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

The Nang Hai Festival of the Tay people in Tien Thanh commune (Phuc Hoa-Cao Bang) is one of the traditional festivals of the Tay people with the wish for a new year of favorable weather, happiness, peace and to commemorate the merits of Princess Tiên Dao of the Mac dynasty. The Nang Hai Festival takes place over many days with many worshiping rituals and ceremonies. The Nang Hai Festival takes place in 3 parts: Hai welcoming ceremony, Hai praying ceremony and Hai seeing-off ceremony. The festival includes the moon welcoming ceremony (inviting Nang Hai - the moon lady down to earth), the farewell ceremony between Mother Moon and the Moon ladies and the farewell ceremony (on the 22nd day of the 3rd lunar month of even years). During the ceremony, the shaman wears a red shirt, a red hat, holds a pipe, shakes the dice and prays as if singing a prayer song in the Tay language right in front of the ancestral altar. Behind him are 14 girls holding paper fans, including: the two girls closest to the shaman sit cross-legged in a circle, symbolizing Nang Hai. The remaining 12 girls wore black indigo shirts and rough cloth shoes, lined up neatly in two rows right behind them, and an old woman called "Dẫn Lady" - who was knowledgeable about customs, sang well, and had a happy and peaceful family. At the beginning of the ceremony, the shaman read the prayer, then the 2 girls held fans and rotated them in a sitting position as if in a trance and sang. This was the ritual to invite the Lady to the mortal world. After the ritual to invite the Lady Hai to the mortal world took place in the house, the shaman led the Lady Hai and the 12 children of the Moon Mother to the village's shrine to report to the village's guardian spirit, praying to welcome the Moon Mother to the mortal world. When finished, the “Dẫn Lady” and the girls went to the outdoor sacrificial hut, where the “Dẫn Lady” and the Buddha performed the ceremony to worship the Moon Mother. The Buddha Dao prayed first, the “Dẫn Lady” sang later, and then the 12 children of the Moon Mother sang in unison following the “Dẫn Lady”. In particular, the harmonious and delicate combination of lyrics and songs with traditional dances of the Tay people in most spiritual activities creates an extremely attractive atmosphere. There are many fan dances used in the Nang Hai Festival such as: Sweeping dance rotating from right to left to start a ritual; Harvest dance; Boat rowing dance, etc. Each type of fan dance has the same rule that the dancer must go three times around the ceremony area. Inviting Mother Moon to the earth is a difficult and arduous journey. Only after singing the invitation for the third time will Mother Moon agree to accept the invitation to come down to earth to help people pray for a good harvest and blessings. After the dances and farewell songs, the boat carries the Moons and offerings to the Moons back to heaven. The festival includes sports activities, folk games, etc. The Nang Hai Festival not only has the meaning of praying for a good harvest, but also reflects the Tay people's custom of worshipping Mother, which was created from daily life and production, reflecting the thoughts and aspirations of the working people for a better life. The Nang Hai Festival is an indispensable part of the Tay people's culture in Tien Thanh commune, and is also a highlight in the cultural heritage of Cao Bang province. With such unique and special values, the Nang Hai Festival was recognized by the Ministry of Culture, Sports and Tourism as a National Intangible Cultural Heritage in 2017.

Then Ritual is a long-standing form of cultural and religious activity of the Tày Cao Bang people. Then are songs and dances of the ritual folk song genre, used in rituals to cure illness, relieve drought, pray for good harvests, new rice ceremonies, granting ceremonies, etc., performed by Then practitioners. During the Then ritual, Then masters use props such as lutes, squirrel beams, squirrel balls, tokens, chain gods, amulet strings, fish snares, yin and yang cards, drums, gongs, and scrapers. tarpaulins, spikes, slats, etc. Classify Then according to the form of expression, including fan Then and linear Then. Fan Then was born before nature Then. The fan Then melody is slow and long, while the linear Then has a fast and intense melody. The fan then has no musical accompaniment, but the linear then has lute, squirrel, and musical fruit accompaniment. Classify Then according to content, there are peaceful then and festive then. The peaceful Then period includes making Then, praying for peace, and wishing. Peaceful Then includes sections: earth gong, phat pang, earth spirit, grave, kitchen king, ancestors, bridging, flower praying, midwife, drought relief, council, three jewels, king, kham hai. Then festival is practiced on the occasions of praying for a good harvest, entering a new house, granting food, green rice, and Then hot pot. The Then festival includes stages: disinfection, mosaic sea, singing four seasons, "tuc bach" or "phu thu" fan, Pụt Luông (lord of agricultural gods), magic house, council, three jewels, Tam Quang market, father king,etc. In Then rituals, Then the Sắc is the most unique performance, in which Then masters express their best through dancing, acting, trance, etc. , especially then dances with delicate artistic qualities.

Viet Nam 2019

Among the most vibrant and essential of the Indian traditions found in Malaysia is the folk tradition of the Urumee Melum. A double-headed hourglass-shaped drum from the state of Tamil Nadu, South India, the Urumee is widely believed to possess deep sacred power, and is mostly associated with the 'calling of the spirit' associated with trance rituals. In more recent times, Urumee Melum ensembles have begun to proliferate, commensurate with a new awareness of the Indian community's social history in Malaysia; forging a meeting place of working class Indian identity, principally among the youth, creating a vibrant, powerful and independent movement within the broader spectrum of Malaysian-Indian culture.