MOHAMED NA'AIM Bin Pani
Performing Arts in Singapore (Dance),
Accession Number 002856
- Oral History Centre
Source
- 7
Total Reels
- Julianti Parani
Interviewer
- 03:21:02
Total Running Time
- Malay
Language
Copyright Notice
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Reel/Disc 1 of 7
Metadata
- 26 Jun 2004
Recording Date
- 00:31:04
Running Time
- MP3
Format
- Access to recording/transcript requires written permission from interviewee
Conditions Governing Access
Synopsis
Born in Singapore, 1947. Father Pani bin Kassim from Madura; mother probably Boyanese. Was third of eight siblings. Father worked as driver; was performing artiste. Grandfather Kassim bin Saptu, silat expert, came to Singapore at age eight. Father, member of club "Bunga Tanjung", was joget practitioner at Happy World. Met future wife's relatives in club. As child, Na'aim joined father's joget at Great World; mother and sister went shopping. Learnt silat in Primary 3. Father choreographed for Sjarief Medan bangsawan performance at Victoria theatre. Mother preferred him to teach. But proud when he participated in cultural mission to India.
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Reel/Disc 2 of 7
Metadata
- 26 Jun 2004
Recording Date
- 00:31:10
Running Time
- MP3
Format
- Access to recording/transcript requires written permission from interviewee
Conditions Governing Access
Synopsis
About Arab Zapin dance. About wedding entertainment. After Teachers' Training college, taught in Wessex Estate Primary School - Malay (1966 - 1969); joined British Army Malay Regiment. Taught Malay at Anglo-Chinese Secondary School (1970 - 1987), Yuan Ching Secondary (1988 - 1989), Yuhua Secondary (1990), Queenstown Secondary (1991 - present). Also taught Malay dance, drama, silat, choreography. Joined Perkumpulan Seni (1960s). Scripted for radio and TV; performed and directed for TV with his Rina Dancers. In 1970s, joined National Dance Company as choreographer. Participated in Asean, Asia and Hongkong Festivals. Tourism missions to America and Europe. Renamed his group Teater/Dance Theatre Na'aim Pani.
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Reel/Disc 3 of 7
Metadata
- 26 Jun 2004
Recording Date
- 00:31:24
Running Time
- MP3
Format
- Access to recording/transcript requires written permission from interviewee
Conditions Governing Access
Synopsis
Invited to Malaysia to teach at Tioman Hotel Resort. In 1980s tour to Tanjung Pinang/Indonesia-Riau, Batam. Perkumpulan Seni's joint activity with Wisma Indonesia programs, learned Serampang Duabelas and Sri Andalas. Most impressive teachers and co-workers were his father, Francis Yeo, Chusaeni Hasyim, Li Shu Fen from National Dance Company, Bagong Kussudiardjo from Yogyakarta/Indonesia, Madubi Kreshnan (Singaporean Indian artist). Learnt dances from Rose Boromeo. Considered himself more as teacher. Had many significant junior artists who joined Sriwana, Kompang groups. Some of his impressive choreographies were: Ratu, Ibu and Burung, dance dramas with messages.
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Reel/Disc 4 of 7
Metadata
- 26 Jun 2004
Recording Date
- 00:31:25
Running Time
- MP3
Format
- Access to recording/transcript requires written permission from interviewee
Conditions Governing Access
Synopsis
About his dance drama, "Uda dan Dara", based on Usman Awang story. Tour to Tanjung Pinang, USA with National Dance Company (NDC) in 1980s. Decided to limit performances at age 50. About younger generation maintaining Malay dance identity - new creations must be based on Malay music and dance steps. Felt creativity to incorporate dances from neighbouring countries, but to avoid westernising. Hoped that museum would promote Singaporean Malay performing arts. Described his choreography, "Buruh"; incorporated silat movements, gendang, rebana, drums. Stressed importance of maintaining ethnic identity, particularly for international festivals.
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Reel/Disc 5 of 7
Metadata
- 26 Jun 2004
Recording Date
- 00:31:28
Running Time
- MP3
Format
- Access to recording/transcript requires written permission from interviewee
Conditions Governing Access
Synopsis
Some significant experiences with Perkumpulan Seni (PS); learnt dances, organisation. About teacher Ibrahim Jusof. About National Dance Company (NDC) collaborations with Francis Yeo; learnt better choreography and stage management. Livelihood still from teaching - being with PS was hobby, given small allowance from NDC for performance, reasonable honorium for missions abroad. PS focused on community activity, attended mostly by families. With NDC, Malay dance given more vibrancy by Francis Yeo. Appreciation from community audiences grew in 1970s and 1980s.
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Reel/Disc 6 of 7
Metadata
- 26 Jun 2004
Recording Date
- 00:31:41
Running Time
- MP3
Format
- Access to recording/transcript requires written permission from interviewee
Conditions Governing Access
Synopsis
Choreography improved after overseas experience at workshops, lectures, discussions. Most impressive was Asean Festival in Indonesia. Thailand's art centres and educational programmes impressive. In 1990s, implemented "Basic Malay Dance" course for schools; ceased shortly. Learnt TV choreographing from 1970s to 1990s. Considered TV promoted arts to wider audience then stage performance. Felt that before 1965, Singaporean Malay dances had mainly repetitive steps; after 1970s, more varied. Wanted inspiration for Singaporean way of life, not so much nostalgic. Hoped for revival of Malay performing Arts with Malay village, Malay Heritage Centre. Hoped for its profile to be raised.
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Reel/Disc 7 of 7
Metadata
- 26 Jun 2004
Recording Date
- 00:12:50
Running Time
- MP3
Format
- Access to recording/transcript requires written permission from interviewee
Conditions Governing Access
Synopsis
Regretted his one term as member on Advisory Board of National Arts Council in 1980s. He was not able to give beneficial ideas as he was still too young. However was happy that his initiatives to give awards to performing arts exponents as Nongchik Ghanie and Som Said was fruitful. Hoped for better developments through such activities as annual Youth Festival and Arts Reach programs.
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