Mak Yong: Perbezaan antara semakan
Kandungan dihapus Kandungan ditambah
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Mak Yong is first mentioned in the Hikayat Patani dating back to the 18th century as a performance at the Nara Yala, Patani court (Teeuw and Wyatt, 1970). During the 19th century it found its way from Southern Thailand to Kelantan in Eastern Malaysia and subsequently through Tanjung Kurau (present-day Singapore) to the islands in Indonesia which at the time was part of the Riau, Lingga, Johor Kingdom, the Malay Sultanate par excellence.
Different from Mak Yong as found in Kelantan, which does not make use of any masks, Mak Yong from Batam dan Bintan do use masks like in Nara Yala, the area of origin, for a number of retainers such as the personal servants of the Raja (King, or his son) and Putri (Queen or her daughter), criminals, demons and spirits. In the last century, Mak Yong was not only an everyday performance, but was also used as a ritual for the reigning king. Mak Yong was moreover also performed to cure very sick people. This practice is no longer found in Indonesia. The last persons to enact this were Tuk Atan in Bintan and Pak Basri in Batam, both of whom have died three years ago. Mak Yong is however still performed starting and ending with a ritual. The mantras that were usually uttered by the two people mentioned above have been passed down to their descendents. The performers of Mak Yong in Batam and Bintan at present form the third generation. Mak Yong in Batam and Bintan has existed for about 150 years and is at present in danger of becoming extinct if no urgent documentation and training of performers is done.
The inherited tradition of the Mak Yong was transmitted through performance. Mak Yong is therefore highly dependent on the performers as well as the audience who at the same time act as the main supporters of Mak Yong’s existence. Apart from oral transmission, there are seven manuscripts containing the outlines of the stories which are elaborated upon during the performances. These manuscripts are written in an adapted form of Arabic script and date back to the eighteenth and early nineteenth century. They were copied in 1970 by Tuk Atan and the copies were used for the training of his family and close friends. However, manuscripts detailing the dances, music, and songs, and how a performance was to be enacted do not exist. The performers therefore have to learn by watching performances. Other aids for the transmission of the tradition are audio cassettes from the Rekaman Radio Republik Indonesia (RRI) from the 1980s and VCD/DVD recordings made during the 1990s. Finally there is a documentary that has been made in order to specifically show details of the Mak Yong performance. While not being ideal, the documentary and manuscripts are useful aids in the process of the transmission of this old Malay tradition. Since oral traditions like the Mak Yong have proved to be a source of the building of the identity of the Malays, this tradition and the people who are involved in its transmission and performance should be safeguarded.
Whereas the palace theatre mirrored the elegance of royalty, peasant performers enacted the life of workers in the [[rice]] fields. Nevertheless mak yong's delicate movements, polite mannerisms and refined speech endured. In 1923, the king's youngest son Long Abdul Ghaffar wanted mak yong to retain its courtly look. He built a cultural precinct called Kampung Temenggung on palace grounds to lend his support to the arts. During this time it became conventional to have a lead female. His death in 1935 was followed by World War II. Mak yong was once again a folk tradition but it now regained much of the sophistication it had as a court theatre, especially in the costumes, make-up and music.
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Kumpulan generasi ketiga tarian Mak Yong telah dipelopori oleh [[Kumpulan Seri Temenggung]], sebuah kumpulan belia. Guru-guru Mak Yong yang terdiri daripada orang-orang lama dari generasi pertama telah diambil untuk melatih mereka dalam tarian-tarian dan nyanyian-nyanyian Mak Yong yang asli seperti yang terdapat pada masa generasi yang pertama dulu. Dengan latihan itu, unsur-unsur yang asli mula dihidupkan kembali.
==Mak Yong di Indonesia==
Mak Yong berkembang di Indonesia melalui Riau, Lingga, yang pernah menjadi pusat pemerintahan Kerajaan Johor.
Perbezaan dengan Mak Yong yang terdapat di Kelantan yang tidak menggunakan topeng, Mak Yong di Batam dan Bintan menggunakan topeng bagi sebahagian watak dayang Raja, Puteri, penjahat, setan, dan semangat, sama seperti yang diamalkan di Nara Yala. Pada akhir abad lepas, Mak Yong bukan sahaja menjadi persembahan harian, tetapi juga sebagai istiadat raja memerintah. Mak Yong juga digunakan bagi merawat orang sakit. Amalan ini tidak lagi diamalkan termasuk di Indonesia. Antara orang terakhir yang mengamalkan Mak Yong bagi merawat pesakit adalah Tuk Atan di Bintan dan Pak Basri di Batam, keduanya telah meninggal. Mak Yong bagaimanapun masih dipersembahkan dengan istiadat di pembuka dan penutup panggung. Mentera yang diamalkan diwarisi dari seorang kepada warisnya. Di Batam dan Bintan masa kini pengiat Mak Yong merupakan generasi ke tiga dan telah wujud hampir selama 150 tahun dan berhadapan ancaman kepupusan.
== Jenis-Jenis Makyong ==
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