{"id":1902,"date":"2022-10-24T20:26:57","date_gmt":"2022-10-24T12:26:57","guid":{"rendered":"https:\/\/www.hiistheory.com\/dancetalkgather\/?p=1902"},"modified":"2026-04-24T21:50:14","modified_gmt":"2026-04-24T13:50:14","slug":"%e8%a1%a8%e6%bc%94%e8%89%ba%e6%9c%af%e5%bd%a2%e5%bc%8f%e4%b9%8b%e5%8f%b2%e6%96%99%e9%87%87%e9%9b%86%e4%b8%80%e7%82%b9%e4%bd%93%e4%bc%9a","status":"publish","type":"post","link":"https:\/\/www.hiistheory.com\/dancetalkgather\/2022\/10\/24\/%e8%a1%a8%e6%bc%94%e8%89%ba%e6%9c%af%e5%bd%a2%e5%bc%8f%e4%b9%8b%e5%8f%b2%e6%96%99%e9%87%87%e9%9b%86%e4%b8%80%e7%82%b9%e4%bd%93%e4%bc%9a\/","title":{"rendered":"(\u8868\u6f14\u827a\u672f\u5f62\u5f0f\u4e4b) \u53f2\u6599\u91c7\u96c6\u3002\u4e00\u70b9\u4f53\u4f1a\u3002"},"content":{"rendered":"

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<\/p>\n

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i. \u666e\u53ca\u5386\u53f2\u3001archive\u3001\u6587\u7269\u4e0e\u53f2\u6599\u7684\u529f\u80fd\u548c\u610f\u4e49\uff1b<\/div>\n
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\"\ud83c\udf80\"<\/span> \u6587\u53f2\u8d44\u6599\u4fdd\u5b58\u5168\u56fd\u5ba3\u5bfc\u8fd0\u52a8<\/a>\u7b2c\u4e09\u573a\u6d3b\u52a8<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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\"\ud83c\udf80\" <\/span>\u2018\u91d1\u4e1d\u5e26\u2019 \u8fd0\u52a8<\/a><\/p>\n<\/div>\n

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\ud83d\udcaehttps:\/\/www.facebook.com\/404842996214209\/posts\/5978309275534192<\/a><\/p>\n

~ click next page for translation ~<\/p>\n

<\/p>\n

Translate (for reference only):<\/strong><\/p>\n

Documentation of Performing Arts: A Perspective on Historical Data Collection<\/strong><\/span><\/p>\n

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The ultimate significance of historical data collection lies in what? We all understand that “preserving history is for envisioning the future.” This call can encourage contemporaries to maintain historically significant artifacts for future generations to understand and can also evoke respect for the social activities, life trajectories, and spiritual civilization of the past. However, the preservation of history is insufficient if it is solely reliant on the collection and exhibition of historical artifacts or data, as with the passage of time, contemporaries may also face issues such as memory loss and the increasing magnitude of heritage preservation\/maintenance. “What is the (deep-seated) purpose of reviewing history?” This was the question that lingered in my mind when attending the “Lim Meng See Mining History and Construction” event organized by the Malaysian Public Library and Research Center and Heart Towards The Sun.<\/p>\n

Dance (performance) is a highly condensed form of interdisciplinary art and a non-verbal expression that transpires in an instant, using the body as a medium. The #MalaysianDanceRecollection project is precisely about seeking written and visual records (secondary narration) of the bodily aspects of dance. Unlike theatrical records, which are predominantly conveyed through text, the collection, preservation, interpretation, and utilization of Malaysian (Chinese) dance records in the form of text and images are extremely challenging. Furthermore, within communities that are less familiar with history, culture, research, and artistic subjects, the awareness, advocacy, common knowledge, techniques, standards, and significance of historical preservation need to be gradually instilled. These aspects may also be unfamiliar to individuals accustomed to using the body as a medium of expression (dancers). Questions such as “What is the purpose of reflecting Malaysian dance history?” and “How can it be effectively conveyed to the audience?” begin to arise. While absorbing the insights shared by various individuals during the event’s interactive sessions, I attempted to formulate an answer. Unexpectedly, Dr. Sim Kok Meng handed me a microphone, leaving me momentarily caught off guard. Unable to immediately settle my scattered thoughts, I can only attempt to supplement the ideas that were not promptly articulated here with words.<\/p>\n

The project sharing by speaker Xie Yao Qing provided us with valuable inspiration, particularly his incorporation of stage space concepts in cultural museum architecture. It reminded us that the representation of history not only relies on the presentation of artifacts and historical records but also necessitates the involvement of mobile individuals in providing contemporary information dissemination. For example, it could involve introducing local guides, transforming historical memories into different media through performances or interactive sessions, inspiring new creations in the present era, or even injecting new significance into existing spaces occupied by historical events (transformation of spatial functionality). This immersive approach has a more profound effect than simply “recreating history for the purpose of promoting local tourism” and enables us to shift the impression of history from “looking back” to “looking forward.” If Malaysian dance history can gradually transition from being “accessible\/remembered only by a few” to being “accessible\/participated in by everyone,” will it be easier to eliminate the sense of unfamiliarity that exists across different eras, cultures, and domains? I am beginning to believe so.<\/p>\n

However, to achieve this, we still have many tasks to address, including:<\/p>\n

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  1. Promoting the functionality and significance of history, archives, artifacts, and historical records.<\/li>\n
  2. Interviews; excavation, collection, restoration, and preservation of existing artifacts and historical records.<\/li>\n
  3. Establishing archives for providers of artifacts\/documents\/records and data.<\/li>\n
  4. (Spatial) creation\/reinterpretation, exhibition\/display\/publication of related research or materials.<\/li>\n
  5. Continuous maintenance, peripheral activities, personnel training, educational promotion, sustainable operations, and more.<\/li>\n<\/ol>\n

    Valuing local and humanistic history involves paying attention to the development processes of a particular generation and understanding the impact of its changes on the present moment and the future we envision. If “history” is not summarized (protected), it becomes a multitude of fragmented present moments. We must (have the opportunity to) read and understand history to deconstruct these moments and reconstruct new ones. This, in essence, is the nature of creation. I told Dr. Sim that we still have many unresolved questions, and perhaps collective brainstorming is the most effective way for us to “rescue” history before we grow old. He suggested organizing a seminar for discussion. Cultural and historical workers may be well aware that the work of collecting historical records\/artifacts and preserving them lacks funding and human resources. We also face a significant lack of public awareness and practical support for the importance of historical records. In addition to these challenges, we need to continuously explore suitable preservation techniques, workspaces, advocacy strategies, etc., in our respective fields to further “create history.” The preservation of cultural assets, cultural creativity, local development, and community building all undergo a process of starting from scratch and are unquestionably contemporary creations that respond to current societal needs!<\/p>\n

    The “Golden Ribbon” symbol initiated by Dr. Sim carries a profound meaning – awakening the public’s attention to historical records and allowing the once-forgotten records to regain their glory. This movement not only advocates the preciousness of literature and historical memory but also signifies concern and support for cultural and historical work and workers. We still have a long way to go in the work of inheriting artistic works of the era and historical memory. We hope that more people can join this collective effort in the future, allowing our performing arts, culture, and communities in Malaysia to thrive. Let us encourage and support each other along the way. \u2600\ufe0f<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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