FULL ENCYCLOPEDIA

Consultant MR. SHARUNIZAM BIN SHARI Project editor SHARIFAH NUR SUZYANIE BINTI SYED HUZAILI Editors SHARIFAH NUR SUZYANIE BINTI SYED HUZAILI ANIS SOFIA BINTI THALAHA NOR AMIRAH BINTI ZULKIFLI NORAZNI BINTI ABDUL HALIM NUR AINA NASUHA BINTI ZAINUDIN NUR ANIS KHALILAH BINTI MOHD NAPI NURUL FAHANIS BINTI JOHARI NURUL FATIHAH BINTI ANAHA SITI MUKHLISI @ FATIHAH BINTI MAT DAUD Project designer SHARIFAH NUR SUZYANIE BINTI SYED HUZAILI ANIS SOFIA BINTI THALAHA NOR AMIRAH BINTI ZULKIFLI NORAZNI BINTI ABDUL HALIM NUR AINA NASUHA BINTI ZAINUDIN NUR ANIS KHALILAH BINTI MOHD NAPI NURUL FAHANIS BINTI JOHARI NURUL FATIHAH BINTI ANAHA SITI MUKHLISI @ FATIHAH BINTI MAT DAUD Jacket designer SHARIFAH NUR SUZYANIE BINTI SYED HUZAILI Indexer SITI MUKHLISI @ FATIHAH BINTI MAT DAUD ANIS SOFIA BINTI THALAHA NUR AINA NASUHA BINTI ZAINUDIN Picture researchers SHARIFAH NUR SUZYANIE BINTI SYED HUZAILI ANIS SOFIA BINTI THALAHA NOR AMIRAH BINTI ZULKIFLI NORAZNI BINTI ABDUL HALIM NUR AINA NASUHA BINTI ZAINUDIN NUR ANIS KHALILAH BINTI MOHD NAPI NURUL FAHANIS BINTI JOHARI NURUL FATIHAH BINTI ANAHA SITI MUKHLISI @ FATIHAH BINTI MAT DAUD

Topics Pages Topics Pages Foreword 1-2 JOGET DANCE 54-55 Introduction 3-4 Introduction 56-57 Malaysia Map 5-6 Dance Clothes Musical Instruments 58 BARONGAN DANCE Dance Movement 59-61 Song Lyric Joget Introduction 9 Conclusion 62 63 History 10 Dance Performance 11-15 Musical Instruments 16-18 KUDA KEPANG DANCE Music Lyrics 19-20 Introduction 66-69 Heritage of 21 Function of Kuda 70 Barongan Dance Kepang Conclusion 22 Dance Clothes 70-71 Musical Instruments 72-74 DABUS DANCE Dance Movement 75-76 Introduction History 25 How to Play Kuda 77 Dance Clothes 25-27 Kepang Musical Instruments 28-29 Kuda Kepang’s 78-80 Dance Movement Tabo Conclusion 30 Song Lyric 81 31-34 82 Conclusion 35 DIKIR BARAT 38-39 MAK INANG DANCE 40-41 Introduction 42-43 Introduction 85 History 44-45 Origin 86-87 The Group 46-47 Dance Clothes 88-90 Background Uniform of Dikir 48-49 Accessories 91-92 Barat 50 How to Perform of 51 Musical Instruments 93 Dikir Barat Musical Instruments Dance Movement 94 Song’s Dikir Barat Song Lyric 95 Conclusion Mak Inang 96-97 Performance

Topics Pages Topics Pages Conclusion 98 Ulek Mayang 147-148 MAKYONG DANCE Personalties Conclusion 149 Introduction 101-102 ZAPIN DANCE 152-153 Clothes Dance 103-104 Introduction 154-155 History 156-157 Musical Instruments 105-107 Type of ZapinDance Music Lyrics 108 Importance 109-110 Character Zapin Movement 158-159 Figure of MakYong 111 Zapin Performance 160-162 Techniques Conclusion 112 Zapin Clothes 163 SILAT Musical Instruments 164-165 Introduction 115-116 Song Lyric 166-167 History 117-118 Conclusion 168 Type of Silat 119-120 Costumes of Silat 121-123 References 169-177 Index 178-181 Musical Instruments 124-125 Weapon of Silat 126-128 Conclusion 129-130 ULEK MAYANG History of Ulek 133-134 Mayang The Legend of Ulek 135-136 Mayang Dance Concept 137 Initial Preparation 138-139 During the 140 Preparation Equipment 141 Costume Musical Instruments 142 Costume 143 Music Lyric 144-145 Myths and Benefit 146

Foreword Our utmost gratitude goes to Allah SWT for the blessings have allowed us to successfully produce this Encyclopedia of Malaysia : Malay Traditional Dance. The purpose of this encyclopedia is to fulfil the needs of assignment in IML601- Publication and Production of Information Materials course which required students of Library Management to produce an information material. Besides, this encyclopedia is produce in order to introduce and share information regarding to Malay traditional dance that were existed in Malaysia. The information contain in this material can be use by any level of people who interest to learn or study about certain Malay dance types. This encyclopedia covered 10 Malay traditional dance of Malaysia which are Barongan Dance, Zapin Dance, Silat Dance, Dikir Barat Dance, Mak Inang Dance, Ulek Mayang Dance, Mak Yong Dance, Kuda Kepang Dance, Joget Dance and Dabus Dance. The contents in each dances included the history of dance, costume for dancer, dance performance, musical instruments, song lyric and many more. Pictures were attached together in this encyclopedia in order to give the picture or image to people on how the dances were look like. The information were collected from different sources which next were modified and edited accordingly. Many people were involved directly and indirectly in completing this encyclopedia. Therefore, acknowledgement were gave to those who contributed to the successful completion of this assignment. First of all, special thanks go to our lecturer of Universiti Teknologi Mara (UiTM) Kedah in IML601 course, Mr. Sharunizam Bin Shari which had gave a very helpful guideline to us in handling this assignment correctly. Besides, thanks to our parents for giving encouragement, enthusiasm and invaluable assistance to us. 1

 Barongan Dance  Zapin Dance Next, we would like to thanks to our friends which always help us give  Silat Dance suggestions and advises for us to improve this assignment. Not forgetting, we wish to say thank you a lot to those who support and help us direct or  Dikir Barat indirectly in the process of completing this assignment. Without all these Dance help, we might not be able to complete this assignment properly. We hope this encyclopedia can give benefits to all Malaysian and also to foreigners  Mak Inang from other countries who interest to study the dance cultural heritage of Dance Malaysia.  Ulek Sharifah Nur Suzyanie Binti Syed Huzaili (Chairperson) Mayang Anis Sofia Binti Thalaha Dance Nor Amirah Binti Zulkifli Norazni Binti Abdul Halim  Mak Yong Nur Aina Nasuha Binti Zainudin Dance Nur Anis Khalilah Binti Mohd Napi Nurul Fahanis Binti Johari  Kuda Nurul Fatihah Binti Anaha Kepang Siti Mukhlisi @ Fatihah Binti Mat Daud Dance KIM2445A Students Universiti Teknologi MARA (UiTM) Cawangan Kedah  Joget Dance 2

INTRODUCTION This world consists of many unique and Figure 1: Peninsular Malaysia special countries. Each countries have its own symbol that symbolize their uniqueness, specialities, strength, progression and other good things. People who lived in this world will take their opportunities to travel the whole world to get the different and best experiences from different countries. The visits from tourists will help the countries become well- known and increase their finances. From all countries, Malaysia is one of the countries that got many tourists that come from other countries. They interested to travel to Malaysia with the purpose to gain new knowledge and experiences on Malaysia’s culture, tradition, races, traditional foods, historical places, traditional dances, traditional clothes, ceremonies, traditional games and other things. All these things can be seen and watch clearly by them but for traditional dances, it is usually can be watch for certain times such as in wedding ceremony, special events, performances and during practices. So, one of the best way to acknowledge the tourists and even the Malaysians too, the traditional dances should be highlighted in reading materials in order for the tourists and the young generation in Malaysia too can read about the Malaysia traditional dances. In this encyclopedia, all the traditional dances have been served and shown with the specific details regarding to the traditional dances such as the origin, dances movements, songs, dances clothes and music instrument. The traditional dances listed are Barongan Dance, Zapin Dance, Silat Dance, Dikir Barat Dance, Mak Inang Dance, Ulek Mayang Dance, Mak Yong Dance, Kuda Kepang Dance, Joget Dance and Dabus Dance. These traditional dances are still alive till now and only Malaysian can delivered it well. This encyclopedia proves that everything Malaysia have are important and valuable. It must be shared with everyone so that people know the originality and this is also 3 one of the way to show that Malaysia proud to be Malaysia.

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BARONGAN DANCE INTRODUCTION Malaysia is a country that having a variety a small region still practices the dance. of heritage cultures which become a symbol of Research had been done to acknowledge the uniqueness of the country. One of the readers about the dance culture of heritages that can be seen nowadays is the Barongan dance. Barongan dance is a dance culture which was existed a long time dance that requires a dancer to wear an ago. Dance can be defined as a dance art of animal mask. Figure 1 show the costume of body movement, leg, and hand that follow the a character “Barong” in Barongan Dance. rhythm of the music played. Examples of dances that existed in Malaysia are Barongan, Zapin, and Mak Yong. The dances have their own uniqueness and privilege of dance style which can be differentiated by looking at a few aspects such as dance history, dancer clothes or costume, musical instrument, and dance performance. The dances' cultures passed from generation to generation in order to make sure it is not extinct and continue to be practice in Malaysia. Some people not aware of the existence of the dances and less concerned about knowing the diversity of dance styles that hold different identities and storytelling. Thus, more exposure to dance culture needs to be implemented and introduced so that Malaysians are always acknowledging the customs and dance arts that once existed in Figure 1 : Barong’s costume in Barongan the country. One type of dance that will be the Dance focus on is called Barongan dance, a dance 9 that is rarely heard in Malaysia today, and only

BARONGAN DANCE HISTORY OF BARONGAN DANCE The Barongan dance is an art that Bali since the origin comes from Balinese originally comes from Java. The dance is mythology. The dance tells a story about a performed to tell stories during the era of fight between good and evil. Prophet Sulaiman, where animals could talk. Originally, the barongan dance is an art The dance started when a tiger watching a form closely related to spirituality and it was peacock opens its feathers. The peacock then often performed in ritual ceremonies. flew over and stands on the tiger’s head after According to the mythology, Barong is a it realized that the tiger watches it. Both of main character that took the form of a lion them then started dancing together. Suddenly, which represents good spirits. Barong is a bodyguard named Garong who was considered a guardian angel. While the evil accompanying the Puteri Raja riding on a spirit represented by “Rangda” which is a horse then came down and joined the dance mythical creature that called as Queen of when he arrived at the scene. This dance had Demons. “Rangda” leads an army of evil a few version that related to the story contains witches against the forces of Barong. The in “Reog Ponorogo” in Indonesia which one of battle of two characters, Barong and them is a story of Panji. Nazir Sufari (2015), Rangda are portrayed in the Barongan who is The Malaysian Insider pic said that, dance. The Barongan Dance usually is still “According to Javanese legends, barongan performed in communities who come from derived its name from Pateh Singo Lodro Java. It can be seen in Batu Pahat, Johore, Barong Seta who was cursed and turned into and the state of Selangor. a tiger by Kloro Sewandono in a battle over the hand of a princess, Puteri Songgo Langit”. Barongan dance can be seen in the culture of Malaysia, Indonesia, and Singapore. In Malaysia, this dance is popular among Javanese in Johor, Negeri Sembilan, Malaka, Figure 2: Barongan/ Reog (A peacock and Selangor which had been brought by Java with a lion head) character migrants centuries ago and then spread 10 around Malaysia. This dance is also famous in

BARONGAN DANCE In Bali, each island region has its protective DANCE COSTUME spirit for its forest and lands. Each Barong in FOR BARONGAN each region is modeled or represented by a different animal. There is a tiger, a boar, a DANCE dragon, and a traditional lion (Figure 2). Barongan dance usually is performed during its accessories) that is made to resemble the “Galungan” festival. Besides, it also is performed when the village faced illness or the Singo Barong (giant lion) and can also misfortune. The villager believes that dance be a tiger”. The Barongan dance required performance can chase the bad things from their village. These cultures still a common the Barong dancers to wear masks of practice in daily life in Bali. While in some regions of Malaysia, the dance is performed at animals which are considered sacred items. festivals, weddings, opening events, and reception where the dance has strong In Bali, before the masks are used, they elements of trance and totemic worship. Johor folk had passed the dance tradition to younger must be sprinkle using holy water by a generation such as Kumpulan Barongan in Batu Pahat in order to preserved the dance priest to bless them which the water is forms. The kuda kepang dance is believed to have been part of Barongan’s performance in taken from Mount Agung, and by making the past but has now been performed separately. Myths in Malaysia that are offerings. Barong is covered with white fur embedded in this dance show a combination of animism and Islam. This can be seen when and then adorned with gold jewelry and the story of the worship of animal spirits is mixed with the stories of the Prophets in Islam pieces of mirrors (Figure 3). When the who spread their beliefs. Marschall (1995) said that “The word mirrors are being hits by lights, a sparkling “Barongan” refers to equipment (mask and form of view of the Barong is created. In Malaysia, the dancers of barong will wear masks of the tiger which was adorned with peacock and its feathers. The weight of the tiger head or mask which is the main element of Barongan art in Batu Pahat was adjusting between 15-20 kg, but in Ponorogo, East Java its weight up to 60 kg so not everyone can play. The dance is accompanied by gamelan and dancers that use “Kuda Kepang‟. Javanese usually will be performed the dance. 11

BARONGAN DANCE Figure 3: Barong costume cover with white eggs, rice, coffee water, and incense. fur and, jewelry and pieces of mirror Everything will be placed in a tray. After that, it will start with a reading to summon the DANCE spirit of a tiger named “Joblongko”. The PERFORMANCE purpose of the “Joblongko‟s” spirit is to make the performance look more “alive” Barongan dance originally performed to when Barongan is possessed by the spirit of serve ritual but then nowadays it is also can a tiger. According to the story, the king perform as entertainment. To perform banana which is used as a “sajan” or food, if Barongan dance, a few procedures need to be eaten after the Barongan performance, the followed based on the customs that had been sweetness is gone; the taste is tasteless determined. The information below will expose and not tasty. “Sajan” ceremonies are the process before and until the barongan performed to maintain and protect the performance end: safety of the villagers. This is because each village is said to be guarded and permission must be requested with the Sajan ceremony. However, after the teachings of Islam became stronger, this ceremony was considered not to coincide with the teachings of Islam and it can no longer be done. The “Sajan” ceremony in Batu Pahat is replaced by selawat reading. Ceremony before the Performance The Spirit of “Joblongko” Before starting the Barongan dance, there Normally, dancers who are infused with tiger must be customs and ceremonies must be spirit will become like tigers. His style, performed first. Usually, they will prepare gestures, and character look like a tiger. “sajan” which is likened to „food‟ to summon The spirit of “Joblongko” is indeed loved if the spirit of the tiger. “Sajan” usually consists people adore and call it. It will come when of king bananas, betel leaves, tobacco, cloves, people called it, but it is said that it is1v2ery difficult when we want to send it back. It

BARONGAN DANCE needs to be persuaded nicely. Barongan time to represent the eternal difference musical instruments are also said not to be between righteousness and evil (Figure 4). stored indiscriminately because sometimes it will sound on their own especially if left in a new place. Nowadays, Barongan is just one of the heritages of the traditional arts of the time and its performance is more for entertainment alone. The Character and Story in Barongan Dance Performance Barongan dance is known as an art Figure 4: Barong (right) and “Rangda” performance in Malaysia which looks similar to (left) character in Bali “Reog Ponorogo” in Indonesia. The number of dancers needed to wear Barong costume is In Johor, the barongan character is just like in Chinese Lion Dance, which called “Bujang Ganong”. The character required two or sometimes one dancer to required the dancer or performer to do a lot dance in synchronized movements to act like of stunts and acrobatics. In this dance, a lion in action. In Bali, Barongan Dance “jamming” are being placed on a “jathil” begins with 2 playful monkeys that will start dancer. “Jathil” dancers are the cavalry teasing Barong. After that, “Rangda”, the evil which is usually performed by people who spirit appears and uses her black magic on the are agile and nimble. Two “jathil” will escort male dancers by ordering them to commit the barongan. A barongan is performed suicide. However, the black magic is hinder by along with traditional musicians. Barongan Barong when he uses protective magic on the dancer who plays role as “Bujang Ganong” men. The men become invulnerable with the usually energetic, has good martial arts, help of Barong. The dance ends in a final smart, jovial, and possesses magical battle between Barong and “Rangda”. Barong powers. The dancer will performed wearing then wins the battle and “Rangda” is defeated. animal mask. During the performance, Barong dance and “Rangda” dance are performed at the same 13

BARONGAN DANCE Barongan Dance Performances in collapse. Barongan performance takes 45 Malaysia minutes to 1 hour and is divided into three Performance is started by the rhythm of the stages: Two horse dancers (jathilan), one music is play. Next, several kuda kepang or Singa Barong, and one Bujang Ganong horse dancers make an appearance. dancer. Barongan dancers who wear tiger masks next This dance is famous in Johor. Barongan join together the dance. A scream is then can is Javanese art that comes from the area of be heard from someone. He then stands up Ponorogo, East Java, Indonesia. Based on and enters the center. His face looks very a story in the Javanese belief, Barongan fierce. His eyes were fixed on the horse dance brings the spirit of the tiger. dancers (Figure 5). He becomes more Supposedly, once upon a time, there was aggressive. When he is getting out of control, the richest man in the Ponorogo district. He a man got up and approached the Barongan. had 40 horses, but every day many of his He looked at the man as his mouth twisted to horses were lost. Out of 40 horses, there read something and then blown into the man‟s are only 4 left in the end. face. Moments later, the man continued to Figure 5 : Barongan dance in Johor, Malaysia 14

He was very surprised, but eventually, he BARONGAN DANCE found out that his horses were almost eaten by a tiger. The rich man was angry. He told all 15 the villagers, anyone who can kill the tiger will be rewarded with a lucrative reward. Many tried but all died until a young man named Bujang Ganong came who was mentioned as a reliable person and was the son of a student of Kiyai Klono Sewan Dono. The “Bujang Ganong” who offered to catch the tiger finally managed to kill the tiger that had devoured the rich man‟s horses. “Bujang Ganong” then placed the carcass of the tiger on his shoulder and returned to the village. The villagers who were excited to see the carcass of the tiger also followed behind “Bujang Ganong” until it was presented to the rich man. That is why if according to the principles of Barongan dance, no one can sit further forward than Barongan regardless of rank and position. Pictures at the right side and at the bottom are the variety of costume looks in barongan dance.

BARONGAN DANCE MUSICAL INSTRUMENT Figure 6: Gamelan instruments Muhammad Jazuli and Samsul Alam The movement of Barongan Dance is (2020) explained that, “The form of the coordinated to the rhythms of gamelan performance is presented as a series of a (Figure 6), a percussion instrument Barongan Performance Arts which consists specific to Bali and Java. Gamelan Semar of the form of a stage (Barongan) dance Pegulingan is use in Bali which is a performances, the form of ceremonies Balinese traditional music instrument. The (rituals), percussion (gamelan), and stories sound produce by the instrument will (plays) Barong dance performances”. sound strange to the ear for the first time Barongan Performance is accompanied by heard it. But the sound of the gamelan will gamelan which give attraction in the Barongan be look matching when following it is in Performance Arts. Strong stamina and rhythm when play along with the functional physical fitness are needed by movement of Barong dancers. Gamelan is barongan dancer. Djelantik (1999) said that, a combination of traditional musical “Every dancer must maintain physical fitness instruments that consists of flutes, gongs, because they have to spend energy in kendang, bonang and some others. following the dance moves. Movements are a According to a blogger named Perdu significant element in dance. Changes in Cinta, she wrote that among the musical position and place are all through action”. instruments used to accompany 1th6e Barongan Dance are gongs, drums and

BARONGAN DANCE angklung. From other research conducted by Depdikbud (1998), he said that “Barongan Performance Arts equipped with several musical instruments that function as accompanists, namely the Kendang, Kethuk, Bonang, Saron, Demung, and Kempul”. Nowadays, the musical instruments then was Kethuk add with several modern devices, such as drums, trumpets, big drums, and keyboards. Kethuk is a metal gong idiophone of Sometimes in some instances, the show is Javanese people of Java, Indonesia. This combined with the Campursari (Septiyan, instrument is part of gamelan. The Kethuk is 2018). Shafazhinskaya et al. (2019) then said looks like the hanging gongs and it has a that “The combination of traditional musical flat surface from the knob to the edge. instruments and contemporary is unstoppable There are two ways to play it which are due to the influence of globalization through differentiate in term of speed (irama). Fast mass media”. The Kendang, Kethuk, Bonang, irama is played by striking the button or Saron, Demung, and Kempul can be knob of the instrument without letting the described as below and at the next page. stick rebound or the note ring. While Kethuk is played in a kind of dribbling patern in slow irama. Kendang Kendang or Gendang are sounding device made from the skins of animals such as buffaloes, goats or cows. It is one of the musical instruments in the drum family. The Kendang is played in a horizontal manner with the horizontal position and the surface hammered with the palms of the hands. 17

BARONGAN DANCE Bonang Saron Bonang are gong-chimes that arranged in The saron contain seven keys that used two rows. Pitch are different for every bronze alloy to build it and all metal gong. All Bonangs can be categorized into sounding components of the gamelan, two main groups: Bonang Barung and mounted on a wooden trough- like basis. Bonang Panerus. Both groups of bonang The trough itself acts as a sound amplifier. are similar to each other, but Bonang The keys are fitted on metal pins inserted Panerus produce sounded one octave in the underframe, and they rest on higher then another one. The Bonong is cushions of plaited bamboo fiber to played by striking on the knob with sticks enable full vibration of the keys. The that are lightly padded with coiled string. sarons are struck with a mallet (tabuh). Demung Demung is one of gamelan instruments that belong to the balungan family. In a set of gamelan, usually there are 2 demung, both have pelog and slendro versions. Demung produces tones with the lowest octave in balungan family with a larger physical size. There are steel keys on demung which stuck with hammer-like blows of the tabuh at the 18 midpoint of their top surface.

BARONGAN DANCE Kempul The kempul is a new instrument added to the existing gamelan. It is a gong that hanging on a single rack, at the back of the gamelan. The kempul has a colotomic function. Kempul is made of bronze, wood, and cords. The kempul gong has a flat surface with a protruding knob at the center. To play kempul, the knob is hitting with the soft end of a mallet. MUSIC LYRICS OF BARONGAN DANCE The performance of Barongan is accompanied by music. The music consists of Ponorogoan, Mediunan, Kitar or Iring-iring songs. During Festival Kesenian Rakyat Negeri Johor 2008, Barongan performance had using song from Java with the title “Cucuk Rowo” , original singer by Didi Kempot. The lyrics can be seen as below : “Cucuk Rowo” Kucoba coba melempar manggis Manggis kulempar mangga kudapat Kucoba coba melamar gadis Gadis kulamar janda kudapat Iki piye iki piye iki piye 19 Wong tuwo rabi perawan Prawane yen bengi nangis wae Amargo wedi karo manuke

BARONGAN DANCE Manuke manuke cucak rowo Cucak rowo dowo buntute Buntute sing akeh wulune Yen digoyang ser-ser aduh enake Jamane jamane jaman edan Wong tuwo rabi perawan Prawane yen bengi nangis wae Amargo wedi karo manuke Manuke manuke cucak rowo Cucak rowo dowo buntute Buntute sing akeh wulune Yen digoyang ser-ser aduh enake Figure 7: Barongan Dance Performance 20

BARONGAN DANCE ISLAM FORBIDS BARONGAN DANCE BECAUSE OF ELEMENT OF WORSHIP HERITAGE OF BARONGAN Apart from being believed to tell the stories of DANCE Prophet Sulaiman as who was able to talk to animals, Barong Dance also has an element of worship. Early, the „Sajan‟ ceremony which likened to food to summon the daily spirit will be performed before the Barongan The heritage of this theater dance element performance begins to maintain and protect was no longer highlighted by the Malaysian the safety of the locals. This is because every government in 2007 when the Ministry of village is said to have guards so they have Tourism Malaysia stopped all cultural to ask for permission through the Sajan performances from Indonesia such as ceremony. Then, the reading started to call Barong Dance due to temporarily to the spirit of the tiger named “Joblongko” so alleviate the controversy sparked by that the performance looks more “alive” when Indonesian cultural activists. Now, Barongan Barongan is possessed by the spirit of the Dance is still performed in Batu Pahat, tiger. However, after the teachings of Islam Pontian and Muar but it is becoming extinct become stronger the, this ceremony was no and forgotten by the community. The once longer performed because it had elements of might barongan is now missing from the worship that were considered inconsistent with national heritage art scene. the teachings of Islam. 21

BARONGAN DANCE CONCLUSION The variety of races in Malaysia had create diversity of customs and culture which can be learn from the multi-racial society, especially through the dance practice. Knowledge of Malaysian dance culture should be owned and searched by Malaysians in order to understand each history of the formation of a dance and customs practiced by some communities when performing the dances. Even though the dance like Barongan is become extinct in Malaysia, the history of the dance art need to be preserve as memories for the present and next generation. Our concern for Malaysian culture can make Malaysia a country that rich in cultural heritage that is not lost on time. 22

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INTRODUCTION Dabus dance is one of traditional dances in Malaysia and it is famous in Perak. This dance has its own unique and privileges. There are many topics were discussed in this article such as the clothes of Dabus dancers, dance movements, music instruments and Dabus dance Taboo. HISTORY of DABUS Generally, Dabus is not only a dance. It is also a martial art which full of intelligence, dexterity, heroism and cheerfulness that always being played by previous people. It is about showing off extraordinary such as immune to sharp weapons, fire or drink alcohol. Their aim is not specialized for performance only but also to gain absurd power. Surely, the existence of Dabus dance got many assumptions. The first assumption is during year of 1637, Dabus was brought by Nuruddin ar-Raniry to Achech that related to ‘tarikat Rifaiah’, a teaching about Islam. ‘Tarikat Rifaiah’ has different teachings for each countries but the most significant is in Turkey. Dabus is actually started as a martial art then a dance. 25

Another assumption stated that Dabus dance started playing by previous people about year of 1750 but the existence was in year 1600 in Perak. It is started when Nakhoda Lembang and Nakhoda Topah, the two traders travelled to Perak and lived in Telaga Nenas, Sitiawan. They were from Batu Bahara, Sumatera. People who lived in Telaga Nenas noticed them while they resting and played dabus in night. That caught their attention and later, the Dabus dance thrives there. However, these two traders did not live there forever. They continue their adventure by travelling to Pasir Panjang Laut, Bagan Datoh and Kuala Selangor. Each places they went, the Dabus dance become expand Kuala Selangor and Dabus dance got high because many people interested with it. The last recognition whereby Majlis Kebudayaan place they went is Selangor claimed Dabus dance as their traditional dance. In Perak too, there is another speculation stated that Dabus started during Dutch occupation in 1680 to 1690. There is a warrior really hate the Dutch colonizers. His name is Panglima Kulop Mentok. He fought so hard to defeat all the colonizers till they died. He won the war and managed to seize the district from them. The colonizers who still alive ran away after too scared and feeling threatened. 26

There is also an opinion that Dabus came from Tanah Arab. It exists during the reign of Khalifah Zainal Abidin whereby Khalifah Zainal Abidin and his followers fought with other Muslims to uphold the teachings of Islam. Unfortunately, his followers is least than other Muslims, so they faced threats of destruction but that does not ruin Khalifah Zainal Abidin and his followers plan because they knew already the Muslims’ plan. Started from this war, Dabus dance was introduced. In the same context of Islam, there is some people assume that Dabus started during the Sayidina Ali era. It was introduced by his followers, ‘Kaum Syiah’ to show their abilities to their opponents with intention to scare them. 27

DANCE CLOTHES The costumes of those who involve in each performance are different from each other. These clothes are divided into 3 types which are dancer clothes, caliph clothes and musician clothes. Dancer Clothes It depends on the team leader to determine the colour and type of clothing choices of its members. But typically for children, they wear lime green coloured wither while the adult dancers also wear their complete wither and black symbolizes heroism. The dancers’ clothes are similar to warrior style. For the male dancers, they will wear a complete outfit consisting of 'baju melayu telok belanga' that have 3/4 sleeves style, a pair of trousers, ‘sampin’, 'tanjak' and a scarf. The dancers’ costumes usually made of black fabric to look more dashing. They argued that this black colour has something to do with the elements of immunity. Besides, the costumes for female dancers were similar to the heroine costumes which consist of pants ‘rencong’ Aceh, 'baju kurung cekak musang', 'sampin', and they also wear ‘selerapang’ and girdle for their performance. These costume also known as Puteri Perak. 28

Caliph Clothes The chief dancer is called the caliph. Caliph dabus usually wore a black shirt, long trousers and wore a headband (semutar) or 'tengkolok getam pekasam'. However, the way we dress changes over time. It is now possible to see the caliph dressed in a more attractive colour that is not limited to black only. Musician Clothes Both musicians usually wear a complete baju melayu with sampin and wearing a 'tengkolok' or songkok. In the past, musicians wore the same clothes as dancers but without a scarf. 29

Rebana Perak/ Rebana Kerincing MUSIC INSTRUMENT GONG 30

For this Kuda Kepang dance, they will perform in a group and all members are male. This dance is a military-style dance because they only danced by using their feet. To perform this dance, they need at least 25 people which are 9 of them are dancers, 5 of them are musicians, 2 people will act as ‘bomoh pemulih' and others will act as area guards in each performance. However, there are 40 members in their association. One of the dancers’ acts as a leader called 'danyang'. The number of braided horses used is at least 9 in each performance. ‘Danyang’ is a guardian or caretaker for Kuda Kepang which use cemeti to control movement of dance and also behavior of rider which is the dancer. ‘Danyang’ will use ropes to control the dancers dance and the all dancers must follow his instruction in the beginning. The movements of Kuda Kepang dance are called Lenggang Kiprah. There are five types of Kuda Kepang dance which are are ‘Sola’, ‘Selendang’, ‘Pak Tani’, ‘Pucuk Rebung’ and ‘Perjuangan Mempertahankan Diri’. Techniques to dance this Kuda Kepang dance are by leap and shaking their body, raising their head and sitting down. The movement of shaking body is as symbol of movement that similar to the horse moving and walking. The movement of raising the head is as symbol of movement like a horse running or racing while the sitting movement is depicting the horse dancing. 31

This performance cannot be started recklessly. This is because there are several things that should be followed by all dancers for their safety. For example, when they perform at wedding party, the owner of the house needs to prepare ‘sajen’ in Javanese or a dish such as ‘kuih muih’ or red porridge and they also have to prepare nine types of snacks specifically for dancers. Besides, there are several tools that were used in this Kuda Kepang dance. The most important tools are 9 to 10 horses are made of cowhide and shaped like a horse and coloured red, white or grey. The second tool is a Sprint that made of bamboo and a rope which are combined and twisted into one. The function of this sprint is to instruct and control the braided horse dancers. The third tool is a long rope size 100 feet or 30 meters. The rope is used as a fence to prevent drunken dancers from roaming and to make it easier for shaman to control the dance. 32

The dancers will come out and respect the The order of the steps is according to the choice of the audience before starting the dance. Usually dancers, but usually begins with the 'susun sireh'. The the dancers will go out in pairs to dance. The pair does not necessarily consist of one man dance step begins with a certain movement by and one woman. The pair of dancers could stepping forward three times, then sitting and be two men and two women. There are three worshiping, after that the dance will be fully types of dance moves ‘susun sireh’, ’ayam performed. Each dancer will hold a pair of 'buah dabus' while dancing. The dance moves are according tajak’, and ‘helang sewah’. to the rhythm of the song and singing. Another dancer will go out to dance and after completing his dances, Apart from poking the arm by using anak then he will be replaced by another dancer. This dance Dabus, there are also dancers who hit their pattern will be repeated until this dance is over. body with millstone, especially at their thigh. A Typically, each song takes about ten minutes. complete Dabus performance takes The special feature and difference of Dabus dance approximately 30 minutes. After the from other traditional dances is the use of sharp performance, the caliph will clean and again he recited mantras to anak-anak Dabus. weapons. As the dance began to take off, the dancers After that, the dancers will start their dance by poked the anak-anak Dabus held onto their arms. The stomping their feet to the accompaniment of dancer continues the dance while poking his arm with music. While dancing, they will stab the part of their hand. This event continues until there are the sharp anak Dabus base. The wounds from this dancers who are unconscious or experiencing stab were washed with healing water and squeezed \"trance\". They believe that the dancer is out venom as usual and the caliph recited mantras to infused with something supernatural. The heal the wounds. The mantras sentence was quoted injured dancers will be enchanted by the leader from surah Al-'Lahab verse one which reads: \"Tabbat to stop the blood from flowing out. Usually this dance will be completed in 30 minutes. ya da abi la ha biung wattab\". After that, the two musicians will start the performance by singing the Dabus nasyid accompanied by the beating of the dabus tambourine. This nasyid dabus is continued with Dabus dance rhythm songs sung by all musicians simultaneously with the beating of Dabus tambourines and gongs. Simultaneously, a dancer entered the arena to dance. Before starting the dance, the dancer will 'duduk bertinggung' with both hands holding a pair of anak Dabus, one in the right hand and one in the 3le3ft hand and moves three steps forward and three steps backwards, then, bows

In the game of Dabus, there are some taboos that must be followed. First, the arena should be clean and the player's body should also be 'pure'. This is because these anak-anak Dabus have been recited with the holy verses of the Quran. For example, this anak Dabus should not be held or touch by a woman who is menstruating. Secondly, all players, musicians and dancers are barred from making jokes, uttering obscene or hostile words. The anak Dabus must be taken care of perfectly. Thirdly, anak-anak Dabus should not be stepped on because it is feared that it will have a bad effect on the dancers, especially when they poke anak-anak Dabus into their arms. Fourth, the anak-anak Dabus should not be stabbed to the ground. This is because if they do so, the anak-anak Dabus will become 'weak'. On the other hand, the anak Dabus should not be held by the outsiders. Only the dabus group members can hold the anak Dabus. This is to avoid treachery. According to their experience, there was a Dabus dancer who experienced a non-stop flow from the stabbing of the 'betrayed' anak Dabus. The anak Dabus should not be directed to the stomach and to the head to prevent any unwanted things from happening due to the sharp condition of the anak Dabus. In addition, the anak Dabus should not place it on a sharp base directed up or up to the sky. Breaking this taboo will invite unwanted things to happen. 34

In conclusion, this Dabus dance must be preserved and maintained to ensure that this traditional dance is not forgotten by the young generation. As the senior dancers of the Dabus dance, it is essential to encourage the young generation to know about the uniqueness of this traditional dance. 35

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Dikir Barat is a kind of entertainment art. It is also known for its unique traditional games and the most famous in the state of Cik Siti Wan Kembang or Kelantan. If compared to other traditional performances, it can also be considered as a modern traditional performance. Dikir Barat is a traditional game that is favored by the Malays in Kelantan. Dikir Barat exists among the common people in the villages and rural areas. In the Dikir Barat performance, it is usually led by a Tukang karut and Tok Juara. These two people will be silly while reciprocating the poem and followed by „awak-awak‟ as the background voice with a loud and loud voice. The word dikir is close to the word „zikir‟, which is an expression that praises Allah s.w.t. while \"Southern Thailand\" refers to the word western. In Kelantan, the ancients considered that the district to their north was the west side and said that this 'western dikir' came from Thailand. Apart from Dikir Barat, other terms such as „Pahang dikir‟, 'rebana dikir', 'maulud dikir', and 'marching dikir' is still often used. There are also other names such as 'dikir syair', 'dikir karut' and 'dikir pantun'. 38

Dikir Barat is a popular form of music as entertainment. In the old days, „western dikir„ performances performed with the theme of daily life usually emphasized funny elements but it changed according to current development, the theme and concept of the show revolved around political issues, economics, development, education and social problems in the life of the global community. Tukang karut and Tok Juara will become the leader of this Dikir Barat team. They will be silly while exchanging verses and followed by the crew as a background voice with a loud and loud voice. 39

The origins of Dikir Barat have been linked by several opinions. There are opinions say it comes from Southern Siam. In fact, this Dikir Barat, better known as Dikir Karut, was brought from Siam to Kelantan. According to the people of Kelantan, the word Barat is referring to South Siam. This can no longer be denied because at one time, the Siamese Government once colonized and ruled the State of Kelantan. This opinion is even more convincing because the people from these two states often commute and indirectly dikir was brought to the state of Kelantan and accepted by the people of Kelantan. When Dikir Barat was brought to Kelantan, it was in the form of dikir and was also added with poems. Dikir Barat has also been modified in terms ofperformance and accent in accordance with the local and communityatmosphere. In addition, the figure of the Dikir Barat player who is very famous among the Kelantanese community is Pak Leh Tapang. He is known by the public for his skill in playing Dikir Barat. Pak Leh Tapang or Haji Mat Salleh bin Hj. Ahmad has changed the game by adding quatrains in it in accordance with the Malay community who enjoy first- quatrain poem. He has admitted to himself that Dikir Barat is actually from South Siam. 40

When it comes to Dikir Barat, Pak Leh Tapang's name should not be forgotten. Many people know him because of Dikir Barat. Pak Leh Tapang or his real name is Haji Mat Salleh bin Hj. Ahmad is from Kampung Tapang, Kota Bharu. He has admitted to himself that Dikir Barat is actually from South Siam. He has changed this game by adding poems into it. Previously, when Dikir Barat was brought to Kelantan it was in the form of Dikir without verses. During the Japanese rule, he was once called upon to narrate something in a poetic manner. At that time, there was also a dikir group led by Jaffar Wakaf Mek Zainab, who introduced Dikir Barat in his village. „Awak- awak‟ consists of Malays West (South Siam). They sang songs brought from South Siam and Pak Leh Tapang also changed and added it with poems. 41

Within a Dikir Barat team, there will be „Tukang karut‟, Juara and numbers of „awak-awak‟ who usually between 15 to 30 people. „Tukang Karut‟ is the most important person in the role of leading this team. Among the duties of „Tukang Karut‟, one of it is they will recite the poetry. Each of the verses and poems that are sung are in a spontaneous way according to his taste. So, all the ideas, language, the contents of the poem and questions are thrown spontaneously without thinking twice. Next, Jogho, (Juara) is the second important person in a Dikir Barat team. The task of the „Juara‟ is to continue to meditate before the „Tukang Karut‟ making nonsense. Sometimes, the „Juara‟ had to take over the task of the „Tukang Karut‟ at the beginning of the game due to the arrival of the „Tukang Karut‟ a little bit late. „Awak- awak‟ usually is in uniform. They sit in two rows and this position has become common place when on stage. These teams typically consist of teenagers. In reality, awak-awak‟ made up of more adults. The title of these crews is derived from the name of a group of fishermen, who under the care of a leader named 'Jeragan', went down to the sea in a boat. So, this situation was adapted to the anak- anak of the Dikir Barat in the game under the care of their leader, „Juara‟. 42

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