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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. 5 No.2&3 coastal areas of the Chinese dances such as the peninsula, range from Fan dance, Lotus dance. classical, folk to the Crane dance and Ribbon ritualistic; while, in the dance are most popular contemporary Malaysian amongst the multi-racial dance culture, the Malaysian society. As the influences of the Indian strongest symbol of sub-continent and the Chinese culture, the Lion Nanyang (Overseas) dance is performed widely Chinese are discernible. during lunar celebrations such as the Chinese New The East Malaysian states Year festivals. Currently of Sabah and Sarawak though, a new but dramatic (flanking the northern and performance of the western portion of the Dragon dance is making island of Borneo) have inroads into the Chinese colourful dances that community in Malaysia, reflect the multi-ethnicity replicating similar dance of its populations. Sabah forms performed in Hong and Sarawak have a Kong and Taiwan. coastline of about 2,253 Perhaps this new km, with rivers longer than phenomena will evolve those in the Peninsula. A into a new and exciting series of mountain ranges sincretised version of the and hills criss-cross the Malaysian Dragon dance. interior of Sabah and Lena Ang Swee Lin in "Skin Furthermore, con- Sarawak, both covered by Trilogy" Art Gallery temporary young Malay- tropical rain forest. The sians of Chinese descent alluvial coastal plain lie have fused new and between the sea and the forms which represent the larger modern choreographies drawn mountainous interior, and are contemporary Malaysian society. along the lines of Chinese folk dotted with riverine towns and and classical dance genres, villages. This physical landscape Indian classical dances such as creating new identities in re- of Sabah and Sarawak, and the the Bharatnatyam, Odissi, and addressing Chinese cultures variety of ethnic communities Kuchupuddi have gained new within the larger perspectives of inhabiting different terrains in heights and renaissance among Malaysian artistic expressions. both states, has contributed to contemporary Malaysians. the rich cultural heritage of Indian folk traditions such as the During the decades between the Malaysia. stick dance of the Tamil seventies and nineties, an on- community, the Onam dances of going process of modern dance Contemporary Interpretations the Malayales, Bangra of the Sikh expressions has been happening. Being a multi-racial and community, and popular dances Marion D'Cruz, Ramli Ibrahim, pluralistic society, Malaysia has copied from Hindu and Tamil Ghouse Nassaruddin, Francis inherited other Asian dance movies have caught Malaysians' Teoh. Lee Lee Lan and the late cultures that came with the arrival imagination. Lari Leong are amongst the of the early Indic and Chinese established names in the communities. Although some On the other hand, Chinese contemporary Malaysian dance have remained exclusive dances in Malaysia are frequently scene. The forebearers of traditions of the Chinese and performed all over the country. Malaysian modern dance Indians, others have merged into Contemporary interpretations of choreographers have expanded SPAFA Journal Vol. 5 No. 2 & 3 9 to include new and upcoming became the central theme to her and most toured dance company dancers and choreographers such piece Woman at Point Zero. in the country. Ramli also as Steven Koh. Wong Kit Yaw, Marion also performed col- launched Sutra's annual and bi- Vincent Tan. Mew Chang Tsing, laborative works with innovative annual Pesta Sutra Festivals Lena Ang Swee Lin, Aida Redza, visual artists in many of her which include Ready When You Joseph Victor Gonzales, Suhaimi works. Are, Up To You, Harum and Magi and Chong Yoon Keong. Body Moves. In addition, many Ramli Ibrahim inherited rich and young and promising dancers Many of the earlier modern powerful expositions in the have emerged under Ramli's Malaysian dances emerged from dances of East and West. Initially tutelage. Marvin Khoo, a young the eclectic fusion with western trained in the rigours of classical dancer of Chinese and Indian contemporary dance techniques ballet and contemporary dance parentage, and Gunasegeran, of such as those of before he joined the Indian parentage, are two Martha Graham, Sydney Dance excellent Malaysian dancers who Merce Cunningham, were trained by Ramli. The Malaysian Company in the and Alvin Nikolai. 1970s, Ramli's Marion D'Cruz dance world passion to express The Kwangsi Association is a fused the Joget has never been life in the richness of Malaysian modern dance Gamelan and as promising myths and rituals company with strong Chinese Terinai dance and exuberant eventually lead him styles. Established in mid 1980s, techniques with as it is today. into classical Indian the Association had strong contemporary dances, Odissi and leaning towards Taiwan's and movements merging Bharata Natyam. Hong Kong's dance movements, into specific styles which have Today, Ramli is a renowned with major works produced by today become more evident in Odissi dancer and has become an Lin Hwa-min, a well-known her interpretations of modern exponent of Bharata Natyam. Taiwanese choreographer. Malaysian movements. She is the prime choreographer for the Ramli's choreographic foray into The desire to consciously develop Five Arts Centre set up in 1984. the realm of contemporary dance indigenous choreography has Women and her travail arose as idioms has brought Ramli new compelled local choreographers the affecting theme of the expressions linking Indic, Malay such as Steven Koh, Wong Kit narrative works of Marion D' and western dance styles. His Yaw, Vincent Tan and Mew Cruz and her dancers. She builds first contemporary repertoire, Chang Tsing to produce new her dance through experi- Gerhana I (1983), was about the works based on the traditions of mentation, deconstruction and tragic heroism of Jebat, the Chinese dance styles. Eventually, reconstruction processes in renegade warrior of old Melaka. the Kwangsi Association opened search of contemporary He collaborated with Valerie its doors to transcend their ethnic- vocabulary. Her search for Asian Ross, Malaysia's most significant oriented boundaries when the forms in modern styles are serious composer of avant garde group invited choreographers reflected in works such as Síntesis music, to produce Karma and such as Lari Leong, Loh Pit '84. Solo '86, New Direction '88, Once Upon A Time. Nik Foong and Marion D'Cruz to Sook-Ching, Asian Breeze, Swan Mustapha, who is also a well produce new works. Song, Alter Art, Woman at Point known composer, produced the Zero, and Let Me Speak - A music for Ramli's Silat Al-Rahim Lee Lee Lan and the Kuala Dance Concert. Let Me Speak while Steve Reich, an American Lumpur Dance Theatre (KLDT) showcased new definitions and composer, wrote the music for is synonymous with ballet and boundaries of dance in a form Transitory States. modern dance in Malaysia. recognized as Marion's own. Carving a woman's self identity KLDT became the outlet for the Ramli and Sutra has come a long and the journey she traced talents of dancers groomed in way to become the most vibrant the ballet academies, run by Lee 10 SPAFA Journal Vol. 5 No. 2 & 3 Lee Lan, which catered to her creative work are strongly to 1990 before joining the suburban and contemporary inclined towards similar "higher People's Association Dance dances. Naturally,worksofballet state of being" or "awareness" Company of Singapore from 1990 teachers and students were used which is sensitive to the to 1991. Aida, a former dancer of as the focus of KLDT's modern Malaysian surroundings and the Gamble Van Dyke Dance dance pieces. environment. Lena's recent Company, and Blue Skidd Dance works include Frame (1993) for Company, also toured the east Lena Ang Swee Lin is another of International Women's Day coast of America and Europe Malaysia's example of the East- Celebration, and Tea for Two before returning to Malaysia in West collages of sentiments with (1993), a comment on pretentious 1994. As a result, her new work which she chooses to express her yuppies [young professionals].
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