Abstract:
Malaysia is a country that is diverse and hybrid in its ethnic make-up and culture but steeped in an ethno-national ideological rubric through which everything is sieved or evaluated, resulting in binary constructs of the centre-periphery and state defined notions of what (or who) belongs and what (or who) doesn’t belong. This presentation explores the process of music creation and production by selected Malaysian contemporary music composers, Bernard Goh, Jillian Ooi and Samuel J Das as well as myself, as a platform for identity presentation and representation. It posits that Malaysian-ness transcends constructed ethnic boundaries, is not defined by this categorization alone, and discusses how the permeability of boundaries, intersections and overlaps of cultures translates into music. On a deeper and more personal level, it delves into the composer’s Malaysian identity related anxieties and how he/she articulates these issues via music and performance. Thus, through the processes of music creation and production, the composers negotiate their multi-layered and multicultural experiences that stem from their day-to-day social interactions and activities. Therefore, this presentation aims to present these composers as social actors who through the medium of music and performance, articulate their “everyday-defined” social reality and thus hope to provide an alternative method to the authority driven reality, in order to negotiate the status quo and opposing viewpoints in Malaysia’s contemporary social environment in relation to the country’s national identity that is currently framed to favour the centre (majority) and under-representing the periphery (minority). It also takes into consideration Malaysia’s geographical and historical position as an important seaport that was fuelled by the Spice trade, and that over time resulted in the formation of a pluralistic society, thus giving rise to the propagation of many cultural exchanges, hybridised communities as well as art forms.
