At his home in Langkawi, Pak Chahor took the time to explain the use of his gendang set and a suitcase of masks that are used for a traditional Jikey performance. Photo: Jennifer Rodrigo
Pak Chahor Saad emerged from his room and invited us to sit with him on the floor.
There was no living room furniture. His daughter sat close by. His grandchildren wandered about.
On the walls were framed photos and certificates of his past Jikey achievements and performances.
During this casual visit, this traditional arts practitioner, who is no stranger to Jikey, was a welcoming presence in his modest home in Langkawi, Kedah.
In these island parts, Jikey is a folk theatre performed by the locals. Its other names are Likey, Yikey, and Jikau – depending on the region in which it is performed.
This traditional theatre form, which began more than 200 years ago, is now fast moving into the “extinct” zone. There are two major types of Jikey. One is more Buddhist and of Thai, Vietnamese and Cambodian origins.
The other has more Persian and Arab influences.
'Now is the time to get started on an archiving and teaching programme to preserve and ensure Jikey does not die,' says Izzat, left, during a visit to Pak Chahor's home in Langkawi. Photo: Jennifer Rodrigo
Coming along for this visit was cultural activist Muhammad Izzat Md Isa, who wrote the book on the history of Jikey – Jikey Teater Warisan Langkawi published by Universiti Utara Malaysia.
He describes Jikey as “performing arts by the rakyat, for the rakyat.”
Jikey does not have the courtly aura of Mak Yong or Bangsawan but it does draw some artistic elements from Mak Yong, Hadrah, Bangsawan and Mek Mulung.
Last December, Mek Mulung, a Malay traditional performance - from Kedah - involving acting, dialogue, singing and dancing, was declared by Unesco as part of humanity's intangible cultural heritage.
The world of Jikey
In a Jikey performance, there is slapstick comedy, the use of masks, live traditional music and a very inclusive Malaysian opening sequence.
The five roles in the opening sequence are that of Tuan Keling, Awang, Raja/Tok Penghulu, Ah Seng and Puteri.
One must emphasise that the term “Keling” used in this context, is not derogatory under any circumstance.
It is simply to connote that “Tuan Keling” represented an Indian trader from the historical Kalinga kingdom of Eastern India. Ah Seng is the Chinese grocery shop owner, typified by his hat.
Pak Chahor’s old suitcase, which stores the veteran artiste’s handmade wooden masks and other paraphernalia used in a Jikey performance. Photo: Jennifer Rodrigo
Stereotypes indeed but true of the period in which it was performed.
“I have been performing Jikey from the age of 12,” said Pak Chahor, 66, who, interestingly, can claim seventh generation Mahsuri genealogy.
“I have performed in Kedah, Perlis and participated in a festival in Kuala Lumpur. I have been invited to be a coach at the state level and I have supported the cultural association, AKRAB Kedah in staging ‘Jikey Naga Berapi’ at a local university,” he added.
After talking to him for some time, Pak Chahor brought out an old suitcase.
Inside were handmade wooden masks and other paraphernalia used in a traditional Jikey performance. With much enthusiasm, he also brought up his old wooden gendang and gave us a mini recital of the “Raja” part in Jikey.
He recalled that Jikey was very popular in Kedah in the 1960s. At that time in Langkawi there were more than 10 Jikey troupes on the island.
The stage set-up
There are a few theories about how Jikey began; one being that it was simply entertainment put together for weddings. Another revolves around how some traders from India, who were imprisoned, were forced to entertain to collect money to pay for their release.
The Jikey repertoire comprises improvised dialogue, music, dance, slapstick comedy inspired by local legends. Jikey music consists of both instrumental music and singing.
Pak Jusoh is seen playing his wooden gendang and singing the part of a Jikey routine in his home in Langkawi. Photo: Jennifer Rodrigo
A complete theatrical orchestra for Jikey includes the rebana (with no jingles) in large, medium and small sizes; a tambourine; a hanging, knobbed gong, five or more pairs of cerek, and one pair of kesi, serunai.
In September 2022, a Jikey traditional theatre from Langkawi was supposed to be held at PJPAC in Petaling Jaya. It was postponed because the headliner artiste Pak Jusoh Chin had an asthma attack.
The show, with an objective to preserve Jikey traditional theatre, unfortunately, not rescheduled.
So our Jikey search in Langkawi, inevitably, took us to Pak Jusoh’s home in Air Hangat. When we met him, he was sitting by the door of his bare living room, somewhat pensively, looking out to the Andaman sea view.
Pak Jusoh, who is 86-years old, also started performing Jikey at the age of 12.
“I have always played the role of the Princess even though I started with the role of Awang,“ he said.
Like Pak Chahor, he took out his wooden gendang and started singing and playing the part of the Princess.
Pak Jusoh’s stage name is Tok Cho and in 2022, he was featured in a Walkabout Asia micro-documentary on a Jikey performance at Air Hangat. He used to perform with Tok Bibon, an 85-year old Jikey veteran actor, and his brother Tok Chan (78-years old).
A time for archiving
Today there is no longer any “troupe” and sadly, these last living elders (Tok Bibon and Tok Chan) who hold a strong base of knowledge and experience of Jikey do not have the energy to perform any longer.
“Now is the time to get started on an archiving and teaching programme to preserve and ensure Jikey does not die. All we need are some funds and the will of the authorities to help us do this,” said Izzat.
A poster of the KL Festival in 2012, which saw Pak Chahor performing the Jikey, is proudly displayed in his home. Photo: Jennifer Rodrigo
If Langkawi is to become a platform where arts and culture can start to thrive, then perhaps this is where it should and can begin because Jikey is a performing arts by the people, for the people.
“It would be nice to offer our international and indeed national tourists an avenue and opportunity to enjoy something like this – an authentic Langkawi-origin cultural performance,” said a Langkawi-based hotel manager.
Recently, efforts have been made to mobilise interested parties and begin the process of creating a training programme to educate young people about the various styles of Jikey.
The plan is to get them mentored by “Adigurus” like Pak Chahor or Pak Jusoh, who still have a strong passion for Jikey.
“Who is going to continue the Jikey legacy once I am gone?” asked Pak Chahor.
His is a familiar lament, which hopefully, won’t be ignored.
