Fitrah and the Yearning for the Heavens: Humanity’s Natural Longing for the Divine through Musical Theater in Malaysia

Throughout history, fascination with the heavens has profoundly influenced the arts and literature. Since ancient times, people have looked to the sky, studied the stars, and created works that invite us to ponder the mysteries of the heavens. This tendency is not merely about the ethereal "heaven" as described in religious doctrines but encompasses the whole metaphor of height and elevation, capturing humanity’s innate desire for transcendence and a higher purpose.

In literature, heavenly symbols — such as stars, skies, and celestial bodies — evoke spirituality, wisdom, and purity. While religious contexts often portray heaven as a place of reward, this fascination with “height” reaches beyond a literal interpretation. Higher spaces frequently symbolize elevated states of consciousness or moral superiority, standing in contrast to earthly or underworld realms that represent mortality, struggle, and chaos. This symbolic connection between height and higher states of being is present in various religious and spiritual teachings, where ascending to heaven often represents enlightenment or salvation.

Our reverence for heaven, then, need not always reference God or a literal afterlife; it includes elements of the universe that naturally direct our gaze upward, bridging the human experience with a sense of the divine. These elements include:

• The Heavens (sun, moon, stars, sky)

• Objects of Flight (birds)

• Day and Night, or the progression of time

• Rezeki (blessings)

The Romantic movement also sheds light on this heavenly yearning. In Romanticism, the concept of the "sublime" captures humanity’s awe and reverence for vast, beautiful forces in nature that surpass ordinary understanding. Romantic poets like Wordsworth and Shelley often used imagery of skies, mountains, and stars to evoke the grand and unknowable, reinforcing the idea that something transcendent lies beyond human reach.

This concept resonates deeply within local perspectives as well. In Malaysian culture, reverence for nature is embodied in proverbs and philosophies like the Minang principle “alam terkembang menjadi guru” (nature as an open book for learning). This worldview encourages us to live in harmony with nature and to draw wisdom from its elements, including the heavens.

These symbols — heavenly bodies, birds, the sun and moon — serve as powerful conduits for our yearning for the divine. In musical theater and other forms of performance, they evoke this timeless longing, subtly becoming a bridge between the audience and a shared sense of spiritual or emotional ascent. This fascination with the heavens is not merely symbolic; it is an expression of our fitrah, our natural inclination toward what is higher and divine, hinting at an unspoken connection between humanity and the divine that resonates regardless of one’s spiritual or religious beliefs. Through these symbols, we experience a reflection of our deepest yearnings for a sense of the sacred and for connection with something greater than ourselves.

A powerful yearning for the heavens emerges through the songs Pak Pandir Overture (PPO) in Pengembaraan Muzikal Pak Pandir (September 2024, Pertubuhan Jiwa Seni Malaysia) and ‘Malam Bosan ke Pagi’ (MBP), song about the students’ lament in Teater Muzikal Gadoh (November 2024, Revolution Stage Production) and its reprise. Through poetic lyrics in these songs, both productions draw on symbols of the heavens, connecting with humanity’s fitrah — our natural disposition toward a higher, divine presence.

For the purpose of this discussion, I am including selected extract of the lyrics as examples. For full access to the lyrics, please refer to the respective productions.

Pak Pandir Overture (PPO) - Stanza 1 & 2

Burung bebas di angkasa

Langit cerah nan cuaca

Burung-burung menari di awan,

Dan begitu namanya kehidupan

Hari ini

Ayuh kita mulakan

Matahari mendadak naik

Burung berkicau dengan riang

Menyambut hari-hari baru

Pagi ini saat kami mencari rezeki

‘Malam Bosan ke Pagi’ (MBP) - Stanza 1 & 2*

Setiap malam ku

Rasa yang sama hadir

Di dalam kelam ku melihat bintang langit

Menunggu keajaiban

Datang mengubah takdir

Mengharap kebaikan 

Agar derita berakhir

Aku bosan dengan malam

Ku tunggu pagi tiba

Pagi aku penuh dendam 

Kucari mangsa serang

Pagi, tengah hari, petang dan hingga malam tiba

Ulang-berulang

Hidupku pagi hingga malam

*This is originally written in-text as one continuous stanza, but for the purpose of clarification, I am breaking it down to 2 stanzas, and line breaks are introduced.

Saiful Wazien as Pandir in Pengembaraan Muzikal Pak Pandir

Heaven as an Invitation to Humility and Awe

In Pengembaraan Muzikal Pak Pandir, heavenly imagery is woven throughout  PPO inviting listeners to contemplate the skies and, in doing so, acknowledge human humility. Lines like “burung bebas di angkasa / langit cerah nan cuaca / burung-burung menari di awan” (birds free in the sky / bright sky and weather / birds dancing in the clouds) in verse 1, “matahari mendadak naik” (the sun suddenly rises) in verse 2, “di bawah teriknya mentari” (under the scorching sun) in verse 3, and “langit menjadi saksi” (the sky bears witness) in the last verse, all guide us upward in perspective, looking to the heavens as if to remind us of our smallness in the vastness of the universe. This use of heavenly imagery encourages humility, echoing the idea that humanity is “rooted” on earth while these grand elements remain above.

In MBP, the longing to look skyward is captured in the line “Di dalam kelam ku melihat bintang langit” (In gloom, looking at the stars in the sky). This visual suggests a yearning for guidance, wonder, or a glimpse into something greater than oneself. Together, these references to the sky and its elements symbolize a human impulse to seek meaning and direction beyond our immediate lives, aligning with the fitrah that draws us toward transcendence and the divine.

Birds as Symbols of Aspiration and Transcendence

Birds frequently appear as symbols of height and aspiration. In PPO, references to birds — “Burung bebas di angkasa” (Birds free in the sky), “Burung-burung menari di awan” (Birds dancing in the clouds), and “Burung berkicau dengan riang” (Birds chirping joyfully) — convey a yearning to rise above earthly limitations, embodying freedom and transcendence. Birds represent the human desire to break free from the constraints of everyday life and reach higher states of consciousness or understanding.

In literary and artistic traditions, birds symbolize the quest for freedom, connection with the divine, and a pursuit of the sublime. Their flight expresses a longing for something beyond the physical, a quality that deeply resonates with humanity’s fitrah to seek the transcendent. By looking up to birds, we’re reminded of our own desire to "rise" in spirit, reflecting an aspirational quality that these productions use to tap into universal longings.

Day and Night as Symbols of Renewal, Routine, and Transformation

In PPO, the passing of each day is celebrated as an opportunity for renewal, intention, and gratitude. The lyrics in lines such as “Hari ini / Ayuh kita mulakan” (Today / Let us begin) in verse 1 and “Menyambut hari-hari baru / Pagi ini saat kami mencari rezeki” (Welcoming new days / This morning as we seek sustenance) in verse 2 emphasize the importance of beginning each day with purpose. By reminding us of the significance of each day and of the blessings that come with it, the characters’ actions reflect the fitrah of gratitude and hope. The line “Hari ini / Hari kita gembira” (Today / Is the day we are happy) reinforces this idea, showing a conscious choice to embrace joy and optimism each day. In PPO, then, day becomes a symbol of life’s cycles of renewal and fulfillment, reflecting a grounded reverence for each day’s opportunities.

In contrast, MBP portrays the day’s cycle with a sense of repetition and yearning, capturing the characters’ longing for change amid their difficult lives. Lines such as “Setiap malam ku / Rasa yang sama hadir” (Every night / The same feeling comes), “Aku bosan dengan malam ku tunggu pagi tiba” (I’m tired of the night, waiting for morning to come), and “Pagi, tengah hari, petang dan hingga malam tiba / Berulang-berulang hidupku pagi hingga malam” (Morning, noon, evening, until night falls / My life repeats from morning to night) express the weariness of daily life, with each part of the day carrying a sense of entrapment. For these characters, each day passing is both an unbearable repetition and a longing for transformation. The cycle of day and night thus becomes a symbol of their hope for a better life, emphasizing their fitrah—the innate desire for growth, renewal, and positive change.

In these productions, day and night serve as metaphors for the human experience: while some may find joy and purpose in each day, others struggle within the repetitive cycle, yearning for a breakthrough. This contrast reveals the varied ways individuals experience their days, from embracing life’s blessings to hoping for transformation, resonating with the universal human longing for fulfillment and transcendence.

Rezeki (Blessings) as a Yearning for Sustenance and Gratitude

Rezeki — meaning sustenance, provision, or blessings — is another key element that reflects the characters’ yearning for the heavens, as seen in their desire for divine provision and gratitude for blessings. In PPO, lines like “Pagi ini saat kami mencari rezeki” (This morning as we seek sustenance) and “Buat kita mensyukuri / Bahagia dilimpahNya” (To make us grateful / Blessed with happiness) emphasize the importance of rezeki in everyday life. These lines highlight the character’s reliance on blessings that come from beyond themselves, underscoring the need to trust in divine provision.

In MBP, the line “Kisah bahagiaku hilang” (Story of my happiness lost) — reflects a yearning for rezeki and the loss felt when it appears absent. This narrative of seeking and yearning for sustenance is an intrinsic part of human life, as rezeki encompasses not only material wealth but also emotional, spiritual, and social blessings. By acknowledging rezeki as a divine gift, these songs express an intimate relationship with the heavens, recognizing that our sustenance is ultimately beyond our control.

Nature and Fitrah: Learning from the Elements

Both Pengembaraan Muzikal Pak Pandir and Teater Muzikal Gadoh use these heavenly and natural elements to echo a deeper message about humanity’s fitrah. Just as the Minang philosophy “alam terkembang menjadi guru” encourages people to learn from nature, these musical references to birds, the sky, and the cycle of day and night reinforce our connection to the natural order. They remind us that our lives are intertwined with the rhythm of the universe and that our aspirations are part of a larger, divinely inspired order.

These songs, through their rich references to the heavens, cultivate an emotional yearning for the divine, subtly drawing audiences toward a spiritual longing rooted in the fitrah of every human being. Through these symbols, the musicals create a bridge to higher meanings, resonating with a timeless human need for connection, humility, and transcendence.

Fitrah of Human - Hope for Miracles and Positive Change

In both songs, the theme of hope emerges prominently, intertwined with references to heavenly symbols, the cycles of day and night, and the broader human desire for improvement. Each song portrays hope differently, reflecting the emotional tone and narrative arc of the respective productions.

PPO radiates optimism, reinforced by its bright imagery of the day and sun. The use of "day" and "light" elements, such as in “Hari ini / Ayuh kita mulakan” (Today / Let us begin) and “Menyambut hari-hari baru” (Welcoming new days), symbolizes positivity and forward momentum. These references evoke a sense of joy and high hopes, encouraging the audience to embrace gratitude for life’s blessings and to work diligently toward their goals. Notably, the song avoids referencing "night" or "darkness," further emphasizing its uplifting tone and focus on brightness and clarity.

This optimistic perspective aligns with the fitrah of humanity — the innate disposition toward growth, gratitude, and striving for betterment, albeit its narrative can be argued to be a little bit too ideal. By grounding hope in daily effort and a sense of purpose, the song inspires its listeners to see each day as an opportunity for renewal and achievement.

In contrast, MBP opens with imagery of the night, setting a somber and introspective tone. Lines like “Setiap malam ku / Rasa yang sama hadir” (Every night / The same feeling comes) reflect the characters’ weariness and frustration with their stagnant lives. However, the transition from night to morning in the lyrics introduces a glimmer of hope. The shift from “Aku bosan dengan malam ku tunggu pagi tiba” (I’m tired of the night, waiting for morning to come) to mentions of the new day signifies a longing for change, growth, and eventual relief.

Despite the melancholic beginning, the song ultimately conveys a collective yearning for improvement. This is especially evident in the line “Mengharap kebaikan / Agar derita berakhir” (Hoping for goodness / That the suffering will end), where the characters express their desires to overcome their struggles. The reprise strengthens this theme by giving each character their own personal hope: Heng’s anxiety about his future, Khalil’s wish for a fresh start, and others reflecting their individual aspirations. Together, these personal narratives weave a tapestry of universal human longing for miracles and betterment.

While PPO and MBP differ in tone — one being optimistic and uplifting and the other somber and reflective — both explore hope as a driving force of the human spirit. PPO celebrates the beauty of gratitude and the joy of hard work, encouraging individuals to find fulfillment in daily efforts. Conversely, MBP acknowledges the struggles of life and the pain of monotony but points toward the transformative power of hope, even amid despair.

Both songs use their respective tones to emphasize that hope, whether quiet and persistent or radiant and forward-looking, is an essential aspect of our fitrah. It compels us to look beyond our current circumstances and strive for a better, brighter future — whether through hard work, self-belief, or a prayerful longing for divine intervention. Together, they showcase how musical theater in Malaysia resonates deeply with the universal human condition, blending cultural storytelling with profound emotional and spiritual truths. 

In both Pengembaraan Muzikal Pak Pandir and Teater Muzikal Gadoh, the theme of hope transcends the differences in tone and context, serving as a unifying expression of humanity’s fitrah—our innate yearning for betterment, renewal, and connection to something greater. Whether conveyed through the vibrant optimism of daylight in PPO or the somber yet determined transition from night to morning in MBP, these narratives remind us that hope is both a deeply personal and universal experience. It is through these songs, with their evocative imagery of the heavens, cycles of day and night, and heartfelt longings, that we see how musical theater can become a mirror to our shared aspirations. These productions not only entertain but also inspire us to embrace the struggles and joys of our journey, reaffirming that even in darkness, the light of hope guides us toward growth, change, and fulfillment. And I personally hope to be able to see more locally produced musical theater like this in Malaysia.