THE man with the slanted, brimmed fisherman’s hat brings to mind the golden age of New Jack Swing in the 1990s. The slow beat playing in the background has your shoulders swaying instinctively. Park Min Jun tips his hat as he welcomes a group of international journalists into his studio at Hanlim Arts High School in Seoul, South Korea.
As dean of the dance department – or “dean of swag”, as his students call him – Park guides some of South Korea’s most talented dancers. One student, mastering the art of “popping”, moves with smooth confidence, drawing loud applause from onlookers.
Hanlim Arts High School is one of South Korea’s most prestigious institutions, nurturing talent in music, acting, and dance. It is part of a larger ecosystem that fuels the country’s entertainment industry, which generated 69.3trillion won (RM219bil) in revenue last year, according to statistics website Statista.
In Malaysia, despite the presence of arts schools, the creative industry ecosystem lags behind. PwC Malaysia reports that the country’s entertainment and media industry earned RM50bil last year, reflecting a modest 2.3% growth. Malaysia has an abundance of talent and has earned international accolades, so what’s holding the country back from further growth?
All about the funding
Industry experts argue that Malaysia’s policies for arts and entertainment are too focused on profit and lack the cultural depth needed to build a strong foundation.
Prof Dr Tazul Izan Tajuddin from Universiti Teknologi Mara notes that Malaysia does not even have an arts council to oversee development and funding, a stark contrast to systems in many developed countries.
In fact, some say that Malaysia’s main problem is that it has too many government agencies – often with overlapping roles – overseeing its creative industry.
Prof Tazul: Malaysia does not even have an arts council to oversee arts development and funding, unlike in most countries.
“Without a deeper understanding, there is no plan or ecosystem to promote, for example, traditional or artistic music. Policy-makers aren’t sure what to fund or what infrastructure is needed,” Prof Tazul explains.
In contrast, South Korea’s creative industry benefits from structured policies that cover everything from financing to intellectual property protection. Recently, South Korea’s Culture, Sports, and Tourism Ministry launched a 600bil won (RM1.9bil) investment fund to support the industry. Another strength in the republic’s creative industry is its funding from the corporate sector, which is supported by various mechanisms, from tax incentives to public-private partnerships, and regulatory support.
Malaysian talents are very much reliant on government funding, which is wanting.
In Budget 2025, which was presented at the Dewan Rakyat on Friday, the government has pledged some RM160mil to support the local creative industry, especially for film and digital content. This includes RM30mil for the Madani Creative Youth programme, which aims to attract around 16,000 young people for various artistic pursuits.
Malaysian composer and music company Mixology Media director Farzwa De Attaher Emir – better known as DJ Fuzz – shares Prof Tazul’s view, stating that insufficient investment limits Malaysia’s ability to compete internationally.
“Limited funding means fewer high-quality productions. If we want to compete globally, we need to ask ourselves if our entertainment industry is truly worth investing in,” says DJ Fuzz.
He suggests offering tax breaks on music and entertainment revenues, particularly performing rights royalties, which would allow industry players to reinvest in higher-quality productions. Additionally, more accessible grant funding is crucial.
“Many industry players aren’t even aware of available grants or don’t have the resources to apply for them. These grants must be widely promoted.
“But beyond funding, industry players need financial management training to ensure long-term sustainability,” DJ Fuzz emphasises.
Prof Tazul adds that funding should not be a one-off initiative but part of a broader, ongoing strategy.
“A strong arts funding ecosystem will ensure a continuous flow of creative output across multiple platforms, promoting originality and artistic talent.”
Prof Tazul says the government has a critical role in supporting the growth of Malaysia’s creative industry, but it must begin by leveraging expertise within the country.
“Clear policies need to define the functions and assessments of different forms of art.
“This will enable the creation of high-quality content that meets artistic and cultural standards, which can then be commercialised,” Prof Tazul says.
He also highlights the importance of including experts in the creative arts to advise private sector initiatives.
“Too often, profit-driven projects reduce creativity to a standard format that stifles original artistic expression,” he says.
By allowing room for diverse, unique artistic creations, Malaysia can build a creative industry that reflects its cultural richness, rather than simply conforming to mainstream trends.
For the industry to thrive, Prof Tazul believes platforms for artistic expression must be multiplied.
“Educating the public to appreciate and differentiate high-value artistic content is essential for fostering a more vibrant entertainment scene.”
He says this foundation is necessary to attract international collaborations, where the focus on quality content can make Malaysia stand out globally.
Moreover, Prof Tazul stresses that incorporating the country’s creative output into the broader tourism experience can boost Malaysia’s global appeal.
“By integrating artistic content into the visitor experience, Malaysia can use its creative industries as a form of outreach to the world.”
Talent and competition
Prof Tazul says there is a need for credible programmes to scout and nurture talent, similar to South Korea’s arts schools that are designed to develop long-term artistic growth.
“But we need to decide whether the goal is to make money or to nurture artistic development, which can enhance the creative industry beyond entertainment,” he says.
DJ Fuzz: There is a need for credible programmes to scout and nurture talent, similar to South Korea’s arts schools that are designed to develop long-term artistic growth. — Photos provided
DJ Fuzz points out that Malaysia’s cultural diversity offers a unique advantage that could appeal to both regional and global markets. He suggests taking a page from South Korea’s playbook by injecting Malaysian culture into international content through collaborations with platforms like Netflix and co-producing content that highlights Malaysia’s diverse stories.
To enhance content creation, DJ Fuzz advocates investment in research and development, as well as in technology such as virtual reality (VR), augmented reality (AR) and animation. These technologies could help grow other sectors within the industry.
“A shortage of skilled talent – producers, sound engineers, and more – limits the industry’s capacity to grow,” DJ Fuzz says.
He pins on the need for better infrastructure to support the entertainment industry.
“We need improved production facilities, more studios and dedicated production houses,” he states.
He argues that high-quality production standards are a must if Malaysia wants to compete globally, and this begins with investing in better technology and facilities.
“More research is needed to identify how we can elevate the quality of our productions, and venture capital funds aimed at entertainment businesses could provide the financial backbone these companies need to grow.”
DJ Fuzz also advocates for education and capacity-building within the industry.
“By increasing education and knowledge in this field, we can evolve into a strong industry that not only contributes to the economy but also positions Malaysia as a creative hub,” he asserts.
He believes global enter-tainment events hosted in Malaysia could act as a gateway for outsiders to discover Malaysian talent and culture, and would simultaneously boost tourism.
“With the right infrastructure and policies in place, Malaysia has the potential to become a global hub for music, movies, and other content within just a few years,” DJ Fuzz says, underscoring the need for a multipronged approach that includes both policy reform and investment in the creative ecosystem.
Learning from South Korea
How can Malaysia leverage its unique cultural heritage to create content that resonates both locally and internationally, as South Korea has done with K-pop and K-dramas?
Prof Tazul emphasises that South Korea’s success is based on strategic, long-term planning across various forms of arts and entertainment, including from classical to pop music.
“Malaysia can excel in similar areas, but we lack the necessary infrastructure and planning. We have the talent, but we need policies that focus on creating high-quality, original content appreciated by Malaysians before showcasing it to the world,” he says.
DJ Fuzz says countries like Thailand and Singapore are successfully utilising their cultural heritage in entertainment exports. He believes that Malaysia could do the same through partnerships between the government and the private sector to improve production quality and infrastructure.
