Kompang Jidor traditionally encompasses twelve interlocking kompang beats that create composite rhythms. It is usually performed with vocal accompaniment of selawat based on the Kitab Barzanji, a book of praises to the Prophet Muhammad composed in the 18th century. The selawat, sung in Arabic, is structured into verses (rawi) and refrains (jawapan). The twelve beats of the Kompang Jidor are: jidor, babon, banggen, nelon, ngelimo, ngorapati, anak babon, paron, ngapati, ngentong, nyalahi, nyelangi. Kompang Jidor is performed by a group of kompang (Malay frame drum) players and a single player who strikes the jidor (large double-headed barrel drum). Once a tradition that flourished throughout Johor, this older form of kompang is becoming increasingly rare. Because of its complex rhythms, the art of the twelve-beat Kompang Jidor takes more time to learn and master than the more common four-beat Kompang Melayu.

Boria is a traditional arts form that is very popular in northern Peninsular Malaysia, linked to the Karbala event that is the killing of Saidina Hussein, the grandson of Prophet Muhammad. Boria, meaning ‘a game of merriment’, was established in Penang Island in the 19th century. There are parties that claim that Boria was brought by the Indian Muslims into Malaya through business activities in the 19th century. Boria is an entertainment channel combining sketches and dances as well as poetic songs led by a singer called ‘Tukang Karang’, literally translated as ‘Storyteller’. A performance has two segments that are sketches and songs. The dialogues for sketches are full of advice and insinuation while comedy elements are considered important. During a performance sometimes the audience can interact with the actors. The musical instruments are not specific; more important is the musicians’ ability to play rhythms that can accompany the Tukang Karang’s song. Among the instruments are violin, oud, drum, accordion, harmonica and guitar, while commonly used props are lamp, flag, kris, umbrella, tall decorative flowers and walking stick. Previously Boria’s costume is resemblance of the Mamak (Indian-Muslim) ethnic; green belt with sarong and fez to maintain ethnic identity. This identity is experiencing evolution since the 1970s with its costume made uniformed using bright colours with sequin to portray merriment. Nowadays, Boria performances are greatly influenced by western, Hindustani and pop rhythms.

The tradition of doira performance in Uzbekistan is an integral part of the nation’s musical heritage and identity. The doira is a circular frame drum made from a wooden rim covered with leather, often fitted with metal rings or jingles. It produces a wide range of tones and rhythmic effects, serving as both a solo and accompanying instrument. In Uzbek culture, doira is played in various contexts: to accompany classical music genres such as maqom and ashula, at weddings and festive gatherings, and as a key rhythmic foundation in folk dances. Master performers develop a deep understanding of usul (rhythmic cycles), improvisation, and expressive performance techniques. Beyond its musical role, the doira represents the artistry, craftsmanship, and communal traditions of Uzbekistan, uniting people in celebration and cultural expression.

A kind of oral contest which will be held between friends in the form of finding rhythms in answer to partner’s rhythm.