1.

Write a summary of about 3 pages of the play “Halfway Road, Penang” by Ghulam Sarwar
Yusoff.

In this dramatic work, the issue of intermarriage between two major ethnicities in Malaysia is
a representation of Malaysia's multicultural society. The marriage, however, ends in failure,
which might be read as the status of Malaysia's many ethnicities and their inability to come to
an understanding. Furthermore, patriarchal culture is deeply established in their customs and
beliefs, therefore female characters in this dramatic work are supposed to obey patriarchal
society rather than be independent women. The patriarchal society shown in Halfway Road,
Penang will be the subject of this analysis.

Professor Ghulam Sarwar Yusof's play Halfway Road, Penang is a dramatic work. Following
a race riot on May 13, 1969, this dramatic performance illustrates interracial difficulties in
Malaysian culture. In this dramatic piece, two major characters, Rosnah, a Malay woman, and
Krishnamoorthy, an Indian man, have decided to marry despite the racial tensions that exist
in Malaysia today. In this dramatic piece, two main protagonists, Rosnah, a Malay woman,
and Krishnamoorthy, an Indian man, have decided to marry amid racial tensions in Malaysia
following the May 1969 riots.

Their decision to marry each other, however, is met with fierce opposition from their
families. Krishnamoorthy grew up in modern Malaysia. As a result, he feels like a true
Malaysian because he sees many ethnicities coexist in this country. As a result, he is unable
to comprehend his parents' ambivalent feelings about India and Malaysia. Letchumi has a
sense of being Indian in India rather than Malaysia like Krishnamoorthy's mother, and she
implies that their family may need to return to India. She remembers the superiority of her
family's class, Brahmin India, and retains strong Indian heritage.

Krishnamoorthy declares his desire to convert to Islam in order to marry Rosnah. Both of
Krishnamoorthy's parents react negatively to his desire to abandon his ancestral religion in
order to marry a Malay woman. This is because Krishnamoorthy's parents consider that
Krishnamoorthy's relinquishing his superior Brahmin rank is a major sin. Furthermore, after
the riots in May 1969, Krishnamoorthy's parents are still concerned about racial tensions.
As a result, Krishnamoorthy's association with people of a different race will have a negative
impact on race and religion. As a result, both of Krishnamoorthy's parents try to dissuade him
from marrying Rosnah.

All of their attempts, however, are futile as Krishnamoorthy and Rosnah marry. Later, their
marriage fails because Krishnamoorthy is unable to sustain Rosnah and, although marrying
Rosnah, he is unconsciously still loyal to his old ancestral religion. Rosnah decides to leave
Krishnamoorthy after their marriage fails. Krishnamoorthy makes an attempt to reclaim her,
but his efforts are futile. At the end of this drama, Krishnamoorthy is left without a sense of
direction.
2. Write a summary of about 3 pages of the novella “This End of the Rainbow” by
Adibah Amin.

This End of the Rainbow, Adibah Amin's first English book set in early 1950s Malaysia, is
about the experiences and spirit of students at the University of Malaya in Singapore. “They
were waking to concerns like as colonialism, social injustice, and racial prejudice among the
fun, the test fever, the friendships and romance, the camaraderie and rivalries of college life.
They were intensely aware of the independence movement in Malaya (now Peninsular
Malaya) and Singapore, as well as the type of society that may develop thereafter, because
they were unable to sequester themselves in a "ivory tower" as some of their college
companions did.

The story revolved around a group of students at the University of Malaya in Singapore
during the 1950s. In this book, the protagonist is Ayu, a kind Malay girl who abandoned her
studies in medicine to pursue a career as a writer.

I was a little bewildered in the first few pages, but it soon began to flow. It all started when
Han, the Cynic, threw her out of class at university. It has already broached the delicate issue
of racism. And you were correct. The major subject that runs across all of these diverse
situations in this novel is racial relations, which reflects the general status of Malaya at the
time.

Ayu is concerned about the rising animosity between the races. This leads her to explore a
wide range of situations involving her characters, which will bring you flashback after
flashback; recalling conversations among childhood friends, the loss of her father and friends
when the Japanese invaded Malaya, her mother's fight for independence, her hatred of the
British, and so on, as well as Han's family history. Adibah Amin effortlessly transported you
to the future, which is a good thing because it may have been confused otherwise.

All of the characters (and there are a lot of them) are convincing. This is most likely due to
the fact that many of the characters are based on Adibah's personal acquaintances. Ayu's
mother, for example, is clearly based on the author's own mother, Umno freedom warrior Ibu
Zain.
Han is the most memorable character in this novel, in my view. During the communist terror,
Han's family was slaughtered by the Malays. It was due to a miscommunication between
these two races. The Malays considered the Chinese to be communists, while the Chinese
considered the Malays to be 'pak turut' communists. It took him a while to discover the reality
about his anguish. To alleviate racial tensions, he who was expelled for the ragging event
formed a multi-race political society. He attempted to persuade Ayu to join the organisation,
but she declined for personal reasons.

Rizal was also present, and Ayu stated that he is still a dear buddy. I can definitely tell these
two are in love.

The imposition of British dominance, power, and influence may be observed in English
literature, art, and architecture, in addition to physical forces. The instruments of colonial
dominance may be seen in the school system, particularly the curriculum.

For me, the most moving aspect of this book was when Adibah described the battle for
independence that Dato' Onn and other freedom figures waged. My eyes almost welled up.

Her writing style is similar to that of her column As I Was Passing in the NST, which is
fresh, straightforward, and direct. This book is both simple to read and eye-opening,
especially for those unfamiliar with Malaysia's pre-independence days and the 1950s social
turmoil. I'm not afraid to confess that learning about what transpired during that time period
astounded me as well. Adibah's book aims to educate people about this type of ignorance.
3. Discuss the plot of the novella “This End of the Rainbow” by Adibah Amin. In doing
so, please identify the plot into these parts: introduction, rising action, climax, falling
action and ending. Cite parts from the novella to support your discussion.

This story's narrative is understandable, and she manipulates it for one purpose: to reinforce
her idea of independence. Malaysia, formerly known as Malaya, gained independence in
1957. It has previously been inhabited by numerous large colonies, including the Portuguese,
British, and Japanese. Malaya was ruled by colonisers, and tragedies occurred throughout that
time. Amin paints a broad picture of catastrophes in the 1940s, when freedom was
unimportant.

Furthermore, Adibah Amin introduces an important value that brings this storey to life by
expressing the author's views via the eyes of her heroine, Ayu. Ayu's representation has an
impact on readers because we can sense the experiences she has had from infancy through
maturity. As a result, the purpose of this paper is to examine the expression of togetherness
that the author has developed and envisioned as her vision for the future of her country,
Malaysia. Her ambition of transforming all ethnicities in Malaya into what she refers to as a
"Malaysian" solidifies her identification as a nationalist.

The themes of colonialism, the repercussions of war, social injustice, racial segregation,
racial prejudice, racial discrimination, friendship across races, and country building are all
explored in This End of The Rainbow. We can understand how indigenous were feminised,
dehumanised, discriminated against, and marginalised in both representations and actual life
throughout the colonial period using postcolonial theory.

“Husna begged for aid from the British authorities, but all they were interested in was
whether the missing individuals had connections with China or ‘the underground,'”
according to the extract on pages 36 and 37. A friend cautioned Husna that further enquiries
may result in the Lims being blacklisted by the British,” Adibah Amin explains how the
colonial power mistreats the people of Malaya. The British, as colonisers, did not take on the
obligations of a fully functioning government that provides for its inhabitants; instead, they
took advantage of the conditions to suit their tastes and deliver advantages to their subjects.
Here are some more examples:

That year, Husna was pensioned off her on her forty-fifth birthday though there was no
one to fill her positions as supervisor of Malay girls’ schools in Johor. Recommendations
that her service be extended were politely but adamantly rejected by the colonial
authorities, as her freedom fighting activities hardly endeared her to them. The family had
to move out of the government quarters that was their home (p.60)

For hundreds of years, the British government-controlled Malaya as a colony, and the violent
tactics used had psychological repercussions on the colonised. Ayu grew up to be an
ambitious writer and teacher as a healthy, adventurous youngster who enjoys learning new
things and expanding her knowledge of the world. The effects of war, on the other hand, took
their toll on her. The psychological repercussions of colonialism on the colonised are
depicted in the novel in several situations, including as

She had a nightmare. She was a ‘freshie boy’ being ragged. The seniors were in army
uniforms with heavy boots. On top of the ‘nose hockey’ and the ‘royal flush’, there was
going to be ‘water torture’. A scream stuck in her throat and she woke up frozen with
terror. Perhaps the ragging stories had dredged up horrors from her childhood when war
brutalized man (p.9).

Ayu’s generation had been children during World War II. Some had escaped by a hair’s
breadth when their little siblings were caught and thrown into the air, to fall on bayonet
points. Others had seen older family members dragged away, to return total wrecks or to
vanish forever. Some children, like Ayu, experienced trauma through overhearing stories
whispered among adults. In their minds they were the children impaled on bayonets; it was
their fathers’ heads that were exhibited on spikes; they and their loved ones were the
victims of torture (pp.16-17).

This is the dream of Adibah Amin writing This End of the Rainbow. The harmony he hopes
for the various races in his country as well as around the world, is not just a note on the lips
alone. We find his honesty capturing the pains that befell the various races of the 50s, his
kindness depicting different characters, who, it seems, were hurt by various events, but still
dreamed of creating a more just and cohesive society.

In this novel, the character Han invites Ayu to fight together in her multi-racial Youth Club.
Ayu can't do it, just like Ayu can't leave her studies at the University as Han and Badri did.
Ayu is not an activity. But according to Han, Ayu will also fight - as a teacher and writer -
how true this is in Adibah Amin's life.

Hopefully This End of the Rainbow will remind us of how fragile human relationships are,
whether of the same or different races, cultures and religions, if that attitude of mutual love
and respect is not instilled since childhood and nurtured by elements that encourage it to
grow honestly and fair, while one is an adult. And hopefully during this lifetime of ours,
many rainbows and golden vanities of sincerity in human relationships and beings will
continue to exist and illuminate our environment.
4. In the play “Halfway Road, Penang” by Ghulam Sarwar Yusoff, the plot and setting of the
play are made of different ethnicities and backgrounds. Discuss the moral values depicted in
the play. Cite parts from the play to support your discussion. Your answer should be written
in about 300 words.

Let's start with a definition of feminist literary critique. Feminist literary criticism is a
political approach that raises issues about men and women's relationships and responsibilities
in society. The power inequalities between men and women are highlighted in this literary
critique. As a result, women are marginalised in patriarchal society. As a result, feminist
ideas raise awareness of thought patterns, values, behaviour, and power in men and women
and their interactions as shown in literature.

Appleman (2007) emphasises the goal of feminist literary critique, which reflects the
concern about women being silenced in patriarchal culture. Feminist literary critics point out
that males have traditionally shaped literary norms, customs, and even the production of
literature. They invite us to explore feminist interpretations of well-known works of
literature.

In comparison to the women, the males on Halfway Road have a greater chance of continuing
their education. Nalini, Krishnamoorthy's Indian match, is an illiterate woman.
Krishnamoorthy's future wife is anticipated to be Nalini. Letchumi, Krishnamoorthy's mother,
believes that Nalini has the ability to be an ideal housewife, which she believes is more
essential than Nalini's degree of schooling. ‘...Nalini is a good chef and she sews - so our
relatives in India have informed us,' Letchumi says. What difference does it make if she
doesn't speak English? For us, Tamil is sufficient' (pp. 29–30). Letchumi is unable to
comprehend the value of education for women since she lives in a patriarchal culture. Rani,
Rengasamy and Letchumi's 16-year-old daughter, will marry when she completes her exams.
Rani possessed the ability to operate a household in order to meet his future husband's
expectations of an ideal housewife. Rengasamy explains why he chose to marry her daughter
to a wealthy guy so that she may enjoy a comfortable life.

Rengasamy: …She’ll [Rani] be completing her Form Five this year at the Convent.

Kuppusamy: And then, she’ll be going on into the H.S.C. ah?

Rengasamy: No... lah. There’s no need for that, really. Girls don’t have to be highly
educated; you know. Letchumi has given her all the training she will ever need to run a
house. We’re looking to see if we can get her married off after the exams in December.

Kuppusamy: That’s a good idea. She’s been engaged already-ah?

Rengasamy: Yes. After a few months you left for India.

Kuppusamy: To?

Rengasamy: To the second son of Narayanaswamy. You know, the Narayanaswamy of Ulu
Pinang Estate?

Kuppusamy: Oh yes. Oh yes. I’ve heard of him. Very good family. Very wealthy.

Rengasamy: We’re fortunate of that, Kuppusamy. Good families with money are hard to
come by. I really don’t believe we should keep daughters at home any longer than is
absolutely necessary. Letchumi agrees with me in this (pp. 34 – 35).

While male characters in Halfway Road have a greater chance at higher education than
female characters, both Rengasamy's and Nalini's sons, Krishnamoorthy and Gopal, are given
the opportunity to do so. Letchumi states in Act Two that Gopal is enrolled in a medical
institution in Bombay. Gopal, on the other hand, struggled in his medical studies.
Krishnamoorthy, on the other hand, was offered the option to attend Further Education
Classes.

Krishnamoorthy went on to flunk Further Education Classes. In summary, for Malaysian

culture, women's educational levels are unimportant as long as they have the ability to run a
household in order to meet society's expectations of being an ideal housewife for their
spouse.

Malay women are also supposed to stay at home and raise their children. Instead of being
allowed to select their own path in life, ideal Malay women are supposed to marry. As a
result, his husband will become their family's only breadwinner, and he will financially assist
their parents. Salleh is embarrassed by his stepdaughter's job as a bartender in Act One. As a
result, he advises Halimah to marry their daughter Rosnah.

Let Rosnah get married so that her husband can contribute to our family’s income, or at
least be able to support Rosnah, so that she can stay at home like a good Muslim woman
should. After all, a woman’s place is in the home (p. 9).

Women at Halfway Road, Penang, clearly did not have the same advantages as males.
Women are unable to pursue their education due to a lack of resources. Females are groomed
to be perfect housewives. Women are expected to be decent housewives rather than
independent women, according to society.

Since portrayed in Halfway Road, Penang, Malaysia's patriarchal system has severe effects
for women, as these women become financially reliant on their husbands. As a result, when
their spouses fail to fulfil their responsibilities, these women suffer financial difficulties. This
is depicted in Halimah's position when her spouse abandoned him.

She works as a bar waitress in order to provide for her family as a single mother. Later,
Halimah's daughter, Rosnah, finds herself in a similar predicament when her marriage to
Krishnamoorthy falls apart due to Krishnamoorthy's negligence. As a result of this
circumstance, Rosnah decides to continue working as a bar server at Hibiscus Bar.
Krishnamoorthy, Rosnah's husband, seeks to woo her in Act Two. In their unexpected
reunion, however, Rosnah and Krishnamoorthy dispute with each other. Rosnah shares her
dissatisfaction with Krishnamoorthy.

Yes, all your money goes into these slimy bars and brothels. You stink of Halfway Road.
You came back home every night drunk, only after a few weeks of marriage. What did you
expect me to do without money, huh? When did you ever give me anything? And how did
you expect me to run the house? (p. 58).

In short, the patriarchal culture represented in Halfway Road, Penang disadvantages women
by denying them the option to become self-sufficient through higher education and profession
choice. Rosnah, on the other hand, defies the patriarchal society by divorcing her unfaithful
husband and becomes financially self-sufficient. As a result, Rosnah deviates from
patriarchal society's expectations, which call on housewives to become obedient to their
husbands.

Because patriarchal society teaches women to become dependent on males, the patriarchal
culture shown in Halfway Road, Penang causes a difficulty for women. Furthermore, female
characters in Halfway Road, Penang, such as Letchumi, are unable to see the significance of
women pursuing higher education and being self-sufficient. As a result, this circumstance
demonstrates that women themselves are unaware of patriarchal culture's marginalisation of
their authority. The existence of a female protagonist in this dramatic work, however, who
confronts patriarchal society, which is deeply established in tradition and religion, suggests
that women should reject the stereotype of feminine weakness.

In order to overcome the patriarchal society that marginalises women's authority, it is hoped
that equality of privilege between men and women may be achieved. It has achieved in this
2021, women are more independent and running the household perfectly. There are
billionaires and millionaires compare to guys out there. Some women are still struggling to
rule this world but yet we never stepped down or loose our crowns as queen.
5. Adibah Amin novella’s “This End of the Rainbow” portrays a very happy childhood for
the protagonist. Discuss the ONE major issue depicted in the novella. In your discussion, also
provide your suggestion on how this major issue can be resolved. Cite examples from the
novella to support your discussion. Your answer should be written in about 300 words.

This End of the Rainbow is Adibah Amin's debut English book, and it takes place in Malaya
in the early 1950s. It depicts life through the eyes of Ayu, taking the reader on a journey from
birth to maturity in a cosmopolitan society in Malaya between WWII and the colonial period.
The book explores multiculturalism, racial prejudice, colonialism, and the quest for
independence, as well as themes of identity, coming of age, family, and friendship. The book
is very descriptive and vivid in its depiction of Malaya's sights, sounds, and tastes.
Particularly notable is the colourful and comprehensive description of meals and dishes.

Food plays a persistent and vital role in the Ayu's life, according to the study of food
allusions, visuals, and symbolism in This End of the Rainbow. Ayu's sentimental
recollections of her home, family, childhood, and adolescence experiences include detailed
descriptions of meals and dining. Food appears to play an important role in Ayu's life and has
a deep connection to the people she cares about, including her mother, Husna, and her best
friends, Nimmi and Surmeet, as well as their families. Ayu's relationship with food and
emotions of comfort and affection begins, unsurprisingly, with her mother, Husna.

Husna always sensed the coming of a loved one. She was cooking Ayu’s favourite dishes:
asam pedas, the Johor style chilli-and-tamarind-gravy fish; the leafy vegetable, kangkong,
stir –fried with onions and pounded anchovies; to be served with steaming, fluffy rice.(p.
11)

As always, Husna had sensed Ayu was coming and cooked her favourite dishes. That day
there was also extra rice and sure enough, Nimmi and Surmeet arrived….As they sat
around the big kitchen table and enjoyed the simple lunch, Ayu felt the tension of the past
weeks, ease and melt into serenity.
Husna seems to show her maternal love and dedication to her children and other loved ones
via food. Husna's cooking allowed Ayu to feel the affection her mother had for her. As a
result, Ayu linked parental love and affections with food, as well as a mother's cooking and
kid feeding. As a consequence, Ayu felt like she was their daughter and a member of the
family when her friends' moms prepared and served her food. Ayu's accounts of her stay with
Nimmi and Surmeet's family demonstrate this. Nimmi's mother and sister's hospitality in
serving traditional Malayali meals made Ayu feel comfortable and at home at Nimmi's house.

Ayu was welcomed with warm smiles and delicious Malayali food. Nimmi’s mother and
younger sister Sheri kept heaping fresh helpings of fragrant steaming rice, fish curry,
vegetables, yoghurt and crackers on Ayu’s plate. Ayu’s first taste of tairu, the yoghurt and
of aviel, the vegetable dish, captivated her for life. She felt totally at home. Never before
had Ayu been so instantly enveloped in the bosom of a friend’s family. …Ayu called her
‘Amma’ from the start.

When they heard the cry after several weeks’ absence, Nimmi and Sheri and their mother
rushed out. ‘Ayu! You’re back from Singapore!’ ‘Here’s a tall glass of cool, cool, water!’
‘You’re thinner, moale, dear child! Come in, we’ll feed you up.(p. 18)

Food plays such an essential part in the development of Ayu's bond with Nimmi's family.
Amma had treated Ayu like a daughter by cooking for her and feeding her meals as if she
were her own. Because Ayu's own parental love and care is strongly linked to the preparation
and presentation of food, she perceived Nimmi's and Surmeet's moms' acts in the same
manner.

Ayu learns about her own cultural history via food, but she also learns about her friends'
cultures through Chinese snacks her family enjoys with Lin, traditional Malayali and Punjabi
food she consumes at Nimmi's and Surmeet's house, and later meals she has with Po Po. She
develops, sophisticates, and permanently transforms her palate into a multi-cuisine palate as
she experiences new tastes and flavours.

Ayu knew there would be delicious dessert with the simple dinner of chapattis, dhal,
vegetables and the yoghurt called daii. Surmeet had explained to her that the rice pudding,
kheer, needed very slow cooking. (p. 25)
This influence of her exposure to many cuisines during her childhood and early adolescence
can be seen in the various sorts of meals Ayu eats in her daily life as an adult, illustrating
everyday lived trans-culturalism. Ayu's experience is typical of most Malaysians who have
developed a love for the food of their own ethnic group as well as that of other ethnic groups
in the country. Malaysians are moving towards becoming a more transcultural community
with more intercultural mixing thanks to inter-culturation through cuisine.

In the novella, little Ayu was just trying to grab the guys' attention so she could be friends
with them, and in despair, she shouted out an insult as a final option, and it succeeded. The
lads retaliated by hurling another slur at Ayu. Ayu's insult didn't bother the guys since she
was older, but theirs made her weep. The episode, however, did not destroy the bond between
Ayu and the boys, or between the Malay and Chinese communities, thanks to the maturity
and good-naturedness of the lads and Ayu' father. Ironically, as seen in the narrative, it aided
in the formation of a bond between them.

The next morning say the beginning of a beautiful though brief relationship between Ayu
and the schoolboys. Each side developed an arsenal of colourful childish insults to be fired
every morning-until the neighbours put a stop to the skirmishes. (p. 5)

A few years later, Ayu meets these boys again at her friend Lin’s house during Chinese
New Year and exchanged friendly and polite greetings with them. “As their eyes met hers,
they grinned mischievously but greeted her with decorum. Ayu replied courteously, giving
them a demure smile” (p. 34)

The tale demonstrates how food and eating habits may be adversely linked with a particular
race or culture, acting as a tool of ethnic categorization and separation rather than the hybrid
Third Space that welcomes variety. Such conversations as portrayed in the novel can grow
into full-fledged altercations and politicised to generate tensions amongst Malaysia's ethnic
communities in today's heightened ethnocentric and religiously sensitive society. Recent
instances include the separation of food utensils for Muslim and non-Muslim pupils at one
school and limits on dining in public places by one school during Ramadhan. Islamization of
the public realm has had a role to a growing lack of tolerance, particularly in the areas of food
and eating. As a result of the Muslim taboo of eating non-permissible/haram food like pork,
“commensality between Malay and Chinese has vanished”
As a result, the hybridised Third Space in which Malaysians gathered to share and eat each
other's food and cuisines is gradually vanishing. Unless the food or the establishment is
certified as halal, it is becoming less frequent for Muslims and non-Muslims to eat at one
other's homes or at a single table. Food, which formerly united Malaysians from all walks of
life together, is now being exploited by ethnocentric and fundamentalist organisations to
divide Malaysians on religious and ethnic grounds.

As seen in the story, although such taboos existed in the past, it did not affect personal and
social interethnic relations as much as it does in the present time. As depicted in Adibah
Amin's novel, such strict and puritanical ideas and behaviours were not the norm in early
Malaysia, where food and dining places functioned as the common Third Space that enabled
cultural exchanges with mutual respect and acceptance from all groups. Ayu's descriptions of
Hari Raya and Chinese New Year celebrations, where Malay and Chinese families gathered
to exchange food and learn about one other's cultures, demonstrate this.

On the first day of Aidilfitri, Lin and her parents came over bringing fruits and the two
families enjoyed getting really acquainted over chicken rendang and ketupat…. Two days
before Lin’s New Year, the Lim’s brought oranges for Ayu’s family, saying they would be
going to their hometown, Ipoh for the traditional reunion dinner on the eve of the first day
but would be back in a week...(p. 33)

People and communities learnt more about each other's cultures and beliefs via eating and
festivals, in addition to establishing and forging friendships and relationships. Food sharing
exhibited a generous heart and fostered friendship and good neighbourliness.

Ayu and her parents thanked them for the oranges which, Ayu was charmed to learn, had
a name that sounded like the word for gold and were thus believed to bring prosperity.
Amri and Husna offered to keep an eye on the Lim’s house while they were away, wished
them a happy and prosperous new year, and promised to visit them when they returned.
The day after the Lim’s returned, Ayu and her parents visited them, bringing ‘gold’
oranges. The families had another cordial chat in three languages, this time over ‘love
letters’, peanuts and dried melon seeds. (p. 32)

While they were there, a group of Mr Lim’s pupils came with little gifts, two of each kind.
Ayu was glad her family had brought two packets of oranges when Mrs Lim explained to
her that even numbers were for good luck. (p. 34)
The storey demonstrates how parents and families in multicultural societies teach their
children to recognise and accept ethnic and cultural diversity, as well as the significance of
food as the Third Space in encouraging inter-ethnic interactions. Instilling and encouraging
children and adults to learn about and experience the culture of other communities,
particularly through intercultural mingling and interaction free of prejudice and bias, as
depicted in the storey, contributes to the development of liberal, progressive, multicultural,
and transcultural individuals and communities.