Malay theatre Bangsawan, believed to have appeared in the late 1800s, could be considered the first form of Malay theatre to be staged in Singapore. It narrated fantastical, mythical stories interspersed by music and rhymed poetry. It was a very popular form of entertainment from the 1900s to the 1930s. Bangsawan was also known as ‘opera’ especially when European theatrical styles and themes were incorporated. Bangsawan performances were basically commercial ventures that were financed by Malays and non- Malays. Bangsawan enthusiasts of all races were known to congregate in Singapore to watch performances here, while some troupes travelled in the region to stage their repertoires. Bangsawan had significant influence on the development of modern Malay theatre and the Malay film industry in Singapore.

By the 1930s, another theatrical genre, the sandiwara, was brought into Singapore by Indonesian drama troupes. The sandiwara was distinct from the bangsawan in that it employed elements of modern stage directing and script- writing. Sandiwara also moved away from fantasy and depicted real- life situations. It ushered in modern Malay theatre.

It is difficult to identify the first modern Malay theatre ever staged. One possibility is Bani Buang’s amateur staging of Helang Hitam (Black Eagle) in the 1940s. Another possibility is Syed Alwi al- Hady’s Tarek ben Ziad Pahlawan Islam (Tarek ben Ziad, Warrior of Islam) and Hang Tuah, Pahlawan Melayu (Hang Tuah the Malay Warrior) performances at the Victoria Theatre during the Japanese Occupation. By the 1950s, more sandiwara groups were formed, boosted by the surge of literary activities led by ASAS 50. Renowned playwright Kalam Hamidy was actively involved in Persatuan Persuratan Pemuda Pemudi Melayu (Malay Youth Literary Association) and contributed significantly to the exposure of local Malay theatre to realism as a theatre style. Qalam (Pen), which was a local magazine, even featured articles on script- writing techniques and published drama scripts.

The socio- political milieu of newly independent Singapore led to the exploration of new themes and forms. Though sandiwara eclipsed bangsawan, the latter did not completely disappear. By this time, bangsawan troupes used modern script- writing and stage direction methods. The 1970s saw E.F. Kamaruddin and Nadiputra making significant impacts on the theatre scene. E.F. Kamaruddin’s works showcased social protests and religious issues, while Nadiputra adhered to more conventional themes such as good versus evil. The 1970s also saw a new generation of amateur playwrights, namely Sapiee Ahmad Razali, who experimented with poetical imageries, and Raman Daud who dealt with the notion of the hero and other human predicaments. In the 1980s, comedy theatre, including comedy bangsawan, became popular, with M. Safri A. Manaf and Yusoff Maruwi making significant contributions.

The 1980s also saw a new generation of Malay theatre activists emerging, such Sabri Buang and Khairul Anwar Salleh who later inspired the younger groups to come to the fore. By now, more theatre activists, including Sabri and Khairul, received formal training in theatre studies. Their daring thematic explorations, styles and techniques created a new enthusiasm in local Malay theatre. By the 1990s, professional Malay theatre companies such as Teater Artistik, Teater Kami, and Teater Ekamatra were set up, following government funding for the arts, a burgeoning young audience, and corporate sponsorships. The younger theatre activists, who were primarily bilingual, experimented with Malay- English combinations in their theatre repertoire, and even co- staged with non- Malay theatre groups. They also went beyond conventional themes to highlight issues considered taboo, such as marginalization, ethnicity, religion and gender inequality. Theatre exponents such as Rafaat Hamzah, Aidli ‘Alin’ Mosbit, Alfian Sa’at and Nor Effendi Ibrahim, continued to push the boundaries and articulated their views and observations through satires, parodies and tragic comedies. The groups considered to be more traditional, such as Sriwana and Persatuan Kemuning, however, still showcased sandiwara and bangsawan repertoires. Theatre festivals and workshops such as Teater Ekamatra’s Pesta Peti Putih (White Box Festival) initiative, which started in 1999, encourage youths to participate in and to support theatre.

Leading playwrights and directors such as Bani Buang and Nadiputra have received Cultural Medallions for their contributions to Malay theatre. The Malay Language Council also recognizes Malay theatre and drama in its biannual Literary Awards. From the period of 1993– 2001 works by Hamed Ismail (Anjing Untuk Diplomat [Dog For a Diplomat] and Singkap [Push]), Aidli ‘Alin’ Mosbit (Kosovo), Hadijah Rahmat (Munsyi), Alfian Sa’at (Causeway) and M. Safri A. Manaf (Terminal Akhir [Last Terminal]) were recognized for their respective contributions.

Photo credit: National Archives of Singapore