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DONDANG SAYANG
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Introduction and history
Photo 1: Dondang Sayang Performance
Source: Department of National Heritage
Dondang Sayang is a cherished traditional Malay performing art that continues to thrive among the Malay, Baba Nyonya, Chetti, and Portuguese communities of Melaka. The term “dondang” denotes the act of entertaining, while “sayang” connotes love or affection—thus, Dondang Sayang may be loosely translated as “songs of love.” This unique art form interweaves melodious antiphonal singing with poetic quatrains known as pantun, typically performed in a call-and-response format between a male and female vocalist.
Historically, Dondang Sayang is believed to have its roots in the royal court traditions of the Melaka Sultanate during the 15th century. It was originally a form of praise and poetic homage, performed to honour the grandeur of the sultan and to welcome visiting foreign dignitaries. After the fall of the sultanate, the tradition was preserved by aristocrats and cultural enthusiasts who upheld its artistic and poetic spirit. Over time, it evolved into a community-based folk tradition, becoming a staple form of entertainment at weddings, social gatherings, and public festivals.
A popular folktale surrounding the rise of Dondang Sayang tells of a figure named Wan Benai, who is said to have serenaded Sang Nila Utama with poetic verses of love and longing in the Dondang Sayang style during a picnic at Tanjung Bemban. The performance, accompanied by nobles and their wives, attracted the attention of nearby villagers, who began to join in by echoing the rhythm and singing in response. This communal participation is said to have played a pivotal role in popularising the art form among the masses.
Beyond entertainment, Dondang Sayang also functions as a form of lyrical balladry, expressing themes of affection, yearning, social commentary, or humour. The core of the performance lies in the singers’ wit, poetic agility, and improvisational skill, as they craft and respond to pantun in real time. This makes Dondang Sayang not only an aesthetic performance but also an intellectually stimulating oral tradition.
Today, Dondang Sayang is recognised as an important element of Malaysia’s intangible cultural heritage. It is regularly featured at weddings, cultural festivals, tourism events, and formal gatherings. Various cultural institutions and heritage bodies continue to organise training programmes and competitions to ensure its transmission to younger generations. In recognition of its cultural significance, UNESCO inscribed Dondang Sayang onto the Representative List of the Intangible Cultural Heritage of Humanity on 29 November 2018. In Malaysia, the Department of National Heritage identifies four main regional styles: Dondang Sayang Melaka, Dondang Sayang Baba Peranakan, Dondang Sayang Tanjung Penyengat, and Dondang Sayang Pulau Pinang.
Traditionally, Dondang Sayang served as a primary form of entertainment within the Melaka Sultanate, enjoyed not only by the royal court and nobility but also by the common people. It was often performed at official ceremonies such as weddings, feasts, and festive celebrations, not merely as entertainment, but as a means of fostering social bonds within the community. Through spontaneous exchanges of pantun—often offering advice, playful teasing, or gentle satire—Dondang Sayang also functioned as a vehicle for imparting moral, cultural, and intellectual values in an engaging and accessible way.
In the modern context, Dondang Sayang continues to be preserved as a rich element of intangible cultural heritage, celebrated for its historical and artistic significance. It remains relevant today, regularly featured at weddings, community gatherings, cultural festivals, and tourism events. Following its inscription by UNESCO as an Intangible Cultural Heritage of Humanity on 29 November 2018, various cultural institutions and government bodies have launched training sessions, workshops, and conservation programmes to ensure the art form's continuity. These efforts are vital for passing on Dondang Sayang to younger generations, thus preserving its role as one of the most treasured oral art forms within the Malay cultural legacy.
The attire worn by singers or pantun reciters in Dondang Sayang performances is carefully chosen to suit both formal and informal settings. It can be adapted according to the venue and occasion, whether it is a cultural stage, a wedding feast, or an official government event. These garments not only reflect the richness of Malay textile heritage and traditional Eastern values but also highlight the cultural syncretism evident in the Baba Nyonya and Chetti communities, who have also embraced Dondang Sayang as part of their shared heritage.
Men’s Attire
Male performers typically wear the Baju Melayu Teluk Belanga, a traditional Malay shirt distinguished by its soft, collarless neckline and fine hand-stitching known as tulang belut. It is paired with Malay-style trousers, either the patelun (a traditional Johor Malay cut) or straight-cut trousers influenced by Chinese styles. The ensemble is completed with a neatly wrapped kain samping (waist cloth), a songkok (traditional headgear), and leather sandals or traditional capal.
Women’s Attire
For female performers, two main styles are commonly worn: Baju Kurung Teluk Belanga and Baju Kebaya, depending on the cultural context and formality of the event. These are paired with traditional kain sarung, often made from batik with classic motifs. The outfit is enhanced with a selendang (shawl), worn over the shoulders or head, symbolizing grace and modesty, and completed with traditional slippers or dainty shoes to maintain elegance.
Additional Accessories
At more formal or large-scale events, female performers often adorn themselves with three-piece brooch sets (kerongsang), earrings, and bracelets to elevate the look. Male performers may accessorize with a decorative rambai on the songkok or wear traditional gemstone rings to enhance their presence and reflect cultural refinement.
Musical instruments play a vital role in setting the rhythm and tempo that enhance the lyrical flow of the pantun exchange in a Dondang Sayang performance. These instruments not only enrich the musical ambiance but also help in structuring the interplay between the singers. The following are commonly used instruments:
Violin
The violin is a primary instrument in Dondang Sayang. It produces soft, melodious tones that add emotional depth to the performance. It also leads the melodic line, ensuring a harmonious flow with the singers’ voices.
Rebana (Frame Drum)
The Dondang Sayang performance traditionally begins with the gentle strokes of a violin, which serve to set the mood and draw the audience’s attention. The violin’s melodic strains are then joined by the rhythmic beats of the rebana and gong, creating a soft, flowing tempo that is characteristic of the Dondang Sayang style.
Once the instrumental section is underway, the vocalists, or pemantun—begin exchanging four-line pantun verses, sung in turn.
Although Dondang Sayang is commonly performed in male-female pairs, the number of pemantun is not fixed. The first pemantun typically opens with a riddle or inquiry verse, while the second responds. If the verse goes unanswered, a third performer may step in to continue the exchange. The spontaneity and wit required to deliver these verses highlight the intellectual and linguistic finesse inherent in the tradition.
Interestingly, there is no fixed theme for the pantun, allowing performers to improvise based on the occasion or audience response. Over 99 known themes are part of the traditional pantun repertoire, and seasoned performers are expected to memorize them to ensure relevance and adaptability in various performance settings.
There is no strict duration for a Dondang Sayang performance. Traditionally, it could extend well into the early hours of the morning, reflecting its informal and leisurely nature. However, in formal settings such as weddings, the performance usually ends at the discretion of the musicians or event host, following the program schedule.
Some well-known traditional songs commonly associated with the Dondang Sayang genre include:
Dondang Sayang Melaka
Dondang Sayang Baba dan Nyonya
Dondang Sayang Tanjung Surat
Dondang Sayang Temasik
Dondang Sayang Pulau Pinang
Pisang Mas Bawa Belayar
Pisang Masak Sebiji
Dondang Sayang is not merely a cultural heritage passed down through generations—it has been continually enriched and sustained by passionate individuals dedicated to its preservation. Among them, two prominent figures stand out as pioneers and cultural icons who have significantly contributed to elevating Dondang Sayang as one of Malaysia’s esteemed performing arts.
YBhg. Datuk Mohd Baharim bin Mohd Sharip
With nearly five decades of experience in Dondang Sayang, YBhg. Datuk Mohd Baharim bin Mohd Sharip began his journey in this art form as a musician before evolving into a lead vocalist and pemantun (traditional Malay versifier). His deep commitment to the art was evident in his early involvement with the Kumpulan Dendang Perantau, which later led him to establish Kumpulan Cak Kun Cak, a pivotal ensemble that played a crucial role in popularising Dondang Sayang beyond its traditional audience.
An advocate of arts education, he has served in various capacities including as a Music Arts Coach for the Tunas BudayaProgram, Workshop Instructor for Dondang Sayang, and Traditional Music Instructor at the Institute of Melaka Heritage (INSWA). He has also been a frequent judge in music and singing competitions, a testament to the recognition of his expertise in the field.
In addition to performance, Datuk Baharim is a prolific composer of pantun, with a personal archive of over 2,000 Dondang Sayang verses. After disbanding Cak Kun Cak, he founded Kumpulan Kenangan Mawar Biru, where he continues to serve as its lead musician. Despite his age, he remains actively involved in workshops and performances, committed to nurturing interest among younger generations. His unwavering dedication is best captured in his own words: “As long as I live, I will continue to champion this art.”
His outstanding contributions have been recognized through several prestigious awards:
Bintang Khidmat Terpuji (BKT) – 2000
Darjah Pangkuan Seri Melaka (DPSM) – awarded the title ‘Datuk’ in 2017
National Living Heritage Personality – awarded by the Ministry of Tourism, Arts and Culture
Melaka Dondang Sayang Icon
Tuan Haji Idriss bin Haji Sariff
Born on 20 December 1955 in Kampung Air Leleh, Melaka, Tuan Haji Idriss bin Haji Sariff is a native son of Melaka deeply associated with Dondang Sayang. He inherited his passion from his father, a renowned pemantun, and entered the art scene as a teenager.
His talent and passion led him to a successful career as a musician with institutions such as RTM Melaka, Kombo Briged Seni Melaka, and Kombo Majlis Bandaraya Melaka Bersejarah (MBMB). He also served as an educator and musician at the Melaka Arts Academy, bridging the gap between traditional art and formal education.
In his effort to strengthen the artistic platform, he founded the ensemble Dendang Irama, which actively showcases Dondang Sayang at state, national, and international levels. As a singer, he has participated in numerous competitions such as the P. Ramlee Song Contest and reached the semi-finals of the Bintang RTM competition.
Today, he serves as the Chief Music Trainer at the Institute of Melaka Heritage (INSWA) and frequently conducts Dondang Sayang workshops and educational programs in schools and universities. His contributions have earned him the following accolades:
Melaka Cultural Arts Personality – 2006
Melaka Dondang Sayang Icon – 2007
Best National Cultural Arts Trainer – 2007
These two distinguished figures embody the spirit of resilience and commitment necessary to ensure that Dondang Sayang remains alive, relevant, and appreciated by future generations. Their passion not only preserves a treasured tradition but also empowers cultural identity in a modern society.
Reference Source
Bahan Bacaan
Ong, S. N., & Manokaran, K. (2014). Orthographic and phonological integration of Malay words of the Pantun in the Dondang Sayang. The Malaysian Journal of Qualitative Research, 10(01), 101–118. https://doi.org/10.61211/mjqr100109
Sani, N. A. S. A., Subki, N. S. M., Kamal, J. I. A., & Jali, J. M. (2024). Menelusuri keunikan sejarah dondang sayang: Tradisi Melayu dan Baba Nyonya. Jurnal Kajian Lisan Malaysia, 2(2), 51-59.
Thomas, P. (1986). 1. A brief history of Dondang Sayang. In ISEAS Publishing eBooks (pp. 3–10). https://doi.org/10.1355/9789814377782-003
Zaman, N. B. K. Satu Kajian Keatas Penerimaan Penonton Terhadap Seni Persembahan Dondang Sayang Di Melaka. Dalam https://ir.unimas.my/id/eprint/21290/1/Satu%20kajian%20ke%20atas%20penerimaan%20penonton...(24%20pgs).pdf
Tokoh (jika ada temu bual tokoh)
YBhg. Datuk Mohd Baharim bin Mohd Sharip. Kumpulan Muzik Asli Institut Warisan Melaka (INSWA), Institut Warisan Melaka (INSWA), No.9, Rumah Kerajaan Bukit, 75150 Melaka.
Tuan Haji Idriss bin Haji Sariff. Kumpulan Muzik Asli Institut Warisan Melaka (INSWA), Institut Warisan Melaka (INSWA), No.9, Rumah Kerajaan Bukit, 75150 Melaka.
Location
State JKKN Contact Information
Nur Al-Farani binti Rosli
Cultural Officer
Jabatan Kebudayaan dan Kesenian Negara, Melaka
Kompleks JKKN Melaka
Hang Tuah Jaya, Lebuh Ayer Keroh,
75450 MELAKA
06 - 763 6308
