Traditional Music

     Traditional Malay music and performing arts appear to have originated in the Kelantan-Pattani region with influences from India, China, Thailand and Indonesia. The music is based around percussion instruments, the most important of which is the gendang (drum). There are at least 14 types of traditional drums. Drums and other traditional percussion instruments are often made from natural materials. Besides drums, other percussion instruments (some made of shells) include: the rebab (a bowed string instrument), the serunai (a double-reed oboe-like instrument), the seruling (flute), and trumpets. Music is traditionally used for storytelling, celebrating life-cycle events, and times like harvest. It was once used as a form of long-distance communication.

     In East Malaysia, gong-based musical ensemble such as agung and kulintang are commonly used in ceremonies such as funerals and weddings. These ensembles are also common in neighbouring regions such as in the southern Philippines, Kalimantan in Indonesia and Brunei.

     The Malays of Kelantan and Terengganu are culturally linked to peoples from the South China Sea area, and are quite different from the West Coast of Malaya. The martial art of silat Melayu developed in the Malay peninsula since the beginning of common era also popular in Malaysia, while essentially still important as a branch of the self defence form. Similar to t'ai chi, though of independent origin, it is a mix of martial arts, dance and music typically accompanied by gongs, drums and Indian oboes.

     The natives of the Malay Peninsula played in small ensembles called kertok, which performed swift and rhythmic xylophone music. This may have led to the development of dikir barat. In recent years, the Malaysian government has promoted this Kelantanese music form as a national cultural icon.

Gong

 Gongs are broadly of three types. Suspended gongs are more or less flat, circular discs of metal suspended vertically by means of a cord passed through holes near to the top rim. Bossed or nipple gongs have a raised centre boss and are often suspended and played horizontally. Bowl gongs are bowl-shaped, and rest on cushions and belong more to bells than gongs. Gongs are made mainly from bronze or brass but there are many other alloys in use.

Suspended Gong

Bossed Gong / Nipple Gong

Bowl Gong

Gendang / Kendang (Drum)

The typical double-sided membrane drums are known throughout Maritime Southeast Asia and India. One of the oldest image of kendang can be found in ancient temples in Indonesia, especially the ninth century Borobudur and Prambanan temple.

Among the Javanese, Sundanese, or Malay peoples, the kendang has one side larger than the other, with the larger, lower-pitched side usually placed to the right, and are usually placed on stands horizontally and hit with the hands one either side while seated on the floor. Among groups like the Balinese, Tausug, or Maranao, both sides are of equal size[citation needed], and are played on either one or both sides using a combination of hands and/or sticks.

Within Gamelan, the kendhang is smaller than the bedug, which is placed inside a frame, hit with a beater, and used less frequently. The kendang usually has the function of keeping the tempo (Laya) while changing the density (Irama), and signaling some of the transitions (paralihan) to sections and the end of the piece (suwuk).

In dance or wayang, the kendhang player must follow the movements of the dancer, and communicate them to the other players in the ensemble. In West Java, kendang are used to keep the tempo of Gamelan Degung. Kendang are also used as main instrument for Jaipongan dance. In another composition called Rampak Kendang, a group of drummers play in harmony.

Gendang

Dikir Barat

Dikir barat is typically performed by groups of ten to fifteen members, though there is no actual set size, even in competitive environments. A group usually sits cross-legged on a platform, sometimes surrounded by the audience. Where the dikir barat is performed competitively, the two competing groups will both be on the stage at the same time.

In a typical dikir barat performance, the group will perform two segments. The first is led by the tok juara,who is often the person in charge of the musical training of the group. This first segment usually contains the more complex musical arrangements, and will likely feature the awok-awok (chorus) singing in unison with the tok juara, as well as responsorial segments of singing, similar to what the tukang karut does with the awok-awok, later in the performance. Though musically more complex than what will follow, the first segment is seen as the "low-key" segment of the performance.

The creative leader of a dikir barat group is the tukang karut. The tukang karut (who is often himself a former tok juara) is expected in his performance to utilize current social and political issues which will be relevant to the audience. His ability to do this helps to uphold the reputation of the dikir barat group. Leading the awok-awok during the second and concluding segment of the performance, the tukang karut sings pantuns—most of which are likely original and improvised on the occasion of the performance, but some which may be known to the audience. (Pantuns are an oral poetry form indigenous to the Malay region, and are not exclusive to the dikir barat.) That the dikir barat uses pantuns does not mean that it is a performance of poetry. Like any poet, the tukang karut is expected to create lyrics that touch upon everyday life, but he can also address social issues, legal matters, politics, government regulations, and human foibles. The tone can be satirical, sarcastic, or simply humorous, but above all it is expected that it be clever. The tukang karut makes up and sings lyrics on the topic of the performance (which may be pre-established or simply the choice of the tukang karut), and the awok-awok sings the same lyrics back to him. During the performance, members of the awok-awok clap and perform rhythmic body movements, which bring energy to the performance.

Historically, dikir barat performances have been all-male. However, in recent years, especially with groups based in urban areas, female performers are beginning to appear.

While most musical instruments are excluded from dikir barat, some groups to employ percussion instruments, including the rebana, maracas, or a shallow gong.

Picture of a dikir barat performance