Dikir barat


Dikir barat, dikir hulu or lebe ulu is a musical form, native to the northeastern coastal region of Malay Peninsula, that involves singing in groups—often in a competitive setting. Dikir barat may be performed either with a percussion instrumental accompaniment, or with no instruments at all.
The art originated among the peasantry of Patani who would incant verses back and forth with each other as a form of entertainment while harvesting their paddy fields; this would be later be developed to be performed in functions for guests from faraway lands hence the art would be known as lebe ulu. It was only the spread to Kelantan in the 1930s where it is given the popular name dikir barat– barat referring to the location in relation to Kelantan.
It is still performed in both modern nation-states of Malaysia and Thailand, the former's National [Department for Culture and Arts] actively promotes it as an important part of Malaysian national culture. Since the mid-1970s, the art form has also gained popularity among the Malays of Singapore, who have adapted it into a distinctive style known as Dikir Barat Singapura, also referred to as Dikir Singapura.

Description

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 is performed competitively, the two competing groups will both be on the stage at the same time.
In a typical performance, the group will perform two segments. The first is led by the , 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 singing in unison with the, as well as responsorial segments of singing, similar to what the does with the, 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 group is the. The is expected in his performance to utilise current social and political issues which will be relevant to the audience. His ability to do this helps to uphold the reputation of the group. Leading the during the second and concluding segment of the performance, the sings —most of which are likely original and improvised on the occasion of the performance, but some which may be known to the audience. That the uses does not mean that it is a performance of poetry. Like any poet, the 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 makes up and sings lyrics on the topic of the performance, and the sings the same lyrics back to him. During the performance, members of the 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, some groups employ percussion instruments, including the rebana, maracas, or a shallow gong.

Competition

In a competitive performance, the two opposing dikir barat groups both sit on the stage platform at the same time. The performance is as musical as a non-competitive performance, but the competitive is also, according to one observer, “a duel of wits”. The from one group will throw out a topic or question, singing it to the, who will sing it back to him. At this time the opposing group's must reply with an answer more clever than the original question, and after the second sings it back, the first must take the dialogue another step higher. Essentially, what transpires is a type of lyrical debate, but instead of scoring technical debate points, who regularly produce well-created retorts will win audience laughter, affection, and admiration.
Originally, was limited to competition between neighbouring villages, but in the 20th century, as its popularity began to spread, it became a national phenomenon. Today, competitions have become wildly popular across Malaysia, and each year there are national champions crowned, not only for the groups as a whole, but there also are national champion in the categories of and. Top are famous and popular, much like rock stars in the West.
The government of Malaysia now officially sponsors as a major element of national culture, and has experienced substantial success in spreading its popularity. To facilitate its spread, in 2006, then-Minister of Information Datuk Seri Zainuddin Maidin said he would encourage the development of English language, as English is the most widely spoken second-language in the former British colony, and could thus be shared by more citizens. The national competitions in Malaysia have been broadcast on radio since 1993, and on television since 2006.

Spread of

Origins

Sources are divided on whether originated in southern Thailand or the Malaysian state of Kelantan, which borders Thailand, or even from a wedding dance shared by both the Thai Malays and the Kelantanese Malay.
Today, has spread to the end of the Malay Peninsula, having reached Singapore, by some accounts, in the mid-1980s, where it is also being promoted by at least one government agency.

Dikir barat in the West

In recent years, Dikir barat performances have spread to the West, most commonly on university campuses.
  • In 2007, a Malaysian student organisation at Penn State University, in the United States, included a performance as part of a traditional Malaysian wedding being held on campus.
  • The Malaysian Student Organisation of the University of Illinois also performed a dikir barat for the Malaysian Cultural Exhibition organised at the university.
  • The Malaysian Society of Imperial College London, performs a dikir barat annually on its Malaysian Night organised by the university.
  • The Malaysian Students Association of The University of Warwick performs this art form on its Malaysian Night every year.
  • The Malaysian Students' Organisation of the Australian National University performs this performance on its Malaysian Night 2014 with Malaysian Student Council of Australia, Australian Capital Territory and Kelab UMNO ACT.

    In popular culture

  • One of the TV advertisements for the then upcoming Malaysian Idol had the instance of a battle of hawking trades in a pasar malam between a mango seller and an orange seller, where the former raps about his mangoes in English and the latter flaunts off his oranges in a singing manner similar to that of dikir barat.
  • In the Malaysian video game No Straight Roads, one of the bosses is named "DK West", a pun on the name of Dikir Barat, and the music played during the fight is described as a rap battle between the main characters and DK West which plays with a crowd of faceless individuals sitting near DK West and clapping in rhythm. To add to the music, the game also makes use during this segment of Wayang Kulit.