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Fakulti Muzik dan Seni Persembahan, Universiti Pendidikan Sultan Idris
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Introduction and history
Berzanji is an Islamic art performance popular in the state of Perak. It is a type of vocal art performed during religious ceremonies or events such as the Maulid Nabi (celebration of the Prophet Muhammad's birthday), Akikah (animal sacrifice for newborns), welcoming a newborn, circumcision ceremonies, and weddings. The Berzanji performance is derived from the works of Sheikh Ja’far al-Barzanji, who narrates the life history of the Prophet Muhammad (PBUH).
It touches on his lineage and life development from childhood to his appointment as a Messenger, including accounts of his struggles and exemplary character. These aspects serve as an important moral and spiritual guide for all humanity, highlighting the Prophet's noble qualities as a role model for the faithful.
The art of Berzanji in the state of Perak was developed through the role of traditional Islamic educational institutions such as sekolah pondok and madrasah. Students, along with their Quran teachers, would melodiously recite Berzanji, turning it into a form of entertainment after their studies. Upon completing their education, these students returned to their respective villages, bringing the practice of Berzanji with them. Many of them became teachers and imams in mosques and Surau (prayer halls), integrating this practice into the local community.
Additionally, encouragement from the Sultan and prominent leaders in Perak contributed significantly to the widespread growth of this art form throughout the state. Dedicated Berzanji groups were even established by the royal court and its aristocrats, with performances becoming integral to royal ceremonies and traditions. The development of Berzanji was largely driven by Quran teachers, who also imparted knowledge of melodic Quranic recitation (Taranum). This not only enriched the practice of Berzanji but also helped to promote Islamic arts within the context of performance, further enhancing its role in cultural and religious life.
The art of Berzanji holds a significant role in Malay traditions as a spiritual and cultural element practiced in various religious and social ceremonies. Its primary function is to express gratitude, joy, and prayers for safety and well-being. Additionally, it serves as a medium to commemorate the Prophet Muhammad (PBUH) in various traditional Malay practices, such as welcoming a newborn, Cukur Jambul (a baby’s first haircut ceremony), circumcision ceremonies, weddings, and, most notably, during Maulidur Rasul (the celebration of the Prophet’s birthday).
This art form is not associated with a specific attire or costume for its performance. However, groups performing Berzanji at formal events often take the initiative to wear coordinated outfits that suit the occasion. Female performers typically wear Baju Kurung, which fully adheres to modest dressing guidelines. Male performers, on the other hand, usually wear a complete Baju Melayu set paired with a Songkok or a Tanjak (Headgear) to showcase their Malay cultural identity.
The art of Berzanji does not involve any musical accompaniment. Performers recite Berzanji collectively, led by a lead vocalist (Ketua Pendendang), followed by responses from the other members of the group. The harmonious blending of voices creates a distinctive rhythm unique to this art form. The tempo and rhythm of the recitation typically follow the lead vocalist.
The Berzanji lyrics commonly used in Malaysia are derived from the Majmu’ah Mauludu Sharif al-Anam text. It consists of eighteen (18) rawi, which are paragraphs within each Barzanji poem, each narrating a different story. Each rawi contains its own unique content and meaning.
Both men and women can perform Berzanji, but traditionally in Malaysia, it is more commonly presented by women. Each group performs in a circular formation while seated cross-legged. If seated on chairs, the performers arrange themselves in a straight line facing the audience, and the same applies if they perform while standing.
The performance begins with the collective recitation of the first rawi (introduction). The intonation and rhythm of the recitation typically follow a melodic pattern resembling the rhythm of Salawat. For the second to the fourth rawi, one of the performers leads with a few lines in a solo style (sola), followed by responses from the other performers. The response can either repeat the lyrics sung by the soloist or include phrases like “Allah” or “Salawat” in praise of the Prophet.
A minimal Berzanji performance usually includes the recitation of rawi one (1) to four (4). Beyond that, it is up to the group to continue with rawi five (5) to eighteen (18), depending on the nature of the event and the group’s capability. Once the selected rawi are completed, the performance concludes with reciting a prayer (doa).
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Reference Source
Bahan Bacaan
Abdul Ghaffar Abdul Quddus. (1993). Barzanji dan Konsep Amalannya di Nusantara. Kuala Terengganu: Penerbit Yayasan Islam Terengganu.
Abdul Rahman Rukaini. (1996). Barzanji: Rangkaian Kisah Nabi dalam Puisi Jaafar al-Barzanji. Kuala Lumpur: Dewan Bahasa dan Pustaka.
Abi Hamid Muhammad al-Ghazali. (1969). Al-Mujtahid al-Amin. Maktabah Matbacah al-Mustafa al-Halabi wa Auladah.
Abu Bakar Ya’cub. (1974). Makna al-Barzanji dan Pidato Memperingati Sejarah Nabi Muhammad SAW. Medan:Penerbit Firma Islamiyah.
Aziz Deraman dan Wan Ramli Wan Mohammad. (1994). Muzik dan Nyanyian Tradisi Melayu. Kuala Lumpur: Penerbit Fajar Bakti.
https://doi.org/10.37231/jimk.2015.9.0.88
Samat, A. B., Tibek, S. R., & Muhamat, R. (2014). Tahap Pengetahuan dan Minat Remaja Terhadap Seni Barzanji dan Marhaban: Kajian di Kalangan Pelajar SMKA Negeri Johor. Sains Humanika, 66(1).
Samat@Darawi, A. B., Tibek, S. R., Muhamat@Kawangit, R., & Hamzah, A. R. (2015). [History and Contribution of Barzanji and Marhaban Practices in The Main Councils of Society] Sejarah serta Sumbangan Amalan Barzanji dan Marhaban dalam Majlis-Majlis Utama Masyarakat. Jurnal Islam Dan Masyarakat Kontemporari, 9, 121-132.
Samat@Darawi, A. B., Tibek, S. R., Muhamata@Kawangit, R., & Hamzah, A. R. (2015). Sejarah Serta Sumbangan Amalan Barzanji Dan Marhaban Dalam Majlis-Majlis Utama Masyarakat. Jurnal Islam Dan Masyarakat Kontemporari, 9, 157.
Location
State JKKN Contact Information
Encik Yufazli Yusof
Cultural Officer
Jabatan Kebudayaan dan Kesenian Negara Perak
Kompleks JKKN Perak,
Lot 20561@20565 Jalan Caldwell,
Off Jalan Raja Di Hilir,
30350 Ipoh,
PERAK DARUL RIDZUAN
05-253 7001 / 05-254 1027
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