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HADRAH
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Introduction and history
Hadrah is one of the renowned traditional musical arts in the state of Kedah, Malaysia. It is a combination of music, singing, and dance performed using traditional musical instruments such as small drums (also known as rebana), accompanied by songs in the form of praises to Allah and the Prophet Muhammad. Hadrah is often performed during celebratory events such as weddings, religious gatherings, and receptions for esteemed guests.
History and Origins of Hadrah
Hadrah is believed to have originated from Arab culture, particularly in the arts of qasidah and dhikr. This art form was introduced to the Malay Peninsula by Arab traders and Islamic missionaries who docked at ports such as Malacca and Kedah between the 13th and 15th centuries. The Arab influence was later absorbed into local culture and adapted with Malay musical elements, making Hadrah unique to the communities in this region.
Hadrah, a percussive musical art, is believed to have originated in Arab lands, particularly Persia, and was introduced to the Malay Peninsula by trading groups through Kubang Pasu, which was once an independent state known as Kubang Pasu Darul Kiam. Kubang Pasu is considered one of the earliest regions in the Malay Peninsula to embrace Islam, estimated to be around the 10th or 11th century CE. It was also seen as a center for the spread of Islamic influence due to its accessible waterways, including rivers and lakes. It is said that many Islamic religious schools (pondok) were established in the region, influencing areas as far as Arau-Kangar in Perlis. The power and influence of Kubang Pasu Darul Kiam also extended to regions like Narathiwat, Songkhla, and Pattani in Siam (Thailand).
It is said that the Hadrah performed in the state of Perlis is similar to that in Kedah, as Perlis was once under the governance of Kubang Pasu Darul Kiam.
In the past, Hadrah was recognized as Islamic-themed entertainment and functioned as a medium for religious preaching. Its lyrics were filled with messages of faith, morality, and appreciation for humanity. Additionally, Hadrah played an important role as a symbol of community unity, as it often involved collective participation, either through playing instruments or singing.
Hadrah performances gained popularity among the Malay community, particularly in Perlis and Kedah, as early as the 17th century. It was frequently performed during wedding ceremonies that lasted up to an entire day and night. During such events, more than 30 songs, mostly praising the greatness of Allah, nature, and prayers for the happiness of the newlyweds, would be performed at the bride's home.
In the cultural context of Kedah, Hadrah is not just seen as music but also as a medium for strengthening social and spiritual bonds. Skilled Hadrah performers play the instruments with deep emotion, and every rhythm carries a meaning closely related to religious teachings. A study by Abdullah (2015) revealed that Hadrah in Kedah is also a symbol of cultural identity, distinguishing the local community from those in other states in Malaysia. According to him, Hadrah serves not only as entertainment but also as a medium for teaching and spreading Islamic values.
The appearance of Hadrah musicians and dancers is one of the key elements that showcase the beauty and finesse of this traditional cultural art. The costumes worn by the performers usually reflect traditional Malay attire. Musicians often wear baju Melayu complete with a samping, tanjak, and songket fabric, while female dancers usually wear baju kurung or long kebaya adorned with traditional accessories such as hair buns (sanggul) and brooches (kerongsang). The colors used in the costumes often represent the spirit and mood of the event, such as red, green, and golden yellow, which symbolize joy and grandeur.
The uniqueness of these costumes not only highlights Malay cultural identity but also preserves traditional customs and heritage passed down through generations. A study by Siti Zainon Ismail (2006) in her book Pakaian Cara Melayu emphasizes that aesthetic elements such as embroidery motifs on the fabric and the choice of materials play a crucial role in showcasing traditional artistry. Additionally, the attire reflects respect for Islamic values, which form the foundation of Malay society, where modest and covered clothing is highly prioritized.
Hadrah, as a traditional musical art, has thrived in Kedah, Malaysia. This music is often associated with religious events and celebratory gatherings such as weddings and circumcision ceremonies. In Hadrah performances, several traditional musical instruments are used to produce its distinctive rhythm. The main instrument in Hadrah is the rebana, a type of traditional drum made from wood and goat or cow skin. The rebana comes in various sizes and is played rhythmically by several performers. Additionally, maracas (a percussion instrument) and sometimes kompang are used to enhance the performance.
According to oral traditions, Hadrah provided entertainment for the Malay community after a day of hard work by watching performances from Arab sailors. In these performances, the music relied only on a few drums called gendang ibu, gendang anak, and gendang besar. A Hadrah ensemble usually consists of six to nine members. At that time, Hadrah was performed exclusively by men, with all singing in Arabic-Persian. Even though there were elements of dance and acting in these performances, the dances and roles were played by men dressed as women since all sailors were male.
The arrangement of musical instruments is combined with religious or praise songs, often performed collectively by the group. Hadrah also involves simple yet synchronized dance movements to match the rhythm of the music. The beauty of Hadrah performances lies in the harmony between musical instruments, vocals, and dance movements, making it a symbol of the rich cultural heritage of the Malay community in Kedah.
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Reference Source
i. Bahan Bacaan
Mohd Nasir, M. T. (2010). Seni Muzik Tradisional Hadrah di Kedah: Analisis Struktur dan Fungsi. Kuala Lumpur: Dewan Bahasa dan Pustaka.
Ahmad, Z. (2005). Warisan Seni Muzik Melayu: Perspektif Etnomuzikologi. Universiti Malaya Press
Mohd Anis Md Nor, Seni Persembahan Tradisional Melayu. Kuala Lumpur: Dewan Bahasa dan Pustaka, 1993.
Wan Mohd Shaghir Abdullah, Pengaruh Islam dalam Seni Muzik Melayu Tradisional, Dewan Bahasa dan Pustaka, 2006.
Mohd Anis Md Nor, Seni Persembahan Tradisional Malaysia: Konteks dan Makna, Universiti Malaya Press, 2012.
Al-Attas, Syed Muhammad Naquib, Islam and the Malay World, ISTAC, 1993.
Siti Zainon Ismail, Muzik dan Tarian Tradisional Melayu. Bangi: Universiti Kebangsaan Malaysia Press, 2001.
Zuliskandar Ramli et al., "Tradisi Seni Muzik Hadrah dalam Masyarakat Melayu Utara", Jurnal Warisan Melayu, Vol. 12, 2020.
Siti Zainon Ismail. (2006). Pakaian Cara Melayu. Bangi: Universiti Kebangsaan Malaysia Press.
Abdullah, M. (2015). Kedah: Tradisi Hadrah dalam Kehidupan Masyarakat Melayu. Universiti Kebangsaan Malaysia Press.
Mohd Ghouse Nasuruddin. (2014). Seni Persembahan Melayu. Kuala Lumpur: Dewan Bahasa dan Pustaka.
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