| 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.VIDEO DIKIR BARAT
KLIP:- http://www.youtube.com/results?search_query=dikir+barat+kelantan&aq=0
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| Wayang Kulit - http://en.wikipedia.org/wiki/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
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VIDEO WAYANG KULIT KELANTAN KLIP :-http://technorati.com/videos/youtube.com%2Fwatch%3Fv%3DAFyD77USui8
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