Purpose The aim of producing Bah Luj Production, four folk tales books accompanied by a compact disc of its narration, dialogs and music is to revitalize the folk tales, music and cultural heritage of the indigenous Semai by condensing them into an innovative resource package, tailored to appeal to the current generation’s consumer interests and lifestyles. The targeted audiences for the product are Malaysians, in particular the Semai community, as well as other local and international consumers. The purpose of this paper is to examine a practice-led approach toward considering the empowerment of selected culture bearers assisted by the intervention of researchers from the academia in facilitating the sustainability of indigenous cultural traditions in Malaysia. Design/methodology/approach This approach is practice-led – Bah Luj Production was developed based on action, reflection, review and revision. This paper provides visibility to the research process, enabling readers to understand the issues, challenges and decision-making processes. The practice-led approach that was used for this project provides a realistic practical guide, bridging the gap between theory and practice. In the conclusion, the authors also bring forth ideas for improvement through reflection, on suggested approaches in ways this research did not manage to pursue. Findings This paper proposes three approaches in advocating for cultural sustainability through innovation: collaboration between selected culture bearers and researchers in the academia; indigeneity of cultural expressions and illustrations; and adaptability and relevance to current interests of indigenous people and consumers of indigenous music and literature. This paper argues that it is important for the researcher to navigate research with relevance to the context and situation. Research limitations/implications While many articles focus on presenting the outcomes of a research project, this paper guides the reader toward understanding the limitations, constraints and negotiations made by the research team during the research and production stages. Transparency in the process of decision making will enlighten readers on realistic, practical approaches as opposed to idealistic theoretical methods. Practical implications This paper argues for sustainability through innovation and posits that cultural heritage practices that continue to be performed are those that are adaptable, flexible to change and open to innovation – therefore maintaining relevance to time, context and consumers. This paper posits that researchers should be flexible and practical in their research actions and avoid generalizations that come out of recent and popular critical theories as the most, or only suitable, approaches for diverse communities. Originality/value The development of an alternate approach, theory/concept and guidelines toward sustainability through innovation make this study the first of its kind. This approach integrates tradition with creation.
The traditional music of the Semai known as Sewang is losing its interest among the Orang Asli communities due to change in livelihood, religious conversion, and interest of youth in popular music and culture. This research aims to rejuvenate Semai musical heritage by exploring how the interest of the Semai youth in popular music can be integrated with traditional Sewang songs as an approach to musical sustainability. The objective of this research is to advocate the development of contemporary traditional Semai music by merging traditional elements into popular music styles. The new works will be performed and transcribed into a musical score, and recorded and produced as an online digital recording that has potential for commercialisation. This research will utilise an applied approach in which researchers act as advocators in nurturing a bottom-up development of contemporary traditional Semai songs. We argue that in order for Semai traditional music and songs to be sustainable, it needs to be relevant and of interest to the Semai youth. We hope to provide the Semai with creative ideas, musical and entrepreunership skills to develop and produce their own contemporary traditional works in future.
This article explores how the Mah Meri have standardized and exoticized the music and dance performance of the Main Jo’oh in response to the “tourist gaze” and identity politics in Malaysia. A comparison of the form, texture, melody, dance choreography, and costume of the Main Jo’oh in the late twentieth and early twenty-first centuries shows that the Mah Meri have transformed the Main Jo’oh in various ways, including (1) reducing the time and length of the performance, (2) sustaining traditional acoustic sounds, and (3) self-indigenizing and exoticizing. Playing to the gaze of the tourists, the Mah Meri sustain and innovate the Main Jo’oh by creatively exploring their improvisatory skills, traditional weaving and carving skills, and resources from the depleting mangrove forest on Carey Island, their ancestral territory and home.
Hands Percussion is a percussion ensemble in Malaysia that integrates percussive rhythm, creative movement and spectacular choreography with diverse musical sounds. Founded in 1997, Hands Percussion has evolved from a Chinese drumming ensemble to a contemporary performing arts ensemble that embraces a myriad of local and global musical styles and movements. This article explores Hands Percussion's identity from local to cosmopolitan musicians, whose opportunities for musical alliances are enhanced through international connections and collaborations. While Hands Percussion is exposed to diverse global musical styles, I argue that their choices for global musical alliances are founded upon three shared philosophies and artistic values including: (1) virtuosity and skill, (2) philosophy of life and artistic values, and (3) openness, flexibility and passion toward learning. Through interviews with Hands Percussion artistic directors and performers, this article examines the shared philosophies and artistic values that enable successful global alliances, consequently constructing the "cosmopolitanism" in their performances.
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