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Performing Silat in Malaysian Diasporic Communities in Australia

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Performing Silat in Malaysian Diasporic Communities in Australia Performing Silat in Malaysian Diasporic Communities in Australia: A Cultural Heritage Analysis of Identities, Performance and Self Amirul Husni Affifudin Bachelor of Arts (Economics) Master of Cultural Heritage Management A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2017 School of Social Science Abstract Malaysian students who come to study in Australia have been organising cultural festivals for more than 20 years. These festivals host cultural heritage performances that represent the various ethnicities found in the Malaysian homeland. However, very little is known about the way these diasporic performances differ from those in the homeland, and whether any differences could jeopardise the Malaysian identities they are supposed to represent. I investigate the role of intangible cultural heritage performances in developing a sense of identity amongst diasporic communities by focusing on the performance of the martial art of Silat in three Malaysian festivals in Australia. The martial art of Silat is acknowledged in Malaysia as both a Malay cultural heritage and a Malaysian national heritage. Silat contains the typical fighting skills and strategies that can be found in other martial arts. However, the culture of Silat has also the element of performance. In Malaysia, Silat is traditionally performed either in private or public contexts. As a Silat practitioner, I have personally experienced performing Silat in my homeland, Malaysia, and in the diasporic context of Australia. Festivals have become key events for diasporic and multicultural communities to represent and accentuate their cultural identities. In the absence of tangible heritage objects and monuments, diasporic communities have relied on intangible cultural heritage to connect with their homeland, as well as to negotiate their own self-identities in their diasporic settings. Malaysian migrants and temporary students in Australia have both contributed to the representation of their national and ethnic identities through festivals, such as the Fiesta Malaysia in Melbourne; the Citra Malaysia in Brisbane; and the Malaysia Festival in Sydney. Using participant observation in Melbourne, my own participation as a Silat performer in Sydney and Brisbane, and numerous interviews with other performers, audience members, and festival organisers, I investigate how the performance of Silat in Malaysian festivals reflects the diasporic and multicultural identities of Malaysian communities in Australia. I demonstrate that negotiations between the different stakeholders are very significant in establishing the representation of identities through intangible cultural heritage performances. Diasporic cultural festivals also allow various performers to negotiate their ideas and skills, and fuse them in order to produce distinct cultural heritage performances. I conclude that Silat performances in Australia are not the same as those in the homeland. Despite the differences, I argue that heritage performances in the diaspora can still be i considered as ‘authentic’ Malay and Malaysian heritage. I discuss these results using the concepts of performance, authenticity and identity within a cultural heritage methodological paradigm. ii Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, financial support and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my higher degree by research candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the policy and procedures of The University of Queensland, the thesis be made available for research and study in accordance with the Copyright Act 1968 unless a period of embargo has been approved by the Dean of the Graduate School. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis and have sought permission from co-authors for any jointly authored works included in the thesis. iii Publications during candidature No publications. Publications included in this thesis No publications included. Contributions by others to the thesis No contributions by others. Statement of parts of the thesis submitted to qualify for the award of another degree None. Research involving Human or Animal Subjects Ethical clearance was obtained from the School of Social Science Ethical Review Panel (SSERP) on 21 October 2013 under the clearance number [RHD10/2013] (see Appendix 1). An amended ethical clearance was approved by the the School of Social Science Ethical Review Panel (SSERP) on 21 November 2013 under the clearance number [RHD10a/2013] (see Appendix 2). iv Acknowledgements I dedicate this thesis to my Silat grandmaster, Paduka Ayahanda Pakguru Haji Sani bin Zainol Abidin, and to my Silat teachers and instructors in Malaysia. They opened my eyes to the beauty of the martial art of Silat. Their love for, and dedication to, Silat in this modern world are truly inspirational. I would like to thank the individuals and groups with whom I had the opportunity to meet and work during my fieldwork in Australia. These include the various Malaysian student organisations in Melbourne, Brisbane, and Sydney; the festival organisers for FIESTA, CITRA, and MFEST; the Malaysian communities in the three case studies; Silat and cultural heritage performers; the Malaysian Consulate; Malaysia Hall staff in both Melbourne and Sydney; and those who participated in surveys and interviews. Their generosity and willingness to spend their time to assist me in my investigations have contributed tremendously to this thesis. My acknowledgement also goes to The University of Queensland for its overall support of my PhD candidature since 2012. I especially would like to thank my supervisors, Associate Professor Dr. Annie Ross and Dr. Gerhard Hoffstaedter, for their wisdom, knowledge and expertise that have guided me throughout my PhD journey. Annie’s enthusiasm in my research motivated me to continue with this challenging path. Her compassion and understanding in difficult and stressful times were very much appreciated. I am proud to have had her as my main supervisor. My appreciation also goes to Dr. Yancey Orr, Dr. Sally Babidge, and Dr. Dee Goring for their time and assistance in reviewing my work during the three milestones. I would also like to thank Associate Professor Jonathan Prangnell, Professor Lynda Cheshire, and the administration staff at the School of Social Science and the Graduate School for their support during my candidature. My colleagues and fellow international students have also been very supportive throughout my time in Brisbane. I would like to mention and thank Amelia Radke, Jennifer Rowe, Jane Lavers, Mohammed bin Kasem, Muslimin Wallang, and Amirul Ikhsan for their friendship and assistance. I would also like to thank these individuals who had supported me emotionally and spiritually: brothers Aslaam, Ismail, Faisal, Atiq and Syafiq. This thesis would not have been completed without the love and support of my family in Malaysia. My utmost love goes to my mother, Datin Che Hasnah, for giving me her love v and for raising me. My father, Dato’ Wira Dr. Affifudin, has also supported me emotionally and financially all these years. I would not fail to mention my big brother, Amran Hafiz, his wife Hira, and their children, Adam, Hessa and Hannah for their affection and encouragement. I also acknowledge the support of my employer, Universiti Utara Malaysia, and my sponsor, the Malaysian Ministry of Education, for their trust towards me and my PhD research. Last but not least, I would like to thank Dato’ Dr. Amin, Dr. Syed, friends and staff at the Kedah Medical Centre, Alor Setar, Kedah. vi Financial Support This research was supported by the Malaysian Ministry of Higher Education’s (MOHE) scholarship. Keywords living heritage, performance, Silat, martial arts, authenticity, identity, observant participation, cultural festival, Malaysian diaspora, Australia. Australian and New Zealand Standard Research Classifications (ANZSRC) ANZSRC code: 169903, Studies of Asian Society, 40% ANZSRC code: 200202, Asian Cultural Studies, 30% ANZSRC code: 200209, Multicultural, Intercultural and Cross-cultural Studies, 30% Fields of Research (FoR) Classification FoR code: 1699, Other Studies in Human Society, 40% FoR code: 2002, Cultural Studies, 60% vii Table of Contents Abstract ................................................................................................................................. i Declaration by Author ..........................................................................................................
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