Introduction

1.0

Background
Performing arts are defined as public performance like acting,
singing and dancing. In Malaysia performing arts has started early but
no one seems to give any attention towards it. Starting at early 2000,
performing arts starts to create its own way becoming more popular to
some multiracial people here in our land. But, until today there is some
of our community that set a narrow minded toward this field of study.
Some said that performing arts will not have a bright future or giving a
better life to anyone who take it as their future career. Plus they also
said that performing arts is not in the same level as students that takes
engineering, accounting and any other courses that is more need of
scientific thinking
It is different for people who live in Europe or a westerner, this
field is standing strong with all those scientific courses like
architecture, land surveyor and others. In addition, they also think that
performing arts have a brighter future because the salary is beyond
expectation. Some of them who go and watch any arts performance or
staging, the audiences are willing to pay more and did not regret to
spend their money to watch the show. When they been asked why they
are willing to do that, they said we cannot buy talent because it was
given to chosen people. Sometimes, money cannot afford to pay their
talent. That is why performing arts in other side of country are known
as an established work and field of study.

1.1

Statement of the Problem

In Malaysia, the perception of performing art study is tends to
negative opinions. Most of them still think that performing arts would
not give any benefits to both our country and community. Normal
people will think that to study performing arts is a waste of times
because it will go by trends.
The way of some people think about taking performing arts as
their study and soon as their main career, is not helping this field to
spread and become bigger positively in Malaysia. Some of us who
study in performing arts need to face these questions or saying like
do you think this course will bring you a success to your future?
Page | 1

Why do you choose to be in this course? These situations will make

the students feel down and not important. Instead of being encouraged
by their family or society, the students will feel the burden and think
that learning performing arts is a waste of time.

1.2

Objectives
In Malaysia, there is a least amount of people that really
understand about the study of performing arts. It is important for the
students of performing arts to let the community know and understand
about what they had learnt. Here we are asking and observing why and
how common people will understand about the study of performing
arts. Some of local university such as Universiti Teknolgi Mara (UiTM)
has opened the faculty of Film, Theatre and Animation to encourage
their students that have passion towards performing arts. Furthermore,
University Malaya (UM), recently has opened the same faculty in order
to support the performing arts industry. The same situation happened
to some of private universities in Malaysia.
The community should acknowledge the benefits that they can
get from performing arts industry. These days, performing arts industry
are growing slowly in our country. In a way to get support from the
community, we need to know how they think about the study of
performing arts. We believe that this industry will help to increase the
economic side of our country. Therefore, the focus of this study is to
identify the perceptions of the community in Malaysia towards this
study of performing arts.

1.3

Research Questions

Page | 2

To investigate the above mention aim, the following are the research
question:
i.
ii.
iii.

1.4

Do performing arts will fade by trends?

How is the future of performers who takes performing arts as
their main income?
How long will they last in performing arts industry?

Significance of the Study

Based on the research that we have made, the respondents that
we have approached really help us to know and understand how
common people think about the study of performing arts. Most of them
really can understand the importance of performing arts in our country
and change their negative perception to positive perception towards
the study of performing arts. We realized that to improve the way of
the community think about the study of performing arts, we need to let
them know and notice all the benefits they can get from this course. It
is important for the community to get involved with performing arts
activity at least once in their lifetime so that they will get a better
opinion about the performing arts study.
Performing arts really can help to improve our nation economic
sides. Most of the tourism will need performers to perform traditional
dances or acts in front of the tourists. An interesting play or staging will
extremely attract foreigner tourists to come to visit our country.
Therefore, we can see that the study of performing arts will help to
give us brighter future and stable income.

1.5

Definition of Terms
1.5.1 PERCEPTION
Perception is one of the many cognitive processes that help us
acquire information from the environment it is describes the proses of
learning that we do all day, our perception can help us to make
decision by comparing what we know or by providing the feedback.
Perception can be divided by two which are negative and
positive. Both can be really helpful in a way to improve something to
be better in a future. But if the perceptions are too negative it can
affect the society to be sceptical towards an issue.
Page | 3

1.5.2 STUDY
Study is the application of the mind to the acquisition of
knowledge. Study also is the activity or work of a student; we can
improve our knowledge of the natural world by study and observation.
A setting of the mind or thoughts upon a subject, hence, application of
mind to books, arts, science, or to any subject, for the purpose of
acquiring knowledge.
In performing arts terms, the study of it includes the study of
theatre, performance and even managing the production team. It also
contains about the study of human being and the psychology of human
emotions and relations.
1.5.3 PERFORMING
Performing arts was used as a general term to describe a
multitude of activities, including happenings, body art, actions, event,
and non-matrix. Theatre, it is a part of the creative and cultural
industries represented by the
creative and Cultural Skills Sector
Skills Council, which also includes: craft, cultural heritage, literature,
design, music, and visual arts. Anything that can be related to stage or
performance like reciting, singing, acting or dancing includes in
performance and part of the performing arts studies.
1.5.4 ART
Art is a diverse range of human activities and the products of
those activities. Arts are totally focuses primarily on the visual arts,
which includes the creation of images or objects in fields including
painting, sculpture, printmaking and so on.
Arts are very big in terms and generally can be described as
anything that has been produce. As example performance is an art.
Learning a lesson is an art or even the way you talk to a person or
expressing your emotion is basically an art.

1.6

Organization of the Study

This section has provided an outline of the study which includes
the statement of the problem, objectives and research questions.
Significance of the study is laid out to show its relevance to the
Page | 4

perception towards the study of performing arts. Finally, the definition

of terms and limitations of the study are presented to highlight the
focus of the study.it is hoped all the information obtained will guide
towards the understanding towards the study of performing arts.
In the following sections, chapter 2 will review the relevant
literature on the topic. This is followed by chapter 3 that will provide
the description of methodology used to obtain the analysis data
collected. Chapter 4 discusses the data collected and conclusion would
be postulated from analysis. Chapter 5, which the final section,
provides discussions of summary of findings, limitations of the study,
implications and conclusion of the study.

Literature Review
2.0

The Current State of the Performing Arts in Malaysia

Malaysian performing arts practice, like its context, is an exercise in

contradiction. It is largely autonomous from government (due to bureaucratic
apathy more than anything else), but never free of intervention either from
the authorities themselves, or from conservative censorious segments of the
public. It has a very specialized influence, with small audience penetration
even though it is strongly community-based and engaged in the issues
affecting Malaysian society. It is frequently multidisciplinary and crosspollinating, but nearly always divided along linguistic and formal (theatre /
dance / music) lines. The performing arts are often discussed as a whole,
united front yet this is too much of a generalization to do justice to what is,
in the end, diverse and exciting artistic inquiry: a mishmash of practitioners
pushing in all directions. An overview of contemporary performing arts in
Malaysia, this essay is one such generalization and, as such, is hardly
comprehensive. Its primary objective is to provide readers with an idea of
what's going on in the geographic loci of the field. West Malaysia's urban
centres, specifically the Klang Valley. It is divided into four broad sections.
History provides a chronological account of the ebb and flow of Malaysian
performing arts from pre-Independence to the present day. Groups and
Organizations surveys notable performing arts collectives and organizations
currently active, as touches on the work of individual artists and performers
where it details themes and tendencies in local performances, in an effort to
divine what Malaysian artists are conceptually and formally concerned about,
and why. The third part, Infrastructure and Support Systems, goes over
Page | 5

exactly that audiences, spaces, funding and grants, existing programmes

and festivals for a general sketch of the circumstances in which work is
performed. Lastly, Trends and Issues discuss miscellaneous issues facing the
arts community today, not already covered in the previous sections.
Education specialized in performing arts study in Malaysia starts with
Akademi Seni Kebangsaan was founded, in 1994, as an institution dedicated
to the instruction of the performing arts, with a focus on the forms and
techniques of the region. Today, the academy (now known as Akademi Seni
Budaya dan Warisan Kebangsaan) produces stellar graduates established
practitioners like Adlin Aman Ramlie and nascent ones like Zamzuriah Zahari
are alumni and stellar performances, in the form of student and graduating
productions. Shows put on by the ASWARA dance department, helmed by
Joseph Gonzales, in particular, are general as polished in form and content as
any professional production. Among other public institutions, is UiTM which
offered study in performing arts study under Faculty of Films, Theatre and
Animation. Other than that is USM Penang's Performing Arts Faculty. They
continue to do good work but, by and large, private schools of tertiary level
do more and better. Such active in the performing arts include private
college Sunway University College's School of Performance and Media, and
Kajang's Chinese-language-medium New Era College.
The performing arts, not having the reach of more popular and easier
propagated mediums such as cinema, recorded music, or literature, have
long remained a field with niche appeal. Audiences, already small, are further
fragmented along formal (theatre-goers and dance enthusiasts may not be
overlapping demographics, for example) and communal / linguistic (due to
limits to comprehension, or parochialism interest) delineations. Tickets for
performances average between RM20 (small-scale productions) to the
hundreds of ringgit (big musicals) yet admission pricing appears to have
comparatively less influence on attendance. Lavish, highly-publicised shows,
not surprisingly, draw the largest crowds. The perceived prestige of a venue
is also a factor, since going to the theatre is viewed as a luxury pastime; a
performance at KLPac would be better attended than one at the Malaysian
Tourism Centre, for example. Yet another factor is perceived difficulty of the
material a conventionally staged theatre production would receive more
audiences than a contemporary dance performance. A key to a wider
performing arts practice and a wider audience is education instilling in the
young an interest in artistic pursuits. While performing arts organisations do
their best to reach out, instruct, and disseminate information, the crucial
space in which such work should occur the school classroom is largely
Page | 6

neglected. In fact, the Malaysian education system, with its emphasis on

technical and scientific disciplines, has become proverbial for its
discouraging of the creative arts. Obviously, better strategies must be
devised. Still, the consensus is that audience attendance is on the up-tick
there exists a burgeoning urban youth demographic, sensitive to creative
cultural activity. Modern strategies of dissemination such as internet
networking meaning that attention to the performing arts is increasing.

2.1 Issues of Performing Arts in Malaysia

According to www.freemalaysiatoday.com, a news portal, stated that
through interview they had with public people in Malaysia they finally found
out what is lack of performing arts industry in Malaysia. First is, the shows
tend to have very short runs. This makes it difficult for those interested to
readjust their schedules to watch the performances, and prevents them from
attracting foreign visitors. Second, there are only a handful of venues. This
negatively impacts the number of performances and their run-lengths. In
addition, venues tend to be centralised in Kuala Lumpur, and the audience is,
therefore, limited to the citys residents.
Third, unlike other countries, most shows in Malaysia survive on
sponsorships, not on ticket sales. This is not ideal as sponsors are more
interested in brand promotions and marketing returns. Sponsorships can also
be hampered by the production teams disorganised market approach. While
the government has provided funding in the past, these funds cant be the
main source of income.
Fourth, most performers cant eke out a living by depending on the revenue
generated from the performances. This makes the industry highly dependent
on part-timers. While it keeps the industry going, it cant make headway in
developing high-quality shows on a sustained basis.
Lastly, given the limited number of venues, inadequate exposure to the
general public and pricey tickets (at times), though some might argue that
its affordable, performing arts seem to be only for the elite group.
In addition, according to Zedeck Siew the editor for www.kakiseni.com said
that in the Malaysian context, censorship of the arts and the performing arts
in particular is a perennial concern. In the case of performances staged in
Kuala Lumpur, a permit must be secured from the Dewan Bandaraya Kuala
Lumpur, or City Hall. Acquiring such a permit requires the submission of the
Page | 7

intended text (or summary, if the work is non-textual) so that vetting may
occur. The process itself is highly frustrating due to bureaucratic ennui,
notice of approval or disapproval may arrive at the eleventh hour often when
a production has already entered its final rehearsal stages. Topics that the
DBKL have found objectionable include politics (the content of Instant Caf
Theatre's satirical revue "The 2nd First Annual Bollywood Awards 2003. The
Director's Cut resulted in City Hall refusing to issue any further performing
licenses to the theatre company, causing ICT to go dormant for the next
three years)and sexual (Paula Vogel's "Baltimore Waltz", directed by Rey
Buono in 2002). Performances have also been halted for reasons ranging
from indecent costumes and movement to themes apparently disrespectful
to religious sensibilities. The DBKL has also been known to act at the behest
of complainant from the public though these have been consistently moral
outrage based on ignorance. A particular notable example was the 2002 Five
Arts production of Eve Ensler's "The Vagina Monologues", directed by Hariati
Azizan, which had proceeded into an extended run (due to overwhelming
popular demand) before it was shut down by City Hall, at the prompting of a
letter-writer for out-of-state, who had merely read about the performance in
a national daily. The DBKL's inconsistent vetting of performances, however,
has allowed the performing arts to devise strategies for "slipping through the
cracks. Such strategies include staging work as "workshop performances"
that solicit donations at the door instead of an admission fee this technicality
sidesteps the permit regulation together. Still, while Malaysia's current
political tumult makes it doubtful that the performing arts will fall victim to
moralising censors in the near future, awareness of past suppression and
current countermeasures will continue to be instructive. So what gives for
Malaysia? In a public-private partnership, the industry is spearheading
initiatives to overcome the challenges, with support from the government.
This is the same model used in many countries benchmarked. The aim is to
make the industry robust, competitive, attractive and sustainable.

2.2 Performing Arts Subsidies and Future Generations.

The importance of the equity question related to public support for the
performing arts has long been recognized by economists. Throsby and
Withers, for instance, observe that "it is clear from audience data discussed
that the distribution of consumers of the subsidized performing arts is
markedly skewed towards high income groups." The same authors believe
that the problem of such "perverse redistribution" can begin to be resolved
Page | 8

via methods of redesigning subsidies to the arts so that their regressive

effects are diminished. Addressing the same problem, Baumol and Bowen,
urge that the focus should be upon the needs of future generations. Their
argument is that "a program to preserve the arts for the nation's posterity is
a case of indiscriminate benefit par excellence." Others however may find
such reasoning rather strained if it implies (as it seems to) that some
members of the present poor are to be obliged to be taxed with other sin
order to contribute to the welfare of the future rich. And this point is more
general than it first appears. If rising productivity per head together with
technical progress is expected over the next few decades. Then average
members of future generations will be richer than average individuals today.
Programs of arts subsidies for posterity may thus flirt with a positive
probability of intergenerational inequity.
The argument that arts subsidies are merely a result of the operations of
rent-seeking special interest groups, the effects of which are to reduce the
welfare of the poor and of the nonusers of the arts generally, is common
among economists. Yet it is far too hasty. Empirical research by Morrison and
West reveals that numerous members of all income groups report
themselves in favour of being taxed to support the performing art seven
though they do not themselves attend the theatre. Their attempted
rationale, moreover, can typically be described in terms of external benefits:
feelings of national pride, welfare of future generations, educational
importance, the probability of stimulus to local business, and so on. The
diagnoses of regressive transfer versus external benefit therefore is
obviously still an open question. In the meantime it may be appropriate to
steer a middle course. It is pertinent too, that the question whether
government should support arts at all is separate from the problem of the
most efficient allocation of the subsidy once intervention has been decided
on (for whatever reason). The present essay is written largely in this latter
context. And in any case our search for optimal allocation is just as relevant
to private as to public donors.

They were actually a report on who attends theatre performances in

Atlanta, and as such it follows in the typical tracks of previous investigations.
Theatre audiences of a non-profit equity and non-equity theatres in Atlanta
were surveyed between April 1986 and April 1987. An attender sample of
406 returned questionnaires was obtained. The sample reflects a
predetermined diversity of time of year (the fall-spring theatre season versus
Page | 9

summer theatre), type of play (musicals, dramas, classics, originals, and

comedies), time of performance (matinees, weekday nights, and weekend
nights), and size of theatre (theatres with over 450 seats versus theatres
with less than 450 seats). Approximately one half of the audience per
performance received a copy of the questionnaire handed to them (as
opposed to placing the questionnaires in the show program). Special care
was taken in avoiding a pattern of distribution and insuring a completely
random, sample. On the average the response rate was 40%, a relatively
high rate for surveys of this kind. Our findings indicate that Atlanta theatre
attenders are strikingly similar to national and international arts attenders.
Like national arts attenders, they are generally wealthier, better educated,
and older than the general population. Females also tend to outnumber men
in the Atlanta audiences, as was found in the National Endowment for the
Arts, Morrison and West, and ACUCAA studies. In terms of overall childhood
experience, most of the participants either were taken to the theatre as
children and/or participated in theatre. Less Atlanta theatre attenders
participated in theatre (84%) than were taken to the theatre (93%).
Considering the striking resemblance between Atlanta theatre audiences and
national arts audiences, it is strongly arguable that the predictive variables
for Atlanta theatre demand are applicable to general arts demand. In fact,
based on the similar demographics of the audiences, there is no logical
reason why the predictors of theatre attendance would differ or general arts
attenders.

2.3 Career dynamic in Performing Art

Careers in the Performing Arts Differ from most other careers, especially
professional and technical occupation, between this careers, job oriented art
as informal work is different and the selection of the chosen all according to
their own individual interests, some individuals may not feel the talent in art
and art is difficult for them and why they choose to not work more towards
art .Besides that, people who choose to participate in the work of art is
because of based on their interest and experience for participating and
Page | 10

learning more about art ,its more easier for them if they choose to work of
their talent that they have, and they are not interested in participating in the
work of others. The performing arts differ from most other careers, especially
professionals and technical occupations. It is perhaps more like a career in
professional sports than it is like other professions.
Although athletic and artistic activities are in most ways quite different, their
career dynamics have a number of similarities. First, in fact the earnings of
artists tend to peak early and decline more quickly than in other professions
(Brooks, 1994).8 Second, artists employment, like the athletes, is sporadic
and fragmented. Most artists work in day jobs only up to the point of
securing Subsistence. The data show that's Most performers work for
multiple employers Sulawesi the year. One study (Ruttenberg et al., 1978)
has shown that's only one in five performing artists worked for the same
employer throughout the year and missing worked for as many as ten
employers. Third, Most artists are solely for leave-typical of the profession
early in their mid- Career mobility thirties-as nucleon (Menger, 1999). Fourth,
musicians and performers certain other is Vulnerable to injuries from
repeated practice and performance. These injuries sometimes promising
careers cut short. Fifth, many performing arts jobs and casting agencies are
concentrated geographically, placing constraints on artists seeking
employment, for example, 70% of the members of Actors Equity Reside in
New York and California. Finally, like athletes, very few artists make it big in
their fields but many are inspired by the success of Superstars.
People who join in performing art use to be always motivated by
powerful of love toward of art by enjoying what they do and from what they
perform because of their talent that they have, this artistic careers maybe
not well when get offer in greater highly income rewards, such as lifestyle
and fulfilment, then do with other careers because people who enter this arts
sometimes not continue this work because of their age. Nevertheless, it is
not surprising that many artists will leave their arts field profession at a
relatively young age or they decide to pursue their interest in the arts on a
part-time or amateur basis. Particularly as income increased, because of the
pressure in the money demands of families and child-rearing and the
economy soared. Many young artists reassess their career choices and
consider whether they would be better off in a more stable career, many
volunteer artist in the performance and in the volunteers who participated
only a very small profit and only depends on the existence of their
participation. we predict a steady and growing demand for those performing
artists who are willing to perform outside professional ranks.
Page | 11

Methodology
3.0

Subjects
A total of 20 students from UiTM Puncak Perdana, Shah Alam,
Selangor, Malaysia responded to the questionnaire that has been
given. They are all taking accountancy studies and have their own
opinion towards the study of performing arts. They are first year
students doing Diploma in Accountancy. Basically they have no family
members that involved in performing arts study or industry. But they
are have interest on performance or staging by the students of
performing arts. They also want to experience the show and get the
real feeling to be in a theatre space. We are approaching people from
different courses and league of education in a way to get specific
results and various opinions.
3.1

Instrument
We use questionnaire as our instrument in order to assess the
perception of other students towards the study of performing arts. The
questionnaire that is the instrument for this study, Perceptions towards
the Study of Performing Arts (PTTSOPA) with 20 items was constructed
and adapted from numbers of items from the internet which is found in
http://iteslj.org/questions/. We are combining the questions from
various groups of arts that related to performing arts studies and
industry. It is hoped that the PTTSOPA constructed questions are
suitable for answering the specific research questions.
The PTTSOPA consisted of twenty items, each one on a 5-point
ordinal scale ranging from strongly agrees (SA), agrees (A), not
sure (NS), disagree (D), strongly disagree(SD). The purpose of the
scale is to examine the perception of other people towards the study of
performing arts.

Data Analysis and Interpretation of Results

4.0

Perception Towards the Study of Performing Arts

In investigating whether the perception towards the study of
performing arts from people that came from other courses or different
field of study was performed. Most of the account students who are
Page | 12

also the respondents to the questionnaire are being positive about the
study of performing arts. Only few of them are not being positive about
this field of study. Strikingly, for item 10, 40% of them are willing to
support their family members if they are taking performing arts
studies. Only 5% who will not allow their family members to be in this
industry.
The highest percentage is 75% which is item 17 where they are
enjoying the performance or staging from the performing arts
students. They want to watch a staging if they are given a chance.
Even though they came from different field of studies, they still will
enjoy the performance or staging. There a none of them who are
disagree with this question.
In item 11 and item 12 with 65% they are going to support all the
students of performing arts in any occasion that the students made.
They will support the performing arts students in order to encourage
them to go further. They also think performing arts will help to release
their stress and entertain them when they are stress. As for item 9
where we asked about is it true even though the performing arts
people dont have time for themselves, they still can make a lot of
money? almost 50% of them are not sure about it and 35% of them
are agree with the question. At the same time, 10% of it is disagreeing
with the question that has been asked.

4.1

Perception of People towards Performing Arts

a) Neutral side of people
As in item 20, it asked about is it performing arts students are
only thinking about popularity? Almost 45% answers given are not
sure. Nine out of twenty respondent answered they are not sure about
chasing popularity. This is because they not really understand or aware
about performing arts studies. 35% from it are disagreeing about this
and only 10% that strongly disagreeing about the students of
performing arts is only chasing popularity while they are study. It
shows that some of the community not really aware about the
performing arts studies.
Page | 13

Some of them really do not have enough information about

performing arts. Some people might not have the basic knowledge
regarding this course. They also may not being introduced to
performing arts like theatre staging, performance or anything
regarding to arts information. Most of science students or people from
different league of study, they are not really care about performing
arts. Sometimes they do not even have time to watch television or
plays.
However in items 1, the difference between the strongly agree
and strongly disagree is only 5%. The difference brings only 1 person
who makes the change. 30% from the respondent are never attend to
any performing arts staging or performance and most 35% of them
have the experience to watch a theatre live in front of their eyes. From
this observing, we cannot blame them on not having any opinion or
any idea about performing arts. They have not being exposed to this
kind of environment and they did not have the will to know or to notice
about performing arts study. They cannot neither can say yes or no
because lack of experiences or opinions.

b) The way of the community think about performing arts

studies
There are two groups of community who got two different
opinions and ways of thinking about performing arts. The first group
which is very open minded and really can except new changes and the
second group which have a narrow minded and not willing to
encourage the people who is in this industry. The percentage for item
10 where they will support if any of their family members taking
performing arts study, 40% are agree with it and only 5% who is
strongly disagree in order to allowing their family members enter the
performing arts industry. This situation shows that there are people
from other courses that really can understand how performing arts
study can help and brings a benefit in an individuals life but somehow
there is still people who do not get the idea about performing arts
study.

Page | 14

4.2

Performing Arts as Source of Income and Will Give Brighter

Future to a Performer
Basically, if we see a performer or people who are in this industry
in other country, they make a lot of money and have a stable income.
In addition, they also can help to change their familys life to a better
one. Most of them are having a better life after make performing arts
as their main source of income for their family. If we see it in a positive
point of view, we can make money easily because performing arts has
its own value that people will put a high appreciation to it. If we do the
works as a professional and take it as a serious matter, people will
have no doubt and not regretting to pay more to see as such
performance or staging.
As in item 4, where we ask do performing arts gives will give a
lot of money; 40% agree with the question and 30% of the respondent
are strongly agree with it. Only 5% disagree with the question. While
25% of it where 5 people answered not sure for this question.
Majority are believe that performing arts will give a great income to the
performers and prepare its own future.
In item 6, where the question is regarding the improvement of
our country economic side. It is half of the respondent which 10% are
strongly agrees and 50% are agrees with this but 40% of them are not
sure. It is true that performing arts industry will help to increase our
nation economic sides because of the tourism department. Tourism
needs performers in order to promote our cultures and entertain the
tourists that came from different country.
Next in item 9, the question that has been brought up was even
though the performers do not have enough time to spend with their
family or with themselves, they still can produce a lot of money from
this field of course. 50% of them are not sure about it. Instead, 35%
are agreed and only 5% who is strongly agree with it but there are 10%
who are disagree with the statement. It shows that only minority will
think that performing arts is not worth it to spend so much time with
and majority think that how hard it takes to be success, they will try
even they will not have time for themselves because they can get a lot
of benefits from the performing arts industry.

4.3 The Social

Performing Arts

Life

and

the

Discipline

of

the

Students

of

Page | 15

Some said that performing arts students have problems with

their attitude and being discipline during the class or in their social life.
We do ask some question to see their perception towards this issue.
In item 7, we asked about if this course will affect the young
community with their social life. 55% are agrees with it and 35% are
strongly agrees. While only 5% that is disagree with the statement. It is
a common issue that we all know because performing arts needs you
to socialize with almost anyone and any type of people. As a student
we need to be friendly and create a networking with each other. It is
important because most of our events like staging or performance or
even conducting an event, we need sponsorship and publicity. So from
being friendly and knowing how to approach people will help us to get
our work done successfully.
When talk about discipline, performing students always have to
deal with many kinds of perception from the community. For that, in
item 19, we asked whether they think performing arts students have
no discipline or any good daily routine in their daily life. 35% are
disagreed with the statement and 15% are strongly disagreed with it.
Both 5% goes to strongly agreed and agreed to the statement.
Actually, we gain a lot of discipline during the practice and during we
do our group work. It teaches us how to manage our own time and how
to work under so much pressure. Working in performing arts industry
might be so stress because we need to deal with the emotion and
action of normal human being. It is all about psychology and way of
thinking. This is why most of the students are outspoken and will say
what they feel want to say.

5.0 Conclusion
The analysis of perception towards the study of performing arts
from faculty accountancy students show generally are agree because
what we get result from the questionnaire is most of them the account
students are agree with the questions that we give. Some of them are
really supportive and understand about the study of performing arts.
But have few of them are not willing and will not support if there is any
of their family member want to take performing arts study.
Page | 16

Performing arts affecting the young community in their social

life
The findings showed that most of them agree with that question
given about performing arts affecting the young community in their
social life. Fifty-five percentages from the total number of respondent
are agree with this question. Half of them are strongly agree and
disagree. Why the result becomes most of them are agree is because
some of them have negative perceptions toward who involved in
performing arts. Maybe they think who involved in performing arts
have a bad habit like smoking, drunk, social party, and promiscuity.
Most of them agree with this question that performing arts can
give negative effect to young community in their social life also
because of media. Every day and every time media will show many
things and it will never end. Next, why most of them are agree is
because they think who in performing arts have bad discipline and do
not know how to be a serious person and do any jobs with full
commitment. Generally everyone know about performing arts and
some of them like and want to involved in performing arts but they still
have negative perceptions towards performing arts.
Result in the percentage of questionnaire also shows that have a
few of them is disagree that performing arts affecting young
community in their social life. This could be that they are maybe have
experience involved in performing arts, have family members are
involved or maybe they are who has positive thinking.

Performing arts will give us a lot of money

Result from questionnaire show that most of them are strongly
agree and agree with this question. With seventy percentage has
showed that everyone know performing arts will give us a lot of money
even it has make everyone have negative perceptions towards it. Why
it happens is because in performing arts have their own value that
everyone will appreciate it. Then with performing arts also can make
they have stable income even they dont have high education. With
performing arts also they can change their and family live.
The true is performing arts can give many benefit to everyone
but not everyone know about it. To have all benefit, we just need to
Page | 17

have positive thinking and know how to conducted ourselves when we

get involved in performing arts because performing arts is the easy
way to become someone everyone will appreciate and respect us.
Nowadays, performing arts has become one field work that everyone
want to be and performing arts also has become one of have given
benefit to our community and have make our country economic
increase. The fact is performing arts have many positive sides if we
really make research about performing arts and open our minded to
receive performing arts into our live.

REFERRENCE

Page 1

Title:
Performingartsubsidiesandfuturegenerations.
Authors:
Dobson,LauraC.
West,EdwinG.
Source:
JournalofBehavioralEconomics;Spring90,Vol.19Issue1,p23,
11p,1chart
DocumentType:
Article
SubjectTerms:
Page | 18

THEATERaudiences
GeographicTerms:
UNITEDStates
Abstract:
Examinesthetheatergoerpopulationthroughtheuseofspecially
designedaudiencesurveysintheUnitedStates.Variablesthat
accountforculturedevelopmentfromearlyages;Variablesthat
accountforhithertoneglectedinstitutionsthatencourage
expandingtasteforartsamongallagesandincomegroups;
Findingsofthespeciallydesignedaudiencesurveyoftheatersin
Atlanta,Georgiain19861987.
FullTextWord
Count:
4401
ISSN:
00905720
AccessionNumber:
9709081717
Persistentlinktothis
record:
http://search.ebscohost.com.myaccess.library.utoronto.ca/login.as
px?direct=true&db=buh&AN=9709081717&loginpage=Login.as
p&site=ehostlive&scope=site

3)Baumol,WilliamJ.,andWilliamG.Bowen.PerformingArtsTheEconomic
Dilemma.NewYork:TwentiethCenturyFund,1966.
(4)Morrison,WilliamG.,andEdwinG.West.(a)"ChildExposuretothePerforming
Arts:TheImplicationsforAdultDemand."JournalofCulturalEconomics,10(1)1724,
1986.(b)"SubsidiesforthePerformingArts:EvidenceonVoterPreferences."The
JournalofBehavioralEconomics,15,Winter,1986.
(5)NationalEndowmentfortheAns.AudienceStudiesofthePerformingArtsand
Museums:ACriticalReview.ResearchDivisionReportNo.9.Washington,DC:NEA,
1978.
(6).ReportoftheTaskForceontheEducation,TrainingandDevelopmentof
ProfessionalArtistsandArtsEducators.Washington,DC:NEA,1978.
(7).ConditionsandNeedsoftheProfessionalAmericanTheatre.ResearchDivision
ReportNo.11.Washington,DC:NEA,1981.
(8).ABriefChronologyofFederalInvolvementintheArts.,19651985.
Washington,DC:NEA,1985.
(9).1986AnnualReport.Washington,DC:NEA,1987.
(10)Newbold,Paul.StatisticsforBusinessandEconomics.EnglewoodCliffs,NJ:
PrenticeHall,1984.
(11)Peacock,Alan."WelfareEconomicsandPublicSubsidiestotheAns,"pp.7879in
TheEconomicsoftheArts,editedbyMarkBlaug.London:Westview,1976.
Page | 19

(12)Shaughnessy,JohnJ.andEugeneB.Zechmeister.ResearchMethodsinPsychology.
NewYork:Knopf,1985.
(13)Throsby,C.D.,andG.A.Withers.TheEconomicsofthePerformingAns.NewYork:
St.Martin's,1979.
(14)U.S.BureauoftheCensus.1980CensusPopulationandHousingCharacteristics.
Washington,DC:GovernmentPrintingOffice,1981.
(15).StatisticalAbstractoftheUnitedStates1986,106thedition.Washington,DC:
GovernmentPrintingOffice,1985.
(16)Vogel,HaroldL.EntertainmentIndustryEconomics.Cambridge:Cambridge
http://www.freemalaysiatoday.com/category/opinion/2012/07/18/performingarts-to-hit-high-notes/Performing

arts

to

2012/Fadhlullah Suhaimi Abdul Malek

The Current State of the Performing

hit
Arts

high
in

notes/
Malaysia/

July

18,

Zedeck

Siew/http://eng.theapro.kr/DATA/BBS1/Research%20of%20Performing%20Arts
%20in%20Asia.pdf

SA

NS

DA

SD

1. Have you ever been to a theatre performance?

7
5
2
6
2. Do you have favourite actor or musician?
8
11
1
3. Do you think performing arts will give you a brighter future?
4
11
4
1
4. Do you think performing arts will give you a lot of money?
6
8
5
1
Page | 20

5. In your opinion, will performing arts benefit our community?

2
6
8
3
1
6. Will performing arts increase our country economic?
2
10
8
7. Are performing arts affecting the young community in their social life?
7
11
1
1
8. Do people in other course look down on people in performing arts faculty?
2
5
4
6
3
9. Is it true even though the performing arts people dont have time for
themselves, they still can make a lot of money?
1
7
10
2
10. Would you support if any of your family members want to study about
performing arts?
6
8
3
2
1
11. Do you think performing arts help you to entertain yourself?
3
13
4
12. In your opinion, do we should support the performing arts students to
continue their study?
5
13
2
13. Do you think performing arts should be considering as an art?
5
10
5
14. Do you think performing arts study is a waste of time?
1
2
8
9
15. Do you have any interest to go to any performing arts show?
3
10
6
1

SA

NS

DA

SD

16. Do you think our performing arts industries are going to be in the same
level as in Hollywood?
11
6
3
17. Do you enjoy when you watch performing arts?
4
15
1
18.Are they who in the performing arts study are the one who fail their pass
education?
7
8
5
19.Most of performing arts students have no discipline, do you agree?
1
1
8
7
3
Page | 21

20.Is it performing arts studies students are only think about popularity?
1
1
9
7
2
* SA = Strongly Agree; A = Agree; NS = Not Sure; DA = Disagree; SD = Strongly Disagree

Page | 22