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The Politics of Krishen Jit's Theatre

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The Politics of Krishen Jit's Theatre This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. Staging difference in modern multicultural Malaysia : the politics of Krishen Jit’s theatre Charlene Rajendran 2012 Charlene Rajendran. (2012). Staging difference in modern multicultural Malaysia : the politics of Krishen Jit’s theatre. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/50634 https://doi.org/10.32657/10356/50634 Downloaded on 26 Sep 2021 17:19:32 SGT ATTENTION: The Singapore Copyright Act applies to the use of this document. Nanyang Technological University Library STAGING DIFFERENCE IN MODERN MULTICULTURAL MALAYSIA: THE POLITICS OF KRISHEN JIT’S THEATRE CHARLENE RAJENDRAN SCHOOL OF HUMANITIES & SOCIAL SCIENCES 2012 ATTENTION: The Singapore Copyright Act applies to the use of this document. Nanyang Technological University Library Staging Difference in Modern Multicultural Malaysia: The Politics of Krishen Jit’s Theatre Charlene Rajendran School of Humanities and Social Sciences A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2012 ATTENTION: The Singapore Copyright Act applies to the use of this document. Nanyang Technological University Library Acknowledgements: There are many individuals I would like to thank for support, kindness and encouragement throughout this process of research and writing. Even while it may appear that a dissertation is the work of an individual, I am fully aware of the collaborative nature of exploring ideas, and thankful for the many conversations and interactions that have informed my views of theatre, cultural difference and the politics of identity. To all who have pondered with me, thank you. My deepest thanks to the late Krishen Jit, who had agreed to be a primary source in my research and was supportive of this endeavour. While the plan to interview him at length was thwarted by his untimely passing, I benefitted from the legacy of his generous spirit when artist-collaborators who worked with Krishen graciously allowed me to interview them as part of my early explorations into examining Krishen’s work. My sincere thanks to all of you. Marion D’Cruz, Krishen’s wife and artistic collaborator, many thanks for hearty support of my work, and the constant encouragement to sustain a sense of humour when the complexities of life appear to overwhelm. Your assistance in helping me think through ideas about Krishen’s theatre has been invaluable. Mark Teh, who kindly helped collate material and gather resources on Krishen’s work, many thanks for your meticulous attention to detail, and uncomplaining responses when prodded for more images, contacts and references. At the National Institute of Education, Singapore, I thank my colleagues at the Visual and Performing Arts Academic Group, who have shared useful wisdom about the tensions and travails of doing a PhD. In particular I am grateful to my Drama colleagues Stephen Hazell, Jane Gilmer and Prue Wales for their understanding and support when I needed time and space to ‘do my thing’. Thank you for lightening the load. Assoc. Prof. C.J. Wee Wan-ling, I am grateful for your rigour, empathy, care and the probing insights you shared in the process of supervising my dissertation. You have helped me learn about what I thought I knew, in ways that have pushed me to understand deeper and clearer. Gloriosa Rajendran, my mother, many thanks for nurturing an interest in theatre and ongoing support for pursuing creative adventures. Your critical insights and provocations have informed my choices in life in a range of inexplicable but valuable ways. Cecily Cheo, Lum Chee Hoo, Janet Pillai, Anne James, Pat Wong, Christine Pelly, Ramesh Sahathevan, Jeyaratha Arunasalam, T.K. Sabapathy, Ashim Ghosh – in a range of ways, and across time and space, you helped to keep me going when it seemed most difficult to imagine the ‘light’ at the end of the tunnel. Noraini Bakri and Lim How Ngean, your warm friendship, deep care, good humour and understanding of the stresses and strains throughout this journey have been invaluable. For the constant prod to keep going, the gentle nudges to take a break, and the many chats about what that meant….terima kasih big time! ATTENTION: The Singapore Copyright Act applies to the use of this document. Nanyang Technological University Library Table of Contents: Introduction: 1 - Difference in Multicultural and Modern Malaysia 4 - The Politics of the Contemporary 9 1. Cultural Difference in Malaysia: A Context for Krishen Jit’s Theatre 19 - The Story of Difference in Krishen Jit’s Life 21 - Cultural Difference in Malaysian Society 31 - Contemporary Theatre as a Stage for Alternatives 42 2. Early Experiments in Malay Theatre in the 1970s: Permeable Boundaries 53 - Rethinking Malay Culture and Boundaries of Identity 55 - Experimental Approaches in Teater Kontemporari 61 - Revisioning Racial Identity in Syed Alwi’s Tok Perak 68 - Recasting the Modern Malay in Bukan Bunuh Diri by Dinsman 76 3. Expanding Frames for Malaysian Culture in the 1980s: Multi-cultural Texts 84 - Negotiating Modernisation and Tensions of Multiplicity 86 - Localising Contemporary English Language Theatre 92 - Connections between Disparate Spheres in The Cord by K.S. Maniam 100 - Multicultural Dystopia in Kee Thuan Chye’s 1984: Here and Now 108 4. Interdisciplinary Performances in the 1990s: Intersections and Overlaps 119 - The Challenges of Bangsa Malaysia and Frames of Inclusivity 122 - Enlarging the In-Between Space for Experimentation 127 - Staging Multi-cultural Tensions in Lloyd Fernando’s Scorpion Orchid 135 - A Carnival of Parallel Texts based on Family by Leow Puay Tin 144 5. Actor-based Collaborations in the 1990s: Everyday Mixes 155 - Dissenting Voices and Demonstrations of Protest 157 - A Reformasi of Contemporary English Language Theatre 163 - Devising Languages of Commonality in A Chance Encounter 170 - Multiplicity ‘In One Body’ in Election Day by Huzir Sulaiman 177 6. Final Stages in the Early 2000s: Transitions and Transformations 186 - Political Leadership in Transition 188 - Negotiating Uncertainty in Contemporary Theatre 193 - Performing the In-Between Spaces in 7-Ten 197 - Monkey Business and a Performance Form in Transition 203 Conclusion: 212 Bibliography: 219 ATTENTION: The Singapore Copyright Act applies to the use of this document. Nanyang Technological University Library Abstract This dissertation examines the theatre of Malaysian director Krishen Jit (1939-2005), and argues that his stagings of difference articulated a critical politics of inclusivity that proposed an alternative multiculturalism within which tensions and contradictions of being modern and Malaysian could be articulated and questioned. In a plural and postcolonial context, that deals with nation-building amid the conflicts of being multi-racial, multi-religious and multi-lingual, Krishen’s theatre generated frames for negotiating multiplicity as simultaneously operative between and within cultures, to acknowledge the inter-connectedness and mix that mark modern and multicultural identities. I contend that Krishen’s approach to reworking the boundaries of culture resisted state-sanctioned definitions of identity that perpetuated reductive and essentialised constructs, which effectively denied the imbricatedness and hybridity that characterise everyday life. The dissertation will analyse how the choices he made in staging locally written scripts about contemporary Malaysian life deliberately emphasised the permeability of boundaries, the intersections and overlaps of cultures, the improvised languages for coping with difference, and the transitory nature of cultural shifts, to assert a valuable revisioning of multicultural society as interstitial, and neither a melting pot that merges differences, nor parallel streams that perpetuate segregatedness. The dissertation analyses Krishen Jit’s theatre from the 1970s till his untimely passing in 2005, and locates his work against a backdrop of Malaysian socio-political change. It demonstrates how his theatre moved from one phase of contemporary experimentation to another, building on early foundations of syncretism and fusion to develop complex, inter-disciplinary and multi- layered performances that foregrounded the in-between spaces of reinvention and flux. It asserts that Krishen’s ability to juxtapose and weave several cultural vocabularies, traditional and modern, local and foreign, as expressions of contemporary Malaysian society, enabled him to contribute to the contemporisation and indigenization of Malaysian theatre in aesthetically significant ways. ATTENTION: The Singapore Copyright Act applies to the use of this document. Nanyang Technological University Library 1 Introduction I actually believe that in the case of plural societies such as Malaysia and Singapore, and even certain parts of India, multiculturalism is in one body. We tend to think of it as a negotiation between one body and another, but I actually think it is in one body and in many ways I have been trying to excavate that in one way or another. (emphasis mine)1 What makes the work of a contemporary theatre director important in relation to issues of cultural difference? As a live and multi-dimensional medium, theatre can evoke a reviewing of the norm by enacting and embodying alternative imaginings of culture and identity. It has the capacity to recast Selves as inclusive of its Others,2 thereby reconfiguring
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