Malaysia is a multiracial/ multiethnic country that is rich with many traditional performing arts such as Wayang Kulit and Main Puteri. However, the number of artists practising these traditions is in decline and they are at risk of extinction according to several Malaysian news outlets. This project is dedicated to understanding the challenges faced by these artists and the strategies they use to overcome obstacles to preserve their art form. Tintoy Chuo, a puppeteer of Malay traditional shadow puppet theatre Wayang Kulit, has become my case study in examining Malaysian artists. Through interviews and analyzing Chuo’s online presence, I found some of his challenges include: (1) federal and state funding structures that favour STEM more than the arts; (2) the Malaysian state’s view on arts as tourism; and (3) state government bans on this art form because it is deemed unIslamic. Some of the strategies that Chuo uses to counter these issues are: (1) blending the traditional element with popular culture references, for example, Star Wars; and (2) seeking international recognition of his work through interviews that are published in magazines and aired on news networks. I compare Chuo’s methodology to the transformation Zapin, a Malay traditional dance, underwent in the 1960s when it was blended with Western ballroom dances as documented by Mohd Anis Md Nor. I reveal similarities between the two processes, including: funding, audience, recognition, methodology, inspiration and community. I argue that the concept of “preservation” used in the context of art-making is problematic, and discuss how framing this methodology in terms of “sustainability” can be a model for other artists hoping to see their art form survive into the next generation.

“After a lot of laughter, comes a long cry.” This old Finnish saying was shared with me by a somewhat distant, but beloved, family friend while I was visiting Helsinki last summer. This notion resonated with me and became the root of my current choreographic research. When I returned to the UW for my final year, I knew I wanted to explore the intense emotion this saying evoked in me and how it could propel a choreographic investigation resulting in a dance work. In 2018, I created a dance, Undertow, that explored the broader idea of nostalgia and its often captivating and drowning effects on people. The choreographic process I utilized in creating Undertow, laid a rich foundation for me to expand upon the idea of nostalgia. I began my research on After Everything with the Finnish saying–– looking for meaning, ideas, and images that stood out to me. Coincidentally, on a visit home I discovered an 8mm film reel from 1968 that had hours of candid footage with my mom and uncle as children on it. The first time I watched it, I was brought to tears as I witnessed these young strangers play and explore. The complex emotions of family, personal histories, and longing for a presence in a history that is not directly mine collided with my reaction to the Finnish saying. This intersection became the focus of my research: exploration of familial nostalgia, relationships, and my planned uprooting after graduation. I cast four incredible collaborative dance artists to conduct this dance research with me, inviting them to explore their own reactions to the saying and nostalgia, so we could begin building a communal vessel of knowledge from which to draw movement material. I presented prompts, discussed ideas, and shared sound to facilitate and generate movement material.