Probing Issues in Management of Malay Dance Scene in Singapore

This study aims to provide ideas that will increase the sales of Era Dance Theatre Ltd and boost its growth. It investigates the management issues faced within the Malay dance scene in Singapore through a case study of Era Dance Theatre Ltd.

Probing issues within the management of Malay Dance scene in
Singapore: Case study of Era Dance Theatre Ltd
1

Abstract
Dance in Singapore is comprised with traditional along with contemporary forms. It has a
short history of artistic and professional dance form. This type of dance firm faces a constant
struggle in between rejection and acceptance of the western dance that has re-emphasized the
ethnic cultures from time to time. The future of Malay dance scene is witnessed as not
emerging as per the recent study; people are not finding it economically beneficiary for any
organization that is based on this type of dance Troup. These dance troops are busy when
there is any occasion or at any event, rather most of the time, they find it hard to earn money
In the recent past ETD has started with an incredible impression with the artists in Malaysia
for starting and collaborating with dance, Visual performing arts. This helps in allowing the
harmony of Art talk. This results in ability to create artistic profiles and upbrininging the
livelihood of many Malayan dance performers. This industry is talking backseat as new
generation re not much into this dance business and the audience are not that much interested
in understanding the contemporary dance by the Malay dance troop. As a result the business
is affected, people are not interested and the company is running in loss.
This study aims to provide ideas that will increase the sales of the organisation and the
company is able to boost its growth. The researcher has selected interpretive theme of
philosophy and primary data collection method for the conduction of the research.
The survey result concluded that the majority of audiences are coming in the dance shows for
supporting their families and friends. The few numbers of the audience are coming to
improve their personal knowledge about the dance forms. The audience wants entertainment
but the Malay contemporary dance is a different type of dance which expresses the thoughts
and ideas or concepts about the shape of dance. The majority audiences do not understand the
content of the contemporary dance forms.
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Acknowledgement
I would like to express the deepest appreciation to my committee chair Professor _________,
who has the attitude and the substance of a genius: he continually and convincingly conveyed
a spirit of adventure in regard to research and scholarship, and an excitement in regard to
teaching. Without his guidance and persistent help this dissertation would not have been
possible.
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Table of Contents
Introduction................................................................................................................................4
Thesis Statement:.......................................................................................................................5
Background of Study..................................................................................................................5
Research Questions....................................................................................................................6
Definition of Key Terms............................................................................................................6
Significance of Study.................................................................................................................7
Limitations of Study...................................................................................................................8
Chapter 2: Research Methodology.............................................................................................9
2.1 Introduction:.........................................................................................................................9
2.1 What is a case study?...........................................................................................................9
2.2 Research philosophy............................................................................................................9
2.3 Research design..................................................................................................................10
2.4 Data collection:..................................................................................................................10
2.5 Research Methods..............................................................................................................11
Chapter 3: Literature Review...................................................................................................12
3.1 Introduction........................................................................................................................12
3.2 Era Dance Theatre (EDT) Limited.....................................................................................13
3.3 Malay contemporary dance................................................................................................14
3.4 Importance of Marketing of Arts in general......................................................................15
3.5 Importance of Education of Arts in general.......................................................................16
3.6 Student Reliance.................................................................................................................17
Gap of Literature:.....................................................................................................................18
Table 2: Preference for Malay dance...................................................................................22
4.2 Discussion on both findings from qualitative and quantitative data..................................25
References................................................................................................................................34
Bibliography:............................................................................................................................36
4

Appendix..................................................................................................................................39
5

List of tables
Table 1: choice of shows..........................................................................................................23
Table 2: Preference for Malay dance.......................................................................................24
Table 3: Age group...................................................................................................................25
Table 4: Purpose of watching...................................................................................................26
Table 5: Understanding the content.........................................................................................27
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Chapter 1: Introduction
Introduction
Singapore has separated from Malaysia just 17 years ago; but the differences in the Malay-
language literature of the two neighbors had already become apparent due to the different
trajectories of their social and economic development. Dance in Singapore is comprised with
traditional along with contemporary forms. It has a short history of artistic and professional
dance form. This type of Malay dance form faces a constant struggle in between rejection and
acceptance of the western dance that has re-emphasized the ethnic cultures from time to time.
The Singapore identity through this dance is quite challenging, it often comprises to an
outward looking perception rather than acceptance along with recognition of indigenous
creativity.
The future of Malay dance scene is witnessed as not emerging as per the recent study; people
are not finding it economically beneficiary for any organization that is based on this type of
dance Troup. These dance troops are busy when there is any occasion or at any event, rather
most of the time, they find it hard to earn money. Troupe books an average of 60
performances over the two-week festive period every year. They can earn anywhere from
S$688 (US$500) to S$2,888 for each show, depending on factors such as the number of
performers and the difficulty of the stunts involved (Sterling, 256). However, this income in
not fixed it varies with the no of shows or event organized in a year.
This paper will study the management of the Malay Dance scene in Singapore today and
investigate the problems faced within the organization. A case study of Era Dance Theatre
Ltd will be discussed in order to get the understanding of the current scenario.
Thesis Statement:
For Era Dance Theatre Ltd to attain continuous growth and success, it needs to review its
marketing and education practices, meanwhile curbing its overreliance on students to push
for ticket sales.
Background of Study
Many Asian countries have been concerned about the outflow of human capital in to more
developed countries. However, in Malaysia, it is needed the address the problems and it has
assumed urgency in the final decade as it focuses on its long –established goal of becoming a
developed country by 2020. The traditional performance and revenues earned from it plays a
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significant role in developing the economy of any country or organisation. Era dance theatre
is considered as recipient of National arts Council Major Grant for the period of 1 April to
march 2019. was consolidated on thirteenth May 2009 as an organization restricted by
assurance and not having an offer capital. The organization was initiated by two chiefs,
Artistic Director Osman Abdul Hamid and Executive Director Azrin Abdul Rahim.
Period Dance Theater (EDT) was some time ago a Malay Dance bunch framed by Osman
Abdul Hamid in 1992. For a long time, EDT extended the limits of the Malay move scene in
Singapore, bringing a one of a kind nature of Malay move under the innovative course of
Osman Abdul Hamid.
The organization's collection incorporates conventional, contemporary and new inventive
Malay move. Its yearly features are Kacip Mas Dulang Permata, a stage given to
choreographers to grandstand their works, the Muara Festival, a territorial Malay move and
music celebration that advances the trading of execution collection between gatherings and
the Multi-Genre/Tri-Master Production where the combination of various classes are meshed
into one comprehensive creation. These occasions serve to celebrate, raise and support the
extravagance of the Malay culture and convention.
EDT has made considerable progress since the joining of the organization as it sets out on
new difficulties and openings. In the course of the most recent couple of years, the
organization has arranged numerous preparations and joint coordinated efforts with nearby
and outside gatherings entomb and intra-social classes. EDT would like to investigate new
limits, for example, giving remedial courses through move and music. Past amusement and
rejuvenating the Malay expressions in Singapore, EDT would like to use workmanship as a
remedial device to improve one's physical and enthusiastic prosperity. The official executive,
Mr. Azrin, is a certified psychotherapist and a psychological aptitudes mentor gaining
practical experience in family treatment just as treatment for youngsters and youths. He
likewise leads psycho-training workshops, helping members manage learning issue, misuse
and injury.
The organisations facing issues with its growth as the future generation is not much interested
in this type of dance form and do not want to take this as their profession. This lacks in
engagement of new talent and people are also not interested to watch the traditional dances,
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thus the company is facing losses. This paper aims to identify areas that will help the
company to flourish and grow in future with suggestive recommendation.
Research Questions
1.2.1 Are the marketing strategies in effective in attaining audiences?
1.2.2 Is Malay contemporary dance well-understood by the audience? How has it
affected the audience size?
1.3 Research Objectives
1.3.1 To document the past productions and study the trends of audience
1.3.2 To find out the marketing efforts and strategies implemented by EDT and
access its effectiveness
1.3.3 To find out audiences’ perspectives on Malay contemporary dance
Definition of Key Terms
1.3.4 Arts Marketing:
Arts marketing are considered as a systematized process through which process of
creating awareness and interest of an artist can be done. It is a artwork that leads
desire for engaging the artist to its own products.
1.3.5 Arts Education:
Arts in education are considered as expanding field of educational research and
practice that is informed by several investigations into learning through the
experience of Arts.
1.3.6 Malay Dance
Malay Dance portrays the customs or adapts resam and culture of the Malays. It helps in
depicting the true nature of the Malay people along with their way of life. It is divided into
two categories, traditional malay dance and adopted malay dance. It has been influenced by
foreign cultures as per historical and political events.
1.5.3.1 Traditional Malay Dance
The traditional dance forms of Malay communities in Singapore are wide and it is diverse,
these dance groups include varieties of dance form such as Zaplin, joget etc.
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1.5.3.2 Malay Contemporary Dance
When the traditional Malay dance is compatible with modern dance form, then is it
considered as Malay Contemporary dance form. Malay folk dance has been served this dance
form as an inspiration from 2013.
1.5.4 Dance Education
Dance education is considered as transferring of Dance education into knowledge of dance
students through skills and knowledge of training, or acc this type of knowledge through use
of dance research.
Significance of Study
In the recent past ETD has started with an incredible impression with the artists in
Malaysia for starting and collaborating with dance, Visual performing arts. This helps
in allowing the harmony of Art talk. This results in ability to create artistic profiles
and upbrininging the livelihood of many Malayan dance performers. This industry is
talking backseat as new generation re not much into this dance business and the
audience are not that much interested in understanding the contemporary dance by the
Malay dance troop. As a result the business is affected, people are not interested and
the company is running in loss. This study aims to provide ideas that will increase the
sales of the organisation and the company is able to boost its growth.
Limitations of Study
Lack of data and time restriction is the main limitation of the Study. It’s hard to find the
economic impact of such dance troops in Malaysia and hard to gather data related to this field
only.
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Chapter 2: Research Methodology
2.1 Introduction:
The research part of any theory much depends on the methodological section of the research.
The main concepts of the research are methods, design, philosophy etc. the methodology
basically describes the methodical process of a reassert how it gets it shape, for these the
design of the research philosophical aspects are helping a lot.
2.1 What is a case study?
Case study analysis helps in understanding the business through a business problem. It helps
in examining the alternative solutions and purpose the effective solution through the use of
supportive evidence.
Purpose of case study:
Why Era Dance Theatre Ltd?
In this research Era Dance Theatre has been chosen as because it is among one of the few
Dance Organisation in Singapore that incorporated into a Company within a Short time
period. This organisation is highly involved with the contemporary Malay Dance Group and
has a position in Singapore arts culture so this organisation has been chosen in order to
complete the research.
2.2 Research philosophy
The reach philosophy mainly depends on the various sources, information, and data, and
nature, enhancement of the knowledge that helps to create more correct and prominent data.
According to (Langley, 2016), Research philosophy revolves around three different types of
theory, like positivism, realism, and interpretive. All these three theories help to create a solid
knowledge base for the methodical section of the research. Philosophical aspects of the
theme shape the whole research project in a realistic way. Philosophical aspect means how
one topic is getting evaluated by time and time and how that can be explained
philosophically. The philosophy and religion of Spiritualism show that nothing happens
without a purpose, there is a definite reason for every human life. The theories related to
management of that identified dance form Malay and ETD Company and its presence in
make can be seen as an interpretive theme of philosophy that further helps to solidify the
methodical parts of the research.
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2.3 Research design
The research design mainly describes the process of the actual method of the topic. The
design means step by step information that helps to structure the research. It describes the
descriptive manner of any method which helps to fulfill the requirement. And identify the
exact reach value of the topic (Melton & Hartline, 15). One’s research problem determines
the type of design they are using for their topic.The research design explains the overall
strategy that is a composed of the study in `1 logical way, thereby, ensuring research
problem; it creates the serial data collection, measurement, and analysis of data.
2.4 Data collection:
The researcher needs the secondary section of the data followed by sources like books,
articles, internet sources, journals. Data collection is mainly a procedure of collecting all of
these data in a serial way. It discusses various types of information and selected all the
variable possibilities of how to develop the issue (Östlund et al., 2015). This eventually helps
the researcher to get a solid outcome, and answers related to the work. Data collection is an
import part of the data analysis part. Collecting the exact data and preserve it which helps in
the future discussion of the research. Data collection has various methods of collecting the
data. There is mainly two type’s method of collection of data like primary data and secondary
data.
Figure 1: Data collection process
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2.5 Research Methods
In this research primary data collection method has been used. In order to complete primary
data collection both qualitative and quantitative data has been collected. In order to complete
the qualitative data collection Surveys have been conducted among the audience to
understand their perspectives among Contemporary Malay dance form. EDT has the least
number of audiences for contemporary dance productions due to – poor marketing strategy.
Successful in attaining students as a popular audience group however, over rely on this group
too much affecting the audience size. 123 audiences from the ETD regular visitors have been
chosen for the survey.
Interviews with Executive Director of EDT, MrAzrin Abdullah have in done to collect the
qualitative data, in order to gain insights on the management of EDT and how far it has
developed over the years, it will help in gaining understanding on the Documentation of
productions In ETD.
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Chapter 3: Literature Review
3.1 Introduction
First of all, it became important to understand the historical positioning of the term, and to
comprehend the issues in the field that arose between Eastern and Western countries, theatre
practitioners and intercultural theatre theorists. The existing literature on intercultural theatre
provides the groundwork to this research and to the creative project. Malaysia has proficient
knowledge on huge socio-political transition as a response to a racial riot in 1969. The arts
and culture were not free from the riot’s aftermath. The implementation of the National
Culture Policy (NCP) in 1971, which has been the only official cultural policy of the country
since then, raised questions about Malaysian culture and identity (Colbert, 201). The NCP,
along with the New Economic Policy (NEP) and other Malay-centric policies, were deeply
rooted in Malaysia’s nation-building project after the riot. Such policies aimed to build a
solid foundation of a National Culture based on the culture of Malays. Contemporary theatre
in Malaysia has been an arena where artists responded to the state-driven model of nation
building and identity creation as represented in the NCP. They took extremely diverse shapes
from time to time, reflecting the socio-political conditions of their respective time period.
This essay divides the period after the 1969 riot into three phases, and examines the theatrical
activities that took place in each phase. The first phase is set between the mid-1970s and the
mid-80s. Reflecting the traumatic impact of the riot, influential contemporary theatre artists
cooperated with the government to develop a national culture as a foundation for national
solidarity (Copeland, 73). They proposed a model of Teater Rakyat (People’s Theatre), which
advocated the staging of Malay-language theatre that represented the sensitivities of ordinary
Malaysians. In the second phase between the late 1980s and the early 90s, however, theatres
in other languages emerged and occupied influential positions in the scene. The shift was a
response to the authoritative stance of the Mahathir administration against oppositional
voices, which resulted in a major crackdown in 1987. English language theatre provided a
space where artists from various racial backgrounds gathered and created while Chinese
language theatre introduced a theatrical vocabulary that was free from the colonial legacies.
These non-Malay language theatres highlighted the diversity in the Malaysian society, and
hence they sharply confronted the conformist ideal of the NCP. The last phase since the late
1990s saw an organic development towards a theatre that tried to overcome the divisions of
language and ethnicity. Artists’ exposure to the civil society enhanced their model of theme-
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specific approach to theatrical presentations. Freedom of expression in general and the
censorship over theatre in particular became issues that connected NGOs and artists
regardless of their ethnic groups. Artists started experimentations of intercultural
collaboration within Malaysia, aiming to provide an alternative model of national solidarity.
In relation to the NCP, Malaysian contemporary theatre first cooperated to realize it, then it
confronted the policy by underlining Malaysia’s cultural diversity (Diamond & Pong, 16).
3.2 Era Dance Theatre (EDT) Limited
Fifty years after Malaysia became an independent country, it is now the now the home of an
increasingly vibrant development of the arts and culture with new infrastructure for
performing art scene, including arts spaces. The Era Dance Theatre (EDT) Limited was
established as a company in the year 2009. The board of directors who headed the
corporation were administrative executive Azrin Abdul Rahim and Artistic director Osman
Abdul Hamid (Foley &Beng, 198). Previously, EDT was mainly a dance group in Malaysia
which was formed in 1992 by Osman Abdul Hamid. EDT has been seen to stretch Malay
dance scene boundaries for several years in Singapore, introducing a unique Malay dance
quality(Foley &Beng, 1998).Traditional Malay theatre is important, as it is the legacy of the
cultural heritage of the Malays. Malay culture is expressed through music, songs, dances,
martial arts and games. Anthony Milner suggests that Malays accept traditional theatre such
as joget dancing, Mak Yong and shadow plays, rituals and the practice of Malay shamans, as
the foundation of Malay culture. Ghulam-SarwarYousof (93) divides traditional theatre into
four categories: proto-theatre, puppet theatre, dance theatre and opera. Proto-theatre forms,
Selampit and AwangBatil are individual performances that are comprised of storytelling
involving the changing of characters and voice, performed by one person. Prototheatre also
has elements of singing and playing musical instruments. Selampit and AwangBatil have
both declined in Malaysia (Hassan & Ishak, 241). The genre of puppet theatre, WayangKulit,
demands a highly skilled Dalang to play the role as the master puppeteer. In Malaysia there
are three types of WayangKulit: WayangKulit Kelantan; WayangKulitJawa; and
WayangKulitMelayu. WayangKulit uses shadows and puppets as the main elements.
Meanwhile, dance theatre forms include Mak Yong, Menorah, and MekMulung. Dance
theatre forms consist of stories, music, acting and dance, whilst the genre of opera includes
Bangsawan and Jikey(Kirchner, Ford &Mottner, 120). These opera forms, influenced from
Western style opera through the presentation of a narrative with the use of songs and spoken
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drama, are often very melodramatic and emphasise romantic elements. These various forms
of traditional theatre have enriched and reflected the culture of the Malays.
3.3 Malay contemporary dance
The myriad elements found in Malay contemporary dance which shape a cultural form that is
not only entertainment but also has a spiritual connection for Malaysian people. At present in
Malaysia there is a scattering of directors and choreographers who have been articulating new
modes of fusing traditional performance practices with contemporary Western modes of
performance (Lordi, 192). ZulkifliMohamad is one of these; a scholar, dance-performer artist
and choreographer. According to him, his dance works as Tradition-Based Contemporary
works, through which he means ‘searching for modernity in one’s indigenous knowledge.
Joseph Gonzales is another scholar and choreographer in Malaysia researching the uses of
traditional forms in contemporary performance (Lee, 2015). In Dancing the Malaysian (2611)
he examines the performance work of Abdul Aris Abdul Kadir. Kadir, a dancer,
choreographer, actor and director, is a graduate from ASWARA and has received numerous
awards. His dance work examines ‘the Malay psyche more deeply’ and the meaning of the
Malay spirit. One of his major works, Berinai (606) won the BOH Cameronian Award with
Kadir named as best choreographer. In Berinai, Kadir presents the secret of the wedding night
in Malay culture. In NasiPutih (299) he explores ‘black magic’ customs in Malay culture.
Kadir’s performance works emphasise the ‘traditional aesthetics and positive aspects of
Malay culture’. Joseph Gonzales’ own newest contemporary dance piece, Becoming King the
Pakyung Revisited – Phase 2 (205) presented at Damansara Performing Arts Centre explores
the conflict surrounding Mak Yong traditional theatre. This work-in-progress is only at its
first phase. It is performed as a reality TV competition where all the contestants have to
dance and sing in Mak Yong. The production also utilises the symbol of Pak Yong, the main
character in Mak Yong (Long &Bujang, 196).
Intercultural Contemporary Dance Collaboration in Malaysia’ (709), Gonzales discusses his
creation of QADIM, initiated in 2007 at the Experimental Theatre, ASWARA. In this
collaboration, Gonzales worked with eleven multi-racial dancers from Malay, Chinese,
Indian and Venezuelan backgrounds. Gonzales holds the principle that the process is more
important and stimulating than the final product. In QADIM he began rehearsals by asking
the dancers in the team to share their individual stories, from the ages of 12–18 years old
(Mohamad, 915). From this he created a vocabulary of movement inspired by the stories
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being told. The performers also exchanged their diverse dance techniques, such as Zapin
(Malay), BharataNatyam (India) and classical ballet (Western). Through this intercultural
exchange, the dancers and Gonzales each learned what is ‘alien’ to them. This exchange also
expanded the skills of each individual dancer. Gonzales’ next step was to create a process to
educate and re-educate the dancers in the diverse belief systems in Malaysia (Pillai, 262). In
one of his workshops he was eager to create connections between the dancers who had
differing religions.
3.4 Importance of Marketing of Arts in general
The Marketing of Artsis a significant aspect for theatre business which is directly oriented the
overall performance of the organization. More effectively the organization reaches their
customers, the more will be the potentiality in the context of selling their product and
services. The marking system of an organization helps in recognizing the facts which will
attract the customers and enhance the process of diversification the products (Pillai, 2002).
The word communication defines by the activity of exchange of facts, ideas, feelings,
opinions and as a medium where individual or an organization share understanding among
one another. It can also be defined as the transmission of ideas, opinion, and facts between
different bodies. It is the ability to bring the world into the small periphery and make the
word "globalization" a reality. The term business communication can also be described as the
messages that are sent or receive for business (Rentschler& Kirchner,3222).
The use of different media in the advertising campaign helps the sector to enhance their
performance and also in achieving their goals and objectives. For example, TV
advertisements can be used in the advertising campaign helps marketing of art to reach a
large amount of audience at a very short of time. It helps to communicate and also to aware
them about the cultural sensitivity. Cultural sensitivity is the awareness and allowance of
difference that needs to be encouraged when working across cultures in an intercultural
production. Sensitivity needs to be initiated as an ensemble practice, as it may not come
naturally. Being sensitive includes having a positive attitude to the various beliefs and
practices that exist among members of the production team while also accommodating these
differences in the intercultural undertaking (Pillai, 702). Cultural sensitivity includes respect.
It is crucial that respect is central to all interactions.
Marketing of ats is a term referring to growing up in a specific culture which becomes an
integral part. With cultural belonging there is a strong, lifetime, cultural knowledge
(conscious or unconscious) that is rooted in the individual person; they understand their own
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cultural heritage, including spiritual concepts and values. It conditions how you perceive the
world around you, your aesthetics, mores, and basic behaviour. It generates a sense of
belonging, for as Watson mentions, ‘culture engenders a sense of belonging, of identity and
inclusion’ (Rentschler& Kirchner, 512). This research suggests it is preferable if the
intercultural theatre director, creative team and performers utilize, in the production, their
own cultural materials. A lack of understanding of a particular 'foreign' culture is often the
main factor leading to the misappropriation of cultural materials in intercultural performances
(Mohamad, 615).
In today’s interconnected globalized world interculturalism is an important issue that requires
Marketing of arts. Schechner (896), stresses that interculturalism involves a national
exchange and bartering among cultures. Similarly, Martin (2004) refers to it as a new hybrid
representing ‘a meeting point of cultures [with] some sort of exchange’. Consistent with each
of these definitions is the understanding that inter-culturlism is a convergence of swapping
other cultures’ traditions and practices. This process of exchanging is vital in discussions
about intercultural theatre. Crossing cultural boundaries through interculturalism occurs in
the theatre scene, perhaps more so now that the world is so connected (Rentschler&Kirchner,
712).
3.5 Importance of Education of Arts in general
In Malaysia, the provision of Education of Arts was limited until the 1980s under the New
Economic Policy. It seems that the momentum of seeking Education of Arts was not really
large until the early 1980s (Siyuan Liu, 622). However, in 1985, numerous articles expressed
grievance against the limited opportunities of Education of Arts and demand to establish
more universities. This indicates that Education of Arts became an earnest desire for more
people around this time. In the 1990s, reflecting the policy shift toward emphasizing
economic development, opportunities for higher education increased considerably.
Nevertheless, some people were still restricted from obtaining Education of Arts because of
the quota system and the matriculation course. Even after the official use of the quota system
was abolished in 2002, discourse over opportunity for Education of Arts has not faded away.
Rather, the inequality of admission process of public universities under “meritocracy” creates
discontent among people (Stirling, 276). First, although the opportunity for Education of Arts
has increased and higher education has become a common experience for an increasing
number of people, discourse over opportunity for Education of Arts continuously involves
criticism against inequality because some people are still struggling to get the opportunity.
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Despite that situation, conditions that benefit one group regarding Education of Arts
opportunity have consistently existed. Thus the social perception has risen that attaining
Education of Arts does not necessarily indicate one’s original ability, and moreover,
discourse questioning “meritocracy” has appeared frequently; this situation has possibly
strengthened the mistrust of merit-based selection system in Malaysia (Stirling, 2016).
Education of Arts is fundamental as it influences the form of art that directs the processes of
the director/creator. Education of Arts is about the director/creator’s creative sensibility that
shapes all decision-making. It may be shaped partially through cultural conditioning, where
tastes and artistic choices are partly culturally based. (Wright, 1200) Gonzales suggests that
each artist is shaped by an ‘internal space’ and this research proposes that this 'space' might
be interpreted as the artist having aesthetic integrity. This ‘internal space’ includes ‘cultural
background, education and art training, experience and family upbringings’ but goes beyond
that. Education of Arts is about immersion within culture you grow up in and gradually it
envelops you and becomes a part of who you are within the culture in the familiarity with it
and a complete understanding the culture. Essentially gets grafted into the person and
becomes one with the person. Aesthetic integrity, on the other hand, is tied to the director’s
decision making and is related to how his/her personal life experiences have shaped the
choice. And the personal life experiences are channelled through the director’s cultural
background, education and belief system. Bharucha calls his sense of “aesthetics” as the
‘sense that is jarred, revealing my own “taste” and cultural conditioning’ (Colbert, 2214).
3.6 Student Reliance
In contemporary Malaysia, globalisation and the influence of Western education have
reduced these beliefs. After the Malaysian independence in 1957, Malaysia established a
constitutional monarch and parliament. This caused changes in the political administration
and resulted in the multi-national coalition, BarisanNasional ruling the country. As a result,
the king faced a reduction in power to govern the country and is now considered only as the
head of Malay customs and Islam in Malaysia. Today, the Sultan represents Malay traditions
rather than a power of authority (Colbert, 914). Student Reliance is the ability to share power
in an intercultural production and creative environment where everyone is of equal status. It
also means sharing the decision-making processes between the director, actors and the
creative team. This approach ensures that there is a balance of power and a shared ownership.
It is a collective, rather than individual effort. Anne Bogart argues that Student Reliance as
the notion of different artistic personnel looking through different windows (Copeland, 763).
19

It helps in creating sensitivity because it allows processes of change to occur. Knowles
suggests that in an intercultural production there is a constant and on-going ‘renegotiation of
cultural values’. It is an attitude that includes a willingness to incorporate the ideas, advice
and suggestions of others. Without openness, collaboration and negotiation are impossible.
These five interconnected cultural processes shaped the creative research. While they may be
useful to other artists embarking on their first intercultural production, it is also true that each
cross-cultural production will produce different circumstances and have very particular
requirements. Yvette Hutchison emphasises that student relaince are essential in intercultural
collaborations
(Diamond & Pong, 876). In her article ‘The “Dark Continent” Goes North: An Exploration of
Intercultural Theatre Practice through Handspring and Sogolon Puppet Companies’
Production of Tall Horse’ (1020) she proposes two other factors that are important in this
exchange: firstly, sufficient resources and secondly, cultural perspective. Time and money
need to be sufficient in creating an intercultural theatre production. Such productions are
often elaborate and the process is time consuming. Another challenge is the cultural
perspectives that control the artist and the audience, both need to ‘pause to step back, learn,
and consider difference, the possibilities of something new’ (Diamond & Pong, 456). This
becomes vital in giving breathing space for both parties (the artist and the audience) who
have diverse cultural perspectives.
Gap of Literature:
This research is focusing only on Malay dance form and hence data has been collected
from that dance form only. As the company does not have a accurate database, it is
hard for the researcher to understand what are the actual number of audience who are
watching the show , therefore it creates a confusion in understanding the number of
audience who are interested in Watching this show. Data from EDT is collected only, so
the other company’s data are not identified.
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Chapter 4: Discussion of Findings
This section aims to understand the qualitative and quantitative findings of the data that have
been collected through interviewing the managers of ETD Ltd, and the Audience of ETD.
Qualitative analysis
Q.1 According to you what is the Current marketing timeline you can observe it in your
business?
The several interviews conducted with Mr Osman Hamid and MrAzrin Abdullah, who is
closely associated with the EDT and its marketing activities, provides a significant insight
into the marketing efforts and strategies implemented by EDT for promoting their shows to
the target audience. Despite the best marketing efforts made by EDT, there have been a
number of issues identified with regards to marketing. For instance, according to MrAzrin
Abdullah, a rock concert held 4 weeks ago with free admission had people dressed up even in
their elderly ages. In addition to that, AKSI, an academy chiefly concerned with the Malay
Arts have been involved in a research of EDT. The dance theatre uses this academy, among
several others as sources or channels of promotion. These academies and organisations
involved with protection and promoting Malay culture and Arts create awareness among
people to come get involved in the performances demonstrating Malay culture.
Furthermore, plans for a research center in South East Asia for promoting Malay Art forms
and culture also poses as an opportunity for the promotion of Era Dance Theatre. Thus, a
major marketing strategy which is used by EDT is to talk with support organisations involved
with the promotion and preservation of the arts of the Malay culture. In addition to that,
Muara Festival, according to MrAzrin Abdullah, played a vital role in bringing together
various artists and brings about an effective collaboration. The international artists and
performers were encouraged to learn from the national performers and vice versa, thereby
influencing an intermixing of the culture. Thus, it may be stated in this context that the art
forms get promoted and spread out in the global environment through these interactions.
Moreover, the promotions are encouraged to come from within the organisation as well. For
instance, the employees or workers at EDT are encouraged to sell the tickets personally as
well. Thus, this adds to the savings as compared to a major marketing channel.
Q.2: What are the areas on which you focus to select better marketing strategies?
The Manger of ETD answered that Marketing for a particular show begins about 6 months
prior to the show to be performed. This can be evaluated through the example of Sriwana, a
21

theatre organisation established in the 50s. It may be mentioned in this regards that the
engagement of friends and family as marketing channels is used by Sriwana. Therefore,
learning from the older organisation, EDT explains the reasons for engaging their staff for
WOM marketing strategy. Furthermore, it is to be stated that the involvement of schools and
cultural organisations is maintained. It not only influences the students/ children and
intimates them regarding the culture and art forms, but also acts as a potential marketing
channel through the organisations they are a part of. Moreover, it is to be noted that Wujud,
another show recently concocted, had the posters ready for about 2 months prior to the
performance. Therefore, designing, printing and handing out posters and leaflets are still
considered to be effective marketing strategies for EDT. However, difficulties have been
identified with respect to designing posters for contemporary art and dance forms, as well as
traditional or conventional dance forms. MrAzrin Abdullah, on behalf of EDT states that in
case of traditional dance forms, older pictures are often used in the poster, along with other
materials that might contribute to the poster.
Q.3: How far do you agree that your marketing strategies lack to expand your sales?
Despite the marketing efforts, the shows often experience a reduced number of audiences.
For instance, at the Goodman Arts Centre Black Box, the shows consequently experienced a
shorter number of audiences, as the first day was full, but the following days saw lesser
number of individuals in the audience. The managers of ETD agreed that setting up the
target audience for shows according to days is another marketing strategy formerly used by
EDT. However, it may be stated that when the previous marketing strategy for Saturday
afternoon crowd did not work out, EDT began handing out tickets to the show as
complimentary tickets for members. Additionally, a reduction in the cost or price of tickets is
to be considered as there have been complaints at the University Cultural Centre about 3
years ago. Thus, the current marketing timeline considers the recent strategies used and their
relevant outcomes. However, the strategies have often proven to be ineffective and thus have
been revised for better promotion of the events at EDT.
Q.4: How far do you agree that Effectiveness of marketing strategies is a successful
efforts in attaining audiences?
The managers of ETD agreed that current marketing timeline highlights the several aspects
and efforts made by EDT to captivate its target audience. Taking the formerly discussed
marketing strategies currently being implemented by EDT into account, the effectiveness of
the overall strategies may be analysed and evaluated from the same. For instance, the offering
of complimentary tickets for members of groups involved with the theatre production group,
22

as well as the students and teachers have been offered in order to engage the audience.
Despite the efforts, there have been recommendations of commercialization, such as adding
humour into the content and more to draw a significantly larger mass. However, in doing so,
the fundamentals of the show become jeopardized. Additionally, it may be stated that the
Muara Festival has had an approximate number of 10,000 attendees each year till the 10th
year of the festival. Therefore, it may be stated that the marketing efforts and strategies
implemented are being fruitful. Regardless, the show runners at EDT have mentioned that the
investments initially made have not been met with.
Quantitative analysis:
Q.1 What is your choice among the following shows held in ETD?
Option Percentage
of
audience
Total
responses
Total
number
of
audience
Wujud
1
70% 86 123
Wujud
2
30% 37 123
Table 1: choice of shows
Wujud 1 Wujud 2
0%
10%
20%
30%
40%
50%
60%
70%
0.699186991869
918
0.300813008130
081
Percentage of audience
Percentage of audience
Figure 1: Choice of shows
In the Wujud series, there were two shows, which exhibited an attendance of 70% and 30%
respectively. Hence, it became difficult to identify the flaws responsible for the poor and
23

fluctuating number of audiences for the shows. Hence, in order to facilitate a process for
evaluation, a survey was conducted with the audience to consider their opinions of the show.
Furthermore, the survey helped identifying the choices of the audience. The data provided for
the KMDP show (Kacip Mas DulangPermata), it may be stated that the initial staging
received a positive feedback with an almost houseful number. Nevertheless, the number had
seen a decline by about 30% during the following year, 2008. However, the audience had
turned out to be a little more than the decrease observed, in the later years, with the
implementation of other marketing strategies. This, however, is a completely different
perspective as noted in case of the shows held for Muara Festival.
Q2. Have you been practicing Malay Dance?
Option Percentage
of
audience
Total
responses
Total
number
of
audience
Yes 69% 85 123
No 31% 38 123
Table 2: Preference for Malay dance
69%
31%
Percentage of audience
Yes
No
Figure 2: Preference for Malay dance
Through the survey, it could be established that the sample size or the number of respondents
were 123, comprising both practitioners and non-practitioners of Malay dance forms 38 and
85 in number. It has been evident that the non-practitioners expressed dissatisfaction with
regards to the practice and shows of contemporary Malay dance forms.
24

Q3. How old are you?
Optio
n
Percentag
e of
audience
Total
response
s
Total
number
of
audienc
e
8-18
years
6% 7 123
19-24
years
48% 59 123
25-34
years
24% 29 123
35-55
years
15% 18 123
56
and
above
8% 10 123
Table 3: Age group
8-18
years 19-24
years 25-34
years 35-55
years 56 and
above
0%
5%
10%
15%
20%
25%
30%
35%
40%
45%
50%
0.056910569105
6911
0.479674796747
968
0.235772357723
5770.146341463414
6340.081300813008
1301
Percentage of audience
Percentage of audience
Figure 3: Age group
It is to be noted in this regards that majority of the participants were primarily between the
ages of 8 to 55 and above. Furthermore, though the respondents belonged chiefly from the
Malay community, there have been other audience segments as well, such as Chinese,
Indians, Eurasians and more. In addition to that, the survey had proved to be beneficial in
understanding the choices and the reasons for attending these shows and programmes. Many
of the survey participants stated that the individuals themselves were Malay dance form
practitioners, and observing the performances contributed to their personal knowledge and
improvement. However, there were several others who had come to support their families and
25

friends. Hence, taking this opinion into account, it may be mentioned in this context that the
importance of the WOM marketing strategy is evident in this aspect. For instance, performers
performing under the EDT would ask for the support of their friends and family, which can
further be enhanced or escalated through the provision of complimentary tickets.
In addition to that, arranging for most of the shows to be on weekends may prove particularly
productive for revenue generation as weekends are often the time people look forward to
being entertained. This, in turn, can be supported by the evidence gathered from the survey
with the audience of the show.
Q4. What is your purpose of watching Malay dance performance?
Option Percent
age of
audienc
e
Total
respon
ses
Total
numbe
r of
audien
ce
Entertainm
ent
17% 21 123
Learning
purpose
15% 19 123
Supporting
relatives
46% 57 123
Other 13% 16 123
Table 4: Purpose of watching
Entertainm
ent Learning
purpose Supporting
relatives Other
0%
5%
10%
15%
20%
25%
30%
35%
40%
45%
50%
0.170731707317
073 0.154471544715
447
0.463414634146
342
0.130081300813
008
Percentage of audience
Percentage of audience
Figure 4: Purpose of watching
It may be stated that approximately 46% of the sample population had stated that they had
come to watch the performance for no other reason, but to support their relatives. Therefore,
26

it can be emphasized that the marketing strategies may also be set up in accordance with the
interests of the target market. Furthermore, a few percentage of the sample size had
mentioned that they had dropped in for the show as they were around the venue of the
performance. Hence, the marketing through poster strategy can be evaluated in this regards. It
may be stated that the attractiveness of the poster or other marketing channels is imperative to
yield fruitful outcomes.
Q5. Do you find the content of Malay Dance to be easy?
Optio
n
Percentag
e of
audience
Total
response
s
Yes 54% 66
No 46% 57
Table 5: Understanding the content
54%
46%
Percentage of audience
Yes
No
Figure 5: Understanding the content
Furthermore, it is to be noted that the opinions regarding the comprehension of the dance
forms have been noted to be neutral. Approximately 54% voted for a positive comprehension,
while 46% voted that they could not understand the context of the dance forms. The major
reasons identified in this regards included the complexity of the dance form, the nature being
abstract, the presence of a varied elements in the performance and more.
4.2 Discussion on both findings from qualitative and quantitative data
Education required in dance productions
27

In order to invest and promote an Art form, it is of utmost importance that the production
houses are themselves capable of learning and identifying the importance of the culture and
art form. In this regards, taking the shows by EDT into account, it may be stated that the
shows chiefly comprise both contemporary and traditional Malay dance forms. Hence, it is to
be noted that a detailed concept and insight into the subjects is essential for marketing as well
as educational purposes as well (Yousof 115). It may be mentioned in this aspect that the
dance forms as per AKSI, can be used for cultural education, as well as the study of the mix
of modernization and the conventional Malay dance forms.
4.2.1 Traditional Malay dance
As previously mentioned, the survey with the audience at the shows by EDT, it has been
evident that the dissatisfaction or disliking of the contemporary dance forms have been
expressed by many non-practitioners. Even considering the practitioners of Malay dance
forms, it was identified that they may be open to the idea, but the lack of the prevalence and
acceptance of the dance form, make it unlikely to be taken up seriously and appreciated.
Therefore, it can be emphasized that traditional Malay dance forms are more prevalent and
dominate the art forms in the country as well as the communities. Furthermore, it may be
taken into consideration that the audience being somewhat partial to the existing traditional
Malay dance forms, have limited the scope of contemporary performances, with the massive
influence over this dance form. It may be stated in this regards, that Malaysia is constituted
by a number of communities which hold up their traditions through various cultural art forms
by each of the diverse communities. For instance, the dance forms such as asli, inang, zapin
and joget have been popular in Singapore and parts of Malaysia since the early 20th century
(van der Meij 371).
It is to be noted in this context that Era Dance Theatre is one of the major organisations
involved in responsibly managing the popularity and creating awareness for the cultural
background of the dance forms and their origins. Furthermore, EDT is responsible for
conducting educational programmes and workshops for the promotions of cultural aspects of
Malay as well. As it has been evident from the interview with MrAzrin from EDT, that there
have been musician invited from both local and international troupes to perform, there is a
significance of music in the dance forms as well. For instance, the gendang, gambus, rebana
and accordion are important for the dance form of Zapin. In addition to that, violin, flute and
gong are also used for thee joget dance form and many more. However, it may be mentioned
in this context that though the conventional or traditional dance forms are often performed,
the fusion of western and other dance forms have invaded the traditional performance,
28

creating a newer dance form (Yingand Loo 142). Regardless, the typical dance forms are
subsequently performed at major events, such as festivals, or school events, cultural
programmes and more. Furthermore, studying the traditional dance forms require a
significant knowledge regarding the arts, which is encouraged by the EDT to be kept alive
through performances and practices.
It may be stated in this context that the original dance forms have drawn notable inspirations
from certain Portuguese folk forms and have spread to the sub-continent around the 16th
century. Moreover, various dance forms depict certain stories involved as well as particular
movements specific to dance forms. For instance, the asli dance form is a slower dance form,
highlighting elegance and grace of the performers. Taking another dance form, inang, it may
be stated that this dance form comprises much faster beats, with the existing grace, posse and
elegance of asli.Inangis mentioned to a part of the ‘original’ asli dance providing evidence of
palatial performances. However, another aspect to be mentioned in this regards, is the other
two dance forms previously mentioned, zapin and joget. Though these forms are performed
and taught as traditional dance forms, according to various sources, these are not to be
regarded as ‘original’ but are merely ‘adoptions’ from other styles. Nevertheless, it is to be
noted that the dance forms can be traced back to the period of 16th and 15th centuries
respectively.
4.2.2 Contemporary Malay dance
The contemporary dance form has been noted to be the cause of dissatisfaction and is
regarded to be the cause of dissatisfaction among the audiences of EDT. Regardless, one may
mention that the contemporary dance forms have been inspired by the existing traditional
dances. Furthermore, contemporary dance forms are noted to attract the younger generation
who do not comprehend or enjoy the traditional dance forms. A blend of the traditional along
with other artistic dance forms gives rise to a newer version of Malay art and culture.
Furthermore, it may be stated in this regards that the audience have found and mentioned that
contemporary can truly be limitless, considering the experimentation with a variety of other
dance forms from various geographical barriers. From the survey, it had been evident that
approximately 85% of the sample size had formerly watched Malay contemporary dance
performances. However, out of the 15% of the respondents who had not attended a
contemporary Malay dance performance was questioned further to identify the reason for not
attending. It was noted that a majority (more than 55%) could not attend due to the lack of
company for viewing such performances. Therefore, a lack of understanding and cultural
practices may be observed in this regards.
29

Many have mentioned that the contemporary version of Malay dances is comparatively easy
to comprehend. Several reasons for the same have been established to study the choices of the
audience better and further. The audience has mentioned that the dance forms have deliberate
movements to emphasize on the movements to justify the implications of the dance, which
makes it easier to understand. Furthermore, it may be open to interpretation and is thoroughly
well-organized. There often have been evaluations regarding other contemporary dance
forms, stating that the dances though were open for interpretation, were haphazard and
exhibited a significant lack of organisation. However, the participants of the survey had
differed in this perspective. In addition to that, it may be noted that the music and the pace is
relatable to their daily activities. It is to be noted in this context that education in this subject
has been a long ongoing matter for study. For instance, the NAFA had set up a modernized
dance school and promotes and encourages the participation of individuals from all over the
world, which may lead to the fusion of the dance forms, educating each other in the process
(Lum 160).
Additionally, it is to be mentioned in this regards that certain techniques used in the Western
parts of the world, such as the Martha Graham’s technique have been implemented in the
contemporary practices of Malay dance forms (Chan 110). Furthermore, Government
initiatives and interventions have thoroughly led to the promotions of contemporary dances,
such as the fusion of classical Malay dances with ballet. The persisting struggle of the
existing traditional dance forms and the influence of Western and other dance forms have
been accepted and rejected by numerous individuals of the society from time to time.
According to the survey conducted, it has evident that despite the blend of foreign art forms,
the conventional Malay dance is still embedded in the performances. According to few of the
participants, the essence of the performance lies in the flow of the music and rhythm
exhibited by traditional Malay dance. Another aspect to be contemplated in this regards is the
audience’s opinion on the translation or the interpretation of the dance form. For instance, it
has been mentioned that the dance form exhibits the truest form of dance, like there is no
right or wrong, it is only open for interpretation as per the audience.
Though the majority of the respondents said that they had understood the contemporary
dance forms, there have been many who disagreed with the notion, stating that they had
difficulty in identifying the concept. Choreography in this regards is noted to have a vital
influence on the audience. It may be noted in this context each choreographer have a different
way of establishing ideas which open to interpretation by the audience. Furthermore, the
audience has a varied mindset, which may lead to multiple evaluations and assessment of the
30

same piece of performance (Albattat et al. 122). However, in many cases, the audience has
been unable to comprehend even the most rudimentary of ideas. Thus, it is also dependent on
the comprehension and ideas of the audience. Furthermore, there have been many individuals
who have described contemporary Malay dance forms as ‘complicated’.
4.3 Overreliance on students
The majority of the student population is compraised of the students which makes it a major
issue as per the study findings.
4.3.1 Students as the biggest audience group
The audience of KMDP is solely for the community. Mainly the students are the targeted
audience. The students are very proud of the dance program and they are also dependent on
the teachers. Being the biggest audience group the students also like to work on this dance
program. They want to handle the subsidy forms, gather new students, fill up the form and at
last get the bus for the chief guests. After seeing the performance they are very overwhelmed.
They generally mobilize the members because they were there for the long time. They have
also created the network around them and they have done so well in the dance performance.
This networking can easily make them reach Sriwana (Albattat et al. 122). The students are
also dependent on the teachers. The goal of the teacher is not bring the students out and this
group handles the CCAs dance. The early announcement is very important for the dancers.
The whole group is dependent on the students who are the part of the community. The
contemporary dance is very popular among them. 70% of the seats are full in this event. In
the year of 2012 this show was done in the same place and the same time but the whole
problem is the number of student has gone down this time due to the performance of the
group. The income of the group was also very high at that time but now the profit has also
come down. The third show on Saturday was ½ filled by the students. This is the main reason
that the capacity of the students have gone down. This is the main reason that the quality of
the show has also gone down. Malay contemporary dance is a professional dance and most of
the students in this theatre group have participated in this event. The students are also
dependent on the teachers. The goal of the teacher is not bring the students out and this group
handles the CCAs dance. This was also an issue in this group. The early announcement is
very important for the dancers. The whole group is dependent on the students who are the
part of the community. Students are also very lucky to have the events in the theatre. The
capacity of the students has come down in this theatre. According to the survey the other
dance form has been blend in this dance form and because of this reason they need to
overcome this blunder. The network around them also helped them to work in the group and
31

this has helped in many ways. But there are many issues in this group regarding the capacity
of the students in the theatre. The early announcement is very important for the dancers. The
whole group is dependent on the students who are the part of the community. The
contemporary dance is very popular among them. There are many students who have
affirmed that this form of dance is very difficult to learn and perform on the stage.
4.3.2 Availability of Tote Board Arts Grants
Tote board art grants will help to develop and showcase the traditional culture of Malay. The
capital provided by the Tote board art grant can be used for the further development of the art
and culture. It has been seen that the traditions of the south East Asia specially, the culture of
the Singapore is not very elaborately exposed to the other parts of the world. In this case, it is
the responsibility of the committee to demonstrate the culture and the heritage of the
Malaysia along with Singapore (Albattat et al. 122). The grant will be helpful to expose the
different cultural aspects like traditional dances, the food culture and the authentic Malaysian
arts. Apart from that the society of Singapore is largely influenced by the Buddhist life paths.
In this case, the impact of the religion on the life style of the people staying here can be
showcased through these initiatives.
The availability of the grant is dependent on the sum of money required for the
implementation of the plan. The grant can be given for the improvement of the certain area of
the culture or it can be used for showcasing the different aspects of the heritage and culture of
Singapore. This also includes the showcasing of the historical evidences of the significant
past incidents. In order to cover all the aspects of the culture, the grant is needed to be a good
amount of the money.
In case, if the focus is on showcasing the traditional dances of Malaysia, the grant can be
limited. However, the board can help the committee members on other ways like organizing
the seminars and different functions. It has been seen that the people from different parts in
the world does not even know the rich heritage of Singapore. Most of the people are familiar
with the cosmopolitan nature of Singapore. It has been seen that the initiatives has taken from
the government and other private institutions to showcase the tourist attraction of the modern
Singapore. However, the use of the heritage and the culture has not been done in a proper
way to make the tourist interest to visit this country (Albattat et al. 122). This can be the
reason that people from around the world is not familiar with the tradition.
The showcasing of the tradition can be done in a contemporary manner. The board can make
the initiatives where the significance of the culture and the heritage of Singapore can be
presented through the modern day scenario. Apart from that the grace and the beauty of the
32

Malay dance can be presented to the people and the tourist. In order to do this proper training
is needed to be given to the participants. In this case, the capital is needed to arrangements.
Before proceeding to the Tote Board, the final estimation of the cost can be made on the basis
of the requirements. Apart from that the boundary of showcasing the art and culture are
needed to be determined before the planning and the execution.
Chapter 5: Recommendations
After analyzing the findings of the report and interviews report, findings suggested that Era
Dance Theater promoting their dance shows for increasing the audience number. EDT
provides the best marketing efforts for there have been a number of issues identified with
regards to marketing. the best marketing strategy of the EDT is to talk with support
organisations involved with the promotion and preservation of the arts of the Malay culture.
However, the marketing strategy is not working because after conducting the interviews
among the audience it is concluded that 46% of the respondents replied that they could not
understand the Malay dance forms. 17% stated that they come for entertainment. It is
identified that the number of audiences are decreased due to the complexity of the Malay
dance forms. With reference to these issues following recommendations can be detailed.
1. The audience wants entertainment from the dance shows. Therefore, the EDT decided
that they conducted 1 show in a year that is commercial. The commercial dance
shows are more attractive for the audience and they are investing money to attend the
dance shows. These commercial dances shows create more crowds and increase the
marketing of the EDT Company. If the people understand the dance forms of the Era
Dance theater company’s dance shows then it basically increases the audience
number. Because the majority of people do not understand the contemporary dance
forms, this situation reduces the number of audience. The contemporary dance forms
is full of thoughts and ideas and it is weird. So, the commercial dance shows once in a
year increases the audience number and increases marketing.
2. This contemporary dance forms of the Malay dance forms not interesting for the
audiences. As the example of KMDP 4 in 2013 dance show recognized that the first
of the show is house full, second-day ¾ filled with the students. The third shows ½
filled with the students because the teachers offering complimentary tickets to the
members. The number of audiences decreased because they do not understand
33

contemporary dance forms. The major reason is identified that the Complexity of the
Malay contemporary dance forms reduces the audience number at the dance show. In
modern days, Malay dance form increases the beat and tempo with the traditional
music. This form of the Malay dance forms has attracted the young practitioners and
the audiences more. Hence, it is recommended to arrange shows with the form that
attracts more audience.
3. After conducting the surveys among the 121 respondents, the respondents are the
combination of practitioners and non-practitioners of Malay dance forms 36 and 85 in
a number. The survey result concluded that the majority of audiences are coming in
the dance shows for supporting their families and friends. The few numbers of the
audience are coming to improve their personal knowledge about the dance forms. The
audience wants entertainment but the Malay contemporary dance is a different type of
dance which expresses the thoughts and ideas or concepts about the shape of dance.
The majority audience do not understand the content of the contemporary dance
forms. The audiences preferred storytelling dances. Malay dance is the combination
of the traditional dance forms. Hence, promoting such forms would help in solving
the pressing issues with this art form.
4. Analysis of the findings suggest that the current marketing strategy is effective in
attaining audiences. The offerings of the contemporary tickets the offering of
complimentary tickets for members of groups who are involved with the EDT theatre
production group, as well as the students and teachers have been offered in order to
engage the audience. The commercialization dance shows are also effective marketing
strategy, which increases the number of audience number. Such as adding humor and
into the content of the art forms and drawing a significantly larger mass attracts the
audience number hugely. It may be stated that the Muara Festival has had an
approximate number of 10,000 attendees each year until the 10th year of the festival.
So, these marketing strategies are more beneficial for the EDT. By using these
marketing strategies In the Wujud series, there were two shows, which exhibited an
attendance of 70% and 40% respectively. The data provided for the KMDP show
(Kacip Mas DulangPermata), it stated that the initial staging received positive
feedback with an almost housefull. So it is concluded that the commercial dance
shows, early promoting of the dance shows through the posters attract the audience
easily and increasing the number of audiences.the WOW marketing strategy is also
fruitful for the EDT. But the showrunners of the EDT stated that initial investments
34

have not been met with the expectation. Marketing strategy is beneficial in
understanding the choices and the reasons for attending these shows and programmes
for the audience.
5. A past production of the Era Dance Theater is influences the marketing strategy.
Marketing of the popular show good timing is started about 6 months prior. The past
production of the Era Dance Theater helps to prepare the poster for the upcoming
shows. Pictures from the past production of the company influence the students and
children. The past production intimates them regarding the culture and art forms. It is
an effective marketing strategy for increasing the audience number at the dance
shows. Sriwana theater organization maintain the past production marketing strategy
for increasing the number of audience for the dance shows.
35

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40

Appendix
Quantitative questions:
Q.1 What is your choice among the following shows held in ETD?
Option Percentage
of
audience
Total
responses
Total
number
of
audience
Wujud
1
Wujud
2
Q2. Have you been practicing Malay Dance?
Option Percentage
of
audience
Total
responses
Total
number
of
audience
Yes
No
Q3. How old are you?
Optio
n
Percentag
e of
audience
Total
response
s
Total
number
of
audienc
e
8-18
years
19-24
years
Q4. What is your purpose of watching Malay dance performance?
Option Percent
age of
audienc
e
Total
respon
ses
Total
numbe
r of
audien
ce
Entertainm
ent
Learning
purpose
41
Name:
Address:
Phone number

Supporting
relatives
Other
Q5. Do you find the content of Malay Dance to be easy?
Optio
n
Percentag
e of
audience
Total
response
s
Yes
No
Qualitative question
Q.1 According to you what is the Current marketing timeline you can observe it in your
business?
Q.2: What are the areas on which you focus to select better marketing strategies?
Q.3: How far do you agree that your marketing strategies lack to expand your sales?
Q.4: How far do you agree that Effectiveness of marketing strategies is a successful efforts
in attaining audiences?
42