44 The Dynamics of the Singapore Malay Dance : A Preliminary Study Dr Chua Soo Pong Tari Tempurung (Coconut Shell Dance) by Sriwana,the most prominent Malay Cultural group in Singapore.The dance shows young lovers dancing happily with coconut shells. 45 AIthough Malays form only organizing of activities by Malay Redjang, Batak, Orang Asli, Javanese, 14.6 per cent of the total population cultural groups, providing opportunity Baweanese or other groups gradually of 2.6 million in Singapore, Malay to listen to discussions on dance, faded away and the court traditions dance has, since the 1950s, become culture and ideas and to observe the of Java, Sumatra or Malaya also one of the three components of the informal interaction among the acti- gradually became irrelevant. But at national dance used as a major vities behind the scene. least these early Malay immigrants cultural symbol. shared the same Malay language and the same religion, Islam. Being a The other minority group, the Cultural Background of the Malay Community in Singapore minority and predominantly a social Indians, in actual fact, make up an group without economic power, even smaller percentage, 6.4 in the Malay is a term used to refer to the Malays did not have many 1980 Singapore census. However, extravagant theatrical forms as Indian dance, together with Chinese a large group of people, in the Southeast Asian region, who settled compared to the ballet, concerts of and Malay dance forming an entity, the Europeans, Indian Dance or was launched during the anti-yellow in Singapore. Whether they are Minangkabau, Redjang, Batak, Chinese Opera. The Bangsawan culture campaign at the height of the performances were far in between anti-colonialism campaign in the Orang Asli, Javanese, Baweanese or other groups of sea-nomads, and theatrical dance presentation mid-1950s. The trinity of dance practically did not exist. thus has been used ever since at the they are also labelled as Malay numerous functions organized by the The first batch of early day Malay government, educational institutions, immigrants were from Johore, Malacca, Evolution of Malay Dance Since schools, social cultural bodies, and all Penang and Riau. They came to seek the 1950s in Singapore kinds of grassroot organizations. the economic opportunities provided In the early 1950s, Malay by the newfound island administered dance could be seen mainly by the To understand the character- by the British at the beginning of the non-Malays at the amusement istics of Malay dance fully, one must 19th century. Many were employed by parks , as a form of entertainment. examine closely the nature of the the uniformed services. The Dancing Halls provided live creative process of the art form, music and dance hostesses while the sources of ideas and aesthetic values, The Javanese who came after public, who were interested in dancing social purposes of performance, the mid-19th century were craftsmen, with the girls, had to pay a small fee interaction between different cultural merchants, pilgrim brokers and to enter the halls. They were mainly groups and the observable microlevel labourers. During the second world Tari Mak Inang, Pulau Kapai and practices within the various dance war, about 10,000 of the Javanese Selendang Mayang. These social groups of the Malay community. conscript labourers were sent to dances, although largely improvised I have elsewhere dealt with the Singapore. Later, an even larger by the participants, enabled the public nature of forms of interaction number of Javanese entered Singapore to get acquainted with Malay music between Indian, Malay and Chinese from Malaysia. Many of the labourers, and dance. However, it was not dance groups . In this article, I shall who were illiterate and unskilled, uncommon to see Malay dance on concentrate on the evolution of managed to get only the low-waged ceremonial occasions within the Malay dance since the 1950s, factors urban jobs. A great number of these Malay community, such as in on the development of Malay Dance immigrants were accommodated in wedding parties, the clearing of and features of Malay dance in con- the squatter settlements or Pondok, woodlands, the beginning of fishing temporary Singapore. the communal houses. season, etc. This study is based extensively It is important to note that they Similar to other ethnic groups in on the long years of attending Malay migrated as individuals. Most of Singapore, it was the anti-colonialism and multicultural dance presenta- them were unrelated by kinship, campaign of the mid-50s that tions, informal interactions with unlike the Chinese immigrants who stimulated the popularization of numerous dancers, choreographers, had the clan associations to help Malay dance and the performing arts organizers, cultural administrators of them settle down. In the course of in general. The wave of independence the government and Malay organiza- migration to Singapore the distinctive sweeping across Africa and Asia tions. I have also participated in the cultural features of the Minangkabau, awakened the people of many 46 Photo shows Madame Liauw Tjen Yan (right, front row) conducting a dance class for young dancers. colonized nations. Singapore and its scope and became the most (or Liu Chun Wai), had far reaching Malaya, longing for the days when influential Malay cultural group of effects. The intricate steps and they could be freed from the British, the time. Together with other Malay musical styles introduced broadened launched their vigorous anti-colonia- associations, Sriwana organized stage the repertoire of Malay cultural lism campaigns, in the mid-50s. The shows where Malay songs and dances associations considerably. Dances people thus expressed themselves in were presented. These charity perfor- they introduced to the Singapore political campaigns, social move- mances were mainly held to raise audience included Gunung Sayang, ments, literary writing, music, drama funds for the poor who could not Tanjong Katong, Serampang Duabelas, and dance. Numerous cultural organi- afford the school fees. Thus these Baju Kurung, Bunga Tanjung and zations, student bodies, arts associa- activities encouraged young people to Tempurung. These were mainly tions, even the workers' unions, were learn Malay dance. dances of the Minangkabau with all actively involved in the campaign The choreography of the dances the tambourine as one of the key of creating the "New Malaya Culture", performed during this period consisted instruments. Later, Madam Supenah a "new culture" that includes all the of basic formations of circles, ovals, Somod from Indonesia and Mr. cultural elements of the Chinese, ellipses and triangles. Sriwana Zainal Abbas from Malaysia were Malays, and Indians. realized that if Malay dance was engaged too, to train the aspiring going to achieve a higher artistic young members of Sriwana. As for Malay dance, it was standard, it was necessary to seek Sriwana, a newly formed cultural help from the professional dance Significant Element of National organization that gave it a new life. instructors from the neighbouring Culture : Malay Dance in the 60s Founded on July 24, 1955, Sriwana's countries. The two choreographers initial objective was to popularize Sriwana invited from Indonesia, Malaya attained independence Keroncong music but soon expanded Tengku Yuhanis and Liauw Tjen Yan in 1957. Its success inspired Singapore 47 to seek the same status but few were convinced that a small island such as Singapore could ever be viable as an independent nation. In 1959, Singapore was granted full internal self-government under the premier- ship of Lee Kuan Yew. The new Singapore eagerly introduced a programme of active social reform and nation-building. S. Rajaratnam, senior leader of the ruling People's Action Party, responded to the call made by the people in Singapore and Malaya to create a New Malaya Culture . During his term as the first Minister of Culture, he implemented many projects aimed at speeding up the creation of the said new culture. One of these projects was to mobilize the Chinese, Malay, Indians and Western cultural organizations to stage free performances collectively all over the island. This project, on the one hand, encouraged the Malay groups to present their dances more frequently and more artistically, and on the other hand, promote cross-cultural understanding between the Malays and the non-Malays. It was during this period when Mohd Na'aim Pañi (right), founder of the Rian Dance Group, performs in "Arjuna", Madam Liauw Tjan Yan was in a dance drama which he also choreographed. Singapore that a large number of Ct »I Chinese dance lovers took up Malay Tari Nelayan (Fishermen Dance), by the audience encouraged the dance. Even in the cultural shows "Tari Petani" (Farmers' Dance) and choreographers of Sriwana to presented by Chinese schools, arts 4( »I experiment with more creative associations or workers' unions, there Tan Payung (Umbrella Dance) choreography. The products of this were usually Malay and Indian dances marked a new step forward for the period included Tari Gembira (Happy performed by the Chinese. The Malay Singapore Malay choreographers. Dance), Tari Lenggang Remaja dance groups too, being exposed to They now had the necessary (Teenager Dance), Tari Lenggang Chinese and Indian dance as well as experience and confidence to create Puteri (Princess Dance) and Tari Western ballets in the joint perfor- dances of their own to express their Belaian Kasih (Dance of Love). It was mances organized by the Ministry of feelings and ideas. reported that Tari Gembira had Culture, further appreciated the aes- Amid the movement of cross obvious Chinese dance flavour while thetic values of other dance cultures. cultural fertilization, Francis Yeo, in Tari Buluh Serirama (Melody of the an amateur ballet dancer trained In 1962, dancers of Sriwana Bamboo), Indian dance influence was by the Singapore Ballet Academy choreographed new items for the apparent. Tari Lenggang Kangkong, in 1963 choreographed a Malay dance Southeast Asian Cultural Festival used jazz music, and was naturally called "The Harvest", incorporation hosted by the Singapore government.