The rhythmic beats of the rebana mangkuk are becoming increasingly rare, heard only during cultural events or selected occasions, mainly in Kelantan, particularly in the Tanah Merah district. It is therefore hardly surprising that many people are unfamiliar with this traditional musical instrument.
Played in groups, usually comprising 12 musicians, the rebana mangkuk is a traditional percussion instrument rooted in Kelantanese Malay rhythms and drumming traditions. Today, it faces the risk of extinction, not in terms of performances but in the art of making the instrument itself.
It is believed that only three people remain actively involved in crafting the rebana mangkuk, all belonging to the same family in the district.
“Making a rebana mangkuk is an intricate process that requires patience. On top of that, the basic materials needed to produce the instrument are becoming increasingly difficult to obtain,” one of the remaining craftsmen, Mohd Hasbullah Aling, told Bernama.
With nearly 15 years of experience in making the instrument, the 43-year-old said that, to his knowledge, only his uncle, Yusoff Abdullah, 79, and cousin, Mohd Sabri Yusoff, 46, were truly skilled in crafting the rebana mangkuk.
IT ALL BEGINS WITH A BOWL
Mohd Hasbullah said the rebana mangkuk was unique because its main components were closely associated with the rubber tree. These include a ceramic latex-collection bowl, once commonly used to collect latex from rubber trees, and a drumhead made from thin sheets of natural rubber. The beater used to strike the instrument is also made of natural rubber.
The craftsman explained that the process begins with selecting a ceramic latex-collection bowl to serve as the drum's body, as ceramic produces a sharper sound than other materials.
The drumhead is made from natural rubber latex, which is allowed to coagulate without any additional substances. It is then dried, cut and stretched until it becomes as thin as an onion skin.
According to Mohd Hasbullah, each drum requires between 33 and 48 layers of rubber to achieve the desired tone.
“After completing each layer, we test the sound first. If it is not quite right, we add more layers until we achieve the sound we want,” he said.
Once the layering process is completed, the rebana is assembled using metal fittings and specially prepared rattan before being tuned with wedges at the bottom of its body to ensure that all six rebana mangkuk in a set produce the same pitch.
It takes him about a week to complete one rebana mangkuk, although he can produce up to 20 drums a month when there are sufficient orders.
WHEN THE MIND SHAPES THE MUSIC
Mohd Hasbullah said crafting a rebana mangkuk requires not only manual dexterity but also a calm mind, particularly when stretching the rubber layers.
“If you are impatient, the rubber will tear. If you are stressed or have too many problems on your mind, it is also difficult to do the work because your hands become rougher in their movements, eventually damaging the rubber,” he said.
He said natural rubber latex was the defining feature of the rebana mangkuk, giving it a sharper, mellower and more distinctive resonance than a drum made using goatskin.
“You can use goatskin, but the sound is not the same. With natural rubber latex, the rebana mangkuk produces a sharper sound that is more stirring to the soul,” he explained.
He added that every drum in a set must be carefully tuned to achieve a balanced sound, as even slight differences in pitch could affect the overall performance.
A HERITAGE CRAFT BECOMING HARDER TO PRESERVE
Apart from the intricate manufacturing process, obtaining raw materials has become another major challenge for the craftsmen.
Mohd Hasbullah said ceramic latex-collection bowls, a key component of the instrument, were increasingly difficult to find as most rubber tappers had switched to plastic bowls.
“Ceramic bowls are now very difficult to obtain. Even when they are available, they usually have to be specially ordered because those sold in the market have holes and are unsuitable for making the drums,” he said.
Natural rubber latex is also becoming harder to source, as the material must be collected while still fresh, before it coagulates in the collection bowl.
“Rattan is also difficult to obtain. All these factors have caused the cost of producing the rebana mangkuk to continue rising,” he said, adding that a drum currently costs about RM170, depending on raw material prices.
ONLY THREE CRAFTSMEN LEFT
Mohd Hasbullah said he learnt the craft from his uncle, Yusoff Abdullah, alongside his cousin Mohd Sabri, who is Yusoff's son.
Although more young people are showing an interest in playing the rebana mangkuk, he said few are willing to learn the intricate process of making the traditional instrument.
“Many are interested in playing it, but when it comes to learning how to make it, not many are willing to take up the challenge. If anyone is genuinely interested in learning, I will teach them. I do not want this knowledge to disappear,” he said, expressing concern that the craft could one day become extinct.
Mohd Hasbullah also revealed that he had once considered giving up the rebana mangkuk tradition after feeling sidelined by a group with which he had worked to promote the art form.
He said that as the instrument gained wider recognition, the group began receiving invitations to perform, but he was not invited to participate.
“At the time, I felt as though I had been pushed aside. We were the ones who had worked so hard to introduce the rebana mangkuk, but in the end, I felt excluded,” he said.
The disappointment led him to abandon plans to establish an association and apply for grants to further develop and promote the traditional art form.
However, encouragement from several individuals helped rekindle his enthusiasm, particularly Kang Boon Ann, a traditional shadow puppet theatre practitioner from Persatuan Sri Cindayu, who continued to urge him to persevere.
“I thought to myself, if I stop, who else will introduce the rebana mangkuk to the public? That was why I decided to rise again,” he said.
HOPING TO NURTURE A NEW GENERATION
Today, Mohd Hasbullah has a greater ambition: to see more support from the government, cultural agencies, and relevant organisations to facilitate workshops on making and playing the rebana mangkuk.
He said such initiatives were essential to ensure that more young people could not only play the instrument but also master the techniques involved in crafting it.
“With the necessary assistance and support, I want to teach people how to make and play the instrument and nurture more successors so that the rebana mangkuk will continue to be recognised throughout Malaysia,” he said.
For Mohd Hasbullah, every layer of natural rubber stretched as thin as an onion skin represents more than just a component of a musical instrument. Together, the layers preserve the history, culture and identity of a community whose heritage is beyond measure.
As long as there are hands willing to learn the craft and hearts committed to passing it on, the rebana mangkuk can continue to echo as one of Kelantan's treasured cultural legacies, worthy of preservation for generations to come.
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