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. considered very avant garde at balletic steps. The surprising result The creation of these new dances : that time! of the positive reception given 48

The Malay Dance at Grassroot many community centres' dance Pani and Wong Tew Chin, mainly Level in the 70s groups, Malay dance, like other dance because of the unconvincing thin forms in Singapore, cultivated a new storyline and disjoint choreography . Besides Sriwana, there were also generation of audience throughout In the process of popularizing several other Malay organizations the decade. The trinity of dance the cultural dance of all the ethnic actively involved in the promotion (Chinese, Indian and Malay) was then groups, the People's Association of performing arts. These included firmly established. probably played a more significant Perkumpulan Seni Melayu (Malay The National Dance Company role because of its active out-reaching Art Association), Taman Bacaan- since its inception, always presented programmes, bringing free open air Pemuda Pemudi Melayu (Malay the standard package of Chinese, performances to housing estates all Youth Library Association), Persatuan Indian and Malay dance in its cultural over the island. Equally important is Persuratan Pemuda-Pemudi Melayu shows. Attempts were made to present the wide network of community (Malay Youth Literary Association), all the three forms in one single centres and the dance classes or dance Pasukan Kawalan (Watch Group) and dance drama or non-narrative dance. groups which operated under them. Semangat Baru (New Spirit). Examples include the most frequently To ensure that anyone who wants to performed Unity in Rhythm and learn dance has the opportunity, the Two major government-sup- "Fisherfolk Suite . The former dance classes conducted at the ported dance companies were set up was collectively choreographed by community centres charged only a to promote dance at grassroot level Madam Lee Shu Fen, Miss Som Said nominal fee. This proved to be a and to showcase Singapore talent to and Madam Madhavi Khrishnan. worthwhile policy as the People's foreign dignitaries at state functions. Using drums of the Chinese, Malay Association's affiliated groups These were the part-time National and Indian, the choreographers attracted over a thousand participants. Dance Company of the Ministry of successfully blended the dance Culture in 1970 and the full-time into a unifying style that was Some of these groups, backed People's Association Dance Group in much appreciated by the local by the community centres administra- 1971 (which started as a part-time and international audiences. Less tively and financially, led by young company in 1968). Together with the successful was the dance drama and talented choreographers were annual Youth Festival organized by "Fisherfolk Suite" choreographed by able to make a name for themselves. the Ministry of Education, and the Madhavi Krishnan, Mohd Na'aim Aljunied Community Centre Dance Troupe, headed by Lee Siew Kim, majored in experimental dance while Marine Parade Community Centre Dance Group, nurtured by Low Mei Yoke, received consistent praise from the serious critics. Cairnhill Community Centre has several dance groups : the Indian group is guided by Neila Sathyalingam, Tay Hong Lim coaches the Chinese group, Chew Seok Choon leads the ballet group and the Malay group's leader is Mohd Ali Sungip. With a notable teacher Ng Siew Beng, Telo it Ayer Hong Lim Green Community Centre Dance Troupe, specialized in Chinese dance. The two community centres that won a high reputation for their promotion of Malay dance are River Valley and UIu Pandan, with Mohd. Renowned Indonesian choreographer, Tom Ibnur (left), is seen assisting a dancer Khairi Supani and Mohd Salleh B for a Singapore Festival of Arts performance. Buang as choreographers respectively. 49

sustain interest in the audience. Fortunately the situation was soon remedied in the 1980s as the Asean Festival of Performing Arts and the much publicized Singapore Festival of Dance was held one year after another, in 1981 and 1982.

New Sources of Learning in the 80s

The first Asean Festival of Performing Arts held in Jakarta in February 1981 was a grand dance event in the region. It gave dance lovers the rare chance of seeing the top dancers of Indonesia, Malaysia, Philippines, Singapore and Thailand, all perform together. The Singapore ASEAN dance workshops are one of the main sources of learning for the delegates were greatly impressed by Singaporean Malay dancers. the inventive choreographies of I.G.B. Perbawa, S.S. Djoko, I. Made Jimat, For the much publicized Youth patterns on stage. "Tari Tempurung" Nurdin, Deddy Luthan and Widhi Festival, many school children were (Coconut Shell Dance) shows young Sumarno from Indonesia, Ahmad able to enjoy themselves in the lovers dancing happily with the Umar Hj. Ibrahim from Malaysia glamorous costumes and glittering coconut shell. "Tari Tudung Saji", and Alice Buenaventura from the theatrical lighting, be it in Malay, (Food-cover dance) using two types Philippines. Indian or Chinese dance. These dance of music: "Asli Tudong Saji" and The young Malay dancers and performances, although routine, Joget, Rentah Seratus Enam, choreographers from Singapore are an important educational tool showcases the multiple usage of the witnessed for the first time the to stimulate the creativity and traditional Malay food-cover. Tari colourful spectrum of dances of the cultural identity of these young Piring (Saucer Dance), probably Indonesian archipelago. They realized people. The packaging of the national derived from Sumatra, displays the that Malay dance had a pool of dance trinity constantly reminds dancers' skill in handling saucers. resources which they could utilize. the students the reality of multicul- Tari Selendang (Scarf Dance) Mohd Na'aim Pani, inspired by turalism in Singapore. performed to the tune of Selendang performances seen at the Asean If popularization of Malay Mayang with an Inang Melody, Festival, choreographed a dance dance was an achievement in the symbolises good manners and drama, "Arjuna", for his newly 1970s, then artistic stagnancy was womenly grace. Other popular dances formed dance group, Rina. It was an illness that needed to be cured. include Selamat Datang (Welcome premiered during the first Singapore In those days, Malay dance perfor- Dance), Tari Lilin (Candle Dance), Festival of Dance, presented by the mances meant the repetition of a few Tari Belaian Kasih (Lovers' Dance), National Theatre Trust in March familiar steps in familiar formations. Tari Jinak-Jinak Merpati (Dance of 1982. It received favourable In "Tari Payung" (Umbrella Dance), the Tamed Pigeons) and Tari comments. In five evenings, this the female dancers use umbrellas to Pengantin (Wedding Dance). festival presented 39 items from 27 shield from the sun and rain as well The set movements, music, and local dance groups. The cross cultural as use it to entice the boys they adore. floor patterns of Malay dance.though presentations compelled the audience In "Tari Kipas" (Fan Dance), the girls an effective means of expressing and participants to cross the ethnic dance to the Inang rhythm, with fans ethnicity and cultural identity when barrier and interact socially and in their hands, forming various repeatedly performed, failed to culturally. 50

Most choreographers and dancers were at their best in this historic cultural event. The overwhelming support they received gave them a sense of pride, at the same time it provoked them to think seriously about the future direction. It was also obvious that, compared to other ethnic dances, with a few exceptions, the choreography of most Malay dance instructors lacked imaginative ideas and creativity, although the quality of their performers generally improved in terms of costuming and movement training. Realizing their shortcomings, Deddy Luthan from Indonesia (left, front row) conducting a Minangkabau dance they began to search for new paths of workshop at the Nanyang Academy of Fine Arts. expression vigorously. training programmes. These included classes, conducted by local In the next few years, National Ahmad Umar Hj. Ibrahim from choreographers, were also organized. Theatre Dance Circle, Sriwana, the Malaysia, Abay Subardja, Deddy Som Said, a young choreographer of Singapore Phoenix Dance Troupe, Luthan, Nasrun Darussalam, Tom Sriwana and the National Dance People's Association and other Malay Ibnur and M. Miroto from Indonesia, Company, went to Jogjakarta to cultural organizations, at different as well as the Indonesian dance study under Bagong Kusudiardjo, the stages invited several Indonesian and doyen, Liauw Tjen Yan who had highly respected Indonesian Malaysian choreographers to migrated to Hong Kong. Children's choreographer. Singapore to conduct workshops or dance competitions and dance Of the many workshops conducted by Malaysian and Indonesian choreographers, the Sumatran Dance Workshop organized by the National Theatre Dance Circle in March 1983 generated the most public interest. It had the widest impact within the dance community. Lasting for ten days this workshop invited two top Sumatran choreographers, Deddy Luthan and Nasrun Darussalam to give lectures on various aspects of Malay dance and to teach a selected number of Minangkabau dances. The multiracial participants, during the process of learning the energetic, forceful movements of some of these dances, began to fully appreciate the wide variety of Minangkabau dances. The old idea of Malay dance as slow, gentle and monotonous was replaced Malay dance of the National Dance Company entitled "Orchid", specially by the new image which is dynamic choreographed for the 5 th ASEAN Festival in 1985. and creative. Many Malay dance 51 practitioners then realized the followed, one could easily detect fresh "Whatever experiment we are importance of absorbing the choreographic ideas. Som Said, involved in, we make an effort to "militant" aspect of Minangkabau upon her return from Bagong develop an individual style that is dances in their choreography. Some Kusudiardjo's training course had this identifiably Singaporean. Our Malay began to examine the possibility of to say: "I have no intention to stage culture has developed out of the blending silat, the Malay traditional authentic Javanese dance here but I varied cultural traditions of the martial art into their dance. Others will adapt some traditional migrants, but it is the contemporary decided that their future choreographical Indonesian dance steps for my urban life that makes us different approach would be more liberal by choreography. Even Indonesia itself from our ancestors." fusing the movement patterns of has gone through the process of However, if Singapore Malay 3 other cultures whenever necessary . absorption and fusion of Islamic and choreographers are serious about After all, Minangkabau dances Hindu cultures with the local one. Is developing a dance style with assimilated movement patterns other Singapore not the same, a melting distinctive characteristics, they must than Sumatran. pot?" not heavily rely on ready-made music in the shops. The choreographers The interest in vitalizing Malay Nongchik Ghani, the doyen of must work closely with composers or dance was intensified when Tom Malay dance in Singapore agreed musicians. They must be able to Arison Ibnur was invited by the and cited a historical document to improvise or arrange music specially Singapore Festival of Arts to support his view. "At the first Malay to the dances the create. They should choreograph for an evening of Malay cultural congress held in Malacca in also explore the possibility of dance. It was participated by all the mid-50s, a resolution was passed adapting poetry, short stories or Malay dance groups in Singapore. suggesting that Malay culture could drama written by local writers into Malay society places considerable accept the elements of non-Malay dance or dance drama. emphasis on the relationship between culture that are suitable and do not Nobody knows yet the result of the individual and the social circle of oppose it. Therefore although Malay the artistic experiments of the young kins, neighbours and friends. dance can absorb suitable elements of generation of Malay choreographers Therefore competition between dance other cultures, this must be done in Singapore. It will probably take groups or drama groups is less intense with great care to retain the flavour years to develop anyway. Traditional than other ethnic groups. Tom of Malayness!" Ibnur's youthful zeal and dancing Malay dance, whether derived from skill were inspiring. The many Mohd Salleh B. Buang added Malaysia or Indonesia, will certainly Minangkabau dances not seen by the Singaporean audience before were technically demanding as they required remarkable agility and alertness. The male dancers were especially pleased as they were introduced in many impressive new dances. For example, in the "Tari Piring" (Saucer Dance), the boys had to click against the saucer rhythmically with a special ring to produce the Spanish castanet type of sound effect. They also skillfully juggle their plates with complicated dance steps. The immense experience gained from the many dance workshops and Tom Ibnur's production by the participants yielded fruitful results. In Ahmad Umar Hj. Ibrahim from Malaysia (left) conducting a workshop on Malay the Malay dance productions that dance for the Singapore Ballet Academy. 52

continue to serve its social and cultural functions. The performance of Malay dance are held either in conjunction with a variety of secular REFERENCES rituals such as the National Day Celebration, National Dance Festival, Bhaskar, K.P. Function of Dance in Multicultural Singapore in Singapore Festival of Youth Festival and Festival of Arts or Dance 1985 Souvenir Programme, 1985, p. 32-34. ceremonial rituals such as wedding The Prophetic & The Political: Selected Speechesand Writing of S. Rajaratnam, Ed. Heng parties. Those who present them and Chee Chan and Obaid, ul Haq. Singapore: Singapore National Printers Ltd., those who attend them are bound 1987. Chua, Soo Pong. Singapore's First Festival of Dance . Straits Times, March 9, 1982. together socially and culturally. The Chua, Soo Pong. Sumatran Dance. Sumatran Dance Workshop, Singapore: social setting of these performances National Theatre Dance Circle, Affiliate of National Theatre Trust, 1983, p. 16-17. also display and reinforce existing Chua, Soo Pong. Cultural Pluralism in Dance: the Changing Scene in Singapore . social relations. Though the format of Performing Arts Newsletter in Asia and the Pacific, July 1989, Vol. V No. 1, theatrical Malay dance is familiar, it p. 12-13. enhances their cultural identity and Deddy, Luthan. Focus on the Development of the Malay Dance . Sumatran Dance Workshop, Singapore: National Theatre Dance Circle, Affiliate of National Malayness. Together with Indian Theatre Turst, 1983, p. 3-6. dance and Chinese dance, Malay Haron, A. Rahman. Dances of Instant Asia. Straits Times, April 27, 1982, p. 26. dance plays a part in the drama of Haron, A. Rahman. Sriwana's Contributions Are Remembered by Members. Straits Times, August 15, 1985. Singapore's multicultural society. Holt, Claire, Dance of Instant Asia . Indonesia, New York: Cornell Modern Indonesia Project, 1972, No. 14. p. 73-88. Khug, Eu Meng, Dance Talent at Grassroots Level . New Nation, March 18, 1982. Footnotes "A Visual Documentation of Geylang Serai". Down Memory Lane, Ed. Lim Lisa and Ng, Yoke Lim. Singapore: Kin Keong Printing Co Pte Ltd, 1990. See Chua (1989) for the discussion of forms Li, Tania. Malays in Singapore: Culture, Economy, and Ideology. Singapore: Oxford of interaction between the different ethnic University Press, 1989. groups in Singapore during the past Mohamed Ghouse, Nasuruddin. Dancing to ECStagy on the Hobby Horse Emotions of decades. The changing patterns reflect the Culture, Singapore: Oxford University Press Pte. Ltd, 1990. complex development of the cultural Mohd Kamsah, Sirat. In Search of Ideas for Local Dances. Straits Times, June 13, framework within which the artistes 1983. Nasrun, Darussalam. Malay Dance. Sumatran Dance Workshop, Singapore: National organize their creative activities. Theatre Dance Circle, Affiliate of National Theatre Trust, 1983, p. 7-15. The story of "Fisherfolk Suite" depicts the Nongchik, Ghani. Malay dance: History and Development . Dance in Singapore : A peaceful harmonious way of life in a fishing historical perspective, Ed. Chua Soo Pong. Singapore: National Theatre Dance village in Singapore in the 1950s. It Circle, 1981. p. 7-10. combines the music, rhythms and dance Nongchik, Ghani, Singapore's Dance Development: Malay Dance Singapore Festival of steps of the three main communitites in Dance 1982 Souvenir Programme, 1982. p. 21-22. Singapore, namely: Malay, Indian and Som M. Said. Sedikit Huraian Tarian Melayu . Pentas (Singapore), 1980, No. 3, Chinese. Before dawn, the fishermen gather p. 23-25, 38. together and set out to sea. They strive with Sulaiman Jeem. Senitari Melayu Hutang BudiPada Nona Liauw . Straits Times, strength and unity despite the rough seas. February 18, 1982. On the beach the womenfolk mend their Supriya Singh. Dance Dramatist Extraordinaire: Arzanin Ahmad . Wings of Gold. Kuala Lumpur: Kum Printers Sdn. Bhd. Vol, 10 No. 5 (September/October 1984) nets and wait patiently for the return of p. 10-14. their loved ones. The market comes alive Tan, Chung Lee. The FirstAsean Festival of Performing Arts . Female, April 1981, as the fisherfolk return and sell their catch p. 121-123. to potential customers. Being superstitious, Tham, Seong Chee. Malays and Modernization: A Sociological Interpretation . the fisherfolk are quickly enchanted by an Singapore: Singapore University Press, 1987. Indian fortune teller who comes by. Young Wee, Vivienne. 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