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?”

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“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

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To investigate the above mention aim, the following are the research question:

i. Do performing arts will fade by trends?ii. How is the future of performers who takes performing arts as

their main income?iii. How long will they last in performing arts industry?

1.4 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

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be better in a future. But if the perceptions are too negative it can affect the society to be sceptical towards an issue.

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

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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 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 cross-pollinating, 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

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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 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

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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 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 city’s 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 team’s disorganised market approach. While the government has provided funding in the past, these funds can’t be the main source of income.

Fourth, most performers can’t 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 can’t 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 it’s 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

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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 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 é 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

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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 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

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406 returned questionnaires was obtained. The sample reflects a predetermined diversity of time of year (the fall-spring theatre season versus 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

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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 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

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participation. we predict a steady and growing demand for those performing artists who are willing to perform outside professional ranks.

Methodology

3.0 SubjectsA 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 InstrumentWe 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

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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 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 don’t 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

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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.

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

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there is still people who do not get the idea about performing arts study.

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 family’s 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

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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 Life and the Discipline of the Students of Performing Arts

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

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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.

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

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everyone will appreciate it. Then with performing arts also can make they have stable income even they don’t 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 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 1Title:Performing art subsidies and future generations.Authors:Dobson, Laura C.West, Edwin G.Source:

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Journal of Behavioral Economics; Spring90, Vol. 19 Issue 1, p23,11p, 1 chartDocument Type:ArticleSubject Terms:THEATER audiencesGeographic Terms:UNITED StatesAbstract:Examines the theater-goer population through the use of speciallydesigned audience surveys in the United States. Variables thataccount for culture development from early ages; Variables thataccount for hitherto neglected institutions that encourageexpanding taste for arts among all ages and income groups;Findings of the specially designed audience survey of theaters inAtlanta, Georgia in 1986-1987.Full Text WordCount:4401ISSN:0090-5720Accession Number:9709081717Persistent link to thisrecord:http://search.ebscohost.com.myaccess.library.utoronto.ca/login.aspx?direct=true&db=buh&AN=9709081717&loginpage=Login.asp&site=ehost-live&scope=site

3) Baumol, William J., and William G. Bowen. Performing Arts--The Economic Dilemma. New York: Twentieth Century Fund, 1966. (4) Morrison, William G., and Edwin G. West. (a) "Child Exposure to the Performing Arts: The Implications for Adult Demand." Journal of Cultural Economics, 10(1) 17-24, 1986. (b) "Subsidies for the Performing Arts: Evidence on Voter Preferences." The Journal of Behavioral Economics, 15, Winter, 1986. (5) National Endowment for the Ans. Audience Studies of the Performing Arts and Museums: A Critical Review. Research Division Report No. 9. Washington, DC: NEA, 1978. (6) -----. Report of the Task Force on the Education, Training and Development of Professional Artists and Arts Educators. Washington, DC: NEA, 1978. (7) -----. Conditions and Needs of the Professional American Theatre. Research Division Report No. 11. Washington, DC: NEA, 1981. (8) -----. A Brief Chronology of Federal Involvement in the Arts., 1965-1985. Washington, DC: NEA, 1985. (9) -----. 1986 Annual Report. Washington, DC: NEA, 1987. (10) Newbold, Paul. Statistics for Business and Economics. Englewood Cliffs, NJ: Prentice-Hall, 1984. (11) Peacock, Alan. "Welfare Economics and Public Subsidies to the Ans," pp. 78-79 in

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The Economics of the Arts, edited by Mark Blaug. London: Westview, 1976. (12) Shaughnessy, John J. and Eugene B. Zechmeister. Research Methods in Psychology. New York: Knopf, 1985. (13) Throsby, C.D., and G.A. Withers. The Economics of the Performing Ans. New York: St. Martin's, 1979. (14) U.S. Bureau of the Census. 1980 Census Population and Housing Characteristics. Washington, DC: Government Printing Office, 1981. (15) -----. Statistical Abstract of the United States 1986, 106th edition. Washington, DC: Government Printing Office, 1985. (16) Vogel, Harold L. Entertainment Industry Economics. Cambridge: Cambridge http://www.freemalaysiatoday.com/category/opinion/2012/07/18/performing-arts-to-hit-high-

notes/Performing arts to hit high notes/ July 18, 2012/Fadhlullah Suhaimi Abdul Malek

The Current State of the Performing Arts in Malaysia/ Zedeck

Siew/http://eng.theapro.kr/DATA/BBS1/Research%20of%20Performing

%20Arts%20in%20Asia.pdf

SA A 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 -

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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 don’t 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 A 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 - -

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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

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

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