KUCHING: The future of Sarawak’s theatre scene depends on how well the younger generation is nurtured to appreciate and participate in the performing arts.
Theatre activists, Dr Nur Afifah Vanitha Abdullah, Abdullah Untong, Malek Hassan and Dr Suffian Jalet, agreed that cultivating theatre interest must begin in schools, where children can learn to express themselves and develop confidence through performance.
Dr Nur Afifah shared that the School of Arts has begun organising inter-school theatre competitions and workshops as part of an initiative to introduce stage performance to children as young as primary school level.
“The aim is not just to create actors but to build confidence and self-expression in students.
“When they perform, they learn to think critically, communicate and appreciate the beauty of theatre,” she said during a forum on the development of the state’s theatre industry at Dewan Bahasa dan Pustaka (DBP) Sarawak Branch on Wednesday.
She added that teachers, especially in Bahasa Melayu and literature subjects, play a vital role in sustaining theatre appreciation.
“This is because drama is one of the most effective ways to teach empathy and imagination,” she added.
Meanwhile, Abdullah said technology such as artificial intelligence (AI) and digital tools could be integrated into theatre without compromising its traditional essence.
“For instance, LED backdrops and digital effects can make a production more engaging, but they should only support the story – not overshadow it. Theatre must remain human at its core,” he said.
Malek Hassan echoed this, warning against losing the human touch and cultural soul of theatre.
“If AI becomes the centrepiece, theatre will lose its humanity. Our priority must be to honour our traditions and ensure that every production carries the voice of our culture.
“Theatre is a reflection of who we are. It must be used to rebuild our pride in local identity,” he said.
In touching on heritage preservation, Abdullah highlighted that ‘bangsawan’ remains the root of modern Malaysian theatre, especially in Sarawak, where it flourished in the 1970s.
He called for revival efforts through educational collaborations, saying traditional performance should be adapted creatively for today’s audiences without losing its authenticity.
The session concluded with a call for stronger collaboration between DBP, schools and theatre practitioners to ensure the continuity of Sarawak’s theatrical legacy by nurturing young talents and blending tradition with innovation.
