KUALA LUMPUR – Drumming is loud, powerful, and relentless, often seen as a male-dominated art form, but for two women at the heart of Malaysia’s Orang Orang Drum Theatre, the rhythm of the drum is what guides their way of life.

Jian Ru and Tee Vlin, two of the drummers featured in upcoming third edition of their signature LaguKu series, have each spent nearly two decades perfecting their craft – 20 for Jian, and 18 for Vlin. While drumming might seem an unusual pursuit for women in a traditionally male-dominated space, neither of them has ever let that stand in their way.

“People don’t always expect girls to play drums,” Jian acknowledges. “But when they see us on stage, they realise—drumming isn’t about gender. It’s about rhythm, discipline, and passion.”

“The boys don’t ask if it’s weird for a girl to play drums. They see us play, and they know—we belong here,” echoes Vlin.

Their journey, however, hasn’t been without its struggles. “At first, my parents didn’t support me,” Vlin admits. “Even though I practiced in school, they didn’t see it as something serious. But I’m stubborn, so I kept at it and pursued it. Slowly, my mom came around and saw it as something I was really passionate about.”

Now, after years of dedication, Vlin and Jian are not just performers but also teachers, guiding the next generation of drummers. They see their role as more than just instructors of rhythm and technique; they are ambassadors for the art form itself.

“We teach kids and teenagers, not just how to count beats, but how to appreciate the arts,” Vlin explains. “Some will keep drumming. Others might pursue different careers, but they’ll carry that appreciation with them, as future audiences and supporters of the performing arts.”

LaguKu 3.0 is more than a drum performance. It’s a journey—of sound, discipline, and transformation. Centered on percussion blended with theatre, dance, shadow and other performance elements, it presents the bizarre yet diverse lives of modern urbanities through a multi-layered audiovisual experience. With each beat, these performers push past boundaries, blending percussion with theatre, dance, and storytelling.

The performance focuses on how these performers, who grew up with the sound of drums, reflect on the bond between themselves and the shigu (lion dance drum) while pondering about the encounters and clashes of the traditional drumming arts and their restless souls. What is also particularly significant about this production is how they’re handing over creative control to seven emerging members, the pelapis waris, which include both Jian and Vlin, as well as Nick Ng, Syamil, Jia Her, Wai Kei, and Chun Wai.

Under the guidance of senior members and mentors from different disciplines, they have spent two years in the creative process culminating in these seven distinctly unique performances. Through the usage of elements such as street hip-hop, whimsical literature, vocal ensembles and folk rituals incorporating the shigu and a plethora of musical instruments such as gamelan, African drum, xylophone and others, they aim to manifest their inner thoughts narrating a conversation between themselves and shigu by weaving their emotion, memories and cultural symbols into the performances. The encounters of the ancient musical instruments and their young restless souls are put to test in this production.

Drumming is no easy feat. Each session lasts three hours, with multiple practices per week. Even with this intense schedule, both women feel they still need more time to refine their craft. “If we don’t continuously practice, we can’t improve,” says Jian. “Repetition builds self-efficacy, and confidence—both in ourselves and as a group.”

Yet, even after all these years, drumming remains both a joy and a challenge. “There are times I hate it,” Vlin confesses. “When I can’t get it right, it’s frustrating. But when everything clicks and falls in the right place —the beat, the energy, the connection with the audience— I just feel so accomplished.”

For LaguKu 3.0, each performer brings their own creative vision to the stage. Vlin’s solo piece, Leap Into the Wind, started as a poem she wrote, drawing inspiration from fantasy films and books such as Howl’s Moving Castle, The Alchemist, and The Little Prince. “It’s about movement, change, and embracing the unknown,” she says.

Jian, on the other hand, weaves her love of music into her performance. “My piece is about singing and the joy of music. I love Chinese songs, I love karaoke—so I wanted to put that energy into my drumming and hope it resonates with the audience.”

Their passion extends beyond performance. Both women emphasize the importance of audience connection. “I love live shows,” Vlin shares. “I’ve seen Jacob Collier and Coldplay live, and there’s this special chemistry between performer and audience you can’t get anywhere else, something that’s different every night.” Jian adds, “People should come to LaguKu 3.0 because it’s a chance to experience something real—beyond just scrolling through your phone.”

Laguku 3.0 promises a display of drumming skill, a collective ritual of growth and transformation and an examination of the younger generation’s resistance facing the modern world. In this instantly gratifying audiovisual era, why do these groups of pelapis waris invest in such a time-consuming process just for self-expression? Vlin and Jian stand as proof that drumming—like any art—belongs to those who dedicate themselves to it, regardless of age or gender.

LaguKu 3.0 plays from 4th to 6th April 2025 at KLPAC. Tickets available here