The basis of democracy in Malaysia is intertwined with the sole idea of racial diversity and harmony. We pride ourselves for being a multiracial country and we take this idea and hold onto it tightly enough in hopes that racial sociopolitics will always remain a positive aspect of being a Malaysian. I was born and raised in Malaysia and one facet of Malaysian politics that radicalised me at a very young age was simply the utilisation of racial harmony as a smokescreen that obscures racial injustice and prejudice being systemic to our constitution. Is this integration or fragmentation? 

Racial diversity is a performance of hope. It has a moderating effect that plays a crucial role in the construction of a truly sustainable community. Monash Cultural Night (MCN) was the catalyst for the promotion and prioritisation of racial harmony in Monash. A diversified university placed in an already diversified country. The difference is Monash legitimately enforces mechanisms that bring all ethnicities together. MCN was a hit! The venue was absolutely stunning. The entire ballroom was plastered with tiny lights across the walls, scintillating through every photograph taken and threading carefully and lightly into the apertures of cameras throughout the entire night. It was almost a celestial organisation, simply pleading for more pictures to be taken. It has to be said, the pyrotechnics was the craziest part of the event. Once again, the venue chosen was simply perfect due to its ability to accommodate these visual effects. 

The night started with the introduction of the Country Representative Officers (CRO) who quite literally floated down to the bottom of the stage on a couch. This elaborate stunt was a fantastic indication of what awaits us next. If anything, this very performance of grandeur and attention to detail exposes the amount of time and patience the MUISS division had when it came to perfecting this event. Both CROs, Iqra Humaira and Mustafa Khan did a fantastic job overall! 

The conceptual idea of MCN is a celebration of identity. It serves as a core reminder on the degree of diversity that we have in Monash, being absolutely incomparable to other universities in Malaysia. However, along with the celebration of cultural diversity, MCN exists as a space for the performance of culture and the invigoration of racial identity. This was done by making it into competitions! MCN was structured into several categories of awards. The most coveted award being the best performance. An exhaustive roster of countries began their performances one by one, we see each and every one of them performing with absolute grace and control. The celebration of culture translated into the art of production and entertainment was simply the best part of MCN. 

The winner for the best performance category was India/Nepal and it was well deserved! The integration and inclusion of the extremely diverse ethnic groups in India and Nepal was well amalgamated to produce a coherent and cohesive performance that somehow encapsulated all fragments of Indian and nepali culture. The theatrics of the dancing, singing, and even the traditional outfits consciously propped India/Nepal to the top of the leaderboard. This performance was conceptual and thorough and linear. It was an amalgamation of niche cultural backgrounds from all over India, making its way towards Maharashtra and then Kerala and toward Tamil Nadu. The dancers involved were originally part of these states featured during the performance which was made clear through the perfection at which the storyline was depicted. 

A personal favourite of mine was the performances by the Myanmar team. Amidst the coup d’etat and the sectarian conflict, these burmese performers unwittingly challenged the forces of racial diversity and coherency by putting on such a culturally specific and rich performance, leaving me to contemplate the intersection of burmese art and culture. This performance was nostalgic to the 90s and 80s southeast asian culture. The most interesting aspect of this performance was the reenactment of the burmese marionette theatre, called yokhte pwe. I can’t help but draw parallels between this performance of yokhte pwe with wayang kulit from balinese culture which was later travelled to Kelantan in Malaysia. So many different cultures having similar marionette theatrical performances rooted from one very source, it is so incredibly interesting seeing how the different interpretations and manifestations of culture come together. 

Just a spectacular performance of culture and art from all participating countries, I simply can’t fit all of them into this article which is such a shame. The night continued with championing this intersection of art and culture by moving onto the fashion shows. Fashion plays a gigantic role in cultural representation. The clothes that we wear represent innate stories and rich histories and having the responsibility to ensure that culture does not disappear with time comes with adorning these culturally rich outfits. All participating countries walked down the runway one after the other while the crowd cheered them on. 

The night ended with the most anticipated awards ceremony. Having seen the absolute confidence and respect everyone had towards all the different cultures displayed during MCN have validated the core value of culture being the main driving force behind the construction of the truly attuned community and for that, I am forever grateful to document one of the most memorable MCN to date. 

Article by Yashven Jayabalan

Photos by Ezriq, Crystal and Tarek