Bangsawan originated from the Wayang Parsi or Mendu of India and was brought to Penang by workers and traders of the East India Company in the 1870s. Over time, it evolved into a distinct local form known as Bangsawan.
Once, Bangsawan stood as a pillar of traditional theatre, integral to the arts scene. It was a major source of entertainment, a lucrative commercial venture, and a socio-cultural phenomenon.
Troupes like Pushi Indera Bangsawan of Penang (1885), Indera Bangsawan Troupe (1910), Indera Zanzibar (1903), and The Malay Opera (1914) toured major towns across Tanah Melayu, North Borneo, Sarawak, Singapore, and Indonesia.
Eager crowds in towns and rural areas awaited these performances, which showcased a mix of stories, from the Indian Shakuntala and Arabic Siti Zubaidah to the English Romeo and Juliet, Chinese Sam Pit Eng Tai, Javanese Pandawa Lima, and local tales such as Hang Tuah and Sultan Mahmud Mangkat di Julang.
In towns with large, dedicated audiences, troupes performed for three weeks to a month, depending on audience reception. Fans, connoisseurs, elites, and even royalty flocked to the shows, some returning to see favourite stories, often captivated by the beautiful Sri Panggung, the lead female actress, and the Orang Muda, the male lead.
Gossip had it that the elites and royalty were romantically involved with the Sri Panggung, sparking disputes and family breakups. Wealthy patrons funded performances, seeking the Sri Panggung’s affections as their mistress.
Towkays and managers encouraged these affairs, as they boosted business. Wives saw Bangsawan as a bane, fearing their husbands’ infatuation with the enchanting Sri Panggung.
During its heyday, Bangsawan reigned supreme, offering enthralling entertainment with songs, dances, and combat scenes woven into romantic, comic, and tragic tales. It was a profitable venture, with top performers earning handsomely, other actors earning fair wages, and owners raking in profits.
The advent of “talkies” and movies, however, marked the beginning of Bangsawan’s decline. Many Bangsawan actors, including legends like Ahmad Nisfu, S. Kadarisman, A.R. Tompel, Kasma Booty, and Haji Mahadi, transitioned to film.
After World War II, Western, Hindustani, and Malay movies further accelerated Bangsawan’s decline. Audiences thrilled to cinematic serials like Dick Tracy, Johnny Weissmuller’s Tarzan, and John Wayne’s Westerns. The arrival of television was another blow.
Post-Merdeka, Bangsawan and traditional theatres like Wayang Kulit, Mak Yong, and Mek Mulung struggled, while forms like Mak Yong Laut, Jikey, and Awang Batil vanished or barely survived.
Bangsawan’s survival owes much to the Culture, Youth and Sports Ministry, later transformed into the Culture, Arts and Tourism Ministry, and now Tourism, Arts and Culture Ministry. The ministry kickstarted Bangsawan programmes, offering grants to active troupes for performances in their hometowns and at Panggung Bandaraya in Kuala Lumpur.
Legendary Sri Panggung and Orang Muda pairs like Mak Minah and Pak Alias from Penang, Rahman B. from Kuala Lumpur, and Pak Murad from Kedah were among the professionals that kept Bangsawan alive.
Universities supported the ministry, incorporating Bangsawan into research, publications, and traditional theatre courses, alongside Wayang Kulit and Mak Yong. Universiti Sains Malaysia led these efforts, involving veterans Mak Minah and Pak Alias in practical training.
Akademi Seni Warisan Negara (Aswara), initially Akademi Seni Kebangsaan (ASK), the ministry’s teaching and training arm, also revitalised Bangsawan through practical and theoretical diploma and degree courses.
Despite these efforts, Bangsawan remains a shadow of its past. Now more a living museum piece, it relies on higher learning institutions to preserve its legacy. It is no longer commercially viable, heavily reliant on subsidies, and feels almost anachronistic.
The outlook for Bangsawan and traditional theatre forms is bleak, overshadowed by modern entertainment. Yet, preserving Bangsawan is essential. As part of our cultural heritage, it should adapt to modern tastes without compromising its essence.
