| Name of Performance and Reputed
Place of Origin | Instruments. | Dress. | No. of Performers. | Place of Performance, etc. | Names of Stories
Represented. |
| 1 | Lĕkun or Lakun (Kedah and
Siam). | Gĕndang bĕsar, gong, gambang
dua-b’las, kromong (or mong-mong), anak ayam, breng-breng, sĕrunei, cherek. | Head-dress: kĕchobong, chawat (sayap
layang-lay-ang), sabok, bimpau, sap suang, g’lang, g’lang
kana (= kena), changgei, saluar. | 100 to 200 (in choruses) all females, except the musicians. | Indoors, with proper scenery and dresses (masks). | S’ri Rama, Dewa Matahari,
Sendrong, Prak Jusin. |
| 2 | Mĕndura (Siam). | Gĕdombak, gĕdu, sĕrunei, cherek, mong,
breng-breng anak ayam; but not gĕndang,
rĕbab, or gong. | Same as in the Lĕkun. | About 10 to 15 good performers; all male, including the
Princess. | Out doors; no scenery. | S’ri Rama, Lak Kenawan, Timun
Muda, Iprat, Prak Jusin, Pran Bun, Sendrong, Dewa
Matahari. |
| 3 | Ma’yong (Siam). | Rĕbab (yang bĕtuah), gĕndang (2),
gong (2), gĕdombak (2), gĕdu-gĕdu (1), b’reng-b’reng (1); mong-mong (2),
sĕrunei (1), anak ayam (2),
cherek (10–20). | Head-dress: tanjak (sapu tangan), g’rak
gĕmpa, sabok, bimpau g’lang, changgei, saluar, sarong, baju,
topeng (pran). | 10 to 20 (15 is the average), both male and female. | Out doors; no scenery, which is, however, described by the
performers. Panggong and langit-langit are all that is required. | Dewa Sri Rama, Dewa Muda, Dewa
Pĕchi, Gambar Lilin, Batak Puteh, Siamang Gila, Raja Gondang,
Gajah Dang Daru, Bijak Laksana, Raja Muda sama Puyuh, Pran Bun, Timun
Muda, Lak Kenawan, Iprat, Putri Duab’las, Dewa Bisnu, Solong
Sakti, Putri Bongsu, Mĕgat Gembang Sultan Kĕchil Bongsu
diʿAlam, Bongsu Kĕchil S’riʿAlam, Bujang
Lempawi. |
| 4 | Wayang Kun (Siam). | Gong, gĕndang, kromong, anak ayam,
b’reng-b’reng, gambang dua-b’las, sĕrunei;
but not cherek or rĕbab.
Different airs (lagu) from those used
in the Lĕkun.
| Same as in the Lĕkun, except that the
kĕchobong is not used, but a sort of ornamental
sampul or songko’ with
artificial flowers, g’rak gĕmpa. Females
wear jambangan, a made-up head-dress, also sambok, sap suang, chawat, saluar; but not g’lang or changgei. | 30 to 40, both male and female. | Indoors; no scenery. | Same as in the Lĕkun. |
| 5 | Mek Mulong (Siam?) | Same as in the Ma’yong, but the rĕbana is used instead of the rĕbab, gĕndang, and b’reng-b’reng. | Same as in the Ma’yong. | 8 to 15, males and females. | Out doors; a panggong, as in the Ma’yong. | Malim Bongsu, Awang
Salamat. |
| 6 | Bangsawan Parsi Indra Sabor (Persia?) | Biola, kĕchapi, gĕndang (dul), gong,
etc., as in the Mĕndu. | Persian in character. | 30 to 50, all males except 2 or 3 females. | Indoors; sevenfold langit langit, and tabir; wires are used in some performances to enable
performers impersonating Dewas, etc. to fly. | Lela Majnun, Sap Jafri, Raja
Gelepam, etc. |
| 7 | Mĕndu (Pontianak). | Gĕndang (dul), gong, b’reng-b’reng,
biola, kĕchapi, piano (or argin, i.e.
concertina), sam dyen (Chinese), resembling the
rĕbab; chên-chên (cymbals), and
gĕndang singa. | Same as in the Wayang China, i.e. Chinese
in character: a baju tĕratei, a small jacket
without sleeves; head-dress: mahkota (bulu kuang),
beard and whiskers. Pahla-wans are distinguished by a
koh sah (decoration on the fore-head); socks are
worn. | 20 to 50 Malays acting Malay stories, but in Chinese dress; both
male and female. | Indoors; the same rough scenery as in Chinese theatres; there are
small theatres for the Mĕndu at Singapore,
Penang, and Malacca. | Saifu-’l-Yazan, Siti Zubeidah,
Ken Tabohan, ʿAbdul Muluk, Bĕstamam, Mara Karma, Bidasari,
Dewa Mĕndu di Negri Langkadura, etc., most, if not all, being
war-like themes. |
| 8 | Wayang Makau (China). | The same as in the Mĕndu. | Chinese in character. | 20 to 50, male and female. | Indoors. | Siti Zubeidah, and also Chinese
subjects. |
| 9 | Wayang Kulit (Java) [but the
stories are Javanese, Malay, Siamese and Chinese]. | Various. | According to the nationality represented. | — | Indoors. | Chekil Wanam Pati, Jarang
K’lena, Misa Perbu Jaya, Misa Kiamang, Lalat Hijau, Kalang
Bongkang, Panji Samerang, K’ra Amas, Iran Kasuma, etc. |
Such charms as might be used in time of war, or in case of danger from wild beasts or other enemies, are partly what may be called “defensive” and partly “offensive” in character.
The Malays who use them pray, on the one hand, for a supernatural appearance wherewith to scare their enemies and protect themselves, and on the other for supernatural powers to assist in the destruction of their foes.
But let not my enemies face me.