Feeling juicy so much that I self talk on my blog

I suddenly has this realization that I need not take things too much and stress myself over myself. I had a plan, had I? Yeah, so I don't understand what the fuck am I worried about. My team members are out there digging and I'm here worrying? Doesn't make due sense...

Lets see,

The topic - I have

The aim - Surely

The structure - Pinned down

The profiles - Assumed

The meat - That's what the others are up to now

And that leaves me with,

The script... Okay, what's with the script?

Is it scripted? No, it depends on interviewee's answer.

So, what answer would I expect? That depends on what shall I ask.

So what determines what I shall ask? The core message of each parts!

So what is the core message of each parts? That's been decided already?

What about narration? What about that? Well, narration is minimal. The interview subjects are going to tell stories. Stories? Yeah, stories meaning the issues dear to the core message.

So I assume I have the 'stories'? That means I'd be getting to pinpoint the core messages and key points that I'd like the interviewee to mention! And with that done, it forms the base of what I'll ask!

This thing about key points, how do I determine it? Do I know the story already? There are two problematic parts, I suppose those needed straightening. The rest could be done already. Erm... what exactly are the others doing?

Am I fully responsible to come out with the script? Or do I need the materials gathered by others first? Why I need those?

Answer: to form my stance on the issue.

Okay, lets have it this way: for the two problematic parts, I need expert opinion. Not just any dancer or teacher, but preferably a academician. The audience part I can set teachers and performers but on the policy part, its best that a scholar or someone who has that critical depth on cultural policies can answer that. Okay I almost get the big picture.

This is the key essence of each parts:

1. The origins starting from ancient times until when it came to Malaysia

2. The very essence of this dance, emotions, music, and rhythm. In that order. Then I ask them when everything comes together how does it feel like. Then we want to know how a dancer progresses in the learning (i.e. how long does it take to graduate). Finally , the thing about divine but not to the sense that it idolizes a certain god.

3. We think that not much from our young people, be it Indians or not, understands the dance. They rarely go watch a classical dance performance. The cause is that we excusably do not understand what is being performed. That children nowadays are more attracted to pop music and hollywood blockbusters. Theses things are grooming us to ignore our past our culture. We think it is bad. But how dancers, performers, teachers would do?

4. Unity through diversity. This is the thing that I'm not sure of. The concept is nice but now we are touching some national policy stuff. First, we need to know if the assimilating the dance or mixing up the dance do any good. That would be based on consequences of assimilation. So we diversify them, made em stand individually strong. But how does different cultures of Malaysia form one big picture? So the question is to find support for this.

5. The conclusion is that taking into account of the situation now, if more can be done, that our audiences understand what is at stake, and coupled with the passion of those who practices the art, the classical art would flourish in the future.

I think that is all to be explored and done. Yeah, it should be sufficient.

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Excuse me for the self talk, but i guess its a good way for checking my thoughts, since I forget things easily. It provides a good reference. Okay, time to head back to work.