All that glitters ...

While all that glitters may not be gold, Rosita Jaafar has found that sequins and beads are worth their weight in gold.

IN every sense, Rosita Jaafar, 43, is as glamorous as her sequinned dresses. This is best seen from her expressive eyes and how she cocks her head when she speaks.

Empowering women: Rosita Jaafar found beading to be a sustainable skill, which women could employ to become financially independent.

Sequins and beads are very much the focus of the former beauty queen (first runner up in the Miss Malaysia Central 1987 pageant).

“There is magic to be found in sequins, you know,” the sultry siren purred. Rosita's got a point – from the virtue of their shine and myriad shapes, beads and sequins will turn even the most drab garment into a million-dollar outfit.

Rosita fell in love with these shiny objects at the tender age of six when she watched her mother sewing them on to the costumes of entertainers and singers in Johor.

“When I was older, I’d even take over the sewing for her when she went to work. When she came back, she’d find a new piece of ‘art work’ in addition to her own,” Rosita recalled with a laugh.

Today, sewing with sequins and beads has become her livelihood. She has authored no less than six instructional books on the subject of dressmaking and is the owner of Fashion Trade Institute of Malaysia (FTIM) which offers classes on dressmaking and of course, beading.

“Beading is a value-added feature to dressmaking. Take, for example, a plain sarong which will cost no more than RM10. Sew on a design of sequins to it and it can fetch as much as RM1,500. But of course, there has to be a sense of technique, creativity and colour matching to the scheme,” said Rosita.

And beading, said this entrepreneur from Johor, is no different from any art form which requires creativity and passion.One has to understand the concept of shape and texture to create, for example, a water lily or cherries hanging from a tree.

Different coloured beads are used for roses.

“For me, inspiration comes from the things that I look at daily. The way the sand looks after a crab has walked over it, flowers, leaves, the rain – these are the motifs behind my designs.And because this art form demands a lot of patience and concentration, embarking on a project often takes me to a trance-like state where everything else, including my stresses and worries, becomes secondary,” said Rosita.

Tactile senses, she said, also plays an important part in beading.

“It’s all in the feel. You have to gauge with your fingers the tautness of the thread when sewing the beads in place.

“Pull it too tight and the fabric will crumple around the beadwork, too slack and the bead composition will look loose and the beads may even fall off over time,” she pointed out.

What drives this sultry entrepreneur to stick her needle into such an intricate art form?

“When I started my business in 1996 with my own funds, I wanted to do something which could empower women.

“I saw that beading could be a sustainable skill because it requires no paper qualifications and little capital to start with,” she said.


And Rosita would know how difficult life can be for many disadvantaged women, having grown up in a single parent family of three siblings.

Advanced techniques are used for a 3D effect.

“From age 8, I was earning my own money,” she revealed.

During her childhood days, Rosita would take two bags to school. One plastic bag held school books while another contained fruits like langsat which she would sell for 5 sen or 10 sen to her school mates. The money she earned went towards helping her mother make ends meet.

Today, Rosita conducts motivational workshops all over the country for women’s groups. Having seen how her own mother struggled, she understands how beautiful, brilliant women who have no paper qualifications or work experience are often left in the lurch when their spouses leave them.

“Life is not easy but it is not impossible either. The important thing is to set targets and to learn as you go along.

“It is no use for women to have this presumption that they are incapable of anything except to bear children and be homemakers,” insisted Rosita.

Beading is also a pleasurable hobby and her classes at the 3C Complex in Bandar Sunway is where beading enthusiasts gather for their art and to indulge in chit chat.

Sundays, says Rosita, are always good days to come by because that’s where everybody is in a relaxed mode.

As for this busy beader, she says that she has not had a Sunday off for the past 12 years.
“I take time off during weekdays instead,” said Rosita, who has a child.

To sign up for Rosita’s beading classes, contact 03-5638 2949 or browse www.ftimdc.com.

Spray no more?

THE graffiti and stencil art movement has incurred the wrath of building owners and the public who consider the display of their works inconsiderate acts of vandalism.

“I know it is a form of artistic expression but that does not mean that one can spray their signature all over the place. It makes the street look seedy and messy,” opined Lena Lau, 38, of Native Art Gallery in Jalan Hang Lekir, Kuala Lumpur.

A representative of Peter Hoe Evolution, a handicraft boutique in the same area, said they had shelled out RM4,000 for a newly- painted exterior only to find it dotted with stencil works the next day.

Roundtable discussion: (From left) Anokayer, Salleh, Tha-B and Kioue seeking a solution.

“We are still in two minds whether to paint over the images as they may see it as an ‘invitation’ to spray more of such signs,” said the representative, who preferred to remain anonymous.

Saidi Mohamed, 28, a technician who works for Lee Rubber Building, said the management had a no-nonsense policy where spray-can art was concerned.

“We have instructions to scrape them off immediately because it goes against the colour scheme of the building. Of course, cleaning up after them comes with a price,” he said.

And, forking out big bucks was what the Kuala Lumpur City Hall (DBKL) had to do when the local authority had to whitewash the 300-metre-long mural along the banks of the Klang river. The mural, which was a collaboration of graffiti and stencil artists, had been done without permission from the authorities.

According to DBKL director-general Datuk Salleh Yusup, the whitewash treatment is accorded not only to graffiti and stencil drawings but to all forms of unauthorised signage and display on public buildings.

In happier times: Kioue posing in front of his work before the City Hall workers painted it over.

“According to the 1991 by-law, graffiti is categorised as an act of vandalism. It is an offence which carries a fine ranging from RM1,000 to RM1,500,” said Salleh.

So, what now?

“We are not going to stop,” insisted Zulkifli Salleh, 24, a.k.a. Kioue (pronounced as “Kayu”) and Sharane Mat Zaini, 31, a.k.a. Tha-B.

Lest one takes this as the defiant reply of two vandals who vow to go on the warpath, Sharane gave an assurance that they would not go against the City Hall directive. There will always be other alternatives and places, they guaranteed. Still, one could sense the duo’s animosity towards other bombers (a slang referring to individuals who leave their mark behind on public walls) who have given the trade a bad name.

Leaving a message: This work by mysterious bomber FCode is visible along Jalan Hang Lekir.

“They have no discipline for art,” stated Kioue of those who had defaced private property with wild, unintelligible scribbles.

“It is important to prepare a draft of what you want to portray before you reach for the spray can. This way, you know for sure what the outcome will be. With the beginners, they are not prepared and when they make a mistake, they make a mess of the building facade,” he fumed.

Now, that leaves the question: Why? These public exhibitions are neither commissioned nor subsidised. For the artists, where do the benefits lie in resorting to such actions?

Blame it on boredom, the foolishness of youth and even rebellion, but, according to Kioue and Tha-B, it is all about artistic expression.

“We do it to expose ourselves, to show off our techniques and tell the public what we can do,” said the duo, who always leave their website address behind for all to see.

Some bombers, however, have a different agenda. They hide behind the shield of anonymity, leaving no trace of their identity.

Gone: Where there was an eye-catching mural, only a blank wall greets passers-by on the bank of the Klang river near the Pasar Seni LRT station in Kuala Lumpur.

Cases in point are the ones done by a mysterious bomber who is known only as F-Code, contactable only via his blog at f-code.blogspot.com. His stencil works, No School Today? and Kidnapp (sic) Cars Not Kids, can be found in Jalan Hang Lekir and in the alley beside the Mariamman build-ing, off Jalan Hang Kasturi, respectively. The former is a reminder to students not to play truant and the latter, a stark reminder of the unsolved case of five-year-old Sharlinie who went missing early this year.

“The idea is to send a message to the public,” is the remote reply from a representative of F-Code who wanted to be identified only as Eh.

But, surprisingly, it is the critics themselves who would give hope to the movement.

The art is fantastic (where applicable) and it makes you think, is the general consensus. The DBKL director-general, who is an art lover himself, has promised to consider the idea of allocating a designated public space for the spray can colony to showcase their art. This was expressed at a recent meeting at his office with three spray can artists, namely Kioue, Tha-B and Zulfadli Ahmad Nawawi, 21, a.k.a. Anokayer. The proposed conditions for entry into the area include no-nos to political messages and profanity. Proposed forms of control may include the registration of the artists, who will be given identification tags.

“The mural (along the banks of the Klang river) did make the scenery look nice but because of the by-law, these artists have inadvertently become vandals,” sighed Salleh.

Gallery offers a place for struggling artists to express themselves

ORIGINAL art works need not come with exorbitant price tags and the visual art exhibitions at They Art Studio in Annexe Central Market proves that virtually anyone can become an art collector.
The studio, which opened in November 2007, carried price tags from as low as RM30 and had been a point for many upcoming artists to sell and display their work.
According to brothers, Khairul Anuar, 23, and Mahathir Masri, 25, the studio owners, the concept is geared towards providing a platform for graffiti and other contemporary visual art forms.

Lighten up: Lampshades by Bangkit depicting different images.

Whether an artist wants to be in for the long term or is merely looking at a one off experience on what it is like to brush shoulders with the art community, the intention is secondary. The important factor here is to make the work appealing.

The draw here is the limitless possibilities because they welcome work done in any medium and idea.
In addition to exhibition space, they also hold forums for the gathering and study of ideas and different mediums used by other artists.

As to why Mahathir would choose to champion the cause of struggling artists, he revealed that as an MIA (Malaysia Institute of Arts) graduate himself, he had seen many of his course mates losing touch with their skills as they pursued careers in ad agencies and production houses.

“One of the reasons why they stop producing artworks is because there is no avenue for them to showcase their completed pieces because not many galleries are willing to accept the works of unknown artists or display graffiti works.

Intense: Bibi Chun captures perspiration in this piece.

“So, without the benefit of acknowledgement, some will find very little motivation to put their creativity to use.
In this way, we may have lost a few talented artists,” said Mahathir.

This young entrepreneur from Batu Pahat, who comes from a family of six siblings, revealed that he had started his movement from as early as 1999 to showcase the works of young artists and designers.
In the early days, minus the advantage of his own gallery space, he had convinced another gallery, Art Take in Bangsar, to lend the space to him.

It was an opportunity he took full advantage of by organising exhibitions and group shows complete with opening parties and unique themes.

“At that time, I never thought that such a thing would be possible because I was still a student. But, I just did what I love,” said Mahathir with regards to how he gathered the support from the art community.

The studio has open invitations for new and upcoming artists. Those interested are charged a fee of RM110 for every 10 pieces, which would be exhibited for a week. Proceeds from the sale of artworks goes 100% to the artist. For enquiries call 017-6169934.

Dare to be different

Fancy a Tapaiccino? Check it out at Simply Tapai.
TAPAI, a traditional recipe of fermented glutinous rice, takes on a new twist under the hands of an innovative entrepreneur.
Suggest serving tapai with chocolate sauce or as a topping in an ice blended drink and high chances are your elderly makcik will think that you have completely lost your marbles.

Slurp it up: Mazlina, flanked by her team members Fauzi (left) and Misfani, enjoying tapai at their cafe.

But to Mazlina Mohammad, marrying the old and new is seen as a nouveau way of reintroducing this traditional fermented snack to the younger generation.
Not only has the 31-year-old sole proprietor of Simply Tapai Enterprise come up with the likes of fruit and ice-cream toppings to go with the fermented glutinous rice, she also has a trademarked drink called Tapaiccino, which is ice blended Penang white coffee with tapai.
Looking into the taste test of Mazlina’s ideas would inevitably yield comments ranging from ‘yucks’ to ‘yum’.
This is hardly surprising as tapai, by itself, is an acquired taste.

Colourful: Fruit toppings on tapai lend a contrast to the mushy texture.

Those who have partaken of the sweet, tangy and yeasty flavoured dessert of glutinous rice will attest to it.
“It’s like having your nose tweaked,” comments one diner in regard to the sharp sour notes.
“The smell has the quality of regurgitated rice,” comments another of the yeasty whiff.
But just as the pungent durian will have its following, the same is the case for tapai. And for the connoisseur, the seductive aroma and taste is likened to an awakening of the senses.
Some diners have reported experiencing a slight floaty feel in the after-effects but this varies from one individual to another and one’s tolerance level to alcohol, a result of the fermentation process.
And that is talking about tapai on its own ...
With extra dressing, the effect is nothing short of spectacular!

Interesting: Hot chocolate on tapai with a cherry on top makes a rich and fulfilling dessert.

Forget about mundane toppings like fruit cocktail. Well, it is an option for those who like a fresh, crunchy feel to contrast the mushy texture of the fermented pulut.
But from a personal opinion, hot chocolate topping on tapai is an indescribable luxury which justly gives reason to the term ‘sinful temptation’.
As for ice blended drinks with tapai toppings, this is something a young palate may appreciate.
The grainy feel of the fermented rice answers to the ‘snack and drink’ combo which was made popular by the bubble tea concept some time ago.
The Tappaiccino will definitely agree with coffee lovers and for those who are not partial to exposing their taste buds to new sensations, the berry flavoured blend with tamarind answers to this call.
Now note that while tapai may have very strong characteristics on its own, these traits invariably take a back seat in the blended drinks.
The same also happens when it is served with toppings like ice-cream, chocolate or fruit.
Everything becomes sweet and in these instances tracing the piquant character that is associated with tapai practically takes some effort.
According the Mazlina, these nouveau ways of serving tapai is her way of educating the public on the alternative ways to enjoy this traditional dish.
Still, in order to gain universal acceptance, this young entrepreneur who comes from a family of padi planters in Alor Star, Kedah, says that quality control must come from the base product itself.
When she started Simply Tapai last year with her own funds, she and her team took 11 months to tweak their tapai into the required taste before releasing the product into the market.
“We were aiming for the ‘universal taste’, a broad base appeal. As you know, the making of tapai is full of taboos.
“In the olden days, the makers had to refrain from talking as it was believed that it would make the tapai sour.
“There is truth to this as saliva droplets contain bacteria which will contaminate the tapai. One of the telltale indicators of contaminated tapai is its sour taste. A good tapai will be sweet.
“To achieve this, we have to practise strict hygiene standards and employ methods such as precision cooking so that there will be no change in taste in all the batches,” explains Mazlina of this ‘sensitive’ product.
As most homemakers of the yesteryear will agree, tapai making is mostly a hit-and-miss affair with no surety that the end product will turn out to the cook’s expectations.
Even a slight change in weather will leave an effect on a jar of fermenting tapai.
But where Mazlina is concerned, she is confident that she has found a niche market by mass producing this traditional favourite.
And though this is her first entrepreneurial venture, Mazlina intends to leave her mark in the food industry.
“Of course there have been downtimes and obstacles but I have never felt unsure of myself. No doubt, this is what I want to do. Giving up is not an option as this is one reason why most businesses fail,” concludes this tapai maker.
For those interested in selling Mazlina’s tapai, call 012-425 6558 or visit the factory at 6, Jalan Bukit Jati 5, Taman Bukit Jati, Klang, Selangor.