Seni Kelantan

Wayang Kulit (Teganga Jual Nangka)

2009-12-05T21:08:00.000-08:00

Tegango Selling Jack fruit

Adik Wani & Fendi- Suaro Sapo

2009-12-03T15:05:00.000-08:00

Adik Wani & JBT-Gurauan Bercinta

2009-12-03T14:27:00.001-08:00

Adik Wani

2009-05-12T05:41:00.000-07:00

[1]. Adik Wani Duet Jali Bunga Tanjung(JBT)-Gurauan Bercinta
[2]. Adik Wani ft Izz-Bakpo Tok Royak
[3]. Adik Wani ft Fendi-Soro Sapo
[4]. Adik Wani-Black Metal
[5]. Adik Wani-Awek Mudo
[6]. Adik Wani-Onde-onde

Aripin Ana

2009-05-02T23:20:00.000-07:00

[1]. Anak Di Jalanan
[2]. Arak dan Judi
[3]. Bakti disemai
[4]. Budi dah jadi Debu
[5]. Bukan Salah Ibu Mengandung
[6]. Hasad Dengki
[7]. Wahai Anakku
[8]. Wau Bulan Kompratasa

Adik Mizan Sri Bayu

2009-05-02T23:16:00.000-07:00

[1]. Ambo Raso Bekene
[2]. Da Di Du
[3]. Ke Laut

Abe Mail

2009-05-02T23:14:00.000-07:00

[1]. Hal Laki Bini

Halim Yazid

2009-05-02T03:48:00.000-07:00

[1]. 2001 Tahun Cabaran
[2]. Adik USM
[3]. Ani (Versi Baru)
[4]. Bangkit Asal
[5]. Bersaing Dengan Orang Comel
[6]. Diri Ambo
[7]. Diri Ambo2
[8]. Lalang
[9]. Male Bule Mengambe
[10].Pesanan Ibu Bapa
[11].Pesanan Mak Ambo
[12].Sangkakala
[13].Seribu Erti
[14].Tepung Kita
[15].Tupai
[16].Wind Of Change
[17].Berkecek Dengan Anak
[18].Ada Bini Mengaku Bujang
[19].Tok Sampai Hati

Cikgu Sulizi

2009-05-02T03:46:00.000-07:00

[1]. Anak Kelantan
[2]. Bukan Aku Tak Sayang
[3]. Demo Taksir Kawe Pun Tak Sesal
[5]. Hancurnya Perasaan
[6]. Hati Dok Gila Ko Orang
[7]. Kenangan Menambah Luka
[8]. Kita Dua Berlainan
[9]. Kita Tetap Duduk Dua
[10].Ku Nak Gi Duk Jauh
[11].Lidah Tak Bertulang
[12].Terpaksamu Ku Tinggal
[13].Bahaya Dadah
[14].Dimana Ku Cari Ganti
[15].Didik Anak
[16].Tuntutlah Ilmu

Badul

2009-05-01T19:56:00.000-07:00

1.Mabuk
2.Beruk

Setapo Merak Mas

2009-05-01T19:53:00.000-07:00

[1]. buke daro
[2]. demo tipu
[3]. azizah
[4]. bakpo adikku
[5]. berkene sungoh
[6]. demo tak srupo mula
[7]. masa bergura
[8]. oh ayah ku sayang
[9]. rindu merindu
[10].sudah nasib diriku
[11].gadis budiman
[12].tokleh tegur lasung
[13].tidolah anak

bonus track:

megat nordin -demo kenye kawe lapar
nor kasturi -nak kasih ko sapo
s.mael -dikir turun kelaut

Megat Nordin

2009-05-01T09:05:00.000-07:00

1. Ambo Ghaso Bekene
2. Ambo Laghe Doh
3. Dikir ke Laut
4. Jange salah Pilih
5. Pesan Orang Tua
6. Tanah Pusaka
7. Warisan Timur

Cg Naim

2009-05-01T09:02:00.000-07:00

1. Apa Erti Kemerdekaan
2. Beringat dijalan raya
3. Buaya
4. Hasut Menghasut
5. Nyesa Tok Ngaji
6. Oh Mati
7. Oghe Curi Dio Panda
8. Penyakit Gatal
9. Suke BolaSepak
10.Tikus

Cikgu Naim

2009-04-02T20:50:00.000-07:00

[1].Buaya
[2].Mati
[3].Lintah
[4].Hati-hati dijalan raya
[5].Penyakit Gatal
[6].Tak Dak Guna Sesal
[7].Tikam Toto
[8].Training Main Sukan

History of Wayang Kulit

2009-04-02T20:11:00.000-07:00

Wayang is a generic term denoting traditional theatre in Indonesia. There is no evidence that wayang existed before Hinduism came to Southeast Asia sometime in the first century CE. However, there very well may have been indigenous storytelling traditions that had a profound impact on the development of the traditional puppet theatre. The first record of a wayang performance is from an inscription dated 930 CE which says "si Galigi mawayang," or "Sir Galigi played wayang". From that time till today it seems certain features of traditional puppet theatre have remained. Galigi was an itinerant performer who was requested to perform for a special royal occasion. At that event he performed a story about the hero Bhim from the Mahabharata.

Hinduism arrived in Indonesia from India even before the Christian era, and was slowly adopted as the local belief system. Sanskrit became the literary and court language of Java and later of Bali. The Hindus changed the Wayang (as did the Muslims, later) to spread their religion, mostly by stories from the Mahabharata or the Ramayana. Later this mixture of religion and wayang play was praised as harmony between Hinduism and traditional Indonesian culture. On Java, the western part of Sumatra and some smaller islands traditionalists continued to play the old stories for some time, but the influence of Hinduism prevailed and the traditional stories either fell into oblivion or were integrated into the Hinduistic plays.

The figures of the wayang are also present in the paintings of that time, for example, the roof murals of the courtroom in Klungkung, Bali. They are still present in traditional Balinese painting today.

When Islam began spreading in Indonesia, the display of God or gods in human form was prohibited, and thus this style of painting and shadow play was suppressed. King Raden Patah of Demak, Java, wanted to see the wayang in its traditional form, but failed to obtain permission from the Muslim religious leaders. As an alternative, the religious leaders converted the wayang golek into wayang purwa made from leather, and displayed only the shadow instead of the figures itself.[citation needed] Instead of the forbidden figures only their shadow picture was displayed, the birth of the wayang kulit.[citation needed]

The figures are painted, flat woodcarvings (a maximum of 5 to 15 mm thick -- barely half an inch) with movable arms. The head is solidly attached to the body. Wayang klitik can be used to perform puppet plays either during the day or at night. This type of wayang is relatively rare.

Wayang today is both the most ancient and most popular form of puppet theatre in the world. Hundreds of people will stay up all night long to watch the superstar performers, dalang, who command extravagant fees and are international celebrities. Some of the most famous dalang in recent history are Ki Nartosabdho, Ki Anom Suroto, Ki Asep Sunarya, Ki Sugino, and Ki Manteb Sudarsono.

source : wikipedia.org

Mak Yong History

2009-04-02T19:56:00.000-07:00

Mak yong was founded in the Pattani kingdom which is now a province of Thailand. Because it was passed down orally among villagers, mak yong's exact age is uncertain. However, the fact that it is mostly free of outside influence would make it 800 years old at the very least and almost certainly much older. Legend generally credits the dance to a rice spirit called Mak Hiang but others believe it was created by a being called Semar. Historians are unsure whether mak yong evolved as a folk tradition or a palace theatre. Either way it was patronised by all layers of society to pay respect to the spirits, give thanks for the harvest or to cure a person's biorhythm.

According to the Hikayat Patani mak yong was brought to Kelantan more than 200 years ago. From there it spread to Kedah. Mak yong was mostly performed for royalty until then but by 1920 it was more often seen among common folk. Whereas the palace theatre mirrored the elegance of royalty, peasant performers enacted the life of workers in the rice fields. Nevertheless mak yong's delicate movements, polite mannerisms and refined speech endured. In 1923, the king's youngest son Long Abdul Ghaffar wanted mak yong to retain its courtly look. He built a cultural precinct called Kampung Temenggung on palace grounds to lend his support to the arts. During this time it became conventional to have a lead female. His death in 1935 was followed by World War II. Mak yong was once again a folk tradition but it now regained much of the sophistication it had as a court theatre, especially in the costumes, make-up and music.

The traditional mak yong had continued into the 1960s and 70s but was later impeded by the Islamic revival. When PAS took control of Kelantan in 1991, they banned mak yong in the state for its "un-Islamic elements" and clothing which leaves the head and arms uncovered. Although many old performers defied the ban, mak yong could no longer be shown in public. Some thought the tradition would die out until UNESCO declared it a masterpiece of mankind's heritage. There has since been some effort to preserve mak yong outside Kelantan but interest among the younger generation is lacking.

Nowadays mak yong is seldom performed at cultural shows because priority is given to modern Malay dances like joget. It is sometimes still staged at weddings, to celebrate a state's independence or to pray for the king's long life. But these modern shortened performances are stripped of the old animist rituals and their music is simplified because the songs are played so infrequently. There are only a few troupes left who perform traditional mak yong in the villages of Kelantan and Terengganu.

source : wikipedia.org

Dikir Barat History

2009-04-02T19:48:00.000-07:00

Dikir barat is a musical form, native to the Malay Peninsula, that involves singing in groups—often in a competitive setting—and almost always without instrumental accompaniment. While it is uncertain whether dikir barat originated in Thailand or Malaysia, the Malaysian government today actively promotes it as an important part
of the Malaysian national culture.

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 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 is usually a former tok juara who was promoted for his talent in creating spontaneous lyrics, for it his ability to do this that establishes the reputation of the dikir barat group. Leading the awok-awok (chorus) 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. The tukang karut is expected to compose lyrics that touch upon life, like any poet, but he can also address social issues, legal matters, animal lifestyles, 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.

Tuan Kob

2009-03-02T23:12:00.000-08:00

Bohsia

Cikgu Sulizi

2009-01-14T00:16:00.000-08:00

[1]. Akhlak Mulia
[2]. Bahaya Dadah
[3]. Beruntung jadi anok kelate
[4]. Biar demo maroh
[5]. Hati duk gila ko orang
[6]. Demo tokse kawe tok sesal