Television station TV3 has retained its crown as champion of the HAWANA-DBP Pantun Festival, triumphing over the Malaysian National News Agency (Bernama) which claimed the runner-up position. The competition formed part of the broader National Journalists' Day (HAWANA) 2026 celebrations, underscoring the significance of traditional Malaysian verse in contemporary media culture. The victory represents a repeat success for TV3, which first captured the title during the inaugural edition held the previous year, demonstrating sustained excellence in an art form that remains culturally resonant across Malaysia's media landscape.

TV3's championship squad brought together Mohammad Nor Affiq Norshamsudin, Mohd Safwan Sawi, Azrin Md Isa, and Mohamed Hirsham Azmi—a combination that proved formidable in executing the rapid-fire, improvised nature of pantun performance. Their ability to craft witty, rhyming verses on the spot reflects both individual talent and the rigorous preparation that underpins success in competitive pantun circles. The team's composition suggests a deliberate strategy to blend experience with newer talent, a formula that has clearly yielded results across consecutive competition cycles.

The prestige of the occasion was amplified significantly by the presence of high-ranking national figures during the awards ceremony. Prime Minister Datuk Seri Anwar Ibrahim personally presented the prizes at the main HAWANA 2026 event, held at the PICCA Convention Centre @ Butterworth Arena, elevating the profile of the competition within Malaysia's national consciousness. Accompanying him were Penang Chief Minister Chow Kon Yeow, Communications Minister Datuk Fahmi Fadzil, and Bernama chairman Datuk Seri Wong Chun Wai, reflecting the governmental and institutional importance placed on celebrating journalism and cultural traditions simultaneously.

Financially, TV3's victory translated into tangible rewards: the team secured RM3,000 in prize money along with a trophy and participation certificates. Bernama, despite its runner-up status, received RM2,000 in cash prizes plus its own trophy and certificates—an outcome that acknowledges the quality of preparation brought by Malaysia's principal news agency. Beyond the top two performers, Radio Televisyen Malaysia (RTM) secured third place, while Berita Harian placed fourth in a competitive field that ultimately encompassed eight participating teams drawn from Malaysia's media ecosystem.

Individual accolades added further dimensions to the competition's outcomes. Muhammad Syukri Khairulannuar, representing Bernama, earned recognition as the Best Pantun Performer—a personal achievement that suggests individual brilliance can flourish even when team results prove secondary. Separately, the Department of Islamic Development Malaysia (JAKIM) team captured the Best Attire Award, indicating that the festival valued presentation and cultural authenticity alongside performance excellence. These distinctions demonstrate how pantun competitions function as holistic cultural events rather than purely technical contests.

The festival itself drew participation from 32 individuals across the competing teams, a substantial gathering that speaks to the continued vitality of pantun within professional media circles. The actual competition unfolded on May 9 at Panggung Sari within Kompleks Kraf Kuala Lumpur—a choice of venue that positioned the event within Malaysia's cultural infrastructure. By scheduling the competition as an early curtain-raiser for the broader HAWANA 2026 festivities, organizers ensured that pantun received dedicated focus before the main ceremonies commenced.

TV3 team leader Mohammad Nor Affiq provided insights into the psychological dimensions of competitive pantun at this level. He acknowledged experiencing considerable pressure when tasked with leading the squad, particularly given the responsibility of defending a championship title. However, encouragement from Ahmad Fedtri Yahya—a prominent TV3 host and mentor figure—proved instrumental in steeling his resolve. His reflections reveal how pantun competitions involve not merely linguistic facility but also emotional fortitude and the capacity to draw motivation from established figures within one's professional community.

Nor Affiq's post-victory statement emphasized collective achievement rather than individual heroics. He credited his teammates, family members, and supporters for their sustained encouragement, framing the championship as a shared accomplishment. This emphasis on gratitude and collaborative effort resonates deeply with Malaysian cultural values and demonstrates how traditional art forms continue to reinforce communal bonds even within competitive frameworks. His expression of gratitude—framed through the Islamic invocation "Alhamdulillah"—also situates pantun performance within broader spiritual and cultural contexts that many Malaysian practitioners maintain.

Bernama's response to second-place revealed a team committed to continuous improvement rather than accepting defeat passively. Team leader Muhammad Syukri articulated plans to conduct systematic reviews of weaknesses and strengthen preparations for future competitions. This forward-looking stance indicates that significant media organizations view pantun competitions not as peripheral cultural activities but as meaningful platforms where institutional pride and professional capability intersect. The intention to address identified shortcomings and pursue championship status in subsequent editions demonstrates that competitive pantun retains genuine institutional investment among Malaysia's major news organizations.

The broader HAWANA 2026 framework provided essential context for understanding the pantun festival's significance. Themed "Media Integrity Strengthens Credibility," the celebrations were organized by the Ministry of Communications with Bernama serving as implementing agency. This thematic emphasis on media integrity alongside cultural celebration suggests a deliberate governmental strategy linking journalistic standards with preservation of Malaysia's traditional cultural forms. By situating pantun within national conversations about credibility and professionalism, organizers positioned the art form as intrinsically connected to media's role in democratic societies.

The HAWANA grand finale functions as Malaysia's largest congregation of media practitioners, serving simultaneously as recognition event and professional gathering. This dual purpose reflects how Malaysian media celebrations operate as venues for both commendation and community-building. The festival's emphasis on recognizing journalistic contributions to nation-building provides ideological grounding for the associated cultural competitions, suggesting that pantun performance embodies values—creativity, linguistic precision, cultural continuity—that complement professional journalism standards.

For Southeast Asian observers, TV3's sustained excellence in pantun performance illuminates the continued relevance of traditional verse forms within modern media contexts. Unlike Western broadcasting environments where such cultural competitions might occupy marginal status, Malaysian media institutions maintain robust engagement with pantun through formal competitive structures backed by governmental support. This pattern reflects broader regional commitments to preserving cultural heritage while advancing contemporary media professionalism—a balance that distinguishes Southeast Asian media landscapes from their Western counterparts and underscores distinct approaches to institutional values and cultural memory.