Jennifer Rodrigo goes around Langkawi in search of a “Jikey” performance. She manages to find and talk to 2 remaining Jikey exponents.
Dato Pak Chahor Saad emerged from his bedroom 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. With me was Muhammad Izzat Md Isa who wrote the book on the history of Jikey - “Jikey TEATER WARISAN LANGKAWI” - published by Universiti Utara Malaysia.
Jikey is a folk theatre performed by the locals of Langkawi. Other names are Likey, Yikey, Gikay depending on the region in which it is performed. It is a performing arts tradition that began more than 200 years ago and is now fast moving into the “extinct” zone. There are 2 major types of Jikey. One is more Buddhist and of Thai, Vietnamese and Cambodian origin. The other has more Persian and Arab influences.
Jikey author Izzat describes it 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. There is slapstick comedy, the use of masks, live traditional music. However with Jikey, there is a very inclusive Malaysian opening sequence. The five roles in the opening sequence are that of Tuan Keling, Awang, Raja/Tok Penghulu, Ah Seng, 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” represents an Indian trader from the historical Kalinga kingdom of Eastern India. Ah Seng is the Chinese grocery shop owner, typified by his hat. Stereotypes indeed but true of the period in which it was performed. (Imagine the infinite possibilities of contemporizing Jikey for a current Malaysia).
“I was performing from the age of 12,” explained Pak Chahor, who has interestingly a 7th generation Mahsuri genealogy.
“I have performed in Kedah, Perlis and participated in the Kuala Lumpur festival in 2012. 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.”
After talking to him for some time, he eventually he brought out an old suitcase. Inside were ancient wooden masks and other paraphernalia of props used in a Jikey performance. He also brought up his old wooden gendang and gave us a mini recital of the “Raja” part in Jikey.
Jikey was very popular in Kedah around the 60s. At that time in Langkawi there were more than 10 Jikey troupes on the island. There are a few theories about how Jikey began; one being that it was simply entertainment put together for weddings. Another revolving 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 revolving around local legends. Jikey music consists of both instrumental music and singing. 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, one pair of kesi, serunai.
On September 2022, a Jikey traditional theatre performance from Langkawi was scheduled to be held at PJPAC. It was postponed because the headliner artiste Pak Jusoh Chin had an asthma attack. The performance was funded by MOTAC Cultural Sector Match Grant and supported by the National Culture and Arts Department JKKN Kedah. The main objective was to preserve Jikey traditional theatre and start generating interest. Unfortunately the performance, while postponed, never came back on.
So our search, inevitably, took us to Pak Jusoh’s home in Air Hangat, Langkawi. 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 Chin who is 86 years old also started Jikey performing at the age of 12.
“I have always played the role of the Princess even though I started with the role of Awang. “ 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 is featured in a Walkabout Asia micro-documentary on a Jikey performance at Air Hangat. He performs with Tok Bibon, an 85 year old Jikey veteran actor with his brother Tok Chan (78 years old). 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 heart to do it anymore.
One wonders how hard it is to kickstart a Jikey revival, archiving the work as well as assisting our Jikey “adigurus” to tutor and guide the younger generation. Certainly their eyes light up when we bring this up, in spite of both not being in the best of health.
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 it is performing arts by the people, for the people. And for obvious reasons, there is a dire urgency for this to happen now.
“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,” a Langkawi-based hotel manager cited recently.
Since this article, efforts have been made to mobilize interested parties and begin the process of creating a base of youth for training in the various modes of Jikey tutored by “Adigurus” like Pak Chahor or Pak Jusoh, who still have the passion of Jikey in their veins.
“Next year is Visit Kedah year,” says Izzat. “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.”
It is a familiar lament: “Who is going to continue the Jikey legacy once I am gone?” asks Pak Chahor, 66 years old.
END