Thomas Jefferson's view on slavery Research Paper

The Concept of Leadership in Organizational Success

Presentation It is clear that authority style is the thing that directs the idea of workplace inside an association and eventually the business achievement of any association. Moreover from the circumstance and reverberation just as the idea of commitment to the work atmosphere, there are a few styles that contribute emphatically and other adversely. There is have to obviously comprehend the idea of administration and how it impacts on the achievement or disappointment of organizations.Advertising We will compose a custom paper test on The Concept of Leadership in Organizational Success explicitly for you for just $16.05 $11/page Learn More This task is significant since it will offer me a chance to comprehend the importance of initiative, its significance, contrast from the board, the ideal characteristics for a compelling pioneer lastly the different styles of authority (Koestenbaum, 2002). This will assume a greater job in guaranteeing that I completely welcome the entire idea of administration typically appropriate in all circles of human life. Initiative significance The idea of authority has been in presence in a perfect world since the start of humankind. In any case, there has been a colossal change and what was considered to be the best authority styles in the past is absolutely not acknowledged at present. By definition, initiative has been thought as; â€Å"a process whereby an individual can impact considerations, thoughts and activities of others in accomplishing a lot of preset objectives, assignments, obligations and responsibilities† (Kouzes Posner, 2007). From the definition gave it is obvious that initiative is of significance not exclusively to the individual laborers however the whole association and at last to every single other partner. It is authority that makes an ideal situation in the work environment that will make sure that vision, crucial guiding principle are set and carefully having best methodologies to achieve them. Issue s managing change the executives, inspired and fulfilled representatives, hierarchical achievement and execution must be acknowledged whether the administration set up is compelling and comprehensive. It is no uncertainty that initiative utilizes all the assets particularly the human funding to make associations accomplish upper hand fundamental for future endurance of organizations within the sight of rivalry. There is have to recognize authority from the board. The later has been characterized as the techniques utilized to control, plan, immediate just as sort out all the assets at the removal of an association so the equivalent are in accordance with the qualities just as rules that manage the association. It is no uncertainty that the idea of the board is answerable for guaranteeing that laws, strategies and rules are carefully clung to. Along with authority, the board uses preset qualities and standards to tune the human asset so as to accomplish the order gave to it.Advertisin g Looking for article on business financial aspects? How about we check whether we can support you! Get your first paper with 15% OFF Learn More Leadership characteristics According to Koestenbaum, 2002 all pioneers are not equivalent since there are the individuals who will be believed to be more effective than others. The mystery behind this lays on the blend of initiative characteristics had. In this area, different authority characteristics are concisely secured. Having viable introduction abilities is crucial for pioneers to be fruitful. It is no uncertainty that data sharing inside and outside the association is significant. The capacity to communicate thoughts in the best way, addressing questions sufficiently, conveying introduction unquestionably by utilizing visual guides go an additional mile in making a decent pioneer. The capacity to settle on viable dynamic typically separate between administrations. Exacting adherence to specific advances while settling on choice for example building up the issue just as recognizing objectives to be objective, connecting with instinct and gathering significant information add to an effective pioneer with regards to settling on balanced choices. Also acting emphatically is key in making a viable pioneer. This involves making one’s perspectives, assessment and convictions known in the most authentic way while having at the top of the priority list the worries of others. It for the most part involves demonstrating most extreme regard for other people. Another quality that improves one to be a pioneer is the capacity to effectively oversee individual time. It is no uncertainty that every single assignment offered to chiefs and pioneers have time bound. Pioneers who are considered effective will have set up components to set objectives that are feasible practical and quantifiable. Curiously the capacity to manufacture trust is accomplished by pioneers trying to do they say others should do. For example world r e-known pioneers not just advise devotees to keep time, effectively tune in yet additionally put the equivalent by and by. This thought makes the pioneer and their supporters to have a shared getting (Griffith, et al., 2006). The capacity of a pioneer to make a popularity based work place atmosphere guarantees that the subjects are allowed to air their perspectives, conclusion and convictions that may challenge those of their pioneers results to a progressively effective association. To wrap things up, having the option to embrace different styles of learning is one significant administration quality. The ownership of different learning styles, for example, activists, reflectors, scholars among others makes a pioneer to be progressively levelheaded when deciding (Kittle, 1994). Authority styles Based on the different blends of administration characteristics there are various sorts of initiative style. One of them is visionary initiative style in which the one in charge of administra tion has confidence in vision and shows compassion. Supporters are made to comprehend that they are critical to the association and any achievement is credited to them. Inspiration is key along these lines this style has unparalleled commitment to progress. This sort of administration is awesome in circumstances where firms are experiencing emotional enormous changes. A case of a pioneer who utilizes this authority style is Mark Hurd the CEO of HP Company. He permitted free progression of data just as inspiring his subjects towards achieving the normal goal.Advertising We will compose a custom article test on The Concept of Leadership in Organizational Success explicitly for you for just $16.05 $11/page Learn More Democratic administration style is the place the pioneer makes a domain where the subjects are permitted to openly air their perspectives and assessments. In this way the equivalent are used by the pioneer in showing up at a choice. In circumstances where these perspective s are found in the choices showed up at, the subjects will feel a vital part of the choice subsequently bolster it as far as possible. Moreover cooperation is exceptionally energized where qualities and shortcomings will be known. Thoughts are developed and supported. In any case, the style may prompt exercise in futility in settling on convenient choices (Griffith, et al., 2006). Another style of administration is pace-setting where the methodology utilized is carrot and stick. In this entertainers are remunerated while disappointments are rebuffed. People endeavor to by and by gain to the detriment of the association. Pioneers in this class anticipate that their subordinates should be position to carryout their obligations and duties. Pioneers would role be able to up their sleeves and salvage the circumstance on the off chance that things appears to go hello wire. Finally, telling authority is the place those in the cutting edge hold a position that is firm while instructing and offering bearings to the subordinates. Pioneers anticipate that supporters should completely consent to the standards, rules just as methods set by the applicable bodies (Kittle, 1994). One isn't permitted to come in with another thought and the subordinates are constantly under reconnaissance. Strangely, there is no opportunity to effectively take part in discussion to arrive at agreement. This sort of initiative is just pertinent during emergency circumstances. One pioneer that used this sort of style is the British Airways CEO when the lodge group picketed mid 2010. The two styles to be thought about are ordering and visionary initiative style. The previous is more favorable than the later since it permits free progression of data, a workplace where all adherents are profoundly energetic is made. Furthermore through sharing of data, every single individual is at standard with the happenings inside the association thus ready to raise concern sufficiently early (Griffith, et al., 2 006). Then again, ordering style of authority has been demonstrated to be extremely negative since ability isn't sustained. Data isn't shared as needs be henceforth there are the individuals who are left in obscurity when settling on choice which may later prompt obstruction for example in embracing change (Kouzes Posner, 2007).Advertising Searching for exposition on business financial matters? How about we check whether we can support you! Get your first paper with 15% OFF Find out More End There is have to plainly comprehend the idea of initiative and how it impacts on the achievement or disappointment of associations. This task is significant since it allowed me a chance to comprehend the significance of authority, its significance, contrast from the executives, the ideal characteristics for a compelling pioneer lastly the different styles of initiative. Initiative characteristics, for example, powerful correspondence, embracing distinctive learning styles just as building trust are critical to forming fruitful pioneers. The different styles of administration examined incorporate visionary, pace-setting, telling and law based. Initiative is for sure unique in relation to the board yet the two go connected at the hip in guaranteeing an association succeeds. References Griffith, B., et al. (2006). Compelling gatherings: Concepts and abilities to address authority difficulties. New York: Allyn Bacon. Kittle, E. (1994). Initiative abilities: D

Genre Kryptonite Ladies Whod Make a Sailor Blush

Genre Kryptonite Ladies Whod Make a Sailor Blush There’s nothing like a perfectly dropped f*bomb from a ladies lips. I mean to this day one of my all time favorite movie quotes is Kit De Luca saying Cinder-fuckin-rellaâ€"I like to believe it’s what Vivian remembered while standing out on the fire escape that lead her to rescue Edward right back. via GIPHY Now you can like “vulgarities” or not, it’s a personal taste/preference after all, but women are told to leave it to the fellas and behave like ladies instead. Say what? Even at a young age I was very aware of gender double standards: Why couldn’t I pee behind a bush if I suddenly couldn’t hold it? Why did I have to wear a shirt if my chest looked no different then the boys? How come there were types of humor only funny if it came out of a boy’s mouth? I might have known squat about the world back then but I knew something was rotten in the state of Girlville and I was determined to figure out who was behind it so I could yell at them and change itâ€"or tell their mother on them. That obviously never happened and the older I got the more I realized if girls cursed or talked about periods, boobs, bodily functions, sex… they were labeled a certain type of girl, and it wasn’t a good label. It was a bad, bad labelâ€"like being diagnosed with the cooties. Naturally, I wanted to find all the girls riddled with cooties and hear what they had to say. It wasn’t until my mid-twenties when I read Chelsea Lately Handler’s My Horizontal Life: A Collection of One Night Stands that I’d finally read a woman being completely open in a hilarious wayâ€"I still laugh thinking about her in an MM costume stuck in a window. Don’t get me wrong, I’m not saying every woman should adopt this personality. Nor that everyone needs to be a fan. But I’d like all the ladies in the world who’ve been told they’d make a sailor blush to be able to stand proud and write a memoir or collection of essays because I will immediately buy it. And then read it in one sitting and wish I hadn’t read it so fast because now the joy is over and the laughter-tears have dried. Not only have I read all of Handler’s books I’ve also managed to find more potty-mouthed funny ladies who refuses to shy away from “unladylike” topics. And I love them all, individually and collectively, for so many different reasonsâ€"starting with they are each unique. I don’t have to agree with everything they do or say, and I can cringe at some of the stories thinking I would have pretended not to know her if I was standing next to her at that moment, but that doesn’t mean I don’t love or appreciate them. More importantly, and I say this with zero stalker tendency, I want to be friends with each of these ladies. Aisha Tyler’s Self-Inflicted Wounds: Heartwarming Tales of Epic Humiliation reads as if Tyler is animatedly (and long-windedly) telling you these stories while sitting across from you in a bar. As the title implies she recalls moments in her life where the only person she can play the blame game with is herselfâ€"basically she runs full speed into the unknown and asks questions later, which doesn’t always end well for her but makes for great stories and lessons learned (sometimes). Funny, oozing heart, and intelligentâ€"even if she did once discover she could not hold her pee in all the way home. Rating: Mild sailor blushing. In On My Knees: A Memoir, Periel Aschenbrand hilariously tells stories of squatting in her dead grandmother’s apartment, heartbreak, conversations with her girlfriend, a trip to Israel, her sex-life… Periel certainly has NO filters and will openly talk about ANYTHINGâ€"something her poor mother constantly has to deal with. Rating: The sailor has left the building! A queen of vulgarities and making a name for herself in the male comedy world Sarah Silverman applied her no-joke-is-off-limits philosophy and wrote about her childhood, battle with depression, battling TV censors, and life as a comedian in The Bedwetter: Stories of Courage, Redemption, and Pee. Rating: Full double-cheek blush for the writers room chapter alone. In Has Anyone Seen My Pants? Sarah Colonna manages to be insanely funny and introspective while easily moving from humorous to heartfelt stories. And while I love her potty-mouth, sense of humor, and honesty what made me fall even deeper in love with this book, and her, was her awesome female friendships. Rating: HBO level blushing. 14+ years later Margaret Cho’s Im The One That I Want is still 100 percent relevant and important: from her stories of childhood bullies, self-hate/destruction (self-realization), and Hollywood’s DISGUSTING treatment of women and “others. Rating: Rated R blushing. And across the pond Caitlin Moran uses the dirtiest f-word ever (feminism) in How to Be a Woman. No lady subject is off-limits nor spared Moran’s wit, opinion, or wisdomand she boldly goes into conversations rarely talked about, let alone publicly. Rating: The sailor needs new cheeks! Do you have a favorite potty mouthed lady writer? Any essay/memoir recs? Ill happily risk shelf collapse under the weight of too many books in this genre. Save

Movie Analysis `` Doc `` Essay - 2135 Words

In Sharon Pollock’s play â€Å"Doc†, memory is a central aspect that the entirety of the play revolves around. Memory is staged as fluid, dynamic and as an important element in one’s understanding of one’s self. In this play, it is through memories that Catherine gains a new perspective of herself, other characters, and past events. This representation of memory is developed through dramatic techniques such as set and setting in the way the play is staged to transcend both time and space through the shared memories of Ev and Catherine as well as certain props. This representation is also shown through the technique of plot and design in the way the timeline of memories shifts as Catherine sees her childhood memories in a new light. First of all, an important aspect of â€Å"Doc† is the set and setting and how it relates to Pollock’s fluid representation of memory. The present is set in Catherine’s childhood home, while the past has a more ambiguous setting as Catherine and Ev are catapulted back in time through their memories of the past. Before the play even begins, Catherine’s childhood home already seems to have a spooky feel to it as the stage directions state â€Å"In the black there is a subtle murmuring of voices, with the odd phrase and word emerging quite clearly. They are repeats of bits and pieces of dialogue heard later in the play. The voices are those of Katie, Oscar, Bob and the young Ev; they often speak on top of each other† (Pollock 1149). This initiates a hauntingShow MoreRelatedThe Wild West: an Analysis of Post-Civil War Tension in John Ford’s â€Å"My Darling Clementine†1546 Words   |  7 PagesDiscuss the thematic implications of Doc Holl iday and Granville Thorndyke (the Shakespearean actor) in â€Å"My Darling Clementine.† What is Ford trying to say about the relation to the civilized East to the unsettled West. 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The Father Of All Monsters - 1379 Words

Richard Zepeda Professor Macias College Writing 111 7 April 2016 The Father of All Monsters Typhon, the force to be reckoned with and the one that only few can match. This terrifying beast is definitely not your ordinary monster; according to Hesiod s The Theogony he is a son of Gaia (the earth) and Tartarus (the depths of hell). Though, as stated in The Homeric Hymn, Typhon was the child of Hera without help. Hera was angry at Zeus for giving birth to Athena by himself, so she prayed to Gaia to give her a son that was as powerful as Zeus, after that Hera whacked the floor and she became pregnant. Hera then gave her baby Typhon to the serpent Python to take care of, and Typhon grew up to become a great annoyance to mortals. There are many different stories of how this creature came about; nonetheless neither can discredit this monster as being the most fierce and terrifying. Typhon is said to have been the most ferocious creature to have ever roamed the earth. Typhon is perhaps undoubtedly the most disturbing and powerful monster in G reek mythology. Typhon, however, was not just a monster, he was a god, being the son of the Gaia and Tartarus gave him such title. Now just because Typhon is a son of gods, that alone does not make him one of the most feared creatures in Greek mythology, rather than his ascribed status, it is Typhon’s actual physical appearance and capabilities that strike fear into his foes and anyone else who comes across his path. ThisShow MoreRelatedEssay about Frankenstien All Behavior Is L616 Words   |  3 PagesThe monsteramp;#8217;s behavior was directly related to, his experiences with society and its treatment of him. All behavior is learned, therefore if the monster was to be good or evil depended on societies reaction to him. Even though the monster had a fully matured body, he was like a child because he had no memories or experiences of his own. When the monster was given life he had no concept of good or evil. 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Mass Media and Violence Free Essays

Mass Media and Violence Is it hard to believe that just forty years ago only a few privileged American families had televisions in their home? In recent years, it is estimated that a whopping ninety-eight percent of Americans have one or more television sets in their home. Motion pictures, televisions, video games, and the internet are just some forms of mass media that have emerged since the last century. With the rise of mass media, the increase of violent behavior has increased as well. We will write a custom essay sample on Mass Media and Violence or any similar topic only for you Order Now Mass media influences many factors of people’s lives such as moral beliefs, behavior, and values. Violence in mass media is greatly dominating our society and continues to do so. It causes aggression and is a growing epidemic among the youth. Scott Barbour praises the American Academy of Pediatrics: â€Å"The vast majority of studies conclude that there is a cause-and-effect relationship between media violence and real-life violence. This link is undeniable and uncontestable. † It is no lie when they say the average American child witnesses 200,000 acts of violence on TV by the age of eighteen. Watching violent TV shows or movies promotes aggression. People want to follow what everyone else is doing so they will follow and may even commit what these actors are doing on the television. According to L. R. Huesmann, research shows that fictional TV and film violence contribute to both short and long-term increase in aggression and violence in young viewers. Children are in particular are affected by violence, aggression, or sexual abuse in our media because of their helpless psychology. Some forms of aggression include truancy, lack of social skills, and failing out of school. It is no doubt that the media that promotes violence and aggression is the same one to have an effect on society. This is a monkey see, monkey do world and people may not even know that they being effected, but they are. Especially with the next generation coming up, they sort of are growing up with the violence. It becomes more and more traumatic as they see it more. According to Mughal, children and teen’s values and beliefs will become more aggressive. He goes on to say that media portrays war as entertainment [in video games]. War is not entertainment and nobody wins in real war while real people are getting killed. This illustrates another problem: can ociety depict from reality and fantasy? Most of the recent shootings in the United States were committed by the youth. Is it just a coincidence or is it because of the hostility displayed on their television sets? Many people think that violence in media is entirely based on real life. They proclaim that since we live in the real world, the media cannot possibly be more violent than what we already know. Actually, it is impossible for people to know all horrific events that have taken place. Also, some would say that it is up to the individual to decide what to be exposed to. That is not true, since you are exposed to cruel media whether you know it or not. Even on the news, â€Å"Crimes such as murders, robberies, and abuse are shown as deviant behavior† rather than actual violence. In conclusion, violence in media does affect society. It is a growing wave and teaches aggression. Some solutions could be placing regulations on TV and motion picture producers. If gun makers have regulations on guns they make, why not placing rules on producers? Also, parents should be aware of what their children watch. There is no way to be completely censored of the media but it can be kept at a minimum. Times have changed since the last show of Leave it to Beaver. If there was less violence in the media, there will be less violence in the real world as well. Works Citied Cline, Victor. â€Å"How the Mass Media Effects Our Values and Behavior. † ojs. lib. byu. edu. N. p. , n. d. 20 Dec 2012. Dean, Gregory. â€Å"A Mediated Culture. † Marketogrpahy N. p. 23 Nov 2010. Web. 19 Dec 2012. Barbour, Scott. â€Å"What Causes Teen Violence? † Teen Violence, pg 49-51. San Deigo, CA. 1999. Print. Huesmann, L. R. and Taylor, Laramie. â€Å"The Role of Media Violence in Violent Behavior. † 2006. PDF. 21 Dec 2012. Mughal, M. A. â€Å"Mass Media and its Influence on Society. † Opinion Maker. N. p. , 18 Jan. 2011. Web. 22 Dec. 2012. Norton, Eric. â€Å"The Dangers of Violence in Modern Mass Media. † Center for Community Health Partnerships. N. p. , 22 June 2009. Web. 21 December 2012. ——————————————– [ 2 ]. Cline, Victor. â€Å"How the Mass Media Effects Our Values and Behavior. † . N. p. , n. d. 20 Dec 2012. [ 3 ]. Dean, Gregory. â€Å"A Mediated Culture. † Marketogrpahy N. p. 3 Nov 2010. Web. 19 Dec 2012. [ 4 ]. Barbour, Scott. â€Å"What Causes Teen Violence? † Teen Violence, pg 51. San Deigo, CA. 1999. Print. 4 Barbour, 49 [ 6 ]. Huesmann, L. R. and Taylor, Laramie. â€Å"The Role of Media Violence in Violent Behavior. † 2006. PDF. 21 Dec 2012. [ 7 ]. Norton, Eric. â€Å"The Dangers of Violence in Modern Mass Media. † Center for Community Health Partnerships. N. p. , 22 June 2009. Web. 21 December 2012. [ 8 ]. Mughal, M. A. â€Å"Mass Media and its Influence on Society. † Opinion Maker. N. p. , 18 Jan. 2011. Web. 22 Dec. 2012. [ 9 ]. Norton, Eric. [ 10 ]. Dean, Gregory. How to cite Mass Media and Violence, Essay examples

The Case of the Bambus Essay Example

The Case of the Bambus Paper The Case of the Bambus The Story of the Gambus and its Evolution Yap Yuan Li Ben U0921231H AAI481 Studies in Malay Music Nanyang Technological University The Story of the Gambus and its Evolution Introduction The gambus is an omnipresent and most commonly found lute instrument in the various styles of Malay folk music. It is usually made from wood and is formed almost like a guitar but with 9 to 12 wire strings compared to the guitar’s 6 to 12 strings. There are two types of gambus, namely Gambus Melayu which is the Malay gambus and Gambus Hadhramaut which is the Arabian gambus. Both of them originate from similar backgrounds with the Gambus Melayu a modification of the Gambus Hadhramaut. Today, the gambus is recognised as a national musical instrument of Malaysia and a symbol of Malay traditional music identity (Hilarian, 2006). We will explore further in this essay the origins and evolution of gambus and its role in the Malay musical genre of zapin, hamdolok and ghazal. Gambus Melayu The slimmer and smaller pear-shaped gambus Melayu is comparable to the Yemeni qanbus. Its uniqueness is in its ornamented sickle-shaped carved pegbox that has emblems engraved into it (Hilarian, 2003). Its body is made from jackfruit tree wood and it has a goat skin belly. The strings in gambus Melayu is attached and tuned precisely similar to gambus Hadramaut (Nik Mustapha, 1998). The gambus Melayu is frequently used in Zapin and Hamdolok performances in Johor (Matusky, 1985 as cited by Ang, 2005). The sounds of the gambus Melayu can also be heard in Singapore, Sabah, Sarawak, Indonesia and Brunei (Hilarian 2006). Gambus Hadhramaut The arched-back, pear-shaped Gambus Hadhramaut is quite similar to the classical Arabian ‘ud (Hilarian, 2003). It is made from a combination of ight wood like red meranti, a type of construction timber and durian belanda. The gambus Hadramaut does not have frets and the strings are plucked and attached in double course except the 11th string. The strings are tuned in perfect 4ths beginning from the highest string from the middle C (Ang, 2005). The Transition of the Gambus from Arab to Malay Culture Studies done by Hilarian (2003, 2007) theorized t hat in the 9th century, Muslim Persian conquerors and traders brought the barbat, an early form of lute instrument, into the Malay Archipelago during their migration to Southeast Asia for entertainment purposes (Sachs, 1940). We will write a custom essay sample on The Case of the Bambus specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on The Case of the Bambus specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on The Case of the Bambus specifically for you FOR ONLY $16.38 $13.9/page Hire Writer This is supported by Alatas (1985) who claimed that many Persians and Indians traded in the rich port of Klang, Selangor. The barbat was then modified by Arabs in Mecca to ‘ud and qanbus in Yemen which explains why the gambus bears a striking similarity to barbat, ‘ud and qanbus (During, 1984) down to the tuning in perfect 4ths (Lambert, 1997). In the 16th century, Portugese traders introduced folk music, plucked and bowed stringed instruments to the people of Malacca. However they did not directly influence the introduction of the gambus to the Malay world. The African, Indian and Moorish slaves present at that time integrated their influences of music together with the portugese instruments and created a fusion of music styles that included dondang saying and joget ronggang (Kartomi, 1997). Between the 17th and 18th century, the close ties amongst Johor, Riau and Aceh states via trade, commerce and inter-marriages provided a permeable barrier for gambus to enter the Malay world. Between the 19th and 20th century, the opening of Suez Canal expedited sea journeys from the Middle-East to the Malay world. Many Arabs settled in Indonesia, Singapore and Malaysia from Hadhramaut (Yemen) bringing along the ‘ud (Alatas, 1997). Consequently, the eminence of gambus Hadhramaut succeeded the gambus Melayu in the late 19th or early 20th century in Peninsular Malaysia. The patronage of gambus by Malay rulers, spread of Islam and the cultural convergence of people facilitated dissemination and modification of the gambus throughout the Malay world (Hilarian, 2006). Uses and Evolution of Gambus Both types of gambus are interchangeable and only one is played during a Malay ensemble performance like zapin, hamdolok and ghazal. They are usually the lead melodic instrument for these ensembles and are essential because the sound of gambus is linked to Islam and carries the essence of the Malay vibe. For example, gambus is played in Islamic singing and in taksim (solo performances) during Islamic events like Hari Raya Puasa and Haji. Moreover, the use of gambus associates the ensembles with particular genres of Malay traditional music (Hilarian, 2003, 2007). Zapin Zapin is a form of traditional dance complemented with music by rhythmic characteristics and singing. It uses the voice, the gambus, violin, harmonium, accordion, marwas and dok (Ang, 2005). Anis (1993) asserted that zapin originated from Hadhramaut and is maintained in Malaysia in its original form, named zapin Arab and as a modified form, named zapin Melayu. The zapin Melayu in Johor today is a product of intermarriage of the Arab and Malay cultures literally with modifications by the Malay community over time (Hilarian, 2003). Zapin songs reflect a blending of Malay and Islamic influences. Zapin Melayu has evolved from a group dance of solely males in zapin Arab to that of two separate rows of male and females. Adhering to the Islamic influence, the sexes do not touch during the dance. The entire zapin Melayu repertoire also reflects the love of the Malays for nature. The dance moves are inspired by chickens and fish and interpreted in stylistic refined movements including small graceful jumps. For instance, like a chicken with a broken leg (ragam anak ayam patah) or fish wriggling on mudflats. The men and women dance without shoes and adorn themselves in traditional Malay apparels. The sarong is not tied but held throughout the performance reflecting the past Malay women culture in attempts to protect their modesty. Md. Anis (1993) however is concerned with the recent situation of zapin. He argues that any changes to zapin or any other Malay genres for that matter must be sensitive to its past and values. Historically, zapin Melayu was meant for play and family entertainment. Now, with it being showcased in performances, the dance moves are exaggerated and the production glamorized with special effects. He frowns upon modern choreographs where females raise their arms too high thereby revealing parts of their arms. In addition, the attention of Malay performances today seem to focus more on fanciful costumes, superseding the beauty of the simple dance. The sarong is also hitched exposing the calves and knees, hence clashing with the original modest values of zapin. Hamdolok Hamdolok is a traditional dance theatre performance found in Johor, originating from the Middle East. It is performed during weddings and includes zapin and inang dance forms too. Instruments used include the tambourine, maracas, conga drums and gambus Melayu (Asmad 1990). Today, the use of gambus Melayu sadly remains only in hamdolok. Ghazal Ghazal, a popular music genre in Johor, is formed from the fusion of elements from two or cultures and a modification of the shared features as aforementioned of the mix between various ethnic music influences. The word ghazal in Arabic means poetry of love and it aims to serenade. The ghazal originated from India and arrived in Johor from Riau-Lingga before 1870s. Songs were formally sung in Hindi are supplemented by the sharinggi, sitar, tabla and harmonium (Ang, 2005). In Johor, ghazal has evolved. Johor players substituted the original sitar with the violin and sharinggi with gambus Melayu initially, and then with ghazal Hadramaut subsequently. Songs are now sung in Malay but still mirror its Hindustani and Persian influences prominently. The song titles are also uniquely Malay because they are written about nature and love. For instance, songs were written about the full moon and â€Å"Pak Ngah balik† meaning Pak Ngah has returned. Today, modern ghazal groups also include instruments like mandolin, guitar, flute, Japanese drum and ukulele (Mohd Ishak, 1978, as cited by Ang, 2005). Is The Gambus Gaining Popularity? 18-year-old Fauziah Suhaili from Sabah, Malaysia who recently won the Gambus Fest Female Solo performance competition faced a mountain of challenges from the start. She had to gain approval from her elders as well as earn that trust to play the gambus. Fortunately, she has received much support from the gambus community in Sabah which enabled her to achieve so much (Fauziah, n. . ). However, especially in the states of Kelantan and Trengganu, these success stories are not as prevalent with the number of gambus female players dwindling. In 1950s, numerous female players in Johor contributed significantly to the music. However, in present times, women are limited to singing in traditional musical ensembles. Similarly, in Brunei, women are discouraged to play the gambus over the last 25 years. The school of Islamic practice in Brunei also generally dissuades women from playing music or performing with men. Other than Fauziah Suhaili, it appears that our generation of youths are not interested in traditional Malay music like ghazal because of widespread dissemination of popular Western culture into the traditional music space (Hilarian, 2007). Conclusion Gambus in zapin, hamdolok and ghazal has evolved innovatively through the decades and is now an expression of Malay culture. The residual distinctive characters from its original forms are clearly evident but the profound changes allow it to be proudly called a symbol of the Malay traditional and contemporary music distinctiveness. However, traditional Malay music has not received much support from the media, especially in Singapore unlike other styles like Chinese and Indian music which has deep roots locally and are always portrayed in media for awareness. The dominance of Western music, ideals and pop culture has intruded into the Singapore’s Malay community, infringing the space of traditional Malay Music. It will be a disaster if this dying art gets killed off in our generation and that beautiful traditional Malay music we take for granted so easily would be only a myth for our future generations. Much support and efforts by the younger and older generation are needed in tandem with the media and government funding to revive this dying treasure back to its glory days. References i) Alatas, S. F. (1985). Notes on Various Theories Regarding the Islamization of the Malay Archipelago. Muslim World, 75, No. 3-4, 162-175. ii) Ang, M. K. (2005). Musical Malaysia. Retrieved October 28, 2009, from http://www. musicmall-asia. com/minni/index. html iii) During, J. (1984). In S. S. (Ed. ). The New Grove Dictionary of Musical Instruments. London: Macmillan Publishers Limited. v) Fauziah Suhailah/ Gambus (n. d. ). Fauziah Gambus. Retrieved October 28, 2009 from http://fauziahgambus. synthasite. com/ v) Hilarian, L. F. (2003). Gambus (lutes) of the Malay World- Its Origins and Significance in Zapin Music. Presentation of paper at A Symposium in Memory of John Blacking, 12-14 July 2003, University of Western Australia. vi) Hilarian, L. F. (2006). The Folk Lute (Gambus), and its Symbolic Expre ssion in Malay Muslim Culture. Institute of Lithuanian Literature and Folklore Studies XXXII. vii) Hilarian, L. F. (2007). The Migration of Lute-Type Instruments to The Malay-Muslim World. Presentation of paper at the Conference of Music in The World of Islam, 8-13 August 2007, Assilah. viii) Kartomi, Margaret J. (1984) . Gambus.. The New Groves Dictionary of Musical Instruments, (ed. ) Stanley Sadie, London: Macmillan, No. 2, 9-10. ix) Lambert, J. (1997. La medecine de l. ame, Hommes et Musiques. Paris: Societe d. ethnologie, France x) Matusky, P. (1982). Music from Malaysia. Resound. I/4: 1-2. xi) Matusky, P. (1982). Musical Instruments and Musicians of the Malay Shadow Puppet Theater. Journal of the American Musical Instrument Society. VIII(1982): 38-68. ii) Mohd. Anis Md. Nor. (1993). Zapin-Folk Dance of the Malay World. London: Oxford University Press. xiii) Mohd Ishak Abdul Aziz. (1978). Ghazal. 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