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This concert was held on 28th February 2010, at Cultural Activity Centre (CAC) IIUM. The concert was organized by several clubs under Cultural and Arts Unit, IIUM like IIUM Angklung Club, IIUM Andeka Caklempong, IIUM Production Club and so on. In addition, this concert was done by 200 of crews and performers.

With the theme of 'Love Is...', the concert was very succesful with the special appearance from the veteran singer, Ramli Sarip, one of Devotees member, Adi Akmal and musicians from Istana Budaya. The theme for story for that night was love for a father, friendship, love to Rasulullah and love to Allah S.W.T.

Lead by Mr. Ku Zahir Ku Ahmad as a music conductor, some songs that played at that night was 'Dia Maha Sempurna', the song from Ungu, 'Ya Rasulullah', song from Datuk Siti Nurhaliza and 'Ingat 5'. 'Titip Rindu Buat Ayah' sang by Adi Akmal at that night was very touching till came tears to the audience.

The VIPs and audience that came at that night was the IIUM President, Datuk Seri Mohd Sidek Hassan and his wife, IIUM Rector, Prof. Datuk Dr. Syed Arabi Idid and his wife, IIUM community, several schools and villagers near IIUM.


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Islamic Performing Arts Concert (IPAC) is coming to you! Come and join us this Friday, 26th February 2010 at Main Hall, Cultural Activity Centre at 8pm. Lots of clubs will show their talents such as Angklung Club, Andeka Caklempong, Gamelan and many more. Plus, special performance by Ramli Sarip and Adi Akmal from Devotees Nasyid group. It is free!


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Kuda kepang ialah sejenis tarian pahlawan berkuda yang berasal dapi tanah Jawa, Indonesia. Ia dibawa oleh penghijrah-penghijrah ke Tanah Melayu. Tarian ini kini menjadi tarian tradisional masyarakat Melayu Malaysia Khususnya di Johor Darul Takzim dan biasa dimainkan di majlis keramaian dan perkahwinan.

Tarian Kuda Kepang memerlukan sekurang-kurangnya 25 orang:
- 9 orang penari
- 5 orang pemain muzik
- 2 orang yang bertindak sebagai 'bomoh pemulih'
- beberapa gong
- 9 'kuda'
- sebatang pecut
- serantai tali panjang 3 kaki

Kuda Kepang biasanya dipersembahkan di tempat terbuka atau di atas pentas yang besar. Sebelum tarian bermula, tok bomoh akan membakar kemenyan dan membaca jampi memberi tenaga kepada kuda-kuda. beliau akan menggunakan air, rumput, telur mentah, dan bunga untuk persembahan.

Dikawal oleh seorang 'danyang' yang melecutkan pecut untuk menentukan rentak tarian, setiap penari akan menaiki kuda masing-masing. Apabila muzik mula dimainkan, penari-penari yang dipimpin oleh danyang tersebut akan masuk ke gelanggang. Rentak muzik akan dimulai dengan rentak yang perlahan. Setiap penari akan menunggang kuda dan menaeri mengikut pola yang ditentukan oleh pemain muzik.

Ketika muzik menjadi lebih pantas, kuda-kuda akan menderap dengan lebih laju. Sesetengah persembahan akan merentang kain licik untuk penari menitinya. penari-penari akan boleh melakukan pergerakan yang aneh dan luar biasa seperti bersilat dan melompat setinggi 6 kaki. Semasa penari dalam keadaan sedemikian, muzik yang mengiringi tarian semakin rancak. Kononnya, jika muzik tidak rancak ketika penari dalam keadaan tersebut, pemuzik akan ditendang atau diterkam oleh para penari.

Para penari akan menari selama 2 jam. Mereka seolah-olah terpukau dengan pergerakan mereka. Jika keadaan mereka bertambah liar dan tidak dapat dikawal, tok bomoh akan memulihkan mereka.


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Long time ago, after Malacca was invaded by Portugese, the Sultan and his people moved to Johore with the Malay-Islamic cultures and customs. From the mixture of Malay-Arab, Zapin Melayu was later introduced as one of the dance to be performed during the ceremonies and spread througout the Malay-Arab arpachilego. Zapin also known as Jipin, Jepin or Dana. it was created from the influence of steps and song from Hadramaut and then involved with the touches of Malay style until it becomes part of Malay culture.

What is special about this dance is that the it is performed exhibit the Malay culture which implement the politeness and richness of it. To make it more integrity, the sounds of percussion will liven up and usually, the dance will be accompanied by Gambus, Gendang Marwas and others.
There are 13 types of Zapin dance in Johore:
  1. Zapin Pekajang

  2. Zapin Tenglu

  3. Zapin Pulau

  4. Zapin Tanjung Labuh

  5. Zapin Kores

  6. Zapin Padang Sari

  7. Zapin Dayung

  8. Zapin Sri Bunian

  9. Zapin Parit Mastar

  10. Zapin Lenga

  11. Zapin Parit Bagan

  12. Zapin Muar

  13. Zapin Putar Alam


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Mak yong or makyung is a traditional form of dance-drama from northern Malaysia, particularly the state of Kelantan. It was banned by the Pan-Malaysian Islamic Party in 1991 because of its animist and Hindu-Buddhist roots which pre-date Islam in the Asian region by far. In 2005 UNESCO declared mak yong a "Masterpiece Of The Oral And Intangible Heritage Of Humanity". The late Cik Ning was a leading mak yong performer in the 1980s.

Mak yong is considered the most authentic and representative of Malay performing arts because it is mostly untouched by external sources. Although most traditional Malay dances were influenced by India, Java and other parts of Southeast Asia, mak yong's singing and musical repertoire are unique. Of the major stories performed in mak yong, most are derived from Kelantan-Pattani mythology. Some of those obtained from outside the Malayan-Thai region have now died out elsewhere such as Anak Raja Gondang, a story originally from the Jataka tales but now almost unknown in India.

A performance begins by paying respect to the spirits (semah kumpung) with an offering. This is followed by dancing, acting and improvised dialogues. Stories were presented in a series of three hour performances over several nights. The lead dancer is called the pak yong and dresses as a king. The cast usually includes a queen in second lead, palace girls and jesters. Traditionally, all performers were female except for the clowns who are always male. A group called Jong Dongdang sings and dances in between chapters and at the story's closing. The mak yong orchestra is small with the main instruments played being the three-stringed spiked lute, drum (gendang) and a pair of gong. It may also include the flute (serunai), keduk drums and small cymbals (kesi).

Today there are less than ten veteran mak yong performers. Although there have been a few attempts to revive the art form, seasoned performers have noted a clear difference between the commercialised mak yong of urban dancers when compared with the movements of rural performers. Not many young people are willing to undergo the rigorous apprenticeship so the art is now on the decline.


Mak yong was founded in the Pattani kingdom which is now a province of Thailand. Because it was passed down orally among villagers, mak yong's exact age is uncertain. However, the fact that it is mostly free of outside influence would make it 800 years old at the very least and almost certainly much older. Legend generally credits the dance to a rice spirit called Mak Hiang but others believe it was created by a being called Semar. Historians are unsure whether mak yong evolved as a folk tradition or a palace theatre. Either way it was patronised by all layers of society to pay respect to the spirits, give thanks for the harvest or to cure a person's biorhythm.

According to the Hikayat Patani mak yong was brought to Kelantan more than 200 years ago. From there it spread to Kedah. Mak yong was mostly performed for royalty until then but by 1920 it was more often seen among common folk. Whereas the palace theatre mirrored the elegance of royalty, peasant performers enacted the life of workers in the rice fields. Nevertheless mak yong's delicate movements, polite mannerisms and refined speech endured. In 1923, the king's youngest son Long Abdul Ghaffar wanted mak yong to retain its courtly look. He built a cultural precinct called Kampung Temenggung on palace grounds to lend his support to the arts. During this time it became conventional to have a lead female. His death in 1935 was followed by World War II. Mak yong was once again a folk tradition but it now regained much of the sophistication it had as a court theatre, especially in the costumes, make-up and music.

The traditional mak yong had continued into the 1960s and 70s but was later impeded by the Islamic revival. When PAS took control of Kelantan in 1991, they banned mak yong in the state for its "un-Islamic elements" and clothing which leaves the head and arms uncovered. Although many old performers defied the ban, mak yong could no longer be shown in public. Some thought the tradition would die out until UNESCO declared it a masterpiece of mankind's heritage. There has since been some effort to preserve mak yong outside Kelantan but interest among the younger generation is lacking.

Nowadays mak yong is seldom performed at cultural shows because priority is given to modern Malay dances like joget. It is sometimes still staged at weddings, to celebrate a state's independence or to pray for the king's long life. But these modern shortened performances are stripped of the old animist rituals and their music is simplified because the songs are played so infrequently. There are only a few troupes left who perform traditional mak yong in the villages of Kelantan and Terengganu.


As with many other ancient Malay forms of theatre, mak yong was once used for healing purposes. Healing mak yong is called mak puteri and involves trance dancing and spirit possession. It is closely connected to another traditional healing method called main pateri. These healing rituals are still practiced in some more traditional cities but they are largely frowned upon today.

Ritual performances are more elaborate than those staged for entertainment, combining shamanism, 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 most important dance in Mak Yong performance is Mengadap Rebab dance sequence which now lasts anywhere between 10 to 15 minutes and is performed at the beginning of every performance. It is divided into four sections: namely, sitting, kneeling, squatting, standing and walking. The lead dancer and the supporting dancers must be able to sing the haunting melody.


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Berikut adalah instrumen-instrumen yang terdapat dalam muzik Caklempong:



Gereteh terdiri daripada 15 Bonang yang disusun dalam nada C Major satu oktaf, termasuk 7 not pilihan di dalam dua baris selari (Baris 1 mempunyai 8 Bonang dan baris 2 mempunyai 7 Bonang). Gereteh merupakan melodi utama. Terdapat dua set Gereteh di dalam satu set lengkap caklempong.

Tingkah dan Saua

Tingkah terdiri daripada lapan biji bonang yang bermula dari not E, F, G, A, Bb, B, C dan D. Permainan Tingkah banyak tertumpu kepada pengawalan rentak dan menghasilkan irama mengikut pukulan gendang.

Saua juga mempunyai lapan biji bonang dan berbentuk seperti Tingkah cuma yang membezakan antara keduanya ialah cara ia dimainkan. Saua diketuk mengikut corak irama Ostinato dan bergerak mengikut kod melodi. Corak irama Ostinato yang sesuai hendaklah terlebih dahulu diajarkan kepada pemain Saua. Notasi Caklempong Tingkah dan Saua tidak disediakan, sebaliknya hanya kod blok sahaja disediakan. Notasi untuk Saua bermula dari not E rendah.

Bangsi dan Serunai

Bangsi berbentuk seperti rekorder bersaiz 25-30 cm, notasi buluh dan mempunyai 7 lubang untuk menghasilkan 7 skala ton menyamai Gereteh. Bangsi boleh ditiup dengan kuat tanpa menaikkan tonnya.

Serunai juga diperbuat daripada buluh tetapi jauh lebih kecil daripada bangsi. Serunai berukuran lebih kurang 14 sentimeter dan hanya mempunyai 4 lubang. Serunai menghasilkan skala pentatonic menyamai 5 ton terawal Gereteh iaitu C, D, E, F dan G.


Gendang atau tambor biasanya diperbuat daripada kayu nangka. Kulit yang digunakan pula ialah daripada kulit lembu atau kulit kerbau. Gendang lembu mempunyai getaran yang rendah (bass). Kedua-dua gendang ibu dan gendang anak mempunyai dua permukaan berkulit yang dipalu dengan tangan. Peranan Gendang Ibu ialah mengawal tempo dengan cara pukulan melalu.


Kayu Pengetuk
Kayu pengetuk Caklempong berukuran kira-kira 22 sentimeter panjang. Satu pertiga daripada kayu pengetuk dibalut dengan tali gasing supaya apabila diketukkan ke cembul Caklempong hasil bunyinya tidak terlalu nyaring.


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Caklempong tergolong di dalam kumpulan Idiofon (Idiophone) iaitu kategori alat muzik yang dibuat daripada bahan logam, kayu, buluh dan tempurung. Biasanya ia dimainkan dengan cara pukulan, hentakan, goncangan dan ketukan. Antara alat muzik yang termasuk dalam klasifikasi ini ialah gong, saron (gamelan) bonang (caklempong) kenong (gamelan) angklung, gambang, kertuk dan lain-lain. Selain caklempong yang terdapat di Negeri Sembilan dan talempong di Sumatera Barat, alat muzik berbentuk seperti gong kecil juga terdapat di tempat lain dan dikenali sebagai kyi-waing (Myanmar),Trompong (Bali) dan Kulintang (Filipina).

Bonang caklempong yang berbentuk seperti gong kecil diperbuat daripada tembaga berdiameter 16cm, tinggi 8-10 cm dan mempunyai cembol setinggi 2.5cm di tengah-tengahnya. (Rujukan: Music of Malaysia, 2004). Asalnya, caklempong dimainkan mengikut skala pentatonic yang terdiri daripada notasi C, D, E, F dan G, tetapi kini telah dimasukkan kesemua notasi


Muzik tradisional caklempong dikatakan telah dibawa ke Tanah Melayu oleh masyarakat Minangkabau dari Sumatera Barat yang menetap di Negeri Sembilan seawal kurun ke-14. Masyarakat Minangkabau memanggil caklempong sebagai talempong.

Di dalam tradisi terdahulu, selain daripada tujuan untuk berhibur,caklempong turut memainkan peranan penting di dalam kehidupan seharian masyarakat Minang seperti menyatupadukan penduduk setempat caklempong dimainkan semasa upacara pertabalan Sultan. Hari ini caklempong dimainkan untuk pelbagai tujuan antaranya ialah upacara perkahwinan, perasmian, keraian, muzik iringan pencak silat, tarian dan sebagainya.

Muzik caklempong kini telah diterima oleh masyarakat majmuk di Malaysia sebagai muzik warisan bangsa milik semua dan bukannya tertumpu kepada Negeri Sembilan sahaja. Muzik caklempong telah diajar di institut perguruan seluruh negara dengan tujuan untuk turus menyemai semangat kecintaan kepada muzik tradisional di Malaysia.