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National Department for Culture and Arts

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Makyung is performed mainly as entertainment or for ritual purposes related to healing practices. Experts believe that Makyung appeared well before the Islamization of the country. It was performed as a royal theatre under the direct patronage of the Kelantan Sultanate until the 1920s. Hence, the tradition was perpetuated in a rural context without forsaking the numerous refinements acquired at court, such as sophisticated costume design. A typical Makyung performance opens with an offering followed by dances, acting and music as well as improvised monologues and dialogues. A single story can be presented over several consecutive nights in a series of three-hour performances. In the traditional village setting, the performances are held on a temporary open stage built of wood and palm leaves. The audience sits on three sides of the stage, the fourth side being reserved for the orchestra consisting of a three-stringed spiked fiddle (rebab), a pair of doubleheaded barrel drums (gendang) and hanging knobbed gongs (tetawak). Most roles are performed by women, and the stories are based on ancient Malay folk tales peopled with royal characters, divinities and clowns. Makyung is also associated with rituals in which shamans attempt to heal through song, trance-dance and spirit possession. Makyung, which requires long years of training, has been preserved until the present largely through oral transmission. In today’s society, few young people are willing to commit to such rigorous apprenticeships. As a result, this important tradition is undergoing steady decline, as attested by reduced dramatic and musical repertories and a shortage of seasoned performers. (Resource from : ICH UNESCO) For more information on Arts & Culture, Malaysia please visit our web site : https://pemetaanbudaya.my/culture/dis/147 and http://www.jkkn.gov.my/en

  • Makyung

     National Department for Culture and Arts  National Department for Culture and Arts

    The Malay Traditional Theatre Makyung (or Mak Yong or Makyung) is a dance drama that combines ritual elements, as well as acting and dancing, music, song, a story and spontaneous dialogues. This dance drama is performed especially in Kelantan, Terengganu, Kedah and Perlis as well as in Pattani, Thailand and in the Riau Islands, Indonesia. Makyung that is performed as an entertainment and as a healing methodology is believed to have established before the arrival of Islam. It is staged as a royal performance under the patronage of the Kelantan Sultanate until the 1920s. Hence, this tradition is maintained in its original form without leaving the development as started in the royal court like beautifully adorned costumes.

  • Pakyung

     National Department for Culture and Arts  National Department for Culture and Arts

    Pakyung is the main characters in a Makyung performance. For his headgear, Pakyung wears a setanjak or a crown which is made from special velvet with decorative beads and a ribbon of jasmine is sewn on the top part of the setanjak. The Pakyung characters wear a high round-neck with short sleeves, a beaded net-like drape called ‘la’ cover the chest, a pair of pants or pantaloons – usually black in colour, samping (a knee-length sarong worn over the pants) and a sash. The Pakyung use special bangles and his hand he carries a multi-purpose cane wand. Recent developments have seen changes to these costumes. For example, the headgear is now adorned with precious stones and embroidered using gold thread. Resources: Cultural Appreciation Series 1/2003: Makyung by Ministry Of Culture, Art And Tourism Malaysia Traditional Malay Theatre (2009) by Mohamed Ghouse Nasaruddin Makyung The Mystical Heritage of Malaysia (2011) by Rahimidin Zahri & Sutung Umar RS et al.

  • Puteri (Princess)

     National Department for Culture and Arts  National Department for Culture and Arts

    The princess wears a blouse or a kemban which is kind of bodice, revealing the shoulder and the arms. Over her shoulder, she drapes a beaded net-like covering, the la, like the one worn by Pak Yong. The princess also wears a belt, a pending (large ornamental waist buckle), pemeles and a gold bracelet. Resources: Cultural Appreciation Series 1/2003: Makyung by Ministry Of Culture, Art And Tourism Malaysia Traditional Malay Theatre (2009) by Mohamed Ghouse Nasaruddin

  • Peran Tua (The Elder Clown Servant)

     National Department for Culture and Arts  National Department for Culture and Arts

    These two characters wore a round-necked shirt, short sleeved, a cotton sarong and a pair of cotton pants. They also wear their head with an adornment (songkok) or a piece of multi-purpose cloth (semutar), usually made of cotton which also be tied at their waist and neck. They also wear the round-necked shirt topped with a vest. Ultimately, all aspects of the Peran’s costume and make-up is to create a funny appearance to give a comedic effect. Resources: Cultural Appreciation Series 1/2003: Makyung by Ministry Of Culture, Art And Tourism Malaysia Makyung The Mystical Heritage of Malaysia (2011) by Rahimidin Zahri & Sutung Umar RS et al.

  • Inang (Female Attendants)

     National Department for Culture and Arts  National Department for Culture and Arts

    The Inang character wore costume baju kebaya (a traditional Malay costume for ladies) or a kemban which is kind of bodice, revealing the shoulder and the arms. The Inang is supposed to be a woman who works inside the palace. Their role is differentiated through the style in which the costumes are worn. Some of them were ‘la’ to cover the chest, accessories such as bangles and head adornments. Resource: Makyung The Mystical Heritage of Malaysia (2011) by Rahimidin Zahri & Sutung Umar RS et al.

  • Rebab

     National Department for Culture and Arts  National Department for Culture and Arts

    Rebab is of the Chordophone category, a type of three-stringed spike-fiddle instrument played with a bow. On certain occasion, the Rebab is played solo during the opening sequence of the Makyung. It is more a vocal-style instrument that does not conform to the scale of exact-pitch. The body of the instrument is made of wood covered with a membrane made of cow hide. A long spike supports the strings at the top and serves as a foot at the bottom. The spike is made of wood or ivory or both. The brass strings are stretched across the membrane from a point on the leg (just below the body) to the pegs on the upper part of the spike. The bow consists of horsehair loosely attached to both ends. Resource: Ethnic Musical Instruments of Malaysia (2007) by Lee Elaine

  • Tetawak (Gong)

     National Department for Culture and Arts  National Department for Culture and Arts

    The tetawak are large, bossed gongs made of bronze that have very thick walls, a deep rim, a rough black surface and a knob (or boss) on the face of the gong. The two gongs, each one typically 48 cm or more in diameter, are suspended by rope from the roof beams of the Makyung stage or from a rack, usually in the northeast corner of the stage. The gongs face each other and are held secure by two cross-sticks on which the rope supporting the gongs is wound. The Tetawak Ibu (lowest-pitched gong) is placed with its knob pointed at center-stage. During a Makyung performance the gongs function as a timekeeper. The beating of the gong serves as a signal to the performers as to the beginning and end of a song. Unlike the double barrel drums, only one musician plays the gong. The gongs also serve a ritualistic purpose apart from timekeeping. Prior to the official opening of the stage ceremony a small amount of water is placed inside the rim of each gong. These items carry ritual importance according to traditional belief, and during the course of a performance the actors and actresses occasionally dip their fingers into the water sipping it or applying it to the throat with the belief that it acts as an elixir to produce a more melodious singing voice. Resource: Makyung The Mystical Heritage of Malaysia (2011) by Rahimidin Zahri & Sutung Umar RS et al.

  • Canang

     National Department for Culture and Arts  National Department for Culture and Arts

    Canang comes under the Idiophone instrument category under the small metal bronze. It comes in a pair and suspended by light ropes in a wooden frame. Normally, the Gongs are hand-shaped to achieve the desired pitch. During performance, a mallet is used to hit Canang. In Kelantan state, the Canang functions as a time maker in the traditional ensemble such as Wayang Kulit and Makyung. In traditional theatre performance, the Canang is performed in pairs, the Canang Ibu (mother) of about 10-12 inches in diameters and Canang Anak (child) of about 8-10 inches in diameter. Resource: Ethnic Musical Instruments of Malaysia by Lee Elaine

  • Kesi

     National Department for Culture and Arts  National Department for Culture and Arts

    The kesi is an idiophone from the cymbals family and is formed from copper plates. It complements the rhythm of traditional percussion ensemble. Two pairs of small discs are attached to a wooden block with one pair fixed permanently to the site and the other pair is tied to a rope. Like the cymbals, to produce the sound the discs are crashed together. The kesi is used in the traditional percussion ensemble which initially developed in Kelantan to accompany traditional dances. It gives a pinging and crashing sound. Resource: Musical Instruments of The Malays in Malaysia (2014) by Nik Mustapha Nik Mohd Salleh

  • Serunai

     National Department for Culture and Arts  National Department for Culture and Arts

    The serunai is an additional instrument used for the dance pieces Tari Ragam and the piece entitled Lagu Berjalan during the Makyung performance. It is a wind instruments, where the body is made of a conical tube carved from jackfruit wood, with seven finger holes on the front side and a thumbhole on the back. The instrument is found in two sizes (large, about 48 cm in length and small, about 40 cm) called Ibu and Anak respectively. The Serunai Ibu, which is normally used in the Kelantanese Shadow Play performance, is also used in Makyung performances. The loud and sometimes strident sound of this instrument is produced by blowing through a reed that consists of four layers of dried palmyra palm (pokok lontar) leaf. The reed is cut in the shape of a small fan and is attached to the top end of the body. The lower end of this instrument is bell-shaped and is decorated with ornate geometrical carvings that are painted with bright colors. Just as in rebab melodies, the serunai typically produces a highly florid melodic line with many fast-moving notes. The instrument can be unassembled for storage in a special case and quickly reassembled into a single piece when it is to be played. Resource: Makyung The Mystical Heritage of Malaysia (2011) by Rahimidin Zahri & Sutung Umar RS et al.

  • Gedombak Ibu

     National Department for Culture and Arts  National Department for Culture and Arts

    Gedombak comes under the Membranophone category. It was adapted in Arab and became popular in Kelantan state. The instrument is made from jackfruit wood, components which are baluh, belulang, rotan, baji kayu and cincin tebal. The Gedombak is a single-headed gobet drum covered with goat hide and tightened with rattan lace. Cincin tebal or metal ring is used with baji kayu or further tighten the frame and to be adjusted for tuning purpose. The correct position to hold the Gedombak is to place flat on the musician’s lap. Beating and slapping the face with the palm of one hand produces sound. The other hand covers the open bottom to produce the various timbers. In performance, the Gedombak is played in pairs, the Gedombak Ibu (mother drum) and Gedombak Anak (child drum). The pair is of the same size though the ‘mother’ produces a lower pitch. Resource: Ethnic Musical Instruments of Malaysia by Lee Elaine

  • Gedombak Anak

     National Department for Culture and Arts  National Department for Culture and Arts

    Gedombak comes under the Membranophone category. It was adapted in Arab and became popular in Kelantan state. The instrument is made from jackfruit wood, components which are baluh, belulang, rotan, baji kayu and cincin tebal. The Gedombak is a single-headed gobet drum covered with goat hide and tightened with rattan lace. Cincin tebal or metal ring is used with baji kayu or further tighten the frame and to be adjusted for tuning purpose. The correct position to hold the Gedombak is to place flat on the musician’s lap. Beating and slapping the face with the palm of one hand produces sound. The other hand covers the open bottom to produce the various timbers. In performance, the Gedombak is played in pairs, the Gedombak Ibu (mother drum) and Gedombak Anak (child drum). The pair is of the same size though the ‘mother’ produces a lower pitch. Resource: Ethnic Musical Instruments of Malaysia by Lee Elaine

  • Geduk Ibu

     National Department for Culture and Arts  National Department for Culture and Arts

    Geduk is of the Membranophone category. Hardwood such as jackfruit wood is used to make the body. The two-sounding surfacing are made of cow hide and fastened by Nibong wedges. The leather strap handle is fixed near two vertical sticks. The geduk is complete with a stand. In performance, the geduk is placed in front of a player who hits it with a pair or mallets. The geduk is performed in Kelantan state in pairs, of different sizes. The large one is called Geduk Ibu (mother) is lower pitched that the smaller oni which is called Geduk Anak (child). Even though the geduk is a two-faced cylindrical Gendang, only one side is playable. Resource: Ethnic Musical Instruments of Malaysia by Lee Elaine v

  • Geduk Anak

     National Department for Culture and Arts  National Department for Culture and Arts

    Geduk is of the Membranophone category. Hardwood such as jackfruit wood is used to make the body. The two-sounding surfacing are made of cow hide and fastened by Nibong wedges. The leather strap handle is fixed near two vertical sticks. The geduk is complete with a stand. In performance, the geduk is placed in front of a player who hits it with a pair or mallets. The geduk is performed in Kelantan state in pairs, of different sizes. The large one is called Geduk Ibu (mother) is lower pitched that the smaller oni which is called Geduk Anak (child). Even though the geduk is a two-faced cylindrical Gendang, only one side is playable. Resource: Ethnic Musical Instruments of Malaysia by Lee Elaine v

  • Rotan Berai (Wand)

     National Department for Culture and Arts  National Department for Culture and Arts

    The wand represents the King’s power over his people. In a Makyung performance, the wand never leaves the Pakyung’s hand, to portray his control over this people. For example, in the scene when the Peran comes to meet the King, if Peran did something out of control, the King would beat him with the wand to control him. However, in another situation, the Pakyung also eses the wand as a weapon and a tool of medication to heal pain, among others. During the early era, the wand can turn into many items. I a scene when the King walks out of the palace, the Peran will wrap the wand with a piece of yellow cloth and symbolically turns it into an umbrella to shade the King. The wand itself represents the people’s unity under one ruler – the King. It is made of a bundle of rattan sticks tied together and held by the King. This symbol of harmony and unity is the main principle of any Makyung performance designed to uphold the King’s sovereignty as the force behind the play. Resource: Makyung The Mystical Heritage of Malaysia (2011) by Rahimidin Zahri & Sutung Umar RS et al

  • Parang Kayu (Machete)

     National Department for Culture and Arts  National Department for Culture and Arts

    The Peran, is usually seen with the machete as part of his identity as a villager or one of the masses that works as an aide to the King. It was typical for men in any village to bring a machete both as a self-defense and working tool. In humorous situation, the machete is stereotypically used in “knocking scenes” between the Perans to create a comical scene for the audience. Resource: Makyung The Mystical Heritage of Malaysia (2011) by Rahimidin Zahri & Sutung Umar RS et al

  • Peran Muda (The Young Clown Servant)

     National Department for Culture and Arts  National Department for Culture and Arts

    These two characters wore a round-necked shirt, short sleeved, a cotton sarong and a pair of cotton pants. They also wear their head with an adornment (songkok) or a piece of multi-purpose cloth (semutar), usually made of cotton which also be tied at their waist and neck. They also wear the round-necked shirt topped with a vest. Ultimately, all aspects of the Peran’s costume and make-up is to create a funny appearance to give a comedic effect. Resources: Cultural Appreciation Series 1/2003: Makyung by Ministry Of Culture, Art And Tourism Malaysia Makyung The Mystical Heritage of Malaysia (2011) by Rahimidin Zahri & Sutung Umar RS et al.

  • Awang Batil

     National Department for Culture and Arts  National Department for Culture and Arts

    The performance begin with a simple theatre opening ritual (buka panggung). Ritual offerings, consisting of betel leaves (sirih), betel-nuts (pinang) and money (wang pengeras) are made to the spirits. The ceremony comprises invocations (doa selamat) and salutation (bertabik) to thank the sponsor or host of a performance. The performer sits cross-legged upon a bare stage or platform to deliver his tale. He speaks in rhythmic prose mixed with verse to the accompaniment of music provided by striking the side of a brass bowl (batil) with his hand. The basic elements in a performance, apart from the extensive repertoire of stories, consists of the batil, a double-reed oboe (serunai), masks and a short dagger (keris). Some performers wear a formal Malay attire - Baju Melayu complete with waistcloth (sampin) and headcloth (tengkolok). The batil, a brass bowl varying in size is characteristic of this genre and struck to create a distinctive hollow sound which provides the rhythm and tempo for a performance. To evoke a courtly atmosphere, the performer plays the serunai. It is intended to emulate the trumpet (nefiri) in the Nobat court orchestra. During the performance, the performer coordinates music with a story. Rhythm and tempo, crafted to created a hypnotic effect, are necessary for the smooth flow of the tales which are often linguistically and stylistically complex. The stories are embellished with dialogue, narration, chanting, recitation and singing. The performer also engages in limited improvised acting. Costume and mask changes, which take place with those characters are accompanied by appropriate mime and vocal transformation by the performer. The keris also features in ceremonial situation to enhance the formality of an Awang Batil performance. The lengthy folk tales, legends or myths of gods or kings take several night to complete, with performance lasting an hour or more each night. Resources: The Encyclopedia of Malaysia: Performing Arts (Vol. 8) by Prof. Dr. Ghulam-Sarwar Yousof

  • Main Puteri (Traditional Healing Performance)

     National Department for Culture and Arts  National Department for Culture and Arts

    Main Puteri or Main Teghi is basically simple healing ceremonies conducted in the sitting area of a village. Main Puteri comprises a shaman (Bomoh Puteri or Tok Puteri) and an interrogator of spirits (Tok Minduk). The Tok Minduk serves as the Tok Puteri’s assistant and is usually a qualified shaman. The Tok Minduk also act as the principal musician, playing the three-string (rebab). A basic Makyung orchestra is used, comprising the rebab, a pair of gongs (tetawak), a pair of double-headed barrel drums (gendang), cymbals (kesi), a pair of inverted (canang). Much of the musical repertoire derives from Makyung. The performance begins with the theatre opening ritual (buka panggung). Following an opening musical piece (lagu bertabuh) and several preliminary pieces, the bomoh sings the salutation song (lagu bertabik). This leads to the trance (lupa) sessions. These are exciting in terms of drama, visual effect, and music. While singing and dancing the Tok Puteri enters a trance and swaying his head. He assumed the characteristic of a succession of spirits as he attempts to ‘bring down’ the one that is causing illness. When the spirit is found, the Tok Minduk begins negotiating with it. Music is then played and the spirits departs. The highly elaborate ritual (berjamu) for a shaman initiation or for fulfilling vows involves the removal of the spirits paraphernalia at this point. A bathing ceremony (bersiram) for the patient is conducted. A feast is held for the human participants and a ritual closing ceremony (tutup panggung) ends the performance. Resources: The Encyclopedia of Malaysia: Performing Arts (Vol. 8) by Prof. Dr. Ghulam-Sarwar Yousof

  • Gendang Anak

     National Department for Culture and Arts  National Department for Culture and Arts

    In a Makyung performance, two double-headed, elongated barrel drums carved from wood from a jackfruit tree (kayu nangka) are used. The wooden body is slightly convex in shape, but tapers at one end, allowing for two drumheads of different sizes on each of the drums. The drums themselves appear in two sizes – large and small – referred to as Ibu (mother) and Anak (child) respectively. The overall difference in the size of the two drums is about 6 cm in all dimensions. The Gendang Ibu is about 54 cm long, while the Gendang Anak is some 4-6 cm shorter. The drumheads of the smaller Gendang Anak are made of goat skin, while the larger drumhead of the Gendang Ibu is made of cowhide. Each of the skin is attached to the body via a thick, circular rattan brace in addition to rattan laces in a Y-shaped arrangement that are tightened in order to stretch and ‘tune’ the drumheads. Two drummers play the two gendangs in an interlocking style to produce specific rhythmic patterns for the various pieces. In using this interlocking style of playing, each of the drummers plays specific timbres at specific times simultaneously so that both parts collectively create a single, composite (or resultant) rhythmic pattern. Each drum is held in a horizontal position across the player’s lap; the drumheads are hand-hit on parts and in specific ways to produce certain timbres of sound. Resource: Makyung The Mystical Heritage of Malaysia (2011) by Rahimidin Zahri & Sutung Umar RS et al.

  • Gendang Ibu

     National Department for Culture and Arts  National Department for Culture and Arts

    In a Makyung performance, two double-headed, elongated barrel drums carved from wood from a jackfruit tree (kayu nangka) are used. The wooden body is slightly convex in shape, but tapers at one end, allowing for two drumheads of different sizes on each of the drums. The drums themselves appear in two sizes – large and small – referred to as Ibu (mother) and Anak (child) respectively. The overall difference in the size of the two drums is about 6 cm in all dimensions. The Gendang Ibu is about 54 cm long, while the Gendang Anak is some 4-6 cm shorter. The drumheads of the smaller Gendang Anak are made of goat skin, while the larger drumhead of the Gendang Ibu is made of cowhide. Each of the skin is attached to the body via a thick, circular rattan brace in addition to rattan laces in a Y-shaped arrangement that are tightened in order to stretch and ‘tune’ the drumheads. Two drummers play the two gendangs in an interlocking style to produce specific rhythmic patterns for the various pieces. In using this interlocking style of playing, each of the drummers plays specific timbres at specific times simultaneously so that both parts collectively create a single, composite (or resultant) rhythmic pattern. Each drum is held in a horizontal position across the player’s lap; the drumheads are hand-hit on parts and in specific ways to produce certain timbres of sound. Resource: Makyung The Mystical Heritage of Malaysia (2011) by Rahimidin Zahri & Sutung Umar RS et al.