For Rodie, every performance comes at a cost

For almost five years, LRT stations were more than just places to perform for Rodie Jainahum and his visually impaired wife. They were close to home, sheltered from the weather and, most importantly, a dependable part of the couple’s livelihood.

That changed in 2022 when their access to those performance spaces ended. Rodie, who has been busking since 2005, said the loss of regular LRT slots cut into an income that had previously reached about RM1,500 a month and forced the couple to look elsewhere for places to sing.

“From Monday to Saturday, I used to depend on performances at LRT stations,” he told Bernama. “Bangsar LRT station is very close to our home, just within walking distance.

“Most importantly, we did not have to worry about getting caught in the rain or being exposed to the heat.”

Rodie said the arrangement ended after his account on the Buddey Talent app, which connects performers with venues, was suspended. He repeatedly sought an explanation but said he has yet to receive one.

Today, the father of three performs about three times a week at two restaurants and another location in Bangsar. The drop in opportunities has already affected his earnings; getting to the remaining venues adds another layer of difficulty.

Although public transport is free for people with disabilities, Rodie said that benefit is hard to use when he is travelling with more than 150kg of musical equipment. Carrying instruments and gear through stations, changing trains and navigating crowded platforms is simply not practical for him.

“Public transport is indeed free for persons with disabilities. But for visually impaired people carrying musical equipment, navigating in and out of stations and changing trains are no easy tasks,” he said.

“We have no choice but to use e-hailing services, even though the costs are exorbitant.”

A return journey from Bangsar to Shah Alam can cost between RM80 and RM100. Over the course of a month, Rodie estimates he spends around RM600 on transport alone.

When the numbers barely add up

Rodie said his monthly income is about RM1,500, including RM450 in welfare assistance. After paying RM200 in rent, around RM600 for e-hailing rides and another RM300 for equipment maintenance, he is left with roughly RM400.

The figures are stark, but Rodie is clear that he is not sharing them to invite pity.

“I am sharing my experience not to seek anyone’s sympathy,” he stressed. “This is the only job I enjoy and am capable of doing, from my younger days until old age.

“Even though the challenges are getting tougher, I have to persevere and carry on for the sake of my family’s livelihood.”

Rodie’s experience reflects a wider issue facing visually impaired performers: the ability to sing or play is only part of what determines whether they can earn consistently.

Access to suitable venues, proximity to home, reliable permits and the cost of moving equipment can all decide whether a performance is financially worthwhile.

Malaysian Association for the Blind chief executive officer George Thomas said visually impaired buskers often struggle to secure regular spaces, especially near where they live. Travelling farther may open more opportunities, but it can also wipe out much of what they earn.

“Visually impaired buskers who perform on an ad-hoc basis may not enjoy the same level of consistency in securing performance spaces as those with regular engagements,” he said.

He added that efforts are being made to coordinate more accessible and consistent opportunities, including through cooperation with local authorities and organisations representing performers.

Karyawan president Freddie Fernandez said the association has also been working with Kuala Lumpur City Hall (DBKL) to help visually impaired musicians obtain permits and access suitable locations. About 70 visually impaired street musicians are currently registered with the association.

For Rodie, though, the immediate concern remains simple: finding enough places to perform without spending most of the day’s earnings just getting there. The music is still there; the harder part is making sure the journey to the stage does not cost more than the performance itself.

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