[2] Although most traditional Malay dances were influenced by India, Java, and other parts of Southeast Asia, Mak yong's singing and musical repertoire are unique to the region.

Some of those obtained from outside the Malayan-Thai region have now died out elsewhere, such as Anak Raja Gondang, a story originally from the Buddhist Jataka tales but now almost unknown in India.

The mak yong orchestra is small with the main instruments played being the three-stringed spiked lute, drum (gendang), and a pair of gong.

Mak yong was originally a form of folk theatre involving rituals connected with propitiation as well as healing.

Legend generally credits the dance to a rice spirit called Mak Hiang but a later belief tells that it was created by the Javanese clown-like divinity Semar.

In 1923, the king's youngest son, Long Abdul Ghaffar, was in favour of mak yong and built a cultural precinct called Kampung Temenggung on his palace grounds to lend his support to the arts.

In the 1970s, an attempt was made to create a refined version of mak yong, supposedly carrying on the efforts of Long Abdul Ghaffar.

When PAS took control of Kelantan in 1991, they banned mak yong in the state for its "un-Islamic elements" and clothing, which leaves women's heads and arms uncovered.

Nowadays, mak yong is seldom performed as priority is often given to modern Malays ethnic group dances like joget.

However, these modern shortened performances are stripped of the old animist rituals and their music is simplified because the songs are played so infrequently.

It reflects the deep, mystical significance of mak yong's stories and dances and its original aim to serve as a conduit to the spirit world.

[3] In Indonesia, mak yong performance found in Riau and North Sumatra, spread from South Thailand via Singapore.