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MAKYONG (KELANTAN)

Persatuan Warisan Sary, No.44, Jalan Padang Tembak Perumahan Padang Tembak, 16100 Pengkalan Chepa, Kelantan

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Introduction and history

Makyong is one of the traditional Malay performing arts that is highly unique and refined in nature. It integrates elements of dance, music, drama, singing, ritual, and comedy into a circular theatrical form that is both dramatic and narrative. Originally, its performers were composed entirely of young and beautiful women who played both male and female roles, except for the comedic characters known as peran. The exclusive selection of female performers was closely tied to its function as entertainment within the royal courts, specifically for queens, princesses, and female nobility. This practice arose out of concern that the presence of male performers, particularly during the absence of kings or noblemen attending to state matters, might lead to romantic entanglements.

The origins of Makyong can be traced back at least 200 years, based on records in the Hikayat Patani, which state that it first developed at the Yala palace of the Pattani Kingdom before spreading to Kelantan. From there, it expanded to Kedah, Singapore, the Riau Archipelago, and the Johor-Riau-Lingga Sultanate. Initially, Makyong was performed exclusively at royal courts, particularly among the aristocracy. Documentation of Makyong performances can also be found in Syair Perkawinan Anak Kapitan Cina written by Encik Abdullah in 1277 Hijrah (1860 AD), which describes the wedding of Engku Puteri Raja Hamidah and the son of a Chinese Kapitan.

However, with the arrival of the British in Kelantan in the early 20th century, the economic and political power of the royal elite declined, which led to Makyong spreading to the villages, no longer under royal patronage. This development resulted in changes to the form of Makyong performances during its second generation (following the great Bah Air Merah flood of 1926 until the 1950s).

In 2005, UNESCO recognized Makyong as a Masterpiece of the Oral and Intangible Heritage of Humanity, an acknowledgment that elevated the importance of this art form in the context of global cultural heritage. This recognition further reinforced Makyong's significance in preserving Malay cultural identity and heritage. Today, various parties are actively involved in documentation, training of successors, and preservation efforts to ensure that the original form of Makyong continues to be passed down to future generations.

Functions and Roles

In its earliest existence, Makyong was deeply rooted in the traditional healing rituals of the Malay community, particularly in Kelantan and its surrounding regions. The performance played a crucial role in spiritual healing ceremonies, believed to cure illnesses thought to stem from internal imbalance or spiritual disturbances. In this context, Makyong was not merely a form of entertainment but served as a medium connecting patients, healers, and the spiritual realm. Through a combination of singing, rebab music, dance movements, symbolic dialogue, and ritual incantations, a therapeutic atmosphere was created to facilitate the patient’s spiritual recovery.

Over time, as social and political dynamics evolved, the function of Makyong also experienced a shift. From its origins as a healing ritual, it developed into a form of exclusive court entertainment, particularly within royal families and the nobility. Makyong performances in royal courts were often held to celebrate important occasions such as royal weddings, birthdays, and various palace festivities. Within this royal setting, Makyong was not only seen as entertainment but also as a symbol of luxury and cultural refinement that reflected the elevated social status of the rulers.

As royal authority began to decline, particularly with the arrival of British colonial rule in the early 20th century, Makyong continued to flourish among the general public in village communities. It gradually became part of the people’s entertainment, performed during weddings and local customary celebrations. Although performances outside the palace were no longer bound by aristocratic protocols, they still retained their dramatic elements, comedy, traditional music, and narratives rich with moral values, advice, and social satire.

Beyond its ritualistic and entertainment functions, Makyong also plays a vital role as a medium for education and the transmission of cultural values. Through stories passed down from generation to generation, Makyong contains teachings on customs, taboos, human relationships with nature, and principles of community life. Characters such as Dewa Muda, Puteri Ratna Emas, and Raja Tangkai Hati deliver messages of love, sacrifice, trust, and justice. In this regard, Makyong serves as a means of preserving the collective memory of the traditional Malay society.

Today, with its recognition by UNESCO, Makyong also serves as an instrument of cultural diplomacy, academic research, and national heritage development. The preservation and documentation efforts carried out today ensure that Makyong remains not only a valuable historical reference but also continues to hold relevance within the global discourse on cultural heritage.

Traditional Attire/ Accessories

Costumes and accessories play a crucial role in enhancing the aesthetic beauty and defining the identity of characters in Makyong performances. In addition to strengthening the dramatic elements, costumes also reflect the social status, roles, and historical backdrop depicted in the performance. The costumes worn by Makyong performers are typically made of luxurious fabrics such as songket, satin, silk, or brocade, richly decorated with gold and silver thread embroidery. The design of Makyong costumes is deeply influenced by traditional Malay textile arts, woven with symbolic meanings unique to the culture.

Costumes of Pak Yong Muda and Pak Yong Tua

The character of Pak Yong Muda (the main male role, usually performed by a female actor) wears ceremonial attire inspired by the royal costume styles of the Patani kingdom. They wear a Setanjak or headdress made of special velvet, adorned with gemstones and edged with glittering decorations. The top of the setanjak is decorated with several jasmine blossoms, with additional strands of jasmine flowers hanging from the left ear. Historically, Pak Yong Muda also wore a Setangan Balik (decorative scarf) along with seven strands of jasmine hanging from the ear. In earlier periods, the Setanjak was made of yellow silk and decorated with golden flowers hanging from golden chains.

The costume of Pak Yong Tua is generally more elaborate, featuring darker colors symbolizing the character’s age and wisdom. Both Pak Yong characters wear yellow silk shirts without collars, with short sleeves, embellished with a long decorative piece called “Lai”, made of beads and gemstones, extending almost to the waist. All performers perform barefoot as a sign of respect in the presence of the nobility, including kings and court officials.

To complement the character, Pak Yong also carries a bundle of rattan called Rotan Bera or Pembiat, used during interactions with the comedic peran characters. Additionally, kain lepas (long cloth) or thread is creatively used to depict various objects in the performance, such as kites (wau), infants, or elephants.

Costume of Puteri Makyong

The character of Puteri Makyong wears an equally luxurious costume, resembling that of Pak Yong but emphasizing the grace and elegance of noble women. They wear silk kebaya blouses fastened with gold and gemstone brooches, paired with silk sarung skirts secured by a belt with a gemstone-encrusted pending (belt buckle). The Pending worn by Puteri Makyong is usually more ornate and extravagant compared to Pak Yong’s. On the left shoulder, a decorative cloth called Kain Sibartypically embroidered with gold thread is draped and extends to the knee. Additional accessories include pemeles (a head ornament), gold bracelets, anklets, and rings, which are often presented by the king.

Costumes of Dayang-Dayang

The dayang characters wear simpler silk kebaya and sarung compared to the principal characters. They do not wear pending or kain sibar, but still adorn their hair with neatly styled buns decorated with jasmine flowers, enhancing their modest beauty and elegance as royal attendants.

Costumes of Peran (Comedian Characters)

The peran or comedian characters wear costumes that differ significantly from the noble characters. They typically don simple short shirts, sarung cloth, and loose trousers. Their accessories are minimal, usually including a semutar (cloth headscarf) made of woven thread, which may also be used as a belt. Their attire emphasizes freedom of movement and humor, aligning with their role as entertainers in the performance.

Each component of Makyong’s costume is rich in symbolic meaning. The color yellow is often associated with royal majesty and authority. Jasmine flower adornments symbolize purity, refined character, and the beauty of Malay women. The elements of gold, gemstones, and beads serve not only as decoration but also as emblems of wealth, status, and the aesthetic perfection of traditional Malay performing arts.

Equipment/ Ingredients

Music plays a very important role in Makyong performances. It not only serves as accompaniment for singing and dancing, but also creates a dramatic atmosphere, controls the rhythm of the performance, and signals both the audience and the actors about scene transitions or the appearance of characters. The main musical instruments used in Makyong are as follows:

Rebab

The rebab is the principal musical instrument in Makyong performances. Structurally, the rebab consists of three main parts: the "pucuk rebung" (tip), the body, and the face. The face of the rebab is made from jackfruit or sena wood, covered with cowhide. A small hole on the face is sealed with a cover known as the susu or tetek, which functions to balance the air pressure inside and outside the chamber. The chamber itself is made from jackfruit or sira wood. In the past, the rebab strings were made from thick thread, but have since been replaced with guitar, oud, or violin strings, as used today. The bow of the rebab is made from wood and synthetic strings.

Tawak (Gong)

The tawak is one of the important musical instruments in Makyong performances, consisting of two gongs: the larger Tawak Ibu (Mother Tawak) and the smaller Tawak Anak (Child Tawak). Both gongs are made of brass, suspended, and separated by two wooden bars known as mengembang. The Tawak Ibu produces a lower pitch compared to the Tawak Anak. To produce sound, the tawak is struck with a special mallet made of wood, with its tip wrapped in cloth or rubber sheets to generate a clear and deep resonance.

Gendang Ibu and Gendang Anak

The Gendang Ibu and Gendang Anak are paired drums that differ in size and tone. The larger head of the Gendang Ibu is covered with cowhide, while the smaller head of the Gendang Anak is covered with goatskin. These drums play a vital role in establishing the rhythm and tempo of the entire Makyong performance, synchronizing the movements of dance, singing, and scene transitions throughout the play.

Canang

The canang also consists of two units, namely Canang Ibu and Canang Anak, both made of brass. Although their physical forms are nearly identical, the difference between the two can only be distinguished by the sound they produce when played. The canang serves as a rhythmic complement in Makyong performances, contributing to the harmonious musical texture alongside other instruments.

Kesi

The kesi is an auxiliary musical instrument in Makyong performances, comprising two main components: four small plates and two kicah, all made of iron. The kesi serves to provide additional sound effects that enrich the overall rhythm of the performance, thereby enhancing the musical texture alongside the main instruments.

Serunai

The serunai is a primary wind instrument in Makyong performances, providing a distinct timbre to the entire production. This instrument consists of four main parts: Pipit (mouthpiece), Mali (connector), Batang (body), and Copong (bell), all of which can be disassembled for storage and maintenance purposes. The serunai is usually made from hardwood such as jackfruit or cengal, while the pipit contains a vibrating reed made from palm leaves or thin metal. The body of the serunai features several finger holes that allow the production of various pitches.

The sound produced by the serunai is sharp, piercing, and resonant, creating a strong dramatic atmosphere in Makyong performances. The melody of the serunai is often played alternately with other instruments such as the rebab, gendang, tawak, and canang, helping to accentuate character emotions, intensify scene tension, or signal mood changes.

Method / Preparation Method / Presentation Method

The structure of Makyong performances is highly systematic and typically follows a fixed sequence of songs and dialogues. The performance begins with Bertabuh, followed by Mengadap Rebab, then a dialogue between the King or Pak Yong and Makyong. This is followed by Pak Yong Muda or Puteri Makyong singing Dondang Lanjut, along with a series of subsequent dialogues and songs such as Sedayong Pak Yong, Kisah Barat by Pak Yong Muda, Barat Cepat by Peran, Lagu Berkbabar, Lagu Saudara, a repeat of Barat Cepat, Tok Wak, and Lagu Ela, which lead into the main storyline.

Each Makyong performance usually begins with the Mengadap Rebab ritual, which serves as a mandatory opening for every show. During this segment, the main character delivers a solo song accompanied by the rebab, while the chorus, known as Jong Dondang, repeats the verses sung by the lead character. Throughout the Makyong performance, the role of the rebab player, known as Tok Minduk, is crucial. Tok Minduk serves as the leader of the musical ensemble and is responsible for initiating every song by playing an introductory melody for 8 to 16 measures before the other instruments join in. In addition, Tok Minduk signals the beginning of songs, arranges tempo changes, and controls the musical aspects throughout the performance. All Makyong songs are fully memorized by Tok Minduk, who also performs the buka panggung (stage opening) ritual. During the performance, musicians are positioned at the left corner of the stage, while Tok Minduk sits facing the setting sun.

During the singing, actors perform refined hand, shoulder, and body movements slowly and gracefully. Upon completion of the solo song, all performers rise slowly and stand upright before beginning to circle the stage with slow dance movements, while one performer continues with the next solo known as Sedayong Makyong.

Dance also plays a significant role in accompanying the songs and dialogues. Makyong dance emphasizes gentle and symbolic hand movements, coordinated with the movements of the head, body, and feet. Basic movements used include Duduk atas tumit dengan Sembah Guru, Susun Sirih, Gajah Lambung Belalai, Burung Terbang, Ular Sawa Mengorak Lingkaran, Seludang Menolak Mayang, Sulur Memain Angin, Liuk Kiri Longlai Ke Kanan, Berdiri Tapak Tiga Menghadap Timur, Sirih Layer, Kirat Penghabisan, Langkah Turun dan Naik Kayangan, as well as Pergerakan Berjalan Pak Yong.

Characters and Characterization

In a Makyong performance, characters are divided into several main groups as follows:

Pak Yong plays the role of the ruler and serves as the central figure in the storyline, while Pak Yong Muda portrays the hero who faces various conflicts throughout the narrative.

Makyong, as the queen, and Puteri Makyong, as the heroine, also play important roles in many of the stories.

There are also maidservant characters who act as attendants, as well as nursemaids (inang pengasuh) who serve as caretakers and advisors to the princess.

Among the commoners, peran tua (elder clown) and peran muda (young clown) serve as entertainers and advisors to the king.

Peran tua often plays a more significant role, including conducting the buka panggung ritual, while peran muda assists the elder clown.

Tok Wak represents members of society with specific expertise, such as Tok Wak Nujum (soothsayer), Tok Wak Petanda Raja (royal messenger), or Tok Wak Tukang (craftsman).

Additionally, there are mystical characters such as Dewa who symbolize purity and nobility, as well as antagonistic characters like Jin, Gergasi (giant), and Bota (ogre), who represent evil.

There are also characters such as Orang Darat representing village workers, as well as animal and bird characters that are designed according to the story's requirements.

The repertoire of Makyong encompasses various myths and legends that have evolved from a single foundational story into twelve complete narratives recognized as full-fledged artistic texts. These stories include Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Indera Indera Dewa, Dewa Panah, Endeng Tejali (including Anak Raja Gondang, Batak Raja Gondang, Bongsu Sakti), Gading Bertimang, Raja Tangkai Hati, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar Dalam Negeri Ho Gading, and Bentara Muda. Each story conveys lessons and moral values symbolically through the life journey of the main character.

Figures and Achievements

Ruhani binti Mohd Zin. (2009). Persatuan Warisan Sary, No.44, Jalan Padang Tembak Perumahan Padang Tembak, 16100 Pengkalan Chepa, Kelantan.

Reference Source

Bahan Bacaan Yousof, G. S. (1976). The Kelantan" Makyong" Dance Theatre: A Study of Performance Structure. University of Hawai'i at Manoa. Yousof, G. S. (2017). The Makyong dance theatre as spiritual heritage: some insights. SPAFA Journal, 1. Hardwick, P. A. (2020). Makyong, a UNESCO “masterpiece”: Negotiating the intangibles of cultural heritage and politicized Islam. Asian ethnology, 79(1), 67-90. The revitalization of Makyong in the Malay world Hardwick, P. A. (2009). Stories of the wind: The role of Makyong in Shamanistic healing in Kelantan, Malaysia