Menora, also known as Nora Chatri, is a folk dance-drama tradition practiced by the Thai community in the north Malaysian states of Kelantan, and Kedah, as well as throughout southern Thailand. A Menora performance incorporates stylised dance, singing, comedy, and drama. Ritual elements are strong in this performance tradition, which is often performed on special occasions such as Buddhist temple ceremonies and the initiation or coming of age rites of a dancer. Menora is also held at community gatherings such as weddings and public festivals.The word Menora derives from a Buddhist jataka tale about Menora, a heavenly bird-princess who falls in love with a human prince, Phra Suthon. This tale forms the basis of the tradition’s main dance sequence in which the principal dancer, as Phra Suthon, performs a courting dance with Menora and her heavenly sisters. Dance movements are characterised by backward-bent fingers and outstretched arms, alternating subtle and sudden gestures that are said to reflect those of a mythical bird. The opening dance is followed by a lakon (dramatic sequence), during which various stories are performed by the principal dancer, a pair of clowns and supporting actors. In Kelantan, the Menora has incorporated many characteristics of Kelantanese Malay traditions, particularly the Mak Yong. The musical instruments of Menora usually comprise of gendang, geduk, gedumbak, gong, canang, kesi, wooden clappers, and serunai.

The Inai Dance is a traditional dance of Malay palaces performed during circumcision ceremonies of palace dignataries and also during wedding ceremonies. This dance has specific procedures to produce difficult finger and hand movements in a continous circular position. The dance also combines the dance movements found in Mak Yong traditional theatre, the silat martial art and acrobatic arts. The Tari Inai Dance has a special dance form that is showing off a dancer’s capability to balance the body and bend backward to pick up a paper money using the mouth.

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. Experts believe that Mak Yong appeared well before the Islamization of the country. It was performed as a royal theatre under the direct patronage of the Kelantan Sultanate until the 1920s. Hence, the tradition was perpetuated in a rural context without forsaking the numerous refinements acquired at court, such as sophisticated costume design. A typical Mak Yong performance opens with an offering followed by dances, acting and music as well as improvised monologues and dialogues. A single story can be presented over several consecutive nights in a series of three-hour performances. In the traditional village setting, the performances are held on a temporary open stage built of wood and palm leaves. The audience sits on three sides of the stage, the fourth side being reserved for the orchestra consisting of a three-stringed spiked fiddle (rebab), a pair of doubleheaded barrel drums (gendang) and hanging knobbed gongs (tetawak). Most roles are performed by women, and the stories are based on ancient Malay folk tales peopled with royal characters, divinities and clowns. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance and spirit possession.

Malaysia 2008