马来西亚表演艺术论坛 – rumusan keseluruhan dan pelan tindakan

 

Session I
The Development and Challenges of Performing Arts from the Past to the Present and the Future: From Perspective of Production

Moderator: Sakrani Shamsuddin, Chairman of the Malaysian Theatre Association
Presenters:
1. Different Language Theatres – Creating Space.  (Goh You Ping, ASLI) [Video. Presentation : BM]
2. Income, Identity, and Technology. (PingStage – Goh You Ping) [Video. Presentation: BM]
Host: Yap Yai Leong (ASLI Vice-Chairman/ W Production)
Observers:  Sakrani Shamsuddin, Goh You Ping, Five Arts Centre, Dr. Leng Poh Gee, Hii Ing Fung

The presenter and moderator of this session shared the practical challenges faced by the (full-time and part-time theatre practitioners) in the field of performing arts. These challenges encompass various aspects such as language, space, income, technology, and more. While the overall development and positive achievements in the performing arts were not as well reported, the discussion focused on language differences, advanced technology, physical performance spaces, and several happenings in the production and collaboration processes among the different ethnic groups of performing artists.

Observer’s question:

• In contrast to the creative and expressive spaces in performing arts, the physical spaces for performing arts are less affected by Malaysia’s cultural diversity. Language plays a crucial role in theatrical expression, as cultural and linguistic differences can limit audience understanding, audience numbers, and cross-cultural exchange to some extent. Should theatre practitioners from various ethnic groups explore the necessity of transcending or integrating languages to reduce language barriers and further promote overall growth in the Malaysian theatre’s performances? Or each language groups should continue their creative works with respective diverse language? In what way do you think, as a theatre practitioner, production can build bridges and break down cultural barriers?
• As participants mentioned, the practice of performing arts in the early days was relatively “easy”, with families often attending performances in the neighbourhood. There are improvements in terms of performing arts spaces and facilities over the years, in more professional ways, has this advancement bridged the gap between performing arts and the audience even more, or has it imposed more restriction (e.g., regulated audience behaviours in formal theatre spaces, advanced ticketing systems, or performance venues that distant from the neighbourhood communities)? What recommendations do you have for future improvements in terms of performance spaces for theatre production?

Other discussions and highlights:

• The professionalization of production also implies higher production costs, which can further affect the ticket prices and audience choices.
• Must performance venues be limited to theatres? Performance may exist in any space.
• Are there other aspects to discuss besides the technical difficulties in the performing arts production? For example, the content of the creation.
• In any event, the development of Malaysia’s performing arts is influenced by politics.

 

 

Session II
The Development and Challenges of Performing Arts from the Past to the Present and the Future: From Perspective of Education

Moderator: Dr. Loy Chee Luen, Chairman of the Malaysian Puppetry Association
Presenters:
1. Dance Education. (Dance Trainer and Lecturer – Dr. Leng Poh Gee) [Live. Presentation: BM]
2. Theatre Education in Diverse Groups in Penang. (Triple I Penang – Jason Ong) [Audio. Presentation: Mandarin]
3. Puppetry Education. (Chairman of the Malaysian Puppetry Association and Lecturer – Dr. Loy Chee Luen) [Live. Presentation: BM]
Host: Yap Yai Leong (ASLI Vice-Chairman/ W Production)
Observers:  ASLI Association, Malaysian Theatre Association, TEAM, Five Arts Centre, Dr. Leng Poh Gee, Hii Ing Fung

Speakers in this section provided a brief overview of the history of puppetry in Malaysia and its positive impact on the holistic development of children; presented the formal dance education system in Malaysia, particularly at the secondary and tertiary levels, along with the process of advancing into teaching roles; and also introduced case studies of expanding theatre education using multilingual approach in Penang. The differentiated teaching attempts in performing arts education can lead to a more refined and specialized development in various artistic disciplines, however the impact and alignment of performing arts education with the current markets of Malaysian society were not explored. For example, there remain questions regarding whether performing arts education shall focus on the essence of art, on individual performers, or on the societal impact of art. While the core of education is centered around passing down ancestral knowledge and skills, it’s important to note that the overall growth of performing arts industry requires techniques from various aspects including production, marketing, audience development, and preservation, in addition to artistic creation. This highlights the need for students to gain additional workplace knowledge within the practical context of performance production. Due to the constraints of time and the number of participants, in-depth topics are left for future discussion. Nevertheless, the formal dance education system and training institutions in Malaysia offer significant opportunities for performing arts students to secure positions in government departments, making the transition from student dancers to dance teachers a viable path.

Observer’s question:

• When designing dance curriculum, to what extend have issues regarding multicultural, career opportunity, marketing, sustainability of performing arts and so on been taken into considerations? For instance in the case of cultural dance, where there is a wide range of traditional as well as modern dance styles, how do decision-makers or curriculum designers select or arrange them to ensure that graduates have sufficient competitive skills in the job market? Has the current (dance) arts education system effectively bridged the gap (if any) between performing arts education and the performing arts market?

Other discussions and highlights:

• The practicality of a dance certificate.
• There are still challenges faced by the existing formal dance education systems, such as the existence of stereotypes associated with dance in society; offering to teach more dance forms may lead to a reduction in learning hours; curriculum program may not be able to keep up with rapidly changing market demands, among other challenges.
• The purpose of arts education systems is to guide and expand students’ thinking, and actual artistic creation and endeavour will depend on respective individual.
• The shortcomings in Malaysia’s performing arts education system will undoubtedly require years of continuous effort by educators to rectify.
• Possessing a formal or higher certification or relatively stable job opportunities does not necessarily guarantee high income for artists.
• It’s important to note that entering the formal education system is not the only pathway for arts education; arts exchanges, written publications, sharing of works, and attending live performances in theatres can all be part of arts education.
• Practitioners who enter the formal performing arts education system and those who work diligently in arts production and creation on their own are equally important.

 

 

Session III
The Development and Challenges of Performing Arts from the Past to the Present and the Future: From Perspective of Sustainability
1) Effects of Government Policies and Central & Local Government
2) Capital, Sponsorship, Government Taxes, Human Resources, Creativity, Environment, Censorship
3) Marketing and Ticketing, Entertainment Taxes, and others

Moderator: Goh You Ping, representative of ReformARTsi
Presenters:
1. Sustainability of Chinese Opera. (Dr. Wong Oi Min) [Live. Presentation: BM]
2. Deconstructing the CloudJoi Operating Model – How it Can Support the Sustainable Operation of Performing Arts Groups (Ticketing and Online). (Soh Chong Hong) [Live. Presentation: English]
3. 3M1T: Bridging The Gap Between Arts and Management. (Muka Space – Gan Eng Cheng) [Video. Presentation: Mandarin]
Host: Yap Yai Leong (ASLI Vice-Chairman/ W Production)
Observers: Goh You Ping, Sakrani Shamsuddin, Five Arts Centre, Dr. Leng Poh Gee, Hii Ing Fung

The issue of sustainability in the performing arts is challenging to comprehensively address in a brief presentation. Each speaker succinctly outlined their personal or institutional ideals, aiming to put their artistic vision into practice within the appropriate theoretical framework. Whether it’s the action framework for revitalizing traditional cultural heritage (Chinese opera), innovative technology-driven cloud theatres that breaks the confines of traditional physical performance spaces, or the 3M1T theory that bridges the gap for significance of creation, arts management and market analysis, all demonstrate the contemporary vigour and potential of Malaysian performing arts practitioners and scholars in pioneering new markets. While the motivation for sustainability can stem from addressing various cultural, economic, social, or artistic needs, in achieving the goal of creating an all-inclusive performing arts ecosystem, it may require further contemplation from individual creator’s artistic philosophies in a cross-group, cross-cultural, cross-disciplinary, and cross-generation manner. The framework of Malaysia’s performing arts ecosystem, the roots and sources of Malaysian performing arts creation, and the theoretical and ideal foundations of Malaysian performing arts communities may all be waiting for a right time and platform to burst forth.

Observer’s question:

• Commercialise performing arts productions often necessitates considerations tied to market economics, supply and demand for artworks, and competitiveness. The business perspectives often overshadow discussions of artistic expression, appreciation, and passion. While the Malaysian performing arts market and space require a rational, humane, and safe environment to grow and flourish, the idea of “wearing multiple hats” that is common among practitioners, does not mean that the power of synergy has disappeared. Beyond having the right channels, it also requires the right people doing the right things. Formal theatre performances are just one part of the performing arts ecosystem, and performing arts are just one part of the larger art world. In this grand vision for the Malaysian performing arts scene, shall we ask, “Who am I (am I the right person in the right position saying the right things)” “What do we have and what do we lack (besides money)” and “What can I do “?

Other discussions and highlights:

• The future development of Chinese opera.
• How performing arts practitioners will adapt to the impact of technological and technical revolutions. Technology is not to be feared and should evolve with the times.
• The influence of AI technology on the performing arts landscape. AI will not replace actors.
• The constraints and pressures imposed by the National Culture Policy on operating Malaysian performing arts. How to engage with relevant departments objectively and rationally to express concerns.
• The historical development and documentation of Malaysian performing arts, classified by time and region, has received relatively little attention. Examining history to envision the future is necessary. The proposal to establish archives for performing arts practitioners could extend to building or consolidating a database for performing arts groups, requiring further exploration.

 

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Observation Insights 

• This concise observation report combines key points from the event, participant perspectives, and the author’s humble personal insights and post-event additions. The observer’s questions aimed to raise topics not covered in the presentations, fostering a more comprehensive discussion within the thematic framework.
• What do performing arts practitioners need? What is this event aiming to achieve? It is believed that financial support is not the primary concern. The Malaysian performing arts sectors also requires a space for free and safe expression, support for creative resources, equal attention in policy, reasonable employment opportunities, and community recognition.
• The significance of artistic creation can be discussed from three aspects: motive, message, and value. In practical terms, quantification of motive and creative output is often necessary for evaluating its value. Over time, the commercialization of artistic practices may force financial interests to dominate or infiltrate artistic discourse, privatise arts practices may individualise or personalise the definition of arts, and further fragmentise the arts field that is relatively small. Performing arts practitioners need to remain vigilant.
• This is a rare and valuable opportunity for exchange. The themes and structure of the discussions are practical, and the event’s preparations, program arrangements, technical support, committee work, catering, and other aspects are well-organized within the given conditions. If there are any shortcomings, it may be attributed to the urgency of the planning and execution time given. The depth of the discussions depends on the number and backgrounds of the participants, making it challenging to achieve a balance between delivering positive and negative, objective and subjective information, as well as delving deeply into both presentation and discussion purposes. Nonetheless, the event is meaningful hence it is suggested can be continued in the future with various forms, such as using surveys or written contributions, segmenting discussions based on regions, languages, roles, disciplines or topics. It was a casual yet complex event, well-visioned even though lack promoted. Despite this, it remains a rare and valuable opportunity for exchange.

 

Observer: Hii Ing Fung
Independent Dance Practitioner | Founder: Dance Body Project , Lief In Dance Centre
M.A. in Performing Arts (Dance), University of Malaya | Performer. Choreographer. Educator. Researcher.

 

— End of Report. Thank You ! —

<Simposium Seni Persembahan Malaysia> 14-15 Oct 2023, 9am-6pm @ Pusat LLG, KL

 

Rumusan:
https://sites.google.com/view/simposiumsenipersembahan/rumusan?authuser=0

♦ PDF 1:
DanceTalkGather_SSPM_REPORT_lowres_V3

♦ PDF 2:
https://drive.google.com/file/d/1KHJ8NWhFs7ad8R43TWwqFszkt04XgL5h/view