KOTA BHARU, July 26 — Difficulties in obtaining performance permits and a lack of successors continue to pose major challenges for Kelantan’s wayang kulit (shadow puppetry) custodians in ensuring the traditional art form continues to endure and remain relevant in changing times.
Tok Dalang (puppet master) Mohammad Hafiza Che Ya, better known as Pak Cu, said although public interest in wayang kulit remains high, the difficulty in securing permits to stage performances, especially at the village level, has made it harder to keep the traditional art form alive.
“In terms of audience or interest, there are still many. The challenge now is obtaining performance permits from the authorities. It is indeed more difficult than before,” he told Bernama recently at Kampung Kubang Rawa here.
Having been performing for 30 years, he said performances today are syariah-compliant, with ritualistic elements once associated with traditional shows no longer practised.
Mohammad Hafiza Che Ya — a Kelantan ‘wayang kulit’ (shadow puppetry) master, or ‘Tok Dalang’, affectionately known as Pak Cu — has been involved in the art form for approximately 30 years. Residing in Kampung Kubang Rawa, he champions this art form because he does not want it to vanish. — Bernama pic
“Today’s wayang kulit performances no longer contain ritual elements. What we present is purely artistic storytelling with moral values,” he said.
Mohammad Hafiza said his interest in wayang kulit began at a young age when he joined a traditional music ensemble in his village before being mentored by a renowned Tok Dalang, the late Ariffin Catek of Kok Lanas.
After his mentor’s passing, he continued learning under the late Nafi Komando from Tanah Merah and also gained knowledge from the late Dollah Baju Merah (Abdullah Ibrahim).
He explained that a Tok Dalang’s role goes beyond manipulating puppets, as they must ensure performance equipment is in place, coordinate musicians and animate each character in sync with the music.
“Every character’s movement must be in sync with the music. The Tok Dalang is also responsible for ensuring all instruments are in place and the performance runs smoothly,” he said.
On preserving the authenticity of Kelantan’s wayang kulit, he said performances must be adapted to modern audience preferences without losing the essence of its identity.
Every movement of the characters must be synchronised with the music. The ‘Tok Dalang’ is also responsible for ensuring that all musical instruments are brought along and that the performance runs smoothly. — Bernama pic
He said comedic elements and current issues are often incorporated into dialogues to attract a wider audience, including younger viewers.
“If there are campaigns or specific programmes by organisers, we incorporate those messages into the dialogue and performance. We follow current issues, but present them through wayang kulit.
“More than just a form of entertainment, each performance delivers moral lessons, reinforcing the belief that good deeds are rewarded while wrongdoing carries consequences,” he said.
According to Mohammad Hafiza, Kelantan’s wayang kulit originated from India before spreading to Cambodia and Thailand, and eventually reaching Kelantan, where its storytelling has been adapted to Malay culture.
“The Ramayana performed in Kelantan is not entirely based on the original version. It has been adapted for the local community in terms of language, delivery and values,” he said.
On the issue of successors, he said grooming a Tok Dalang is not easy, as it requires passion, continuous training, and mastery of characters, storylines and wayang kulit rhythms.
Difficulties in obtaining performance permits and a lack of successors continue to be major challenges for Kelantan ‘wayang kulit’ practitioners in their efforts to ensure the heritage art remains sustainable and relevant amidst changing times.
