The Music of Malaysia, first published in Malay in 1997 and followed by an English edition in 2004 is still the only history, appreciation and analysis of Malaysian music in its many and varied forms available in English. The book categorizes the types of music genres found in Malaysian society and provides an overview of the development of music in that country. Analyses of the music are illustrated with many examples transcribed from original field recordings. Genres discussed include theatrical and dance forms, percussion ensembles, vocal and instrumental music and classical music. It is an excellent introduction to and exploration of the country's vibrant musical culture. This new, fully revised and updated edition includes time lines, listening guides and downloadable resources of field recordings that are analysed and discussed in the text.
The first book on Ko-tai, a new theatre form. It gives a good factual account of the origins, setting, context, and the mechanics of the organization of Ko-tai theatre. Included are complete translations of comic skits, photographs, calender of Ko-tai events in Penang, and a glossary.
Cina Peranakan merupakan sekumpulan subetnik Cina di negara ini. Mereka memperlihatkan identiti yang amat berbeza daripada orang Cina jati. Identiti mereka terdiri daripada identiti Cina yang diwarisi daripada generasi awal dan identiti yang dipupuk menerusi akulturasi oleh penduduk tempatan. Kebanyakan kajian tentang Cina Peranakan di negara ini tertumpu kepada Cina Peranakan yang menetap di pantai barat Semenanjung Malaysia, terutamanya Baba dan Nyonya dari negeri Melaka dan Pulau Pinang. Padahal, terdapat juga sekumpulan Cina Peranakan yang besar yang menetap di pantai timur Semenanjung Malaysia, terutamanya negeri Kelantan. Malangnya, Cina Peranakan Kelantan tidak banyak dikaji oleh sarjana sedangkan amalan budaya mereka agak berbeza daripada Cina Peranakan yang menetap di pantai barat dan wajar diberikan perhatian yang setimpal. Lagipun, kehidupan sosiobudaya mereka menyumbang kepada pengkayaan sosiobudaya negeri Kelantan. Monograf ini mengkaji Cina Peranakan Kelantan dengan memilih Cina Peranakan Kampung Pasir Parit sebagai satu kajian kes atas dua sebab utama. Pertama, mereka merupakan kumpulan Cina Peranakan yang terbesar di negeri Kelantan. Kedua, mereka tidak diserap oleh masyarakat Cina jati dan masih mengekalkan kebanyakan identiti Peranakan mereka.
Based on long-term ethnographic study, this is the first comprehensive work on the Chinese popular religion in Malaysia. It analyses temples and communities in historical and contemporary perspective, the diversity of deities and Chinese speech groups, religious specialists and temple services, the communal significance of the Hungry Ghosts Festival, the relationship between religion and philanthropy as seen through the lens of such Chinese religious organization as shantang (benevolent halls) and Dejiao (Moral Uplifting Societies), as well as the development and transformation of Taoist Religion. Highly informative, this concise book contributes to an understanding of Chinese migration and settlement, political economy and religion, religion and identity politics as well the significance of religion to both individuals and communities.
The first book on Ko-tai, a new theatre form. It gives a good factual account of the origins, setting, context, and the mechanics of the organization of Ko-tai theatre. Included are complete translations of comic skits, photographs, calender of Ko-tai events in Penang, and a glossary.
The Chinese minority in Terengganu, Malaysia, are struggling to maintain their Sinic culture, identity and community in the face of socio-political changes and Islamisation since the early 1970s. They are also facing problems due to population attrition from an outflow of the younger generation to larger cities in Malaysia for jobs and further education. The acculturated Terengganu Peranakan Chinese, descendants of the earliest settlers who arrived at least two centuries ago, face additional inter-generational tensions and challenges. This book is based on extensive interviews and fieldwork and includes: an overview of the role of the Kuala Terengganu Chinese associations in promoting traditional Chinese culture and identity; a study of the Peranakan Chinese in Tirok, to further examine issues of identity maintenance and identity shift; and a comparison between the foodways of the Tirok Peranakan Chinese with a similar rural Peranakan community in the neighbouring state of Kelantan to demonstrate the community’s continual negotiation of Sino–Malay identity.
This book examines issues of cultural change and identity construction of Chinese overseas, as well as other important issues such as Chinese and non-Chinese relations, and cultural and economic performance. It offers a perspective of understanding Chinese overseas in nation-states and beyond, in a global context which the author describes as the Chinese ethnological field. The author's many years of research on cultural change and Chinese ethnicity in Southeast Asia enables him to describe vividly the effects of localization — the process of becoming local and identifying with the locals — on Chinese ethnicity and cultural identities. This informative and theoretically interesting book enables readers to have a deeper understanding of the issue of Chinese and Chinese-ness in the diaspora.
The emergence of modernity has typically focused on Western male actors and privileged politics and economy over culture. The contributors to this volume successfully unsettle such perspectives by emphasizing the social history, artistic practices, and symbolic meanings of female performers in popular music of Asia. Women surfaced as popular icons in different guises in different Asian countries through different routes of circulation. Often, these women established prominent careers within colonial conditions, which saw Asian societies in rapid transition and the vernacular and familiar articulated with the novel and the foreign. These female performers were not merely symbols of times that were rapidly changing. Nor were they simply the personification of global historical changes. Female entertainers, positioned at the margins of intersecting fields of activities, created something hitherto unknown: they were artistic pioneers of new music, new cinema, new forms of dance and theater, and new behavior, lifestyles, and morals. They were active agents in the creation of local performance cultures, of a newly emerging mass culture, and the rise of a region-wide and globally oriented entertainment industry. Vamping the Stage is the first book-length study of women, modernity, and popular music in Asia, showcasing cutting-edge research conducted by scholars whose methods and perspectives draw from such diverse fields as anthropology, Asian studies, cultural studies, ethnomusicology, and film studies. Led by an impressive introduction written by Weintraub and Barendregt, fourteen contributors analyze the many ways that women performers supported, challenged, and transgressed representations of existing gendered norms in the entertainment industries of China, Japan, India, Indonesia, Iran, Korea, Malaysia, and the Philippines. Placing women’s voices in social and historical contexts, the essays explore salient discourses, representations, meanings, and politics of “voice” in Asian popular music. Historicizing the artistic sounds, lyrical texts, and visual images of female performers, the essays reveal how women used popular music to shape the ideas, practices, and meanings of modernity in various Asian contexts and time frames. The ascendency of women as performers paralleled, and in some cases generated, developments in wider society such as suffrage, social and sexual liberation, women as business entrepreneurs and independent income earners, and particularly as models for new life styles. Women’s voices, mediated through new technologies of film and the phonograph, changed the soundscape of global popular music and resonate today in all spheres of modern life.
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