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The paper examines that the supernatural elements found in the Malay movies DewiMurni 1950 directed by B.S. Rajhans, SelendangDelima 1958 directed by K.M. Basker and Gul Bakawali 1963 directed by B. Narayanan Rao which are heavily embedded with Indian elements. Analysis into the films' repertoires have shown striking parallels and significant differences between the Malay films and its Indian versions. Dewi Murni is derived from Kalidasa's Shakuntala. Excerpts from the Brahmavaivarta Purana and Ramayana are used in the narration of Selendang Delima which is the story of a nymph's offspring who is cursed and subjected to cruelty. GulBakawali is obtained from a Persian story and deciphered to Hindustani in 1702 by Niphal Chand (Zainal Abidin Ahmad, 1942: 144). Sheikh Mohd. Ali bin Ghulam Hussein Alhandi (an Indian Muslim) is reponsible for translating Gul Bakawali from an Urdu / Hindi text. Elements that have come to be accepted as the culture of the Malay world is the outcome of Indianisation in the region (Noor 2005: 32). One has to agree with Farish Noor when he states 'that the Malay world has a number of lasting legacies' (Noor 2005: 32). The pluralist culture that is now inherent amongst the Malays was deepen through a long process of socio-cultural growth and exposure to other traditions. As such, it is not surprising that encounters between native cultures namely Hinduism and Islam in their daily routines were a part of the lives of the local Malay people in the past. The study on the films Dewi Murni, Gul Bakawali and Selendang Delima illustrate that a fusion of culture produces films that is able to withstand the test of time and that cultural convolution is possible. OBJECTIVESThe big screen and moving images remain one of the most powerful tools to tell a story. The filmmakers of today need to look back and draw strength and inspiration from our heritage of filmmaking in order to ensure that national unity is preserved. Malay cinema was started and given identity by Chinese magnates and Indian directors whist the stories were given life by the Malay actors. The industry eventually became Malay based and Malay owned and as such the

This paper examines the women in the classic Malay movies Dewi Murni, Gul Bakawali and Selendang Delima who are depicted to be resilient, righteous and faithful. Upon analysis, the researcher has concluded that there are no proper Malay theories that can be applied to discuss the image of these Malay heroines (in the films discussed) and as such an interest developed to examine these characters in accordance to the Indian characterisation of heroines found in the Natyasastra. The shastras have ascertained the basic psychological status of woman, the Nayaki, into eight divisions, called Ashtanayika bhavas. These divisions portray the heroine in different situations, expressing different feelings, sentiments and reactions.Methods of characterization is used to analyse the female characters in the films stated, focusing on physical description, attitude, inner thoughts, reactions and speech to note on how they emerge from being frail and docile to becoming strong independent women, all within the boundaries set by their respective culture and tradition. Malay women are portrayed as passive, loyal, persevering, accepting, submissive and pure in most Malay literature. The objectives of the study lies in the assertation of the strength and intelligence of the female characters in the films and hopes to establish them as female protagonists who are at par with their male counterparts by examining them through the lenses of Natyasastra's Ashtanayika bhavas.

Children's Theatre or Theatre For Young Audience can involve children in actual productions, plays and musicals aimed explicitly for children, or a mixture of both. The study aims to look at the combination of children's theatre and creative movement that results in boosting preschool children's self -confidence and its ability to aid in their holistic development. The study was conducted in a nursery to expose theatre as a medium to express feelings, emotions and behaviors amongst children. Theatre as a medium of learning is also expected to be a place for children to showcase existing talent and help the child to boost their self-confidence. This study focused on a qualitative methodology applying Bloom's Taxonomy of the cognitive domain approach that involves knowledge, understanding and application. The study was conducted on seven children in Taska Sayang Sentosa di Bukit Beruntung, Selangor based on the Kurikulum Standard Prasekolah Kebangsaan (Malaysian National Standrad Pre-School Curriculum) 2017 under the subtopic K.E 2.1.1 Melakonkan watak menggunakan imiginasi (acting out characters based on imagination).The respondents were randomly selected amongst the seven children after obtaining permission from the parents and activities were planned and conducted jointly by the researchers and the teachers. The research shows that the implementation of children's theater can induce fun in learning as well as shape the personality of the child.