
'Trace/Us' reflects on family and the imprints left by loved ones
Everyone grieves over the loss of their loved ones in different ways.
For arts practitioners Leysha Al-yahya and Theyvapaalan S. Jayaratnam, they came together to produce a touching and nostalgic video essay series.
Made as a tribute to Leysha's late grandfather, Abu Bakar Mohd Noor, and Theyvapaalan's late father, Jayaratnam Seevaratnam, the Trace/Us video project weaves together journal entries, love letters, photographs and personal stories to bring their loved ones back to life as they explore grief, identity, loss and life.
Thanks to a grant from the Krishen Jit Fund awarded last year, the two artists and their crew spent a week in George Town, Penang working on the project. Leysha retraced the footsteps of the man who would one day become her grandfather, while Theyvapaalan searched for the ghost of her father long gone. Both men had roots in Penang.
The resulting 20-minute video essays, which were screened in at Narrow Marrow in George Town last month, will be played concurrently on a loop at Triptyk in Kampung Attap, Kuala Lumpur from May 16-18.
The 'Trace/Us' team – (from left) Leysha, Iwaz, Armanzaki, Theyvapaalan, and Ng – will be presenting its video essay series in KL from May 16-18. Photo: Handout
Leysha and Theyvapaalan will join an artist talk on May 18.
In a recent interview about Trace/Us and its origins, Leysha shared that she discovered her grandfather's journal while clearing out his old house in Kulim, Kedah after his passing in 2009.
'It had these important dates from his life jotted down between the 1950s and the 1970s in Penang, and for the longest time, I was just holding on to it, wondering what I should do with it, because it was so interesting that what seemed like random dates to me were significant events in his life,' shares Leysha, 32, a playwright and theatre producer.
This project unfolded through a series of serendipitous discoveries and unexpected coincidences, each one weaving together in a way that felt perfectly timed.
For Theyvapaalan, 33, everything came together when it needed to.
A screenshot from Theyvapaalan's video essay. Photo: Handout
'I was rummaging around my parents' room looking for a car grant when I found these letters stashed away. I immediately recognised the writing as my father's, but the format was really odd; I never knew he wrote letters like this.
'I posted about them on social media and Leysha reached out to suggest that we work together on something,' says the multi-disciplinary artist.
Same people, different sides
Through the journal and letters, Leysha and Theyvapaalan were able to see different sides of the people they knew and loved.
'It was fascinating to explore the remnants of these people that we knew, because I knew him as my grandfather, but to learn about him as this young man coming out of school, someone who had just lost their father, someone who was trying to make ends meet, someone who fell in love, it was a powerful experience,' says Leysha.
'Working on Trace/Us has been such a beautiful experience that I think this is one of those defining projects of my life,' she adds.
A young Leysha as a toddler seen with her grandfather Abu Bakar Mohd Noor. Photo: Handout
Creating something so personal and cathartic was deeply exciting for Theyvapaalan – especially in a moment from the video essay that reveals her father's quiet, often overlooked poetry, even as her mother was long seen as the artistic one.
It was a classic case of discovering a man's softer side – a heartwarming find.
'But in his letters, he was writing high poetry, full of yearning and love, so I'm glad I got the chance to see my father through this lens and show a side of him that others have never seen before. I made sure to get my mum's permission, though!' says Theyvapaalan.
While working on the project, both artists felt they came to understand each other's loved ones and uncovered parallels that seemed almost destined.
'There was a strong sense that they were with us throughout this project,' says Theyvapaalan.
A still from Leysha's video essay. Photo: Handout
The Trace/Us team included Kenny Ng as producer, Iwaz as sound artist, Armanzaki Amirolzakri as producer/technical coordinator, and Ghali Foster as graphic designer.
Iwaz brought a thoughtful and innovative touch to the project with his unique soundscape, which accompanies the video essays.
'He took snippets from the journal and letters and input them into software that can produce notes and keys from the written samples, so it's literally music from their handwriting,' says Leysha.
Through this project, Leysha and Theyvapaalan hope to highlight the contributions that one single person can make towards a community, a society, and in turn, their country.
Trace/Us will be screened at Triptyk in Kampung Attap, KL from May 16-18 (noon to 7pm). Entry by donation: RM25. There will also be an artist talk with Leysha Al-yahya and Theyvapaalan S. Jayaratnam on May 18 at 8pm.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


The Star
a day ago
- The Star
Jonathan Anderson will now lead Dior men's, women's and couture – can he do it?
In a historic, if long-awaited, move, luxury goods behemoth LVMH named Jonathan Anderson creative director of Dior for womenswear, menswear and couture, making him the first designer to unite all sides of the brand since Christian Dior himself. Anderson is 'one of the creative talents of his generation', said Bernard Arnault, CEO of LVMH, in announcing the news – which also upends long-standing LVMH practice. Since 2001, when LVMH transformed the Dior men's line from a license to an integral part of the house, it has been conventional wisdom that no one designer can manage the burdens and pressures of both menswear and womenswear. Such a role involves creating 10 different collections a year for what is now estimated to be a US$9bil (approximately RM38.2bil) brand. Daring to rewrite those rules and concentrate all the power in the hands of a single designer is a risk for both brand and individual. But it also underscores the current precarious state of the industry, which has seen a broad slowdown in sales thanks to global political and economic unrest, and the general belief that a shake-up was needed. Anderson's appointment qualifies. It is the final step in what has been one of the most-drawn out succession dramas in modern fashion history as well as another move in an unprecedented shifting of fashion's creative landscape, with 17 different brands naming new designers in 2025 – four of them at LVMH alone. A file photo shows a model walking the runway during the Loewe Spring/Summer 2016 show as part of Paris Fashion Week. Photo: Digital Catwalk/NurPhoto via AFP Rumours about the Dior change began percolating through the industry in September, and picked up steam in January when Kim Jones, then artistic director of Dior menswear, resigned. Read more: Jonathan Anderson named women's creative director at Dior in major fashion move Anderson was named to the men's post in April somewhat unceremoniously – Arnault dropped the news in a general shareholder meeting before it had been officially announced, but Maria Grazia Chiuri remained artistic director for womenswear. Recently, she held a Dior Cruise show in Rome – and two days later the brand announced she was leaving. 'A change in creative leadership brings a fresh opportunity to reinvigorate the brand,' wrote Luca Solca, luxury analyst for Bernstein, in a note after Chiuri left. Anderson, 40, famously ambitious and charming, has been a part of LVMH since 2013, when he was named designer of Loewe, then a little known Spanish leather goods house the group had bought in 1996. Over 11 years, Anderson transformed Loewe from largely irrelevant to one of the hottest brands in fashion, with annual revenues estimated at US$2bil (RM8.5bil). He proved expert at balancing the kind of high-concept runway collections that create buzz and boggle the eye with commercial products. On the one hand, he would show dresses with cars in their hems or tailcoats microbeaded to resemble classic country house tapestries; on the other, he created accessories like the Loewe Puzzle bag that became classics, and internet-friendly stilettos with sunny side up eggs trapped under the point of the heel. Both provided catnip for celebrities seeking a bit of edge, with his Loewe circle including Josh O'Connor, Ayo Edebiri, Greta Lee and Daniel Craig, who used a controversial Loewe ad campaign to shed his James Bond stereotype. As if in acknowledgment of his achievement, in 2024 Loewe was the chief sponsor of the Met Gala, and Anderson stood in the receiving line next to Anna Wintour – who was wearing an embroidered Loewe tailcoat over her Loewe dress. Still, Anderson showed signs of restlessness, partnering with director Luca Guadagnino, another creator who bridges the worlds of art house and pop culture, to design the costumes for two of Guadagnino's films, Challengers and Queer . Read more: A look back at Jonathan Anderson's star-studded legacy of dressing celebrities Despite such a seemingly bountiful creative output, uniting both sides of Dior will be a very public challenge. While Anderson had years to find his groove at Loewe (where he has been replaced by Jack McCollough and Lazaro Hernandez of Proenza Schouler), he will not be granted the same grace period at Dior, which is both the cornerstone of the LVMH empire and responsible for an estimated 20% of the fashion and leather goods revenues of the group. Famously the pet brand of Arnault, it was publicly identified as an underperformer in the 2024 financial results by Cecile Cabanis, the LVMH chief financial officer. The pressures of designing for Dior were blamed by former artistic director John Galliano for the addictions that caused his own personal implosion in 2011, as well as his dismissal from LVMH – and he was only in charge of womenswear. Anderson will be expected to reverse that direction starting with his first show, to be held in June during the menswear season; his first womenswear show will take place in October. He has put his namesake brand, JW Anderson, on hold, the better to focus on Dior. In the news release, he called getting the job 'a great honour'. Whether it is an anomaly or a paradigm shift remains to be seen. – ©2025 The New York Times Company This article originally appeared in The New York Times.


The Star
a day ago
- The Star
Is Labubu the next Hello Kitty? Analysts debate Pop Mart's limits
Pop Mart, the company behind the hit collectible character Labubu, was virtually unknown outside mainland China before 2024, but now some analysts are comparing its success to that of Sanrio and its Hello Kitty property, suggesting that the Beijing toymaker could have created a new playbook for cultural exports. Labubu, a sharp-fanged but cute little monster that is often sold as a plush clip-on charm for handbags, has attracted high-profile fans including the family of football star David Beckham. Its popularity pushed Pop Mart's Hong Kong-listed shares to a record high of HK$234 last week, after the company's market capitalisation topped HK$300 billion (US$38 billion) the week before. The rally followed the April debut of the Labubu 3.0 series, which drew long queues in London, New York, and Dubai. 'For years, there's been a push [for Chinese companies] to 'go global' by exporting heritage and storytelling,' said Chris Pereira, founder and CEO at iMpact, a brand consulting company in Singapore. 'But Labubu flips that script. It's not trying to explain China, it's just trying to be lovable.' The sustained hype around Labubu had 'great similarities' to Hello Kitty, which turned 50 last year, according to JPMorgan Chase. The US bank said that beyond common traits in character design and business model, Labubu was also catching up with Hello Kitty in areas such as merchandising, licensing and Google Trends search interest. With international sales surging more than 480 per cent year on year in the first quarter, led by increases of 900 per cent in the US and 600 per cent in Europe, Pop Mart has become a new favourite among investors. Pereira said the popularity of the intellectual property (IP) opens the door for a wave of Chinese brands to succeed not because they are about China, but because they tap into universal emotions through strong design and clever marketing. 'They are telling a successful Chinese story without ever mentioning China,' he said. JPMorgan Chase initiated coverage of Pop Mart last week with a rating of overweight, and set its price target at HK$250 – the most bullish prediction among 43 analysts covering the toymaker. 'Labubu's meteoric rise is driven by a combination of factors,' said Richard Lin, chief consumer analyst at SPDB International, a Hong Kong-based investment bank. 'This includes the scarcity of the product itself, which has fuelled spontaneous social-media promotion by those lucky enough to get their hands on the toy' – a form of conspicuous consumption, he noted. Moreover, the character appeals to global consumers with its 'mischievous, cheeky image' that fans find irresistible, he said. 'I think this kind of vibe stands out more compared to something like Hello Kitty,' Lin added. 'In today's context, Hello Kitty might not resonate as much with younger audiences, who tend to look for characters with more individuality and edge.' With Pop Mart's shares rising nearly tenfold over the past year following Labubu's surge in popularity across Southeast Asia, JPMorgan is bullish on the company's long-term growth prospects. The bank identified 'multiple potential sources of incremental earnings,' ranging from new super IP launches and licensing to stationery, jewellery and even theme parks. 'Labubu's success is really a reflection of Pop Mart's own strengths in operations, marketing and product development,' said SPDB International's Lin. 'So what people can have confidence in is that even if Labubu cools down today, there will be new IPs coming tomorrow.' That sentiment is not universal, however. As stunning as Labubu's success has been, it has decades to go to match Hello Kitty's staying power, and whether the company can nurture other hit products is an open question. 'We think the biggest uncertainty lies in the relevance of Pop Mart's IPs, as they may become less popular among global pop-toy fans over the next few years,' said Jeff Zhang, an equity analyst who covers Pop Mart for Morningstar. 'Additionally, Pop Mart might overexpand in regions where demand for its products is weaker and see less operating leverage as a result.' Sanrio, the Japanese company that owns the Hello Kitty and Kuromi IPs, has returned investors a total 646 per cent, including share price gains and dividend payouts, since its listing in 1982. Pop Mart has returned 488 per cent so far. Additional reporting by Zhang Shidong - SOUTH CHINA MORNING POST


The Star
2 days ago
- The Star
'Lost Records': A 90s summer mystery with alternate endings
BERLIN: In Lost Records: Bloom & Rage , players journey back in time to 1995. Don't Nod Entertainment, the development studio behind the game is known for story-driven games such as Life Is Strange (2015) and Vampyr (2018), and here it's focusing on friendship and nostalgia in its new mystery adventure. The game, which takes place in two parts, tells the story of teenagers Swann, Nora, Autumn and Kat in the 1990s, during which time Kat disappeared. Twenty-seven years later, a mysterious package leads the friends back to their hometown of Velvet Cove. Kat has never been found. What really happened back then gradually comes to light. In the game, you slip into the role of Swann. Her faithful companion as a teen is a VHS camcorder, which she uses to roam Velvet Cove and document her everyday life with her friends. The four form a punk band, experience formative moments, and find themselves in situations that test their friendship. You repeatedly have to make decisions for Swann that directly influence conversations, relationships, and the course of the story. You usually have up to three options to choose from. As you jump back and forth between the two timelines, a dark secret slowly reveals itself. Along with Swann, the other characters in the game also seem realistic and well-developed. Their personalities and development contribute significantly to the emotional depth of the story. Added to this is a well-crafted soundtrack and a nostalgic 1990s soundtrack. The game's high level of detail and contemporary visuals are also impressive. Warm and vibrant colours create a special atmosphere during the eight to ten hours of gameplay. This can even be extended by accessing individual scenes using the menu, making different decisions, and subsequently discovering the story's alternative endings. Lost Records: Bloom & Rage is available for €40 (RM 193) /US$40 (R M169) for the PlayStation 5, the Xbox Series and PCs. The age rating is 12 years. – dpa