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History of Bangsawan in Singapore
FIRST RECORDED USE OF THE TERM BANGSAWAN
Bangsawan is a Malay theatrical form found in Singapore, Malaysia, Indonesia, and parts of Thailand. While often considered a traditional form of Malay theatre, early Bangsawan evolved from Gujarati Parsi theatre groups that were touring Malaya in the 1870s. The earliest Bangsawan were performed in Hindi.
The Pushy Indra Bangsawan Theatre of Penang was the first group to use Malay in its dialogue, a move quickly adopted by other Bangsawan troupes. It is also the first recorded Bangsawan troupe, or at least the first known to use the term Bangsawan, which means “nobility” in Malay,
Unlike earlier traditional Malay theatre, a typical Bangsawan performance takes place on a proscenium stage. The plays typically revolve around fairy-tale kings and incorporate elements from Malay, Indian, Persian, Chinese, and European cultures. In between acts, the “extra turn” – a musical interlude – entertains the audience as the set is rearranged behind closed curtains.
It is believed that the first Bangsawan troupes made their appearance in Singapore in the late 19th century.
PRE WORLD WAR 2
By the turn of the 20th century, a number of Bangsawan companies had been established in Malaya, such as Opera Yap Chow Thong, Wayang Kassim and the Star Opera Company. A Straits Times article in 1903 described Bangsawan as follows:
“The origin of these plays [Malay drama] may be dated from the early part of the 18th century, for records exist in Java of such plays as having been performed there, and these indicate that playhouses similar to the present Malay theatre commonly known as Bangsawan, existed at that time in a crude form. The Bangsawan is an opera of Indian origin conducted in the Malay language. The tunes are mostly borrowed from European operas".
Bangsawan theatre in the pre-war years was primarily a form of commercial mass entertainment, catering to a wide audience in order to compete with other forms of entertainment such as plays, dances, revues and circuses.
In 1932, a European who had attended an adaptation of Cinderella by the Starlight Opera Company described the people he saw, “The audience was composed of a motley crowd – Malays, dressed in all colours of the rainbow, which somehow never seem to clash, predominating. Among the rest of the audience I counted a large number of Chinese, Japanese, Sikhs, Bengalis, Tamils, Eurasians, and one European – myself.”
Stories in Bangsawan theatre were usually adapted from the Sejarah Melayu (Malay Annals), the two great Indian epics the Mahabharata and the Ramayana, Arabic tales, Chinese classics, European stories and even Shakespearean plays.
Amusement parks such as Great World in River Valley and Happy Valley in Tanjong Pagar also hosted regular Bangsawan programmes. Zubir Said, composer of Majulah Singapura, the national anthem of Singapore, started out as a musician in the City Opera Bangsawan troupe based in Happy Valley after arriving in Singapore in 1928. He recalled that the hall, as big as Victoria Theatre, was specially built for the performances, and that there were also living quarters on the park grounds for bangsawan performers.
WORLD WAR 2
During the Japanese occupation, bangsawan received support from an unlikely source. Japanese officers developed a liking for bangsawan and became patrons. In return for their support, Japanese songs, dances, and stories were inserted into Bangsawan performances.
After the war, Bangsawan lost all its funding sources, and the industry simply disappeared, with many of its talents absorbed into the film production studios.
BANGSAWAN ON AIR
In the decades since the war, many attempts have been made to revive Bangsawan. In 1958, Bangsawan di Udara was broadcast on Radio Singapura. This 30-minute programme, which remained on air until the 1980s, was well received by listeners in Singapore, Johore, and the Riau islands. In the 1960s, some comedians experimented with a new form they called Bangsawan Jenaka.
RECENT TIMES
More recently, the Malay Heritage Centre presented a Bangsawan performance as part of its Malay CultureFest 2022. Produced by Sri Anggerik Bangsawan and directed by Nadiputra, the play was a longer version of Dang Anum, which the group had previously staged at Asian Civilisation Museum.
This time, the main challenge was Covid-19. Due to ongoing restrictions, the play was not performed outdoors as planned. Instead, it was scaled down to fit the centre’s black box space. Instead of painted backdrops and elaborate sets, the production used LED walls and multimedia. Due to limited seats, the play was also recorded and streamed online, receiving up to 52,000 views to date, making it the festival’s most viewed digital offering so far.
While Bangsawan is rooted strongly in Malay culture, neither the productions nor the community supporting it have been exclusively Malay. Audiences in the early 20th century seemed to prefer troupes that showcased elements from different cultures and had actors who could perform various styles and speak different languages.
Bangsawan’s extensive repertoire of styles meant it was accessible to more people
since there was something for everyone. Bangsawan productions in the 1920s and 30s were also supported by people from the Peranakan Chinese, Jawi Peranakan, and
Eurasian communities.
In the past thirty years, a few performance arts troupes and interest groups have
worked to revive interest in Bangsawan by staging performances and holding classes to introduce the art form to non-practitioners.
Notable Bangsawan Practitioners
Khairudin (Dean Tairo)
Khairudin (Dean Tairo)
Khairudin (Dean Tairo)
A prominent Bangsawan actor and director, Khairudin, also known as Dean Tairo, was instrumental in shaping Bangsawan performances in Singapore and Malaysia. He was known for his commanding stage presence and dedication to preserving the traditional elements of Bangsawan.
Photo Credit: Sejarah Drama Melayu Singapura by Djamal Tukiman
Miss Tijah
Khairudin (Dean Tairo)
Khairudin (Dean Tairo)
One of the early leading ladies of Bangsawan, Miss Tijah captivated audiences with her powerful voice and dramatic performances. She was among the pioneers who elevated female roles in Bangsawan, proving that women could be as commanding on stage as their male counterparts.
Photo Credit: Discogs
Zubir Said
Khairudin (Dean Tairo)
Shariff Medan
Best known as the composer of Singapore’s National Anthem, Zubir Said was deeply involved in the Malay performing arts, including Bangsawan. His early career saw him working as a musician and composer for Bangsawan troupes, where he honed his skills in traditional and contemporary Malay music.
Photo Credit: Esplanade Offstage
Shariff Medan
Shariff Medan
Shariff Medan
A celebrated Bangsawan performer and playwright, Shariff Medan was renowned for his ability to blend traditional Malay storytelling with dynamic theatrical elements. His works contributed to the golden age of Bangsawan and influenced many subsequent performers.
Photo Credit: Berita Harian
S Kadarisman
Shariff Medan
S Kadarisman
A distinguished Bangsawan actor and director, S. Kadarisman was known for his adaptations of historical and legendary tales into Bangsawan productions. His ability to modernize scripts while maintaining the essence of Bangsawan helped keep the art form relevant in the mid-20th century.
Photo Credit: Sejarah Drama Melayu Singapura by Djamal Tukiman
Hamid Ahmad
Shariff Medan
S Kadarisman
A skilled musician and composer, Hamid Ahmad played a significant role in the development of Bangsawan music, integrating traditional Malay rhythms with Western influences. His contributions helped shape the soundscape of Bangsawan productions during its peak years.
Jah Lelawati
M Saffri A Manaf
A leading actress of her time, Jah Lelawati was admired for her emotive performances and strong vocal delivery. She became one of the most recognisable faces of Bangsawan and was instrumental in popularizing the art form beyond Singapore and Malaysia.
Photo Credit: Berita Harian
M Saffri A Manaf
M Saffri A Manaf
A passionate advocate for Bangsawan, M. Saffri A. Manaf worked as a playwright, director, and historian, documenting the evolution of Bangsawan in Singapore. His research and efforts to preserve scripts and recordings have been invaluable in ensuring that Bangsawan’s legacy endures.
Photo Credit: Berita Harian
Key Figures in Bangsawan History
Key Figures in Bangsawan History
These individuals played vital roles in shaping Bangsawan, leaving a lasting impact on Singapore’s performing arts history.
PAST BANGSAWAN THEATRE LOCATIONS IN SINGAPORE
NOTABLE BANGSAWAN THEATRE IN SINGAPORE'S HISTORY
Theatre Royal, North Bridge Road (Current Raffles Hospital)
Alexandra Theatre Hall, 499 North Bridge Road
Beyrouth Theatre, Geylang Road
Great World, River Valley
Happy Valley, Tanjong Pagar