Monday, June 20, 2011
Wrong Perception :(
It is no wrong to watch kuda kepang as we are not practising it but watching its arts form . I don't see why people always have a wrong perception in saying that it it syirik .. I mean if not for those people who participate in the arts ; kuda kepang , then who is going to continue the upbringing of Javanese culture in Singapore ?!
Monday, May 30, 2011
Buck Up !
I Really Need To Buck Up ! Getting 27th Position Out Of 38 In The Class Really Gave Me A Good Warning To Buck Up From Now ! But The Thing Is I Really Can't Study And Memorize Things Especially Maths !! Aargh ! Why Can't I Be Like Albert Einstein ??
Movie !
My Want-To-Watch Movie List ;
1) Kung Fu Panda 2 ( 3D )
2) Nur Kasih The Movie
3) Pirates of Carribean: On Stranger Tides ( 3D )
1) Kung Fu Panda 2 ( 3D )
2) Nur Kasih The Movie
3) Pirates of Carribean: On Stranger Tides ( 3D )
Funny !
Jus Is Talking Bout Credit Cards And Rilla Is Asking What is The Approximate Age For A Child To Own A Credit Card And Guess What, My Dad Suddenly Pop Out Something .. This Is What He Says : Nanti Korang Tiga2 Dapat Vredit Card Kaay , 1 Month $10 And I Was Like WTH !! $10 ???
Stress !
School holidays seem fun but it is not fun when u had many homewors and projects ! Haaishh !
Friday, March 4, 2011
Gong
Gong is a kind of musical instrument 'idiophone' from South Asia and Southeast Asia . Gong has been around since the Bronze Age of Greece. Gong also played to accompany the game puppets in Indonesia . Gong is an important tool that serves as the backbone of sound in music essemble gamelan .
Gong consists of various sizes to produce different sounds of each of them and played with the rhythm of the song. Most times, one or two drums were played simultaneously to vary the rhythm of the music is more unique. Gong has been found in the peninsula of Indochina and island archipelago ebagai main tool in a special ceremony and traditional music.
This device guarantees high quality because of the way penbuatannya is difficult and requires a relatively high cost. This tool is imported from Indonesia , especially Java . Local Gong has a 'shallow rims' and' small boss. The melody is generated to signal the beginning and end of a song.
During the reign of the kingdoms Nusantara ago, a small gong or a cymbal will dikandar by messenger to the king of the village will get around to spread the word. Gong will seriously to gather the villagers and the king will be read by a messenger of the king.
Kompang .
Kompang is a traditional musical instrument for the people of the most popular Malay . It belongs to the group of musical drum . The skin is usually made of leather kompang goats .
Typically, the piece of cane is inserted between the skin and the back of a wooden frame aimed at stressful kompang surface, seeks to strengthen the sound of kompang. Now, plastic loops were used.
This musical instrument is derived from the world of Arabic and is believed to be brought into Malaya during the time whether the Melaka Sultanate by Indian Muslim traders, or through Java in the 13th century by merchants Arab .
Kompang usually measuring sixteen inches in diameter and covered with a piece of skin on the surface. It has a shallow openings and played with one hand while holding the beat with one hand to another.
How is the slap hammer kompang kompang skin with the fingers or palms of the hands the rhythm. Kompang usually played during parades, feasts and other traditional ceremonies.
Different sounds produced by varying the way of opening hands. A 'bum' is obtained with a pat on the side and palms kompang dikuncup / meetings. A 'pack' is obtained with a pat on the middle finger kompang with open arms.
Kompang scourge is divided into two parts, a scourge of traditional and modern scourge or creative. Tradition is the scourge of the scourge which struck kompang while singing or poetry in the Arabic version or the classic Malay bahsa. While the modern scourge of the scourge which is infused with movement or dance. In Sabah, kompang competition held to regain the Malay art that is almost extinct.
Thursday, February 3, 2011
Biology is a natural science concerned with the study of life and living organisms, including their structure, function, growth, origin, evolution, distribution, and taxonomy.[1] Biology is a vast subject containing many subdivisions, topics, and disciplines. Among the most important topics are five unifying principles that can be said to be the fundamental axioms of modern biology:[2]
-Cells are the basic unit of life
-New species and inherited traits are the product of evolution
-Genes are the basic unit of heredity
-An organism regulates its internal environment to maintain a stable and constant condition
-Living organisms consume and transform energy.
-Cells are the basic unit of life
-New species and inherited traits are the product of evolution
-Genes are the basic unit of heredity
-An organism regulates its internal environment to maintain a stable and constant condition
-Living organisms consume and transform energy.
Thursday, January 6, 2011
Thursday, December 30, 2010
Barong Dance
This is basically a story about the struggle between good and evil. Good is personified by the Barong Keket, a strange, fun-loving creature in the shape of a shaggy semi-lion. Evil is represented by Rangda, a witch. Ultimately, the two characters engage in battle, at which point the Barong's Keris-bearing followers rush in to attack Rangda. The which, however, uses her magical powers to turn the Keris knives in upon their owners, who fall into a trance and start trying to stab themselves. The Barong uses magic to protect his followers from the knives. In the end, the Barong triumphs and Rangda retreats to recuperate her strength for the next encounter.
All that remains is for a priest to help the keris dancers out of their trance, with the help of a little holy water. The Barong and Rangda dance is very powerful performance and is not taken lightly by those involved.
Topeng Dance
The topeng dance was at first a court-dance. The topeng dance or wayang topeng (masked dance-drama) which had appeared in Java in the period of the Kediri kingdom in the l2th century was still very popular in the period of the Mataram kingdom. After the division of Mataram into the kingdoms of Surakarta and Yogyakarta however, the topeng dance called wayang topeng changed its place ot cultivation from the court to the common people. Since the second half of the 18th century, the wayang topeng has become a dance-drama of the common people in Central Java.
The wayang topeng developing among the common people is not of as high level as the one developing in court-circles. Before the period of independence the wayang topeng developing among the common people, usually performed by wayang puppeteers, became a commercialized dance-drama, the dancers earning their daily bread by performing on the streets, in the markets and other public places.
Tuesday, December 21, 2010
Gamelan
A gamelan is a musical ensemble from Indonesia, typically from the islands of Bali or Java, featuring a variety of instruments such as metallophones, xylophones, drums and gongs; bamboo flutes, bowed and plucked strings. Vocalists may also be included.
The term refers more to the set of instruments than to the players of those instruments. A gamelan is a set of instruments as a distinct entity, built and tuned to stay together — instruments from different gamelan are generally not interchangeable.
The word gamelan comes from the Javanese word gamels, meaning "to strike or hammer", and the suffix an, which makes the root a collective noun.
The term refers more to the set of instruments than to the players of those instruments. A gamelan is a set of instruments as a distinct entity, built and tuned to stay together — instruments from different gamelan are generally not interchangeable.
The word gamelan comes from the Javanese word gamels, meaning "to strike or hammer", and the suffix an, which makes the root a collective noun.
Monday, December 20, 2010
Dikir Barat
Dikir barat is typically performed by groups of ten to fifteen members,[2] though there is no actual set size,[3] 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.[4]
In a typical dikir barat performance, the group will perform two segments. The first is led by the tok jogho,[2][5] 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 (chorus) singing in unison with the tok jogho, 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.[5]
The creative leader of a dikir barat group is the tukang karut.[3] The tukang karut is different from tok jogho where the tukang karut rhyme in a debate manner about the topics of the performance or relevance issue of for the current audiences. His ability to do this helps to uphold the reputation of the dikir barat group. Leading the awok-awok 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.[6] (Pantuns are an oral poetry form indigenous to the Malay region,[7] 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 rhyme of the tukang karut is in a form of pantun. The tukang karut is expected to rhyme the lyrics that touch upon life, like any poet, but he can also address social issues, legal matters, animal lifestyles, government regulations, and human foibles.[6] The tone can be satirical, sarcastic, or simply humorous, but above all it is expected that it be clever.[2] 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.[8]
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.[4]
musical instrument in dikir barat, it comprise of five main instruments, rebana ibu, gendang anak, gong, maraccas, and canang. additional instruments may be added but the harmonious tune of the main instrument must not be block by the added tunes. but most of the creative minds todays had compose a modern musics that accompanied by the dikir barat instruments or vice versa.
[edit] Competition
In a competitive performance, the two opposing dikir barat groups both sit on the stage platform at the same time. [4] The performance is as musical as a non-competitive performance, but the competitive dikir barat is also, according to one observer, “a duel of wits”. [6] The tukang karut from one group will throw out a topic or question, singing it to the awok-awok, who will sing it back to him. At this time the opposing dikir barat group’s tukang karut must reply with an answer more clever than the original question, and after the second awok-awok sings it back, the first tukang karut must take the dialogue another step higher. Essentially, what transpires is a type of lyrical debate, but instead of scoring technical debate points, tukang karuts who regularly produce well-created retorts will win audience laughter, affection, and admiration. [6]
Originally, dikir barat was limited to competition between neighboring villages, [4] but in the 20th century, as its popularity began to spread (aided by the ability to record performances), it became a national phenomenon. Today, dikir barat competitions have become wildly popular across Malaysia, and each year there are national champions crowned, not only for the dikir barat groups as a whole, but there also are national champion in the categories of tukang karuts and tok juara. [5] Top tukang karuts are famous and popular, [5] much like rock stars in the West.
The government of Malaysia now officially sponsors dikir barat as a major element of national culture, and has experienced substantial success in spreading its popularity. In order to facilitate its spread, in 2006, then-Minister of Information Datuk Seri Zainuddin Maidin said he would encourage the development of English language dikir barat, as English is the most widely spoken second-language in the former British colony, and could thus be shared by more citizens.[1] The national competitions in Malaysia have been broadcast on radio since 1993, and on television since 2006.they sing and when the leader sings the others will follow what the lead says.
Origins and spread
Sources are divided on whether dikir barat originated in southern Thailand or the Malaysian province of Kelantan, which borders Thailand, or even from a wedding dance shared by both the Thais and the Kelantanese.
Today, dikir barat 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.
In 2007, a Malaysian student organization at Penn State University, in the United States, included a dikir barat performance as part of a traditional Malaysian wedding being held on campus.
In a typical dikir barat performance, the group will perform two segments. The first is led by the tok jogho,[2][5] 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 (chorus) singing in unison with the tok jogho, 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.[5]
The creative leader of a dikir barat group is the tukang karut.[3] The tukang karut is different from tok jogho where the tukang karut rhyme in a debate manner about the topics of the performance or relevance issue of for the current audiences. His ability to do this helps to uphold the reputation of the dikir barat group. Leading the awok-awok 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.[6] (Pantuns are an oral poetry form indigenous to the Malay region,[7] 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 rhyme of the tukang karut is in a form of pantun. The tukang karut is expected to rhyme the lyrics that touch upon life, like any poet, but he can also address social issues, legal matters, animal lifestyles, government regulations, and human foibles.[6] The tone can be satirical, sarcastic, or simply humorous, but above all it is expected that it be clever.[2] 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.[8]
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.[4]
musical instrument in dikir barat, it comprise of five main instruments, rebana ibu, gendang anak, gong, maraccas, and canang. additional instruments may be added but the harmonious tune of the main instrument must not be block by the added tunes. but most of the creative minds todays had compose a modern musics that accompanied by the dikir barat instruments or vice versa.
[edit] Competition
In a competitive performance, the two opposing dikir barat groups both sit on the stage platform at the same time. [4] The performance is as musical as a non-competitive performance, but the competitive dikir barat is also, according to one observer, “a duel of wits”. [6] The tukang karut from one group will throw out a topic or question, singing it to the awok-awok, who will sing it back to him. At this time the opposing dikir barat group’s tukang karut must reply with an answer more clever than the original question, and after the second awok-awok sings it back, the first tukang karut must take the dialogue another step higher. Essentially, what transpires is a type of lyrical debate, but instead of scoring technical debate points, tukang karuts who regularly produce well-created retorts will win audience laughter, affection, and admiration. [6]
Originally, dikir barat was limited to competition between neighboring villages, [4] but in the 20th century, as its popularity began to spread (aided by the ability to record performances), it became a national phenomenon. Today, dikir barat competitions have become wildly popular across Malaysia, and each year there are national champions crowned, not only for the dikir barat groups as a whole, but there also are national champion in the categories of tukang karuts and tok juara. [5] Top tukang karuts are famous and popular, [5] much like rock stars in the West.
The government of Malaysia now officially sponsors dikir barat as a major element of national culture, and has experienced substantial success in spreading its popularity. In order to facilitate its spread, in 2006, then-Minister of Information Datuk Seri Zainuddin Maidin said he would encourage the development of English language dikir barat, as English is the most widely spoken second-language in the former British colony, and could thus be shared by more citizens.[1] The national competitions in Malaysia have been broadcast on radio since 1993, and on television since 2006.they sing and when the leader sings the others will follow what the lead says.
Origins and spread
Sources are divided on whether dikir barat originated in southern Thailand or the Malaysian province of Kelantan, which borders Thailand, or even from a wedding dance shared by both the Thais and the Kelantanese.
Today, dikir barat 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.
In 2007, a Malaysian student organization at Penn State University, in the United States, included a dikir barat performance as part of a traditional Malaysian wedding being held on campus.
Monday, December 13, 2010
Joget
A Joget performance.
Joget is a type of traditional Malay dance that originated from Malacca. It was influenced by the Portuguese dance of Branyo which is believed to have been spread to Malacca during the spice trade. In Malacca, it is better known as Chakunchak[1]. The dance is one of the most popular folk dances in Malaysia and normally performed by couples in cultural festivals, weddings and other social functions.
Joget is a great example how elements from various culture can merge together into one single form. The dance of the Portuguese roots is accompanied by an ensemble consisting of; a violin of Western world, a knobbed gong of Asia, a flute (optional) and at least two rebana or gendang of Malay world. The tempo of Joget music is fairly quick with the feeling of teasing and playing between the partners. The music emphasizes duple- and triple-beat division, both in alternation and simultaneously, and sung in the northeast Malaysia style[2][3].
One of the most popular type of Joget is called "Joget Lambak" and usually performed by a large crowd together in social functions.
Joget is a type of traditional Malay dance that originated from Malacca. It was influenced by the Portuguese dance of Branyo which is believed to have been spread to Malacca during the spice trade. In Malacca, it is better known as Chakunchak[1]. The dance is one of the most popular folk dances in Malaysia and normally performed by couples in cultural festivals, weddings and other social functions.
Joget is a great example how elements from various culture can merge together into one single form. The dance of the Portuguese roots is accompanied by an ensemble consisting of; a violin of Western world, a knobbed gong of Asia, a flute (optional) and at least two rebana or gendang of Malay world. The tempo of Joget music is fairly quick with the feeling of teasing and playing between the partners. The music emphasizes duple- and triple-beat division, both in alternation and simultaneously, and sung in the northeast Malaysia style[2][3].
One of the most popular type of Joget is called "Joget Lambak" and usually performed by a large crowd together in social functions.
Tuesday, December 7, 2010
Kuda Kepang
Kuda kepang merupakan permainan tradisi yang digemari oleh Johor, terutamanya Jawa. Ia berupa patung anyaman yang berbentuk kuda tanpa kaki. Ia diperbuat daripada buluh anyaman atau kulit yang dicorakwarnakan supaya lebih menarik.
Lazimnya satu kumpulan mempunyai 10~15 penari. Salah seorang bertindak sebagai ketua (dayang). Pada awal, gerak geri penari adalah atas arahan dayang yang menggunakan tali untuk mengawal. Tarian ini biasanya ditunjukkan di majlis keramaian untuk memeriahkan lagi suasana sewaktu menyambut orang kenamaan, meraikan majlis perkahwinan dan di hari-hari perayaan.
Menurut kepercayaan, ia dikuasai oleh kuasa ghaib. Lantaran itu, satu upacara perlu dilakukan sebelum bermain. Jika gagal, sesuatu yang tidak diingini akan menimpa. Upacara ini bermula dengan istiadat memuja roh. Setelah itu, bomoh akan menjampi untuk membuka gelanggang yang biasanya berukuran 40inci dengan 60inci.
Tarian Zapin
Tarian Zapin (Jawi:زافين) merupakan sejenis tarian rakyat Melayu tradisional. Tarian ini diilhamkan oleh peranakan Arab dan dikatakan berasal dari Yaman. Tarian zapin telah menular luas di kalangan penggemar seni tari di Nusantara iaitu di Semanjung Tanah Melayu, Borneo dan gugusan pulau yang sebanding yang mana bergiat aktif dari dulu hingga kini seperti di Malaysia, Brunei, Singapura dan Indonesia. Zapin telah mengalami pengubahsuaian dari segi bentuk dan ragamnya yang ternyata lebih tradisional sifatnya. Dengan itu tarian Zapin biasanya mempunyai pecahan tersendiri menurut tempat ia ditarikan, antaranya adalah:
Tarian Zapin Arab
Tarian Zapin Johor
Tarian Zapin Lenga
Tarian Zapin Pekan
Tarian Zapin Tenglu
Tarian Zapin mementingkan pergerakan berkumpulan dan bukannya usaha individu. Antara peralatan muzik yang mengiringi tarian Zapin adalah gambus, rebana, gendang, rebab dan marakas. Biola tidak tergolong sebagai sejenis alat muzik tarian Zapin namun terdapat anggapan salah dalam kalangan rakyat. Ini disebabkan muzik yang dihasilkan rebab mempunyai persamaan dengan gesekan biola.
Asal tarian
Mengikut sejarah tarian Zapin, pada mulanya tarian ini adalah sebagai tarian hiburan di istana setelah dibawa dari Hadramaut, Yaman oleh para pedagang Arab pada awal abad ke-16. Pada masa itu negeri Johor menjadi pengganti kepada peranan Melaka sebagai sebuah entrepot antarabangsa pada kurun ke-16.
Tarian zapin ini kemudiannya merebak ke negeri-negeri sekitar Johor seperti di Riau, iaitu pusat pemerintahan Johor lama, Singapura, wilayah Sarawak, dan Brunei Darussalam.
Monday, December 6, 2010
Girls day out !!
Yesterday had soo much fun playing bowling at downtown with Naz , Mai and Faz !! Lepas maen bowling , we go experience 4D [ pasal mummy ] .. Ser jugak aah !!Then lepas jalan2 kat downtown , qy compass [ saja jalan2 ] . then kite balik .. downtown is the best :]
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