Intangible Cultural Heritage in Singapore
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Gentarasa 2016 Showcases the Significance of Malay Culture Through Traditional Performances and Poetry in Celebration of Hari Raya Aidilfitri
PEOPLE’S ASSOCIATION 9, King George’s Avenue Singapore 208581 Tel: (65) 6340 5430/5454/432/231 Fax: (65) 6348 5977 Website: www.pa.gov.sg 27 July 2016 GENTARASA 2016 SHOWCASES THE SIGNIFICANCE OF MALAY CULTURE THROUGH TRADITIONAL PERFORMANCES AND POETRY IN CELEBRATION OF HARI RAYA AIDILFITRI 18 Gentarasa performers who have excelled in both academic and cultural pursuits to receive Gentarasa Study Grant 2016 at Gala Show In conjunction with Hari Raya celebrations, Gentarasa 2016 will showcase the Malay community’s heritage, culture and customs through this cultural performance which will feature performers from all walks of life. The cast, comprising 85% local talents from the Community Centres/Clubs (CCs), includes a total of 150 artistes, both Malay and non-Malay performers coming together to promote understanding and appreciation of the Malay culture. This is one of the biggest cast participation in Gentarasa since 2002. William See is one of the 5 non-Malay performers who is very excited in performing dance on stage and will continue to support such programmes in the future. The youngest cast, Md Hasif Afiq Bin Md Ridwan, aged 6, will be involved in the martial arts performance. Md Hasif Afiq is from the Bukit Batok East CC Silat Interest Group and is his first Gentarasa performance. 2 The 100-minute flagship cultural concert by People’s Association (PA) Malay Activity Executive Committees Council (MESRA), entitled “Genggaman Jati, Menyulam Masa – Weaving Self through Time” – will perform to an anticipated 2,500 audience at the Kallang Theatre on Saturday, 30 July 2016 at 2.00pm (Matinee) and at 8.00pm (Gala Show). -
Malay Gamelan: Approaches of Music Learning Through Community Music
International Journal of Academic Research in Business and Social Sciences 2017, Vol. 7, No. 11 ISSN: 2222-6990 Malay Gamelan: Approaches of music learning through Community Music Wong Huey Yi @ Colleen Wong Department of Music and Music Education, Faculty of Music and Performing Arts, Universiti Pendidikan Sultan Idris, Malaysia. Christine Augustine Department of Music and Music Education, Faculty of Music and Performing Arts, Universiti Pendidikan Sultan Idris, Malaysia. DOI: 10.6007/IJARBSS/v7-i11/3562 URL: http://dx.doi.org/10.6007/IJARBSS/v7-i11/3562 Abstract This paper looked into the role of Rhythm in Bronze (RiB), a local music group in Malaysia, in community music work practices that uses Malay gamelan as the medium. The research delved into the different aspects of the approaches used to enhance music learning through community music; particularly the activities used and how they relate to Vygotsky’s theory of socialization in learning. Community music gathers people from different backgrounds. Experiences and knowledge shared helps the community through the development in terms of personal growth, self- esteem and self-confidence. These terms are just some of the aspects that community music promotes, apart from music making. Along the process of community music, creativity and expression are important in music making, as this will further develop creative thinking skills among musicians. Qualitative approaches such as observation, interview, and group’s past work were used in this research to gather information and data on how music has been taught to children through community music. Social interaction has certainly shown a big role in developing children thinking and perceptions through the activities implemented. -
Term-List-For-Ch4-Asian-Theatre-2
Asian Theatre: India, China, Korea, Japan, Indonesia, & Cambodia Cultural Periods and Events Theatrical Developments Persons Aryan migration & caste system Natya-Shastra (rasas & the Bharata Muni & Abhinavagupta Vedic & Gandhara Periods spectator’s liberation) Shūdraka & Kalidasa Hinduism & Sanskrit texts Islamic invasions actor-manager (sudtradhara) Buddhism (promising what?) shamanic rituals jester (vidushaka) Hellenistic influence court entertainments with string-puller (sudtradhara) Classical Period & Ashoka Jester Ming sheng, dan, jing, & chou (meanings) Theravada & Mahayana wrestling & Baixi men & women who played across gender Gupta golden age impersonations, dances, & women who led troupes Medieval Period acrobatics, sword tricks Guan Hanqing Muslim invasions small plays of song and dance Tang Xianzu Chola Dynasty Pear Garden & adjutant Li Yu Early Modern Period plays Kan’ami & Zeami Mughal Empire red light districts with shite & shite-tsure (across gender), waki, Colonial Period with British East southern dramas & waki-tsure, & kyogen India Company variety show musicals chorus of 8 men, musicians, & onstage British Raj with one star singing per stagehand (kuroko) Dramatic Performances Act act Okuni Contemporary Period complex, poetic dramas onnagata Shang, Zhou, Qin, Han, Jin, kun operas with plaintive Chikamatsu Northern & Southern, Sui, Tang, music & flowing Danjuro I Song, Yuan, Ming, & Qing melodies/dancing chanter, 3 puppeteers per puppet, & Dynasties Beijing Opera (jingju) as shamisen player nationalist & communist rulers -
Factors Affecting Automatic Genre Classification: an Investigation Incorporating Non-Western Musical Forms
FACTORS AFFECTING AUTOMATIC GENRE CLASSIFICATION: AN INVESTIGATION INCORPORATING NON-WESTERN MUSICAL FORMS Noris Mohd Norowi, Shyamala Doraisamy, Rahmita Wirza Faculty of Computer Science and Information Technology University Putra Malaysia 43400, Selangor, MALAYSIA {noris,shyamala,rahmita}@fsktm.upm.edu.my characteristics is therefore highly sought. ABSTRACT Musical genre is used universally as a common metadata for describing musical content. Genre The number of studies investigating automated genre hierarchies are widely used to structure the large classification is growing following the increasing amounts of collections of music available on the Web. Musical digital audio data available. The underlying techniques to perform automated genre classification in general include genres are labels created and used by humans for feature extraction and classification. In this study, MARSYAS categorizing and describing the vast universe of music was used to extract audio features and the suite of tools [1]. Humans possess the ability to recognize and analyze available in WEKA was used for the classification. This study sound immediately based on instrumentation, the investigates the factors affecting automated genre rhythm and general tone. Furthermore, humans are able classification. As for the dataset, most studies in this area work to draw connections to other songs that have a similar with western genres and traditional Malay music is sound and feel. These commonalities make it possible incorporated in this study. Eight genres were introduced; Dikir for humans to classify music into different genres. Barat, Etnik Sabah, Inang, Joget, Keroncong, Tumbuk An automatic genre classification is a system that Kalang, Wayang Kulit, and Zapin. A total of 417 tracks from various Audio Compact Discs were collected and used as the allows structuring and organization of the huge number dataset. -
Covid-19 Fears Forces JB Chingay Celebrations to Be Toned Down
Covid-19 fears forces JB Chingay celebrations to be toned down Malaysiakini 12 February 2020 CORONAVIRUS | The annual Chingay parade in Johor Bharu regularly draws hundreds of thousands of revellers onto the streets. In light of the ongoing Covid-19 outbreak, however, the organisers said they will scale down the celebrations on Friday although the state government advised them to cancel the parade. “The government believes that if the disease spreads, it will not be able to maintain control of the situation. We respect the state government’s decision and cancel this activity […] “However, the procession of the deities is our tradition, so for this year, we will do the next best thing. “We have negotiated with the state government, so the five deities will be paraded on the back of trucks, while other things like the dragon and lion dances, parade floats are all cancelled. “I am very sorry. Everyone has worked hard to prepare for the parade, especially the floats. Millions have backed the floats, but it will not materialise,” Johor Baru Tiong Hua Association president Ho Sow Tong told a press conference today. Customarily, effigies representing the deities would have been loaded onto litters to be carried by a group of people during the parade. According to Bernama, last year, some 300,000 people had attended the parade. In a statement earlier today, the Johor government had urged the organisers to cancel the Chingay parade over concerns it would help spread the Covid-19 disease. Menteri Besar Sahruddin Jamal said the decision was based on the state Health Department’s risk assessment and its inability to conduct large-scale health screening of the parade’s visitors. -
Book of Abstracts Edition 2016 09 10
Panels & Abstracts 16-18 SEPTEMBER 2016 SCHOOL OF ORIENTAL AND AFRICAN STUDIES, UNIVERSITY OF LONDON ASEASUK Conference 2016 Disclaimer: Panel and abstract details are current as of 9 September 2016. While every effort has been made to ensure the completeness of this information and to verify details provided, ASEASUK, SOAS, and the organisers of this conference accept no responsibility for incorrect or incomplete information. Additional updated versions of this book of abstracts will be made until mid-August 2016 at which time a final hard copy will be printed for distribution at the conference. Organizing Committee Professor Michael W. Charney (SOAS), Committee Chair Professor Ashley Thompson (SOAS) Professor Matthew Cohen (Royal Holloway) Professor Carol Tan (SOAS) Dr. Ben Murtagh (SOAS) Dr. Angela Chiu (SOAS) Ms. Jane Savory (SOAS) SOAS Conference Office Support Mr. Thomas Abbs Ms. Yasmin Jayesimi Acknowledgments The Organizing Committee would like to thank the following people for special assistance in planning this conference: Dr. Tilman Frasch (Manchester Metropolitan University), Dr. Laura Noszlopy (Royal Holloway), Dr. Carmencita Palermo (University of Naples “L'Orientale”), Dr. Nick Gray (SOAS), Dr. Atsuko Naono (Wellcome Unit for the History of Medicine, University of Oxford), Dr. Li Yi (SOAS), Dr. Thomas Richard Bruce, and the many others who lent assistance in various ways. © 2016 ASEASUK and the SOAS, the University of London 1 Contents PANEL 1 The Political Economy of Inclusion: Current Reform Challenges in Indonesia 3 -
Chinese Religion and the Challenge of Modernity in Malaysia and Singapore: Syncretism, Hybridisation and Transfi Guration1
Asian Journal of Social Science 37 (2009) 107–137 www.brill.nl/ajss Chinese Religion and the Challenge of Modernity in Malaysia and Singapore: Syncretism, Hybridisation and Transfi guration1 Daniel P.S. Goh National University of Singapore Abstract Th e past fi fty years have seen continuing anthropological interest in the changes in religious beliefs and practices among the Chinese in Malaysia and Singapore under conditions of rapid modernisation. Anthropologists have used the syncretic model to explain these changes, arguing that practitioners of Chinese “folk” religion have adapted to urbanisation, capitalist growth, nation-state formation, and literacy to preserve their spiritualist worldview, but the religion has also experienced “rationalisation” in response to the challenge of modernity. Th is article proposes an alternative approach that questions the dichotomous imagination of spiritualist Chinese reli- gion and rationalist modernity assumed by the syncretic model. Using ethnographic, archival and secondary materials, I discuss two processes of change — the transfi guration of forms brought about by mediation in new cultural fl ows, and the hybridisation of meanings brought about by contact between diff erent cultural systems — in the cases of the Confucianist reform movement, spirit mediumship, Dejiao associations, state-sponsored Chingay parades, reform Taoism, and Charismatic Christianity. Th ese represent both changes internal to Chinese religion and those that extend beyond to reanimate modernity in Malaysia and Singapore. I argue that existential anxiety connects both processes as the consequence of hybridisation and the driving force for transfi guration. Keywords hybridity, modernity, syncretism, Chinese religion, Singapore, Malaysia Th e Question of Syncretic Chinese Religion Syncretic popular religion in Oriental societies has long intrigued Western scholars because of its striking diff erence with the theological religions of sacred books. -
Organising Committee for Chingay Parade 2011 (Rfp: Scp2011)
Chin Lai Ping (M0901011) Muhammad Hakim Salim (N0707153) Audrey Lau Cheng Shan (B0704389) ORGANISING COMMITTEE FOR CHINGAY PARADE 2011 (RFP: SCP2011) PROPOSAL FOR CHINGAY PARADE 2011 22nd August 2010 Presented by ASHCOM Events ASHCOM Events Pte Ltd 73A Duxton Road Singapore 080011 Tel: 6332 4227 Fax: 6334 5051 This Proposal is a confidential document between Ashcom Events Pte Ltd and the Chingay Organizing Committee. Its content shall not be revealed to any other person without prior written consent of Ashcom Events Pte Ltd. Should the Organizing Committee decides not to use the service of Ashcom Events; the proposal remains the property of Ashcom Events and as such must be treated with confidentiality. 2 1. Executive Summary 1.1 Introduction In response to the Organising Committee’s request to engage a company to undertake the proposed planning, developing and executing of the Chingay Parade 20011 according to the specifications in the RFP, AshCom Events intent to be the agency of choice in the supporting of the above planning, developing and executing of a successful Chingay Parade 2011. The Chingay Parade, an equivalent to Mardi Gras in New Orleans, has always been one of the most anticipated event in the Singapore’s calendar. Hailed as Asia's grandest street and floats parade, this year’s event will see an even more exhilarating celebration of spontaneity and colours as the parade's elaborately dressed floats and performers showcasing the rich, vibrant multi-ethnic and cosmopolitan cultures of Singapore and exciting performances from overseas against the backdrop of the Marina Waterfront. With an array of activities galore catered for the young and old, both local and international visitors will be able to engage in this celebration of colours. -
Countering MTV Influence in Indonesia and Malaysia
Index A Amran Ibrahim, 208 Abdullah bin Haji Ahmad Anderson, Benedict, 54, Badawi, Datuk, 52–53, 67–68, 71, 131 119 Anggun, 36–37 ABIM (Angkatan Belia Islam Angkatan Belia Islam Malaysia), 96, 159, 170, Malaysia (ABIM), 96, 210, 233 159, 170, 210, 233 Abu Bakar Mohammad Antara news agency, 198 Yatim, 126, 127, 211 Anteve (ANTV), 78, 81, 170, Aceh, 67 171 Ahmad, Aijaz, 31–32 Anti-Pornography and Ahmed, Akbar, 25 Pornographic Acts Bill, AIM awards, 217, 224 83–84, 99–101, 178, Air Asia, 157 204, 205–6 Alatas, S.H., 230 Anuar, M.K., 45, 54 Ali bin Mohamed, 102 Anugerah Industri Muzik, Al Islam, 130 209, 212 Allahau (album), 126 Anwar Ibrahim, 26, 52, 96 Alleycats (group), 12 Appadurai, Arjun, 34, 241 “Al Qur’an Dan Koran” Appiah, Kwame, 33 (song), 107 Arifin, Arian, 154, 180 Alud, 220, 223, 224 Armando, Ade, 75, 82–83, Amelina, 12, 136, 157 178, 206 American Express, 1 Asia Pacific Song Festival Amidhan, 100 Award, 218 Amir, Nazar, 155 Asitha, Lenny, 143 AMI Sharp Awards, 218 asli music, 11, 135 08 Countering MTV.indd 265 4/20/12 8:39:53 AM 266 Index Association of Malay Music Blue (group), 6 Artists, 197 BMG, 114 ASTRO (cable company), Bodden, M., 17 170, 189n12 Bollywood film industry, 9, Au nom de la lune (album), 10, 42n6, 126, 188n2, 36 236 Australia, 218 Brakel, L.F., 65, 66 Awie, 126 Brooks, Tim, 2 Ayoub, Mahmoud, 18, 19 Brown, Frank, 5, 7, 8, 169, Azhari Ahmad, 208, 213 186 Azra, Azyumardi, 97, 106, Buddhism, 65, 67, 97, 106, 107, 204 235 Budhisantoso, S., 69–70 B Budianta, M., 70–71, 72–73 Bahasa Indonesia, 64, 68, 75, 86 C Bali, -
Mak Yong, a UNESCO “Masterpiece” Negotiating the Intangibles of Cultural Heritage and Politicized Islam
Patricia Ann Hardwick Sultan Idris Education University, Malaysia Mak Yong, a UNESCO “Masterpiece” Negotiating the Intangibles of Cultural Heritage and Politicized Islam Mak yong is a Malay dance drama once performed for entertainment and heal- ing ceremonies by itinerant theater troupes that traveled throughout northern Malaysia, southern Thailand, and the Riau archipelago of Indonesia. Incorpo- rated into national displays of Malaysian cultural heritage since the mid-1970s, mak yong was declared a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO in 2005. The UNESCO intangible cultural heritage (ICH) designation for mak yong was filed and accepted while mak yong was officially banned in its home state of Kelantan. The validity of mak yong as a symbol of Malay culture, and its ban in Kelantan for religious reasons, are frequently debated in Malaysia. Malaysian mak yong provides a case study of the divergent ways in which administrative and local communities of prac- tice implement the ICH concept of “safeguarding” in a highly charged polit- ical-religious field. International UNESCO designation, ICH safeguarding, and international human rights discourses have to contend with Malay ethnic nationalism and political Islamic movements that have alternatively sought to eradicate the art through bans or remake mak yong in their own image. Keywords: Intangible cultural heritage—UNESCO Masterpiece—Islam— politics—nationalism—communities of practice—safeguarding Asian Ethnology Volume 79, Number 1 • 2020, 67–90 © Nanzan University Anthropological Institute ak yong, a form of Malay theater, was proclaimed a Masterpiece of the Oral Mand Intangible Heritage of Humanity by UNESCO in 2005 and incorpo- rated into the Representative List of the Intangible Cultural Heritage of Humanity in 2008. -
Intercultural Theatre Praxis: Traditional Malay Theatre Meets Shakespeare's the Tempest
University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2017 Intercultural theatre praxis: traditional Malay theatre meets Shakespeare's The Tempest Norzizi Zulkafli University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Zulkafli, Norzizi, Intercultural theatre praxis: traditional Malay theatre meets Shakespeare's The Tempest, Doctor of Philosophy thesis, School of the Arts, English and Media, University of Wollongong, 2017. -
PENANG HOT AIR BALLOON FIESTA PENANG CHINESE NEW YEAR FEBRUARY 1 & 2 Feb 2020 CELEBRATION (MIAOHUI) 2 Feb 2020
Penang is a vibrant State with its capital, George Town, having the rare distinction of being a UNESCO World Heritage Site. It is a true melting pot of cultures with its blend of Eastern and Western influences. Retaining many of the values adopted during its era of British rule, Penang bears a charm that is unique to itself. A bustling city where excitements and festivities never end, whether you are drawn to the drama of a street parade, the spirituality of a prayer ritual or the beauty of an avant- garde theatre performance, there is bound to be an event around the corner waiting to be experienced. The people in Penang celebrate all year round festivals including religious, cultural and arts. These festivals happen almost every month; such as the acrobatic lion dances during Chinese New Year, the intricate weaving of Ketupat (rice dumplings) during Hari Raya Aidilfitri (Eid Mubarak) and the unbelievable body piercings that are seen during Thaipusam (a Hindu religious festival). Home-grown arts festivals are increasingly popular with global travellers such as the highly anticipated George Town Festival and the international award-winning George Town Literary Festival. In addition, sports events play a large role too in putting Penang on the world map. The annual Penang Bridge International Marathon held on the First Penang Bridge is popular around the globe among marathoners and sports enthusiasts. The Penang Dragon Boat Regatta and Penang International Dragon Boat Festival are as much a display of physical strength as it is a cultural spectacle. * All event information is correct at time of print and is subject to change without prior notice.