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This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ The origin, evolution and future of Mek Mulung a state heritage status and beyond Jamalludin, Nur Izzati Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 04. Oct. 2021 THE ORIGIN, EVOLUTION AND FUTURE OF MEK MULUNG: A STATE HERITAGE STATUS AND BEYOND Nur Izzati Jamalludin Submitted in fulfilment for the requirements for the degree of Doctor of Philosophy at King’s College London May 2019 1 Abstract This research was carried out to trace the development of Mek Mulung, a dance- drama which is native solely to the village of Wang Tepus, Kedah in peninsular Malaysia. From early records of its original form to its present multiple variations, I examine its evolution in consideration of its current relevance and potential sustainability. The main focus is the interrelationships between the two main performance forms that are currently coexisting, despite their rural and urban distinctiveness, and the impact on them from interactions with various forces within their ecological domains. Using an applied ethnomusicological approach which develops largely from ethnographic research methodology, data from a variety of sources were gathered over several years of fieldwork involving participant and non-participant observations, interviews, surveys, archival searches, and digital media sources. Informants for the data include tradition bearers in Wang Tepus, performers, concert audiences, performance makers/experts, and the Wang Tepus community. Results reveal that the urban-based concertized version continues to gain exposure and popularity, but is misunderstood as the ‘real’ Mek Mulung. Despite the interest and enjoyment shown by urban audiences, many do not know the origin of Mek Mulung. Village-based performances have not taken place for several years, and their absence is giving the impression that it has become relegated in terms of getting credit for the village performers’ ownership of the tradition. Being recognized in 2014 as Kedah state heritage status has given a big boost to Mek Mulung’s current popularity among urban audiences, 2 but unfortunately, the Mek Mulung of Wang Tepus not only has not benefited but has been negatively impacted by it. Outside intervention efforts by researcher-activists may be necessary to empower the village performers towards preserving and sustaining the original tradition, and ultimately to regaining their sense of pride and ownership as the natural bearers of the tradition. 3 Table of Contents Abstract …………………………………………………………… 2 Table of Contents ….…………………………………………….. 4 List of Figures …………………………………………………….. 8 Acknowledgements ...…………………………………………….. 1 1 Chapter 1: Introduction ………………………………………………. 13 1.1 My Encounter with Mek Mulung 13 1.2 Background to Mek Mulung in Wang Tepus Village … 1 4 1.3 Statement of Central Problem ………………………… 21 1.4 Purpose of the Study …………………………………. 2 2 1.5 Research Questions …………………………………… 24 1.6 Objectives of the Study ……………………………….. 25 1.7 Methodology of the Study …………………………….. 2 6 1.7.1 Interviews ………………………………………. 2 8 1.7.2 Participant and Non-Participant Observations ….. 29 1.7.3 Archival Data …………………………………… 3 1 1.7.4 New Media ……………………………………… 3 1 1.7.5 Survey Questionnaire …………………………… 3 2 1.7.6 Informal Personal Communication ……………… 3 2 1.7.7 Transcription of Raw Data from Personal Collections ……………………………………….. 3 3 1.8 Review of the Literature ………………………………… 33 1.8.1 Traditions, Culture, and the Rural Malay Village Dynamics ………………………………………… 3 4 1.8.2 Transformations of Performing Arts, Modernity, Reconstruction and Revival ……………………… 4 3 1.8.3 Implications of Transformation of Traditional Arts and Constructing Heritage ……………………….. 4 7 1.9 Limitations of the Study ……………………………….. 5 4 4 Chapter 2: Historical Development of the Mek Mulung Performance ..……………………………………………… 57 2.1 Introduction ..………………………………………….. 5 7 2.2 Kedah: From Oldest Malay Sultanate to a Modernized State .…………………………………………………. 5 8 2.3 Kedah’s Performing Arts .. …………………………… 6 6 2.4 Mek Mulung, Kedah’s One-of-a-Kind Gem . ………… 70 2.4.1 The Mek Mulung Performers of Wang Tepus …. 70 2.4.2 Performance Functions ………………………... 71 2.4.3 Written and Recorded Sources ………………… 7 1 2.4.4 Origins and Myths …………………………….. 7 5 2.5 Key Informants of Mek Mulung ……………………… 7 8 2.5.1 Saad bin Taib ………………………………….. 7 9 2.5.2 Salleh bin Embut ………………………………. 80 2.5.3 Ahmad bin Shahadan ………………………….. 8 3 2.5.4 Kamarusdin bin Debak ………………………… 8 4 2.6 Mek Mulung as a Folk/Village Theatre Performance … 8 6 2.6.1 The Performance Space ……………………….. 8 6 2.6.2 The Theatre Characters ………………………... 8 8 2.6.3 Costumes and Props …………………………… 8 8 2.6.4 Musical Instruments …………………………… 9 1 2.6.5 Stock Stories …………………………………… 92 2.7 Performing Mek Mulung ……………………………… 9 5 2.7.1 Performance Structure …………………………. 9 5 2.7.2 Performance Style ……………………………… 103 2.7.3 Musical Style …………………………………. 107 2.7.4 Performing Sembah Guru …………………….. 109 2.8 Conclusion …………………………………………… 112 Chapter 3: The Reconstruction of the Modern/New Mek Mulung ….. 114 3.1 Introduction ……………………………………………. 114 3.2 The Beginnings of Proscenium Performances …………. 115 3.3 The Petronas Performing Arts Group (PPAG) and Mek Mulung’s Urban Popularity ……………………….. 119 3.4 Staging of the Mek Mulung by the PPAG ……………… 120 3.4.1 Promoting the Concertized Mek Mulung ...……… 123 3.4.2 Urban Performance Structure and Stage …………. 128 3.4.3 Creating the Storyline and Developing the Script ... 135 3.4.4 Female Impersonators as Drag Spectacle in Mek Mulung .…………………………………… 136 3.4.5 Choreographing the Dances .…………………… 142 3.4.6 The Learning Process: PPAG Style ...…………… 144 3.4.7 Urban Reconstruction Summary ………………… 146 5 3.5 Zamzuriah: Creating the Ideal Concertized Mek Mulung …………………………………………… 148 3.5.1 Developing the Mek Mulung for ASWARA …… 150 3.6 Mek Mulung in Other Academic Institutions ….……… 155 3.7 The Birth of Amateur Groups Experimenting with Mek Mulung …………………………………………… 160 3.8 Conclusion …………………………………………….. 164 Chapter 4: Portraying Mek Mulung as Heritage ……………………… 169 4.1 Introduction ……………………………………………... 169 4.2 Reconstructing the Mek Mulung Revival ……………….. 169 4.3 Placing Mek Mulung Heritage in Perspective …………… 178 4.4 Agency Policy and Heritage Acts ………………………. 181 4.5 Strategies for Mek Mulung Preservation ………………… 188 4.6 Mek Mulung Heritage Beyond Malaysia ...……………… 192 4.7 Conclusion: Construction of Heritage or Heritages for Mek Mulung …………………………………………. 193 Chapter 5: Audience Responses to Mek Mulung ……………………… 201 5.1 Introduction ……………………………………………… 201 5.2 Audience Data ……………………………………………. 202 5.2.1 PPAG’s 2011 Production of Cahaya Bulan ………. 202 5.2.2 Universiti Malaya’s 2016 Production of Dewa Kaca ………………………………………… 204 5.2.3 Darinai Dance 2018 Production of Hikayat Puteri Dua Belas Beradik ………………………………… 207 5.2.4 Wang Tepus Villagers as Audience: Retrospective Views ……………………………………………… 211 5.2.5 Print Media Reviews and Critiques as Audience ….. 216 5.2.6 Audience Response to Recorded Online Mek Mulung Content …………………………………………… 220 5.3 Understanding the Multi-audience Perspective .………… 233 5.4 Conclusion ………………………………………………. 241 Chapter 6: Mek Mulung Moving Forward: Creative Innovations ……. 244 6.1 Introduction ……………………………………………… 244 6.2 Problematizing and Theorizing Contemporary and Creative Mek Mulung ……………………………….. 245 6.3 Creative Mek Mulung Practices within other Theatre Forms …………………………………………… 253 6.3.1 Mek Mulung in Zamzuriah’s Jalan Primadona 6 and Section by Stesen ……………………………… 254 6.3.2 Mek Mulung in Children’s Theatre, Magika Mek Senik ………………………………………….. 261 6.3.3 Reconstruction of a Forgotten Story, Hikayat Puteri Dua Belas Beradik …...…………….. 265 6.4 Mek Mulung Inspirations in Dance, Film and other Art Forms ………….……………………………… 270 6.4.1 Dance Performances inspired by Mek Mulung ..….. 271 6.4.2 Mek Mulung Performed in a Television Series …... 273 6.4.3 Mek Mulung in a Short Film Clip .…..…………… 277 6.4.4 Mek Mulung-Themed Wedding ...……………….. 278 6.5 Merchandising ..………………………………………… 280 6.6 Summary and Conclusion ..…………………………….. 285 Chapter 7: Summary and Conclusion ………………………………….. 292 7.1 Introduction ……………………………………………... 292 7.2 Summary ………………………………………………... 293 7.3 Discussions and Conclusions …………………………… 302 7.4 Recommendations ………………………………………. 308 References …………………………………………………………………
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    M. Cohen On the origin of the Komedie StamboelPopular culture, colonial society, and the Parsi theatre movement In: Bijdragen tot de Taal-, Land- en Volkenkunde 157 (2001), no: 2, Leiden, 313-357 This PDF-file was downloaded from http://www.kitlv-journals.nl Downloaded from Brill.com10/10/2021 12:19:15AM via free access MATTHEW ISAAC COHEN On the Origin of the Komedie Stamboel Popular Culture, Colonial Society, and the Parsi Theatre Movement Introduction . The Komedie Stamboel, also known as the Malay Opera, occupies a prom- inent place in Indonesia's cultural history.1 lts emergence in 1891 has been characterized as a 'landmark' in the development of modern popular theatre (Teeuw 1979:207). The theatre later contributed greatly to the birth of Indo- nesian contemporary theatre and film2 and played a formative role in mod- ern political discourse and representation (see Anderson 1996:36-7). The Komedie Stamboel has been celebrated as one of the most significant 'artistic achievements' of the Eurasian population of colonial Java (see Van der Veur 1968a), but also damned for its deleterious influence on Java's classical and 1 This article was written while a postdoctoral research fellow at the International Institute for Asian Studies (DAS). It was presented in part as lectures at KAS and the Fifth International Humanities Symposium, Gadjah Mada University, in 1998.1 would like to thank all the particip- ants in the research seminar, 'Popular theatres of Indonesia', Department of Southeast Asian and Oceanic Languages and Cultures, Leiden University, where I developed some of the ideas pre- sented here, as well as Kathryn Hansen, Rakesh Solomon, Catherine Diamond, Surapone Virulrak, Hanne de Bruin, and two anonymous BKI reviewers for their comments.
  • 1 Orang Asli and Melayu Relations

    1 Orang Asli and Melayu Relations

    1 Orang Asli and Melayu Relations: A Cross-Border Perspective (paper presented to the Second International Symposium of Jurnal Antropologi Indonesia, Padang, July 18-21, 2001) By Leonard Y. Andaya In present-day Malaysia the dominant ethnicity is the Melayu (Malay), followed numerically by the Chinese and the Indians. A very small percentage comprises a group of separate ethnicities that have been clustered together by a Malaysian government statute of 1960 under the generalized name of Orang Asli (the Original People). Among the “Orang Asli” themselves, however, they apply names usually associated with their specific area or by the generalized name meaning “human being”. In the literature the Orang Asli are divided into three groups: The Semang or Negrito, the Senoi, and the Orang Asli Melayu.1 Among the “Orang Asli”, however, the major distinction is between themselves and the outside world, and they would very likely second the sentiments of the Orang Asli and Orang Laut (Sea People) in Johor who regard themselves as “leaves of the same tree”.2 Today the Semang live in the coastal foothills and inland river valleys of Perak, interior Pahang, and Ulu (upriver) Kelantan, and rarely occupy lands above 1000 meters in elevation. But in the early twentieth century, Schebesta commented that the areas regarded as Negrito country included lands from Chaiya and Ulu Patani (Singora and Patthalung) to Kedah and to mid-Perak and northern Pahang.3 Most now live on the fringes rather than in the deep jungle itself, and maintain links with Malay farmers and Chinese shopkeepers. In the past they appear to have also frequented the coasts.
  • Bubat: Sisi Gelap Hubungan Kerajaan Majapahit Hindu Dengan Kerajan Sunda

    Bubat: Sisi Gelap Hubungan Kerajaan Majapahit Hindu Dengan Kerajan Sunda

    16 | Syaiful Azmi, Bubat: Sisi Gelap Hubungan Kerajaan Majapahit Hindu Bubat: Sisi Gelap Hubungan Kerajaan Majapahit Hindu Dengan Kerajan Sunda Syaiful Azmi Fakultas Ushuluddin UIN Syarif Hidayatullah Jakarta [email protected] Abstract: Tulisan inibertujuan untuk mengeksplorasi tentang peristiwa Bubat dan mengetahui bagaimana hubungan Sunda- Jawa setelah perang Bubat tersebut berdasarkan informasi dari naskah sejarah tradisional. Tulisan ini dianggap penting karena peristiwa Bubat yang sudah berlalu lebih tujuh abad sejak peristiwa tersebut terjadi, namun dampak dari peristiwa tesebut masih menjadiingatan umum (collective memory) masyarakat Sunda dan penggambaran tentang peristiwa Bubat tersebut sudah menjadi cerita yang diwariskan secara turun-temurun (overall livering). Kata Kunci: Hindu, Kerajaan Sunda, Bubat A. Pendahuluan Babakan sejarah dalam urutan kronologi di Indosia bisa dibagi ke dalam beberapa bakan sejarah yaitu; periode pertama masa Hidu-Buddha, periode kedua masa Kerajaan Islam, periode ketiga masa pendudukan Hindia Belanja, periode ke empat masa pendudukan Jepang, periode kelima masa kemerdekaan. Pada masa babakan awal (Hindu-Buddha), pada mulanya tidak ditemukan adanya perselisihan antara dua kerajaan besar Hindu Budhha di Indonesia Dua kerajaan tersebut adalah Kerajaan Sunda Pajajaran dan Kerajaan Majapahit. Dua kerajaan besar masa Hindu-Buddhaini mengidentifikasikan dua suku besar di Indonesia yaitu, Kerajaan Majapahit sebagai simbol kekuasaan suku Jawa dan Kerajaan Sunda Pajajaran sebagai simbol kekuasaan suku Sunda. Pada masa masa kedua kerajaan besar Hindu Buddha tersebut, belum ditemukan ada perselihan dan penaklukkan antara kedua kerajaan tersebut sampai terjadinya peristiwa Syaiful Azmi, Bubat: Sisi Gelap Hubungan Kerajaan Majapahit Hindu | 17 Bubat.1Setelah beberapa lama, tidak terdengar adanya permusuhan dengan Negara tetangga, sampai pada tahun 1357 terjadi sengketa yang berakhir dengan perang yang cukup seru yang disebut dengan perang Bubat.