THE HISTORY OF TRADITIONAL GASING GAME IN PAHANG

Top veteran players from Sungai Pahang state that was once a top gun to hunt animals. Dreidel-shaped flat and round with spinning will spin when the body was thrown into the game. The idea of the game is said to come from the top leisure time activities for hunters, which was initially aimed at testing the efficiency of spinning throw to the target.

Four easy steps to play the Gasing:

1)    Wrapping the rope

There are two ways to wrap the rope around his arm way or wrapped around your little finger. Both of these methods are important before starting the game because the rope tight, not too long will result in a good spinning round. The first way is by entering into an arm wrist strap and ring players, namely the end of a rope tied round will be concluding life. This will make it easier for players because it is not easy when pulled apart. Round sling on his arm depends on whether the player is wound on the right hand or left hand. Turns round up to the players to make sure the players are comfortable with the girth strap.

The second method is done by making the player turns on the little finger. Selection finger either the right or left depending on the player. Ring at the end of the string will be put on the little finger by the next player was going to rope wrapped on the palms. Usually this is done by a lot of players who have aged because in this way the rope will become longer and produce a stronger grip on the top. To facilitate the neck circumference at the top, the player must throw all the strings in the arm by leaving a few centimeters (cm) to facilitate the players to detect moisture, softness and tension straps. After the roll tops made, the rope was wrapped on the arm or hands until the expiration to facilitate the task of lifting or vertical ‘’uri’’.

2)    Rotating top

There are various styles in turning the top. Rotating in a proper manner will produce a round upright, strong, vibrant and permanent. To produce a round like this, measures should be prepared in a proper manner so that the top does not fall sideways, swiping or rift. Generally there are two types of rounds that are normally used, which is round and round retractable pull carts. To round pull carts, spinning shall be held on one and swung back. Concurrent with the eyes must be focused towards the target in the future. Top notch shall always be escorted during this movement. During the swinging, spinning must be in side position until arriving in front of the top, then top enforced before being released. The rating agency must be low and are not far away from the target to be rotated. Players must follow the swing arm swing tops and body bent about 45 degrees. Round style is a bit low and close.

For retractable round, centrifugal force produces an upright round, spinning and strength. The player holds the top with a vertical position, ie the head spinning upward and lifted high. Hand position about 30 degrees above the arm. A hand will move towards the target with the top upright position until fall forward, before being released. After spinning jutting into the earth, bears little snap and make sure it is in the upright state. If not gasing will bend and will be less spinning round. Top lifted shoulder level before being released.

3) Cross the gasing

The crossing (memangkah) is an important movement in the spinning tops. Focus, attention and swing should be right on target so gasing uri will produce vibrant, upright and strong. There are four styles ticking commonly used by players in any game, which is a cross knocks, pounding cross, cross the overpass and cross cutting.

4) Lift the Top

After spinning mess around or crossed out, it should also be appointed to the uri appropriate site to ensure keligatannya order is preserved. Lifting the top requires skill, patience and high efficiency.

Before the top is removed, the player must first determine the direction wriggle round and top notch. Determine wriggle or position means finding the lowest round Drops parts of the earth. The lowest part will be removed. Direction of rotation must be determined to suit the direction of rotation of the body when carrying a top. Lifting is done by using the top rope and cokok. Cokok used for spinning a flat shape and weight. Gasing current position to be adopted must be dakam upright position as if it will affect keligatan mengiring tops. Ropes used to lift the top must be tense and when lifting Drops will be prevented from touching the rope as this will reduce the spinning.

Source: http://www.dacserdang.com

THE ATTRACTIVE TRADITIONAL GAME IN TERENGGANU

Gasing (Giant Top Spinning)

Each of Gasing or top weighs approximately about 5kg and the wooden tops are as big as the size of a dinner plate. It calls for strength, coordination, and skill. The Gasing, if expertly hurled, can spin for as long as 2 hours. Top spinning competitions are an annual feature in the east coast of Peninsular Malaysia especially Kelantan and Terengganu. However there is also a small Gasing that can be safe and play by children.

The origin words of gasing in Terengganu is a spinning play a ‘’Sonneratia Alba’’ or ‘’Buah Berembang’’or ‘’Buah Perepat’’. This kind of fruits usually can be found at the coastal and has always been used by martial arts experts as an exercise to strengthen the arms. This fruits has rounded surface, smooth and somewhat flattened.

Berembang Fruit's

Berembang fruits are also used as a game. In the game Berembang fruit, the fruit will be rotated by hand. Fruit loops berembang longest and most think it's no spinning and rolling deemed the winner.

In Terengganu Gasing created by the shape of Berembang fruits. Gasing word derived from the combination of two words, namely in Malay as 'gah berpusing'. That’s mean the spinning with the spinning tops, spinning and upright.

Source: http://www.dacserdang.com

THE MODERATION OF ASYIK DANCES

This is a classical dance from Kelantan and is performed in the Kelantan palace. The dancers are palace damsels (dayang-dayang). Tarian Asli is also performed in weddings during Malam Berinai and Malam Berinai Besar in the palace. Nowadays, Tarian Asyik is also performed in national and state functions.

According to history as stated in Hikayat Patani, Raja Kuning who ruled Patani in 1644 kept 12 palace dancers and called them “Asyik”.

Sources By: http://www.jkkn.gov.my/en/taxonomy/term/3?page=1

JOGET GAMELAN

Gamelan (also known as  Joget Gamelan) This classical dance began in the courts of Riau and Lingga in the 17th century. It was first performed in Pekan Pahang in 1811 on the occasion of the marriage of Tengku Hussain, the son of Sultan Abdul Rahman of Lingga, to Wan Esah, the sister of Bendahara Ali of Pahang. It was transferred to the court of Terengganu after Tengku Mariam, a Pahang princess married Tengku Sulaiman, the son of Tengku Zainal Abidin of Terengganu. According to Tengku Mariam there were actually 77 gamelan dances. But, today only 33 dances exist in the repertoire. Among the 33 dances are Timang Burung, Ayak-ayak, Lambang Sari, Ketam Renjung, Geliung, Lantai Lima, Kending Gajah, Togok Rompin, Kunang-kunang Mabuk, Galuk Merajuk, Silatin, Lolo and Monab.  Javanese elements are also evident in the costumes of the dances.

Sources By: http://www.dancemalaysia.com/Dance/Traditional/Court_Dance/Gamelan/gamelan.htm

PAHANG DARUL MAKMUR

The Malays, Chinese, Indians and the Indigenous People that make the 1.5 million people in Pahang are a perfect picture of diversity in harmony. Existing peacefully, each with their own colorful pomp and pageantry, they display a tolerance and understanding born out of mutual respect for each other. It thus provides unique harmony, which continues to astound many a visitor.

The many aspects of their cultures that nicely blended can be found in the language, beliefs, clothes, food, tradi- tional games. It would be hard indeed to fully describe the many facets of Malaysia’s rich and diverse heritage.

KELANTAN DARUL NAIM

Kelantan is known as the cradle of Malay culture based on the diverse cultural activities practised by Kelantanese. Among the popular cultural practices are Dikir Barat, Wayang Kulit Kelantan, Wayang Kulit Melayu, Mak Yong, Menora, Main Puteri, Wau Bulan (kite-flying), Gasing (top-spinning), Silat, bird-singing competition and handicrafts.

Among the handicraft products that are songket, batik, silverware and mengkuang. The Kandis Recource Centre provides information on the Kelantanese wood carving.

http://tic.kelantan.gov.my/index.php/ms/

TERENGGANU DARUL IMAN

Due to its history background and geographical location, Terengganu receives cultural influences from the neighbour in the north: Kelantan and Thailand. Though it is conservative Muslim state, the general public is still enjoying the freedom of worship. However, beer or alcohol is not widely available in certain places especially Malay own shops. Always remember that while n Rome, do as the Romans do.

http://tourism.terengganu.gov.my/

RITUAL OF ULEK MAYANG

Ulek Mayang

The Ulek Mayang that I created is kind of a new version. Instead of saving the lives of fishermen that the Puteri Duyung always do, this time circa 1511, the 7th Puteri Duyung at the time she was a budding Puteri Ulek Mayang but had not reach the age of the Puteri Ulek. The young Puteri Duyung on a stormy night, saved a life of a Malay Prince. For seven day and seven nights, the seven Puteri Ulek Mayang Mengulek to revive the spirit of the Malay Prince and his hulubalang that had been lying uncouncious. The Puteri Duyung secretly on her own danced the Ulek Mayang to safe the life of her new found love. And on the 7th night, the Prince and his hulubalang finally revived. The Prince could not forget the glimpse of the Puteri Duyung sight. The moment he recovered he immediately fell in love with the Puteri Duyung. Thus the forbidden love germinated between the two lovers of different world against the will and the liking of the oceanic spirits. The hulubalang soon returned bringin with them the 7 Wasiats, while the Prince decided to stay and marry his beloved Puteri Duyung. They stayed they for long period of time until one day…the Prince told his lover….”sudah tikanya kanda pulang…..” 

Ulek Mayang Lyrics

Ulek mayang ku ulek
Ulek dengan jala jemala
Ulek mayang diulek
Ulek dengan tuannya puteri
Ulek mayang diulek
Ulek dengan jala jemala
Ulek mayang diulek
Ulek dengan puterinya dua

Puteri dua berbaju serong
Puteri dua bersanggol sendeng
Puteri dua bersubang gading
Puteri dua berselendang kuning
Umbok mayang diumbok
Umbok dengan jala jemala
Nok ulek mayang diulek
Ulek dengan puterinya empat

Puteri empat berbaju serong
Puteri empat bersanggol sendeng
Puteri empat bersubang gading
Puteri empat berselendang kuning
Umbok mayang diumbok
Umbok dengan jala jemala
Nok ulek mayang diulek
Ulek dengan puterinya enam

Puteri enam berbaju serong
Puteri enam bersanggol sendeng
Puteri enam bersubang gading
Puteri enam berselendang kuning
Umbok mayang diumbok
Umbok dengan jala jemala
Nok ulek mayang diulek
Ulek dengan puterinya tujuh

Puteri tujuh berbaju serong
Puteri tujuh bersanggol sendeng
Puteri tujuh bersubang gading
Puteri tujuh berselendang kuning
Umbok mayang diumbok
Umbok dengan jala jemala
Nok ulek mayang diulek
Ulek dengan tuannya puteri

Tuan puteri berbaju serong
Tuan puteri bersanggol sendeng
Tuan puteri bersubang gading
Tuan puteri berselendang kuning
Umbok mayang diumbok
Umbok dengan jala jemala
Nok ulek mayang diulek
Ulek dengan tuannya puteri

Ku tahu asal usul mu
Yang laut balik ke laut
Yang darat balik ke darat
Nasi berwarna hamba sembahkan
Umbok mayang ku umbok
Umbok dengan jala jemala
Pulih mayang ku pulih
Pulih balik sedia kala

TARIAN TEMPURUNG, THE COCONUT SHELL DANCE AND MALAY FOLK DANCES

Tarian Tempurung is derived from Pulau Tawar Pahang. This dance is danced by men only at weddings. Usually the size of the shell used is smaller so it is portable and it has a tone when making beats. Flowers of dances that existing can not be modified or changed because it will change the movement are of the dance shells. At the beginning and end of the ballroom dancers will open the worship.

source: http://tariasli.50webs.com/tarian%20melayu.html

CANDLE DANCE IN PAHANG (TARI LILIN)

This unique dance origin from Sumatra and has a story during the presentation. Supposedly a beautiful girl was abandoned fiancee because he went to trade across assets. During she abandoned by her fiancee, the girl was losses the engagement ring. With sadness feeling, the girl looking for the ring, until late at night with a candle placed on the plate. The graceful body movements, bending, gaze upward (pray) to produce beauty of this event has spawned Candle Dance among the girls of the village.

During this dance, the dancers will bring a plate containing a candle and wearing a ring on her finger. While dancing he rang the rhythm of the dance with a ring on a finger tap to the plate in his hand. It’s require the expertise of someone to dance with tread plate set and cupped the glass plates were set earlier.

Sources: http://anjungtradisi.blogspot.com/2013/08/tarian-lilin.html

CIK SITI WAU BULAN DANCE AT THE HARVEST SEASONS

At harvest in states west of the East Coast are often held games such as playing gasing,played kites, rebana ubi, tambourine rattle, woods tambourine and others.In conjunction with the kites game so then a dance named Siti Wau Bulan has been created.

Before this, the dance tells the story of a young boy playing kites at harvest.This festive dance is reflected the movements of the dancers consist of young men and women.Cik Siti Wau Bulan Dance will play by song Siti Wau Bulan accompaniment with serunai, rebab, gendang, gong and kesi.

Sources: http://anjungtradisi.blogspot.com/2013/09/tarian-cik-siti-wau-bulan.html

INAI DANCE OF KELATE VERSION

Inai Dance or Henna Dance is a traditional Malay palace ballroom dance during the ceremony of circumcision child dignitaries’ palace.It is dedicated to the children when they want to be circumcised, and also during wedding ceremonies. 

Inai dance is popular in Kelantan. This dance also has a original culture and movement of the fingers and hands have complicated the continuous movement of the dance in circle. It also has a blend of dance movements found in Makyung, martial arts and acrobatic positions. Inai Dance conveyed in the form of a special dance movements that demonstrate the ability of a person to bend the body back to balance the body, taking notes, using word of mouth and the strength of his legs.

Source: http://budaya.jkkn.gov.my/node/434

GAMELAN DANCE THE HERITAGE OF PAHANG

Gamelan Dance is one of the classical Malay dances. This classical dance began in the record presented to the Palace in Lingga Empire in the 17th century. It began in the present for the first time in public in Pekan, Pahang in 1811 on the occasion of the royal wedding in Pahang and Terengganu.

According to Tengku Mariam, was originally a repository of this dance consists of 77 types of Gamelan. But today only 33 species left the impression of a lack of trainers of the dance again.  Among the 33 types of dances that are left are as Timang Burung, Ayak-ayak, Lambang Sari, Ketam Renjung, Geliung, Lantai Lima, Kending Gajah, Togok Rompin, Kunang-kunang Mabuk, Galuk Merajuk, Silatin, Lolo and Monab.

The dance, which was presented exclusively by female dancers, can be performed in-house or public performance. Javanese elements can be viewed in terms of the art of dance. In aesthetics, this dance is very beautiful and is a form of dance that is the richest in terms of the type in most Malay dance costumes.

Sources: http://warisantarianmelayu.blogspot.com/

TARIAN JOGET PAHANG THE MOST FAMOUS DANCE IN MALAYSIA

This dance is said to be closely associated with the dance element of the Portuguese. This dance is used as a social dance, and accepted by the various races in Malaysia. This dance is performed when have a cultural festival, celebrating weddings and other occasions. This Joget is powered by a pair of dancers with a combination of arm and leg movements are fast.

Joget Pahang is fantastic dance tempos is fast and are very popular among young and also old people. Normally, this dance can be seen by a cultural festival and a Malay wedding.

This is the lyrics of Joget Pahang song;

Melenggang hai

Melenggang dengan tari lenggang

Kalau baik hati

Nanti orang pun sayang

Dari Melaka

Ke negeri Pahang

Singgah di Johor beli berangan

Kami ucapkan selamat datang

Apa yang kurang dicaci jangan

Melenggang hai melenggang

Dengan tari lenggang

Kalau baik hati

Nanti orang pun sayang

Pukullah gendang

Hai kulit kerbau

Dalam majlis tari menari

Sayalah ini bang hoi datang merantau

Mengharap belas orang di sini

Melenggang hai melenggang

Dengan tari lenggang

Kalau baik hati

Nanti orang pun sayang

Negeri Pahang aman sentosa

Kaya dengan tumbuh-tumbuhan

Niat di hati bang hoi nak buat jasa

Mudah-mudahan Tuhan kabulkan...

Melenggang hai melenggang

Dengan tari lenggang

Kalau baik hati

Nanti orang pun sayang

Sources:        http://pustakaseni.blogspot.com/

http://www.liriklagu.com/liriklagu_nr/PRamlee_JogetPahan.html
https://sites.google.com/site/senidanbudayamalaysia/jo

THE UNIQUENESS OF TURTLE DANCE (LABI-LABI DANCE) IN PAHANG

The origin of this dance begins at Endau and in Pekan Pahang; there is little difference between the Labi-Labi dance of Endau and Pahang. For Endau this dance is danced by a dancer only to be accompanied by musical instruments violin and gongs. While in Pekan Pahang this dance used more than two people. The musical instruments accompanying the bamboo drums, tambourine, gong, gong kelapa (knock) and ‘’Serunai’’. The dance begins with a ceremony cultured. Pencak Silat is danced in front of the flower eggs, rice, turmeric and ‘’Tepak Sirih’’.

Labi-Labi Dance is a comedy dance. The dancers consisting of men only that wear Malay traditional dress with ‘’Samping’’ and ‘’Tengkolok’’ and their will dance the movements as turtle. Two dancers posing as children turtle will come out of the nest and try to get bananas thrown at the dancers.

Gestures turtle is squatting and sticking out her tongue imitated by two dancers. Then the father turtle was out dancing with the attitude that more amusing and tried to bait earlier.

Source: http://budaya.jkkn.gov.my/node/222

WAU BULAN (MOON KITES)

Wau bulan is an intricately designed Malaysian moon-kite (normally with floral motifs) that is traditionally flown by men in the Malaysian state of Kelantan. It's one of Malaysia's national symbols, along some others being the kris and hibiscus. The logo of Malaysia Airlines (MAS) is based on this kite.There are many type of wau in Malaysia. Each with its own speciality.Wau kucing(cat kite) and wau merak(peacock kite) are some of them.

Unique to the east coast state of Kelantan, these waus or giant flying kites are often as big as a man, measuring about 3.5 metres from head to tail. It is the largest kite around and is capable of soaring to great heights. Not surprisingly, kite-flying here is a sport for men as some kites require at least two grown up men to handle. Most of the patterns are based on local flora and fauna like birds, animals and flowers.

It usually fitted with a stringed bow which emits a soft, wailing sound when flown. Each kite is lavishly pasted with colorful designs and a work of art in it its own right. Kites are flown throughout the year but especially after the full moon harvest.

Indeed, so remarkable is the Wau Bulan that the national carrier, the Malaysian Airline System, has chosen it as its logo, symbolising controlled flight.

SOURCES BY: http://www.anjung.com.my/kelate_attraction_culture.php

MAK YONG

Mak Yong is traditional dance drama of Kelantan, Malaysia. 
According to UNESCO, Mak Yong appeared well before the
Islamization of the country but was banned in the year 1991
after the Islamic Party Of Malaysia took control of the state.
A ritual Mak Yong performance is more elaborate than that
staged for entertainment, combining shamamanism, feasting the
spirits and dance theatre. It reflects the deep, mystical significance
 of Mak Yong's stories and dances, and its original aim to serve as
a conduit to the spirit world. Ritual performances are enacted for
spiritual healing, to pay homage to a teacher and for the graduation
of a performer.
The late Cik Ning was a leading Mak Yong performer in the 1980s.
SOURCES BY: http://www.anjung.com.my/kelate_attraction_culture.php

WAYANG KULIT

Wayang is an Indonesian and Malay word for theatre. When the term is used to refer to kinds of puppet theater, sometimes the puppet itself is referred to as wayang. "Bayang", the Javanese word for shadow or imagination, also connotes "spirit." Performances of shadow puppet theater are accompanied by gamelan in Java, and by "gender wayang" in Bali.

Wayang Kulit is a popular shadow puppet show in the East Coast of Peninsular Malaysia, especially those in Kelantan and Terengganu, and also in Johor. The origin of the theatre is still remained a mistery, but it was brought to Malaya hundreds of years ago.

Wayang Kulit is a very unique form of theatre employing the principle of light and shadow. The puppets are crafted from buffalo hide and mounted on bamboo sticks. When held up behind a piece of white cloth, with an electric bulb or an oil lamp as the light source, shadows are cast on the screen.

Wayang Kulit plays are invariably based on romantic tales, especially adaptations of the classic Indian epics, "The Mahabarata" and "The Ramayana". Some of the plays are also based on local happenings (current issues) or other local secular stories. It is up to the conductor or "Tok Dalang" to decide his direction.

The Tok Dalang is the genius behind the entire performance. It is he who sits behind the screen and narrates the story. With a traditional orchestra in the background to provide a resonant melody and its conventional rhythm, the Tok Dalang modulates his voice to create suspense thus heightening the drama. Invariably, the play climaxes with the triumph of good over evil 

http://en.wikipedia.org/wiki/Wayang_kulit

DIKIR BARAT

Dikir Barat -

Dikir barat is a style of call and response singing originating in Kelantan . It is well known throughout the Peninsular through local television and performing groups. A dikir barat group, which may be of any size, is led by a tukang karut who makes up poems and sings them as he goes along. The chorus echoes in response, verse by verse. Dikir barat groups usually perform during various festive occassions, and their poems are usually light entertainment and may be about any topic, but are not religious in nature. The chorus traditionally consists of all men, but modern groups, especially those performing on television, often include women. Traditionally, no musical instruments are used, the singing being accompanied instead by rhythmic clapping and energetic body movements. Some groups however do use a pair of frame drums or rebana, a shallow gong and a pair of maracas, for accompaniment. 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. SOURCES BY : http://www.anjung.com.my/kelate_attraction_culture.php