Mak Yong Theatre

Mak Yong is a form of Malaysian folk theatre that involves rituals of propitiation and healing that were popularized by local communities in the villages of Kelantan, northwest Malaysia, way before the Islamization of the country.

The Pattani Kingdom, which is now a province of Thailand, is believed to have been the beginning of this tradition although Mak Yong's exact age is uncertain because it was passed down orally among villagers.

It was performed as a royal theater under the direct patronage of the Kelantan Sultanate until the 1920s, and was used by all levels of society to pay respect to spirits, express gratitude for the harvest, or treat illnesses.

In a typical Mak Yong performance, there will be dances, acting, songs, and improvised monologues and dialogues. An offering is made to the spirits (semah kumpung) before a performance begins. Performances go on for several nights, each lasting three hours. Several three-hour performances of the same story can be performed at the same time over several consecutive days.

Performances are held on temporary stages constructed from wood and palm leaves in the traditional village setting. There are three sections of the stage that are occupied by the audience, with the fourth section occupied by the orchestra consisting of three-stringed spiked fiddles (rebab), double-headed barrel drums (gendang), and hanging knobbed gongs (tetawak).

A majority of the roles are played by women, and clowns, who are always male, are the only exception to the tradition of predominantly female performers. The lead dancer is called Pak Yong and is dressed like a king. In addition to the lead dancer, a queen, palace girls, and jesters are usually present in the cast. The stories are based on ancient Malay folk tales with characters like royals, deities, and clowns. Mak Yong may also be associated with rituals of healing involving song, trance-dance, and spirit possession by shamans.

In the 1960s and 1970s, Mak Yong continued but was suppressed by the Islamic revival. As early as 1991, the country banned Mak Yong in the state due to its "un-Islamic elements" and clothing that leaves women's heads and arms uncovered. Despite many old performers defying the ban, Mak Yong could no longer perform publicly. Until UNESCO declared it an intangible cultural heritage to be preserved, people believed the tradition would die out.

Because it is largely untouched by external influences, Mak Yong is considered the most authentic and representative form of Malay performing arts. However, in spite of its importance, this tradition continues to decline. Revival of the art form has been attempted several times, but seasoned performers have noted a distinct difference between the commercialized Mak Yong of urban dancers and the movements of rural dancers.

Fewer and fewer young people are willing to take on such rigorous apprenticeships to learn the tradition. The majority of performances today last about 30 minutes and are geared toward tourists. It remains to be seen whether the newer versions, such as the shariah-compliant all-male Mak Yong performance recently introduced in PAS-governed Kelantan, will be accepted and thrive.