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Bangsawan - the first popular urban commercial theatre in Malaysia - merged in the late nineteenth century as an adaptation of the Parsi theatre of India which toured Malaya. The first indigenous theatre in Malaya to be modelled along Western lines, bangsawan engendered the development of the first Malay orchestra and the first Malay popular music in the country. This book traces the stylistic changes in bangsawan from the late nineteenth century to the 1980s and links these changes to the socio-political transformations in Malaysian society. A product of a period characterized by rapid and radical social changes occurring as a result of British intervention, bangsawan of the early twentieth century was heterogeneous, innovative, and constantly adapting to new situations and new audiences. Its conventions of plot structure, character types, costumes, speech, and stage setting corresponded with the new 'structure of feeling' in the society of that time. After a decline in the 1940s and 1950s caused by social hardships and uncertainties in the wake of World War II and the immediate post-war and Emergency periods, bangsawan was revived in the 1970s. However, this revival - spearheaded by the government and government institutions - has resulted in bangsawan being reshaped, Malayized for new national purposes, and projected as traditional theatre. This book is written in terms of a relatively recent trend in ethnomusicology which emphasizes diachronic analyses. The author is an ethnomusicologist at the Arts Centre, Universiti Sains Malaysia.
The book comprises a selection of the papers presented at an international conference on "Meaning as Production: The Role of the 'Unwritten'", held in Singapore in 1995. It takes textual analysis beyond the traditional boundaries of literary studies, into a more culturally dynamic field of social semiotics, rhetorical studies, hermeneutics and theories of interpretation. There are also essays that explore the issues with reference to canonical literary texts or authors.
This volume focuses on the theatre history of Asian countries, and discusses the specific context of theatre modernization in Asia. While Asian theatre is one of the primary interests within theatre scholarship in the world today, knowledge of Asian theatre history is very limited and often surprisingly incorrect. Therefore, this volume addresses a major gap in contemporary theatre studies. The volume discusses the conflict between tradition and modernity in theatre, suggesting that the problems of modernity are closely related to the idea of tradition. Although Asian countries preserved the traditional form and values of their respective theatres, they had to also confront the newly introduced values or mechanisms of European modernity. Several papers in this volume therefore provide critical surveys of the history of theatre modernization in Asian countries or regions—Japan, Korea, Taiwan, Hong Kong, India Malaysia, Singapore, and Uyghur. Other papers focus on specific case studies of the history of modernization, discussing contemporary Taiwanese performances, translations of modern French comedy into Chinese, the modernization of Chinese Xiqu, modern Okinawan plays, Malaysian traditional performances, Korean national theatre, and Japanese plays during World War II. Renowned academics and theatre critics have contributed to this volume, making it a valuable resource for researchers and students of theatre studies, literature, and cultural studies.
The rock era is over, according to one pop music expert. Another laments that rock music is "metamorphosed into the musical wallpaper of ten thousand lifts, hotel foyers, shopping centers, airport lounges, and television advertisements that await us in the 1990s." Whatever its current role and significance in Anglo-American society, popular music has been and remains a tremendous social and cultural force in many parts of the world. This book explores the connections between popular music genres and politics in Southeast Asia, with particular emphasis on Indonesia, the Philippines, Thailand, Malaysia, and Singapore.
This volume featrues over 250,000 words and more than 125 photographs identifying and defining theatre in more than 30 countries from India to Uzbekistan, from Thailand to New Zealand and featuring extensive documentation on contemporary Chinese, Japanese, Indian and Australian theatre.
Annotation Elizabeth A. Kaye specializes in communications as part of her coaching and consulting practice. She has edited Requirements for Certification since the 2000-01 edition.
This book contains a selection of non-academic materials on a wide range of topics related to Malaysian culture. Several of them deal with traditional Malay theatre genres, particularly mak yong, recognised by UNESCO as an item of the Oral and Intangible Heritage of Humanity in 2005, the shadow play and bangsawan. Others record the contributions of prominent personalities as practitioners, preservers, teachers and transmitters of oral traditions. The author touches upon issues related to the precarious situation in the arts in a rapidly changing Malay society which has in general neglected traditional performing arts forms under pressures exerted by modenisation and the simultaneous wave of Islamicisation. His own involvement in teaching, research, documentation as well as preservation of many of these arts provides unique personal insights into some of the problems and pertinent issues. Other essays of a more general nature, touch upon the continuing and at times controversial relationships between Malay cultural manifestations and those in neighbouring countries, contributions of the minority Indian-Muslim community in Malaysia, and upon the role of the administration in the preservation of heritage. The brief accounts contained in this volume are presented in a direct and readable manner for the non-expert enthusiast of culture and the arts from the perspective of someone deeply and passionately involved.
"The Malay/Muslim community is an integral part of the formative years of modern Singapore. The Singapore Malay/Muslim community comprises approximately 13% of Singapore's population of about 5.5 million people. More than 90% of Singaporean Muslims are Malays while the remaining are Indians, Arabs, Chinese and members of other ethnic groups. This book highlights the progress of the community, its contributions, and also the challenges for the last 50 years since 1965"--
This is a detailed, narrative–based history of Classical Malay Literature. It covers a wide range of Malay texts, including folk literature; the influence of the Indian epics and shadow theatre; Panji tales; the transition from Hindu to Muslim literary models; Muslim literature; framed tales; theological literature; historical literature; legal codes; and the dominant forms of poetry, the pantun and syair. The author describes the background to each of these particular literary periods. He engages in depth with specific texts, their various manuscripts, and their contents. In so doing, he draws attention to the historical complexity of tradisional Malay society, its worldviews, and its place within the wider framework of human experience. Dr. Liaw’s History of Classical Malay Literature will be of benefit to beginning students of Malay Literature and to established scholars alike. It can also be read with benefit by those with a wider interest in Comparative Literature and in Southeast Asian culture in general.
The engagement of communities, and the contribution made to communities, have become important features of arts-related projects across the globe. Community Engagement through the Arts is a collection of studies from academicians, independent scholars, arts advocates, artists, and directors of performing arts companies from South East Asia. The book addresses a wide range of topics of interest including arts education in schools, empowering communities through arts, cultural tourism, sustainability of community projects, and dance as therapy. Asian studies of arts-based community projects are unusual, so this collection provides an important reference source for practitioners, teachers and students of performing arts and communal works, worldwide.