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This past September Larry traveled back to Malaysia, as a follow up to his first trip in May 2015 collecting research for his potential new project highlighting the indigenous cultures of Malaysia (the Orang Asli). He collaborated with Sabera Shaik, owner of Malaysian Masakini Theatre, to further develop the concept and direction of the project. Below you will find Larry's reflections after his first trip in May 2015. We look forward to sharing his most recent experience upon his return.
Malaysia is a complicated country. There are large Chinese, Malay, and Indian populations. Out of a total population of 20 million people, only 200,000 are known as Orang Asli, the original people. Traditionally, they are a semi-nomadic people whose culture revolves around an intimate knowledge of the rain forest. In the rain forest they are completely self-sufficient hunter-gatherers. They know the range of the animals they stalk, and they know where the best plants grow for nutrition and for healing.
They are territorial, but the concept of land ownership is foreign to them. They are animists who believe that spirits inhabit everything everywhere. These spirits can be both benevolent and malevolent. They communicate with the people through their dreams. The people then interpret the dreams using songs, and in some cases masks, to ask these spirits for guidance, for healing and for balance. In a sense they are pacifists who believe in living within nature, rather than conquerors who dominate it.
Tetsuro Koyano, Ramli Ibrahim, and I first met in Indonesia fifteen years ago where we were studying and performing together. Koyano specializes in Balinese masked theater, Ibrahim is a major exponent of Indian dance in Malaysia and a cultural icon there. I studied traditional Balinese shadow theater, and subsequently created a new, cinematic form of theater using shadows, which could be easily adapted to any culture. This project is an outgrowth of a conversation between Ramli and myself that began over ten years ago. We thought it would be interesting to work with the Orang Asli community to make a large-scale shadow theater piece, which would increase awareness of their culture among the general population of Malaysia, and stimulate a sense of pride among the Orang Asli themselves. In the interim I have done projects with the Karuk tribe of Northern California (COYOTE’S JOURNEY), and together with Koyano, with the Ainu people of Northern Japan (PORO OYNA).
The purpose of the trip was to test the feasibility of our ideas among the Orang Asli, and among the cultural leaders of Malaysia. To that end we engaged Busu Ngah, a member of the Temiar tribe and good friend of Ramli. We travelled to three Temiar villages about seven hours North of Kuala Lumpur. We stayed in the village of Santhi where we were introduced to various healers and village leaders. We participated in healing ceremonies in the village of Yum and also showed them some videos of our work, and conducted a brief shadow theater workshop with some of the children there.
We then travelled up the dirt logging road to the village of Perjek where we met with a group of village elders and listened to Temiar creation stories. Every time a logging truck went down the road, the men all turned and watched silently as it roared by.
These villages are all government-built concrete-block relocation projects.
One of the men continually wears the traditional loincloth as a silent protest.
Their home territory further up the road is being clear cut, and will soon become yet another palm oil plantation. Most of the people are ill equipped to survive in modern society. The younger people often work as day laborers.
Busu Ngah is taking a different route. He has finally received his university degree after years of night school. He hopes someday to represent his people in parliament. He has a nightly radio program playing indigenous music and accepting calls from Orang Asli around the country. It is a great forum for people to talk about their trials and successes. We appeared live on his program and talked about our impressions of the villages, our appreciation for the culture, and our hopes to do a project together in the near future.
The next day we traveled to Carey Island to visit the Mah Meri tribe in the village of Sungai Bunbun. Surprisingly one of the elders had listened to the radio program and knew all about us. They performed a masked dance ceremony for us and talked about the process of carving masks based on dreams. It was unclear to us how important this process is in their actual lives.
In the village of Santhi, many of the families have succumbed to government pressure and become Muslim. By contrast in the village of Yum the ceremonies seem to be a vital part of life. The women form a chorus, keeping time with bamboo tubes, which mark the heartbeat of the ceremony. A healer, usually a man, sings a line, which is repeated by the women, etc. His song has come to him in a dream, and the act of performing it is healing. The men take turns singing and some go into trance, further enhancing the healing process.
In truth, our original plan was to attend the first national festival celebrating the Orang Asli cultures and peoples, which was abruptly postponed. This sudden change turned out to be a blessing in disguise. Instead of having to navigate the large event to meet people with different agendas and goals, we were able to have very personal, intimate, focused and meaningful experiences especially in the villages.
This was all thanks to the insights and resourcefulness of Ramli and his staff at the Sutra Foundation. They made sure that we could fulfill all of our goals. When the trips to the native settlements were arranged, I was eager to jump in with shadow workshops and demos as we thought it was the best way to gage their interest in the project. Ramli convinced me otherwise – he felt it was not only important but also essential that we simply be there, meet, observe and understand the history and current situation of the Orang Asli people first hand. Let the demo and workshop naturally happen if they did ever happen at all. He was right. We could not have anticipated what life was like in the village, and how hard it would be to stage a project entirely in one village. We now have a common understanding of how to move forward.
All photos & video by Koyano Tetsuro
9 Gamelans, 5 Countries, 2 Weeks, 1 Festival
In 2005, ShadowLight Productions, with Gamelan Sekar Jaya, presented, "A Gathering of Gamelans" at The Cowell Theater, Fort Mason Center for the Arts in San Francisco. The festival highlighted the traditional performing arts from five countries including Bali, West Java, Cambodia, Thailand, and Southern Philippines. The festival also premiered A (Balinese) Tempest, Larry Reed's adaptation of "The Tempest" by Shakespeare.
"In the past 30 years, Bay Area gamelan has come into its own. Once 'obscure' and 'exotic,' gamelan today is recognized for influencing local composers, and has become a favorite of Bay Area audiences.
Last year, I felt moved to honor the artistic traditions of Southeast Asia - all of them endangered by global cultural homogenization - which have inspired my traditional and contemporary work. I decided to organize a festival the Bay Area hasn't seen in decades, one gathering many local gamelans to offer audiences a way to experience first-hand the clear (and subtle) relationships among various traditions. Dalangs in Java and Bali both draw from the Mahabharata - why not show how three artists from three different regions tell the same story? Cambodian dance shares some ancestry with Sundanese - it's interesting and inspiring to see them together.
Gamelan means 'orchestra,' and in the same way that a Western ensemble could denote a symphony, rock band or jazz quartet, gamelan comes in many flavors. Though it is technically an Indonesian term, the music and dance of Cambodia, Thailand and the Philippines share a great affinity to that of Indonesia. We are honored to have these three additional cultures represented in A Gathering of Gamelans.
The festival culminates with a new interpretation of a Shakespeare classic inspired by both Elizabethan and Balinese traditions: A (Balinese) Tempest, fusing ShadowLight's cinematic, wide-screen theater with the Balinese music of Gamelan Sekar Jaya."
Take a moment and read through the program to learn more about the traditions, stories, artistry, music, dance, and artists involved in this festival.
The California Arts Council, a state agency, announced that it plans to award $10,200 to ShadowLight Productions as part of its Artists in Schools program.
The Artists in Schools program supports projects that integrate community arts resources — artists and professional art organizations — into comprehensive, standards-based arts learning projects for California's students. This year, the California Arts Council’s Artist in Schools program will allow 144 arts organizations to hire 580 teaching artists that will serve a total of more than 43,000 students in 323 schools across California.
This award will support our Shadow Theatre Arts Education residency program at four San Francisco Bay Area Schools during the 2016/2017 school year. Our professional teaching artists will instructmulti-week shadow theatre residencies at our partner school sites (in San Francisco, Oakland and Berkeley), all of which will culminate in original shadow theatre projects created and performed by participating students. Students will engage in our unique shadow theatre form, which blends theatre, literary and visual arts, dance, film, animation and music. These immersive residencies are part of the partnering schools' arts integration efforts and are tailor-designed in collaboration with each school site coordinator.
“When we reflect upon our mission and the ancient shadow theatre traditions upon which we stand, we realize that the essence of our legacy lies in sharing: inspiring the next generation to take part in the long lineage of Shadow Theatre traditions. Disseminated by master artists, Shadow Theatre is traditionally a community-building art form. With this as our inspiration, we will continue to train young shadow theatre artists and performers in workshops and in our major productions, and by immersing public school students in the art form through our residency program and DVD series.” - Larry Reed
The news of ShadowLight’s grant was featured as part of a larger announcement from the California Arts Council, which can be viewed online at http://arts.ca.gov/news/pressreleases.php.
“California Arts Council grants provide vital support for projects in diverse communities across our state,” said Craig Watson, Director of the California Arts Council. “This was an historic year of state arts support. We are proud to invest more than $8.5 million in funding 712 grant projects that will stimulate local growth and prosperity, and meet the needs of our communities through deep engagement with culture and creative expression.”
The California Arts Council will continue to grow the reach of its programs in the coming year, as the result of a significant one-time state arts funding increase for 2016-17 announced last week.
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Founded in 1972 (incorporated as a non-profit organization in 1994) by filmmaker, theatre artist Larry Reed, ShadowLight Productions’ mission is to expose the general public to shadow theater and other art forms. As one of the very few professional shadow theatre companies in the world, we strive to demonstrate a wide spectrum of Shadow Theatre to audiences of all ages and backgrounds, and our arts-in-education program lies at the heart of our mission. For more information, visit: www.ShadowLight.org
The mission of the California Arts Council, a state agency, is to advance California through the arts and creativity. The Council is committed to building public will and resources for the arts; fostering accessible arts initiatives that reflect contributions from all of California's diverse populations; serving as a thought leader and champion for the arts; and providing effective and relevant programs and services. Learn more at www.arts.ca.gov.
A Balinese shadow play is used to complete a religious ceremony and also for entertainment. It is accompanied by two or four instruments called gender wayang, which have ten bronze keys suspended over bamboo resonators. Each instrument plays an individual but complementary part so that the full melody is realized only if the two parts are played together. If four instruments are used, the second pair is tuned one octave higher than the first and the parts are simply doubled.
The Gamelan musicians playing the gender wayang respond to the direction of the Dalang, Shadow Master.
Performing this Saturday (June 25th) at St. Cyprian's Church in SF
Don't miss Larry Reed with live Wayang Gender musical accompaniment by Gamelan ensemble members
Carla Fabrizio, Paul Miller, Pete Steele and Sarah Willner.
#Shadowtheatre #MusicofBali #genderwayang
Wayang Bali photos of Larry performing with Gamelan ensemble in the early 70's.