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.\nMak 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.\nUnfortunately, 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.\nThe 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.\nEach 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.

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.\nMak 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.\nUnfortunately, 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.\nThe 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.\nEach 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.

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.\nMak 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.\nUnfortunately, 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.\nThe 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.\nEach 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.

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.\nMak 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.\nUnfortunately, 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.\nThe 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.\nEach 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.

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.

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.

Among the traditional music treasures of the Khmer people in the Mekong Delta, there is Chầm riêng chà pây, a folk art form that comprises instrumental and solo vocal performances. An age-old tradition, Chầm riêng chà pây flourished among the community of the Khmer people in Tra Vinh province during the first decades of the twentieth Century, but today, the art is fading gradually.

Among the traditional music treasures of the Khmer people in the Mekong Delta, there is Chầm riêng chà pây, a folk art form that comprises instrumental and solo vocal performances. An age-old tradition, Chầm riêng chà pây flourished among the community of the Khmer people in Tra Vinh province during the first decades of the twentieth Century, but today, the art is fading gradually.

Among the traditional music treasures of the Khmer people in the Mekong Delta, there is Chầm riêng chà pây, a folk art form that comprises instrumental and solo vocal performances. An age-old tradition, Chầm riêng chà pây flourished among the community of the Khmer people in Tra Vinh province during the first decades of the twentieth Century, but today, the art is fading gradually.

Among the traditional music treasures of the Khmer people in the Mekong Delta, there is Chầm riêng chà pây, a folk art form that comprises instrumental and solo vocal performances. An age-old tradition, Chầm riêng chà pây flourished among the community of the Khmer people in Tra Vinh province during the first decades of the twentieth Century, but today, the art is fading gradually.

Ushshoq came up to nowadays as an independent maqom of Uzbek and tadjik folk musical heritage. But it's instrumental and vocal performances are widely spread.Parts of maqom Rost – Muhammasi Ushshoq (instrumental piece), Talqini Ushshoq, Nasri Ushshoq and Ufari Ushshoq (1st shuba group of vocal section),nSavti Ushshoq (2nd shuba group of vocal section) – are considered to be popular shubas in music culture of Uzbekistan. Notably, melodic structure, form and doira usuls in Muhammasi Ushshoq are complex ones, though its intonations and melodic variations are to be found in Muhammases of other maqoms. Musical cycle of ushshoq is very complex, melody isdeveloped, bright and attractive.

Ushshoq came up to nowadays as an independent maqom of Uzbek and tadjik folk musical heritage. But it's instrumental and vocal performances are widely spread.Parts of maqom Rost – Muhammasi Ushshoq (instrumental piece), Talqini Ushshoq, Nasri Ushshoq and Ufari Ushshoq (1st shuba group of vocal section),nSavti Ushshoq (2nd shuba group of vocal section) – are considered to be popular shubas in music culture of Uzbekistan. Notably, melodic structure, form and doira usuls in Muhammasi Ushshoq are complex ones, though its intonations and melodic variations are to be found in Muhammases of other maqoms. Musical cycle of ushshoq is very complex, melody isdeveloped, bright and attractive.