Online Publication Date: 15th August 2012 Publisher: Asian Economic and Social Society
The Contemporary Musical Theatre in Malaysia
Loo Fung Chiat (Department of Music, Universiti Putra Malaysia 43400, UPM Serdang, Selangor. Malaysia)
Loo Fung Ying (Cultural Centre, University of Malaya, 50603 Kuala Lumpur, Malaysia)
Citation: Loo Fung Chiat, Loo Fung Ying (2012) “The Contemporary Musical Theatre in Malaysia” International Journal of Asian Social Science Vol. 2, No. 8, pp. 1339-1358.
Acknowledgements We wish to express our sincere thanks to the University Putra Malaysia‟s Research University Grant Scheme for lending helpful financial support for our research on local musical production.
International Journal of Asian Social Science, 2(8), pp. 1339-1358.
The Contemporary Musical Theatre in Malaysia
Abstract
Musical theatre production in Malaysia in recent years has been growing. Some productions are low-budget small scale
concerns, while some are larger-scale musicals, involving Author (s) professionals from different areas of expertise, a huge budget
and a longer period of planning. The larger-scale musicals Loo Fung Chiat have proven their success, such as Puteri Gunung Ledang, Department of Music, Universiti Siddharta, Butterfly Lovers and Jewel of Tibet. Among the Putra Malaysia 43400, UPM many musical productions, four main organizations that are Serdang, Selangor. Malaysia actively involved in musical productions have been examined E-mail: [email protected] for their identity and characteristics of the musicals they E-mail: [email protected] produce. The article highlights how local musicals have been
performed in a Westernized concept. Some issues will be Loo Fung Ying discussed regarding the approach, opinions and methods stated Cultural Centre, University of by music directors and composers from different local musical Malaya, Kuala Lumpur theatres. It is shown that the influence of the Western Email: [email protected] Musicals is strongly reflected in local modern musical theatre.
Keywords: Malaysia, Musical, Identity, Modernity
Introduction performances. Another reason that has contributed to the development of various art Performing arts in Malaysia are growing forms is the increase in arts subjects in the rapidly, in parallel with development in Malaysian education system, as is evident in various subjects including music, theatre and many tertiary institutions, whether publicly or dance. As well as the growth of Malaysia as privately funded. a developing country, one of the reasons is the increasing number of public concert halls and Malaysian theatre appears to have a vast theatres, such as Istana Budaya, Dewan history that covers forms categorized as Philharmonic, and Kuala Lumpur Performing traditional and contemporary. Scholars have Arts Centre, in the last decade. This has looked into the various theatres, drama and indirectly provided more opportunities and plays in Malaysia such as the Wayang kulit, platforms for various art groups, whether Bangsawan, Sandiwara, Boria and others professional or amateur. The accessibility of (Osnes 2010; Diamond 2002; Tan 1993; these public halls and theatres also assists in Bujang 1987); nevertheless, there seems to increasing audience numbers, which is have been limited discussion and analysis of
important as the support of various contemporary musical theatre. In recent
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The Contemporary Musical Theatre….. decades, local production of musical theatre a given moment,” justifies the development has increased quite significantly to the extent and reflects why musical theatre has been that the success of some of these productions increasingly produced in Kuala Lumpur, the resulted in invitation and sponsorship to capital of Malaysia, in recent years. perform abroad. Musical theatre as discussed in this article refers to the contemporary The Local Contemporary Musical Theatre musicals which have been much influenced by Comparable to Kay Li‟s article (Li 2007) Broadway and West End musicals. Even in the discussing how Hong Kong‟s contemporary historically based sandiwara, which places theatre reflects the globalized city in its more importance on song and dance than the performances, it is worth discussing the broad script, Diamond (2002:26) has stated that context of Malaysian musicals, which is due to “some of the hastily contrived extravaganzas Malaysia being a multiracial country whose of the late 1990s followed a similar formula, populations includes the bumiputera (Malay) although utilizing a Broadway model rather (67.4%), Chinese (24.6%), Indian (7.3%), than a local one.” others (0.7%) (The Star 29 July 2011). Looking solely at the titles of Malaysian Although Malaysia is a multicultural country Musicals, the contents are rich, with subjects with a population consisting of Malays, varying from epics, history, biography, original Chinese, Indians and others, it is interesting to fiction and so forth. Undoubtedly, most of the analyse how these musicals are produced contexts adapted from epics or historical locally and the hybrid style embedded in these accounts came from the two biggest sections performances. The hybrid style in these of the population, which are Malay and productions can be found in various aspects, Chinese. Taking into account that local particularly the costumes, music, and the contemporary musical theatre is growing in language used. Undoubtedly, art forms have prominence as one of the important gradually transformed due to the changes in performing art forms, and considering the fact society and the consistent influence of that its localization is blended with a Western globalization and modernization. While much Musical approach, some significances did literature focuses on the development of the emerge and will be discussed. While looking theatre in general, comprising theatre, plays, from the perspective of these productions, musicals, drama and so forth, this article will another important aspect is to find out how concentrate only on local modern musical local audiences perceive this art form. theatre. Research (on 660 respondents) investigating audience response to selected Malaysian art Although musicals in Malaysia certainly show concerts showed that Musical recorded the a contrasting context in comparison with most preferred genre in comparison to a list of Musicals in the West, Kenrick‟s (2008) music genres such as Western classical, pop, statement that „history shows us that musicals jazz, and opera (Loo 2009). Although this
thrive in cities that are the “happening place‟ at survey cannot serve as a representative sample,
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International Journal of Asian Social Science, 2(8), pp. 1339-1358. the preference gathered from the audience Performing Arts Centre (KLPac). Their certainly contributes to a positive future for musicals are considered to be large-scale this art form. productions for the reasons mentioned above: the number of performances, consistency of In Malaysia, musicals are performed in both publicity in various media, tickets sale, and large- and small-scale productions, which can performances abroad. All performances be reflected in the revenue, the venue and considered took place between 2006 and 2010 audience. Most of the small-scale musicals are and their individual significance may to a part of activities in an organization regardless certain extent contribute to the identity and of schools or any associations, and raising present the hybrid style of local modern revenue is not the main reason for these. In productions in Malaysia. The chosen terms of the quality of the props and costumes, musicals in this article were all stage musicals. these productions are produced using an As many art forms vary within themselves or economical approach due to the lack of amalgamate with other forms, the musical as funding; casts are amateurish, as most of the discussed here reflects Kenrick‟s (2008:14) performers and musicians are students, not definition: professional artists. These small-scale musicals Musical (noun): a stage, television, or are performed mostly in schools, colleges, film production utilizing popular style universities, and also by different associations, songs to either tell a story or to showcase usually running for only one or a few the talents of writers and/or performers, performances. with dialogue optional. The chosen musicals were analysed through In the public arena, some productions have observation and interview with selected music more significant performances with a much directors, performers, music composers, and more profound impact. In contrast to the performers. Interviews with production teams small-scale Musicals, these productions are from various productions were held mainly to usually managed by professional organizations seek their opinions and experiences of the in the performing arts and each production is musicals. We also investigated one of the local planned with a given budget, with sponsors, productions, Dama Orchestra, from an insider publicity in various media. Audience reception perspective, due to long collaboration with this and turnover are important in determining organization in music composing and future productions. Productions that have the arrangement and also our participation as opportunity to perform abroad also have an musicians in many performances. important role in representing the current trend of musical theatre in Malaysia. The discussion Selected Musical Theatre Organization below focuses on four organizations which are actively involved with musical production: Enfiniti Production Enfiniti Production; Musical On Stage Perhaps Malaysia‟s most influential production,
(MOSP); Dama Orchestra; and Kuala Lumpur which analogues to the Western
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The Contemporary Musical Theatre…..
“megamusical,” was Enfiniti‟s Puteri Gunung producer, Tan Sri P. Ramlee (1929–1973). Ledang. Enfiniti production was established by Tiara Jacquelina, a Malaysian-born actress and Musical on Stage Production film producer of Burmese-Indonesian-Chinese lineage. This organization was founded in The founder of Musical on Stage Production 2003 as an expansion of Kit Kat Club (MOSP) is Ho Lin Huey, a producer, director Entertainment and Ten and Ten Picture, with a and writer, and its goal is to produce “top reputation in the field of entertainment and notch Malaysian musicals” production (http://www.enfiniti.com.my/). (http://www.musicalonstage.c om/). The first musical by this production was Siddharta – Among the many productions, two significant The Musical (1999), performed at the Bukit musicals were produced by this company: Jalil Stadium, Kuala Lumpur, and at that time Puteri Gunung Ledang (PGL) – The Musical considered the biggest Malaysian musical. was debuted in February 2006 and later Although the first musical, it was successfully followed by P. Ramlee – The Musical in 2007. taken to Singapore and South Africa. This was PGL was based on a famous epic Malay followed by other productions such as Above legend, and the musical was derived from the the Full Moon (2004), The Perfect Circle movie with the same title produced in 2003. It (2006) and Jewel of Tibet (2008). After a was an award-winning film featuring the decade, Siddharta - The Musical was revised producer herself, Tiara, and it was considered and performed again in 2009 at the Istana in the Foreign Film Category of the Academy Budaya. Awards. The story, set in the late 15th century, tells of the romance of a Majapahit princess, MOSP is known for its association with Gusti Putri and Hang Tuah, a Malacca warrior. Buddhism and this is in evidence not only Due to the Indonesian origin, the Malay through Siddharta but also Above the Full language with a mixture of Javanese-accented moon, The Perfect Circle and Jewel of Tibet.¹ Malay was used in the performance, while One of the main reasons for this may be that a English subtitles were provided. It was the few members in this production are highly longest running musical in Malaysia with three devoted to Buddhism. Apart from working seasons (February 2006; August 2006; 2009) with MOSP as composer for almost all the and there were also performances at the productions, Imee Ooi has a reputation as a Esplanade in Singapore (November 2006). P. famous Malaysian composer of Buddhist Ramlee – The Musical, the second major music. Establishing her own studio IMM production by Enfiniti, was performed for two Musicworks, in 1997, she has released more seasons (18 September – 3 October in 2007; than 20 albums which have also been and 28 May – 14 June 2008). It was a successfully marketed in Taiwan. Another biographical musical that featured the life of figure is Yang Wei Han, a devoted Buddhist, one of Malaysia‟s most popular figures in who is not only the lead singer for most of the
film-actor, songwriter, director, singer and productions but also the video image designer
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International Journal of Asian Social Science, 2(8), pp. 1339-1358. for these musicals. Yang was also a famous director, the musical highlighted famous pop singer in the 1990‟s and took the role of popular singers among the Chinese community, Siddharta in the Musical. in particularly winners from the Astro Classic Above the Full Moon was premiered in July Golden Melody Singing.³ Implementing the 2004 and later performed again at the Genting Prime Minister‟s slogan 1Malaysia – referring International Showroom² in to the unity of the various races in the country October-November 2005. This musical – both Ho and Ooi also engaged themselves in described the life of Lee Shu Tong, a Kita (We) – The Musical, produced by Xiyue prominent artiste in early 20th century China Art and Culture and organized by the who later converted to a monk, taking the Department of National Unity and Ministry of name Master Hong Yi, and contributed greatly Information, Communication and Culture. to the modernization of Buddhist chant and This musical was about three ordinary boys music. A Perfect Circle produced in 2006 living together in harmony to reflect the spirit tells about the story related to Buddhism in of 1Malaysia in the 1960‟s and 70‟s, in which four segments, which are Karma and Samsara, the story continues until the Prime Minister The Buddha and Rahula, The Great Sixth launched the motto of 1Malaysia in 2009. Patriarch of Zen Buddhism and The Great Compassion. Different from other productions, Dama Orchestra each segment of this Musical was augmented Another Chinese group that is actively by a question and answer session between an involved in musical theatre production is MC and the invited guest from Taiwan, Dama Orchestra. It was founded in 1993 by Venerable Manya, who has a mission to reach Khor Seng Chew as producer, music director people of different cultures by travelling and also pipa player and guitarist. Pun Kai around countries (Ker 2006). Jewel of Tibet Loon joined Dama as artistic director several (2008) was based on a true story about years later and was the main reason why the Princess Wen Cheng from the Tang dynasty organization involved in musical theatre. who married and brought Buddhism to Tibet. Dama was originally a Chinese orchestra comprising 20-30 instrumentalists with a In contrast to Enfiniti, MOSP represents the repertoire of mainly traditional numbers. It Malaysian Chinese community for this art was a not-for-profit organization at that time form. These productions portray one of the and the musicians were basically involved local Chinese musical productions featuring because of their interest in and enthusiasm for the Mandarin language, with the content and the music. During the 1990‟s the function of the hallmark of MOSP having Buddhism as this orchestra was not much different from that the focus. While centered on Buddhism, in of other Chinese orchestras in Malaysia. It 2010 the production came out with a very acted more like a music club for leisure and different musical Singing Market, featuring most of the members had permanent day jobs popular Chinese songs from the 1950‟s to 70‟s (Tan 2000).
(Devan 2010). With Cody Fong as a music
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For a Chinese orchestra and for arts music in Dama‟s first “theatrical” concert was In the Malaysia, survival and maintenance is not easy Imperial Garden (2002), in which a mixture of especially in terms of financial aspects. The songs by Theresa Teng and New Age Chinese directors soon found many problems, music was used with poems from the Tang and particularly with sponsorship, commitment of Song dynasties. Based on the lyrics of the musicians to be there at every rehearsal, and, chosen songs, a legendary story was created more critically, a limited audience pool to which told a modern fable about how good appreciate the traditional or classic repertoire. triumphs over evil on Kingdom Earth. In realization of all these matters, the directors Although it cannot be fully considered as immediately came up with an innovative musical theatre, this story was presented with approach to re-vamp this orchestra, in other stagecraft, solo dancing, singing and acting. words, innovation was necessary for Dama to With these few elements, perhaps this was the survive and be marketed to the public. first step in Dama orchestra changing the concept of its productions to a more theatrical The turning point of Dama came about in 1997. approach. Imperial Garden was followed by Three main actions were taken – downsizing productions with a similar concept, such as the orchestra, changing the repertory, and Fragrance of the Night (2002) featuring songs adding a whole new presentation to from the songstress Li Xiang Lan; Love performance. First of all, the orchestra was Without End (2003), a combination of Chinese downsized to only six musicians. Their first golden oldies; Musical Sojourn (2003) which performance was named Spring Kisses Lovers featured popular music around the world; Tears, featuring Chinese “oldies” from famous Memories (2003), a performance that Chinese songstresses and movie stars from showcased Chinese Golden Oldies from Hong Kong and Shanghai in the 1930s to previous productions; La Cabaret Shanghai 1960‟s. The use of staging revealed a brand (2004) featuring Chinese Oldies and dance in a new image, in which theatrical elements were night club style; and September Tale (2005), brought in, singers acted along with the lyrics the biography of the famous Taiwan songstress of the song, and a story line was added, Teresa Teng. It is clear that the productions together with the design of special costumes, from 2003-2005 concentrated on Chinese lighting and stagecraft that successfully Golden Oldies and this has becomes one of the captured the audience‟s attention. The success significant features of Dama Orchestra in the of this production was evident. The concert Malaysian concert scene. All these was performed in twenty-one venues performances were led by the throughout Malaysia and the success brought classically-trained vocalist Tan Soo Suan who the whole troupe to Shanghai in 2003. By became the main “actress” in most of these looking at the potential of such concerts, the productions. The classical singing of these directors instantly found assurance for songs, together with an ensemble which has a continuing on the same path. fusion of Chinese and Western instruments,
became the trademark of Dama orchestra.
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International Journal of Asian Social Science, 2(8), pp. 1339-1358.
Dama‟s first musical theatre Butterfly Lovers singsong and dance musical spanning the era –The Musical (2006) was based on the Shaw from Old Shanghai to the Silver Screen of the Brother‟s in 1963 story The Lover Eterne. It is Shaw Brothers and Cathay cinemas; although also famously known as Liang Shan Bo Zhu without dialogue, narration in English leads Ying Tai or Liang Zhu among the Chinese the storyline. It was a book by Pun about a community. The songs and the script were village girl who had the opportunity to become based on the film featuring huangmei folk a star in the city, and illustrated her romance songs, but although the melodies and lyrics and challenges together with other subplots. were retained, the songs and music were This production ran for twenty performances completely rearranged in a new style. A at the KLPac in October 2010. narrator in English served as one of the cast and at the same time narrated the story Kuala Lumpur Performing Arts Centre alongside the performance. The Butterfly (Klpac) Lovers performed for three seasons, at the When KLPac is mentioned, the name usually Kuala Lumpur Performing Arts Centre refers to the venue and hall, although it can (October 2006) at the Genting Highland also refer to an organization established by International Showroom (April 2007) and at Yayasan Budi Penyayang Malaysia, Yeoh The Majestic Theatre, Perth, Australia (June Tiong Lai (YTL) Corporation Berhad (a 2007). The second musical I Have a Date with developer) and The Actor Studio Malaysia Spring (2009) was based on a play performed (TAS). The establishment of KLPac initially by the Hong Kong Repertory Theatre in came from two individuals, Faridah Merican October 1992 and 1993, with a script written and Joe Hasham. As reported in the article by Raymond To Kwok Wai and directed by Ko by Diamond (2002), both Merican and Tin Lung. It featured the life of four nightclub Hasham were also the founders of TAS and singers, each with a different character, and had contributed greatly to English theatre in how they survived in the club and the changes Malaysia since the 1970‟s. TAS was founded in society throughout those years. The story in 1995 situated below Dataran Merdeka (the begins with the lead singer, Butterfly, who Independent Square in Kuala Lumpur) and returned from Canada in 1987 and the plot was the first privately-owned theatre in flashes back to 1967 and her life together with Malaysia. In 2003 an unpredictable flash three good friends in the nightclub. The floods in Kuala Lumpur brought tragedy and musical was performed for two seasons; it was destroyed all the shops and infrastructures debuted at the KLPac in October 2009 and below Dataran Merdeka, including TAS.⁴ Due again at Perth, Australia, altogether running for to the damage, TAS needed a new venue and more than twenty performances. so Hasham and Merican together with their partners found the old National Railway (KTM) The third musical from this production, Glitz warehouse in YTL Corporation‟s Sentul West. and Glamour (2010), reflects its previous With the recommendation of the late Datin
shows of Chinese Golden Oldies. This is a Paduka Seri Endon (then chairman of Yayasan
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Budi Penyayang), the late wife of the previous explained by Lim (2009). Prime Minister, Tun Abdullah Badawi, the CEO of YTL Francis Yeoh agreed to the With the same production team, another proposal of KLPac. It was launched on 21 musical, Tunku (2008), was produced May 2004 and the production team has utilized celebrating the 50th anniversary of Malaysia‟s the venue since 9 May 2005 independence. This musical gave the audience (http://www.klpac.org/?page_id=1983). an “insight into how Merdeka had changed the people‟s lives through the hopes, aspirations From the history of TAS, there is no doubt that and sacrifices made by the nation‟s Founding countless theatrical productions have been Father,” the late Tunku Abdul Rahman (Kaur performed. Being a producer, actress and 2007). It ran from 11 August until 2 director, Merican was known as the First Lady September 2008 with more than twenty of Malaysian Theatre (Venugopal 2011); her performances. Another biographical early acting credits include such plays as Lela production followed, Ismail – The Last Day Mayang, Tok Perak, Uda dan Dara and Alang (running from 7–31 August 2008) about the Rentak Seribu. Her husband, Hasham, a later years of Tun Dr. Ismail Abdul Rahman, Lebanese, migrated to Malaysia from Australia Malaysia‟s third prime minister. It was in 1984 where they started up TAS. As the produced in the same period of time for artistic director of KLPac, he was also a film Malaysian‟s Independence Day. Having been director, recording artist, and producer of organized by KLPac, this musical introduced many theatre performances. some new members into the production team, including Ng U-En as the script writer, Datuk Along many productions of drama, plays, Johari Saleh, who lead Radio Televisyen theatre and other performances, perhaps the Malaysian (RTM) in the 1960‟s and 70‟s, as first remarkable musical theatre that was the composer, and music director Mervyn staged by KLPac was Broken Bridges (2006). Peter. The production also incorporated The musical produced by composer Lim poems of the late National Literature Laureate, Chuang Yik and lyricist Teng Ky-Gen, the Datuk Usman Awang (Sia 2008). In lyricist and directed by Joe Hasham, was about comparison with Tunku or P. Ramlee, this the story of a father and a son from Ipoh in the production was not as successful in the eyes of olden days. Perhaps the setting was because some critics: some felt that the biographical both Lim and Teng hailed from Ipoh. An story of Tun Dr. Ismail would be better original story by Lim and Teng, this projected by a stage play rather than a musical, production reflects an issue common in current due to the fact that the politician‟s personality, society, delineating the relationship between a as stated, “unlike a personality such as Tan Sri father and his son who abandoned the family P. Ramlee, Ismail seems an unlikely character to move into the capital due to his materialistic to simply burst into song” (Vengadesan 2008). character. This production was the first step of Other significant productions include the
the team to produce “Broadway” musical, as Broadway Parodies Lah (2007) and Broadway
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International Journal of Asian Social Science, 2(8), pp. 1339-1358.
Parodies Lagi Lah (2008) which were „a both dialogues and lyrics. collection of songs about Malaysian life set to In terms of language, all these musical the tunes of Broadway hits and a couple of productions reveal many aspects of Disney movie tracks‟ (Kanter 2008). For localization, although it is equally important example, one of the songs describes the worry they embrace a western approach. Although of a girl who is required to participate in performed for the multiracial community of National Service with the song “I am Sixteen Malaysia, non-English musicals are mostly Going to Seventeen” from The sound of music; supplemented with English subtitles rather or lyrics were changed, such as “I Could Have than subtitles in the national Malay language. Danced All Night” from My Fair Lady A possible reason is perhaps because the becoming “We Must Play Golf All Night.” majority of theatre-goers are non-Malay. However, this is a production of a collection of Different organizations have shown clearly the songs set in various scenes, more like a singing language used in their musicals productions, concert with acting and drama instead of a for example Enfiniti uses Malay and MOSP, musical. Chinese, in all their productions. This has become part of the identity of the particular Issues in the representation of language, production company, but the choice of story costume and music also explains why the language chosen is more appropriate, along with the background of the Language synopsis. To a certain extent, authenticity From the many productions, it is evident each might not be achieved if PGL were performed organization produces musicals that bear in English or Mandarin. However, significant approach and predilection in some production of musicals and Operas that use a aspects. The different backgrounds of the foreign language to portray a different culture organizations probably explain the are not new in the globalized world. As Swain characteristics and contexts of the musicals (2002: 265) gives a fine example: performed. For example, Enfiniti, whose Certainly a large number of opera have production team is mostly Malay, naturally settings foreign to the composer‟s home chose the legend of Puteri Gunung Ledang and culture: The Abduction from the Seraglio also the biography of Tan Sri P.Ramlee, one of (Mozart in Turkey), Aida (Verdi in Malaysia‟s most popular artists in the 1960‟s Egypt), and Turandot (Puccini in China) and 70‟s. On the other hand, both Dama and come to mind immediately, and perhaps MOSP featured Chinese legend, history, the entire Baroque tradition of Opera Buddhism, and Chinese popular music in Seria, preoccupied with antiquity and various eras in their productions. KLPac, myth, could be compared with these, described as the “English language theatre” although it does not use the foreign group (Diamond 2002) and associated with elements in the same way. The Actor Studio, has performed the local In the literature of musical, this could apply to
issues, although mostly rendered in English in productions such as Rogers and
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Hammerstein‟s Flower Drum Song, King and I, Love Eterne, which featured huangmei songs, South Pacific and many others. Although these as mentioned earlier. Using Mandarin, the works have become internationally famous, musical follows the script in the film and also they were originally composed for an audience the melody of the huangmei folk songs exactly. which was similarly foreign to the particular Apart from the set design and the costume, the culture portrayed. Looking from the other major change in this musical is the point of view, authenticity may be challenged arrangement of all huangmei songs in a if a foreign language is used, particularly for modern manner together with the singing style legends or epics. Depending on the views of of the cast. the audience and also taking into consideration the background of the audience, a musical Nevertheless, this musical of Chinese legend using a Chinese set and legend sung or spoken together with the more formal Mandarin used in English may sound alien to a more in that era targeted an audience from the traditional Chinese community or to those who Chinese community. However, it is important are not exposed to foreign languages. to note that there is a considerable population Despite the setting and music, the essence of of Chinese in Malaysia who are not language and communication may be lost. For Chinese-educated, meaning that this section example, the aesthetics in Chinese poems and of the community does not speak or write text, or a dialogical style such as that used in a Chinese, nor understand Mandarin (although palace, can hardly be replaced or even lost, some understand dialects, this community is although this depends on the concept of a commonly termed as “banana” in Malaysia, production. meaning yellow skin with an English [white] background). Both producers Khor and Pun While both Enfiniti and MOSP show a strong certainly predicted these problems, probably attachment and localization in using Malay due to the fact that Pun himself came from a and Mandarin in their productions, the use of non-Chinese-educated background. Taking this mixed languages can be found in Dama‟s matter into consideration, one of the added productions. Dama‟s recognition of aspects in the musical is the inclusion of a Chineseness in Malaysia is demonstrated not character who narrates in English. To serve a only in its music performance, but also in the new few function in the musical, the story was overall presentation. This is no doubt narrated alongside the performance, providing explained by looking at its background as a a third-party opinion and also the role of Ma Chinese orchestra and together with their Wen Chai – the rich man who was intended to fellow musicians. Their approach in promoting marry Zhu. The role of Ma is only revealed at Chinese oldies and instrument has been the end of the musical, surprising the audience apparent to the public, particularly the Chinese with his identity. This is because those familiar community in Malaysia. Dama debuted its with the film knows that Ma‟s role only exists first musical The Butterfly Lovers (2006), in the dialogue of the film but not in person.
based on the Shaw Brother‟s musical film The The narration functions in story-telling and
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International Journal of Asian Social Science, 2(8), pp. 1339-1358. criticizing the different roles, and was believed the issue of a couple affected by Aids, to strengthen the understanding of the emphasizing that the disease is a serious threat non-Chinese educated audience and not only in Malaysia but also around the world. non-Chinese audience even though subtitles in Regardless of the synopsis of these musicals, both Chinese and English were provided. dialogues and songs were all presented completely in English. On one hand, the In the midst of concern about the audience localizations thus strongly portrayed in these understanding the story, in particular for the musicals reflect Malaysia‟s historical accounts performance in Perth, Pun stated “Language and also the current society, but on the other will not be a problem as there are English hand, globalization is exhibited in the subtitles for non-Mandarin speakers, but production approach. Not only is English used would the culturally-dissimilar Perth audience on a stage portraying a multi-racial cast, the get it?” (Yoong 2008). In that, the narration use of Broadway or West End style of music is perhaps acted as an effective supplement in the also evident, which will be explained in the three performances at the Majestic Theatre, following discussion. Perth, Australia in 2007. While a large crowd of Chinese audience was expected at the city Costume of Perth, the English narration assisted not Whether or not to describe these local musical only the non-Chinese but also those for whom theatre productions as bearing more of the unfamiliar with the legend and the cultural elements of traditional or Broadway/West End differences were unfamiliar. style is hardly justified since the individual aspects from these productions contribute to The purely English language local musical the entire outcome. But another issue of theatre came from the KLPac organization. In discussion is how the representation of these comparison to other productions that feature subjects appeals to different parties or is meant epics or legends, KLPac‟s localization is to simulate them. Most of the members in each shown in its historical aspects, such as the two production team are locals despite their biographical musical Tunku and Ismail, professional backgrounds, but even so intrinsic featuring the two prime ministers in artistry varies with each individual, or the conjunction with the Merdeka (Independence) creative team stamps its hallmark on each celebration. The localization of their production. Both audio and visual subjects are production also includes the Broken Bridge, equally important in the musical theatre and, Adam and so forth which narrate the lifestyle analogues to a chemical reaction, the or issues of the current community in Malaysia. characteristics and style of each entity Broken Bridges tells about the phenomenon of determines the identity of the end product. young people who abandon their villages in The delivery of the dialogue or lyrics in order to survive in the modern city, and how different language is discussed above, but the this affects their relationship with family music, costumes, props and stage craft are also
members and friends, while Adam highlights important components affecting the end
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The Contemporary Musical Theatre….. product of these performances. Looking across may be totally irrelevant in local productions all productions, the fundamental style of the as not only does the ethnicity of the casting costume designs did not contradict the era of conform to the particular narrative, but the each synopsis although each production background of the production team is no presented its own creativity in these subjects. different, although with a mixture of one or “Contradict” in this context means that the two who are non-Malaysian. For example, creativity in these productions did not go this could be applied to PGL, in which all the beyond the expectation of the audience principle roles are Malays; Siddharta and perception, as might be the case in avant garde Jewel of Tibet are Chinese; Butterfly Lovers productions. To a certain extent, while not and I have a date with Spring are also Chinese; rigidly analyzing these costumes according to while KLPac productions such as Tunku and a designated era, authenticity is somehow Ismail came with a multiracial cast which achieved together with the ethnicity of the cast corresponded with the narrative. in each production. The issue of conforming to the “local colour” in accommodating the In addition, as mentioned, the creativity of authenticity of the legend of narrative does not costume design in these productions does not apply in local productions, although these have travel beyond the period itself and the effort to raised much discussion in many contemporary maintain authenticity is clearly shown. The productions around the world. For example, processes of some of these productions are it was explained by Metzger (2003) how documented. For example, the research of Zhang Yimou infused more Chinese elements Majapahit costumes portrayed in the PGL not in his staging of Turandot by training the only took Akma Suriati to forty shops in actors in the subtleties of court rituals and search for the correct material, but as a manners, also infusing the opera with more graduate from a local institution who had “Chinese flavor” with the use of sets, costumes experienced working with the costume and direction. In the same article, the issue of department of the Hafen Theatre in Germany, compensating between the visual Suriati‟s study on the style of the costume also representation of Chinese people onstage with took her to Johor to meet someone who had the ornate costumes serves as a vehicle, danced at the palace in Indonesia (Tan 2007). although the casting choices of vocal roles that The authenticity and creativity in this musical “denied them any part of the opera‟s music” was explained: “I wanted to create something was also discussed (Metzger 2003:212). The different, use more earth tones instead of production did not include any Chinese in bright colours for the musical.” (ibid.:104). principal roles and it was stated that Turandot The designer also discloses that she used kain in China “is largely a Western creation for a sarong, batik, and songket fabric from Western audience” according to Chu‟s review Terengganu and certain fabrics from Pakistan. in L.A. Times (ibid.:213). Other more authentically-designed costumes were used in productions such as the Siddharta
The intercultural issue within a production and Jewel of Tibet by MOSP. Both designed by
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International Journal of Asian Social Science, 2(8), pp. 1339-1358. a local Malaysian, Caren Yee, the research for were gathered, the stage design undoubtedly Jewel of Tibet took the production team from presented a magnificent outlook in this Xi An, China to Lhasa, Tibet, looking into the production. Whether or not simplicity was the route taken by Princess Wen Cheng when she concept of the stage design, the transformation left her homeland to marry King Songsten of the platform that changed in each scene was Gampo. Reported as a 1.5 million ringgit somehow extraordinary. In this musical, the production, it features 300 newly-designed flamboyance and the ornamentation in the costumes from the ethnic Tang dynasty and Chinese traditional decoration were not from the Tibet (Seto 2008). The authenticity of portrayed in terms of the set, such as the these costumes not only could be visually interior décor in the living room or the observed but also was revealed by the cast, as wedding ceremony. Also, the shui xiu (the one of the main actors revealed “The costumes, traditional water sleeves) were not present in which are made of authentic materials brought this production. Rather than the lightweight from China and Tibet, are so hard and heavy swaying of the water sleeves, the costume that if he were to jump out of them, they would offers a much more static image, except for still stand upright by themselves” (Chan 2008). Zhu Ying Tai‟s white robe when she ran to Perhaps the more debatable costume came Liang‟s grave at the end of the scene. It was from the Butterfly Lovers, the huangmei also commented that the costume for the cast musical. As a famous piece of Chinese folk during the wedding ceremony resembled a literature, the story is set in the Eastern Jin funeral due to the use of black more than red. Dynasty (265-420AD), which portrays a Perhaps it may be Devorsine‟s creativity in the culture that rejects female education. As choice of colors, or this might be the director‟s mentioned, while the majority of the initiative, as the wedding in this scene signifies production team were Malaysian, the costume the tragedy in the coming scenes with Zhu‟s in this musical was designed by a Frenchman refusal to marry. The director‟s thoughts from New Caledonia, Dominique Devorsine, were reflected in the arrangement of the although she had lived in Malaysia for more wedding music so that the procession music, than twenty years. Devorsine was the famous although portraying the joyful ceremony, at the designer in many musical productions in same time expressed or hinted that the dark Malaysia, not only working with Dama but side was approaching (Pun 2006). In that, the also KL Pac. Interviews and conversations arrangement of the music employed a with some members of the cast and production fragment of huangmei with major tonality team revealed that the colours, which signifying the joyfulness accompanied by the complement the stagecraft and lighting, are Chinese cymbal, but each phrase and the end what makes her designs significant. Together of the possession music were filled with minor with the stagecraft, there were also comments tonality (to represent the tragedy). that both the costumes and the stage design resemble some flavor of Japanese rather than The non-traditional style of costumes by
Chinese (Ho 2006). Although different views Devorsine were also featured in KLPac‟s
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The Contemporary Musical Theatre….. productions due to the content of musicals that being too academic” (Tan 2007:100). Rather focus more on casual attire from the 1950s to than the more contemporary musicals, many the 1990s, including the three main ethnic had mentioned those of Rogers and groups in Malaysia, the Malays, Chinese and Hammerstein, Irving Berlin and Leonard Indian. Through these musicals, which Bernstein, which produced significant include Broken Bridge, Tunku and Ismail, I melodies, remarkable choruses and tunes Have a date with Spring, Devorsine‟s design which they hoped audiences would be able to closely followed contemporary ethnic whistle them after the show. costumes such as the Kebaya, Sarong, Cheong Sam, and Sari, together with casual Western While influenced by the Western Musical, the attire from the 1960s to 1990s such as coats, juxtaposition of the modern popular style with shirts, trousers, gown and so forth. some traditional elements in these productions thus presents a much more global character in Music the local musical. This is clearly depicted in Music is one of the key elements in the form PGL in which the characteristic of the of musical theatre and a great number of songs rhythmic drumming and kompang evidently deriving from this form are popularly used in becomes the foundation of the overall music; concerts, adverts, competitions and so forth. the ethnic sound of the seruling used in much Alongside the costume and stage design, the of the background music. In this production, music is thus equally important in delivering Dick Lee, a Singaporean, was approached by the overall style of an entire production. Thus, the director. Although being a Singaporean, it the varied musical styles in local musical was stated that Lee was commissioned for this productions are worthy of discussion. For most musicals due to his involvement in this of the local musicals, a production that comes industry, in which he advocated the infusion of from a particular organization commissions the Asian influences in pop music, including his same composers or arrangers, and this to a involvement in stage musical such as Jacky certain extent creates their own identity. Cheong‟s Snow, Wolf, Lake (ibid.: 99). This Despite the style of the music, some issues are is certainly revealed in the music in PGL. In raised amongst the few productions discussed terms of the tune and songs, the motifs that above. portray strong folk tunes could be heard clearly in Suatu Hari Nanti (One Day) and From various references and interviews, it is Melaka Terbilang (Glorious Malacca), with the gathered that most of the composers and frequency of reprise, this chorus song has directors aim at a Broadway and West End nevertheless marked one of the main theme style for their musicals. It was explained that songs in PGL. While traditional elements “striving to be true to the genre of traditional exists in the music, the traditional rhythmic Western musical theatre like Broadway, Lee section such as those of Joget style were maintains that he was aiming for the overall mostly juxtaposed with more pop-like
score of the musical to be authentic without rhythmic ideas such as 8 beat, 16 beat and
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International Journal of Asian Social Science, 2(8), pp. 1339-1358.
R&B, which is undoubtedly familiar to the ear A multicultural sound was thus created; for of the modern audience. The use of Western example, the lingering erhu accompanied with and non-acoustic instruments also dominated the electronic piano as background music the accompaniment of this musical, in which whenever the English narration occurred. synthesizers and a drumkit were used. Similar to most of the musicals in the literature, the Some of Dama‟s musical signatures seemed to romance theme Katakan Hadirmu Kerana be maintained regardless of the era in which a Cinta (Say You are Here Because of Love) was musical was set. Renowned as one of the written in a ballad style, closely resembling Malaysian Chinese orchestras in the 1990‟s, that of current popular ballads while recalling most of the concerts and productions have had the style of songs such as All I Ask of You, On a lead role for solo erhu. This indirectly the Street Where You Live, Tonight, and so applied to productions such as I Have A Date forth. Although some of the music numbers With Spring, although songs and music sounded quite “Western,” the ethnicity in this projected in the era of this musical were musical was also enhanced by the dance greatly influenced by the pop music in the choreography by Pat Ibrahim, which he West from the 1960‟s to 80‟s that involved infused with the classic form of Wayang wang electric guitar, saxophone, brass instruments (shadow man) from Java in the Majapahit era, and so forth. While the saxophone is used in while in the second half of the musical that the theme song, many excerpts were given to features Melaka, Ibrahim stated that he varied the erhu solo, which presented a change of Malay traditional dance with a modern taste from the original music. The erhu solo approach (ibid.:102). even applied in Western songs such as As Time Goes By and Stupid Cupid which were used in The modernization of ethnic or folk music also this musical. However, the audience seemed to applies to the Butterfly Lovers which adopted accept the presentation packaged with the huangmei folk songs as the fundamental drumkit and keyboard, while many of the ingredient. The music as commissioned meant Dama‟s “fans” came not only for the musical only the melody and the lyrics were but also for the erhu performance. Here, what maintained exactly as the originals while being can be noticed is that the authenticity of given a full transformation with a new instruments has not been given priority; while accompaniment. As Dama‟s signature, the erhu Dama‟s approach of “Chineseness” has became the lead solo instrument, while all the consistently been emphasized in their huangmei numbers were modernized with a productions, the signature or hallmark of mixture of Chinese and Western instruments. Dama was nevertheless sustained throughout As an insider, composer and arranger for this where it formed its own identity. musical, one of the aims from the directors was to present this Chinese folk music but at The musical style of the ethnic musical of the same time employ a modern medium to MOSP presents another unique style. For this
deliver it to a current contemporary audience. organization, the focus of the musicals relates
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The Contemporary Musical Theatre….. strongly to Buddhism. The characteristics of On this issue, Swain (2007:267) also made a Imee Ooi‟s works as the composer of Buddhist notable remark where he took Rodgers‟ words Music, mentioned in earlier paragraph, were (Rodgers 1975:220) as an example. strongly reflected in productions such as Above the Full Moon, Siddharta and the Jewel History has shown that composers have of Tibet. Dialogues were sung-through along consistently paid scant attention to any with the music and this was one of the ethnomusicology that might bear upon the challenges stated by Ooi (2009). Although musical setting of their ethnic operas. In the musical styles of all these ethnic or the American tradition, Rodgers himself is legendary musicals were completely different, not in the least apologetic about his refusal similarities did occur. In MOPS productions, to be accurate in the ethnomusicological while some ethnic rhythms were presented, sense: such as in the Jewel of Tibet featuring the Tang „If my melodies [in Oklahoma!] were Dynasty and the Tibeten Era, the overall music going to be authentic, they‟d have to be was again dominated by Western instruments. authentic in my own terms. This is the way Ooi‟s musical style does not focus on I have always worked, no matter what the projecting melodic ideas but is more geared setting of the story. It was true of my towards generating the atmospheric mood of a „Chinese‟ music for Chee-Chee, of my scene. Most of her songs do not have a fixed „French‟ music for Love Me, Tonight, and melodic line or phrase but rather present a later of my „Siamese‟ music for The King more spontaneous character. and I. Hand I attempted to duplicate the real thing, it would never have sounded Looking at all these ethnic or legendary genuine, for the obvious reason that I am musicals, while each has its own identity and neither Chinese, French, Siamese, nor style in presenting the different aspects, from the Southwest. All a composer – any particularly regarding the music and costume, composer – can do is to make an audience these productions opt to deliver authenticity to believe it is hearing an authentic sound certain extent but at the same time inject both without losing his own musical identity‟ creativity and modernity in the hope of capturing an audience. Due to the varied This issue did not apply to productions by history and cultural elements presented in KLPac as their musicals had a more secular these musicals, those who are familiar with the context which was originally written by the literature may question the authenticity of locals. For these productions, the composer these performances. However, what makes the Lim Chuang Yik, a full-time pharmacist, stated creativity and the individualism of these that he has a great passion for Broadway performances comes from the teams of the musicals that influences many of his composition. particular production, and therefore it is the Lim explained that he wanted people to whistle creativity of each member in a team that is the tunes of his compositions like those of
integrated to the end product of the musical. Broadway after they have watched his musical.
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International Journal of Asian Social Science, 2(8), pp. 1339-1358.
The composer also clarified that he came without musicians, particularly for orchestral a musical background and his melodies were instrumentalists, looking at the job limitation transcribed and arranged by other members of which has become a serious subject not only in the team. However, they managed to transform the East but also in the West. On the other what he requested and in the end it worked well hand, Ooi, the composer for MOSP, revealed in the performance (Lim 2009). KLPac musicals that the choice of using pre-recorded music have a less electronic sound and maintain more with live singing was not only due to restricted acoustic instruments, with drum kit and piano as funds, but on the contrary she personally felt the main accompaniment, together with a small that she had much more control over the ensemble of string and wind. While featuring particular sounds she intended to achieve much of the historical background and the through the use of computer software mixed modern society in a Malaysian context, perhaps with recorded live instruments. Furthermore, the overall „sound‟ of KL Pac productions Ooi (2009) explained that it is not practical to resembles those of the Broadway tradition such employ an instrumentalist purposely to play as Rogers & Hammerstein and Lerner & Loewe, for only a few bars in a production that runs as emphasized by the composer. for twenty shows. This also currently appears to be a controversial issue, One issue that generally occurs in many especially in many pop concerts both in the popular music live performances in the West and East, but the common problem for modern day, and thus applies to the arena of local musical theatre undoubtedly appears to Malaysian musicals, is the approach of using be the budgeting of a production. The same “minus-one” (pre-recorded music). This occurs issue applied in Dama‟s Butterfly Lovers; in MOSP productions and in one of Dama‟s according to the directors, the musical style musicals – The Butterfly Lovers. Generally, that was intended could only be realized with the choice of using pre-recorded music for the use of pre-recorded accompaniment with these productions was due to the budget being live singing due to insufficient funds to insufficient to hire the number of musicians employ the number of musicians of an required. Responses from interviews with orchestra. To complement a more “live” effect, selected cast members, musicians, arrangers four musicians were used to play for all and composers were rather predicted, as most incidentals/background music during dialogues opted for live music which serves the ethics of and scene changes. a live performance practice. For Geneviene Wong, the arranger and rehearsal director for Conclusion most of the KLPac productions, the use of live musicians is necessary as this assures the While coming from different backgrounds, the spontaneity generated from both the musicians four organizations described above are a role and the cast during the show (Wong 2009); model for Malaysian musical theatre. Each of more importantly, live performance thus these organizations stamps its identity on the
indirectly creates more job opportunities for context of the musicals and the team members
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The Contemporary Musical Theatre….. in the production. The majority of Malaysians August 2009 to 2010 showed that 80% of the involved in all four organizations nevertheless respondents did not know of the existence of represent a certain extent of localization the local musicals listed except for PGL, P. portrayed in these productions, but at the same Ramlee and Butterfly Lovers; less than 9% of a time the approach and the intention of these total of 693 respondents watched these local musicals seems to offer a more globalized musicals.⁵ representation to the audience. Productions such as Enfiniti and KLPac deliver more While performing arts in Malaysia are still contexts of the local history, legend and developing, and the challenge of local current issues regarding Malaysia. Conversely, musicals has never been easy, some of the both MOPS and Dama, with a majority of local musicals have aimed and been Chinese members in the production, present successfully performed abroad and were well mostly adaptations and legends from Chinese received. Although this genre may more easily culture and Buddhism. However, according to attract public attention than another genre of various references and also interviews, all art music, still the popularity and support from these productions seem to maintain some the public, which is the main source of funding traditional or local aspects with the use of a for many musical productions, was inevitable more globalized approach. The success of lacking. “Maybe those who believe that the Broadway and the West End in the literature theatre scene is slow is referring to the and the acceptance of these Western Musicals difficulties we have been facing for the last in the East also greatly influenced the local few years economically - that is preventing musicals, as emphasized by the directors, theatre companies from being able to be as musicians, and cast. Outside the musical arena, active as we would like to be” said Faridah some famous songs from western musicals Merican (Venugopal 2011). In contrast to other such as Think of Me, Memory, I Dream of art forms, the main problem for local musical Dream, I Could Have Dance All Night and so theatre mainly comes from the funding that is forth were consistently performed and required to covers the costs of many parties. requested by audience in functions and events. This also becomes one of the factors meaning No doubt efforts are made by some that some casts could hardly survive by being organizations, and CD albums were produced, full-time in this industry (Chang 2010). To in order to record local musical performances date, many organizations have been supportive and also in hope of publicity. Although all the in becoming sponsors for various performing musicals mentioned above were considered to arts in Malaysia, and to survive with the lack be well-received by the Malaysians, this does of revenue, some musical productions or not reflect the opinion of the general public but concerts have been marketed to organizations only those who are involved in this field. for charity purposes, celebrating anniversaries Many Malaysians were only attracted to or other related events. In short, the musicals with titles which were familiar to development in this genre from the local
them. A survey conducted in the period of production has indeed increased tremendously
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International Journal of Asian Social Science, 2(8), pp. 1339-1358. but the support of the general public is vital to Diamond, C. (2002) “Parallel Streams: Two sustain this art form. Currents of Difference in Kuala Lumpur‟s Contemporary Theatre” The Drama Review Notes Vo.46, No.2, pp. 7-46. 1. Other non-religious musicals were Ho, Y.L. (2006) Personal Conversation, produced in 2010 such as Kita to October 18. promote 1Malaysia to encourage unity Kanter, D.A. (2008) “Talents on Display in in the multinational country; another Broadway Parodies Lagi-Lah” The Star 23 musical was Singing Market featuring September. Chinese oldies and popular songs. Kaur, M. (2007) “It‟s a Full House at KLPac” However, this musical was a The Star, 12 August. collaboration with other organizations Kenrick, J. (2008) Musical Theatre: A history, and therefore is not discussed here. The Continuum International Publishing Group 2. Genting Highland is one of the important Inc.: New York. tourist spots in Malaysia, famous for its Ker, H. (2006) “Lessons of Life” The Star, 3 casino and arena for various popular July. concerts since the 70‟s, was also known Li, K. (2007) “Performing the Globalized City: as the „Las Vegas‟ of Malaysia. contemporary Hong Kong Theatre and Global 3. Astro is the satellite television channel in Connectivity” Asian Theatre Journal Vol.24, Malaysia. No.2, pp. 440-469. 4. At that time, the office of Dama Lim, C.Y. (2009) Personal interview. July 4. Orchestra was also situated at the same Loo, F.C. (2009) “A Case Study of the place and both suffered from the flash Audience at Three Art Concerts in Malaysia” flood in 2003. Pertanika Journal Social Science and 5. The research was funded by Universiti Humanities Vol.17, No.2, pp. 79-92. Putra Malaysia under the Research Metzger, S. (2003) “Ice Queens, Rice Queens, University Grant Scheme (2008-2010). and Intercultural Investments in Zhang Yimou‟s Turandot” Asian Theatre Journal Reference Vol.20, No.2,pp. 209-217. Ooi, I. (2009) Personal interview. August 7. Bujang, R. (1987) Boria: a form of Malay Osnes, B. (2010) The Shadow puppet theatre of Theatre, Institute of Southeast Asian Studies: Malaysia: a study of wayang kulit with Singapore. performance scripts and puppet designs, Chang, F.C. (2010) Personal Interview, MacFarland & Company, Inc.: North Caroline. August 10. Pun, K.L. (2006) Personal Conversation. 25 Chan, J. (2008) “Jewel of Tibet: A Gem of a August. Musical” The Star, 17 January. Rodgers, R. (1975) Musical Stages, Random Devan, S. (2010) “Retro Sounds of Singing House: New York, pp.220
Market” New Straits Time, 18 October.
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Seto, K.Y. (2008) “The Spectacular Historical Vengadesan, M (2008) “Hidden potential” Tale of Chinese Princess Wen Cheng Comes to The Star, 11 August. Glorious Life in Musical On Stage Venugopal, A (2011) “The Tricky Malaysian Productions” Latest Effort, Jewel of Tibet” The Theatre” The Malay Mail, 21 April. Star, 25 February. Wong, G (2009) Personal interview. 9 Jun. Sia, A (2008) “The Stuff are Heroes” The Star, Yoong, C (2008) “Building Bridges Down 27 July. Under” The Star, 11 August 2008. Swain, J.P (2002) The Broadway Musical: A Yoong, C (2011) “Slightly More Men Than Critical and Musical Survey, The Scarecrow Women in Malaysia Population.” The Star, 29 Press: Oxford. July. Tan, S.B (1993) Bangsawan: A Social and Online Sources: Stylistic History of Popular Malay Opera, http://www.enfiniti.com.my/. Accessed 5 May South-East Asian Social Science Monographs, 2011. Oxford University Press: Singapore. http://www.musicalonstage.com. Accessed 28 Tan, S.B (2000) “The Huayue Tuan (Chinese March 2011. Orchestra) in Malaysia: Adapting to Survive” http://www.klpac.org/?page_id=1983. Asian Music Vol.31, No.2, pp. 107-128. Accessed 18 Dec 2010 Tan, K.M (2007) Puteri Gunung Ledang: The Spirit and the Journey, Enfiniti Productions (M) Sdn. Bhd.: Kuala Lumpur.
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