HISTORICAL BACKGROUND

Malaysia & Indonesia

         
    Malays comprise more than 50% of the population in Malaysia and form the largest ethnic group in Malaysia and Indonesia. They are brown-skinned descendants of Pre-Christian migrants from the interior of Asia. These people speak various dialects belonging to the Austronesian (Malay-Polynesian) family of languages. The languages of the Malay group from Malaysia and Indonesia are still very much alike compared to languages of other neighboring lands.
    The Malay culture has been strongly influenced by other peoples, including the Siamese, Javanese, and Sumatran. The influence of Hindu India was historically very great, and the Malay were mainly Hindi before they were converted to Islam in the late 15th century.
    Most Malays live in Peninsular Malaysia and are concentrated in the rural areas. They subsist mainly on padi (rice-paddy) cultivation or fishing and live in traditional kampong (hamlets). Islam is the religion of virtually all Malays, and its influence is seen in the ceremony of the Malay courts and in Malay art and literature.

For more information: ISLAM IN SOUTH EAST ASIA

GREETINGS:
How are you? : Apa khabar
I am fine: Khabar baik
Good Morning: Selamat pagi
Good Afternoon: Selamat petang
Good Evening: Selamat malam
Thank You: Terima kasih
You are welcome: Sama-sama
Goodbye: Selamat Tinggal
Till we meet again: Jumpa lagi
one
 satu
two dua
three tiga
four empat
five lima
six enam
seven tujuh
eight lapan
nine sembilan
ten sepuluh


Malay Instruments
  • Angklung, an idiophone, is a set of chimes made from bamboo, a plant that is readily available in the jungles of SEA. The playing of angklung is similar to that in a handbell choir with each person playing only one note. The sound is made shaking the instrument side to side. The left hand holds the middle part of the angklung between the middle and index fingers in front of the chest; the right hand holds the lowest part if the angklung with the thumb and the pointer finger and shakes the instrument to make the sound.
  • Kompang is a shallow hand drum with a goat or cow-hide head, which is nailed to a wooden frame with metal nails. The instrument is believed to have come originally from the Middle East. It was brought to South East Asia (SEA) as a result of trade with Arabia. In the early sixteenth century, kompang was used to attract buyers’ attention during trading (Hamidah, 1995). It also was used to accompany Arabian songs. Today, the kompang is used during occasions that are social in character, for example: parades, weddings, and welcoming important people.
    • The kompang is a small instrument held with the left hand and struck with the right. The number of players in a kompang ensemble can be from fifteen to one hindered. The players are divided into three groups “Melalu, Menyilang, and Meningkah.”
    • Two types of sounds are made on the drum, bong and pak. The bong is made by tapping the bottom of the drum with closed fingers, the pak is made by tapping the venter of the drum with open fingers
  • Gambang and Saron are the instruments in a gamelan that were brought to the Pahang court in West Malaysia from the Riau Island (Java). The tuning of the gamelan is pentatonic (slendro - low la do re mi so la high do). The gambang (xylophone) normally is played in octaves. The saron (metallophone) is played with a hard mallet using a single hand. The other is used to damp each bar as the next one is struck. This is usually done by holding the end of the bar with the thumb and the index finger.

Gambang		 Saron

Angklung







Kompang

Repertoire

Lenggang Kangkung
The lyrics of Lenggang Kangkung is based on the format of a pantun. The first two lines of the pantuns and have no other purpose than to set up a sound and rhyme pattern for the second couplet. The second couplet is the only meaningful part of a pantun.
Pronunciation; Melody (whole song)

Lenggang lenggang kangkung    The swaying of the watercress
Kangkung tepi telaga   The watercress which is near the well
Lenggang lenggang kangkung
Kangkung tepi telaga

Balik dari menyabung   Come back from work
Makanlah nasi sahaja   and eat the rice only
Balik dari menyabung
Makanlah nasi sahaja

Video performance at ISME conference, Kuala Lumpur, Malaysia, July 06

 Lompat katak
Pronunciation;  Melody (whole song)

Lompat sikatak lompat (kenek kenek)
Lompatlah tinggi tinggi (kenek kenek)
Cepatlah adik cepat cepatlah
Bangun pagi pagi (kenek kenek)
(Repeat)

Kalau adik malas lagi
Malas bangun pagi
La la la la la la la
La la la la la la la
Nanti kita rugi kenek kenek

Lompat sikatak lompat (kenek kenek)
Lompatlah tinggi tinggi (kenek kenek)
Cepatlah adik cepat cepatlah
Bangun pagi pagi (kenek kenek)

Video at NY Tri-chapter workshop, February 06, NY city

Malay Dance: Joget
Audio - Joget
    Joget is the most popular social dance throughout Malaysia. The joget was greatly influenced by Portuguese folk dance. It could have been brought to the Malay world after 1511 when Malacca fell to the Portuguese. The joget dance is originally taken from the Portuguese “Branyo.” The main characteristic of the joget is the rhythm. It is accompanied by a fast tempo with duple and triple beat divisions and is closely related to European 6/8 dance forms. The foot movements of this dance are more important than the hand movements. Male and female dance as a couple,  no holding hands or any physical contact. Joget is usually accompanied by a violin or flute, a drum, a gong, or by a small western ensemble with solo voice.

Malay children performed Joget Dance at ISME conference, July 2006, Kuala Lumpur, Malaysia
Books:
 Knowlton M. & Sachner, M. J. (1987). Children of the world: Malaysia. Milwaukee: Gareth Stevens Publishing.
Gritton, P. (1991). Folksongs from the Far East. London: Faber.
Lyons, K. & Loh, Martin. (2004). Malaysian children’s favourite stories. Boston: Tuttle.
Yussof-Day, N. (1996). Kancil and the crocodiles. New York: Simon and Schuster.

Information about Islamic religion and Islamic countries:
Banting, E. (2003). Afghanistan the culture. New York: Crabtree Pub. Co.
Black, C. (2003). Pakistan the culture. New York: Crabtree Pub. Co.
Hoyt-Goldsmith. (2001). Celebrating Ramadan. New York: Holiday House.
Marx, D. F. (2002). Ramadan. New York: Children’s Press.
Wolf, B. (2003). Coming to America: A Muslim family’s story. New York: Lee & Low Books.

Excellent link: Malaysian Musical Instruments
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