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Make a ‘Connection' with George Town Festival
Make a ‘Connection' with George Town Festival

The Star

timea day ago

  • Entertainment
  • The Star

Make a ‘Connection' with George Town Festival

Stamp rally: Fun showing the six different stamps, each featuring unique designs, which visitors to selected events can collect for a chance to win a prize. — KT GOH/The Star GEORGE TOWN: The city will be transformed into a vibrant stage when the George Town Festival (GTF) returns for its 16th edition. So do plan your holiday to Penang for next month as from Aug 2 to 10, GTF 2025 – with the theme 'Connection' – will feature 50 programmes exploring the powerful relationships between the arts, the city and the human experience. These range from music to dance, theatre, photography, visual arts and more. About 80% of the programmes will be offered for free in line with the festival's aim of making the arts accessible to all. GTF director Jack Wong said 32 programmes were homegrown and reflected Malaysia's rich artistic diversity. Of this, 22 are Penang-based. The other 18 are international presentations and include bold new works. He said only seven events would be ticketed, priced between RM40 and RM100. 'GTF 2025 will also have a series of workshops and talks which offer deeper insights into the creative process and give visitors opportunities to engage with the artistes and their works. 'Whether you're a newcomer or long-time follower, you will have a week of unforgettable experiences.' Festivities kick-off with the 'After Dusk' opening weekend on Aug 2 and 3 at the Esplanade, which is expected to draw over 100,000 visitors. The iconic Town Hall will come alive with colours and patterns in a projection mapping showcase while live performances by various local and international acts will start from 5pm. Other highlights include a contemporary performance inspired by the state's natural landscapes called 'Waris', and a tribute exhibition to late cartoonist Azmi Hussin titled 'Living the Tanjong Life'. There will be a 'Symbiosis: Crab Chronicle' which offers a crab's view of Penang's shifting coastlines through augmented reality/virtual reality experiences, as well as 'Between Departures' which turns an actual city bus into an intimate musical stage journeying through George Town. Further cultural exchange is promoted through the 'A Night in Spain' classical music concert in partnership with the Spanish Embassy in Malaysia, as well as the 'Totsu-totsu dance – Like Art, Like Care' dance workshop and performance with Japan's Cultural Affairs Agency. Visitors to six selected events can collect six stamps under the 'Stamp Rally' by local artist Elsie Fun and stand a chance of winning a prize. State tourism and creative economy committee chairman Wong Hon Wai said GTF had grown into one of the region's most vibrant platforms for artistic expression since its inception in 2010. 'What began as a local initiative has expanded into a leading space for creativity and ideas in South-East Asia. 'This year's theme reflects our hope to further build bridges between peoples, ideas and stories through diverse artistic experiences.' For tickets/details, visit or follow @georgetownfestival on social media.

It's great fun going offline
It's great fun going offline

The Star

time3 days ago

  • Entertainment
  • The Star

It's great fun going offline

Just one more round...: Visitors playing at the many booths during the ABGF at 1st Avenue Mall in George Town. — CHAN BOON KAI/The Star GEORGE TOWN: Imagine having to tear yourself away from the phone. Gasp! But that's precisely what participants of the Asian Board Games Festival (ABGF) 2025 did for at least two hours as they familiarised themselves with the rules, devised strategies and tried to outdo each other in a friendly competition billed as the largest English-speaking board game convention in Asia. 'Nowadays, because of life and work, you tend to be glued to your phone. It was nice to be able to put it aside and just have fun,' said media lecturer Intan Amalina Mohd Ali, 34. To her, the offline games were refreshing. She said many people assumed board games were just for children. 'But some are actually for adults. They are really complex and make you think,' said Intan Amalina, who was among those who stopped by the three-day festival in 1st Avenue Penang, which ended on Sunday. The event, which featured rows of tables filled with colourful cards and wooden tokens, drew in families, friends and curious onlookers. Players drifted from one table to the next, and many stayed for hours. Hospitality student Wong Jia Chuen, 23, went looking for new games to add to his growing collection. 'I have two younger siblings. We try to play on weekends when we're free,' he said. 'We like those with local themes. Some games make us feel like we are running a kopitiam or selling durians.' ABGF began in Singapore in 2019 and came to Malaysia last year under a collaboration with creative studio Luma as part of the George Town Festival. Luma founder Goh Choon Ean said more people sat down to play the games this year. 'We even had visitors from other states and countries,' she said. 'It was nice to see families and people of all ages laughing and playing without looking at their phones.'

When walls speak: The stories behind Penang's iconic murals
When walls speak: The stories behind Penang's iconic murals

New Straits Times

time6 days ago

  • New Straits Times

When walls speak: The stories behind Penang's iconic murals

IN the winding lanes of George Town, a bicycle mural painted by Lithuanian Ernest Zacharevic 13 years ago ignited a cultural movement that would reshape Penang's identity. When Zacharevic created Children on a Bicycle behind an old shoplot in Lebuh Armenian in 2012 as part of the George Town Festival back then, it marked the start of a street art explosion — one that turned the city's alleyways and bare walls into vibrant storytelling canvases, where contemporary expression meets local heritage. Today, these murals draw throngs of visitors and offer locals a renewed connection to their history. Yet, the transformation wasn't without resistance. In the beginning, many locals viewed the murals with suspicion and hesitation. "At first, many locals, including my neighbours, didn't like it," recalls Chew, a 65-year-old who runs a souvenir stall at Chew Jetty, adding that: "It became noisy and crowded. Strangers were standing outside our homes and taking photos. It was a big change." For a city just listed as a United Nations Educational, Scientific and Cultural Organisation World Heritage Site in 2008, the sudden arrival of street art would definitely raise eyebrows. Heritage purists feared that vibrant murals would overshadow the architectural soul of George Town, Penang's state capital where colonial facades stand shoulder to shoulder with kopitiams and clan houses. The city, named after King George III (1738-1820) of the United Kingdom, was founded in 1786 by Captain Francis Light, who established it as a trading post for the British East India Company. "Some feared that contemporary expressions could dilute the city's authenticity," remembers Chief Minister Chow Kon Yeow, continuing: "There were worries the murals might overshadow George Town's deeper historical significance." Trevor Sibert, honorary treasurer of the Penang Heritage Trust (PHT), said the early resistance to street art was understandable. "Every artwork should have meaning — a rationale that resonates with its location," he says, adding: "Not everything painted represents the true essence of George Town. Deep research must go into it. This isn't about censorship — it's about context." TOURIST MAGNET Yet, despite early scepticism, attitudes began to shift. The once-controversial murals gradually emerged as one of the state's most powerful tourist draws and enduring cultural symbols. Today, from bustling Lebuh Armenian to quieter back lanes in the city, there are more than 57 officially recognised murals — along with countless unofficial works — adorning the city's walls. Visitors can trace street art trails, snap photos and uncover local stories rendered in bold brushstrokes. Children on a Bicycle, the most popular artwork, captures two youngsters in joyous motion: a laughing girl pedalling a real rusted bicycle fixed against a weathered wall, her younger brother clinging to her waist, wide-eyed with delight. Not far away in Lebuh Ah Quee stands Boy on a Bike, a lanky teenager leaning against a motorbike, his half-smile hinting at adolescent swagger. And in Lebuh Muntri, Little Girl in Blue stretches her arms across two window shutters, a haunting yet hopeful image of innocence reaching out through time and weathered wood. Both murals, which blend playful, photorealistic figures with real-life objects, were also painted by Zacharevic, who made Penang his home base while travelling around the world for exhibitions and installations. "I came for the food the first time," confides Hanna Fuzesi, a 25-year-old Canadian tourist. She continues enthusiastically: "But when I returned, it was for the murals. It's like walking through an outdoor gallery." Her Australian travel companion, Amy Lansall, agrees, saying: "Some murals are hidden — like little treasures. They're not all over the place and this is what makes the experience personal." The economic ripple effects are undeniable. Souvenir shops, cafes, trishaw riders and licensed tour guides have all integrated street art into their offerings. Mural maps, guided walks and themed souvenirs are now part of the travel experience. Malaysian Association of Hotels (Penang chapter) chairman Tony Goh says hotels within the heritage zone are also using the murals to attract guests. "Tourists enjoy it. The feedback is overwhelmingly positive," he shares, adding: "Street art has become part of Penang's identity. It's not just about pictures — it reflects the character of this city." HERITAGE BALANCE Still, authorities are mindful of the risks of "mural fatigue". "There's always a risk that too much of a good thing can lose its meaning," says State Tourism and Creative Economy Committee chairman Wong Hon Wai. "These murals aren't just decorations. They tell stories — of trades, childhood, community and culture. That's what makes them special. Each piece should relate to our Outstanding Universal Value (OUV)." To maintain that heritage balance, the state mandates mural proposals to go through the Integrated Local Council Solution (ILCS), reviewed by a public art review panel that includes George Town World Heritage Incorporated (GTWHI), the state agency responsible for managing, safeguarding and conserving the city's World Heritage Status. "We want stronger storytelling and curation," says Wong, adding: "Otherwise, the murals become wallpaper." Zacharevic, the man who started it all, remains modest about his role. "Penang's street art is much bigger than me," he says, continuing: "There are so many artists — local and international — contributing to the scene. It's a collective effort." His latest venture, a gallery space in George Town called Cultprint, is where he now explores new directions. He is currently preparing an exhibition on intellectual property rights — highlighting how artists should be protected in the age of viral content. "Creativity should benefit not just the tourist economy, but the local art community, too," he says. OF PAST AND PRESENT For Penangites like Tan Hor Teong, a 45-year-old hawker operating near the heritage zone, the murals have become part of his daily life. "At first, the older generation didn't understand. They wondered why were people so interested in wall paintings?" he recalls, adding: "But now we see how it brings business, how it shares our culture in a way that connects." Even international visitors are impressed by the city's creative pulse. "In China, street art is too controlled," shares Deng Xiaobu, a 48-year-old tourist from Guangzhou. "Here, it feels alive. It's not just art — it's an experience." As Penang continues to position itself as both a creative capital and the "Silicon Valley of Asia" with its ever-growing number of high-tech companies based there, its murals remind the world that heritage can be both preserved and reimagined. "In the end, Penang's greatest masterpiece may not be on a wall. It may be the delicate, ongoing dance between past and present, painted with care, and watched over by those who love this island best," says Sibert of the Penang Heritage Trust. And Lithuanian Zacharevic agrees, as he reflects: "I never set out to make something iconic. I just wanted to create something meaningful — and a little bit magical. "The fact that people still connect with it today means we did something right."

Look up, George Town: Spanish artist's sad sculptures invade Penang
Look up, George Town: Spanish artist's sad sculptures invade Penang

New Straits Times

time03-06-2025

  • Entertainment
  • New Straits Times

Look up, George Town: Spanish artist's sad sculptures invade Penang

GEORGE TOWN: At first glance, they are easy to miss. Perched on power boxes, tucked behind signboards, or suspended mid-air on building cornices — miniature cement figures gaze silently at the streets below, quietly observing the chaos and colour of the city. These sculptures form part of Cement Eclipses, a long-running global art project by Spanish sculptor Isaac Cordal, now subtly transforming Penang's capital into a living, breathing gallery of social commentary. What began as a temporary installation during the George Town Festival has evolved into a permanent, interactive "sad art" scavenger hunt that is captivating both locals and tourists. "We were wondering why so many people were looking up — and finally, we spotted the miniature figure. It was so intriguing that we started searching for more. We'd love to know the story behind them," said Annabelle Martin, 19, from England, when met at Lebuh Ah Quee, where one of the figures sat perched high above. Nearby, others can be found in locations such as Lebuh Armenian, a popular spot among visitors. Martin was accompanied by her best friend, Emily Pesquero, also 19, who is visiting Penang on a four-day holiday. "There's something funny and oddly moving about them," Pesquero said. Standing just 17 to 20cm tall, the sculptures typically depict middle-aged men in suits or tourist gear, slouched with weary expressions. Their body language speaks volumes — of fatigue, detachment, and quiet resignation. Yet while some interpret the figures as melancholic, or even macabre, Cordal insists their purpose is more layered. "They're placed high up not to isolate them emotionally, but to protect them physically," Cordal told the New Straits Times. "The idea is to create hidden moments — small, ironic, even humorous scenes that make you stop and wonder." Cordal began Cement Eclipses in 2006, as a response to society's obsession with productivity and relentless progress. Even the name is a metaphor — referring to the literal and figurative shadows cast by urban architecture. From London to Madrid, Hanoi to Penang, Cordal's cement men appear the same — tired, uniform, as if mass-produced by an invisible machine. "They all look like they come from the same mould. That's intentional," he said. "It's a metaphor for how neoliberalism mass-produces identity and behaviour." Currently, around 30 sculptures are dotted throughout George Town, most positioned at least three to four metres above ground. To find them, one must look up — at ledges, window sills, or rooftops. And in doing so, something shifts. "You begin to see the city differently. You slow down, you notice textures, cracks in the walls — the history behind each corner," said Martin. The project reflects Cordal's wider interest in urban intervention — using art not simply to beautify, but to question. His figures are not merely sad; they are critiques. "It's about stepping back and asking: what's the collateral damage of so-called progress? These figures are witnesses," Cordal said. With the addition of Penang, Cordal's work now quietly inhabits over 30 cities worldwide. In each, the figures serve both as visual commentary and urban 'Easter eggs'. While the characters remain consistent, their placement is always unique — subtly altering how we engage with public spaces. In George Town, the response has been particularly playful. Locals have started tagging their discoveries on Instagram, and cafés located near sculpture sites have reported increased footfall. Yet despite their sombre aesthetic, Cordal does not view his work as depressing. "There is sadness, yes, but also humour, irony, absurdity. It's the emotional contradiction that makes it real," he said. For George Town, the sculptures serve as a quiet reminder that art does not require a frame — or even eye-level visibility — to leave a lasting impression.

Happy hunting for ‘sad art' in Penang's George Town
Happy hunting for ‘sad art' in Penang's George Town

Straits Times

time25-05-2025

  • Entertainment
  • Straits Times

Happy hunting for ‘sad art' in Penang's George Town

The tiny figurines hidden in plain sight within the Unesco World Heritage site of George Town have become a treasure hunt of sorts. PHOTO: THE STAR/ASIA NEWS NETWORK GEORGE TOWN - An art hunt for little 'sad' statues is gaining popularity in Penang. What began as a George Town Festival project in 2024, the tiny figurines called 'Cement Eclipses' are still creating a buzz. With their woeful, almost dystopian expressions, the tiny figurines hidden in plain sight within the Unesco World Heritage site have become a treasure hunt of sorts. Standing at 17-20cm tall, they are placed on corbels, in window nooks or even on electrical boxes, making them a fascinating find. Upon closer inspection, their melancholic facial expressions stand in stark contrast to the generally cheerful atmosphere of George Town's colonial streets. With chins down, pensive looks, hooded heads, hands in pockets or poker faces, these figurines somehow compel visitors to search high and low for them. Some wear suits, one is dressed in casual tourist attire with a camera slung around the neck, while others are in shorts and T-shirts. All are securely fastened to structures, mostly more than 4m above road level. This public art project by Spanish artist Isaac Cordal was initially for 2024's George Town Festival and is now a permanent feature. Mr P. Chandra, 46, who recently turned it into a 'treasure hunt' for his family, successfully locating eight figurines. 'Someone forwarded a map link showing where these figurines are located to my wife,' he said. 'We tapped on the link, and the locations appeared on our Google Maps app. We decided to have a treasure hunt adventure in George Town.' Mr Chandra added that many statues are in places they typically drive past without truly observing. 'This gave us the opportunity to walk around and discover small biscuit shops, street art and cafes,' he said. 'We had never explored these parts of town before, and while searching for the figurines, we had breakfast, stopped for drinks and checked out various historical buildings along the way.' Mr Chandra, an associate director at a property management company, said it was a fun family day. 'We stopped after spotting eight figurines as it got too hot and my kids were becoming restless. 'We plan on returning to complete the hunt. This time, we will head out early to beat the heat,' he said. He said what stood out was the forlorn expression on the figurines. 'They look depressed. I expected cheerful faces. 'It did create a conversation with my children about different feelings and expressions,' he said. George Town World Heritage Incorporated Communications and Collaborations Department manager Vick Quah said the installation was one that stood out at the festival in 2024. 'It's an installation that showcases different human emotions in our day-to-day lives,' she said. 'Art is truly subjective, and we all experience different emotions in a single day.' Quah explained that the figurines depict various jobs and lifestyles, hence their different outfits. 'They portray different emotions, just like us, and some even appear happy,' she said. She said Cordal has similar installations worldwide and that it was his idea to place the sculptures around George Town. 'There are many lanes in Penang that we simply pass through without noticing its beauty,' she said. 'Cordal's idea was to place them in random locations to encourage people to stop for a few minutes and enjoy the lanes and streets here. 'We received positive feedback during the festival and are glad people are still on the hunt for them.' Cordal, when installing the sculptures, previously said they were installed across George Town, including in streets, alleys and buildings. 'They were designed to be discovered by the public and to blend into the surroundings, creating a sense of mystery and wonder. 'I installed around 20 sculptures in different parts of the city,' he said. THE STAR/ASIA NEWS NETWORK Join ST's Telegram channel and get the latest breaking news delivered to you.

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