The absence of a clear, consistent commitment to arts and culture in Budget 2027 raises concerns about the development of Malaysia’s creative ecosystem.
Without a broader framework of support, the responsibility for sustaining the sector continues to fall largely on individual practitioners, independent organisations and community-led initiatives, many of which operate with limited resources.
Cendana (the Cultural Economy Development Agency), once the closest Malaysia had to a central agency for channelling government funding and support to the arts and culture sector, is no longer part of the funding landscape. While its role may be open to debate, it remains a point of reference for practitioners seeking a more coordinated, long-term approach to developing the industry.
In Malaysia, a culture pass modelled on initiatives in countries such as Singapore and South Korea also remains a distant prospect. Such a scheme could provide government-backed credits or vouchers to offset the cost of arts, heritage and cultural activities, particularly for younger generations, helping them access theatre performances, exhibitions, museums and workshops.
One positive measure in Budget 2027 is the full exemption from entertainment duty, from 2027, for tickets to local films and theatre performances in the Federal Territories of Kuala Lumpur, Putrajaya and Labuan. The Prime Minister also urged state governments to follow suit to help support local artists and make the arts more accessible to the public.
“Personally, I see this as a step forward that most, if not all, theatre practitioners would welcome, especially those of us working in independent collectives. Industry players have long been calling for reform of the entertainment duty through various movements, including ReformARTsi, so we can finally breathe a small sigh of relief over this modest victory for our small industry,” says Asyraf Syahir Mohd Najib, founder and artistic director of EJKLS Seni, which runs Pangkin@EJKLS Seni, a fringe arts space in Wangsa Maju, Kuala Lumpur.
“The policy of a full entertainment duty exemption is welcome, and we look forward to more details, particularly on its implementation. However, the declining allocation to the creative industry raises questions about the Government’s long-term commitment to the creative community and its confidence in the Orange Economy (also known as the Creative Economy),” says Tan Cher Kian, film and theatre producer.
William Yap, co-founder of CloudJoi and founder of W Productions, says it is frustrating that the performing arts continues to lack a clear place in the national budget, with many of the same concerns recurring year after year.
"Another area I feel is missing is support for audiences. Beyond supporting productions, the government could consider audience incentives such as tax relief for arts and cultural spending, arts vouchers, or matching schemes that encourage people to purchase tickets to local performances," says Yap.
As arts and culture play an increasingly significant role in the economies of progressive-minded countries, there is a need for Malaysia to take the sector more seriously, recognising it not merely as an adjunct to tourism but as an essential part of the nation’s social, cultural and economic development.
"The arts deserves to be an agenda of its own on the table, we owe it to the artistes and arts-makers on the ground who, even with little support, try to make things better and make the country proud. Just look at Singapore and South Korea’s investment in arts and culture and how it has put them on the map. Even Indonesia has set up a standalone Ministry of Culture in 2024 to give it the attention, the development and the funding it deserves," says Ang Yue May, KLPac general manager (marketing communications).
Building sustainable careers
As Malaysia’s arts and culture scene undergoes a generational shift, with younger practitioners and emerging creative voices bringing fresh perspectives, dedicated support remains limited to help them develop their practice, create new work and build sustainable careers.
“I would particularly have loved to see more funding put towards the development of new works and talent, which involves prioritising research, creative and artistic development, training, and upskilling. A lot of the funding currently available focuses on the output; we should also be investing in the process, because this creates a long-term, sustainable arts sector,” says Sharmilla Ganesan, arts critic and co-founder of The Cipta Seni Incubator, which has found alternative funding for arts projects.
Despite the emergence of world class performing arts centres and revamped theatre spaces in the country, it is the grassroots that form the foundation of a thriving arts ecosystem, nurturing new talent, developing original work and building audiences beyond established venues.
These are areas where the government can play a pivotal role by providing targeted funding, strengthening grassroots initiatives and creating the conditions for local talent and independent arts spaces to grow.
"The situation now is we have more venues, but independent practitioners feel that getting to perform there is beyond reach. Funds to incubate new works, for example plays that speak to Malaysian contemporary society and that tour beyond the Klang Valley, are vital to ensure the arts can thrive and be appreciated by all," says Adriana Nordin Manan, a writer, playwright, translator and researcher.
"Any support with infrastructure like rehearsal and performance spaces would be welcome and go the distance to bring the arts to life," she adds.
Many feel when government support is limited, or difficult to access, independent practitioners are left to shoulder much of this responsibility themselves.
"Project-based funding may help bring individual productions to life, but it does not necessarily sustain the people, collectives and spaces that make these productions possible. This creates a cycle in which practitioners are constantly trying to secure the next project rather than developing their practice over the long term," says Miriam Devaprasana, researcher and cultural practitioner, who operates between George Town, Penang and Kuala Lumpur.
"I believe arts and culture need to be recognised as essential to the social and cultural life of the nation, rather than treated as an optional expense or supported primarily when they serve tourism or national branding.
"Sustained investment, accessible funding mechanisms, and support for the everyday work of creating, experimenting and engaging communities is vital. Without this, we risk losing not only artistic work, but also the people and cultural ecosystems that make such work possible," she adds.
Resourcefulness has become a byword for some in the arts and culture scene, and there have been indie communities that have kept going amid challenges, and nurtured emerging talent through open mics, poetry events, music and more.
"We’ve sustained ourselves wholly through our own resources and the community we’ve built around the collective. Our model has evolved over the years, particularly after the pandemic, through partnerships and collaborations that have helped us continue creating spaces for performers and audiences to come together. But there is a limit to how far personal resources and community support can take grassroots initiatives," says Raaja Rao, poet and co-founder of Jalan Dalam, a KL-based performing arts collective, which is celebrating its 10th anniversary next year.
