Earliest, male dancers would only wear a simple Baju Melayu Teluk Belanga paired with a songkok to complete their appearance. However, with the passage of time and the influence of modern fashion trends, the male dancers' attire has become more varied, incorporating the Baju Melayu Cekak Musang, which features a stiff, raised collar. This is typically paired with a woven or songket waist cloth (samping) wrapped neatly around the waist. The dark-colored songkok remains the primary headgear, while some dancers further complement their attire with a bengkung (waistband) fastened with a pending (ornamental buckle), symbolizing elegance and the refined nature of traditional Malay dress.

For female dancers, they wear the Baju Kurung Teluk Belanga, which features a loose, long, and modest cut, reflecting the value of propriety within Malay culture. The women’s costumes are usually made from plain or delicately patterned fabric, paired with a sarong wrapped securely around the waist. To enhance the aesthetic appeal, female dancers also wear accessories such as selendang (shawls) draped over the head or shoulders, along with dokoh necklaces, brooches, and earrings as additional adornments.

In terms of makeup, female dancers maintain a modest concept with soft and understated makeup. The focus is on enhancing facial radiance and ensuring clear facial expressions throughout the performance, allowing facial gestures to help convey the beauty of the dance movements and the emotions embedded within the zapin performance. This simplicity in makeup also serves to preserve the authenticity of the performance, in line with the values of modesty and moderation that are foundational to Malay culture.

The Zapin Raub dance is accompanied by a set of traditional musical instruments that reflect a fusion of Malay heritage and Middle Eastern influences. Each instrument plays a unique role in producing the rhythm, melody, and overall atmosphere that create a harmonious and energetic performance.

Gambus

The gambus serves as the primary instrument in the zapin ensemble. It is a plucked string instrument resembling the Arabic oud, featuring a short neck and a rounded body. The gambus produces the main melody and is often played solo at the beginning of a performance as an introductory piece known as taqsim. The presence of the gambus highlights the Islamic and Middle Eastern influence that entered the Malay world as early as the 15th century.

Marwas

Also known as marawis, the marwas consists of a pair of small cylindrical hand drums played with the hands. This instrument serves as the main rhythmic foundation for the zapin dance. The alternating beats of the marwas provide a consistent pace and tempo that guide the dancers' movements.

Gendang (Drum)

The gendang reinforces the rhythmic structure. It is larger than the marwas and produces deeper, more resonant sounds. In the context of Zapin Raub, the gendang plays a crucial role in energizing the dancers, particularly during transitions between dance segments.

Rebana

Also known as the Malay tambourine, the rebana adds a softer layer of percussive sound, filling the spaces between the beats of the marwas and gendang. It provides textural variety and contributes to the dynamic rhythm of the zapin performance.

Violin

The violin is one of the instruments influenced by Western music but has been creatively adapted into zapin performances. It provides supporting melodies and improvisations that enrich the overall sound, weaving harmoniously with the gambus and harmonium.

Harmonium / Accordion

This keyboard instrument operates using airflow and supports both melody and vocals. It produces stable chords and musical backgrounds, strengthening the arrangement of zapin songs. The harmonium is sometimes replaced or paired with the accordion, another Western-influenced instrument that performs a similar function with a slightly different tonal quality.

Gong

The gong is a circular metal percussion instrument that is suspended and struck to mark transitions between segments or to emphasize climactic moments in the performance. The resonant sound of the gong creates a dramatic effect and adds spatial dimension to the stage atmosphere.

The combination of these instruments produces a rich and complete soundscape, ranging from percussive beats and plucked melodies to harmonic and melodic accompaniments, all contributing to the captivating energy of the Zapin Raub performance.

The performance of Zapin Raub requires meticulous planning in terms of dance training, musical arrangement, and coordination between the dancers and musicians. Prior to any performance, dancers undergo intensive training sessions to master the nine fundamental dance steps, which form the core structure of the presentation. Each step carries its own meaning and is arranged systematically to produce movements that are both harmonious and refined.

The nine main steps in Zapin Raub choreography are: Sembah Tamu (guest salute), Langkah Asas (basic steps), Hormat Tamu (guest honor), Teng-Teng, Bunga-Bunga (flowering steps), Sendeng Memikat (attractive tilt), Acah-Acah (teasing moves), Ragam Tak Jadi (incomplete variations), and Tahtom/Wainab (closing sequence). The performance typically begins with Sembah Tamu, as a gesture of respect toward the audience and honored guests. This is followed by Langkah Asas and Hormat Tamu, showcasing graceful and balanced movements of the hands and feet. Movements such as Teng-Teng, Bunga-Bunga, and Sendeng Memikat add variety and artistic expression to the choreography, while Acah-Acah and Ragam Tak Jadi display the creativity and unique formations that characterize the performance. The routine usually concludes with Tahtom/Wainab, bringing the entire dance sequence to its formal end.

In terms of musical accompaniment, traditional songs such as “Lanchang Kuning” and “Anak Ayam” were commonly performed during Zapin Raub presentations in earlier times. These songs are typically played in repetitive cycles at a moderate tempo to complement the gentle and elegant dance movements. The melodies often contain elements of moral advice, subtle satire, and life lessons conveyed in a relaxed manner, making the zapin performance not only entertaining but also educational.

Song lyrics of “Lanchang Kuning”

Lancang Kuning, Lancang Kuning,

Belayar malam hai belayar malam,

Lancang Kuning, Lancang Kuning,

Belayar malam hai belayar malam,

Haluan menuju, haluan menuju ke laut dalam,

Haluan menuju, haluan menuju ke laut dalam,

Lancang Kuning belayar malam,

Lancang Kuning belayar malam,

Kalau nakhoda, kalau nakhoda,

 kuranglah faham hai kuranglah faham,,

Kalau nakhoda, kalau nakhoda 

kuranglah faham hai kuranglah faham,

Alamatlah kapal, alamatlah kapal akan tenggelam

alamatlah kapal, alamatlah kapal akan tenggelam

Lancang kuning belayar malam

Lancang kuning belayar malam

Lancang kuning, Lancang kuning,

menentang badai hai menentang badai

Lancang kuning, Lancang kuning,

menentang badai hai menentang badai

Tali kemudi, tali kemudi berpilin tiga

Tali kemudi tali kemudi berpilin tiga

Lancang kuning belayar malam

Lancang kuning belayar malam

Song Lyrics of  "Anak Ayam"

Anaklah ayam, anak ayam turun sepuluh

Mati seekor, mati seekor tinggal sembilan

Mari belajar, mari belajar bersungguh-sungguh

Supaya kita, supaya kita tidak ketinggalan

Anaklah ayam, anak ayam turun sembilan

Mati seekor, mati seekor disambar helang

Kalaulah kita, kalaulah kita dah ketinggalan

Ilmu tak ada, ilmu tak ada kawan pun kurang

Anaklah ayam, anak ayam turunlah lapan

Mati seekor, mati seekor ditangkap musang

Tiada ilmu, tiada ilmu tiada kawan

Hidup merana, hidup merana ditimpa malang

Both of these songs play a significant role in enhancing the narrative and emotional depth of the Zapin Raub performance, preserving the rich and meaningful heritage of the zapin tradition.

Mr. Hamzah bin Alias (Tok Mezah). No. D12 Felda Tersang 2, Raub, Pahang.