Breaking Barriers
In celebration of National Day, discover these local talents and their crosscultural artistic ventures
BORN AND RAISED IN PERAK, Wan Mohamed Syamil moved to Kuala Lumpur in in
2006 to pursue his studies in music at the National Arts, Culture and Heritage Academy (ASWARA). Prior to entering the school,
Syamil had already taught himself how to play the piano and had already took formal guitar lessons - being a grade 8 student. The strings of fate however would intervene and Syamil then got on to learning and performing with the gu zheng.
Tell us how you got into playing the gu zheng?
While I first intended to further my guitar skills, I was approached by the dean of the academy to instead try something different. A lot of people can play the guitar, so I figured, ‘why not pick up something else?’ I already have the basics of guitar and piano, so maybe I should add to my repertoire. At first I thought of learning the sape, a traditional lute of the Kayan and Kenyah community in Sarawak. Unfortunately, or perhaps fortunately, there wasn’t a lecturer around at the time which could train him in that specific instrument. I then stumbled upon the gu zheng - a traditional Chinese instrument.
Initially I didn’t know head or tail about it, then I came across the movie Kung Fu Hustle which featured the use of the instrument, and I was intrigued further. From there I was taken in with the music it produces, which is calming and melodious, most of the songs composed for the gu zheng is about nature; it tells the
story of plants and animals for the most part.
How long did you take to learn the gu zheng, and how popular is the instrument?
It took me a total of six years to learn all there is about the gu zheng and I completed my degree in it. I could have gone on to take the professional qualifications, but at the time, you could only sit for the exam in China. Such is the popularity of the instrument that so few locals are even taking it up, hence it also made me a niche product, so to speak. In fact, from my batch of eight students studying the instrument, only two persevered throughout the entire course and completed it. The funny thing is, I bumped into my old course mate just a few months back, on the way back from a work trip in Sarawak, and he was my pilot!
The sad fact is that the art of playing the gu zheng is almost lost. Not many people want to pick it up, and while I’m highly sought after, especially during the Chinese New Year period, things are rather slow at other times.
When it comes to CNY, I can’t cope with the demand sometimes. There can be back-toback bookings for shows, occasionally I’d get a wedding gig, but most of them would want me to play more contemporary music using the gu zheng, or maybe I get to play some classical tunes as filler music while waiting for guests to arrive.
What other Chinese cultural aspects have you come to appreciate as a result?
Another thing that drew me to learning the gu zheng is the cultural aspects that are tied to it. For example, each gu zheng has a saying or quote inscribed onto its tail, but you would need to know how to read classical Chinese script to decode it. Plus, I also fancy the Chinese outfits that I get to wear during performances, it’s style and colours, the designs are simply amazing, and I own a few myself in different colours and motifs. And I truly think it’s a great and wonderful instrument to learn.
Can you sustain yourself just by plying the gu zheng?
I can’t solely depend on an income from playing the gu zheng, so I’m also a lecturer at my alma mater, ASWARA. After I was done with my masters, I returned home to Ipoh and helped my mother with her business, but a couple of years after, the dean called me and said that there’s an opening to become a lecturer under the events management department, so I took the offer up.
What type of songs do you get asked to play?
And though I’ve been featured in various local television talk shows like Selamat Pagi Malaysia and Nasi Lemak Kopi O which you can catch on YouTube, I would almost always be asked to play more current hits. What most people don’t know is that the more contemporary music are actually easier to play than the classical scores that the gu zheng is intended for.
When was the last you pe ormed live, and who was the most famous person you played for?
I still occasionally do live performances and shows, and often lend my talent alongside other band members from ASWARA itself. Among some of the notable guests and corporations I have played for was former prime minister’s wife, Rosmah Mansor, and Hong Leong Bank, during their Chinese New Year event, and I have also performed for local band Azlan and The Typewriter.
MEMBERS OF THE KHUAN LOKE DRAGON AND LION DANCE ASSOCIATION, Mariam Abdul Nazar and B. Rishivigknesh combined have 16 years of experience thus far. The 24-year-old Mariam fulfils her time managing work whilst earning her degree and lion dance training with a positive outlook and determination. On the other hand, 17-year-old Rishivigknesh who is in his fifth year with the team balances training and finishing up his final year in secondary school with Sijil Pelajaran Malaysian (SPM) as priority number one.
How did you find out about lion dance and what got you to join?
Rishivigknesh:
I had first seen the club on Facebook. I was interested in lion dance since I was a kid, so I was trying to find the best place for me to learn it. In my search, I found Khuan Loke and approached them. On the first day, I came and watched the classes, by the second day I started to learn. It was already quite diverse as there were a number of Malay students. I made friends here as I am the only one from my school and area. My parents were very supportive since day one when I told them I wanted to join lion dance when I was 13.
Initially my older brother was introduced by his friend who was already on the team. They rode the same van to school together. So he joined first and since we stayed nearby, just a walking distance away, and there was nothing to do at home, whenever my brother came to training at night we as a family would come along to sit outside and watch.
Mariam:
After about two weeks of watching him and my kakak senior, my brother ajak me to join in and not be shy since they were both in it as well, and just like that I joined in. Being a year older, he was practising for around 6-7 months when I joined.
What are some of the challenges you’ve faced & what has been the best and worst experience you’ve had thus far?
Rishivigknesh:
It was a smooth five years actually. In my first performance it was hard to synchronise together, as I had to memorise all of the steps and the way to play the musical instruments and be in harmony with the lion. The more I practised the better it got. For my first competition I was very nervous I just forgot whatever I had learned in that moment I just took a deep breath and went along with it.
The best memory I have was during our CNY performances where we would need to perform for 15 days straight sometimes we go up to eight shows a day, so that’s tiring but fun.
The first challenge I faced was when I initially joined, I was afraid, wondering if I could
Mariam:
adapt since most of them were Chinese. It took some time to make friends but since I speak Chinese it was easy to communicate. Plus I got to learn about Chinese culture, how they do lion dance, what is their pantang larang or taboos as well as follow their formalities as I’m not only learning about lion dance itself but of the culture and tradition too. For example when we go and perform at someone’s house we need to pay respect first, the “singa” referring to the lion is not just doing whatever. There’s a reason behind every movement from bowing in respect to tasting the food before accepting it and so on.
The best part is that I like the environment here in the team because we are a mix of cultures and races; I think this is the best platform to get to know each other and make friends. I consider myself pretty friendly and everyone here is open and very welcoming. They also take care of us, like for example the sifu and the coaches know to adapt and cater to us being Muslim. Muslims will not partake in the religious moves such as paying respects, so it will either be a Chinese or Indian performing that part as they need to pray to the alter. So I really admire how they handle these specifics.
What has it meant to you being a pa and the journey you’ve had? Rishivigknesh:
of the team
I love most of the Chinese culture, especially lion dance. I watched lion dance since I was a kid so I dreamed about being part of a team, the troupe and participating in competitions, both local and international. So by joining this club, learning and competing in championships it does really mean a lot to me. I plan to continue this lion dance even after I finish my SPM.
Firstly, I’ve gained knowledge about the Chinese culture and of the lion dance. Secondly, I made a lot of new friends and I feel proud, as a Muslim to be able to join and be accepted by everyone else. I get to come in and enjoy myself. There’s no bangsa or anything that separates us. We’re practically like siblings, I always say that this is my second family.
Mariam: