Materials
kelantan
ICH Materials 58
Photos
(54)-
Main Puteri
Main Puteri (the play of the spirits) is a ritualistic healing ceremony in which Tok Puteri—a Malay Shaman serves as an intermediary between the inhabitants of the real and the nether worlds. In this ceremony, the puteri (spirits) are able tone act a play to treat the patients who usually need to revitalise their psychic energy (angin) and spirit (semangat). Many Kelantanese believe that illnesses purportedly due to ghost, evil spirits or witchcraft are the ones that are most susceptible to this ceremony. Patient of these illness commonly lack soul substance and are manifested by their state of depression and general withdrawal. Auditory hallucinations are taken to be evidence of ghost possession.\nThis ceremony employs the performance elements of traditional musical ensembles, dance movements and dramatic dialogue during the process of healing. The musical ensemble resembles those of a Mak Yong musical ensemble: rebab, a pair of gendang, and a pair of gongs. Additional instruments such as serunai, gedombak, geduk, canang from the Wayang Kulit performance are also used in some ceremonies. These musicians play to accompany the chanting, singing and the movements of the Tok Minduk and Tok Puteri. Tok Minduk—nwho can also be the Rebab player—is Tok Puteri’s partner and sounding board tone gage and guide Tok Puteri to the relevant spirits.
Malaysia -
Main Puteri
Main Puteri (the play of the spirits) is a ritualistic healing ceremony in which Tok Puteri—a Malay Shaman serves as an intermediary between the inhabitants of the real and the nether worlds. In this ceremony, the puteri (spirits) are able tone act a play to treat the patients who usually need to revitalise their psychic energy (angin) and spirit (semangat). Many Kelantanese believe that illnesses purportedly due to ghost, evil spirits or witchcraft are the ones that are most susceptible to this ceremony. Patient of these illness commonly lack soul substance and are manifested by their state of depression and general withdrawal. Auditory hallucinations are taken to be evidence of ghost possession.\nThis ceremony employs the performance elements of traditional musical ensembles, dance movements and dramatic dialogue during the process of healing. The musical ensemble resembles those of a Mak Yong musical ensemble: rebab, a pair of gendang, and a pair of gongs. Additional instruments such as serunai, gedombak, geduk, canang from the Wayang Kulit performance are also used in some ceremonies. These musicians play to accompany the chanting, singing and the movements of the Tok Minduk and Tok Puteri. Tok Minduk—nwho can also be the Rebab player—is Tok Puteri’s partner and sounding board tone gage and guide Tok Puteri to the relevant spirits.
Malaysia -
Main Puteri
Main Puteri (the play of the spirits) is a ritualistic healing ceremony in which Tok Puteri—a Malay Shaman serves as an intermediary between the inhabitants of the real and the nether worlds. In this ceremony, the puteri (spirits) are able tone act a play to treat the patients who usually need to revitalise their psychic energy (angin) and spirit (semangat). Many Kelantanese believe that illnesses purportedly due to ghost, evil spirits or witchcraft are the ones that are most susceptible to this ceremony. Patient of these illness commonly lack soul substance and are manifested by their state of depression and general withdrawal. Auditory hallucinations are taken to be evidence of ghost possession.\nThis ceremony employs the performance elements of traditional musical ensembles, dance movements and dramatic dialogue during the process of healing. The musical ensemble resembles those of a Mak Yong musical ensemble: rebab, a pair of gendang, and a pair of gongs. Additional instruments such as serunai, gedombak, geduk, canang from the Wayang Kulit performance are also used in some ceremonies. These musicians play to accompany the chanting, singing and the movements of the Tok Minduk and Tok Puteri. Tok Minduk—nwho can also be the Rebab player—is Tok Puteri’s partner and sounding board tone gage and guide Tok Puteri to the relevant spirits.
Malaysia -
Main Puteri
Main Puteri (the play of the spirits) is a ritualistic healing ceremony in which Tok Puteri—a Malay Shaman serves as an intermediary between the inhabitants of the real and the nether worlds. In this ceremony, the puteri (spirits) are able tone act a play to treat the patients who usually need to revitalise their psychic energy (angin) and spirit (semangat). Many Kelantanese believe that illnesses purportedly due to ghost, evil spirits or witchcraft are the ones that are most susceptible to this ceremony. Patient of these illness commonly lack soul substance and are manifested by their state of depression and general withdrawal. Auditory hallucinations are taken to be evidence of ghost possession.\nThis ceremony employs the performance elements of traditional musical ensembles, dance movements and dramatic dialogue during the process of healing. The musical ensemble resembles those of a Mak Yong musical ensemble: rebab, a pair of gendang, and a pair of gongs. Additional instruments such as serunai, gedombak, geduk, canang from the Wayang Kulit performance are also used in some ceremonies. These musicians play to accompany the chanting, singing and the movements of the Tok Minduk and Tok Puteri. Tok Minduk—nwho can also be the Rebab player—is Tok Puteri’s partner and sounding board tone gage and guide Tok Puteri to the relevant spirits.
Malaysia -
The Asyik Dance
Tari Asyik is a Kelantanese court dance that traces its roots to the Sultanate of Pattani during the reign of Ratu Kuning (Yellow Queen) in the 17th century. The Hikayat Patani narrates that the court of Ratu Kuning cultivated a group of twelve dancing maidens, known as Asyik. Legend has it that Asyik dance was created to comfort the grieving Ratu Kuning over the loss of her favourite bird. It is also said to have been the most beloved dance of the legendary Kelantanese princess, Puteri Saadong. Over time, the dance became popular among common people and is now used as folk entertainment during festivals and marriages. The dance costume is a piece of sarong tied above the chest, with a belt and small tiara. The main dance move is sitting down with both legs folded to the side with movements that depict ‘a bird’, ‘sea wave’ and ‘ an elephant in delivery’. Nowadays, there are changes in this dance that are the dancers are fully clothed, and from sitting down with both legs folded to the side to a little body rise position. The musical accompaniment for Tari Asyik usually consists of gendang (double-headed Malay drum), serunai (Malay oboe) or rebab (spike fiddle), canang (brass percussion), kesi (cymbals), and gong
Malaysia -
The Asyik Dance
Tari Asyik is a Kelantanese court dance that traces its roots to the Sultanate of Pattani during the reign of Ratu Kuning (Yellow Queen) in the 17th century. The Hikayat Patani narrates that the court of Ratu Kuning cultivated a group of twelve dancing maidens, known as Asyik. Legend has it that Asyik dance was created to comfort the grieving Ratu Kuning over the loss of her favourite bird. It is also said to have been the most beloved dance of the legendary Kelantanese princess, Puteri Saadong. Over time, the dance became popular among common people and is now used as folk entertainment during festivals and marriages. The dance costume is a piece of sarong tied above the chest, with a belt and small tiara. The main dance move is sitting down with both legs folded to the side with movements that depict ‘a bird’, ‘sea wave’ and ‘ an elephant in delivery’. Nowadays, there are changes in this dance that are the dancers are fully clothed, and from sitting down with both legs folded to the side to a little body rise position. The musical accompaniment for Tari Asyik usually consists of gendang (double-headed Malay drum), serunai (Malay oboe) or rebab (spike fiddle), canang (brass percussion), kesi (cymbals), and gong
Malaysia -
The Inai Dance
The Inai Dance is a traditional dance of Malay palaces performed during circumcision ceremonies of palace dignataries and also during wedding ceremonies. This dance has specific procedures to produce difficult finger and hand movements in a continous circular position. The dance also combines the dance movements found in Mak Yong traditional theatre, the silat martial art and acrobatic arts. The Tari Inai Dance has a special dance form that is showing off a dancer’s capability to balance the body and bend backward to pick up a paper money using the mouth.
Malaysia -
The Inai Dance
The Inai Dance is a traditional dance of Malay palaces performed during circumcision ceremonies of palace dignataries and also during wedding ceremonies. This dance has specific procedures to produce difficult finger and hand movements in a continous circular position. The dance also combines the dance movements found in Mak Yong traditional theatre, the silat martial art and acrobatic arts. The Tari Inai Dance has a special dance form that is showing off a dancer’s capability to balance the body and bend backward to pick up a paper money using the mouth.
Malaysia -
Kelantan Shadow Play
Shadow Play is a traditional theatre that uses light and shadow. There are opinions that say that this theatre originated from Java Island, Indonesia and there are others who say it came from Pattani in southern Thailand. However, it has become a traditional theatre for the Malay community since ages ago. A Shadow Play performance is headed by a Tok Dalang who moves puppets sculptured from cow hide based on specific characters. The puppets are projected behind a screen or white cloth using light rays. Tok Dalang’s greatness is also his ability to converse in a myriad of voices according to the characters in every performance. Shadow Play is performed with music accompaniment with the purpose to assist in enlivening the characters played and to portray the environment happening at a particular scene. Commonly used musical instruments are the clarinet which is the main instrument, a number of various types of drums, cymbal and gong. The musical instruments are different between Kelantan’s Shadow Play, Porwo Shadow Play of Johor and Gedek Shadow Play of Kedah. Although the basics are the same but the variation is in the type of drum, for example. Among the songs often played accompanying this arts form are ‘Lagu Bertabuh’, ‘Perang’, ‘Seri Rama’, ‘Kabar Manja’, ‘Buluh Seruas’, and ‘Pandan Wangi’. Generally, the stories played are excerpts from the Ramayana and Mahabrata Epic collections. The popular characters are Seri Rama, Siti Dewi, Wak Long, Pak Dogol and Hanuman. A performance is usually held in the evening. However, the function of Shadow Play is diminishing since the appearance of television that has various interesting programmes. The master activists too are becoming sidelined by the society. Once in a while Tok Dalang returns to the stage and screen when there is a request.
Malaysia -
Kelantan Shadow Play
Shadow Play is a traditional theatre that uses light and shadow. There are opinions that say that this theatre originated from Java Island, Indonesia and there are others who say it came from Pattani in southern Thailand. However, it has become a traditional theatre for the Malay community since ages ago. A Shadow Play performance is headed by a Tok Dalang who moves puppets sculptured from cow hide based on specific characters. The puppets are projected behind a screen or white cloth using light rays. Tok Dalang’s greatness is also his ability to converse in a myriad of voices according to the characters in every performance. Shadow Play is performed with music accompaniment with the purpose to assist in enlivening the characters played and to portray the environment happening at a particular scene. Commonly used musical instruments are the clarinet which is the main instrument, a number of various types of drums, cymbal and gong. The musical instruments are different between Kelantan’s Shadow Play, Porwo Shadow Play of Johor and Gedek Shadow Play of Kedah. Although the basics are the same but the variation is in the type of drum, for example. Among the songs often played accompanying this arts form are ‘Lagu Bertabuh’, ‘Perang’, ‘Seri Rama’, ‘Kabar Manja’, ‘Buluh Seruas’, and ‘Pandan Wangi’. Generally, the stories played are excerpts from the Ramayana and Mahabrata Epic collections. The popular characters are Seri Rama, Siti Dewi, Wak Long, Pak Dogol and Hanuman. A performance is usually held in the evening. However, the function of Shadow Play is diminishing since the appearance of television that has various interesting programmes. The master activists too are becoming sidelined by the society. Once in a while Tok Dalang returns to the stage and screen when there is a request.
Malaysia -
Kelantan Shadow Play
Shadow Play is a traditional theatre that uses light and shadow. There are opinions that say that this theatre originated from Java Island, Indonesia and there are others who say it came from Pattani in southern Thailand. However, it has become a traditional theatre for the Malay community since ages ago. A Shadow Play performance is headed by a Tok Dalang who moves puppets sculptured from cow hide based on specific characters. The puppets are projected behind a screen or white cloth using light rays. Tok Dalang’s greatness is also his ability to converse in a myriad of voices according to the characters in every performance. Shadow Play is performed with music accompaniment with the purpose to assist in enlivening the characters played and to portray the environment happening at a particular scene. Commonly used musical instruments are the clarinet which is the main instrument, a number of various types of drums, cymbal and gong. The musical instruments are different between Kelantan’s Shadow Play, Porwo Shadow Play of Johor and Gedek Shadow Play of Kedah. Although the basics are the same but the variation is in the type of drum, for example. Among the songs often played accompanying this arts form are ‘Lagu Bertabuh’, ‘Perang’, ‘Seri Rama’, ‘Kabar Manja’, ‘Buluh Seruas’, and ‘Pandan Wangi’. Generally, the stories played are excerpts from the Ramayana and Mahabrata Epic collections. The popular characters are Seri Rama, Siti Dewi, Wak Long, Pak Dogol and Hanuman. A performance is usually held in the evening. However, the function of Shadow Play is diminishing since the appearance of television that has various interesting programmes. The master activists too are becoming sidelined by the society. Once in a while Tok Dalang returns to the stage and screen when there is a request.
Malaysia -
Zapin
Zapin can be traced to dances introduced by the Middle Eastern missionaries who arrived in the Malay Archipelago in the 14th century. Once performed only by men, it later evolved into a dance that paired men with women as they were dressed in traditional Malay costumes. The dance is accompanied by musicians playing the gambus (short-necked lute), accordion, violin, marwas (bongos) and rebana (drum). Zapin is most popular in the state of Johor. Zapin Melayu Johor’s main structure is divided into three main parts, Taksim or Taqasim, Ragam & Kopak, and Wainab. There are in fact several types of zapin, such as Zapin Mastar, Zapin Tenglu, Zapin Putar Alam, Zapin Pekajang, Zapin Lenga, Zapin Kores, Zapin Padang Sari (Johor), Zapin Salor (Kelantan), Zapin Sindang (Sarawak), Zapin Tingkatalu (Sabah) and many more.
Malaysia