Life of play
The Malaysian performing arts industry has come a long way, but it still has plenty of room for growth.
NOT to sound dramatic (pun intended), but when it comes to the local entertainment industry, the performing arts is kind of like that side character in a movie that no one really cares about.
Sadly, there aren’t many who would take the time to really get to know the industry – other than the people involved, of course. Parents have unwittingly played a part in the misconception, contributing to our youth lacking the support and exposure to discover and be a part of the theatre industry.
It’s an industry that’s always fought the tide, no doubt. So, there’s plenty of room for a change in fortunes. Heralding that new dawn is the dedication and passion put in by existing groups of people willing to change the landscape of the industry in Malaysia, both young and, well, experienced.
One such youngster is 27-yearold Ariff Kamil. Although only two years into his career as a playwright, he has already picked up two grants for playwriting and apprenticing in theatre by Kakiseni over the last year. And he’s already getting his voice heard in the relatively small industry here.
Deric ECT, on the other hand, is as green as it gets and is only now working on his first play. Just last year, he was in Australia completing his degree in economics and working at a McDonald’s outlet.
He’s definitely come a long way since.
Unfortunately, that is a scene all too common in the industry, according to both young playwrights. Ariff reckons that it’s a side effect which stems from the youth’s ignorance towards the industry. And it is something he’s experienced both personally and from his peers.
“Before theatre, I had no clue what to expect. I was thinking of cinema and jump cuts and montages,” he said, half joking.
“I remember inviting some friends to watch a play once and then they asked for a trailer. Like, it’s a live play, there’s no trailer!”
Ignorance isn’t bliss
Ariff and Deric are part of a small but growing number of youths in Malaysia lucky enough not to have their fiery passion extinguished before they can even dip their toes in the arts.
It is a scenario that Christopher Ling, one of the founding members of Theatrethreesixty – a collective of playmakers dedicated to performance arts – experiences more often than he’d like to.
“Young people, first of all, are projections of their parents. It reflects in them, and it reflects in their work,” he said.
“If the parents are not there to help nurture and cultivate their children’s interests, kids are gonna look elsewhere for culture.”
At its core, performing arts is an outlet of expression. And parents, as well as teachers, play a huge part in shaping how they handle this inevi- table crossroads in the children’s lives.
According to Ling, theatre is not a distraction in a youth’s life, but instead, a positive influence in their development.
“The theory is the same,” added the director, who has worked at developing youth in the performing arts his entire career.
“You can’t stop the youth, they want to express themselves. They will look for it and find it. So, if it’s not sports, then it’s arts. Some people find it in music, some find it elsewhere.”
Staging a career
Thankfully, there does seem to be a noticeable shift in the public’s perception of the local theatre industry. For starters, there are now more performing arts courses as well as outlets and groups to share this common passion with than ever before.
Mark Teh, a familiar name in the local scene, began his journey in performing arts at 18. Today, in his 30s, he teaches theatre at Sunway University and has witnessed an incline in student enrolment for his course over the last 10 years.
However, there are, naturally, some concerns on the sustainability of a career in the local performing arts industry – not just among parents, but the students themselves. Teh, however, would like to think this is all a matter of perspective.
“I think a lot of young people are primarily interested to act.
I’m not sure there are a lot of young people dying to be playwrights, directors or to go behind the scenes for example,” he explained. “So, there is a great demand for more behind-thescenes work.”
Either way, one could always take to moonlighting and part time jobs to help sustain their passion for theatre. Deric, for one, writes press releases and other media collaterals to supplement his playwriting so that he can “get that nasi goreng and teh o.” Nothing wrong with that.
A new era
As with the growing and evolving generation of young creatives, the second generation of artistes generally have it easier if and when they do decide to commit to their craft, something Ling as well as Singaporean actress and producer, Tan Kheng Hua, can relate to.
In town to promote her latest project, Islands and Cities, where three local teen playwrights from Penang will be chosen and mentored by professionals, Tan explained that she is constantly and actively finding ways to support others who share the passion.
It is a mentality that she has also developed in part through firsthand experience at home, with her 16-year-old daughter. Unlike Tan who was only exposed to theatre in her adulthood, her daughter Lim Shi-An has been involved with the arts from the time she was 13 – and that has made a difference in terms of how they tackle and talk about problems.
“I’m very heartened by the fact that my daughter can talk about issues with her parents, like homosexuality or racism, in a way that she never feels as if somebody is going to tell her one way is right or the other is wrong; but somebody is going to be there to chat with her and to discuss this issue,” she said.
As for our two playwrights, the stage ahead is an open canvas, with plenty of room for possibilities and imagination.
It is even more encouraging, according to Ariff, to see an increasing number of college kids his age and younger in the audience these days.
“For theatre to reach that critical point where it is on the same level as Singapore, I think it will take another 10 years, at least,” he said.
“The industry hasn’t achieved mainstream appeal yet, so I think now is the best time to jump in and embrace it,” Deric added optimistically.