SHAH ALAM – Traditional arts in Malaysia may struggle to survive the next decade without stronger documentation, consistent exposure and long-term public support, according to arts researcher and performer Dr Fara Dayana Mohd Jufry.
The Universiti Sains Malaysia (USM) senior lecturer warned that many traditional art forms, including Wayang Kulit and Makyong, are becoming less visible not because of a lack of interest, but due to weak promotion, limited funding and insufficient preservation efforts.
Fara said younger generations were still interested in creative and cultural activities despite growing dependence on gadgets and digital entertainment.
“Children today may spend a lot of time on iPads and mobile phones, but when we go to schools and engage with them, they are still very interested in colouring, storytelling and creative activities.
“The important thing is that adults must play their role in exposing them to art and culture,” she said during a sideline interview after Wayang Women Forum held recently at Balai Seni Negara.
She said cultural appreciation could not rely on one-off events alone and needed continuous support from both the government and local communities.
“It cannot just be one programme and then stop there. Exposure needs to happen consistently, especially in schools.
“We may not even need a full syllabus. Simple approaches like shadow play and storytelling can make history and culture more engaging for children,” she said.
Fara also highlighted the financial difficulties faced by many traditional arts practitioners, particularly those in rural areas who possess valuable cultural skills but lack proper platforms to market their work.
“There are still many highly skilled practitioners in villages, whether in puppet-making, instrument crafting or performance.
“But the challenge is where they can sell these skills and products. That is why support from the government and related organisations is very important,” she said.
She added that social media platforms such as TikTok could help introduce traditional arts to wider audiences, especially younger generations.
“The issue is not a lack of content or talent. Many practitioners have incredible skills, but they may not know how to market themselves.
“We need people who can help promote these arts and make them more visible,” she said.
Fara also expressed concern over the lack of proper archival documentation for Malaysia’s traditional performing arts.
She recalled visiting the National Archives in search of recordings and materials on Wayang Kulit and Makyong, only to discover very limited documentation available.
“What saddens me is that the practitioners are still around, but much of their knowledge has not been properly recorded,” she said.
Fara said documentation projects were often costly and time-consuming, citing her own experience receiving a grant from the Tourism, Arts and Culture Ministry (Motac) to document Wayang Kulit performances.
“Recording one full Wayang Kulit story took about two and a half months of daily filming.
“The budget was also very high because practitioners must be compensated fairly for their expertise,” she said.
Despite the challenges, Fara believes Malaysia’s cultural heritage still holds significant tourism and economic potential if managed properly.
“Malaysia is extremely rich in culture. We should not allow these traditions to disappear because once we lose our culture, we lose part of our identity,” she said.
She added that initiatives linked to Visit Malaysia 2026 were a positive step, though she hoped stronger efforts would be made to create greater public excitement and appreciation for local heritage.
“Hopefully there will be better planning and stronger efforts to truly celebrate our culture because Malaysia is very rich in heritage,” she said.