Difficulties in obtaining performance permits and a shortage of successors remain major challenges for Kelantan’s wayang kulit (shadow puppetry) custodians in sustaining the traditional art form and keeping it 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 strong, difficulties in securing permits to stage performances, particularly at the village level, have made it harder to sustain the tradition.
"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 said recently at Kampung Kubang Rawa, Kota Baru.
A performer for 30 years, Mohammad Hafiza said today’s performances are syariah-compliant, with ritualistic elements once associated with the tradition no longer practised.
"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 apprenticing under renowned Tok Dalang, the late Ariffin Catek of Kok Lanas.
Following his mentor’s passing, he continued training under the late Nafi Komando of Tanah Merah and also learned from the late Dollah Baju Merah (Abdullah Ibrahim).
He said a Tok Dalang’s role extends beyond manipulating puppets, encompassing the coordination of musicians, ensuring all equipment is in place and bringing each character to life 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 evolve with changing audience preferences without compromising the tradition’s identity.
He said comedic elements and contemporary issues are often woven into the dialogue to appeal to a broader audience, particularly 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 traces its origins to India before spreading to Cambodia and Thailand, eventually reaching Kelantan, where its storytelling evolved to reflect 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 succession, he said training a Tok Dalang is challenging, requiring passion, continuous practice and mastery of characters, storylines and wayang kulit rhythms.
He also stressed the importance of respecting teachers and elders, and remaining humble throughout the learning process.
Mohammad Hafiza said only three senior Tok Dalang remain active in Kota Baru, while three aspiring Tok Dalang are currently undergoing training.
"Most of the older generation have passed away. Now only three remain active. I am worried that without continuous efforts, this art form will shrink in the coming years, even if it may not disappear entirely,” he said.
He expressed hope that the government and relevant agencies would continue strengthening support through financial assistance, guidance and performance opportunities to help preserve the heritage for future generations.
"I strive to preserve wayang kulit because I do not want this treasured heritage to fade away. The generation today is simply continuing the work begun by those before us. Our responsibility is to ensure it lives on for the next generation,” he said. - Bernama
