Identity in Malaysia – Public Reception and Communal Practice
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Alternative Digital Movies As Malaysian National Cinema A
Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Hsin-ning Chang April 2017 © 2017 Hsin-ning Chang. All Rights Reserved. 2 This dissertation titled Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema by HSIN-NING CHANG has been approved for Interdisciplinary Arts and the College of Fine Arts by Erin Schlumpf Visiting Assistant Professor of Film Studies Elizabeth Sayrs Interim Dean, College of Fine Arts 3 ABSTRACT CHANG, HSIN-NING, Ph.D., April 2017, Interdisciplinary Arts Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema Director of dissertation: Erin Schlumpf This dissertation argues that the alternative digital movies that emerged in the early 21st century Malaysia have become a part of the Malaysian national cinema. This group of movies includes independent feature-length films, documentaries, short and experimental films and videos. They closely engage with the unique conditions of Malaysia’s economic development, ethnic relationships, and cultural practices, which together comprise significant understandings of the nationhood of Malaysia. The analyses and discussions of the content and practices of these films allow us not only to recognize the economic, social, and historical circumstances of Malaysia, but we also find how these movies reread and rework the existed imagination of the nation, and then actively contribute in configuring the collective entity of Malaysia. 4 DEDICATION To parents, family, friends, and cats in my life 5 ACKNOWLEDGMENTS I would like to express my sincere gratitude to my advisor, Prof. -
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. -
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. -
The Role of Institutions in the Malaysian Art Infrastructure: A
The Role of Institutions in the Malaysian Art Infrastructure: A Roundtable Session (Edited Transcript) of the visual arts in Malaysia while our institutions take a more peripheral Roundtable hosted and supported by Galeri PETRONAS, on 19 June 2013. Conversation in Malay translated by Teratak Nuromar. role. However, now more than ever, the institution must come into play to help shif the power away from the consumer to the producer. Tere is a need to balance public values and private interests, and recognise the fact that we need to support the artists working outside the conventions MODERATORS of the gallery system, support deeper critical engagement, and curatorial Suryani Senja Alias (Session 1; M1) frameworks, increased education and public programming. Kathy Rowland (Session 2; M2) Te artist should remain at the centre of art activities, and the role of the PARTICIPANTS institutions remains crucial if we are to continue to privilege the artist National Visual Arts Gallery and his work over the demands of the market. (Faizal Sidek, Prof Dr Ramlan Abdullah) Johor Art Gallery (Nor Alisa Abdul Rahman) Melaka Art Gallery & Galeri Seni Rakyat (Syahidah Abu Sah) Sabah Art Museum (Jennifer Linggi) Muzium dan Galeri Tuanku Fauziah, USM (Zolkurnain Hassan) University of Malaya Art Gallery (Abdul Aziz Abdul Rashid) Galeri PETRONAS (Badrolhisham Tahir, Erna Dyanty) CIMB (Iqbal Abdul Rahim) Alliance Française (Marine Moncaut) Badan Warisan Malaysia (Elizabeth Cardosa) Goethe-Institut (Rolf Stehle) The Japan Foundation Kuala Lumpur (Kyoko Kugai) 1Malaysia Contemporary Art Tourism (1MCAT) (Ramzi Abu Yazid) Five Arts Centre (Marion D’Cruz) Rimbun Dahan (Angela Hijjas) Soka Gakkai Malaysia (Katherine Chui, Chan Yin Kwan, Joanne Foo) Tamparuli Living Arts Centre (Yee I-Lann) GUESTS NMA PROJECT: Hasnul J. -
Transitions in Malaysian Society and Politics: Towards Centralizing Power
TRANSITIONS IN MALAYSIAN SOCIETY AND POLITICS: TOWARDS CENTRALIZING POWER MICHAEL LEIGH & BELINDA LIP There are many dimensions to national transition, and all are of course inter-related. Some transitions are a consequence of government policy; others take place despite the government. This chapter focuses upon a number of important transitions that have taken place in Malaysia over the decades since independence. Together, they explain the kind of society Malaysia is today and many of the tensions within Malaysian society. TRANSITIONS IN IDENTITY Ethnicity has been asserted as the dividing line in Malaysian society. Populations can identify by their culture, their mother tongue, their religion and their locality. Each of those defining identities overlaps, but they are not coterminous. The colonial government chose quite deliberately to organize people according to their ethnicity, not according to geography, religion, or culture. The ideological justification of white colonial rule was based upon ethnic identification, and ranking from superior to inferior on the basis of race. The continual reinforcement of racial identity as the cutting line in Malaysian society was not something that happened by chance, it was quite deliberate. The post-independence political leadership has organized its support base by continuing to emphasize race as the most important dividing line between peoples. In Malaysia, it is the Malay and Chinese communities that have been most loudly assertive of their identity, perhaps due to their strong differences in culture, as well as their political and economic pre-eminence in the national leadership. Components of the Malaysian population today have quite distinct perceptions of their identity and status in the country from that held before independence. -
Chapter 1 Introduction 1.0 Background of the Study Malaysia
Chapter 1 Introduction 1.0 Background of the Study Malaysia opens her doors to students from various parts of the world with the mushrooming of many private institutions of higher learning and the move to internationalize her many public universities. As such, there is a steady flow of foreign students who made their way to the Malaysian institutions of higher learning not only because of her reputable standard in education but also due to the fact that its education fees are cheaper compared to that in the United Kingdom and United States and that in terms of culture, Malaysia provides a more conducive environment especially to students from Muslim countries. The aftermath of September 11, 2001 has great percussions on many decisions that pertain to Islamic issues and the Muslims. Receiving education from a Muslim country like Malaysia is one of the decisions brought about by the devastating episode. Iranians have also turned to Malaysia to obtain higher education and many of them are enrolled in the masters and Phd programs offered by both the public and the private universities in Malaysia. These programs are offered in the English language and as most Iranians learn English as a foreign language, they encounter problems coping with their studies. As such, they have to prepare themselves to master the language in order to overcome language problems in their studies. How can we master a language? How can we conform to the language conventions in a foreign context? Why do only a few learners become near-native speakers despite 1 making many efforts? Prior to answer these questions, we should pay attention to what make a language foreign to us. -
18@8 Heirlooms
, Chin Kong Ye eng e, C ei M ho W ng n jinder Singh, R K e , Ra uzze i h uik ki m C l K Ha C re rr . st is h g in , S ie u w in M n L , , id K C e a a e S n h i g o B r a J y u h y u e C a J , h Y , W i u , d o n g a n n H g W i e C d e i M h i , m e e a H 18@8 e e H a M h , i m e e C n i d g W g i , n n H Y u o a a h HEIRLOOMS u d W C B i , y , e o e e J h y u L J C h i n , a g g w . r n e i i a h S C C K a h i m e d n i n K u , W g M S n e o i , h M i n C s e , i n e s r g e , Y r C t g h n i n o K r a e H l i K k u e i k z , z u R R a j , i n h d g e n i r S Wei-LingGallery 1 18@8 HEIRLOOMS Chen Wei Meng Chin Kong Yee Chong Kim Chiew Choy Chun Wei Hamidi Hadi Juhari Said Minstrel Kuik Rajinder Singh Ruzzeki Harris Sun Kang Jye Wong Chee Meng Yau Bee Ling 2 3 18@8 – A tradition of capturing today for tomorrow Tradition A way of thinking, behaving, or doing something that has been used by the people in a particular group, family, society, etc., for a long time. -
Representation of Dayak Culture in Sarawak’S Modern Paintings
REPRESENTATION OF DAYAK CULTURE IN SARAWAK’S MODERN PAINTINGS NATASHA BINTI RUSDY WONG Malaya of CULTURAL CENTRE UNIVERSITY OF MALAYA KUALA LUMPUR University 2018 REPRESENTATION OF DAYAK CULTURE IN SARAWAK’S MODERN PAINTINGS NATASHA BINTI RUSDY WONG Malaya DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIRofEMENT S FOR THE DEGREE OF MASTER OF ARTS CULTURAL CENTRE UNIVERSITY OF MALAYA KUALA LUMPUR 2018 University UNIVERSITY OF MALAYA ORIGINAL LITERARY WORK DECLARATION Name of Candidate: Natasha Binti Rusdy Wong Matric No: RGB 140006 Name of Degree: Master of Arts Title of Project Paper/Research Report/Dissertation/Thesis (“this Work”): “REPRESENTATION OF DAYAK CULTURE IN SARAWAK’S MODERN PAINTINGS” Field of Study: Visual Arts I do solemnly and sincerely declare that: (1) I am the sole author/writer of this Work; (2) This Work is original; (3) Any use of any work in which copyright exists was done by way of fair dealing and for permitted purposes and any excerpt or extract from, or reference to or reproduction of any copyrightMalaya work has been disclosed expressly and sufficiently and the title of the Work and its authorship have been acknowledged in this Work; (4) I do not have any actual knowledgeof nor do I ought reasonably to know that the making of this work constitutes an infringement of any copyright work; (5) I hereby assign all and every rights in the copyright to this Work to the University of Malaya (“UM”), who henceforth shall be owner of the copyright in this Work and that any reproduction or use in any form or by any means whatsoever is prohibited without the written consent of UM having been first had and obtained; (6) I am fully aware that if in the course of making this Work I have infringed any copyright whether intentionally or otherwise, I may be subject to legal action or any other action as may be determined by UM. -
Representation of Dayak Culture in Sarawak's
REPRESENTATION OF DAYAK CULTURE IN SARAWAK’S MODERN PAINTINGS NATASHA BINTI RUSDY WONG CULTURAL CENTRE UNIVERSITY OF MALAYA KUALA LUMPUR 2018 REPRESENTATION OF DAYAK CULTURE IN SARAWAK’S MODERN PAINTINGS NATASHA BINTI RUSDY WONG DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS CULTURAL CENTRE UNIVERSITY OF MALAYA KUALA LUMPUR 2018 UNIVERSITY OF MALAYA ORIGINAL LITERARY WORK DECLARATION Name of Candidate: Natasha Binti Rusdy Wong (I.C/Passport No: 880616-52-5250) Matric No: RGB 140006 Name of Degree: Master of Arts Title of Project Paper/Research Report/Dissertation/Thesis (“this Work”): “REPRESENTATION OF DAYAK CULTURE IN SARAWAK’S MODERN PAINTINGS” Field of Study: Visual Arts I do solemnly and sincerely declare that: (1) I am the sole author/writer of this Work; (2) This Work is original; (3) Any use of any work in which copyright exists was done by way of fair dealing and for permitted purposes and any excerpt or extract from, or reference to or reproduction of any copyright work has been disclosed expressly and sufficiently and the title of the Work and its authorship have been acknowledged in this Work; (4) I do not have any actual knowledge nor do I ought reasonably to know that the making of this work constitutes an infringement of any copyright work; (5) I hereby assign all and every rights in the copyright to this Work to the University of Malaya (“UM”), who henceforth shall be owner of the copyright in this Work and that any reproduction or use in any form or by any means whatsoever is prohibited without the written consent of UM having been first had and obtained; (6) I am fully aware that if in the course of making this Work I have infringed any copyright whether intentionally or otherwise, I may be subject to legal action or any other action as may be determined by UM. -
Visualization of Malay Traditional Food: Emotional Expression of the Immigrants in Malaysia
GeoJournal of Tourism and Geosites Year XII, vol. 26, no. 3, 2019, p.905-915 ISSN 2065-1198, E-ISSN 2065-0817 DOI 10.30892/gtg.26318-406 VISUALIZATION OF MALAY TRADITIONAL FOOD: EMOTIONAL EXPRESSION OF THE IMMIGRANTS IN MALAYSIA Nasir YUSOFF* Universiti Sains Malaysia, Department of Neurosciences, School of Medical Sciences, Health Campus, 16150 Kubang Kerian, Kota Bharu, Kelantan, Malaysia, e-mail: [email protected] Norlyiana SAMSURI Universiti Sains Malaysia, Department of Neurosciences, School of Medical Sciences, Health Campus, 16150 Kubang Kerian, Kota Bharu, Kelantan, Malaysia, email: [email protected] Salahuddien AYOB University Tunku Abdul Rahman, Psychology Department, Faculty of Arts and Social Sciences, Kampar Campus, Jalan Universiti, Bandar Barat 31900 Kampar, Perak, e-mail: [email protected] Faruque REZA Universiti Sains Malaysia, Department of Neurosciences, School of Medical Sciences, Health Campus, 16150 Kubang Kerian, Kota Bharu, Kelantan, Malaysia, email: [email protected] Citation: Yusoff, N., Samsuri, N., Ayob, S., & Reza, F. (2019). VISUALIZATION OF MALAY TRADITIONAL FOOD: EMOTIONAL EXPRESSION OF THE IMMIGRANTS IN MALAYSIA. GeoJournal of Tourism and Geosites, 26(3), 905–915. https://doi.org/10.30892/gtg.26318-406 Abstract: Adapting to the new home settlement has significant implications on psychological dimension. This study aims to examine the emotional expression of the immigrants towards the Malay traditional food - the cultural heritage of the ethnic majority in Malaysia, in comparison to Malaysian Malay and Malaysian non-Malay. Through the visualization approach, participants were asked to respond to a series of Malay traditional food images and self-rated their emotional expression by using the Self-assessment Manikin. Emotional expression was significantly lower in immigrants in comparison to Malaysian Malay and Malaysian non-Malay. -
The 1980S As (An Attempt In) the Decolonialization of Malaysian Art
The 1980s as (an Attempt in) the Decolonialization of Malaysian Art Sarena Abdullah Southeast of Now: Directions in Contemporary and Modern Art in Asia, Volume 4, Number 1, March 2020, pp. 3-29 (Article) Published by NUS Press Pte Ltd DOI: https://doi.org/10.1353/sen.2020.0002 For additional information about this article https://muse.jhu.edu/article/752969 [ Access provided at 27 Sep 2021 18:07 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. ARTICLES The 1980s as (an Attempt in) the Decolonialization of Malaysian Art SARENA ABDULLAH Abstract In Malaysia, the implementation of the National Culture Policy in the early 1970s reiterated the ethnic preference policy of the National Economic Policy (NEP). As a result, the subsequent 1971 National Culture Congress (NCC) and the Islamization Policy undertaken by the government in the late 1970s had great influence on art practices in Malaysia, especially during the 1980s. These policies could be seen as an official attempt to shape the Malaysian identity, especially in terms of visual art in post-Independence Malaysia. The first part of this article will discuss the indirect consequences of the 1971 National Culture Policy and several Islam-centred policies since the late 1970s and how several assertions were made through a few writings about Malaysian art: that only certain modern art forms, aligned with the rhetoric of national agendas, were produced and exhibited in the late 1970s until the mid- 1990s. This paper will problematize the assertion by discussing some disjuncture and inconsistencies in relation to this narrative of Malaysian art. -
Situational Analysis of Creative Hubs in Malaysia
Hubs for Good Malaysia Report by Rachael Turner Situational Analysis of Creative Hubs in Malaysia July 2020 www.britishcouncil.org Contents Contents ....................................................................................................................................... 2 Foreword ...................................................................................................................................... 4 Introduction by the author ............................................................................................................ 5 Definitions ................................................................................................................................ 6 1.1 Malaysia country overview .............................................................................................. 7 1.2 Malaysia Hubs Typology ............................................................................................... 11 Impact .................................................................................................................................... 13 2.1 Hubs contribute to the (creative) economy ................................................................... 13 2.2 Hubs create social impact ............................................................................................. 14 2.3 Hubs educate ................................................................................................................ 14 2.4 Hubs bring communities together ................................................................................