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Submitted: February 16, 2008
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Submitted: February 16, 2008
File Size: 211 KB
Image Size: 211 KB
Resolution: 533×800
Comments: 33
Favourites & Collections: 26 [who?]
Views
Total: 1,210
Today: 0
Downloads
Total: 0
Today: 0
Embed
Thumb
Artist's Comments
Thanks to Kjell aka *tokyop for his assistance!
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, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.
Experts believe that Mak Yong 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. Henceforth the tradition was perpetuated in its original rural context without forsaking the numerous refinements acquired at the court, such as sophisticated costume design.
A typical Mak Yong 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-walled stage constructed 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 double-headed 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. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance and spirit possession.
Mak Yong has been preserved until the present day thanks largely to oral transmission, which requires long years of training. 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.
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, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.
Experts believe that Mak Yong 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. Henceforth the tradition was perpetuated in its original rural context without forsaking the numerous refinements acquired at the court, such as sophisticated costume design.
A typical Mak Yong 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-walled stage constructed 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 double-headed 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. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance and spirit possession.
Mak Yong has been preserved until the present day thanks largely to oral transmission, which requires long years of training. 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.
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