Bangsawan, a ready-made option that was already popular with the masses in Singapore, was easily parlayed in the production of films. Bangsawan performances which were essentially plays of large magnitude that had many song and dance and accompaniment, had interludes between the plays that included elements such as dances, comedy, novelty acts and other entertainment[1]. This character of bangsawan had allowed performances to be changed at will, also allowing a spectrum of cultural influences to be incorporated into the productions in on heavily in film productions[2].
It was in the character of bangsawan to allow for improvisations in order to suit the changing tastes of the audiences[3]. With heavy music requirements, Bangsawan had necessitated the involvement of many singers and musicians in the performances. These bangsawan musicians thus, became the earliest forms of recording artistes in the region which had ridden on the popularity of bangsawan.
Bangsawan circuits had involved constant travelling within the region to put up new performances for the public. In addition to long working hours, bangsawan troupe often dropped and took in new performers at will as the occupation had a low barrier of entry. Such unstable conditions and transient nature meant that life as a bangsawan performer was tough and somewhat unattractive[4]. Therefore, many of these bangsawan performers became enticed by the idea of film because it had offered the opportunity of a stable pay check. Furthermore, filming would allow them to be stationed in one area for a longer period of time, thus eliminating the transient lifestyle that had been predominant in bangsawan troupes. Along with the benefits of having a stable work environment, film offered regular and attractive salaries, along with bonuses and leave packages. When they were not participating in filming, the bangsawan performers were granted the latitude for continuation with their stage performances. Such practices had made the film trade significantly more flexible and thus, more appealing than that of the traditional bangsawan troupe.
The allure of Malay cinema over traditional Bangsawan theatre had been visible as there was a gradual inclination towards cinematography for the performers. This inclination had been observed from Film Melayu, a monthly editorial that was dedicated to the burgeoning film industry in Singapore. A common feature for the columns in Film Melayu was of the Malay films produced by the Shaw Brothers. These columns had given the masses an insight into the lives and thoughts of these bangsawan celebrities. Many of these articles wrote of the tough life of the bangsawan performers as a member of the fluid entertainment environment. Many bangsawan performers that were regularly featured in issues of Film Melayu eventually became the movers and shakers of the Malay film industry. Haji Gong and his wife Tina Madikin, came to Singapore in 1938 with Union Jambi Opera, a travelling Bangsawan troupe. Being acclaimed performers of bangsawan, they were always the centre of attraction to the fans in the region. Both husband and wife began their careers at an early age, travelling and performing on the Malayan bangsawan circuit. Shaw Brothers eventually talent scouted them and signed them on to the fledging Malay Film Production unit. Being marketed as the ‘Malaya’s greatest dramatic actress’, Tina began bringing her star appeal from bangsawan into the film industry[5].
Another featured celebrity of bangsawan in the Film Melayu editorials, was Singapore-born Hamsah Binte Buang. A child star whose mother was also a bangsawan actress, she had no formal education and followed her mother around on circuits. Eventually she began to star in shows across the region which took her to places as far as Bangkok and propelled her to become one of the leading ladies of bangsawan. With her popularity at its peak, she attracted throngs of fervent male admirers. Her journeying days came to an end when she chose to become a mother and went on to participate in films production as a cast and choreographer[6].
From the accounts of these bangsawan performers, it had been apparent that the stability offered by the Malay cinema was winning them over from the traditional theatre. The positive impact of bangsawan on films had been significant albeit, at the expense of eliminating the traditional bangsawan troupes. Tapping on the pool of talent from bangsawan theatre, the local film industry enjoyed a parasitic relation with this traditional art form.
[1] Barnard T. P., “Film Melayu: Nationalism, modernity and film in a pre-World War Two Malay magazine”, Journal of Southeast Asian Studies 41,1 (2010), p. 47-70.
[2] Sulong J., Kaca Permata: Memoir Seorang Pengarah [Through a Lens: The Memoir of a Director] (Kuala Lumpur: Dewan Bahasa dan Pustaka, 1990), p. 162.
[3] Tan, Bangsawan, p. 1-35.
[4] Cohen M. I., “Border Crossings: Bangsawan in the Netherlands Indies in the Nineteenth and Early Twentieth Centuries”, Indonesia and the Malay World 30,87 (July 2002), p. 101-115.
[5] Haaj, “Riwayat Hidup, Advertisement for Bermadu”, Film Melayu (May 1941), p. 18–19.
[6] Haaj, “Riwayat Hidup Bintang-bintang Film”, Film Melayu (Aug 1941), p. 17–18.
