SPAFA Digest 1990, Vol 11, No. 3

39 (Symbolic Communication in Theatre: A Malaysian Chinese Case by Dr. Chua Soo Pong Theatrical event in Asian Examination of the details of the feelings of the Chinese community in societies has never been a purely structural processes in the artistic Malaysia. But they also reflect the artistic event. It usually has several production of the arts could locate awareness of the Chinese artistes in functions simultaneously. Subli in the specific issues in the wider social stating their inspiration to promote Philippines, Wayang Purwa in Java, context. Malay, Indian, and Chinese dance on Chinese opera in Singapore, Mayong This paper is based on personal equal footing. It is clear that the in Kelantan, or Lakorn Chatri in involvement as adjudicator in the Chinese artistes would prefer the art Thailand, all demonstrate the fact four dance festivals (1983, 1984, 1987, forms of the various ethnic groups to that theatrical events in the region 1989) organized by a number of be developed side by side with one serve a variety of political, social or Chinese cultural organizations in another. religious purposes much more expli- Malaysia and in the author's long citly than the art forms in the West. time observations and research on Gathering in Penang Anthropologists of the art and dance in Malaysia. In this article expressive culture have in recent years the author will focus on three areas. The last two days of 1983 have advanced their studies and proposed It provides an overview of the been most exciting for the dance several approaches in the analysis of festivals organized in the last few audience in Penang. This was when processes and institutions of artistic years, a close examination of the the Fifth Malaysian Dance Festival production. Anthropologists are not underlying social implications of the was featured at the Dewan Sri Pinang only interested in the features of the event and a discussion of the func- in Penang. This non-government art object itself, but also in the ex- tions of such a gathering. Ultimately dance festival is annually organized ternal aspects like technology, social these well planned events are an by the Chinese cultural organizations institutions, patronage systems, important symbol representing the in Malaysia. Launched in 1978, in mediators, and economic factors. cultural identity and communal Kuala Lumpur, the festival has grown 40 over the years. It had, to a great the Persatuan Belia Perkampongan sex-roles in this piece, the dance extent, promoted dance activities in Jur. Using 36 children, the dance sequences were really arranged in a all states of West Malaysia. Although convincingly portrayed the hardships haphazard manner. billed as a festival, the event was, in of the fishermen. The scenes where The highlight of the first night reality, a dance competition. Three the fishermen encountered a thun- actually came from the two pieces Singaporean choreographers were derstorm at sea, was especially con- that depicted the New Year celebra- invited to adjudicate the competition. vincing. tions. One was performed by Pertu- They were: Tan Tien Soh, Chew Seok buhan Hui Yin Seh while the "Spring Choon and the author. Festival" was performed by the Haphazard Dance Drama The Fifth Festival has accepted Selangor Hokkien Clan Association's over 60 items, presented by 30 dance While the short dances won Youth Club. The dancers were com- groups. The organizers decided to applause from the audience, the petent and the choreography was divide the presentations into three dance drama items were relatively intricate and appropriate with the separate performances. The first amateurish. The stories were not theme chosen. performance was staged on the 30th of December, 1983. There were three Malay dances, two Indian dances, three minority dances, three modern dances and 11 Chinese dances. Most of the dances were joyous, light- hearted dances, depicting New Year celebrations, harvest, or the harmo- nious village life. There was also a "Lotus dance", presented by the clan association from Malacca. The two pas de deux presented on the first night were "Liang Shan Bo and Zhu Xing Tai", performed by the Penang Maha Bodhi Old Boys' Association; and the "Fish Dance", presented by the Selangor Hainanese Clan Association Youth Club's Dance Group. The former incorporated "Women Generals of the Yang Family", a dance presented with virtuosity by the modern dance idioms with Chinese Selangor Hainanese Choir and Dance Group. dance steps. The latter was an ethnic dance, choreographed to depict the constructed dramatically and the The second show, held on the joy of the fishermen who captured a choreographic arrangements were not 31st of December, was a matinee. beautiful fish. It was comical but satisfying. One of the examples was Nineteen items were put up in that technically demanding. the piece entitled "Replacing Father". afternoon. The most impressive item Of the Malay Dance items, the This was the story of Hua Mu Lan, came from Persatuan Bekas Penuntut "Chicken Rearing" dance was the a famous woman general in ancient Pay Fong from Malacca. Entitled most impressive. Performed by chil- China. The dancers were, most of the "Shadow on the Waves" the dancers dren, this dance vividly showed the time, walking or miming rather than were dressed up a seaweeds and village life in Kampong in a charming dancing. The fighting scene was too fishes. It provoked a romantic manner. They teased each other while brief and simple. The other piece that atmosphere with lyrical music. rearing the chickens. Apparently they had a similar problem was the item The highlight came in the enjoyed themselves. Another item was called "Meeting in the Galaxy". It evening of the same day. Twenty-three performed by children and won the used a male dancer who was imper- items were performed that evening. hearts of the audience. This was the sonating a "fairy". Although it was Two guest items came from the "Fishermen" dance, performed by amusing to discover the changes of Kumpulan Tamil Youth Bell Club and 41 the Kumpulan Budaya Negri Pulau standard, the performance was com- 51, including Chinese dances, Indian Pinang. They added much colour to mendable for their dramatization dance, ballet and modern dances. the evening. of a local folktale in dance. There was also a Malay dance, per- No doubt, the Fifth Dance formed by guest artistes from the Secret Society on Stage Festival of Malaysia had fulfilled its Ministry of Culture, Youth and Sports, The ballet entitled "Alarming aim to gather dancers and choreo- on each night. Bell", performed by Persatuan Drama graphers from different states to However, one must view these Kheng Lin, stole the show. The exchange ideas during this grand guest items in proper perspective and group had well trained dancers and celebration of creativity. The young learn to understand the importance of the piece was dramatically construc- dancers were delighted to watch each the inclusion of non-Chinese dance in ted. The story told of how a young others performance. The choreograp- a significant Chinese community girl was trapped by hooligans and hers had the chance to view each event, aiming at enchancing Chinese how she was forced to work as a other's creation, with critical eyes. cultural identity. The Chinese in prostitute. Unable to bear the pres- The organizers had decided to stage Malaysia, like their counterparts in sures of this secret society, she deci- the next festival in Malacca at the end Singapore, always believe that the ded to kill herself to end her tragic of 1984. Once again the talented national culture consisted of the experience. The other piece that dancers will gather in this nationwide cultures of all the major ethnic impressed the audience a lot came event. groups, i.e. Malay, Chinese, and from the Selangor Guang Xi Asso- Indian. Thus, they manifest this belief ciation Youth Division. Entitled "The Dance Festival in the Historic in their cultural practice. The learning Lamp Boat", the dance used a piece Town and staging of Malay and Indian of religious music that had satisfy- dances are always actively encouraged. On 22-23 December, 1984 the ingly created the right atmosphere. Therefore, the inclusion of a Malay Sixth Malaysian Festival of Dance The audience was particularly im- or Indian dance is a symbolic ex- was held in Malacca. At the opening pressed by their clever use of long and pression of the Chinese community's ceremony on the 22nd, J.P. Mr. Shen simple props in this dance. The desire for ethnic harmony and cul- Mu Yu, who was also the Chairman costume design too was very creative. tural multiplicity. of the Festival's organizing commit- Several items also had well tee, delivered an opening speech. Many Folk Dances from China trained dancers, who performed with More than ten Honorary Chairmen, virtuosity. For example, the Persatuan who sponsored this festival, were Of the dances that depict Bekas Penuntut Pay Fong from Ma- invited to cut the ribbon, after which festivity, the most impressive per- lacca danced with their long ribbons J.P. Datuk Lin Jin Shu officially formance was the Chinese dance with great skill, while the Korean declared the Festival open. item, "Flower Drum Lantern", pre- dance, staged by Dewan Perniagaan This Festival was jointly orga- sented by the Selangor Hainanese China from Trengganu, was equally nized by the Chinese cultural orga- Association Drama and Choir Group. impressive. nizations of Malaysia. It has been six "Flower Drum Lantern" is a years since the Festival of Dance was popular form of folk entertainment first held in Kuala Lumpur in 1978. in the farming villages of Northern Dun Huang Paintings Come Alive The organizers hoped that this annual China. Folk artistes have increased its The Pertubohan Gerakan Belia festival would be held at a different entertainment value over the years.

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