Dikir Barat: Kelantanese Most Popular Song

Dikir barat is a style of call and response singing originating in Kelantan, Malaysia. It is well known throughout the Peninsular through local television and performing groups. A dikir barat group, which may be of any size, is led by a tukang karut who makes up poems and sings them as he goes along. The chorus echoes in response, verse by verse. Dikir barat groups usually perform during various festive occassions, and their poems are usually light entertainment and may be about any topic, but are not religious in nature. The chorus traditionally consists of all men, but modern groups, especially those performing on television, often include women. Traditionally, no musical instruments are used, the singing being accompanied instead by rhythmic clapping and energetic body movements. Some groups however do use a pair of frame drums or rebana, a shallow gong and a pair of maracas, for accompaniment.

The Juara is the singer of the group and he will usually open the performance of his or her group followed by the Tukang Karut. Unlike the Juara, the Tukang Karut will be interacting with the audience with his or her wit. The more engaging a Tukang Karut is the more effective he or she is as a performer. The Juara would be one with the melodious voice.

The word "Barat (west)" is derived from the nickname given by the Kelantanese to the Siamese society. Although there are some who theorise that "Barat" comes from the word "Bharat" the old name given to the Indian sub-continent.

Zapin (Dance and Theatre)

The influence of Islam on the arts in Malaysia is perhaps most evident in the Zapin, a dance form for which the southernmost state of Johor is popular.

It is believed to have been introduced here in the 14th century by Muslim missionaries from the Middle East around Yemen (then known as Hadramaut) as a means to spread the religion.

The extant dance form of Zapin (known as Zapin Arab today) combines Islamic devotional chanting with body movements. Originally, only males were allowed to perform the dance and that too in the presence of religious teachers who were given the task of explaining the meaning of the verses sung by the performers. In this way, knowledge about Islam (mostly concerning the history of the Islamic civilisation) was passed on to the audience.

Through the years, however, much has changed. For example, women Zapin dancers are now a common sight, and the dance itself is no longer performed exclusively for religious ceremonies. In fact, it is accepted both as a religious and secular form of traditional entertainment.

The original form of Zapin (Arab) has given rise to numerous substantive forms, collectively known as Zapin Melayu. In Johor alone, variations of the Zapin have emerged in five regions, namely Zapin Tenglu and Zapin Pulau which originate from Mersing; Zapin Lenga from Muar; Zapin Pekajang from Johor Baru; Zapin Koris from Batu Pahat; and Zapin Parit Mustar and Zapin Seri Bunian from Pontian.


These forms or variations are much influenced by tradition and living norms. A good example would be the Zapin Tenglu and Zapin Pulau, both originating from the fishing village of Mersing.
The sharp irregular movements seen in the two variations are inspired by the lives of fishermen; tossed around in a fishing boat on a rough sea, struggling to pull in their nets, resting by the shore, etc. By contrast, the graceful sway of Zapin Lenga depicts the lives of farmers, and the more calm and serene kampung environment.

The dancers usually perform in pairs and are accompanied by a traditional music ensemble commonly made up of musical instruments associated with Islamic culture such as the gambus, accordion, violin, marwas (bongos), rebana and dok - 10 to 12 musicians in all.

Asli Dance

This dance is based on the Malay asli songs like Makan Sireh, Gunung Banang and Sapu Tangan, Asli Selendang, Bentan Telani and Asli Abadi.In the Tepak Sireh Dance for example, all the dancers wear Malay costumes and bring the betel leaf sets on the stage while making graceful dance movements to the tune of asli beat.

These dances are popular all across Malaysia especially in Peninsular Malaysia. The dance features slow, flowing and elegant movements and resembles the Asyik Dance (court dance), but its movements are simpler and danced to a modern music ensemble.

Ulik Mayang From Trengganu

Ulik mayang is a traditional dance, derived from a form of pujaan called Puja Pantai (worship the spirit of the sea). It is well known that Puja Pantai is based in Trengganu state, Malaysia.
The dancers use 'mayang pinang' (strings of arecanut's flowers). While dancing, the 'mayang pinang' will be shaked until the person holding it feels that the 'mayang pinang' alives or moves by itself then it is given to another dancer!!!
The dancing always begins with a person who is suffering from illness.
The patient will then healed by a bomoh, a “doctor” in the traditional way. Seven actors beautifully dressed represent the 7 princess who come to visit the patient when the bomoh is treating him. Kemenyan will be burnt together with chanting of pantun and dancing through the whole performance. Although Tarian Ulit Mayang was once a folk ritual ceremonial in the Malay society, with its gentle and graceful movement, it has become one of the beautiful traditional dancing in Terengganu culture.


Some of these dances remain part of the agenda during certain occasion or ceremony, such as in a wedding or in a formal official function during which the complete set of music instrument will be used and the entire story of the dance will be carefully performed.

However, nowadays the belief in spirits has vanished and the dance is performed purely for entertainment.

Lyric: Ulik Mayang
Umbut mayang di umbut
Umbut dengan jala-jemala
Ulit mayang diulit
Ulit dengan puterinya satu

Puteri satu berbaju serong
Puteri satu bersanggul sendeng
Puteri satu bersubang gading
Puteri satu berselendang kuning

Ulit mayang di umbut
Ulit dengan jala-jemala
Jika sambut mayang disambut
Sambut dengan puterinya dua

Puteri dua berbaju serong
Puteri dua bersanggul sendeng
Puteri dua bersubang gading
Puteri dua berselendang kuning

Ulit mayang di umbut
Ulit dengan jala-jemala
Jika sambut mayang disambut
Sambut dengan puterinya tiga

---

Ku tahu asal usul mu
Yang darat balik ke darat
Yang laut balik ke laut
Nasi kuning hamba sermbahkan

Pulih mayang ku pulih
Pulih balik sedia kala

Single Presentation: Mak Yong

Mak Yong is a traditional acting combined dancing, singing, drama, romance and comedy in a single presentation. The theatre is believed to have originated from Kelantan several centuries ago. Most of Mak Yong's performances involved acting therefore no documentations were ever made, for the stories were usually memorized by a handful of actors, musicians and comedians who have performed the Mak Yong countless times.
A favourite form of entertainment in the palace courtyard of Kelantan and Patani. Malaysian Mak Yong is arguably different from its counterparts in Indonesia, Thailand and old Cambodia in terms of stories, music, dances as well as the costumes used.

The performing troupe usually has four leading actresses who would play the parts of the King, the Hero, the Queen and the Heroine. Other actresses played the parts of the palace maids or 'dayangs' or even the roles of prince as well as princesses, while the men were usually given the parts as the comedians. Two of these men would play lead comedians, while the others would act as supporting roles.
Acting similarly as court jesters with their witty and astute antics, the comedians also act as narrators during the performance, constantly letting the audience know what is about to take place next. These men are known as the 'Peran' and are considered as having the most important roles in a Mak Yong performance.
Combining all the elements of human emotion such as sadness, humour, anger, joy and love, the actors and actresses expressed them beautifully throughout the entire show, at the same time, flawlessly reciting their lines in Kelantanese.

The performance took place in a spacious hall where most of the audience sat on the floor. The actors and actresses sat against the wall and when it was their turn to act out a scene, they would just proceed to the middle of the hall and start acting.
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