▁before ▁Mak ▁Y ong ▁become ▁a ▁st ap le ▁in ▁the ▁dance ▁court ▁of ▁Joh or - R ia u . ▁A part ▁from ▁entertain ment , ▁the ▁Mak ▁Y ong ▁rit ual ▁also ▁acted ▁as ▁a ▁myst ical ▁he aling ▁performance . ▁The ▁main ▁feature ▁that ▁set ▁the ▁Mak ▁Y ong ▁in ▁R ia u ▁apart ▁from ▁aside ▁from ▁that ▁of ▁Kel ant an , ▁was ▁that ▁in ▁R ia u ▁the ▁performance ▁was ▁en hanced ▁by ▁the ▁use ▁of ▁a ▁cer emon ial ▁mask , ▁a ▁feature ▁unknown ▁in ▁Kel ant an . ▁The ▁use ▁of ▁rit ual ▁mask s ▁closely ▁res emb les ▁the ▁Mak ▁Y ong ▁performances ▁st aged ▁in ▁P att ani ▁and ▁Nar ath iw at , ▁both ▁located ▁in ▁present - day ▁southern ▁Th ailand . ▁ ▁Royal ▁or chestra ▁ ▁The ▁earliest ▁account ▁of ▁the ▁Musik ▁Nob at ▁D ira ja ▁( Ro yal ▁Orchestra ) ▁was ▁in ▁the ▁Sul al atus ▁Sal atin ▁( Mal ay ▁Ann als ), ▁which ▁stated ▁that ▁or chestra ▁performances ▁began ▁during ▁the ▁reign ▁of ▁the ▁ancient ▁female ▁r uler ▁of ▁B int an , ▁W an ▁Ser i ▁B ini , ▁also ▁known ▁as ▁Queen ▁Sak id ar ▁Sy ah , ▁who ▁claimed ▁to ▁have ▁tra ve led ▁to ▁Ban ua ▁Sy am ▁( the ▁Lev ant ). ▁The ▁Nob at ▁was ▁used ▁during ▁the ▁coron ation ▁of ▁Sang ▁N ila ▁Ut ama , ▁the ▁king ▁of ▁ancient ▁Singapore . ▁The ▁usage ▁of ▁the ▁Nob at ▁then ▁spread