This research discusses intercultural relations in the performing art of wayang kulit Kelantan, by examining the phenomena of communication between cultures that occur within the multi-ethnic Kelantanese community, with a focus on the element of music. In order to understand the intercultural communication that occurs in the element of music, Kumpulan Wayang Kulit Sri Campuran was chosen as the main research subject due to the group’s characteristic ethnic diversity, which comprises Malay, Chinese, and Siamese, as well as the community that is directly and indirectly involved in the performance, which also comprises various ethnicities, thus illustrating the existence of the phenomena of intercultural communication. Methods of observation on the element of music in performances held at several locations by this group have been able to prove the existence of clear intercultural communications within the multi-ethnic community in Kelantan. These phenomena also show that this group specifically, and the Kelantanese community in general, upholds cultural collectivism that strengthens intercultural relations, whereby people from various cultural backgrounds can be brought together by a single performance that clearly showcases characteristics of teamwork, tolerance, understanding, compatibility, sharing, and harmony.

Keunikan warisan kebudayaan tidak ketara masyarakat multietnik di Malaysia kian terancam oleh modenisasi dan globalisasi yang berlaku dengan lebih pesat berbanding dengan usaha-usaha yang dijalankan untuk melestari dan memperkasakan warisan kebudayaan itu sendiri. Hal ini lebih ketara bila melibatkan komuniti etnik minoriti yang kurang dikenali umum seperti komuniti Cina Peranakan Kelantan. Justeru itu, makalah ini cuba untuk mengupas dan meneliti satu upacara tradisi Cina Peranakan Kelantan yang semakin dilupakan iaitu upacara Koi Hoi. Perbincangan makalah ini adalah kepada sejarah asal-usul, kepercayaan dan amalan upacara tersebut berdasarkan kajian lapangan yang dilakukan di Kampung Pasir Parit di Jajahan Pasir Mas pada tahun 2019. Kajian mendapati upacara Koi Hoi adalah satu upacara tradisi Tao yang diwarisi secara turun-temurun daripada leluhur yang tiba di Tanah Melayu 300 tahun yang lalu. Ia bertitik-tolak daripada sistem kepercayaan tradisi Cina yang berkaitan dengan kewujudan dan pengaruh kuasa supernatural dalam kehidupan seharian seperti dewa-dewi dan keramat. Upacara Koi Hoi dijalankan sebagai satu usaha beramai-ramai oleh penduduk kampung untuk memohon kepada dewa penjaga kampung perlindungan daripada musibah duniawi mahupun gangguan kuasa ghaib, selain mendapatkan keberkatan demi kesejahteraan seluruh warga kampung. Daripada segi penganjurannya, persiapan dan proses kerja upacara Koi Hoi menerapkan juga elemen-elemen budaya tempatan dan melibatkan partisipasi warga kampung daripada latar etnik berlainan. Justeru itu, melihat kepada kerelevanannya dalam konteks pemupukan perpaduan dalam hubungan antara etnik di Malaysia, maka seharusnya warisan upacara Koi Hoi ini dipelihara dan diiktiraf dengan sewajarnya sebagai warisan kebangsaan di bawah Akta Warisan Kebangsaan 2005.

Almost all previous studies on the Makyung dance theater concurred that the aforementioned performance was the oldest form of traditional theater amongst the Malays in Southeast Asia. It arrived or started before the arrival of Islam to the Malay Peninsula. Unfortunately, the written record on Makyung only existed at the end of the 18th century. Hence, the exact date on the origin of Makyung is difficult to determine. This means that the main sources of research on Makyung are from oral traditions, including myths, as well as the evidence contained in the self-titled performances, and not only depending the sources of writing, material evident or archaeological materials. Consequently, this article offers that Makyung is the oldest dance theatre in Southeast Asia through the analysis of previous historical records, studies and opinions about stories and elements in the performance structure.