PI00002116

Dikir Barat is a new traditional arts form if compared to others of the same genre, as well as most liked amongst the normal Malay communities in villages and city fringes in Kelantan. In that state it is more popular with the name ‘Dikir Barat’ while in Southern Thailand it is called ‘Dikir Karut’. This arts form has been listed as a National Heritage in the year 2009. The word ‘dikir’ is a product of the combination of two arts that are ‘dikir’ (loosely translated as ‘song’) and ‘pantun’ (‘quatrain’), or ‘dikir’ and ‘karut’ (loosely translated as ‘story’). The word ‘karut’ is from the terminology ‘to tell stories in the form of quatrain or poem’. Thus, the names Dikir Barat, Dikir Karut, Dikir Pantun and Dikir Syair have the same meaning. There are those who opinied that Dikir Barat originated from southern Thailand with the name Dikir Karut. There are those who said that it was the product of the arrangement made by Haji Mat Salleh bin Haji Ahmad (known as Pak Leh Tapang) who improvised this arts form by adding quatrains in it. There are others who mentioned that it originated from Tebu Island, Kelantan. This arts form is normally practiced during paddy harvesting season and wedding ceremonies as entertainment or competition. The content revolves around current issues and lives of universal societies. The performance of a Dikir Barat group is headed by a Tukang Karut (‘The Storyteller’) and Tok Juara (‘The Champion’). They tell ‘stories’ by exchanging quatrains, reciprocated by loud and clear background voices of the Awak-Awak (group members) who don’t need to clap hands, just sufficient to place their palms on their respective cheeks to louden their voices. In a competition normally there are two group participants at a time and using the Kelantanese dialect. They exchange quatrains, insinuating, as if in jester and for entertainment only. At the end of the performance a group’s Storyteller delivers a sad song and requests for forgiveness at the thought of the fate of the Storyteller. At its early development a Dikir Barat performance only used audiphone equipment that were bamboo pieces, knocked to produced the rythmic beat of this arts form. Nowadays, it uses an ensemble of a gong, two small hand-held drums and a pair of maracas, cymbals and small bells. In yesteryears this arts form was a past time game and normally held in a bamboo hut with wooden floor and coconut leaves roof top. However, now Dikir Barat is well-known all over the country and can be seen on TV screen. Its development is also difficult to contain as it often receives changes, like its performance form, according to the era.

PI00002117

Dikir Barat is a new traditional arts form if compared to others of the same genre, as well as most liked amongst the normal Malay communities in villages and city fringes in Kelantan. In that state it is more popular with the name ‘Dikir Barat’ while in Southern Thailand it is called ‘Dikir Karut’. This arts form has been listed as a National Heritage in the year 2009. The word ‘dikir’ is a product of the combination of two arts that are ‘dikir’ (loosely translated as ‘song’) and ‘pantun’ (‘quatrain’), or ‘dikir’ and ‘karut’ (loosely translated as ‘story’). The word ‘karut’ is from the terminology ‘to tell stories in the form of quatrain or poem’. Thus, the names Dikir Barat, Dikir Karut, Dikir Pantun and Dikir Syair have the same meaning. There are those who opinied that Dikir Barat originated from southern Thailand with the name Dikir Karut. There are those who said that it was the product of the arrangement made by Haji Mat Salleh bin Haji Ahmad (known as Pak Leh Tapang) who improvised this arts form by adding quatrains in it. There are others who mentioned that it originated from Tebu Island, Kelantan. This arts form is normally practiced during paddy harvesting season and wedding ceremonies as entertainment or competition. The content revolves around current issues and lives of universal societies. The performance of a Dikir Barat group is headed by a Tukang Karut (‘The Storyteller’) and Tok Juara (‘The Champion’). They tell ‘stories’ by exchanging quatrains, reciprocated by loud and clear background voices of the Awak-Awak (group members) who don’t need to clap hands, just sufficient to place their palms on their respective cheeks to louden their voices. In a competition normally there are two group participants at a time and using the Kelantanese dialect. They exchange quatrains, insinuating, as if in jester and for entertainment only. At the end of the performance a group’s Storyteller delivers a sad song and requests for forgiveness at the thought of the fate of the Storyteller. At its early development a Dikir Barat performance only used audiphone equipment that were bamboo pieces, knocked to produced the rythmic beat of this arts form. Nowadays, it uses an ensemble of a gong, two small hand-held drums and a pair of maracas, cymbals and small bells. In yesteryears this arts form was a past time game and normally held in a bamboo hut with wooden floor and coconut leaves roof top. However, now Dikir Barat is well-known all over the country and can be seen on TV screen. Its development is also difficult to contain as it often receives changes, like its performance form, according to the era.

PI00000014

A style of Malay choral singing that incorporates singing, poetry, movement and music. Usually performed during harvest season, weddings and festive occasions.

PI00000015

A style of Malay choral singing that incorporates singing, poetry, movement and music. Usually performed during harvest season, weddings and festive occasions.

PI00000016

A style of Malay choral singing that incorporates singing, poetry, movement and music. Usually performed during harvest season, weddings and festive occasions.