and is a finalist in the John Lennon Songwriting Contest.

She said those who would like to help her release songs that inspire people to unite, could sign up as a member of the Amirah’s Aliens.

#3rdCulture #EastMeetsWest #Unity

Honored to Have My Music Recognized on the Global Stage

I wanted to share with you an exciting and humbling update: my song "Tell Me" was awarded Finalist in The John Lennon Songwriting Contest and "You Are My Land" was awarded Semi-Finalist in the International Songwriting Competition.

"Tell Me" made it to the top 4 in the Inspirational category. The John Lennon Songwriting Contest is a prestigious international annual contest created by Yoko Ono Lennon, and the ISC featured judges such as Dua Lipa, Coldplay, and Tom Waits, so I feel incredibly honored and blessed.

To celebrate this achievement, I treated myself to a delicious Nasi Bungkus - a traditional Malaysian rice dish. It was the perfect way to mark this special occasion.

I'm deeply grateful to everyone who has supported my music and encouraged me to keep composing and singing.

A heartfelt thank you to my amazing producer Jeff Bova, the legendary tabla player Satnam Ramgotra, as well as Dave Eggar, Amy Powers and Satoshi Naguchi. Your contributions have been invaluable.

These accolades serve as a powerful reminder of the importance of preserving and celebrating our beautiful, hypnotic traditional instruments like the tabla, tanpura and gamelan. I'll always do my part to keep these cultural treasures alive through my music.

This recognition is a true honor, and it inspires me to continue using my art as a bridge between cultures, fostering greater understanding and unity.

For those of you that have been following and supporting me from the beginning, you know how important the the message of unity is and always will be to me.

To my Aliens, I am forever grateful for your encouragement. You put the wind in my sails. I have taken these humble steps forward in my musical career because of you.

#3rdCulture #EastMeetsWest #Unity

Say Hello to My Chromatic Saron

Growing up in Malaysia, I was drawn to the gamelan. The gamelan is my favorite traditional instrument. I love the mesmerizing and hypnotic sound. 

Now that music is my career, I've been on a mission to incorporate the gamelan into my songs, allowing others to experience its beauty.

It was a dream come true when I had a custom chromatic gamelan saron built for me some time ago. This was truly a labor of love, as the process was long and challenging. Finding the right builder, navigating communication barriers due to their remote location, and then shipping the heavy instrument all the way from Indonesia to Malaysia proved to be no easy feat.

Before I received my gamelan saron, I had to rely on recorded samples rather than live instruments, which made it difficult to seamlessly blend the gamelan's unique tunings and modes with my Western-influenced pop music. I've been called crazy many times! But I was determined to find a solution, as fusing traditional and contemporary sounds was central to my artistic vision.

When the custom-built saron finally arrived at my home in Kuala Lumpur, the journey was far from over. I then had to carefully transport this precious instrument halfway across the world, from Malaysia to Los Angeles. It was an East-meets-West odyssey, but one that was well worth the effort.

My musical dreams were finally coming to fruition as I was able to play, record, and incorporate my chromatic gamelan saron into my song "You Are My Land." It was a surreal experience, and I had to keep reminding myself that this was real. Despite the many challenges and naysayers along the way, I persevered, driven by my unwavering passion for this instrument and my vision of blending cultures through music.

I hope that by sharing the story of my gamelan saron, I can inspire others to embrace their unique artistic passions, no matter how unconventional they may seem. As Steve Jobs once said, "The ones who are crazy enough to think they can change the world are the ones who do." I may have been called "crazy" at times, but I'm proud to be a misfit, a rebel, and a changemaker in the world of music.

I invite you to listen to the captivating tones of my gamelan saron in "You Are My Land" and fall in love with this beautiful instrument, just as I have. I can't wait to share more of this East-meets-West fusion with you in my upcoming tracks.

"Here's to the crazy ones, the misfits, the rebels, the troublemakers, the round pegs in the square holes… The ones who see things differently – they're not fond of rules. You can quote them, disagree with them, glorify or vilify them, but the one thing you can't do is ignore them because they change things… Because the ones who are crazy enough to think they can change the world are the ones who do. Think different." - Steve Jobs.

#EastMeetsWest

The Amirah Logo: A Backstory

I'm excited to share the story behind the design of my logo today. It's a tale that's deeply rooted in my fascination with Indonesian culture and the rich symbolism of the 'Kayon' - a captivating element found in the traditional shadow puppet art form known as 'Wayang Kulit'.

As many of you know, I've long been enamored with the mesmerizing sound of the Gamelan, the traditional ensemble music from Indonesia, and its influence can be heard throughout my work. But it was the 'Kayon' that truly captured my imagination from the very first moment I laid eyes on it.

The 'Kayon's' resemblance to the letter 'A' (my first initial) immediately piqued my interest, and the intricate details of its design, as well as the profound stories it represents, felt incredibly resonant with me. In fact, another name for the 'Kayon' is the 'Gunungan', which translates to 'The Tree of Life' - a concept that deeply resonates with my own love for nature and the interconnectedness of all things.

As I delved deeper into the significance of the 'Kayon' in Indonesian puppet art, I was struck by the way it symbolizes the cyclical nature of life. Used at the beginning and end of performances, the 'Kayon' reflects the belief that all of life, including its beginnings and endings, is part of an eternal, interconnected cycle. This idea of duality and the blending of opposites - the ancient and the futuristic, the Eastern and the Western - perfectly encapsulates the artistic vision I've always had for my music.

With this inspiration in hand, I began researching 'Kayon' designs, saving the ones that resonated with me and experimenting with sketches on paper. As a visual and kinesthetic person, I wanted to explore the design from multiple angles, fine-tuning the details until I had a shortlist of my favorites.

The next step was to bring my ideas to a few graphic designers, but I quickly found that translating an artist's vision into a cohesive logo design is no easy feat. Some of the initial designs were too cute, too feminine, or too corporate - missing the delicate balance of tradition and modernity that I was seeking.

At one point, I even considered giving up, until someone suggested I try 99designs, a platform that facilitates design contests. Though I was initially hesitant about the competitive approach, it ended up being the solution I needed. After a month of constant digital correspondence and sensory overload, I finally landed on the perfect logo design.

The journey was not without its challenges (and major sensory overload!), but the end result is a logo that I'm truly proud of - one that beautifully captures the essence of my artistic identity and the cultural duality that has always been a part of my creative expression.

I hope you've enjoyed this behind-the-scenes look at the story of my logo. It's a tale that speaks to the power of cultural exchange, the importance of perseverance, and the magic that can happen when we're willing to step outside our comfort zones and embrace the unfamiliar.

Below are some of the images I went through before settling on the final one:

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#3rdCulture #EastMeetsWest #Minimalist

An Interview: Embracing Authenticity and Unity

Hi Amirah.  Thank you for taking time out of your busy day to interview with me.  Please tell us about yourself? 

Hi Sylvia. My name is Amirah, and I'm a singer-songwriter originally from Malaysia, currently based in Los Angeles. I'm passionate about fusing traditional instruments and Eastern influences into my modern, cinematic sound. At the heart of my music and creative vision is a deep desire to promote unity and bring people together through my art.

Hmmm, how interesting. I took a few minutes to listen to one of your songs, “You Are My Land’ and the tempo and words were just beautiful. You are very talented.  What does success mean to you?

For me, success means being true to myself and fulfilling my calling to unite people through music. It's not about external measures, but about having the freedom to express my authentic self and make a positive impact.

How do you create work-life balance?

I tend to hyperfocus when I'm working, so, for example, whenever I notice the sun setting, it's a good cue for me to stop working for the day. The beautiful colors in the sky during the golden hour helps drag me away from work and go for a walk or hike. I've found that unplugging from digital devices on the weekends and immersing myself in nature, like going for hikes, is essential for me. My morning routine of meditation, journaling, affirmations, and exercise is also very important.

I like that. I think it’s important to disconnect and unwind. I like to sit and be quiet often. It helps to clear my mind. In what way do you give back to your community?

I'm passionate about inspiring unity through my music and voice. I'm also an Autism advocate, and I lead a bi-monthly Asperger's support group online, sharing my own experiences and challenges as an autistic, female singer-songwriter.

What steps do you think are necessary for an entrepreneur who wants to move her business/success to the next level? 

Having a clear vision and a strong 'why' is crucial. It's also important to honestly assess your strengths and weaknesses to avoid burnout and stay focused on what matters most.

I agree. Knowing your why is extremely important. It keeps you focused on what matters. What challenges and opportunities do you see in the present economic environment?

Honestly, this has been one of the best times for me as an independent singer-songwriter. People are so much more open to working remotely. A huge benefit of this is that I don't have to live in the city, which is a life-saver for me, especially since I am an introvert. This suits me perfectly and I am enjoying it!

What books and resources would you recommend to other women in business?

“Lean In”by Sheryl Sandberg, “The Seven Day Weekend” by Ricardo Semler, and “The Effective Executive” by Peter F. Drucker.”

 How do you stay connected in mind, body, and spirit?

My daily meditation routine is essential. Spending time alone and in silence is a necessity for me. If I don't allow myself this time, I cannot think clearly and my senses become overstimulated.

What is your favorite quote to live by?

“When love appears, religion disappears.” – Osho

 What is your power word? Why this word?

Unity. It is the reason I am here on this planet, and it guides everything I do. I believe that bringing people together through my music is my true calling.

What is the most important lesson you learned after entering the music industry? 

Be true to yourself. Don't try to imitate others. Find a skilled and experienced vocal coach who can help you develop your unique voice without damaging it. Persevere, because the journey is worth it.

What advice would you give to beginning singers?  

Be true to yourself. Don't try to imitate others. Find a skilled vocal coach who can help you develop your unique voice without damaging it. Persevere, because the journey is worth it.

This has been awesome, so glad to meet you. 

Likewise. Thanks again, Sylvia.

#3rdCulture #EastMeetsWest #Unity

Honoring the Legacy of Maria Bodmann: America's First Female Dalang

As a lifelong admirer of the traditional art form of wayang kulit (shadow puppetry), I was thrilled to discover that America's first female dalang, Maria Bodmann, would be teaching a free workshop series in Los Angeles. Growing up in Kuala Lumpur, I had never had the chance to witness this captivating Balinese tradition performed live, so this was an opportunity I couldn't pass up.

Maria's journey to becoming a dalang is truly remarkable. An alum of the prestigious CalArts program, she spent years immersed in Bali, studying traditional gamelan music and eventually, the intricate craft of shadow puppetry. Recognizing the power of this ancient Asian art form to transcend cultural boundaries, Maria founded Bali & Beyond, a mission-driven organization dedicated to sharing Balinese culture with Western audiences.

What fascinated me most about Maria was not only her passion and dedication, but the fact that she had broken through the traditionally male-dominated role of the dalang. In a culture where this revered position has long been the domain of men, Maria's journey as a white, female American dalang was truly groundbreaking.

During the workshop, I was eager to see how Maria would blend modern Western elements with the centuries-old traditions of wayang kulit. Her ability to make this art form accessible and relatable to American audiences, while still honoring its cultural roots, was a testament to her creative vision and pedagogical skills.

In a way, my own path to discovering gamelan and wayang kulit has mirrored Maria's. Despite growing up in Malaysia, it was not until I studied in Illinois that I first got a chance to learn to play the gamelan. And now, here in the United States, I've had the opportunity to learn about the intricate world of shadow puppetry from a true master of the craft.

Perhaps the universe does indeed have a way of guiding us to the things we're meant to discover, even if the journey takes us far from home. Maria's life and work stand as a shining example of how cultural exchange and artistic exploration can transcend borders and transform lives.

Maria passed away in 2019, leaving an indelible mark on the communities she served. But her legacy as America's first female dalang lives on, inspiring others to embrace the power of traditional art forms to build bridges and foster greater understanding between cultures. I feel honored to have crossed paths with this remarkable woman, and I know her spirit will continue to resonate with all who were touched by her boundless creativity and unwavering commitment.

#3rdCulture #EastMeetsWest

Honoring the Past, Embracing the Future: The Pysanka Festival's Role in Cultivating Ukrainian-American Identity

Every Easter, the Ukrainian Culture Center in LA put on the Pysanka Festival. I’m always eager to learn about other peoples and cultures. I know very little about Ukraine, so I was excited to attend this Easter event. 

We decided to go to the Ukrainian Art Center before the event at the Culture Center. The lovely Daria Chaikovsky founded the Art Center, which is home to many Ukrainian artifacts, traditional décor, Christmas decorations, jewelry and paintings. Daria told me that after the Cold War had ended, it was much easier to bring items from Ukraine to the U.S.

I was exploring the art center when I looked through a small window where I could see a dance room. Onstage were dancers performing their routine. The stage was amazing. There was a large, beautifully designed golden arch that shimmered in the room’s light. Something about watching the performance through the small window felt like I was transported back in time. I’m glad I took a detour to the arts center.

We headed downstairs to the Pysanka Festival. A pysanka is a Ukrainian Easter egg that’s decorated with traditional Ukrainian folk designs. The designs are not painted but inscribed with beeswax using the wax-resist method. In Ukraine, each region, village, and family have their own ritual, with its unique symbols, meanings, and special formulas for dyeing eggs. These special techniques are passed down from mother-to-daughter over generations.

The Ukrainian Easter eggs at the festival were absolutely beautiful. I'd never seen Easter eggs like this before. These eggs were very elaborate. The colors were vibrant, and the tiny, repeating designs and motifs were incredibly detailed. It shows in their work that many hours go into creating pysanka.

There were workshops for both adults and children interested in making their own pysanka. I wanted to learn more about what goes into making these eggs, so I attended the workshop. I learned from experience how difficult it really is to create an impressive pysanka. I also loved watching how dedicated the other students were, especially the children. It was heartwarming to see mothers take pride in her child(ren) learning about their heritage.

I saw men and women wearing vibrant, embroidered shirts and blouses. These traditional Ukrainian shirts are called vyshyvanka. I came to find out that embroidery is an ancient and symbolic tradition in Ukraine. These garments are worn in traditional Ukrainian weddings and other celebrations. Each region has a unique style. Everything from the colors used to the type of stitching is unique to the region it originates from. Embroidery is thought of as a woman’s task and it’s an important art to many Ukrainian women. 

Quite a few of the men and women I spoke to told me that their mothers or grandmothers made their vyshyvanka and that you shouldn’t expect to find them in stores. But they made an exception for the festival where you could purchase a vyshyvanka. 

There was also a booth where you could buy handmade gerdan, which are traditional beaded necklaces that reminded of Sarawakian necklaces. There were other booths with small, wooden replicas of ancient and medieval weapons for sale.

At one of the booths, I had a conversation with a Polish woman who was there to help her friend manage the booth. She talked about how the Polish and Ukrainian communities are quite close and have, historically, helped each other. “The borders all get blurred,” as she put it. I felt great learning about these women who celebrated unity across cultures.

For entertainment, there was a poetry reading, concerts, and dance performances. The musicians wore a mix of traditional Ukrainian and modern clothing. Some children performed traditional Ukrainian dances. Then, there was a singer who I thought looked a lot like Frida and was very expressive.

As for food, I did get to try some traditional Ukrainian cuisine. I ate some varenyky (fried dumpling) filled with mashed potato and they were quite good. 

Finally, I had the pleasure of speaking with Paul Budilo, the president of the Holodomor Committee, and Barbara, his very kind wife who’s got extensive experience in pysanka. Paul told me about the significance of the Easter festival and about the importance of holding onto their Ukrainian heritage in the U.S. 

As someone new to Ukrainian culture, the Pysanka Festival was a perfect introduction (and a really fun way to celebrate Easter). Learning about the incredible pysanka tradition alone made the trip worthwhile. I hope to learn more about Ukraine and its history and culture in the future.

#3rdCulture #EastMeetsWest

From Ikebana to Taiko Drums: A Sensory Immersion into the Rich Tapestry of Japanese American Culture

LA’s historic Little Tokyo hosts the Nisei Festival every August. This year was my first time attending. At the festival, there’s a pageant/parade, Japanese art and culture exhibits, food vendors, and music performances (including the famous taiko drum line). 

Little Tokyo is a Japanese American district and a cultural hub in downtown LA. There are two Zen gardens, lots of public artworks, the Japanese American National Museum, and many restaurants and historic shops. But what most interests me about Little Tokyo is the mix of modern and traditional architecture.

Modern buildings are adorned with Japanese style roof tiles, and small buildings were transformed into quaint boutiques. I loved the bright red paper lanterns that lined the streets. People wore hybridized clothing styles. I saw people in everything from urban streetwear to traditional silk kimono and yukata. What was especially gratifying to see was the range of people wearing the kimono and yukata. They weren’t exclusively Japanese, but also Asian, white, and Hispanic. The overall effect left me feeling like I wasn’t in America or Japan, but in a dazzling multicultural city set sometime in the future.  

Our first stop at the festival was the Japanese American Cultural & Community Center. Inside were kiosks selling Japanese products from brands such as Eat Sleep Work and Uprising, food stalls, and musical performances. Most of the groups played contemporary Rock music. Some of the younger performers were high school students. There was also a charming Japanese-style beer garden decorated with stools, traditional Japanese curtains, and paper lanterns.

I checked out the Ikebana Teachers Association’s exhibition where the groups showed off their collection of stunning flower arrangements (ikebana). The arrangements really fit my style. They were very detailed yet minimalist, and they looked like miniature Zen gardens. It must take an incredible amount of time and care to maintain these arrangements.

Our next stop was a Japanese tea ceremony, which was the highlight of the festival.

The teahouse was a small, wooden hut that was built for the ceremony. The host, a Japanese American woman wearing a kimono, told us about the ancient tea ceremony. Following a strict protocol, the tea ceremony is considered classical Japanese art. Preparation for each stage of the ceremony takes hours to set up and follows a strict rules. There is intention in even the smallest details. The planners carefully select everything from utensils to the flower arrangements. Still, the décor is minimalist.

The host explained that there are usually two guests: a primary and a secondary guest. Before entering, guests must wash their hands as a gesture of respect. The ceremony starts with the cleaning of the utensils. After inspecting the utensils, the host must ensure they’re properly set. Then the tea is prepared. The tea and water are carefully mixed together with a whisk in a bowl. When it’s ready, the host presents the bowl of prepared tea to the main guest. The guests admired the bowl before drinking the tea. Afterward, the main guest wiped the rim of the bowl and offered it to the secondary guest.

Everyone was quiet and respectful throughout. It seems that the point of emphasizing these small, seemingly insignificant rituals was to invoke a calm, meditative state. The slowness of everything forces us to stay in the moment and develop patience. After the two guests took their sips, the rest of us were finally free to enjoy our tea.

After everyone had finished their tea, the host cleaned the bowl and utensils. The guests must then show respect for the hosts by inspecting the utensils. Afterward, the guests are to admire anything else the host has on display, such as a flower arrangement or a scroll. Guests then bow their heads to the hosts one last time before leaving. With that final gesture, the ceremony’s complete. It was such a treat for me to learn about this beautiful, ancient tradition.

After the tea ceremony, I walked through the James Irvine Japanese Garden. The garden is small but charming with a pretty bridge. I saw quite a few people dressed in kimono enjoying themselves in the Zen garden.

From there, we caught the Kimekomi doll exhibition. These lovely traditional dolls are handmade with painted porcelain heads and dressed in gorgeous kimono made of silk crepes, twills, brocades, and other luxurious fabrics. For anyone interested in learning more about Kimekomi dolls, there are classes for it in Gardena and Monterey Park.

Before leaving Little Tokyo, we took a walk through the restaurant row. In addition to all the Japanese restaurants, street vendors were selling all kinds of Japanese items, such as chopsticks and bonsai. We didn’t stay too long because it was very crowded and I don’t do well with crowds, but I plan to return someday soon to try some of the food.

We ended the day at the Obon Festival at the Gardena Buddhist Church. The annual festival is celebrated to commemorate deceased ancestors. It’s believed that spirits return during this time to visit living relatives. Paper lanterns called chochin are lined up on strings to guide the spirits to their families who wait for them at the graves of their deceased loved ones.

I was thrilled to catch a performance of the Bon-Odori (a ritual dance). The dance’s performed on a raised platform called a yagura. On the yagura is a band with one vocalist and several instrumentalists who play traditional Japanese instruments.

Some music was pre-recorded but there were also a couple of lute players and a woman on a taiko drum. The dancers, who were from a variety of ethnic backgrounds, wore traditional Japanese clothing, and performed a synchronized dance while moving in a large circle. I was surprised to see that among the dancers were three men in Elvis wigs. The dance was a joy to watch.

Afterward, I toured the Jodo Shinshu Buddhist Temple. The large altar at the head of the temple was painted in shades of gold and was covered with ornaments. It felt like I was at a royal palace.

It was a wonderful day and I really loved attending the two festivals. But the Japanese tea ceremony at the Nisei festival was my favorite event.

If you’ve never been to either festival, I encourage you to attend at least one of them next year. Until then, there’s plenty to see and do in LA’s Little Tokyo.

#3rdCulture #EastMeetsWest

Discovering the Shared Roots of Persian and Indian Cultures at the Nowruz Celebrations

I was very excited to experience Iranian culture for the first time at a Nowruz (Iranian) New Year’s celebration. Since there is a large Iranian population in Southern California, there were two Nowruz festivals: one at UCLA and the other at UCI.

The Farhang Foundation, a secular, apolitical, nonprofit foundation that’s dedicated to celebrating Iranian art and culture, hosted both festivals. I admire how the Farhang Foundation’s mission is to promote Iranian culture without a political or religious agenda.

The first festival I attended was at UCLA. Although we got there rather late, there was still a lot to see and enjoy. It was a large outdoor event. They had a DJ, traditional Persian exhibitions, performances, activities for children, and food trucks.

There was also a Haft-sîn display, which is a collection of seven traditional symbols that start with the 15th character in the Persian alphabet. This was my first time seeing such a display. 

There was a brilliant performance by the Le Daf Ensemble, a group of eight women dressed in traditional Persian attire, each playing a daf (a large Middle Eastern frame drum). Seeing women with their instruments was a real treat for me because I usually only see men playing frame drums.

The ensemble played fantastic music and was very eye-catching. It’s a shame I only got to see the end of the performance. Although we didn’t get the chance to see the whole performance, there was a sold-out concert with Mojgan Shajarian—daughter of the legendary Mohammad-Reza Shajarian—headlining at Royce Hall.

There were many great exhibitions, including art displays (traditional Persian drawings and paintings), an exhibit of traditional Nowruz decorations, and Barbie dolls dressed in beautiful, traditional Persian clothing. I enjoyed the mix of Eastern and Western culture in the Barbie display.

As for the food, my favorite food truck there served delicious fusions of Asian, Mexican, and American food. They had sushi with a Mexican twist and wraps that were a combination of Mexican and Asian cuisines. And lucky for me, there were plenty of vegetarian and vegan options. 

Since we only caught the end of the Nowruz festival at UCLA, we decided to go to one at UCI to a couple of weeks later.

I was happy to learn that UCI is home to the Dr. Samuel M. Jordan Center for Persian Studies & Culture. The festival at UCI was smaller than the one at UCLA, but since we got there early, there was a lot more for us to see this time.  

At the festival entrance, there was a miniature paper-mache representation of the Freedom Sculpture. Located in Century City, the sculpture is stainless-steel and painted gold and silver. It was inspired by the Cyrus Cylinder, an ancient document with cuneiform inscribing that details Cyrus the Great’s deeds and honors. The Farhang Foundation commissioned Cecil Balmond, the architect whose work includes the ArcelorMittal Orbit and the Star of Caledonia, to create his rendition of the Cyrus Cylinder.

I love that the sculpture represents religious freedom, cultural diversity, and inclusiveness. These ideals are close to my heart and they motivate me as a musician.   

Later, I saw a lively performance by the Sibarg Ensemble. After the show, I talked to Mahtab, a member of the ensemble. She plays the santoor, which is a hammered dulcimer. Mahtab told me that she started out playing the xylophone, but at around fifteen or so, she switched to the santoor. I asked her why she switched, and she told me that not only were there already many others learning the xylophone, but she wanted to learn more about her Persian heritage, so she felt that she should learn a traditional Persian instrument instead. 

Mahtab, who lives in Texas, plays traditional and modern music. And like me, she loves to blend the two. She hopes to collaborate with musicians who play Western instruments. So far, she’s performed with a violinist and flutist, which has brought her great success.

As a singer-songwriter who is passionate about creating a hybrid of traditional and modern music styles, I was touched to hear that Mahtab is also passionate about this. I told her how much I appreciated her music and how happy I am that she’s bringing her incredible culture and music to modern audiences.

There was also a lovely Persian tea ceremony with a beautiful spread of tasty desserts. Two things I love are dessert and traditional foods, so this ceremony was perfect for me (and best of all, it was free). The two women hosting the ceremony were dressed in traditional Iranian clothing. I had an interesting chat with one of the ladies, who was happy to explain how each of the desserts were made.

One of the desserts I sampled was jalebi (also known as zulbia). It’s a popular dessert in much of Asia, especially in Iran and India. Jalebi is made by deep-frying maida (plain flour) in a pretzel or circular shape, and are then coated in sugar syrup. I found the Iranian version to be lighter and flakier than the Indian version, which I’m more familiar with. I also had the tea, of course, and it was so delicious that I had a second cup.

Walking around the festival was a group of women in beautiful traditional attire. I was instantly captivated by their elaborate, colorful dresses and stopped to talk to one of the women. Her name is Robyn Friend, and she is the director of the Institute of Persian Performing Arts and has a Ph.D. in Iranian Languages and Cultures from UCLA. Robyn told me that she made the traditional attire she was wearing with modern fabric but created the traditional patterns using ancient techniques. Robyn was as friendly as her name implies.

I asked Robyn about the significance of the gold coins on their headdresses and vests. She told me that the coins represent luck and prosperity and that women wore them to show their wealth and social capital. Even though the headdresses and vests can get quite heavy, wearing more coins means an elevated social status.  

I mentioned to Robyn that I had just tried a Persian dessert that was very similar to a dessert from India. She shared with me how both Persian and Indian cultures have many things in common, including foods that use similar spices and musical traditions. Also, both societies greatly value personal accomplishment, higher education, and financial success.

Attending not one, but two Nowruz festivals this year was a lot of fun and a great way to learn more about Iran and its people. I am grateful for the Farhang Foundation’s efforts to share Iran’s rich and ancient heritage so that Americans can experience a bit of Persian culture.

It’s my hope that other cultural organizations will follow the Farhang Foundation’s example so that we get the opportunity to learn about their traditions and heritage, too.

#3rdCulture #EastMeetsWest

A Sensory Journey Along the Silk Road: Discovering the Vibrant Sights, Sounds, and Flavors at The Silk Road Unity Festival

In late April, I attended The Silk Road Unity Festival hosted by Muckenthaler Cultural Center in Anaheim, CA. The festival’s name is a reference to the Silk Road.

The beautiful, traditional costumes and vibrant textiles were absolutely mesmerizing. I admired how the festival celebrated a large diversity of cultures, nations, arts, regional cuisines, and faiths along the ancient trade route. However, it was also created to educate people about the various cultures spanning from Turkey to China. 

I also came across several interesting books such as “Muslims Around the World” that tell the diverse stories of Muslims through photographs. “Lost Heritage” by Armadeep Singh (Singapore) is about the lost Sikh heritage and “Vegan Richa’s Indian Kitchen” by Richa Hingle. As a vegan myself, it’s hard to find vegan Indian cookbooks so I was really happy to find this.

Even though I don’t know that much about Syrian culture, I was moved by an exhibit titled “A Country Called Syria,” which showcased the history and culture of the country and its people through photos, decorative items, fabrics, architectural books, miniatures of traditional instruments and much more.

As the war in Syria continues, more of the country’s cultural artifacts are destroyed, making an exhibit like this invaluable. I commend those who organized this important project for doing what they can to preserve their rich and beautiful heritage. It’s an inspiring goal, and they deserve much praise for what they’re doing.

I also enjoyed the exhibit by the Pakistani Art Center, which displayed gorgeous traditional fabrics, masterfully made dowry bags, and colorful dupattas. A dupatta is an essential part of Southeast Asian women’s clothing. As for the dowry bags, a woman named Henna explained their significance to me.

As soon as a baby girl is born, her mother makes a dowry bag and sets out to fill it with beautiful, handmade clothing, which she later gives to her daughter when she marries. A dowry bag is a mother’s way of showing how much she loves her daughter, who usually moves away with her husband, which is, for many women, the last time they’ll see their mothers again. 

The Silk Road Interfaith Unity Panel was on the top of my list of events that day. Many of the panelists were women of a variety of faiths including Judaism, Hinduism, Islam, Zoroastrianism and Christianity. The panelists spoke about the importance of tolerance and diversity in religion, and they were quick to praise each other’s faiths and point out each religion’s unique contribution to the world. It was very inspiring to hear representatives from such different backgrounds show their respect for each other’s beliefs and customs.

Later, Mohammed, a talented Persian calligrapher, wrote my name in Farsi. I also enjoyed some excellent music and dance performances. Some of the dances were the Chinese dragon dance (one of my favorite traditions since childhood), the Punjabi dhol dance and Syrian sword dancing.

A real standout for me was the musical performance by a Persian ensemble, which included a man on the santoor. It was especially fun to see a group of older women singing along and dancing to the group’s music, as it was clear the women reveled in hearing traditional folk music. 

As someone who always delights in exploring different cultures, I’m so glad to have discovered such a unique and inclusive event. The Silk Road Unity Festival was both an entertaining and enlightening experience.

I’m very excited about next year’s festival.

"The next generation finds their roots in tradition and culture." - Dr. Rini Ghosh (President of the Vedana International Cultural Center).

#3rdCulture #EastMeetsWest

Bridging East and West: Discovering the Innovative Fusion of Japanese Culture at LA's Japan House

Since I’m always looking for exciting cultural events here in Los Angeles, I was very excited to come across the Japan House, an innovative, new project hosted by the Agency for Cultural Affairs to promote Japanese culture overseas. Other locations include London and Sāo Paulo.

I really admire the effort they’re putting into sharing Japanese culture and innovation with the rest of the world. This is a great project I foresee Malaysia adopting in the future, as there are so many wonderful things Malaysian culture has to share with the world.

Japan House takes up two floors in the Hollywood & Highland Center. The center includes a library and salon (both still under construction), and also a shop, which sells beautiful Japanese products. Many of the items incorporate state-of-the-art technology and are designed with chic, minimalistic aesthetic in mind. I love this design approach because of the clean lines and modern design.

The items blend Eastern traditions with scientific innovations inspired by the West, which I love because the concept of combining cultures to create a new, hybrid culture is an example of how unity transcends geography and ancestry.

I came across a sleek, black bookmark made of lightweight, waterproof material; on it was the Kanji for love. I fell in love with the bookmark and bought it as a memento.

I’m excited about the library, which will have a variety of books on Japanese culture. I love learning about different cultures, and I look forward to visiting this library after the construction is complete. And I very much look forward to the opening of the salon, which will host everything from guest speakers to special cooking presentations. I can’t wait to attend all the interesting events to come. I was also told that there are plans for a Japanese bistro on the top floor, which only makes me more eager to visit.

I went to Japan House for an exhibition called Anrealage: A Light Un Light.

The inaugural exhibition presented works from the fashion label ANREALAGE and Kunihiko Morinaga, the next-generation designer. The show featured designs on the theme of light, showing us new and incredible ways photosensitive fabrics utilize light.

These ingenious, experimental creations force us to change how we see, wear, and think about the future of fashion. I believe the future is to integrate technology into everyday lifestyle products.

The art pieces were incredible to see. One example was what appeared to be an ordinary white dress that transforms into a mesmerizing, kaleidoscopic pattern when a smartphone LED shines on it.

Another piece was a white topcoat that turned black under sunlight.

But my favorite exhibit was the Room of Light and Sound. The artist(s) who designed this exhibit mixed hearing and sight by using music and amazing visuals together. Visitors listened to binaural beats on headphones while we watched a video of runway models wearing the latest fashion. As the models strut down the catwalk, visual representations of the music bombarded them from all angles. The effect was a spectacular synesthetic experience that blurred the line between audio and visual.

Also, shoutouts to the Japan House concept movie.

It’s a montage of stunning scenes from different times and places in Japanese history. The scenes were of culturally significant places, modern technologies, various subcultures, food, and nature. The film is a visual feast, marrying both modern and traditional Japanese culture. I was very impressed by the film’s conceptual style. I highly recommend checking it out.

Japan House is a local treasure and a rich cultural resource for anyone in LA. Kudos to the Japanese Agency for Cultural Affairs for their excellent exhibitions.

#3rdCulture #EastMeetsWest

Bridging Cultures Through the Art of Cooking: Samantha Tan's Mission to Share Malaysian Traditions

Brunch is my favorite meal of the day, so I knew I’d definitely check out the Malaysian pop-up brunch at Sam Tan’s Kitchen.

The woman behind Sam Tan’s Kitchen is Samantha Tan, who’s an actress by day and a chef by night. Samantha is originally from Malaysia but now lives in Los Angeles. She’s a self-taught chef, specializing in traditional Malaysian cuisine. Also, Samantha was featured on Feastly’s (an online platform that connects chefs with foodies) #GirlsWithKnives blog. What an honor.

Feastly organized Samantha’s third pop-up brunch. The brunch was set in a charming and well-lit loft in the Downtown LA Arts District. I’ve never been to the DTLA before, so it was fun to explore one of LA’s most famous neighborhoods for the first time. The mood was relaxed, and the limited seating made for a cozy atmosphere even though the space itself was rather large. Being an Aspie, I really enjoyed being there with so few people.

Our first course was the kaya toast, which features Samantha’s signature slow-cooked coconut jam. Coconut jam is very difficult to make, requiring hours of careful stirring. Kaya toast is very popular in Malaysia, and it’s a food many Malaysian children grow up eating. Kaya Street Kitchen also serves wonderful kaya toast. You can find Kaya Street Kitchen in the Fairfax District of Central LA. 

The second course was bihun goreng, which is fried rice vermicelli. This is another difficult dish to prepare. It’s also one of my mother’s favorites. Samantha’s bihun consisted of french-cut vegetables, bean sprouts, and green onions. Her bihun was delicious and spicy, just like the bihun I ate back home in Malaysia.

I love how Samantha served the food on plastic Chinese plates, which is usually how food is served in Malaysia. The plates with the traditional Chinese patterns made me feel at home.

Our third course was the roti jala, which translates to “net bread” in English. This dish is a teatime snack and is quite pretty. It looks like an old-fashioned lace doily. I was impressed at how beautiful these doily-shaped pancakes were. And the accompanying curry was creamy but not very spicy (likely to suit the average American’s palate).

Next up was the food I was most looking forward to—nasi lemak bungkus, coconut rice prepared with roasted peanuts, fried anchovies and a signature sambal chili all wrapped up in a banana leaf. Each banana leaf was then individually wrapped in newspaper, as it’s done in Malaysia. Samantha’s nasi lemak bungkus gave off a delicious aroma. Samantha couldn’t find Malaysian newspapers, so she used Chinese and American newspapers instead. It was incredibly delicious.

And finally, for dessert, we had pandan cake, a sponge cake flavored with the essence of pandan leaves. Pandan cake is a light, fluffy and green dessert that’s common in Southeast Asia. I was hoping she made kuih, which is a plate of sticky, cake-like dumplings. Unfortunately, the ingredients aren’t easy to find in the U.S. 

James Kong, a Malaysian veteran who’s lived in the US for about 30 years, presented Samantha with a mini-Oscar for “Best Chef” after we’d all finished eating. It was very sweet of James to do this, and the gesture meant a lot to Samantha.

The idea of giving Samantha an Oscar made perfect sense because she is both an actress and a chef, and she certainly deserved the award.

It’s incredible how impressive Samantha is. I’m glad people like her bring Malaysian cuisine to the U.S. 

It's truly remarkable how Samantha has harnessed her talents and passion to bring the vibrant flavors of Malaysian cuisine to the forefront in Los Angeles. I'm grateful for trailblazers like her who are dedicated to sharing their cultural heritage with the broader community.

#EastMeetsWest, #Unity

Ning's Culinary Sanctuary: How One Woman's Relentless Passion Brought Authentic Indonesian Flavors to Los Angeles

At one of my gamelan rehearsals at the Indonesian consulate in Los Angeles, I asked around for recommendations on where to find some good, authentic Indonesian food. Everyone I asked suggested the same restaurant: Wong Java House. I knew I had to try this place out.

Wong Java House is located in Alhambra, which is about 20 miles away from my home in LA. Since I don’t have a car, it took us a long time to get there. The restaurant has a homey feeling. The walls are decorated with wayang kulit (shadow puppet) engravings and traditional Indonesian decorations. You could tell from the decorations that this restaurant was authentically Indonesian.

An older woman was peeling chilies at another table. This is the sort of thing I’d normally see in Malaysia. I felt so nostalgic.

In Malaysia, it’s very common to see restaurant staff cutting and preparing vegetables, peppers, etc. at tables in the dining area. The older woman was the foster mother of Ning, the owner of the restaurant.

Looking at the menu, I was thrilled to find out that Wong Java House offers vegetarian substitutes for all of their popular meat dishes (unfortunately this didn’t apply to seafood), which is rare to find in Southeast Asian restaurants here and especially in Malaysia.

We started with the kangkung belacan, a spicy water spinach stir-fry with chilies and it was delicious. The waitress then recommended we try the kremas. Kremas translates to crunch, which makes sense since the dish is usually made up of fried chicken (but I had it substituted with tofu). It was perfectly crunchy, light and oily—just the way I like it.

Unfortunately, they were sold out of the rendang, a dish that’s rarely available and usually reserved for special occasions such as festivals. Rendang is a rich and spicy curry dish. It takes so long to prepare—about seven hours.

It’s a very difficult dish to prepare so oftentimes it’s not so great. But when it’s made right, it’s incredible. We definitely plan to come back to try their rendang. If it’s sold out, then it must be incredible.

Lucky for us, Ning was there during our visit. She recommended we have the nasi goreng petai, a fried rice dish. Petai means, “smelly beans” in Malay. Petai is popular in Malaysia and it’s known for its healing properties. It may be eaten raw or cooked. 

I prefer eating mine cooked with sambal because raw petai has a bitter flavor. Ning’s nasi goreng petai was incredible and flavorful. Honestly, it was one of the best fried rice dishes I’ve ever eaten.

Ning also recommended we try her karedok. As I mentioned before in my Indonesian Cuisine post,I’m not usually a fan of the Asian fruit or vegetable salad back in Malaysia because it’s quite sour and I don’t fancy sour foods. But Ning's vegetable salad was excellent. It had just the right amount of graininess and was served with a delicious peanut sauce that wasn’t too sweet. Ning explained to us that the salad is made with Thai basil, which is very difficult to find here. Fortunately for her customers, Ning managed to source the elusive herb in Anaheim.

Next came the nasi bungkus. Nasi means rice and bungkus means, “to pack”. It’s rice-based and comes with several curry dishes, tempeh, and veggies served on a banana leaf. I was amazed by how delicious the steamed white rice was. Ning told us that she has a particular method for preparing the jasmine rice for her nasi bungkus.

Ning said she won’t let anyone else cook the rice; she comes into the restaurant every day to cook it herself. The amount of water, how she stirs the rice and how long to cook it for—she’s totally perfected the method.

The rice is sticky but not like typical Japanese sticky rice, and it’s starchy enough to absorb the sauce or gravy. The fried tempeh (cut into an oval instead of the usual rectangle) was perfectly seasoned.

For dessert we had cendol, a popular drink served cold and made up of coconut milk, palm sugar, pandan leaf juice, and green jelly-like noodles. In Malaysia, cendol is often served with a lot of shaved ice, but not at the Wong Java House, which was a pleasant surprise. I’d usually ask them to remove the ice, which confuses the servers. I’m happy I didn’t need to ask this time.

The coconut milk and the palm sugar weren’t too sweet, and I liked the firmness of the noodles. The noodles used to make cendol in Malaysia are a bit softer. The cendol at Wong Java is definitely the best I’ve ever tasted. Now I know where to go when I’m craving some excellent dessert.

After our meal, Ning was kind enough to show us her kitchen. She showed us her secret chili sauces, which are handmade along with all the other sauces, foods, etc. at the Wong Java House. Ning is very careful to keep the food as authentic as possible.

Ning also showed us her traditional rice scooper, made out of a coconut shell, that she uses to make her signature rice. Then she let us watch her prepare her signature rice. I couldn’t say no to a second helping.

Even though it was a pain to get to the Wong Java House, it was definitely worth the wait. The food was incredible, and Ning is a wonderful and talented woman who I’ll never forget.

I’m coming back for sure. And when I do, I’m definitely ordering cendol.

#3rdCulture #EastMeetsWest

Uniting in the Language of the Heart: Discovering the Timeless Poetry of Rumi



"I am you. No religion. I am you, not Muslim, Christian, or Jew; not Zorastian, Zen, Buddhist or Hindu I am you, not any religion that you may know Not any cult, creed or convictions to name a few. Not from the East or the West, not from the Water or the Earth, Nor from this world or the next. Not from Adam, Eve, or any story that you may perceive. My place is placeless, my trace is traceless, I live in the world of oneness. I am you, together in the vacuum or space, in every particle of your breath together in a world of total unity, harmony, and sincerity. I am you. I am the breath of eternal love inside of you. The breath that sounds like who, the spirit that resides in you. I am you. Not Muslim, Christian or Jew, not Zorastian, Zen, Buddhist or Hindu." - Rumi (Translation by D. Khani)

Jalaluddin Rumi, the poet, inspires me. I’m deeply moved by his call for unity in his poetry. I found out about a monthly "Rumi Night" from my friend, Yelena, and was excited to attend this event. I’d been meaning to learn more about Rumi's poetry.

The event was held at the Flame International Restaurant, in a space called the Flame International Cultural Center. It was a lovely, intimate setting. I don’t do so well with crowds, so I felt comfortable in this smaller space.

The evening started out with a beautiful performance by a great cellist named Georgy Gusev. He performed with Jamie Papish, a percussionist. The true highlight of the evening was, for the first time, seeing my friend Yelena (who’s a professional dancer and a yoga teacher) sway and move gracefully to Georgy and Jamie’s music. Yelena’s dance was passionate, beautiful and graceful. Through her movements, she expressed so much meaning and emotion. I usually prefer male dancers and more masculine movements, but Yelena’s unique style won me over. I became a huge fan of Yelena that night.

After the music and dance portion of the show, Mahmoud Vahedian, a passionate Rumi scholar and poet, and Dariush "Danny" Khani recited and then discussed a selection of Rumi’s poems in both Farsi and English. It was so gratifying to attend an event like this. It’s so rare to hear Rumi’s poetry spoken in Farsi by a native speaker. And their knowledge of the subject was vast.

“I Am You – No Religion,” was my favorite poem they read. Danny Khani translated the poem clearly. It moved me to tears because this poem spoke to my life’s work and my hopes and dreams for the world. 

I made sure to get autographed copies of both Georgy and Danny’s albums. I’m excited to hear more of Danny’s translated Rumi poems as much as I look forward to listening to more of Georgy's beautiful music.

The event was a success and an experience I’ll always hold close to my heart.

#3rdCulture #EastMeetsWest

Bridging Cultures Through the Craft: A Female Dalang's Mission to Share Shadow Theatre

The traditional art of wayang kulit (shadow puppetry) is something that’s interested me for a very long time. Wayang kulit translates to “theatre of skin” in English. This wonderful art wasn’t very common in Kuala Lumpur while I was growing up, so I never got to see it performed.

You can imagine my excitement after I learned about MaRia Bodmann’s free Balinese wayang kulit workshop. She teaches on Saturday afternoons from February-April.

Maria is the first female dalang (puppeteer) in the U.S. She attended the prestigious California Institute of the Arts and spent many years in Bali studying traditional gamelan music and shadow puppetry. She then founded Bali & Beyond here in Los Angeles with a mission to share and promote Balinese culture and traditions with anyone willing to learn. Maria describes the ancient art of wayang kulit as the “epitome of multicultural art.”

I admire Maria’s passion and commitment to teaching wayang kulit. I also admire her for becoming a dalang, which is traditionally something only men become. I was curious to learn more about Maria’s experience as a white American woman training to become a dalang in Indonesia. I was also interested to see how she would fuse Western puppets and stories into her performances.

The first thing I noticed when I went to class was the amazing shadow puppets she put on display. Some were traditional and others modern, such as her version of the Mad Hatter from Alice and Wonderland.

Our first assignment was to make a puppet. Maria told us to pick out sketches of one of her puppet characters. She let us know which characters would require the most work. I chose a horse character because I’ve loved horses since I was very young. 

After picking characters, we were each given a plastic chopping board, a wooden mallet, nails, and chisels. Maria instructed us to nail the cardboard to the chopping board. With our mallets and chisels, we carved out the bodies of the puppets by tracing the sketches. For nearly three hours we hammered away at the puppets, which sounded like a symphony of percussion instruments.

In our second class on the following Saturday, we each picked out another character to make. From the next class onward, we’ll write stories for our characters and rehearse for a play, which we’ll perform in front of a live audience at the end of April.

I’ve gotten to meet wonderful people from these workshops. There’s Julia, an elementary school music teacher; Cynthia the animator; and Janet, an expert on gamelan music whose daughter, Lydia, is one of the founders of a band called GamelanX. Lydia’s band plays a mix of samba and Balinese gamelan music they call “Sambelan.” Lydia interested me so much that I’ll write about her and feature her on my upcoming YouTube series.

I think it’s funny and ironic that I ended up learning how to play the gamelan and wayang kulit in the U.S. rather than Malaysia. I tried really hard to learn this back in Malaysia, but it was extremely difficult then. Hopefully there will be more opportunities in the future.

#3rdCulture #EastMeetsWest