Che Siti Rahayu's Wedding

Crito Balik Kelate

Bilo la nok balik Kelate pulok. Natilah kalu ado maso ambo crito lagi, sibuk sangat ada 6 butir blog semo

Belan-belen Berjalan

Belan-belan Berjalan, Terjirik Angin Kerajaan Utopia

Dr.Zulkifli Mohamad

 

Angin Sipauh Janggi – Kenangan Mak Yong Khadijah Awang

Karya Lukisan dan Lakaran Siti Zainon Ismail

 

Bertuahlah kanak-kanak bernama Siti Zainon Ismail yang segar membesar di Kota Bharu seusia 7 tahun, sewaktu Malaya baru masuk merdeka pada tahun 1957, di sebuah kota yang sering digelar “Cradle of Malay Culture”, “Negeri Cik Siti”, “Negeri Cerang Tegayung - Tanah Serendah Sekebun Bunga”, tanah yang berghairah dengan seni halus – seni ukir, seni batik, seni songket, seni senjata, emas, perak dan seni wayang kulit, Mak Yong, Menora, Dikir Barat, yang menjadi ‘permainan’ rakyat Kelantan. Semasa sekolah rendahnya di Kota Bharu, Siti Zainon menyaksikan berbagai bentuk permainan atau “past-time”, seperti yang digelar para pegawai kolonial Inggeris. Apalagi ketika “Puja Umur” atau Hari Keputeraan Sultan, di mana jiwa dan rasa cerita Seri Rama, Siti Dewi, Rawana, Puteri Mayang Angin dan Dewa Muda bercampur-baur dengan bau dan rasa sagong, gula leng, sotong bakar, kacang kuda serta air locong dan tapai-cendol.

 

Dunia itu menjadi segar kerana ianya adalah sebahagian daripada ‘Memori Visual’ Siti Zainon, yang terus dibajai akarnya, disirami air pohonnya dan dipetik buahnya sebagai sumber karya. ‘Memori Visual’ inilah yang menjadi karekteristik penting dalam menyimpan imbasan dan kenangan berhubung ‘Pengalaman Visual’ beliau. Kita manusia boleh saja menyimpan ingatan tentang sesuatu objek, tempat, binatang atau watak manusia lain dalam berbagai berbentuk imejan. Sesetengah penulis memanggilnya ‘Mata Hati’, manakala Sir Francis Galton (1822-1911), saintis pertama yang mengambil berat tentang “visual imagery” dalam pemikiran manusia, menggelarnya “Our Mind’s Eye”.

 

Dunia remaja dan dewasa Siti Zainon dihabiskan menimba ilmu, mengutip visual, menyusun memori dan hidup dikelilingi seniman tradisional and moden di Kota Jogjakarta. Kota Mattaram yang dipusakakan dari Kerajaan Majapahit, yang berlatarbelakangkan Gunung Merapi di utara dan menghadap Pantai Parangtritis di selatan, tempat Raja Mattaram - Panembahan Senopati bertapa dan bersemuka dengan Ratu Laut Selatan - Gusti Kanjeng Roro Kidul. Kota itu merupakan kota yang di kelilingi benteng batu yang penuh beradap, serta sopan santun yang tinggi. Dunia itu adalah dunia di mana Siti Zainon membentuk dirinya juga menjadi seorang seniman muda wanita Malaysia di tahun 1970an.

 

Dunia yang dijejaki Siti Zainon di Jogjakarta dan Indoneisa adalah dunia manusia yang banyak bermain dengan pelbagai bentuk seni rupa (tangible arts), yang lebih dikenali ahli sejarah seni Eropah sebagai “Plastic Arts”, serta seni sastera dan seni persembahan (intangible arts), kerana Kota Jogjakarta sendiri adalah sebegitu rupa sifatnya, seperti sarang laba-laba yang saling bertautan. Teori gabungan “Plastic Arts” dan “Performing Arts” yang diguna-pakai oleh Claire Holt di sekitar tahun 1930an menjadi landasan untuk mentelaah, menginterpretasi dan menganalisa seni Indonesia. Claire Holt bukan saja mengamati ukiran-ukiran batu di Borobudur, Prambahan, Candi Sukuh dan Candi Mendut, tetapi juga wayang kulit dan dalangnya serta muzik gamelannya, tari bedoyo dan serimpi di kraton-kraton, tari perdesaan di pergunungan, termasuk juga seni sastera Jawa Serat Centini, seni pembatikan dan pemakaian batik di upacara-upacara kebesarannya. Dunia itulah juga yang mempengaruhi ramai para seniman Eropah seperti Walter Spies, Le Mayeur, Antonio Blanco dan lainnya di zaman itu.

 

Kepulangan Siti Zainon ke Tanah Melayu menuntutnya menerokai dunia lain dari Dunia Jawa dan Dunia Bali, iaitu Dunia Melayu yang peninggalan pusaka purbanya di Langkasuka dan Lembah Bujang yang begitu masih kabur pengertiannya ketika itu, dunia yang seni arkitekturnya punah ranah kerana kayu dan papannya reput dihakis hujan ribut dan angin kencang monsun timur-laut dan barat-daya. Beliau berusaha mencari ertinya berpijak di bumi Melayu dan berpegang pada jati diri bangsanya. Beliau mencari dunia Melayu yang masih mengucapkan puisi-puisi klasik dalam permainannya, menenun dan membatik serta menarikan irama hembusan angin dan desiran ombak laut untuk penelitiannya, penulisan kreatifnya dan imbasan memori visualnya dalam lukisan dan lakaran kanvasnya.

 

Pertemuan pertamanya dengan Khadijah Awang di Pantai Timur di tahun 1970an telah menjalinkan hubungan penuh erti kerana ianya telah membawa beliau kembali ke dunia budaya semasa kecilnya, melihat dengan kacamata adigurunya, Pak Nik Man – Bomoh DiRaja, Pak Ayub Ismail – Tukang Rebab, Ustaz Abdullah Nakula – Sejarawan Seni dan Ilmuan Agama, serta Khadijah Awang sendiri. Dunia itulah juga yang mempengaruhi dunia penulisan puisi dan cerpennya, serta penulisan tentang tenunan tekstil serta senitari klasik. Penggalian budaya dunia Langkasuka itu menjadi segar kembali sewaktu beliau mula menulis biografi Khadijah Awang, Seniman Negara di tahun 1999 sehinggalah ianya terhenti pada tahun 2002, kerana Khadijah telah kembali ke rahmatullah, Al Fatihah – Semuga Rohnya Di Cucuri Rahmat. Kini, kata Siti Zainon “…..karya Pameran Kenangan Khadijah Awang, Angin SiPauh Janggi ini adalah sebuah kerinduan pada perjuangan seni Seniman Negara itu, kepulangan kita juga kepada sesuatu yang amat berharga buat kita”. Tetapi jika dilihat kepada koleksi karya, ianya terbahagi kepada dua bahagian – Siri Zikir Primadona yang mempamerkan karya catan, sketsa dan busana boneka sebagai imbasan Sang Primadona, manakala Siri Warkah Jawi pula menelusuri Dunia Melayu Islam. Siri Warkah Jawi sekaligus adalah penyelaman pemikiran Siti Zainon terhadap dunia Mak Yong, dunia Cerang Tegayung, dunia Bumi Merah, dunia Langkasuka, dunia Dalang-dalang dan pemegang cerita-cerita dongeng lagenda, dunia seorang seniman yang telah terpijak angin Si Pauh Janggi, terberkas kakinya dan diterbangkan ke langit oleh Si Wau Bulan Berhias.

 

Hikayat Beringin Tenggarong, 2008, Akrilik, 119 x 92

 

 

Angin Timur-Laut di musim tengkujuh yang membawa hujan di setiap penghujungnya adalah pembawa seribu cerita yang terbentuk dari ranting-ranting menjadi sepohon cerita, pohon kehidupan, pohon dunia, yang memisahkan antara dunia air, dunia tanah, dunia api dan dunia angin, yang di dalamnya terkandung makhluk-makhluk perlbagai kejadian, juga makhluk di antara makhluk-makhluk.

 

Malam Emas Bukit Seguntang, 2008, Akrilik, 108 X 98 cm

 

Dalam dunia angin itulah para dalang menyimbolkan para makhluknya - sikunang-kunang, sang kelkatu, para nyamuk dan pepatung makhluk yang bersayap, berterbangan di awan, kekadang memberikan cahaya kecil pada si pemuja bulan dan bintang. Kekadang pula menyinarkan si gunung seguntang, menjadi segumpal cahaya keemasan warnanya menjadi penyuluh hati sang pendeta yang sedang mengembara. Dunia angin itu adalah dunia udara yang bergerak yang diakibatkan oleh putaran bumi dan pemanasan tidak sekata, permukaan bumi yang kemudiannya membezakan jiwa kita-kita. Kita yang terbentuk adanya duabelas angin dalam diri ini adalah diri Dewa Muda antara satunya.

 

Takala puncak tinggi di hujung cahaya keemasan itu adalah puncak manusia bertemu penciptanya, Allah Yang Satu, dalam sebuah ketenangan yang kudus. Di situlah segalanya bersatu, dunia tanah, air, api dan angin. Puncak itulah yang dicari Puteri Lagenda, Puteri Saadong, yang kemudiannya menjadi cerita dongeg rakyat, cerita perjalannannya dari satu gunung ke gunung yang lain - Gunung Reng, Gunung Ayam, Gunung Stong dan Gunung Baha hinggalah ke Bukit Marak untuk bersemadi mengasingkan dirinya. Di situlah juga dikatakan tempat Tuan Puteri Saadong bersemayam selepas suaminya Raja Abdullah mangkat pada tahun 1761 masehi. Cik Siti Wan kembang juga dikatakan pernah bersemayam di situ ketika Pengkalan Datu menjadi pelabuhun penting sekitar 1605.

 

Rumah Kita Di Rawa-rawa, 2008, Akrilik, 92x120cm

 

Keindahan gunung-ganang dan bukit-bukau di Tanah Serendah Sekebun Bunga itu menyimpan seribu satu macam khazanah flora faunanya, dari pohon mengkudu, bilak, bonglai, sedingin, pulai, pakma(reflesia), pegaga, kayu arang hinggalah kepada Pauh Janggi, yang sering digelar kelapa laut atau pohon tar di “Negeri Cik Siti”, pohon-pohon yang bukan hanya menjadi penutup bumi, tetapi juga adalah penawar segala racun, pewarna segala kesuraman, serta menjadi bahan pengalas kitab-kitab Sanskrit dan Pali. Pohon SiPauh Janggi masih terpacak ditemui di Semenanjung Emas (Svarnabhumi), dari utara Tanah Melayu hinggalah ke Champa (Kemboja-Vietnam) ditimur dan Myanmar di barat, menjalin hikayat, cerita dan dongeng yang satu asal sifatnya.

 

Hujan Mas Pauh Janggi, 2008, Akrilik, 54 X 43 cm

 

Dunia itulah yang banyak mempengaruhi Siti Zainon di dalam pencariannya dalam penelitian tentang erti dan makna gunung-ganang, puncak mahligai, awan berarak, sungai berungkai dalam simbolika pucuk-pucuk yang bertaut, dokoh-pending yang gagah di dada dan pinggang wira dan putera, dahan daun sukun tempat berpaut si burung jentayu.

 

 

 

Jentayu Terbang Ke Awan Biru, 2008, Akrilik, 92 x 120cm

 

Jentayu yang kata asal sanskritnya, Jatayu adalah burung mistikal yang menyelamatkan Siti Dewi dari penculikan Mahraja Wana(Rawana). Dalam sajak Usman Awang yang ditulis untuk dramatari Suasana, Jentayu(1978), menjadi penyelamat Puteri Cina yang ditawan oleh Sang Garuda, yang di paruhnya Memancar sinar, Menyepuhi sejuta rasa, Kemuliaan di hati, Bening budi terdampar di jagat raya, Di sayap taufan di jelajahi, Awan gemawan membawa rindu, Kasihnya menentangi kezaliman dan ketidakadilan, Jentayu yang patah sayapnya sanggup bertongkat paruh, Jentayu yang patah paruhnya sanggup bertongkat siku, Jentayu yang patah sikunya sanggup bertongkat dagu, Jentayu yang patah dagu sanggup bertongkat kuku. Dan di sini, Siti Zainon berharap untuk meminjamkan hatinya untuk semua dan meminjam syahdunya untuk kita sama-sama menikmati keindahannya dunia itu.

R.J.Wilkinson(1903) yang menulis kamus Melayu-Jawi menyifatkan Jentayu sebagai mempunyai sakti memanggil hujan dan embun. Manakala di dalam Epik Ramayana memerikan yang bapa kepada Jentau, Aruna, adalah abang tua kepada Garuda.

Pun begitu, dunia mistikal yang banyak dipengaruhi kepercayaan dewa-dewi Pribumi lama itu telah berubah mencari paksi dan gengaman baru. Dunia itulah juga yang mula dipengaruhi pemikiran Islam di istana-istana raja dan rakyat jelata. Parameswara yang menjadi Sultan Iskandar Shah, memeluk Islam pada 1412 dan mengislamkan kitab Ramayana dari Sanskrit Jawa kepada Hikayat Seri Rama, Sita Dewi menjadi Siti Dewi dan Rama menjadi Seri Rama. Walaupun Islam masuk ke Melaka sekitar 1412, Islam sebenarnya sudah lama bertapak di Champa sejak 1035, 1048 di Brunei, 1082 di Jawa dan Pasai, 1297 di Sumatera, 1298 di Pattani dan 1303 di Terengganu. Ianya sudah sekian lama menyerap dalam jiwa dan hati nurani sang rakyat jelata. Wilayah Langkasuka di Pattani dan Kelantan, sudah terbiasa menjadi tempat pertembungan budaya, maka mekarlah sebuah peradaban budaya yang ranum dengan jatinya. Peter Flores sewaktu singgah di pelabuhan Pattani dikatakan pernah dihidangkan dengan tarian Mak Yong dan Asyik pada tahun 1612, di Istana Pattani oleh Raja Perempuannya. Mak Yong membawa dua belas buah cerita raja-raja, sekaligus Langkasuka juga mempunyai duabelas jajahan negeri takluk seperti juga duabelas raja dalam tubuh manusia.

Seperti raja-raja dalam tubuh yang diperikan oleh Tok Minduk dan Tok Peteri, Kelantan yang pernah digelar “Serambi Mekah” juga dikemudikan hati jiwanya oleh para orang alim sejak akhir abad ke sembilan belas dengan sekolah-sekolah pondok dan madrasah-madrasah yang bertaburan di seluruh jajahan negeri dari Tok Salehor, Tok Semian, Tok Jerulong serta Tok Janggut hinggalah kepada Tok Kenali. Tengku Petra-Tengku Temenggung yang menjadi Raja Muda sekitar 1888 sering di dampingi para orang alim seperti Tuan Tabal dan Tok Mannan semasa remajanya sebelum membina Kubu Kampung Temenggung untuk segala bentuk ‘permainan’ Melayu seperti Mak yong dan Wayang Kulit. Mungkin roh-roh itulah yang ingin dibawa oleh Siti Zainon dalam Siri Warkah Jawinya, menyelam kembali dunia Iskandar Shah dan dunia Tengku Petra-Tengku Temenggung, Long Abdul Ghaffar anakanda Sultan Muhamad II.

 

Lukisan-lukisan dalam Siri Warkah Jawi ini seperti sebuah “tribute” yang sudah lama dinantikan untuk mengenangi karya-karya sebelumnya seperti karya Omar Basri dan Khalid Yussof yang banyak bermesra dan bermain dengan keindahan khaligrafi dan keanggungan huruf-hurf Melayu Jawi itu sendiri. Yang menariknya karya-karya berwarna Melayu ini menggabungkan dunia mistik Melayu dengan dunia keagungan Islam nusantara.

 

 

Jentayu Kesumba, 2008, Akrilik, 69x54

 

Siti Zainon sudah berani menjelajah mencari jiwanya, dari Rawa-rawa ke Tenggarong di Kota Kutei. Tapi hatinya terpaut di Pauh Janggi.

Angin SiPauh Janggi adalah sebuah kerinduan kepada sebuah alam kerajaan emas yang pernah diperintah oleh seorang raja perempuan yang adil lagi saksama yang sayangkan seni dan alam sekitarnya, sayangkan binatang, memperjuangkan alam kreasi dan kreativiti, menenun, menyulam, menyongket, membatik, menukang emas dan perak, mengukir kayu dan gading, dan tanduk, menyolek wau dan rebana, menyulam cerita, pantun dan hikayat dalam sebuah pentas. Sebuah alam yang masih terus dekat dengan angin, awan, bulan dan bintang, langit dan bumi, hijau pohon kayu, wangi serai dan pandan, indahnya warna kunyit, kesumba, dan getah pohon kayu, dunia perbualan pagi di gerai nasi kerabu, nasi belauk, gerai goreng pisang selepas asar. Dunia yang ujudnya belahan bahasa, antara halus dan kasar, antara tinggi dan rendahnya adat budaya anak negeri. Siti Zainon, walaupun lahirnya bukan dari keturunan anak negeri Cik Siti-Puteri Saadong, tapi beliau dilahirkan di negeri cik siti, membesar dalam alam cik siti yang peka pada warna-warna Melayu Klasik – merah Jingga, Biru Kesumba, Hijau daun mengkudu dsb, menenal nasi kerabu hitam nasi krabu kuning, hijau merah lompat tikam dan putihnya santan pekat wangi perisa. Kerinduannya adalah kerinduan pada warna-warna dalam alam Cik Siti. SiPauh Janggi yang merujuk kepada sebuah tempat – pulau adalah suatu mitologi tentang kehadiran sebuah keindahan seperti ujudnya Tanah Serendah Sekebun Bunga.

 

Tanah Sekebun yang subur dalam Kerajaan Bumi Merah, dipanggil Chih Tu  oleh sejarawan China pada tahun 607 masehi itu, adalah dunia peninggalan kesaktian kerajaan-kerajaan lama Funan, Champa, Langkasuka, Sri Wijaya, Majapahit dan Ayutthaya. Dan tanah-tanah itulah yang subur dilitupi Si Pauh Janggi.

 

Angin SiPauh Janggi, bukanlah angin yang calang-calang, yang susah dimengertikan manusia biasa yang sering menutup hati dan telinganya pada seru angin. Dengarnya ada juga dongeng tentang Tasik Pauh Janggi, ditengahnya ada saluran yang menghubungkannya ke laut luas, kerana itulah, pabila bulan menggambang, airnya pasang dan menutup lubang-lubang siketam angin yang berkeliaran digigi air.

 

SiPauh Janggi atau pokok kelapa laut, coco de mer,  genus Lodoicea, adalah palma dari Pulau Praslin dan Pulau Curieuse di Seychelles, juga di Pulau St. Pierre, Pulau Chauve-Souris, dan Pulau Round, tetapi kini telahpun pupus. Kini ia adalah satu spesies nadir yang terlindung dan dipulihara semula. Lodoicea maldivica atau nama genusnya Lodoicea berasal daripada Lodoicus, perkataan Latin untuk Louis, dan merupakan penghormatan kepada Raja Louis XV dari Perancis. Sebelum tahun 1768, banyak orang mempercayai bahawa buah ini berasal daripada sebuah pokok mitos yang tumbuh di dasar laut. Orang-orang bangsawan pada abad ke-16 sering membersihkan kulit buah ini dan menghiaskannya dengan permata yang berharga untuk galeri-galeri peribadi mereka.

 

Mungkin itulah yang sering terjadi apabila manusia sering mengimpikan sebuah keindahan yang tidak dimiliki ditanah airnya. Mengimpikan keindahan dari tanah seberang atau dari suatu tempat yang jauh di mata.

 

Kelantan pernah diimpikan sebagai sebuah negeri yang eksotis dan kaya dengan budaya oleh para kolonialis, pengembara, pencinta alam serta penyelidik termasuk Skeat, Anandal, Jeanne Cuisinier, Raymond Firths, William Malm, Amin Sweeney, David Wyatt, William Roff, Douglas Raybeck, Robert Winzeler, Clive Kessler, Richard Winsteadt, Stewart Wavell serta Mubin Sheppard. Tetapi bagaimana pula dengan para sejarawan, sastrawan dan budayawan kita sendiri seperti Ismail Hussein, Mohd Taib Othman, Nik Safiah Karim, Kassim Ahmad, Nik Mohd Salleh, Ibrahim Nik Mahmood, Abdullah Al-Qari Haji Salleh, S.Othman Kelantan, Abdul Rahman Al-Ahmadi serta Abdullah Nakula yang begitu dekat dengan kelantan dan budayanya. Mungkin bukan kelantan yang diimpikan tetapi adalah sebuah kerajaaan utopia.

 

Seperti impian pelukis pasca-impresionis Perancis, Paul Gauguin, yang menggambarkan keindahan Tahiti dengan wanita-wanitanya yang santai di bawah pohon mangga, atau pohon-pohon tropika yang lain. Kini lukisan impian Gaugin itu telah dilelong dengan harga senilai 60 juta dolar US. Manakala lukisan bertajuk "Te Poipoi" atau "Pagi" itu, produksi 1892 yang memperlihatkan wanita Tahiti mandi di sebuah tempat yang eksotis pula bakal dilelong Sotheby`s New York pada 7 Nopember ini. Gaugin sangat terpesona dengan keindahan pulau di Pasifik Selatan itu setelah suatu kunjungan, Gauguin menjual "Te Poipoi" dan lukisan lainnya di Paris untuk menghimpun dana bagi keberangkatannya kembali di Tahiti pada 1895. Ia menghabiskan seluruh sisa hidupnya di sana.

 

Marc Leguay, pelukis Perancis yang kadang digelar “Gaugin of Laos” sekitar tahun 1930an memaparkan Laos Traditional Daily. Beliau juga dikatakan mengikut jejak Gaugin dalam mencari tempat impian untuk lukisannya.

 

Srihadi Soedarsono dan Burhanuddin Affandi Kesuma, dua pelukis moden Indonesia yang berasal dari Bandung Jawa Tengah ini mempunyai kecintaan yang sama terhadap kesenian dan kebudayaan Jawa dan Bali. Srihadi begitu terpesona dengan tenaga dan semangat yang ada di dalam Tari Topeng, Bedhoyo Ketawang, Serimpi dan Tari Legong Bali.

 

Di sini, di negeri SiPauh Janggi, angin Siti Zainun terpijak lagi ketika beliau berjalan sambil mencari jati jiwanya. Biarpun angin itu membawa beliau berputar ke segenap pelusuk nusantara, hatinya tetap bertapak dan terpacak. Angin itu berdesir dan berkata-kata “……janganlah dibimbangi, dua belas angin dalam tubuh diri dari dua belas negeri itu akan terus mengalir dalam diri anak cucu dan saudara kita”. Angin itulah juga yang pernah dilafazkan Seniman Negara, Seri Panggung Khadijah Awang ke telinga kita.

 

 

Rimba Pauh Janggi(2008)Akrilik, 54 X 43 cm

Kelate by fuzze.blogspot.com

SUNDAY, MAY 30, 2004

Jale-Jale, Cari Make

"ORE Kelate ko, ore Sia? (Kelantanese or Siamese?)" Tumpat, about 40 minutes' drive from Kota Baru, is where 75 per cent of the Thai community in Kelantan live. "Mek, yang hok makan pulut tu (the pretty lass eating glutinous rice there)," a gentleman points out a Kelantanese, when asked.
Generally, the Thai women wear blouses and long skirts while Kelantanese women prefer their kebaya and kain sarong. The men are not as easily identifiable.
There are 23 Buddhist temples in Kelantan, the three biggest being in Tumpat. They each host a giant statue of Buddha - seated, reclining, and standing.
We ask to see the Poh Than Thit (spiritual teacher) at Wat Phra Buddha Bharaameedharm Chamruslok (which means Temple of the Light of the Buddha's
Dharma Enlightens the World) but are told he is taking a nap.
"You can wait or you can come back tomorrow morning. But there are prayers in the morning, he may not be able to see you," says a 40-something man who is tending to the trees around the temple which houses the sitting Buddha.
"Are you a Thai?"
He just smiles.
"Go find the other temples. The standing Buddha, yang hok tidur pun ada (also the reclining one). Then come back and talk to the Poh Than Thit.
"Remember, when you go in to see him, you have to take off your tudung (headscarf), your cap also... to show respect."
There are others waiting to see the Poh Than Thit.
Kelantan was an administrative region of the Thai kingdom until it was ceded to the British in 1909.
The then Kelantan Sultan had to make offerings of ufti or Bunga Emas to the Siamese Government every three years. The Bunga Emas was crafted by the best goldsmiths of the time.
The reclining Buddha at Wat Phothivihan, located 15km northwest of Tumpat, is one of the largest in South-East Asia. It is 40m long, 11m high and 9m wide. The temple took six years to build and was completed in 1979.
Tumpat's famous beach, Pantai Sri Tujuh, is meanwhile the venue of an annual International Kite Festival, where the wau bulan is a perennial favourite. The festival draws participants from as far away as Europe and Japan.
And the town is also synonymous with traditional boat-building. The master boat-builders pass down their secrets from generation to generation.
In the past, the prows of the boats often took fascinating forms – for example, the shape of a bangau (cattle egret) or a garuda (a demonic birdman, which is a remnant of Hindu influence during pre-Islamic times). These served a talismanic purpose, to ward off evil spirits.
But the Tumpat district is an agricultural region. Small villages dot vast tracts of rice fields and tobacco plots.
The Thais in Kelantan are mostly farmers, and they have been working the land for generations.
Kijau says she is “Kelate belako” (all Kelantanese), probably by virtue of her having been in Kelantan all her life. Her husband's name is Emong, she says, and together they work the tiga keping (three pieces) of land leased from a Chinese towkay for RM10 a year. Each "piece" is about the size of two medium-sized KL bungalow lots.
"Tanam tembakau sikit, kangkung sikit (we plant some tobacco, some water spinach)," she says, as she uproots some weeds from the tobacco plot. The passing mail train breaks the silence of the day.
It is noon but the couple continue to labour in the sun.
"Panas bagus. Kalau hujan, tembakau mati (Hot is good. If it rains, the tobacco will die)," Kijau says. She and her husband have been working since 7am.
They take a break for lunch and return to the farm at about 3pm to work until "bila hari dah gelap (when it gets dark)."
Tobacco farming is not the main crop of farmers in Tumpat, with Grade One tobacco leaves (dried) fetching RM15.80 a kg and wet leaves 80 sen a kg.
"Bila petik, dapatlah 200kg (we can get 200kg per harvest)." The wet tobacco leaves are sold to the towkay.
Leaving Kijau to her tasks, we head towards town - and the marketplace.
Thirty-five-year-old Kak Yah ("nama dalam IC Siti Jaharah," she says) helps her husband, Husin, tend their Sup Perut (stomach soup) stall in front of the market. We are told Husin is a Thai.
A bowl of soup is RM1.50, a bit pricey by Tumpat's standards. The perut (actually cow's udder) is shredded and "tastes like soto without the rice cubes", according to photographer May.
"Dah lama berniaga di sini ... about 20 odd years, (been in the business for a long time)" says the mother of seven. Her youngest child is 11 months old. The oldest, an 18-year-old boy, sells newspapers and magazines nearby.
Husin has lots of harta (property) in Thailand. "Whatever he makes here is sent home," says Kelantanese friend, Wai.
"Go check out the market," Kak Yah encourages. "There are many things there."
Old makcik beckon, addressing us, flatteringly, as "mek". They sell buah keranji (Dialium platyspalum), etok (roasted shellfish), ulam buah kerdas and ubi keling. Most are acquired tastes.
"Mari mana? Cari gapo? (Where from? What are you looking for?)" one asks.
"Jalan-jalan, tengok tempat (walking about, looking at places)," I reply.
"Oh, Jale-jale, cari make," another makcik responds, referring to TV3's Jalan-Jalan, Cari Makan eating out programme.
They burst into raucous laughter: "No one comes here for sightseeing."

Moleklah Buat Mok Yong Rama-Rama Gak

THURSDAY, NOVEMBER 27, 2008

Mak Yong Extravaganza in NST Dec 2008 (unedited version)

Mak Yong Dance Theatre

Bringing Malaysia’s World Heritage to the World Stage

 

My attention was focused on the question of “How do you know about Mak Yong Extravaganza?” when answering the questionnaires distributed to audience attending the opening night of Mak Yong Extravaganza on 28^th November 2008. Personally, I was attracted to the banners hanged along Jalan Damansara, but frankly, there were not enough banners in town to attract people to go and watch Mak Yong. Mak Yong might be no alien to Kelantan and Terengganu people or perhaps people in dance, theatre and the arts in Malaysia, but to other Malaysian as well as expatriate and foreign traveler, it is still foreign. I must say that it was the illustration of classic Mak Yong princess’ head with “pemeles” headdress and jasmine flowers hanging from the “sanggul” hair bun that attracts me to be present at Tunku Abdul Rahman Auditorium, Malaysian Tourism Centre (formerly known as MATIC), Jalan Ampang, next to famous Saloma Bistro, to discover more about the mystical theatre.

 

When I arrived at the theatre foyer, two rows of girls were seating down on the red carpet, garbed with Mak Yong “pemeles” headdress and Malay ceremonial costumes, like young princesses of the ancient times, probably waiting for special dignitaries attending the opening performance. On both sides of the red carpet entrance, there were two baskets of colourful flowers with jasmine flowers hanging from the elevated baskets. The sound of “rebab” string music filled up the air with the scent of sweet jasmines. Earlier that evening, a fellow playwright asked me “what is extravaganza?” and “why extravaganza and not other words like “Pesona”(persona)? Extravaganza sounds so foreign and too glamorous to be connected with Mak Yong, a legendary Malay dance theatre from ancient times that now is UNESCO World Heritage”. I cannot argue with that but nodding my head to agree with the person.

 

The event is organized by Jabatan Kebudayaan dan Kesenian Negara (JKKN) under the Ministry of Unity, Culture, Arts and Heritage (KPKKW) planned with four performances by different groups, and lecture-workshops by well-known teachers in the field. Though there were four performances scheduled from 27^th December til 30^thDecember 2008, starting with “Dewa Indera, Indera Dewa” by Kumpulan Mak Yong Kijang Emas, JKKN Kelantan, “Endeng Tejeli” by Kumpulan Mak Yong Seri Nilam Istana Budaya, “Raja Tangkai Hati” by Kumpulan Mak Yong Dewa Muda and ended with “Nik Kecik Dewa Muda” by Kumpulan Mak Yong ASWARA, the performance of “Tari Mengadap Rebab”, the overture of all Mak Yong performance, was performed by all the four groups, accompanied by the ever so spirited Rebab Master, Che Amat (Awang Omar). The stage was filled up with at least fifty performers; something plausible considering that Mak Yong is a dying art form. But on the other hand, that square proscenium stage is way too small to fit in fifty dance-actors plus the eight pieces music ensemble. The eight pieces of striking blue-yellow-white batik cloths that dropped from the ceiling to the stage floor were too decorative and disturbed the watching due to the jarring colors that do not blend in with the rest of olden hues. The hanging cloths stayed throughout the four performances, which is not necessary as the cyclorama at the back could be use for multiple purposes, especially with its changeable colors, according to situations. The two moving headlights used during the suspense parts were totally unnecessary and disturbing, as they were pointing toward the audience. Kijang Emas, the first group from Kelantan, was quite impressive, considering that all of the performers are new students, including musicians, except the Rebab player (who is also the Adiguru, or Mak Yong teacher for the group). This is exactly what UNESCO, requires after awarding the World Heritage’s Masterpiece, that the preservation work should be continued at its birthplace, Kelantan. Bravo to JKKN for championing the teaching of the arts expression that is being banned in its own state. Congratulations also to ASWARA (National Academy of Arts and Heritage) for making the Mak Yong as one of the compulsory subjects, together with Wayang Kulit, Randai, Bangsawan and Mek Mulong, UPSI (Universiti Pendidikan Sultan Idris) for introducing Mak Yong as one of the theatrical expressions, and ISTANA Budaya for promoting Mak Yong to non-Kelantanese performers. Malaysian should accept the fact that all these classical performances belong to the ancient culture and language; therefore they have their own language and innuendos. If we could appreciate Italian, French and German Opera or Japanese Kabuki, why not we also appreciate Kelantan dialect, an old dialect that belongs to Langkasukan culture from the second century. But having said that, we should not expect the main audience to understand the language of Mak Yong instantly. That is why we, the promoter and producer of cultural production, should prepare synopsis and arrangement of story in both Malay and English. I know it is quite difficult to prepare running subtitle to the performance as a lot of the parts are done in improvisation manner, especially for the (peran) court jesters’ parts. We could see that two screens on both sides of the stage were not utilized fully, so the translation would be perfect. After all, the extravaganza is not just for Kelantanese and Kelantan speakers or listeners, but also to all Malaysian.

 

Perhaps it is also one of the intentions of the organizer to get all the four participating groups to learn from each other and not to compete with one another, as all of them are still in the learning process. In that four nights we have managed to witness four of the twelve’s main stories of Mak Yong. In this age of globalization, delivering the songs, lines and dances Mak Yong it is no more enough to the audience, a lot more is expected from the performers and producers, especially if we are interested to bring Mak Yong to the higher level and to the world stage other than just in Istana Budaya.

 

Dr.Zulkifli Mohamad is active in promoting the arts through his KL Fringe Festival, production, collaboration, writing and teaching.

Guano Mok Yong?

SUNDAY, JANUARY 25, 2009

Mak Yong in NST Jan 2009 (Unedited Version)

Road Ahead for Mak Yong Dance Theatre

 

 

Academics and cultural activists have been discussing about preserving and presenting the Mak Yong dance theatre for decades. In the 1969, the late Khadijah Awang took the challenge of Tan Sri Mubin Sheppard to preserve Kelantan Mak Yong, after watching a group of old Mak Yong dancers performing for ASEAN Cultural Festival in Kuala Lumpur. Some of us remember Khadijah Awang (later awarded with “Seniman Negara” status by the Ministry of Culture, Arts and Tourism) for her famous role in “Anak Raja Gondang” (Prince of Cone Shell) story, one of twelve main stories in Mak Yong.  After that, series of other Mak Yong stories were also aired on Radio Television Malaysia and viewed by millions of Malaysians, until they abandoned cultural programmes.

Twenty years later in 1980s, Datin Azanin Ezane Ahmad and her troupe, Suasana Dance Theatre Company together with Yayasan Seni, presented one of Mak Yong stories, “Raja Tangkai Hati” with new contemporary technique in dance theatre, aptly titled as “Cempaka Emas”, after a thorough research through hours of William Malm’s Mak Yong recording and personal tutors from Kelantan. The production was premiered at Kuala Lumpur City Hall Auditorium and traveled to Hong Kong Arts Festival and Asia Pacific Arts Festival in Australia. After that, Mak Yong has gone back to Kelantan to remain as a hidden treasure from the past.

In 1994, National Arts Academy appointed Khadijah Awang as the Mak Yong Master and uprooted herself from Kelantan, following the banned of Mak Yong by the PAS government in 1991. After years of teaching, documenting, promoting and lobbying, Mak Yong finally recognized as one of UNESCO World Heritage’s Oral Masterpieces in 2005 and we should not forget the role played by the people like Tan Sri Mubin Sheppard, Prof. William Malm, Datuk Dr.Ghulam Sarwar, Prof. Dato’ Dr.Ghouse Nasaruddin and few others in making Mak Yong as one of agendas in the National culture.

In the recent staging of “Raja Senyanya”, one of twelve Mak Yong stories, directed by Puan Fatimah Abdullah, daughter of the famous Mak Yong leader, Abdullah Awang and sister in-law of the late Khadijah Awang, she presented a male actor as “Pak Yong”, a rather rare treat for us audience in Kuala Lumpur to enjoy. In a recent past, we have witnessed the performance of the late Pak Su Mat of Besut, a male player playing the Pak Yong role. Pak Yong was formerly and known to be played by a leading female actor as Mak Yong dance theatre is said to be originated from the palace of Pattani Queens (Blue, Yellow, Purple and Green Princesses) in the seventeen century as well as the palace of Che Siti Wan Kembang in Kelantan. As I was watching the performance, I asked a question “Is the actor playing the role of a female actor who played the male king?” or “is he is simply playing the male king?” after realising that it is no longer forbidden for a male to enter the court of the ruler. “Is it the reason why the Mak Yong performers have to face the rebab and musicians as they were not allowed to look at the queen ruler?”. Perhaps yes. In this performance too, performers were facing the musicians, especially the rebab as the dance is called “Mengadap Rebab”. Unfortunately, the rebab, the most sacred instrument in Mak Yong, together with the rest of instruments and players were tucked away in between the two blocks of audience seats in that rehearsal studio, beautifully named as “Lambang Sari” at Istana Budaya national theatre. Perhaps the concept of tucking away the musicians is borrowed from the western orchestra where they hide them in the sunken pit.  Unfortunately too, the performers avoid facing the rebab and musicians after the “Mengadap Rebab” ritual, the front audience became the prime spectators, ignoring the right and left of spectators, assuming that the performance is in the proscenium theatre.  One might not realized the beauty of totality in mostly all Asian traditional performances, where music, dance, acting, singing, comedy and scenography are kept as one, to be seen and consumed by audience as well as experiencing the emotions.

“Raja Besar Senanya”(Emperor of Senyanya) is the tale of how the king impatiently waiting for his heir and went hunting for white elephant with black tusk to welcome the arrival of his son to the world. Princess Gak Petera finally gives birth to a “Siput Gondang” (Cone Shell). The king returns, shocked that his child is not human and throw out the wife, Princess Gak Petera, and the Gondang child. Years later, a young prince come out of the cone shell, named Prince Seelok Rupa, but become a nasty young prince in trying to fit in into the society, adopted by the Emperor of Senyanya when he saw that the prince was good looking, without knowing his mannerism.

 

Raja Besar Senanya, staged from 9 -11^th January is the sequel to “Ending Tejeli” story, which was staged at Auditorium Tunku Abdul Rahman in December 2008. If compared to “Endeng Tejeli”, the performance has improved significantly, not only the length of the performance but scene arrangement is tightly weaved and done away with unnecessary dialogues and improvised acting. Though the performers are very close to the audience in this setting, they managed to maintain the energy of the performance as well as keeping the dance details at all time. Kudos to Puan Fatimah Abdullah, the Mak Yong Master at ASWARA (Akademi Seni Budaya dan Warisan), for her ability in teaching the classical Mak Yong dance theatre to the senior member of “Artis Istana Budaya” (formerly known as Kompleks Budaya Negara) and two main actors, playing the key roles, Rosnan Abdul Rahman and Norsiah. However, the court maidens who were also playing the bad girls seemed a little bit O.T.T. (over the top) in their acting, both in the court mannerism and bad behaviour group. Perhaps they have some problems in portraying the characters due to their background as dancers and lack of training in acting. The director may want to look further into the total production, other than just the dancing, which is great technically.

 

Over the years, we have managed to put Mak Yong in special place, but more efforts should be made to attract young talent and audience as well as national and foreign spectators. Well done Istana Budaya for staging this world heritage dance theatre alongside foreign and local, musicals and concerts. Though in the early years of Istana Budaya, Mak Yong were staged in the big theatre of “Panggung Sari”, where promoting arts and culture was one of the main objectives of the national theatre, now, after ten years of providing arts services to Malaysia, Mak Yong projection seems to be getting smaller. Istana Budaya is now committed to raise the standard of the performing arts in Malaysia as well as developing audience appreciation towards the arts through affordable entertainment and to promote the involvement of corporate sponsorship. Perhaps it is time for Mak Yong to have her own house or at least regularity similar to Bangsawan, especially being Malaysia’s first cultural heritage to be listed under world heritage. Perhaps it is time too for Mak Yong to have proper secretariat to handle activities related to it, instead of having few departments fighting over it, so that Mak Yong could be better preserved, developed, managed and promoted.

 

Dr.Zulkifli Mohamad teaches Arts and Culture Theories at ASWARA, and active in the development of tradition-based performance and promotion of contemporary arts.