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MALAYSIA’S cultural diversity has fuelled the development of what is regarded as one of Asia’s most distinctive traditional performing arts.

Blessed with a potpourri of multi-ethnic communities, the country is striving to promote its theatrical plays as part of its rich national heritage.

What’s more, these ancient art forms never fail to attract culture lovers, given their intriguing history and ritualistic elements.

Indeed, the cultural door is fast emerging as one of the main gateways for tourists, in particular with Visit Malaysia 2007.

It’s no wonder that the mak yong – Malaysia’s oldest known dance theatre – has been proclaimed a masterpiece of cultural heritage by Unesco. 

And for the first time, Malaysia has brought its traditional performing arts – wayang kulit, manora and mak yong – to France, the very heart of European culture. 

In fact, Malaysia is the guest of honour at the week-long 11th Festival De L’Imaginaire (Festival of Imaginations) in Paris, which ends today. 

Organised by the World Cultures Institute, the event attracted cultural troupes from more than 10 countries including Venezuela, Mozambique, Iran, Syria, India, Uzbekistan and Pakistan.  

Big ovation  

Malaysia, however, had the privilege of performing what is known as the headline act during the festival.

Essentially, it means that Malaysia’s performances were the star attractions, occupying the top slots in the event’s promotional materials and posters.

More significantly, all three Malaysian troupes performed to capacity crowds, a testimony to the French enthusiasm for the shows.  

“We had a very big ovation,” enthused Eddin Khoo, director of Pusaka Foundation, which co-organised the Malaysian performances. 

He said ticket sales were very successful due to the wide press coverage in French mainstream newspapers like Le Monde, Le Figaro and Liberation.

Malaysian Ambassador to France Datuk S. Thanarajasingam was among the VIPs who graced the event, which is one of the world’s major cultural festivals.

Played to a full house, the Wayang Kulit Siam featured the Malaysian version of a dramatic episode from the ancient epic Ramayana.

Touted as one of the oldest shadow puppet theatres in Malaysia, the performance was staged by Kumpulan Wayang Kulit Anak Sri Baju Merah from Machang, Kelantan.

Manora was presented by Eh Chom Eh Kuan while mak yong was conducted by rebab player Che Ahmed and Pak Yong Mek Jah, also from Kelantan.

Khoo also presented a video documentary on Malaysia’s traditional performing arts, its cultural traditions as well as the country’s history and anthropology.  

Culturally ignorant

 
Make no mistake, the overwhelming support for Malaysia goes to show the increasing interest in the country’s rich heritage and cultural diversity. 

The fact that Malaysia is the only representative from South East Asia also reflects the organisers’ seriousness in promoting its traditional performing arts on the world stage.

 “Our performances encapsulate the very deep and profound cultural influences that exist in Malaysia,” said Khoo.

He described the overall reaction as very encouraging because “there are many things in Malaysia that are instructive for the world today.

Having said that, there’s still much more to be done before Malaysia can truly assume its place in the global cultural scene.

Thus, all Malaysians should strive harder to learn more about their own cultures to help promote the country’s cultural heritage.

As Khoo rightly pointed out “we’re very culturally ignorant about ourselves”, it’s high time everyone plays his part to make Malaysia a centre of culture.

And Pusaka Foundation, which conducts research and documents traditional performances in Malaysia, is showing the way towards moulding a more culturally aware society.

Working with local communities all over the country, especially in Kelantan, to revive and promote their cultures is certainly a step in the right direction.  

Choi Tuck Wo is Editor, European Union Bureau, based in London (e-mail: twchoi@thestar.com.my)