Students and staff in Makyong Cirle(Simac)- a collaborative University- Community Programme in reviving the dying arts.
Makyong used to be one of the most popular classical performing Arts in Kelantan in the 50’s, 60’s and 70’s. This art genre was once a star is the 50’s and 60’s. However, recently, it has gone through a stalemate situation and seemed like dying. Siti Zainon Ismail(1985) observed that the dying of...
Saved in:
| Main Author: | |
|---|---|
| Format: | Conference or Workshop Item |
| Language: | English |
| Published: |
2012
|
| Online Access: | http://discol.umk.edu.my/id/eprint/8974/1/Paper%206.pdf http://discol.umk.edu.my/id/eprint/8974/ |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| Summary: | Makyong used to be one of the most popular classical performing Arts in Kelantan in the 50’s, 60’s and 70’s. This art genre was once a star is the 50’s and 60’s. However, recently, it has gone through a stalemate situation and seemed like dying. Siti Zainon Ismail(1985) observed that the dying of Makyong is due to the lack of appreciation and understanding of the local youth towards Makyong. The community project of another dying art that is the the Rebana Kercing of Kampung Laut has proven to be successful in sustaining its popularity and existence in Kelantanese community.
Based on the above opinion and the role model of a community project, Rebana Kercing of Kampung Laut, the writer has embarked on a collaborative university- community project of sustaining, preserving, conserving and commercialising Makyong as a traditonal performing arts in primary and secondary schools in Kelantan. The writer named this project as “SiMaC” (Students and Staff in Makyong Circle). This project is led by UMK represented by UMK staff and students with support from the traditional Makyong activists as the main mentor and the Kelantan community. Schools in the Kota Baru district is the main target group for this project. This project abridges University Malaysia Kelantan with the art activists and the community in reviving the dying performing arts, hence churning human capital with strong selfhood as well as sustaining the traditional culture of the community. This paper will discuss the modus operandi of the programme as well as the challenges and the outcomes of the programme. |
|---|