Rosdeen Suboh
Biographic Data
| ID | 8790476 |
|---|---|
| NAME | Rosdeen Suboh |
| GIVEN NAMES | Rosdeen |
| FAMILY NAME | Suboh |
| SIGNATURE | SUBOH R |
| AFFILIATIONS | University of Malaya |
| ORCID | 0000-0002-5375-7811 |
| VERIFIED | Yes |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 12 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2021 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Ritualization in cultural performance: The case of Chenxiang Saving His Mother in the Chinese Huayin shadow play
Ritual and performance have long been central to the study of Chinese folk arts, yet the boundary between theatrical performance and religious practice often remains analytically ambiguous. This article examines Chenxiang Saving His Mother as performed in Huayin shadow play, focusing on how cultural performance becomes ritualized within a specific local and religious context. Drawing on ethnographic fieldwork conducted in Huayin, including observ…
Sartorial bricolage: The morphological adaptation and symbolic economy of the first standardised Red Army uniform
The 1929 standardisation of the Chinese Red Army uniform represents a pivotal yet under-examined moment in revolutionary material culture. Utilising non-invasive comparative analysis of the Gutian artefact against a canonical Zhongshan suit, this study reveals the uniform was not a replication but a calculated process of ‘sartorial bricolage’. Empirical data confirm that while retaining the Zhongshan silhouette, specific morphological adaptations…
Interweaving Border Folklore and Cultural Identity: An Exploration of Sound Aesthetics in The Story of Southern Islet
In The Story of Southern Islet (2020), the debut feature film of Malaysian Chinese director Chong Keat Aun, sound functions not merely as a regional soundscape delineating the Malaysian borderlands, but as a core cinematic narrative mechanism through which the diasporic identity of Malaysian Chinese communities is constructed and negotiated. Drawing on R. Murray Schafer’s soundscape theory, Homi K. Bhabha’s concept of the “Third Space,” and diasp…
Water Sleeves (Shui Xiu) as Non-Verbal Performance: Interaction between Costume and Body in Chinese Dance Drama
Dance drama, as a non-verbal form of theatre, conveys its narrative through various theatrical elements, including body language, facial expressions, costumes, props, and lighting. Among these, the interaction between costume and body plays a central role in shaping the visual and emotional impact of performance, yet remains underexplored. This study focuses on the traditional Chinese dance costume element of water sleeves, and, by integrating me…
Religious soundscapes and traumatic listening: Auditory memory, ritual, and spiritual space in Chong Keat Aun's Snow in Midsummer (2023)
This study investigates how religious soundscapes mediate historical trauma in Snow in Midsummer (2023) , directed by Malaysian Chinese filmmaker Chong Keat Aun. Focusing on Ah Eng's auditory journey to locate the graves of her father and brother lost in the 1969 May 13 Incident, the film interweaves personal grief, collective memory, and spectral presence. The research applies a sound-oriented close textual analysis, in which auditory events are…
Continuing the Journey to the West: The American-led Chinese story and creative transformation
Hollywood’s The Forbidden Kingdom (2008) and Netflix’s The Monkey King (2023) exemplify what can transpire when the Chinese canonical work Journey to the West continues its journey westward to the United States of America rather than stopping at the story’s original destination, India. This study conducted a comparative analysis of the novel and these two films based on the creative transformation theory to explore the transcultural film adaptati…
Comedy is a life attitude: An exploration of comedy spirit in Chinese realism drama
The enlightenment and development of Chinese realism drama have been primarily influenced by Ibsen and Chekhov. After the 1930s, Chekhov’s influence became more significant as many Chinese playwrights began adopting his techniques. However, they largely focused on his dramatic structure and character development, overlooking his profound comedic spirit. Establishing a stronger tradition of realist comedy remains an ongoing challenge in contempora…
Beyond Vision: The Aesthetics of Sound and Expression of Cultural Identity by Independent Malaysian Chinese Director James Lee
Since the early 2000s, Malaysian Chinese independent cinema has garnered international recognition, with James Lee emerging as one of its most influential figures. Distinct from many of his contemporaries, Lee’s films feature a unique sound design that plays a pivotal role in articulating cultural identity. This study, grounded in in-depth interviews with the director, investigates how sound aesthetics function as a vital medium for cultural expr…
An Analysis of Non-verbal Performance in Theatre
Theatre, commonly seen as an audiovisual art, has performance at its core. Performance is mainly narrative through language, movement, dance, music, art and other forms to create an artistic image for the stage, which contains verbal and non-verbal elements. Non-verbal elements have crucial implications for theatre practice and theoretical perception. The present research investigates non-verbal performance in theatre based on semiotics and non-v…
The Effectiveness of Heuristic as Research Approach on Non-Clinical Therapeutic Procedure through Sabah’s Igal dance for Depression among Adults with Disabilities
The heuristic research approach is valuable for exploring the therapeutic potential of traditional dance forms, emphasizing personal engagement and intuitive understanding. This paper investigates the effectiveness of the Igal dance from Sabah as a non-clinical therapeutic procedure for disabled adults with depression. Depression, which disproportionately affects disabled adults, often requires culturally relevant therapeutic approaches. The Igal…
Teater Tradisional Mendu dan Bangsawan di Asia Tenggara: Hubung Kait Sejarah dan Elemen Persembahan
This article was conducted due to the arising issues stating the connections between mendu or wayang mendu, and bangsawan but there is no further explanation regarding this matter. Moreover, there are statements from several scholar mention that the mendu or wayang mendu was the origin of bangsawan, but there is no detailed explanation. The data examined in this article involves: bangsawan performances that are still active in Kuala Lumpur, Kedah…
Intercultural Communication: A Study on Music as an Element in the Wayang Kulit of Kelantan
This research discusses intercultural relations in the performing art of wayang kulit Kelantan, by examining the phenomena of communication between cultures that occur within the multi-ethnic Kelantanese community, with a focus on the element of music. In order to understand the intercultural communication that occurs in the element of music, Kumpulan Wayang Kulit Sri Campuran was chosen as the main research subject due to the group’s characteris…
No prominent works on this page.
Intercultural Communication: A Study on Music as an Element in the Wayang Kulit of Kelantan
This research discusses intercultural relations in the performing art of wayang kulit Kelantan, by examining the phenomena of communication between cultures that occur within the multi-ethnic Kelantanese community, with a focus on the element of music. In order to understand the intercultural communication that occurs in the element of music, Kumpulan Wayang Kulit Sri Campuran was chosen as the main research subject due to the group’s characteris…
Teater Tradisional Mendu dan Bangsawan di Asia Tenggara: Hubung Kait Sejarah dan Elemen Persembahan
This article was conducted due to the arising issues stating the connections between mendu or wayang mendu, and bangsawan but there is no further explanation regarding this matter. Moreover, there are statements from several scholar mention that the mendu or wayang mendu was the origin of bangsawan, but there is no detailed explanation. The data examined in this article involves: bangsawan performances that are still active in Kuala Lumpur, Kedah…
An Analysis of Non-verbal Performance in Theatre
Theatre, commonly seen as an audiovisual art, has performance at its core. Performance is mainly narrative through language, movement, dance, music, art and other forms to create an artistic image for the stage, which contains verbal and non-verbal elements. Non-verbal elements have crucial implications for theatre practice and theoretical perception. The present research investigates non-verbal performance in theatre based on semiotics and non-v…
The Effectiveness of Heuristic as Research Approach on Non-Clinical Therapeutic Procedure through Sabah’s Igal dance for Depression among Adults with Disabilities
The heuristic research approach is valuable for exploring the therapeutic potential of traditional dance forms, emphasizing personal engagement and intuitive understanding. This paper investigates the effectiveness of the Igal dance from Sabah as a non-clinical therapeutic procedure for disabled adults with depression. Depression, which disproportionately affects disabled adults, often requires culturally relevant therapeutic approaches. The Igal…
Water Sleeves (Shui Xiu) as Non-Verbal Performance: Interaction between Costume and Body in Chinese Dance Drama
Dance drama, as a non-verbal form of theatre, conveys its narrative through various theatrical elements, including body language, facial expressions, costumes, props, and lighting. Among these, the interaction between costume and body plays a central role in shaping the visual and emotional impact of performance, yet remains underexplored. This study focuses on the traditional Chinese dance costume element of water sleeves, and, by integrating me…
Religious soundscapes and traumatic listening: Auditory memory, ritual, and spiritual space in Chong Keat Aun's Snow in Midsummer (2023)
This study investigates how religious soundscapes mediate historical trauma in Snow in Midsummer (2023) , directed by Malaysian Chinese filmmaker Chong Keat Aun. Focusing on Ah Eng's auditory journey to locate the graves of her father and brother lost in the 1969 May 13 Incident, the film interweaves personal grief, collective memory, and spectral presence. The research applies a sound-oriented close textual analysis, in which auditory events are…
Continuing the Journey to the West: The American-led Chinese story and creative transformation
Hollywood’s The Forbidden Kingdom (2008) and Netflix’s The Monkey King (2023) exemplify what can transpire when the Chinese canonical work Journey to the West continues its journey westward to the United States of America rather than stopping at the story’s original destination, India. This study conducted a comparative analysis of the novel and these two films based on the creative transformation theory to explore the transcultural film adaptati…
Comedy is a life attitude: An exploration of comedy spirit in Chinese realism drama
The enlightenment and development of Chinese realism drama have been primarily influenced by Ibsen and Chekhov. After the 1930s, Chekhov’s influence became more significant as many Chinese playwrights began adopting his techniques. However, they largely focused on his dramatic structure and character development, overlooking his profound comedic spirit. Establishing a stronger tradition of realist comedy remains an ongoing challenge in contempora…
Beyond Vision: The Aesthetics of Sound and Expression of Cultural Identity by Independent Malaysian Chinese Director James Lee
Since the early 2000s, Malaysian Chinese independent cinema has garnered international recognition, with James Lee emerging as one of its most influential figures. Distinct from many of his contemporaries, Lee’s films feature a unique sound design that plays a pivotal role in articulating cultural identity. This study, grounded in in-depth interviews with the director, investigates how sound aesthetics function as a vital medium for cultural expr…
Ritualization in cultural performance: The case of Chenxiang Saving His Mother in the Chinese Huayin shadow play
Ritual and performance have long been central to the study of Chinese folk arts, yet the boundary between theatrical performance and religious practice often remains analytically ambiguous. This article examines Chenxiang Saving His Mother as performed in Huayin shadow play, focusing on how cultural performance becomes ritualized within a specific local and religious context. Drawing on ethnographic fieldwork conducted in Huayin, including observ…
Sartorial bricolage: The morphological adaptation and symbolic economy of the first standardised Red Army uniform
The 1929 standardisation of the Chinese Red Army uniform represents a pivotal yet under-examined moment in revolutionary material culture. Utilising non-invasive comparative analysis of the Gutian artefact against a canonical Zhongshan suit, this study reveals the uniform was not a replication but a calculated process of ‘sartorial bricolage’. Empirical data confirm that while retaining the Zhongshan silhouette, specific morphological adaptations…
Interweaving Border Folklore and Cultural Identity: An Exploration of Sound Aesthetics in The Story of Southern Islet
In The Story of Southern Islet (2020), the debut feature film of Malaysian Chinese director Chong Keat Aun, sound functions not merely as a regional soundscape delineating the Malaysian borderlands, but as a core cinematic narrative mechanism through which the diasporic identity of Malaysian Chinese communities is constructed and negotiated. Drawing on R. Murray Schafer’s soundscape theory, Homi K. Bhabha’s concept of the “Third Space,” and diasp…
Art (5 works) · Asian Studies and History (4 works) · Aesthetics (3 works) · History (3 works) · Narrative (3 works) · Psychology (3 works) · Sociology (3 works) · Theatre and Performance Studies (3 works) · Asian Culture and Media Studies (2 works) · Dance (2 works)