The long-forgotten stage performance

endless stream of orders from a long line of impatient customers.

Captivated by the interesting tale and curious to know more, I cut short my visit and only pause to admire several interesting Thai-inspired motifs in the temple architecture briefly before heading straight for home to seek out helpful references from my study.

Apart from several articles in the Malayan Branch of the Royal Asiatic Society (JMBRAS) and Straits Times Annuals from the 1960s, the work published in the Southeast Asian Journal of Social Science by Roger Kershaw in 1982 proves to be most absorbing. their hair long to play their chosen roles effectively.

As such, characterisation of the cast depended heavily on wooden masks, worn by all except the principal male actor. The latter was always identified by a tall gilded crown known as Chert in Thai or Kechopong in Malay.

At the same time, ornamental beaded straps wrapped both his shoulders while heavier embroidered material hung from the waist. Long, curving silver nail cups covering fingertips of both hands complete the regal appearance. Known as Pa Si Tong in Kelantan, this main actor’s name was a Malayan adaptation of Phra Suthon, the prince who married the heavenly bird maiden in my friend’s earlier recount.

According to renowned historian Mubin Sheppard in his JMBRAS article published in 1973, that particular romantic tale originated in very ancient times from India and was once the most popular play in the Manora repertoire in Bangkok and southern Thailand.

Interestingly, however, it wasn’t included in the list of 12 traditional stories performed in Kelantan although some episodes in the classic were incorporated in a Kelantanese Manora play called Prak Si Su Thon. Sheppard listed the remaining

Chan Kurop, Chan Thu Wong, Chai Tat, Chau Lu Wan, Boo Ro Wong, Perom Me Tat, Sang Thong, Lak Kena Wong, Prai Nam Maha Wong, Ka Re Ket Si Phin.

While elaborating on each story, Sheppard explained that they were largely inspired by dreams and had been memorised by Kelantanese Manora pioneers who associated themselves closely to Buddhist places of worship and study.

Historians believe that Manora took root in Kelantan sometime in the middle of the 19th century when wandering performers from southern Siam (Thailand today) were invited by the local Malays to settle in Sadang village near Kota Baru and began introducing dialogues in Malay into their plays.

Kelantanese Manora plays were always performed “in the round”, either on a low platform or on some mats spread on the ground. In both cases, the audience sat or stood on three sides while a small dressing room, usually consisting of thatched walls