Clare Chan | Universiti Pendidikan Sultan Idris (original) (raw)

Papers by Clare Chan

The Jahai are one among 18 indigenous Orang Asli groups in peninsular Malaysia. They perform the ... more The Jahai are one among 18 indigenous Orang Asli groups in peninsular Malaysia. They perform the traditional pinloin, a song and dance genre, during the pano ceremony (séances) and tree and fertility rituals. The song text and music of pinloin is taught to the Jahai halaq (shaman) by their chenoi (spirit guide) through dreams. Pinloin song text manifests the flora and fauna of the rainforest of Malaysia as depicted by the chenoi. Today (2016), the function of pinloin as a ritual enactment has shifted to a form of entertainment or cultural experience for tourists, visitors and visiting dignitaries. This change has resulted in a disruption in the transmission of the traditional pinloin song text. In this article, I argue that there is an increase in the use of the pastiche approach such as random sharing of fragments of song text, sporadic unfolding of narratives and little connection between the title and song text in pinloin song text compositions due to the influence of the 'tourist gaze'. I support this argument by comparing Jahai song text form and composition technique in the early 20 th century, late 20 th century and early 21 st century.

This article presents the pioneering outcomes of a non-interventive ethnographic observation of a... more This article presents the pioneering outcomes of a non-interventive ethnographic observation of a Semai musician's transmission of indigenous musical traditions using selected indigenous musical instruments from his community. The musician, who is primarily a performer, was placed in the role of teacher. Fifteen Semai children from his village between the ages of six and nine were involved. The Semai musician conducted the workshop in his village hut in Tapah, in the state of Perak, over a period of six months. Findings showed that teacher-student mobility, freedom of choice, intuitive responses, by this Semai musician in response to the children and particular situations. This paper further posits that teachers need to consider cultural nuances and differences in musical experiences when designing their music curriculum and assessment approaches for music education. Furthermore, this paper argues for versatility and adaptability of the teacher to actively construct and reconstruct his/her teaching approaches by accessing the musical understanding, talents and competencies of children from various cultural backgrounds.

The 24 Jie ling gu or the 24 Season Drums is a drum ensemble consisting of 24 lion drums (shigu).... more The 24 Jie ling gu or the 24 Season Drums is a drum ensemble consisting of 24 lion drums (shigu). Twenty-Four drummers who move to spectacular and dynamic choreography play these drums. This drum ensemble is a new performance art genre created by the Chinese in Malaysia in 1988. The music and choreography of the 24 Season Drums is based on a concept inherited from China. This concept is called the 24 Joints and Breaths (24 jie qi) which form the basis of the Chinese Agricultural Calendar. The 24 Joints and Breaths divide this calendar into 24 periods based on changes in weather. Farmers in China have used the calendar since ancient times. This thesis aims to show the relationship between the music and choreography of the 24 Season Drums with the natural phenomena, farming activities, festivals or rituals related to each joint and breath. For instance, during Yu Shui in spring, snow melts and spring rain brings ample water. A drum roll on the side of the drum portrays the phenomenon ...

The establishment of a national language is imperative for the construction of the “imagined comm... more The establishment of a national language is imperative for the construction of the “imagined community” envisioned by Malaysia after it gained independence from the British in 1957. The adoption of Malay as the national language in Malaysia has had a significant impact on the identity of ethnic minorities—especially the indigenous Orang Asli. This paper argues that the national language has been a primary influence on the musical preferences of the Semai of Ulu Geroh Village in Gopeng, Perak. I present two musical genres for which the Malay language is a determining factor in the musical selections of the villagers—karaoke singing, live band. This phenomenon has implications deculturalisation among the Orang Asli and the continuing diversity of languages, musical aesthetics and identities in the nation-state.

is their desire to explore musical sounds beyond the conventional and cultural norms of their tim... more is their desire to explore musical sounds beyond the conventional and cultural norms of their time. Cage utilised Asian philosophy as inspiration for his aleatoric and chance music compositions, while HANDS fused sound art with movement. Founded on shi gu (shi: lion, gu: drum) drumming, movement and choreography, HANDS now experiments with a variety of musical instruments from various cultures to expand on the sounds and timbres produced in their performances. They merge extracts of musical elements from selected musical cultures, rhythmic drumming, and synchronised creative movements into their concert pieces. Some aspects of HANDS compositions are based on interculturalism, but many are new creations that decontextualise the musical instrument from its essentialised cultural-musical context. Based on interviews with HANDS' artistic director and members, this article examines the socio-cultural context that inspired the themes and ideas embedded in the avant-garde music and choreography of HANDS' previous concerts. The background to the socio-cultural context of HANDS' Generation X, Y and Z musicians is supported by literature reviews.

Tan Sri P. Ramlee's (1929Ramlee's ( -1973 music dominated the popular music scene in Malaya (prio... more Tan Sri P. Ramlee's (1929Ramlee's ( -1973 music dominated the popular music scene in Malaya (prior to 1957 when Malaysia became independent) during the mid-twentieth century. The local communities during his time were captivated by his velvety crooning voice and musical style. P. Ramlee's music featured strong influences from Western tonality, yet exuded the musical aesthetics of the cultures inherent in Malaya. His music was influenced by the demands and aesthetics of urban entertainment, the rich multi-cultural society and the socio-political atmosphere. Many of P. Ramlee's songs were influenced by the background of its directors who suited his songs to the themes and storyline of their films. The interplay between these various power structures were important in shaping P. Ramlee's music. In this article, I argue that although P. Ramlee's music mainly utilised Western musical instruments, tonality, and harmonies, his music was also localised to the flavour of the Malay, Chinese, Indian and Arabic communities through the utilisation of rhythmic patterns and melodic modes associated with these communities. I examine the unique ways in which these culture related rhythms and modes were infused into a Western tonality and temperament. In this article, I argue that P. Ramlee's music embodies and manifests the local identities that were already eclectic in nature.

Chapter in a Book by Clare Chan

This paper presents the outcomes of a research on transmitting indigenous Orang Asli (indigenous ... more This paper presents the outcomes of a research on transmitting indigenous Orang Asli (indigenous people) folktales creatively through digital media while retaining its “authenticity.” The production that developed from the research was a: trilingual picture book, digitalised audio-visual production of the narration and dialogues in the picture book and virtual simulation of “authentic” settings to accompany an on-screen playback of the audio-visual production. The research that led to these productions combines the knowledge of indigenous practitioners with the ideas of the academic musician as an approach to cultural (including music) sustainability. In the development of these productions, we strive toward: in-depth examination and understanding of a cultural tradition in keeping to its “authenticity” and innovative digitalised presentation of indigenous knowledge, music and artworks. We utilise technology as a tool for exploring creative ideas and mobilising the manually impossible. Our approach to sustainability lies in making indigenous folktales attractive, intriguing, and accessible to children and teenagers of the early 21st century. We argue that sustainability should involve research, innovation and creativity. In this paper, we discuss the methodology utilised to document, create and produce the audio-visual production performed in this presentation session.

Conference Proeedings by Clare Chan

Proceedings of the 2nd Symposium of the ICTM Study Group on Performing Arts of Southeast Asia, 2013

The 21st century is a time of unpredictable, uncontrolled, and sometimes “chaotic” congealing of ... more The 21st century is a time of unpredictable, uncontrolled, and sometimes “chaotic” congealing of performing elements from infinite possibilities. In Malaysia today, national aspirations, tourism promotions, diverse agendas of non-government organizations have created demands for indigenous (Orang Asli) performing traditions. Orang Asli grassroots groups constantly adapt their performing traditions to tailor to the tourist gaze and motives of their sponsors. In addition, national and state cultural troupes comprising of multi-ethnic musicians and dancers have also constructed their own version of Orang Asli performing traditions for the tourist gaze. This paper examines the effects of Orang Asli music and dance reinvented by national and state cultural troupes, widely dispersed, and viewed through mass media. How does this affect knowledge and transmission? Are these choices informed cultural aesthetics and knowledge about the community it represents? In an age where there is little control and rules to the circulation of cultural capital, knowledge of what comes to be represented as “Orang Asli” continues to overlap and interweave as interest groups selectively extract and combine parts of these performances to form their own Orang Asli representations. Do we perceive these acts as a degradation of knowledge and lack of critical thought in contemporary society, or do we accept it as the reality of society today—one in which Debord (2010) describes as “a social relationship between people that is mediated by images?"

The cultural values, worldviews and knowledge of indigenous peoples are often intricately woven i... more The cultural values, worldviews and knowledge of indigenous peoples are often intricately woven into their folktales. The philosophy of life and knowledge of the world that has facilitated the survival of indigenous people around the world for thousands of years is evolving in the phase of modernization and capitalistic values. This paper is based on pioneer findings from ongoing research that aims to communicate Semai (a subgroup of the Orang Asli indigenous minorities in Malaysia) culture, wisdom, world views and knowledge to Malaysian children. The research is aimed at creating a model that includes scripts, music and graphics that will support the construction of an animated series in future. During the course of ethnographic interviews with well-known Semai shamans, village heads, and storytellers, some significant stories were collected. One of the most frequently told stories was that of Bah Lud. Bah Lud is the Semai heroic figure gifted with supernatural powers, wisdom and spirituality. Taking into consideration various views, this paper analyses the choices made in the recontextualisation of a story on Bah Lud, for Malaysian children.

Thesis by Clare Chan

24 JIE QI DALAM KALENDAR PERTANIAN CINA CHAN SUET CHING, CLARE UNIVERSITI SAINS MALAYSIA 2001 24 ... more 24 JIE QI DALAM KALENDAR PERTANIAN CINA CHAN SUET CHING, CLARE UNIVERSITI SAINS MALAYSIA 2001 24 JIE LING GU (GENDANG 24 MUSIM): PERHUBUNGAN MUZIK DAN KOREOGRAFI DENGAN 24 JIE QI DALAM KALENDAR PERTANIAN CINA oleh CHAN SUET CHING, CLARE Tesis ini diserahkan untuk memenuhi keperluan bagi Ijazah Sarjana Sastera Mei 2001 ii PENGHARGAAN Tesis ini berjaya ditulis melalui bantuan yang berharga daripada beberapa pihak. Pertama sekali saya ingin mengucapkan terima kasih kepada ensembel 24 Jie ling gu dari Persatuan Sekolah Chong Hwa, Pulau Pinang yang telah menerima saya sebagai ahli pemain gendang kumpulan mereka. Saya amat terhutang budi kepada juru latih ensembel ini, iaitu Quah Beng Chye yang telah mengajar saya teknik memukul gendang (shigu), koreografi, stail dan posisi-posisi badan dalam ensembel 24 Jie ling gu. Beliau juga membantu saya mengenali semua corak-corak rentak dan koreografi badan yang digunakan dalam ensembel 24 Jie ling gu. Juga tidak ketinggalan ialah Encik Cheng Kee Teong, ketua kumpulan yang membenarkan saya menyertai kumpulan 24 Jie ling gu. Saya juga berterima kasih kepada Ooi Chee Wei yang mempamerkan posisi-posisi badan untuk gambar foto dalam tesis ini dan Lim Chee Khoon yang membantu saya dalam lukisan gambar pemain dalam pelbagai posisi. Saya terhutang budi kepada ensembel 24 Jie ling gu Sekolah Menengah (P) Chong Hwa, Kuala Lumpur terutamanya kepada jurulatih mereka, Goh Seang Heong. Beliau banyak memberi panduan dan mengongsi idea-idea artistiknya mengenai makna yang tersirat dalam koreografinya. Ahli-ahli kumpulannya juga tidak ketinggalan dalam memberi bantuan kepada saya. Di antara mereka ialah Hem yang bersusah payah membantu saya semasa pengambilan foto dan pencatatan notasi muzik. Saya juga ingin merakamkan terima kasih kepada ensembel 24 Jie ling gu Sekolah Menengah Foon Jew (P) terutamanya bekas ketua mereka, Yap Jai Her. Selain iii itu, Encik Tan Hooi Song dan Encik Tan Chai Puan, pengasas-pengasas 24 Jie ling gu juga telah memberi sokongan yang menggalakkan kepada saya ketika temuramah dengan mereka. Jutaan terima kasih diucapkan kepada penyelia saya, Prof. Madya Dr. Tan Sooi Beng yang banyak membantu saya menghadapi mengatasi masalah-masalah yang dihadapi dalam cabaran menulis tesis ini. Beliau amat bersabar dan memberi tunjuk ajar yang bernilai semasa saya bertungkus lumus menghasilkan tesis ini. Terima kasih juga perlu diucapkan kepada Professor Chuah Chong-Cheng dari Unit Nasihat Pengajaran-Pembelajaran, Universiti Sains Malaysia, Pulau Pinang yang telah memberi penerangan secara terperinci mengenai 24 jie qi (24 musim solar) dari segi pengiraan kalendar Cina dan kajian astronomi. Saya juga amat terhutang budi kepada bekas rakan pengajian saya, iaitu Encik Ng Wee Theng yang telah membantu saya dengan menterjemahkan artikel-artikel mengenai sejarah pembentukan 24 Jie ling gu dan fenomema kejadian, aktiviti pertanian dan perayaan dan ritual semasa setiap jie qi (musim solar). Juga tidak ketinggalan ialah rakan pengajian saya, iaitu Yen Yee, yang mengajar saya untuk menggunakan program notasi muzik yang kompleks, iaitu 'Finale 2000'. Penghargaan saya lanjutkan kepada Tan Boon Hua dan Tan Ho Boon yang mengajar saya menggunakan program komputer berlainan seperti Adobe Acrobat dan Microsoft Power Point untuk menyesuaikan gambar foto dan bentuk koreografi dalam tesis saya. Terima kasih juga perlu dirakamkan kepada rakan serumah saya, Alex Wong Lee Yun yang telah membantu membenarkan saya menggunakan komputer dan scanner iv kepunyaannya sepanjang penulisan tesis saya. Saya juga ingin mengucapkan terima kasih kepada Adrian Yong Wei Keong dan Ng Kiah Tong yang menolong saya dalam proses mengubahsuaikan tesis saya bagi proses pencetakan. Saya ingin mengucapkan terima kasih dan meluangkan perasaan tersentuh hati saya terhadap sokongan yang diberi daripada ibu bapa saya. Mereka telah bersama-sama saya dalam setiap langkah mengharungi kesusahan dan kesenangan semasa penulisan tesis, terutamanya ibu, yang telah berada di sana dalam saat-saat kesusahan yang dialami. Yang paling penting sekali, saya perlu mengucapkan kesyukuran kepada Tuhan yang sentiasa berada di sisi saya untuk memberi cahaya dan panduan ke arah menjayakan tesis ini. Beliau telah memberi kekuatan semangat dan tenaga yang diperbaharui dalam masa kesusahan dari permulaan hingga pengakhiran penulisan tesis ini. v

PhD Dissertation by Clare Chan

Proceedings of the 2nd Symposium of the ICTM Study Group on Performing Arts of Southeast Asia, 2013