Documenting the Complete Recordings of Biduan Negara Puan Sri Saloma 1970 to 1983

Biduan Negara Puan Sri Datin Amar Saloma, or her real name Salmah Ismail, was born on January 22, 1935, in Pasir Panjang, Singapore. She started singing professionally at 13. For a legendary singer of her stature, unfortunately, Saloma's contribution to the music industry in this country has not been properly documented, appreciated, and upheld. It is not known how many albums Saloma had released in the first 10 years of her career, as EMI Malaysia Sdn Bhd, the local distributor of artists signed to EMI Singapore Pte Ltd. As a result, most albums before 1970 were not listed. Keywords: recordings, documentation, singer eISSN: 2398-4287© 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians/Africans/Arabians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DO

The Curious Case of Saloma’s Legacy: Documenting the Works of Biduan Negara

Puan Sri Datin Amar Salmah Ismail, known professionally as Saloma, is Malaysia’s own Biduan Negara. Even though most people today recognised her as the significant other of Tan Sri Dato’ Amar (Dr) P. Ramlee, Saloma’s popularity as one of Malaysia’s prominent singers is undeniable. However, given her position as Biduan Negara of Malaysia, the documentation of her legacy has reflected anything but, and this article aims to explain the problems plaguing efforts to properly document Saloma’s legacy. The list of recordings has been incomplete for years, even though attempts were made to fortify her legacy by re-releasing her recordings after her demise. Her participation on television programmes and radio recordings were also not properly documented. Her vast collections of couture have been in the storage for almost 30 years, and only a handful of attires were exhibited to the public. At the same time, her handful of appearances on films are still accessible, even though some of her earlier films are unsalvageable. Serious efforts must be taken to properly document Saloma’s legacy, as Biduan Negara is not just an ordinary title for a singer who contributed so much to Malaysia’s arts

Reviewing elements of feminism in a Malaysian play: Kuala Lumpur knock-out

Kuala Lumpur Knock-Out(henceforth to be known as “KL-KO”) is the second project of Kuali Works. KL-KO is the most commercial performance staged by Kuali Works; this was the first time Kuali Works advertised its play in mainstream newspapers in the, as well as solid patronages from an impressive list of sponsors. Written and directed by Ann Lee, it was staged in Experimental Theatre, Kuala Lumpur in 1996. KL-KO revolves around the life of Tan Ai Leng (played by critically acclaimed dancer Mew Chang Tsing), a young Chinese woman from Penang who dreams of fighting Mike Tyson in an exhibition-boxing match in Kuala Lumpur. Simultaneously, her best friend Mazuri experience a rather unpleasant incid ent at her workplace. After 22 years, it is recompensing to look back at the relevance of the issues highlighted in this play. Simultaneously, one would realise that the elements of feminism discussed in this play are the real problems faced by women in this country, even after the new millennium