PI00007800

유네스코 인류무형문화유산 대표목록 등재(2008) 전통 고전극인 ‘막용’은 말레이시아 북서부 클란탄 마을에서 유래되었고 연기·노래·음악·춤 그리고 화려한 의상이 결합된 일종의 뮤지컬이다. 대부분 여성 배우가 연기하며 극의 이야기는 말레이 전통신화 『클라탄팟타니』를 바탕으로 구성된다. 막용에 나오는 노래의 가사는 주로 왕과 왕국에 대한 충성과 전쟁에 관련된 것이며, 이러한 충성심은 종교적 신앙심과 동일시된다. 음악과 신들린 듯한 춤, 빙의 등을 통한 샤머니즘적 치료 의식과도 관련이 있다. 또한 힌두교적 요소와 이슬람교적 요소가 적절하게 혼합되어 있으며, 말레이 전통 궁중 생활의 모습이 묘사된다. '세탄작' 왕관이라 불리는 이 머리쓰개는 반짝이는 테두리와 보석장식이 되어 있는 특별한 벨벳 천으로 만들어진다.

PI00007807

유네스코 인류무형문화유산 대표목록 등재(2008) 전통 고전극인 ‘막용’은 말레이시아 북서부 클란탄 마을에서 유래되었고 연기·노래·음악·춤 그리고 화려한 의상이 결합된 일종의 뮤지컬이다. 대부분 여성 배우가 연기하며 극의 이야기는 말레이 전통신화 『클라탄팟타니』를 바탕으로 구성된다. 막용에 나오는 노래의 가사는 주로 왕과 왕국에 대한 충성과 전쟁에 관련된 것이며, 이러한 충성심은 종교적 신앙심과 동일시된다. 음악과 신들린 듯한 춤, 빙의 등을 통한 샤머니즘적 치료 의식과도 관련이 있다. 또한 힌두교적 요소와 이슬람교적 요소가 적절하게 혼합되어 있으며, 말레이 전통 궁중 생활의 모습이 묘사된다. 케리스는 비대칭 단검으로 철과 니켈이 함유된 철을 번갈아가며 겹겹이 발라 만들어진 독특한 칼날 패턴을 가지고 있다. 케리스는 왕국에 대한 왕의 권위를 상징하는 것으로 막용 공연에서 사용된다.

PI00007801

유네스코 인류무형문화유산 대표목록 등재(2008) 전통 고전극인 ‘막용’은 말레이시아 북서부 클란탄 마을에서 유래되었고 연기·노래·음악·춤 그리고 화려한 의상이 결합된 일종의 뮤지컬이다. 대부분 여성 배우가 연기하며 극의 이야기는 말레이 전통신화 『클라탄팟타니』를 바탕으로 구성된다. 막용에 나오는 노래의 가사는 주로 왕과 왕국에 대한 충성과 전쟁에 관련된 것이며, 이러한 충성심은 종교적 신앙심과 동일시된다. 음악과 신들린 듯한 춤, 빙의 등을 통한 샤머니즘적 치료 의식과도 관련이 있다. 또한 힌두교적 요소와 이슬람교적 요소가 적절하게 혼합되어 있으며, 말레이 전통 궁중 생활의 모습이 묘사된다. '세탄작' 왕관이라 불리는 이 머리쓰개는 반짝이는 테두리와 보석장식이 되어 있는 특별한 벨벳 천으로 만들어진다.

PI00007806

유네스코 인류무형문화유산 대표목록 등재(2008) 전통 고전극인 ‘막용’은 말레이시아 북서부 클란탄 마을에서 유래되었고 연기·노래·음악·춤 그리고 화려한 의상이 결합된 일종의 뮤지컬이다. 대부분 여성 배우가 연기하며 극의 이야기는 말레이 전통신화 『클라탄팟타니』를 바탕으로 구성된다. 막용에 나오는 노래의 가사는 주로 왕과 왕국에 대한 충성과 전쟁에 관련된 것이며, 이러한 충성심은 종교적 신앙심과 동일시된다. 음악과 신들린 듯한 춤, 빙의 등을 통한 샤머니즘적 치료 의식과도 관련이 있다. 또한 힌두교적 요소와 이슬람교적 요소가 적절하게 혼합되어 있으며, 말레이 전통 궁중 생활의 모습이 묘사된다. 케리스는 비대칭 단검으로 철과 니켈이 함유된 철을 번갈아가며 겹겹이 발라 만들어진 독특한 칼날 패턴을 가지고 있다. 케리스는 왕국에 대한 왕의 권위를 상징하는 것으로 막용 공연에서 사용된다.

PI00007802

유네스코 인류무형문화유산 대표목록 등재(2008) 전통 고전극인 ‘막용’은 말레이시아 북서부 클란탄 마을에서 유래되었고 연기·노래·음악·춤 그리고 화려한 의상이 결합된 일종의 뮤지컬이다. 대부분 여성 배우가 연기하며 극의 이야기는 말레이 전통신화 『클라탄팟타니』를 바탕으로 구성된다. 막용에 나오는 노래의 가사는 주로 왕과 왕국에 대한 충성과 전쟁에 관련된 것이며, 이러한 충성심은 종교적 신앙심과 동일시된다. 음악과 신들린 듯한 춤, 빙의 등을 통한 샤머니즘적 치료 의식과도 관련이 있다. 또한 힌두교적 요소와 이슬람교적 요소가 적절하게 혼합되어 있으며, 말레이 전통 궁중 생활의 모습이 묘사된다. '세탄작' 왕관이라 불리는 이 머리쓰개는 반짝이는 테두리와 보석장식이 되어 있는 특별한 벨벳 천으로 만들어진다.

PI00007809

유네스코 인류무형문화유산 대표목록 등재(2008) 전통 고전극인 ‘막용’은 말레이시아 북서부 클란탄 마을에서 유래되었고 연기·노래·음악·춤 그리고 화려한 의상이 결합된 일종의 뮤지컬이다. 대부분 여성 배우가 연기하며 극의 이야기는 말레이 전통신화 『클라탄팟타니』를 바탕으로 구성된다. 막용에 나오는 노래의 가사는 주로 왕과 왕국에 대한 충성과 전쟁에 관련된 것이며, 이러한 충성심은 종교적 신앙심과 동일시된다. 음악과 신들린 듯한 춤, 빙의 등을 통한 샤머니즘적 치료 의식과도 관련이 있다. 또한 힌두교적 요소와 이슬람교적 요소가 적절하게 혼합되어 있으며, 말레이 전통 궁중 생활의 모습이 묘사된다. 벵쿵은 허리에 두르는 천으로 된 넓은 띠다. 악세서리의 일부로 대개 막용 의상과 함께 입는다. 펜딩은 말레이 은/금 벨트 버클로 수공으로 조각되어 있으며 벵쿵과 함께 착용한다.

PI00004213

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00007808

유네스코 인류무형문화유산 대표목록 등재(2008) 전통 고전극인 ‘막용’은 말레이시아 북서부 클란탄 마을에서 유래되었고 연기·노래·음악·춤 그리고 화려한 의상이 결합된 일종의 뮤지컬이다. 대부분 여성 배우가 연기하며 극의 이야기는 말레이 전통신화 『클라탄팟타니』를 바탕으로 구성된다. 막용에 나오는 노래의 가사는 주로 왕과 왕국에 대한 충성과 전쟁에 관련된 것이며, 이러한 충성심은 종교적 신앙심과 동일시된다. 음악과 신들린 듯한 춤, 빙의 등을 통한 샤머니즘적 치료 의식과도 관련이 있다. 또한 힌두교적 요소와 이슬람교적 요소가 적절하게 혼합되어 있으며, 말레이 전통 궁중 생활의 모습이 묘사된다. 벵쿵은 허리에 두르는 천으로 된 넓은 띠다. 악세서리의 일부로 대개 막용 의상과 함께 입는다. 펜딩은 말레이 은/금 벨트 버클로 수공으로 조각되어 있으며 벵쿵과 함께 착용한다.

PI00007810

유네스코 인류무형문화유산 대표목록 등재(2008) 전통 고전극인 ‘막용’은 말레이시아 북서부 클란탄 마을에서 유래되었고 연기·노래·음악·춤 그리고 화려한 의상이 결합된 일종의 뮤지컬이다. 대부분 여성 배우가 연기하며 극의 이야기는 말레이 전통신화 『클라탄팟타니』를 바탕으로 구성된다. 막용에 나오는 노래의 가사는 주로 왕과 왕국에 대한 충성과 전쟁에 관련된 것이며, 이러한 충성심은 종교적 신앙심과 동일시된다. 음악과 신들린 듯한 춤, 빙의 등을 통한 샤머니즘적 치료 의식과도 관련이 있다. 또한 힌두교적 요소와 이슬람교적 요소가 적절하게 혼합되어 있으며, 말레이 전통 궁중 생활의 모습이 묘사된다. 벵쿵은 허리에 두르는 천으로 된 넓은 띠다. 악세서리의 일부로 대개 막용 의상과 함께 입는다. 펜딩은 말레이 은/금 벨트 버클로 수공으로 조각되어 있으며 벵쿵과 함께 착용한다.

PI00004212

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00004211

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00004210

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00007811

유네스코 인류무형문화유산 대표목록 등재(2008) 전통 고전극인 ‘막용’은 말레이시아 북서부 클란탄 마을에서 유래되었고 연기·노래·음악·춤 그리고 화려한 의상이 결합된 일종의 뮤지컬이다. 대부분 여성 배우가 연기하며 극의 이야기는 말레이 전통신화 『클라탄팟타니』를 바탕으로 구성된다. 막용에 나오는 노래의 가사는 주로 왕과 왕국에 대한 충성과 전쟁에 관련된 것이며, 이러한 충성심은 종교적 신앙심과 동일시된다. 음악과 신들린 듯한 춤, 빙의 등을 통한 샤머니즘적 치료 의식과도 관련이 있다. 또한 힌두교적 요소와 이슬람교적 요소가 적절하게 혼합되어 있으며, 말레이 전통 궁중 생활의 모습이 묘사된다. 어깨와 목에 두르는 정교하고 화려한 구슬 장식

PI00004209

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00007812

유네스코 인류무형문화유산 대표목록 등재(2008) 전통 고전극인 ‘막용’은 말레이시아 북서부 클란탄 마을에서 유래되었고 연기·노래·음악·춤 그리고 화려한 의상이 결합된 일종의 뮤지컬이다. 대부분 여성 배우가 연기하며 극의 이야기는 말레이 전통신화 『클라탄팟타니』를 바탕으로 구성된다. 막용에 나오는 노래의 가사는 주로 왕과 왕국에 대한 충성과 전쟁에 관련된 것이며, 이러한 충성심은 종교적 신앙심과 동일시된다. 음악과 신들린 듯한 춤, 빙의 등을 통한 샤머니즘적 치료 의식과도 관련이 있다. 또한 힌두교적 요소와 이슬람교적 요소가 적절하게 혼합되어 있으며, 말레이 전통 궁중 생활의 모습이 묘사된다. 반짝이는 테두리와 보석장식이 있는 특별한 벨벳천으로 만든 팔찌

PI00004208

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00004207

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00004206

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00004205

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00004204

This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices.

PI00002089

Mak Yong Traditional Theatre is normally portrayed as a Malay dance drama that contains acting, dancing and singing. There is a consensus that Mak Yong originated from the ancestry of the Kelantan-Patani Government, and said to have established around 400 years ago at the Malay sultanate palace of Kelantan-Patani. Then it spred to the states of Terengganu and Kedah after which it settled at Serdang Muda, Sumatera and Riau Islands, Indonesia. A Mak Yong traditional performance does not use lots of props, set and background to portray a scene. Its performance structure is permanent and uniform although the storyline is different. A traditional performance in villages is held in an open theatre. The audiences sit on three sides while the fourth side is for musicians. Most characters are acted by women and the storylines are based on traditional folk stories. The Buka Panggung (literally translated as ‘Opening the Theatre’) ceremony starts a performance followed by the story plot and ends with the Tutup Panggung (or ‘Closing the Theatre’) ceremony. In the Buka Panggung ceremony the performance begins with the Mengadap Rebab segment, that is paying homage to the rebab (oud), the main musical instrument regarded as a chaste element in a performance. The actor who plays the Peran Tua character, that is the Elder Joker, pays homage to the oud and places it in the middle of the theatre while Jong Dongdang sings the song ‘San Gendang’. The actors who play the characters of Pak Yong, Mak Yong and Jong Dongdang stand in a circle while the maidens sing the song ‘Sedayung Mak Yong’ or the song ‘Sedara’. At the end of the song Pak Yong instructs the maidens to return to the palace, and this marks the end of the segment. The main characters are Pak Yong, Mak Yong, the King, Queen, Elder Joker and Junior Joker. There are also other characters like the Royal Soothsayer, Ship Captain, Guru, soldiers, genie, ghost and giant, depending on the storyline. The main musical instruments are a three-string oud, two drums and two gongs. There are also additional instruments to increase the degree of the melodious sound like cymbal, small bells and flute. In the year 2005 Mak Yong was recognised and proclaimed as “A Masterpiece of the Oral and Intangible Heritage of Humanity” by the United Nation Education, Scientific and Cultural Organisation (UNESCO). In the year 2008 Mak Yong was proclaimed as A Representative List of the Intangible Cultural Heritage of Humanity.

PI00002090

Mak Yong Traditional Theatre is normally portrayed as a Malay dance drama that contains acting, dancing and singing. There is a consensus that Mak Yong originated from the ancestry of the Kelantan-Patani Government, and said to have established around 400 years ago at the Malay sultanate palace of Kelantan-Patani. Then it spred to the states of Terengganu and Kedah after which it settled at Serdang Muda, Sumatera and Riau Islands, Indonesia. A Mak Yong traditional performance does not use lots of props, set and background to portray a scene. Its performance structure is permanent and uniform although the storyline is different. A traditional performance in villages is held in an open theatre. The audiences sit on three sides while the fourth side is for musicians. Most characters are acted by women and the storylines are based on traditional folk stories. The Buka Panggung (literally translated as ‘Opening the Theatre’) ceremony starts a performance followed by the story plot and ends with the Tutup Panggung (or ‘Closing the Theatre’) ceremony. In the Buka Panggung ceremony the performance begins with the Mengadap Rebab segment, that is paying homage to the rebab (oud), the main musical instrument regarded as a chaste element in a performance. The actor who plays the Peran Tua character, that is the Elder Joker, pays homage to the oud and places it in the middle of the theatre while Jong Dongdang sings the song ‘San Gendang’. The actors who play the characters of Pak Yong, Mak Yong and Jong Dongdang stand in a circle while the maidens sing the song ‘Sedayung Mak Yong’ or the song ‘Sedara’. At the end of the song Pak Yong instructs the maidens to return to the palace, and this marks the end of the segment. The main characters are Pak Yong, Mak Yong, the King, Queen, Elder Joker and Junior Joker. There are also other characters like the Royal Soothsayer, Ship Captain, Guru, soldiers, genie, ghost and giant, depending on the storyline. The main musical instruments are a three-string oud, two drums and two gongs. There are also additional instruments to increase the degree of the melodious sound like cymbal, small bells and flute. In the year 2005 Mak Yong was recognised and proclaimed as “A Masterpiece of the Oral and Intangible Heritage of Humanity” by the United Nation Education, Scientific and Cultural Organisation (UNESCO). In the year 2008 Mak Yong was proclaimed as A Representative List of the Intangible Cultural Heritage of Humanity.

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Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand. Mak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes. Unfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005. The performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance. Each story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.

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Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand. Mak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes. Unfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005. The performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance. Each story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.

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Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand. Mak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes. Unfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005. The performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance. Each story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.

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Mak Yong is a traditional form of dance-drama that combines ritualistic spiritworship concerning Mak Hiang (Mother-Spirit, or the Paddy-Spirit). It has elements of acting, dancing, singing, songs, stories and dialogues. It is widely performed in Terengganu, Patani, Kelantan, Kedah, Perlis as well as at the Islands of Riau in Indonesia and Pattani of Southern Thailand. Mak Yong is believed to be originated from the Malay Palace in Pattani about 400 years ago before making its way to the East Coast of Peninsular Nakatsua. In the 1920’s, Mak Yong was performed under the patronage of Kelantan Sultanate and therefore has assimilated the luxury of palace-style decorated costumes. Unfortunately, Mak Yong was banned by the Pan-Malaysian Islamic Party in 1991 under the allegation of animist and Hindu-Buddhist roots. The status of Mak Yong was recognized internationally after UNESCO declared Mak Yong as an"Masterpiece of the Oral and Intangible Heritage of Humanity" in 2005. The performance often opens with the song “Mengadap Rebab,” followed with dancing and singing accompanied by traditional musical composition. There are twelve main stories in a Mak Yong performance: Dewa Muda, Dewa Pencil, Dewa Sakti, Dewa Panah, Raja Indera Dewa, Endeng Tejeli (Anak Raja Gondang, Batak Raja Gondang, Raja Bongsu Sakti), Raja Tangkai Hati, Gading Bertimang, Raja Muda Lakleng, Raja Muda Lembek, Raja Besar dalam Negeri Ho Gading and Bentara Muda. In general, the stories are derived from local folktales about kings, deities and comic characters. Mak Yong has also been associated with traditional medicinal purposes in which shamans attempt to cure possessed patients through singing and dancing in ritualistic trance. Each story needs a duration of three hours to be fully performed. Most Mak Yong characters are played by female actors and is performed on a center stage surrounded by the audience. Audience sit around the three sides of the stage, while the fourth side is reserved for the musicians.