Pusaka is a non-profit organisation established to conduct research and create a comprehensive documentary archive of traditional performance traditions in Malaysia. Since the proscription of traditional performance forms in the North East Malaysian state of Kelantan by the PAS (Islamic Party of Malaysia) in 1990, the organisation has sought to inspire – through the staging of performances, through lectures and writings – cultural awareness in the hope of providing alternatives to the increasingly dogmatic tenor of cultural discourse in Malaysia.
Pusaka works intimately with some of the most distinguished performers of the Wayang Kulit, Mak Yong, Manora and Main Puteri traditions. While the organisation’s work has, hitherto, centered around Kelantanese performance traditions, Pusaka aspires to gradually expand its work to embrace traditions from other states in Malaysia.
Traditional performances are documented through audio and visual recordings as well as in writing, some of which will appear in published form in Pusaka’s annual journal, Pentas. Pusaka conducts research within local communities in which performance traditions are rooted, studying each form within its own cultural context. By relating its research to larger social, economic and political realities, the organisation seeks to understand the evolving role of traditional performance and performers within a rapidly transforming society.
In addition to research activities, Pusaka attempts to respond to present-day challenges which threaten the continuity and integrity of traditional performance. Through the organising of regular public performances and the administration of instruction projects, Pusaka aims to enhance the viability of traditional performance traditions. In this way, Pusaka supports the transmission of these performance traditions to a succeeding generation while providing alternative performance platforms that, above all, preserve the dignity and stature of the traditional performer.
Pusaka believes that culture and the arts is an area in the Malaysian experience that remains largely underdeveloped and ignored, but one that is nevertheless integral for understanding and appreciating the nuances and subtleties of Malaysia’s cultural history and contemporary cultural expression.
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Legendary wayang kulit puppet master Pak Dollah Baju Merah will once again demonstrate his skills of relaying mythical parables of good versus evil at NN Gallery on 18th May 2002 at 8.30pm.
What is wayang kulit ?
Puppets are made of cow leather(kulit) that has been dried. The patterns are then carved out, hand painted and held on banana stems. Good characters will appear on the right side while evil characters, on the left. Behind the screen, backlit by flickering oil lamp, the dalang (puppet master) will weave his tle, bringing to life the shadow play. It takes skill to handle the puppets with both hands, sing and tap the kechrek (rattle) with one's foot to signal the musicians, and last but not least, change the tone of one's voice to suit the various characters.
Dalang Dollah, 63, has been performing for nearly half a century. He was a dalang budak (child prodigy puppeteer) at 9 and by the time he was 17, had formed his own troupe. He was given the name Dollah Baju Merah because he wears a red jacket at every performance. His renowned because of his talent in reinventing stories in a contemporary style, with brilliant dialogue.
(Zatashah Idris - New Straits Times 14th May 2002)
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