productions incorporated dance forms from throughout Malaysia, and in this
way were similar to other productions being put together in Malaysia at
Where Azanin Ahmad has really broken
new ground is largely in her two recent dance dramas, which confine
themselves to more coherent Malay art forms. The scholarly research of her
husband Dr. Shaharil Talib, a history lecturer and Coordinator of the
South East Asian Studies Programme at the University of Malaya, has been
of direct benefit here.
Putri Sadong (1982) was derived largely from the arts of
the state of Kelantan, with some influence from the music of Terengganu.
The source of Cempaka Emas (1984) were more restricted again, being
limited to the most classical theatre form, Ma'yong.
Ma'yong was patronized in the Malay courts of
Kelantan and Pattani, an area now in Southern Thailand. It was also
performed as rural theatre and arguments still rage as to which came
first, court or rural. Royal performances took place at the palaces and it
could take several evenings to complete a story.