11 Mar 2023
Ep 05 - How does No-To-Scale Work as a male-female design partnership?
In this episode, we asked Sam and Adhrah about the journey of Notoscale, a not-romantic-couple-led design partnership and what they have faced back home in Malaysia. Highlighting the non-romantic-couple-led studio in the context of design/architecture practice is essential. We often associate binary-gender founders as lovers instead of just creative partners. Two factors drive the stereotyped perspective. One, many famous design firms, like OMA, Eames Office, etc., are founded by lovers. The second factor is the complex intertwined gender, racial and religious issues in Malaysia. The conversation with Notoscale led us to discuss something broader than their journey, especially Adhrah's.
Gender, racial, and religious issues are significant challenges facing the creative industry in Malaysia. These issues are interconnected and complex, requiring a nuanced understanding of their historical and social context. Malaysia is a culturally diverse society with a population that comprises different ethnicities, religions, and cultures. However, these differences also create barriers to entry and success in the creative industry.
Gender discrimination is one of the most significant challenges facing the creative industry. Women are underrepresented in leadership positions and often face hiring, promotions, and pay discrimination. This issue is compounded by cultural and religious beliefs that may perpetuate gender stereotypes and limit opportunities for women. In addition, women may face barriers to entry, such as limited access to resources and networking opportunities. Traditional gender roles often dictate that men are expected to pursue careers in engineering or technology. In contrast, women are expected to focus on traditionally female-dominated industries such as healthcare or education. These stereotypes can make it difficult for women to break into male-dominated creative fields such as architecture, film and etc.
Racial discrimination is prevalent in Malaysia, with the country's ethnic composition consisting of Malay, Chinese, Indian, and other minority groups. This often manifests as a lack of representation and diversity in creative works and leadership positions in the creative industry. This lack of representation can limit opportunities for individuals from minority groups and perpetuate stereotypes and biases.
Religious issues are also prevalent in the creative industry, particularly in the context of Malaysia's predominantly Muslim population. This can lead to censorship of creative works deemed offensive or blasphemous to Islam, limiting artistic expression and creative freedom
Efforts to address these issues have been ongoing in Malaysia, with the government promoting greater diversity and inclusion in the creative industry. For example, the National Creative Industry Policy(Cendana) and Five Arts Center aims to promote diversity and inclusivity in the industry. However, there is still a long way to go in achieving true diversity and inclusion in the Malaysian creative industry. Education and awareness-raising efforts can promote understanding and empathy among different communities and reduce prejudice and discrimination. Additionally, the industry itself must take steps to promote diversity and inclusivity, such as implementing diversity quotas, providing training on unconscious bias, and actively seeking out talent from underrepresented groups.
