Universiti Teknologi Mara a Study on Stylistic
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UNIVERSITI TEKNOLOGI MARA A STUDY ON STYLISTIC DEVELOPMENT OF MAK YONG COSTUME IN MALAYSIA SURIYAMI BINTI ABAS MA ART AND DESIGN OCTOBER 2009 1 Universiti Teknologi MARA A Study on Stylistic Development Of Mak Yong Costume in Malaysia Suriyami Abas Thesis submitted in fulfillment of the requirements for the Master Degree of Art History & Cultural Management (AD771) Faculty of Art and Design October 2009 2 To my most respectful parents Kalthom @ Asiah binti Tahir and Abas bin Pin (Allahyarham) Without whom, I would never be what I am 3 ABSTRACT Through times, the skills of arts in human life are developing. Together with fast growing of the technologies, other aspects that cover the norms, cultures and lifestyle are developed as well. In the arts field, it has been a must to create certain techniques and creativity to develop together, e.g. the development of ideas and styles that changed from old to new. Mak Yong, as one of the local Malay traditional arts is often being in the centre of attentions, where the activities of cultural encouragements towards its performance are also developed, where originally it was well known only in Kelantan. Beyond times until today, it became a globally famous subject of art that it is recognized by the UNESCO as the “World’s Intangible Heritage of Humanity”, which indirectly made the arts from Kelantan an important cultural arts for the whole Malaysian society. As Mak Yong has developed in its history, so did the structure of performance and other elements in the classical arts, including the costumes used. It is well known by the public of the costumes, but how far the functions and the importance of the costumes to Mak Yong was never an important matter to the public, even to the Mak Yong activists themselves. The old generations of Mak Yong and the researcher understand the previous forms of the costumes, but the knowledge did not reached the generation of today or the public. What became clear to the eyes of the public are the costumes that we already have now. Through the critical views that evaluated the costumes of Mak Yong from the literature sources, plus the critical analysis that went through the phases of “description- analysis-interpretation-evaluation”, including the views from the experts. It is found that actually, the costumes of Mak Yong have developed and have the interesting changes of styles, not only from the outlook, but the reflections the costumes have towards the entire aspects of civilized human life that related to the factors of political and administrative, social, economy, culture and religion. Besides that, the costumes in Mak Yong need to be emphasized from the aspect of theatrical design, along with its importance towards the values of traditional cultures. These are the factors that qualified Mak Yong as the famed classical theatre in humanity. 4 ACKNOWLEDGEMENTS In the name of Allah, The Beneficent, The Merciful. Alhamdulillah with blessings and grace of Allah SWT, finally I am able to complete this thesis. I would like to extend my utmost gratitude to Associate Professor Mohamad Khalil Amran for precious consultation sessions and all invaluable guidance and advice in helping me to complete this thesis. My utmost gratitude, respect and deepest love to my only mother, Kalthom @ Asiah binti Tahir, for her support, love and endless pray to ensure my successfulness. Thanks for her sacrifice and understanding on my situation in a way to complete this thesis. To my lovely siblings, nieces, nephews and all family members that too many to stated here, thanks for never-ending support. To my companion, thank you for commitment, support and precious assistances. Without all supports and encouragement, I never be what I am to be now. Special thanks to person and informants that give their assistance in order to obtaining data of Mak Yong for this study, from National Art and Cultural Division (JKKN) Kuala Lumpur: Mrs Noor Seela Noor Sulaiman and Miss Nurmizanun Saari and Mrs Roslina from JKKN Kelantan. My highest gratitude to Mak Yong activists in Kelantan that selflessness to share knowledge, opinions, stories and experiences: Mr Mohamad Nor Jaafar as a manager of Mak Yong troupe - Arjuna Wiwaha from RTM Kota Bharu, Mr Awang bin Omar as a rebab player from Kampung Bunohan, Tumpat Kelantan, Mr Md. Gel and his mother Mrs Sepiah Ahmad, a veteren Mak Yong actress from Kampong Lepah, Selinsing Pasir Puteh Kelantan. Thank you to a Mak Yong group from Kota Bharu that gave me chance to observe ‘current Mak Yong’ performance from near at Bachok Kelantan. Thank you to costume and wardrobe unit of Istana Budaya, Mr Jailani and his team for helping me to get data and evidences of present Mak Yong costume. Finally, thank you to JKKN and National Museum for obtained photography evidences. Thank you all. 5 TABLES OF CONTENT ABSTRACT i ACKNOWLEDGEMENT ii LIST OF TABLES viii LIST OF FIGURES ix LIST OF PLATES xii CHAPTER 1: INTRODUCTION 1.1 Background 1 1.2 Statement of the problem 7 1.3 Aim and objectives 11 1.4 Scope and Limitation of study 11 1.5 Significance of study 12 1.6 Definition of terms 17 CHAPTER 2: REVIEW OF RELATED LITERATURE 2.1 Introduction 22 2.2 Mak Yong traditional dance theatre 22 2.2.1 Origins of Mak Yong 23 2.2.2 History of Mak Yong 27 2.2.3 Mak Yong performance structure 31 6 2.3 Costume in Mak Yong traditional dance theatre 34 2.3.1 Costume of Pak Yong 36 2.3.2 Costume of Mak Yong and princess 42 2.3.3 Costume of Dayang / Female Attendant 44 2.3.4 Costume of Peran / Male Attendant 45 2.4 Brief history of costume 47 2.4.1 Traditional costumes in performing art 55 2.5 Costumes in theatre 57 2.5.1 Elements of costume design in theatre 60 2.5.2 Function of costume in theatre 62 2.6 Stylistic Development 63 2.6.1 Style 63 2.6.2 Stylistic change and development of style. 67 2.6.3 Form and content of the work of art 68 2.7 Conclusion 72 CHAPTER 3: METHODOLOGY AND RESEARCH DESIGN 3.1 Introduction 79 3.2 Research Design 80 3.2.1 Theoretical review 81 3.2.2 Feldman theory 81 3.2.3 Interview 84 3.2.4 Phases of the study 87 7 CHAPTER 4: DATA AND ANALYSIS 4.1 Introduction 88 4.2 Visual data and analysis 88 4.3. Critical Process 160 4.3.1 Description 160 4.3.2 Analysis 172 4.3.3 Interpretation 254 4.3.4 Evaluation 312 4.4 Conclusion 330 CHAPTER 5: RESEARCH FINDINGS 5.1 Introduction 331 5.2 Finding of the history and development of Mak Yong 332 costume in Malaysia 5.3 Finding of form and content of Mak Yong costume 341 in Malaysia 5.3.1 Form, content and development of Mak Yong costume 341 5.3.2 Content and influential factors of stylistic change in Mak 361 Yong costume in general aspect. 5.3.3 Content of Mak Yong costume as stage costume 364 5.4 Discussion of finding on stylistic changes and development 366 of Mak Yong costume in Malaysia 5.4.1 Political and economic factor 367 8 5.4.2 Hierarchy of characters and social factor 371 5.4.3 Identity and cultural factor 375 5.4.4 The importance of costumes as stage costumes and 377 the factor of costume practicality in performance 5.4.5 Evaluation according to the respondents’ views on 379 the costume of Mak Yong and the changes of style 5.4.6 Classification of style and development of Mak 381 Yong costume in Malaysia from 1920’s to 2000 Onwards CHAPTER 6: CONCLUSION AND RECOMMENDATIONS 6.1 Introduction 386 6.2 Conclusion 386 6.3 Suggestions and recommendations 390 6.3.1 Suggestions from the research done by the 391 Researcher 6.3.2 Recommendations for future research 392 BIBLIOGRAPHY 394 APPENDICES 403 9 LIST OF TABLES Table 2.1 - Roles in Mak Yong……………………………………………... 33 Table 3.1 - Objectives and Methods used………………………………….. 80 Table 3.2 - List of expert and justification………………………………...... 86 Table 4.1 - Description of Pak Yong……………………………………...... 160 Table 4.2 - Description of Mak Yong....……………………………………. 164 Table 4.3 - Description of Dayang / Female attendant……………………... 168 Table 4.4 - Description of Peran…………………………………………...... 170 Table 4.5 - Analysis of Pak Yong………………………………………....... 172 Table 4.6 - Analysis of Mak Yong....………………………………….......... 196 Table 4.7 - Analysis of Dayang / Female attendant………………………… 215 Table 4.8 - Analysis of Peran………………………………………….......... 230 Table 4.9 - Similarities and Differences of Pak Yong……………………… 241 Table 4.10 - Similarities and Differences of Mak Yong....………………..... 245 Table 4.11 - Similarities and Differences of Dayang / Female attendant…... 249 Table 4.12 - Similarities and Differences of Peran…………………………. 252 Table 5.1 - Classification of style in Mak Yong’s costumes........................... 382 10 LIST OF FIGURES Figure 3.1 : Phases of Study….………………………………………......…. 87 Figure 4.1 - Pak Yong / King before Kapung Temenggong……………….... 89 Figure 4.2 - Pak Yong / King after Kampong Temenggong……………….... 90 Figure 4.3 - Mak Yong / Queen after Kampong Temenggong…………….... 91 Figure 4.4 – Inang /Female Attendent in the early 20th Century…………..... 92 Figure 4.5 – Peran / Male Attendant in the early 20th Century…………….. 93 Figure 4.6 – Elder Pak Yong / King in 1950’s…………………………….... 94 Figure 4.7 - Elder Pak Yong / King in 1950’s………………………………. 95 Figure 4.8 – Younger Pak Yong / Prince in 1950’s……………………….... 96 Figure 4.9 – Younger Pak Yong/ Prince in 1950’s………………………….. 97 Figure 4.10 – Mak Yong Queen / Princess in 1950’s……………………….