Five Arts Centre Report: January – December 2011

Total Page:16

File Type:pdf, Size:1020Kb

Five Arts Centre Report: January – December 2011 FIVE ARTS CENTRE REPORT: JANUARY – DECEMBER 2011 Five Arts Centre is a collective of artists and producers dedicated to generating alternative art forms and images in the Malaysian creative environment. The collective’s scope of work includes theatre, dance, music, visual arts and young people’s theatre. Since it was formed in 1984, Five Arts Centre has been committed to articulating multiple Malaysian identities and championing local creativity. Founded by theatre directors Chin San Sooi and Dato’ Krishen Jit, and dancer- choreographer Marion D’Cruz, Five Arts Centre has been instrumental in the growth of a Malaysian identity in the arts. Today, the collective includes 14 arts activists and practitioners from across the generations and disciplines. Current members of Five Arts Centre include Anne James, Chee Sek Thim, Chew Kin Wah, Fahmi Fadzil, Ivy N. Josiah, Janet Pillai, June Tan, Kubhaer T. Jethwani, Lew Chee Seong, Mac Chan, Marion D’Cruz, Mark Teh, Ravi Navaratnam, and Suhaila Merican. For 27 years, Five Arts has been at the forefront of creating experimental, interdisciplinary and intercultural work, as well as providing platforms for the next generation of arts practitioners. Contemporary social and cultural issues impinging on Malaysian life are precipitated by the collective by way of exhibitions, performances, and creative and research workshops. The collective has performed and presented its work widely in South-East Asia, Japan, Korea, Hong Kong, India, Egypt, Australia, Canada, Germany, Austria, Belgium, Portugal and the UK. From 2004 to 2006, Five Arts Centre was the manager of Arts Network Asia, a regional organisation supporting arts work in Asia. In 2006, ASTRO and Five Arts Centre launched the Krishen Jit ASTRO Fund to support artistic work by Malaysians and others committed to the development of the arts in Malaysia. As usual, 2011, has been extremely productive for Five Arts Centre. We have done a variety of work while developing in some new areas as well. • We have provided more training and public education via Workshops and The Dance Film Series. • We have taken more work out of the Klang valley – two events were held in Penang as well as in Kuala Lumpur, and one event was part of the 2011 Singapore Arts Festival. • We have made much greater use of our studio space in Taman Tun Dr Ismail. • We have continued to tell interesting Malaysian stories. Five Arts Centre 27 & 27A, Lorong Datuk Sulaiman 7, Taman Tun Dr. Ismail, 60000 Kuala Lumpur, Malaysia tel / fax: 603-7725 4858 email: [email protected] www.fiveartscentre.org 1. WORKSHOP by JOAO EVANGELISTA 24 – 28 January 2011. Five Arts Centre Studio, Taman Tun Dr. Ismail, Kuala Lumpur. Joao Evangelista with participants Participants at work A Newold Point Devised Theatre Workshop Joao Evangelista is a contemporary artist from Portugal who collaborated with Five Arts Centre member Fahmi Fadzil, in a project in Lisbon in 2010. Joao came to Kuala Lumpur in January to do some research and ran a workshop. The workshop aimed at creating a space, supported by collaborative tools, to research and question how performance can recreate the communal and the social. The workshop asked many questions like - can theatre present politics? Can theatre actually go beyond representation and back, into an ethical spectacle? The workshop ran over 5 days and a total of 20 hours. The workshop aimed at arriving at a balance between theory and practice, looking for a praxis of developing performances that creatively respond to these questions. The workshop was attended by 14 participants from very diverse backgrounds. The response from the participants was very positive. Joao Evangelista studied computer systems at Lisbon Science University. He started working in the performing arts in 1999. He studied Choreography in the Amsterdam School for New Dance Development with Xavier Le Roy, Meg Stuart, DD Dorvilier, Debora Hay, Hooman Shariffi. He started producing his own work in 2006. Some comments from the participants: “The diverse energy and dynamic from every single participant really gave the workshop an extra edge for me.” - Adrian Teh “I would say theoretical discussions were very inspiring for me not only for the theory itself, but applying to perspectives to see the social phenomenon and life ultimately. Sometimes I was so motivated just by being part of this passionate sharing and discussion for my next piece or practice.” - Kyungmi Natalie Kim Five Arts Centre 27 & 27A, Lorong Datuk Sulaiman 7, Taman Tun Dr. Ismail, 60000 Kuala Lumpur, Malaysia tel / fax: 603-7725 4858 email: [email protected] www.fiveartscentre.org The workshop was - Conducted by: Joao Evangelista Produced by: Marion D’Cruz 2. A MODERN WOMAN CALLED ANG TAU MUI – WOMEN 100 FESTIVAL 10 – 13 March 2011. Annexe Gallery@Central Market, Kuala Lumpur. 18 – 20 March 2011. Studio at Straits, Penang. Performance at Annexe Gallery@Central Market Rehearsals in Penang In March this year, Kakiseni organized a festival to celebrate 100 years of International Women’s Day. The festival had several events including performances, workshops, talks, exhibitions. Five Arts Centre and Pocketsize Productions (Penang) presented the play A Modern Woman Called Ang Tau Mui as part of this festival. A Modern Woman Called Ang Tau Mui, is one of Malaysia’s most performed plays and is the story of a toilet cleaner named Ang Tau Mui, who goes shopping on the day she dies. Set amidst a series of encounters with various characters and her Five Arts Centre 27 & 27A, Lorong Datuk Sulaiman 7, Taman Tun Dr. Ismail, 60000 Kuala Lumpur, Malaysia tel / fax: 603-7725 4858 email: [email protected] www.fiveartscentre.org relationship with Lin Dai the legendary Hong Kong movie star, Ang Tau Mui reveals what her life has been about, using a heady mix of song, narration and dialogue. Ang Tau Mui runs from place to place, looking and searching, as she travels through time, revisiting the house she grew up in, taking a break at a deli, watching a movie in a cinema, riding a mini bus and seeking comfort in a temple. She talks about what makes her happy and sad, who she sees herself as, what her favourite food is and what her longings are. But in the end, does she find what she’s looking for? A Modern Woman Called Ang Tau Mui is a story about hope that is both funny and poignant. It is also an adventure story that raises existential questions of who we are and where we are going, using imagery that taps into our collective memory as Malaysians. Written as a performance text, A Modern Woman Called Ang Tau Mui was presented as a ‘physical one-person performance’ with music and sound by Johan Othman. In 2009, director Chee Sek Thim collaborated with Johan Othman for the presentation of Conference of the Birds, a contemporary opera. In that performance, Johan composed an electronic opera and Sek Thim created performance where the performers sang and moved in the mode of physical theatre. A Modern Woman Called Ang Tau Mui continued this collaboration between Sek Thim and Johan, where sound, music, text and movement came together in contemporary, cutting- edge performance. The play was performed in Kuala Lumpur and in Penang, continuing our efforts to take work out of the Klang valley. The Team Written by: Leow Puay Tin Directed by: Chee Sek Thim Music and Sound by: Johan Othman Performed by: Ho Sheau Fung Music performed by: Khairol Azhar Production Manager: Faiqsyazwan Bin Kuhiri Produced by: Five Arts Centre (Marion D’Cruz and June Tan) and Pocketsize Productions Penang (Ambiga Devy) Presented by: Kakiseni, with the support of the Ministry of Women, Family and Community Development. Quotes from the press: “…Ho steadily warmed up to imbue the character with shiny optimism that would put to shame the more affluent but usually suspicious or cynical urbanite…. She performed with an energetic lightness quite thrilling to watch”. Vernon Adrian Emuang, The Star, 24 March 2011. Five Arts Centre 27 & 27A, Lorong Datuk Sulaiman 7, Taman Tun Dr. Ismail, 60000 Kuala Lumpur, Malaysia tel / fax: 603-7725 4858 email: [email protected] www.fiveartscentre.org 3. THE DANCE FILM SERIES Five Arts Centre Studio, Taman Tun Dr Ismail, Kuala Lumpur. Bilqis Hijjas introducing one of the films Five Arts Centre and MyDance Alliance screened a number of Dance Films in the Five Arts studio in Taman Tun Dr Ismail. For 2011 The Dance Film Series was a recurring event at Five Arts Centre, bringing recent works in the interdisciplinary field of dance film to the Malaysian public. Discussions were held after each film. What is dance film? “A dance film is one in which dance and film/video are both integral to a work. The makers of dance films consider the placement and movement of the camera, the lighting, the balance of foreground and background, and the composition within the framing of each shot in the overall choreography. A dance film can take many forms: documentary, dance designed for the camera (cine dance or screen dance), a screen adaptation of a stage work, animation, or kinetic abstraction. The essential difference between an archival record of a stage work and what is referred to as a dance film, a dance for the camera, is the involvement of the choreographer in collaboration with a composer, cinematographer, editor and a director”. Dance Film Series I 3 April 2011 European Dance Film: Drama vs. Minimalism – 2 Dance Films were screened. The Cost of Living This 35-minute DVD was a commissioned film based on the 2003 stage work of the same name by DV8 director Lloyd Newson, winner of the 2005 Prix Italia, Rose d'Or, and Sette Jury Prize.
Recommended publications
  • Preserving the Diversity of Traditional Dances in Malaysia Through Appreciation of the Art of Early Childhood Education
    SHOW UP & BE SEEN: A STUDY TOWARDS QUANTUM LEADERSHIP IN QUANTUM ERA PJAEE, 17 (6) (2020) PRESERVING THE DIVERSITY OF TRADITIONAL DANCES IN MALAYSIA THROUGH APPRECIATION OF THE ART OF EARLY CHILDHOOD EDUCATION Sri Watini1, Qurotul Aini2, Marviola Hardini3, Untung Rahardja4, Ankur Singh Bist5 STKIP Panca Sakti Bekasi1, Universitas Raharja2,3,4, Graphic Era Hill University Bhimtal Campus5 [email protected], [email protected], [email protected], [email protected], [email protected] Sri Watini, Qurotul Aini, Marviola Hardini, Untung Rahardja, Ankur Singh Bist: Preserving The Diversity Of Traditional Dances In Malaysia Through Appreciation Of The Art Of Early Childhood Education-- Palarch’s Journal Of Archaeology Of Egypt/Egyptology 17(4), 1-14. ISSN 1567-214x Keywords: Citizen's awareness; Traditional dances; Malay ABSTRACT The Malay is one of the Austronesian ethnic groups which has maintained its Austronesian heritage until now. Austronesian cultures between these regions have in common. Through the results of this study, it aims to describe the variant of traditional Malay dances in Malaysia, by increasing awareness in preserving culture, in accordance with the traditions and special local characteristics of the Malay state. Education for the younger generation of Malays teaches that cultural diversity must be recognized as a valuable treasure, and the culture of their country needs to be preserved. This is a qualitative ethnographic study, where ethnographic studies are usually about social communities, beliefs, religions, and traditions, including traditional dances. This research was conducted in Shah Alam, Malaysia. The research data were collected using field observations as one of the methods, then open and in-depth interviews were also conducted with direct interaction with the community concerned.
    [Show full text]
  • 340 Isla-3 2014 Character Building Through
    ISLA ---333 Proceeding of the Third International Seminar on Languages and Arts 2012012014201 444 Padang, October 17-18, 2014 CHARACTER BUILDING THROUGH TRADITIONAL DANCE AS DEVELOPING IDENTITY BELONGINGS: A STUDY OF INDONESIA-MALAYSIA Nerosti Adnan Faculty of Language and Art Universitas Negeri Padang [email protected] Abstract The tittle above shows that if a person learns a traditional dance of a specific community, they unconsciously learn about the culture and the moral values of the community too, which is beneficial to them. According to Hughes (2009), the learning process of traditional dance covers four different learning’s ethics: (1) discipline; (2) courtesy and respect; (3) socialize and not arrogant; (4) consistency and confidence. This four ethics can be analyzed in an integrated manner on the textual and contextual of a traditional dance. Among other things: dancing is actually a skill capability that will not be achieved without strong discipline to practice continuously. Salam hormatin the form of squat’s motion, both hands brought together in front of the chest or in the direction of the guest (organized into ten fingers) as initiating a traditional dance. This act is actually to educate the polite nature and mutual respect toward each other. Empirically, dance can be used as a medium of learning in the intimate and socialize formations. The beauty of dance itself can be achieved with simultaneous movement or uniform. Every motion that made by the whole body is the vision of the intellectual character’s build, discipline, art and spiritual, creative and fear of God. So that, the process that must be undertaken in learning a dance is not just memorizing the movement of the dance as a text, but the dancers need to keep planting the values of it in their life.
    [Show full text]
  • Song Text Composition in Pinloin Among the Indigenous Jahai of Peninsular Malaysia: a Local Postmodernist Approach?
    70 Malaysian Music Journal Vol. 5, Num. 2 (70-95) ISSN 2232-1020/eISSN 0128-2458 Song Text Composition in Pinloin among the Indigenous Jahai of Peninsular Malaysia: A Local Postmodernist Approach? Clare, Suet Ching, Chan Faculty of Music and Performing Arts, Universiti Pendidikan Sultan Idris 35900 Tanjong Malim, Perak, Malaysia e-mail: [email protected] Abstract The Jahai are one among 18 indigenous Orang Asli groups in Peninsular Malaysia. They perform the traditional pinloin, a song and dance genre, during the pano ceremony (séances) and tree and fertility rituals. The song text and music of pinloin is taught to the Jahai halaq (shaman) by their chenoi (spirit guide) through dreams. Pinloin song text manifests the flora and fauna of the rainforest of Malaysia as depicted by the chenoi. Today (2016), the function of pinloin as a ritual enactment has shifted to a form of entertainment or cultural experience for tourists, visitors and visiting dignitaries. This change has resulted in a disruption in the transmission of the traditional pinloin song text. In this article, I argue that there is an increase in the use of the pastiche approach such as random sharing of fragments of song text, sporadic unfolding of narratives and little connection between the title and song text in pinloin song text compositions due to the influence of the ‘tourist gaze’. I support this argument by comparing Jahai song text form and composition technique in the early 20th century, late 20th century and early 21st century. Keywords composition, indigenous, local postmodernism, pastiche, song text BACKGROUND The Orang Asli are the first inhabitants and considered the original people of Peninsular Malaysia.
    [Show full text]
  • Development Phase of Traditional Dance in the State of Perak, Malaysia: a Literature Review
    International Journal of Academic Research in Business and Social Sciences 2017, Vol. 7, No. 11 ISSN: 2222-6990 Development Phase of Traditional Dance in the State of Perak, Malaysia: A Literature Review Muhammad Fazli Taib Saearani Department of Performing Arts, Faculty of Music and Performing Arts, Sultan Idris Education University, Malaysia. Abdul Hamid Chan Department of Performing Arts, Faculty of Music and Performing Arts, Sultan Idris Education University, Malaysia. Nur Nabila Michael Luang Abdullah Department of Performing Arts, Faculty of Music and Performing Arts Sultan Idris Education University, Malaysia. DOI: 10.6007/IJARBSS/v7-i11/3511 URL: http://dx.doi.org/10.6007/IJARBSS/v7-i11/3511 Abstract This paper aims to review literature regarding the development phase of traditional dance in the state of Perak, Malaysia. This development phase will be looked into by reviewing Perak’s history, with a focus on the art of Malay traditional dance. Based on this literature review, it is found that there is difficulty in finding reference materials on the traditional dance of Perak as there is a lack of documentation. Parts of the literature being reviewed include (i) the history of Perak, (ii) culture in general, (iii) traditional arts in Perak, and (iv) traditional dance in Perak. Each topic is discussed, exploring the existence of the art of traditional dance in Perak that brought about cultural symbols in each area of the state. In this paper, cultural symbol refers to traditional dance, that went through a development phase in Perak and was passed down generation by generation until today, has evolved due to sociological factors among the people of Perak.
    [Show full text]
  • Arabic Connections: Translating Performative Sufism in the Malay Zapin Amongst Muslim Societies in Insular Southeast Asia1
    ARABIC CONNECTIONS: TRANSLATING PERFORMATIVE SUFISM IN THE MALAY ZAPIN AMONGST MUSLIM SOCIETIES IN INSULAR SOUTHEAST ASIA1 Mohd Anis Md Nor University of Malaya, Kuala Lumpur Introduction Zapin is one of the oldest traceable forms of folk and social dance and music genre in the Malay world in Southeast Asia. Created through syncretic borrowing and adaptation to the eclectic performative nuances of the Arabic Zaffin of the Hadrahmaut Arabs in present day Yemen, the Malay Zapin is both a hybrid and a highly syncretized dance and music tradition of Muslim communities of Southern Thailand, Malaysia, Indonesia, Brunei and Singapore (Mohd Anis Md Nor, 2011: 42-47). From its beginning in the thirteenth century, Zapin music and dance have been reinvented through the syncretic adaptations of the Hadhrami-Arab trader-settlers’ performative dance and singing genre, creating a hybrid performance tradition embodying indigenous creative exploits merging two different worlds, the patriarchic Arab-Islamic performative traditions and the bilateral-Malay-Islamic influences. This has led to the creation of two different styles of zapin: in the Straits of Malacca, an older variant known as Zapin Arab (Arab Zapin) and the generic Malay Zapin known as Zapin Melayu. The Arab-Malay worlds came together to produce the Malay Zapin through the processes of engaging Islamic aesthetics while affirming an Islamic worldview and 67 JOURNAL OF ENGLISH STUDIES & COMPARATIVE LITERATURE belief system in the Malay maritime communities of the Straits of Malacca. Zapin Arab is an exclusive dance tradition of the Arab decent groups while Zapin Melayu is performed by Malays in Peninsular Malaysia, Singapore, Sumatra, and in the Riau Archipelago.
    [Show full text]
  • Download Download
    AlmaTourism N. 13, 2016: Albattat A.R., Amir I.D., Nik Muhammad N. S., Students Awareness towards Traditional Cultural DanCes in Sarawak, Malaysia AlmaTourism Journal of Tourism, Culture and Territorial Development ___________________________________________________________ Students Awareness towards Traditional Cultural Dances in Sarawak, Malaysia * Albattat, A.R. Amir, I.D.† Nik Muhammad N. S‡ Management and SCienCe University (Malaysia) Abstract Malaysia has many ethniC groups, and each ethniC group has own Custom and tradition that most Malaysians are not aware, espeCially traditional danCes. Among the Malaysian states, Sabah and Sarawak, situated in the Borneo Island have the most diverse ethniC groups in Sarawak. It has more than 30 ethniC groups. Each of the ethniC groups has its own language, Cultures and lifestyle. In this regards, this researCh foCuses on the main ethniC groups of Sarawak whiCh are Orang Ulu, Malays, Melanau, Bidayuh, Chinese and Ibans. The aim of this study is to investigate the level of awareness among the Management and SCienCe University (MSU) students regarding their level of awareness and knowledge about traditional danCes of Sarawak. The data were gathered by distributing questionnaires among MSU students. The data were then analysed using SPSS system version 18.0. Results ConCluded that, most of MSU students have limited knowledge about Sarawak traditional danCes. Interests, internet, performing arts Clubs and family background are the independent variable factors to learn and gain knowledge about Sarawak traditional danCes. The level of awareness among MSU students towards Sarawak traditional danCes Can be enhanCed through events and speCial oCCasions to inCrease level of awareness towards Sarawak Cultures. The government plays a major role in introduCing Sarawak Cultures to the whole of Malaysia.
    [Show full text]
  • Spafa Journal 1995, Vol 5, No
    Dance in Malaysia: Major Forces in the Changing Scene Assoc. Prof. Dr. Mohd Anis Md Nor The past and present of Malaysia are both represented in the living traditions of its dance culture. Motions and sounds are celebrated by the masses in the traditional forms of folk dance; ritual healings by traditional healers through ritual dance and music; classical dance at royal places; ethnic dance; and archaic and primordial dances of the Orang Asli (the aborigines of peninsula Malaysia). Mohd Anis Md Nor, Associate Professor in Dance and Music at the University of Malaya, Kuala Lumpur, Malaysia, looks at the contemporary dance scene in his country. he cultures of the convergence of tradi- seafaring maritime tions in its contemporary T Malays who had national culture and earlier inhabited the aspirations. coastal and riverine settlements, following the The complexity of migration of the proto- Malaysia's multi-ethnic Malays and the Orang Asli society and its richness of (aborigines), synthesized vast and expensive with Indic culture from the influences from civil- Indian sub-continent izations of the past and during the formation of present are revealed in the Indianised nation states in multitude of dance genres. Southeast Asia. Indi- There are, however, genous cultures of significant differences in Peninsula Malaysia and the dance forms of West East Malaysia were further Malaysia and East influenced by the Persians, Malaysia. Arabs, Portuguese, Dutch, English, Indians and Dance traditions of West Chinese from the four- Malaysia can be teenth to the twentieth categorically divided into century. The ethnic several groups. The Orang composition of Malay- Aslis have distinct dances sians, with their diverse of their own, and Malay cultural backgrounds and dances, which predom- histories, has produced a Lena Ang Swee Lin in "Beauty Maker" inate the lowland and 8 SPAFA Journal Vol.
    [Show full text]
  • Identity in Malaysia – Public Reception and Communal Practice
    Journal of Education and Social Sciences, Vol. 3, (Feb.) ISSN 2289-9855 2016 IDENTITY IN MALAYSIA – PUBLIC RECEPTION AND COMMUNAL PRACTICE Hans Volker Wolf ABSTRACT Identity has continuously been a topic in Malaysian public discourse since the foundation of the Malaysian nation in 1957. This research paper is following the terminological connotations of identity in Malaysia through the analysis of Malaysian print media and publicly accessible written material with the objective to discover continuity and change in a national concept of visionary status. The qualitative method of assessing public opinions by way of corpus analysis is expected to support the hypothesis that identity in Malaysia has been changing from ethnically dominated particulars through state enforced intervention to a wider and more general meaning that reaches across the social context of ethnic, religious and political constraints towards a cosmopolitan and global composure of diversity. Following academic trials and tribulations of interdisciplinary nature such process confirms the theoretical evidence that complex societies will never sustain officially administrated ideological visions of national identity. Key words: Identity in Malaysia; National identity; Identity terminology; Identity in Malaysian print media; Identity and culture Introduction – Approaching the self Malaysian identity comprises a multitude of influences from cultures in a history of changing geographical spaces. They emanate from tribal origins, merchant settlers and migrating communities with different mythological sources, behavioral patterns, cultural manifestations and visions over centuries. Perception and analysis of such multi-faceted identity could start at any point in time and constitute itself into specific narrative semantics of indigenous nature. Alternatively, identity can be perceived and analyzed through the magnifying lens of terminology that originates from the global discourse of research and the etymology of every-day life since Malaysia had become an independent nation.
    [Show full text]
  • Expressing Cultural Identity Through Contemporary
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarBank@NUS REPRESENTING ASIAN-NESS THROUGH CONTEMPORARY DANCE: CASE STUDIES OF FIVE DANCE COMPANIES IN SINGAPORE CAREN CARINO B.Ed. and M.F.A. (Dance), University of Hawaii A THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY SOUTHEAST ASIAN STUDIES PROGRAMME NATIONAL UNIVERSITY OF SINGAPORE 2008 Acknowledgements I would like to thank the following people for their inspiration, invaluable guidance and support in the research and writing of my thesis. I am indebt to the contemporary dance companies and dance artists based in Singapore at the time of my research. It is because of these individuals and their creative work that compelled me to write this thesis: Angela Liong (artistic director), Elysa Wendi (assistant artistic director) and Scarlet Yu (dancer) from The Arts Fission Company; Lim Chin Huat(artistic director) , Tan How Choon (associate artistic director) and Su Sam (dancer) from Ecnad Project Ltd.; Tammy Wong (artistic director) and Elaine Chan (dancer) from Tammy L. Wong Dance Company; Danny Tan (artistic director), Sylvia Yong (dancer) and Albert Tiong (dancer) from Odyssey Dance Theatre and; Aaron Khek Ah Hock (executive director), Ix Wong Thien Pau (artistic director) and Ebelle Chong (dancer) from Ah Hock and Peng Yu. I embarked on the writing of this thesis as a dancer accustomed to creative and physical expression. However, through the patience and guidance of my Ph.D. supervisor Associate Professor Goh Beng Lan and the careful scrutiny of Hannah Tan, I have gained an immense respect for critical thinking and written expression.
    [Show full text]
  • Corporate Sponsorship Or Corporate Hospitality for Performing Arts in Malaysia?
    Corporate Sponsorship or Corporate Hospitality for Performing Arts in Malaysia? Performing arts have a role in the private sector, and vice-versa. Zulkifli Mohamad gives his perspectives Introduction n Malaysia, the Ministry of Culture, Arts and Tourism is responsible for the preservation, i I development and promotion of arts, culture and tourism in the county - the only one in South East Asia that lumps arts and culture with tourism (in most South East Asian countries, arts and culture are combined with education to ensure the preservation, development and promotion of their arts and culture, even though the Indonesian Ministry of Tourism recently initiated a new depart- ment, Culture Tourism to incorporate monuments and historical sites into plans and Classical performing arts such as Wayang Kulit fixtures for tourism). (shadow puppetry) and Mak Yong (Kelantan Musical Theatre) did not receive enough attention Tourism Malaysia, under the Ministry of Culture, to be included as a National Culture component by Arts and Tourism, has been using dance and the National Arts Council in 1970 due to the use of other performing arts to attract foreigners to visit the heavy Kelantan dialect. Both classical art Malaysia. Towards this end the National Cultural forms were also perceived and considered to be too Complex ('Kompleks Budaya Negara"), which was rural. Moreover, the state government of Kelantan, established in 1970 under the same ministry, have ruled by the Malaysian Islamic Party, does not been organising performances of traditional arts, recognise Wayang Kulit and Mak Yong. Since the mostly folk dances. As a further step towards late 1960s, Wayang Kulit has been banned in a National Theatre, the Ministry of Culture, Arts Kelantan because of the animistic rituals involved in and Tourism established in 1994 the National Arts the performance, as well as its Hindu-based Academy, and in the same year, honoured shadow Ramayana epic.
    [Show full text]
  • Cultural and Religious Diversity in Sabah and Relationships with Surrounding Areas
    Cultural and Religious Diversity in Sabah and Relationships with Surrounding Areas Cultural and Religious Diversity in Sabah and Relationships with Surrounding Areas Jacqueline Pugh-Kitingan Abstract Sabah, the east Malaysian state of northern Borneo, is home to around fifty major Austronesian ethnic groups, as well as Chinese and others. This article sketches the cultural diversity of Sabah, placing it in its environmental, social, historical, and religious contexts, and briefly discusses linkages with surrounding areas. It also shows how Sabah’s cultural and religious diversity is a strength that has enhanced ethnic and religious tolerance in Malaysia. Key words: cultural diversity, religion, North Borneo, Sabah, Malaysia 1. Introduction—the Land and Peoples of Sabah Sabah, the east Malaysian state on northern Borneo, is renowned for its rich cultural and environmental diversity. With an area of 72,500 square kilometers, it is the second largest state in Malaysia after Sarawak. Its mountainous backbone features Mt. Kinabalu (4,095 meters), the highest mountain in Southeast Asia, with Mt. Trusmadi (2,642 meters) of Tambunan District and Mt. Tombuyukon (2,579 meters) of Kota Marudu as Malaysia’s second and third highest mountains respectively. Banggi Island off the tip of the Kudat Peninsula (Borneo’s northernmost point) is Malaysia’s largest island, while the Kinabatangan River flowing from the interior to the east coast is Malaysia’s second longest after the Rajang in Sarawak. Having a mainly humid tropical climate, Sabah was formerly covered by lower mountain forests and rainforests, with fertile alluvial planes supporting sedentary societies practicing rice agriculture (Sabah Museum 1992: 1–6, Boutin 1991: 91, Hutton 2004: 1, Tongkul 2004: 32, Singh& Tongkul 2004: 34).
    [Show full text]
  • The Inheritance of Malay Palace Dance in Malaysia and Yogyakarta Classical Dance in Indonesia
    HARMONIA : Journal of Arts Research and Education 16 (1) (2016), 75-86 p-ISSN 1411-5115 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia e-ISSN 2355-3820 DOI: 10.15294/harmonia.v16i1.6145 The Inheritance of Malay Palace Dance in Malaysia and Yogyakarta Classical Dance in Indonesia Muhammad Fazli Taib Bin Saearani Fakulti Muzik dan Seni Persembahan, Sultan Idris Education University, Malaysia Sultan Idris Education University 35900 Tanjong Malim Perak, Malaysia E-mail: [email protected] Agus Cahyono Department Sendratasik, Semarang State University, Indonesia Sekaran Campus Gunungpati, Semarang 50229, Central Java, Indonesia Received: April 9, 2016. Revised: June 3, 2016. Accepted: July 2, 2016 Abstract The background of this study is the effort of solving the inheritance problem faced by Malay- sia in the case of Malay Palace dance which is currently in decline. This study is done by using best practice from the The Development and Inheritance of Yogyakarta Classical Dance (TKGY) done by the Ngayogyakarta Hadiningrat Palace and some formal and non-formal institutions in Yogyakarta, Indonesia. TKGY is chosen as it is viewed to have positive life in classical Palace dance and involve various actors and clear strategies. For three years, the researcher has done the research by observing the inheritance context (TKGY) to identify preservation phenomena done in Yogyakarta. This research is using a qualitative approach. The data are collected by doing in- depth interviews with some leaders of the main studios in Yogyakarta and Malay Palace dance choreographers in Malaysia. The result of the research shows that there are some similarities and differences between Malay palace dance in Malaysia and Yogyakarta classical dance.
    [Show full text]