Vous êtes sur la page 1sur 5

Emcee text - School twinning programme 2009

No Event Script
1 Welcoming speech and salutation
A very good evening and welcome to cultural night and a dinner o !nternational
"winning school programme# We would li$e to welcome%
1# "he &onoura'le (ato) S* (evamany+ (eputy ,inister in -rime ,inister)s
(epartment#
2# "he &onoura'le (ato) &. A'dul A/i/ &. A'dul 0ati+ (irector o -SE(
1# "he &onoura'le (ato) &a.i ,ohammad Noor &a.i A'dul 2ani+ 3E4 o -ahang
5oudation 6#
,r# 2omalee Sumalee+ !nternational Aairs 4icer o "hailand 7# ,r
Ali &ussein A' 8hani+ (istrict Education 4icer o 3&
9# Sector &eads rom -SE(
:# ,r# Sinlapacai -ol$la+ (irector o Wichianchom School+ Song$la "hailand ;# ,r#
"amrong Nuamsiri+ (irector o Aannu'an <ttaradit School+ "hailand 9# ,r#
Nur/ihan 2i.aludin+ &eadmaster o 3onvent -rimary School+ ,alaysia
10# 4icers rom -SE( and (istrict Education 4ice
11# -ricipals and &eadmasters
12# "eachers and 5acilitators
11# -upils+ 0adies and 8entlemen+ =oys and 8irls

0adies and 8entlemen+> "he 3ultural Night> or !nternatioanl "winning School
-rogramme> is a show or cultural exchange> 'etween pupils> rom these two> nation#>
=eside+ >this is a very great opportunity >or the children> rom these two neigh'our> to
communicate> and 'uild up >a good relationship#>
Without urther a due>+ ! would li$e to welcome> "he &onoura'le> (ato) &. A'dul
A/i/ > 'in &. A'dul 0ati+> (irector> o -ahang State Education (epartment> or a
speech#> -lease Welcome#>
A Malay wedding is usually perormed when either one or 'oth spouses are ,alay# =eing muslims+ marriage 'ased on !slamic
principles is adhered+ with a 'lend o local customs# ,alay weddings are grand aairs where the couple is treated as royalty# "he
traditional wedding ceremony is in two parts# "he irst part is the akad nikah ?marriage contract@+ which is the legal and religious part
o the wedding# "he second part is the bersanding ?enthronement@+ which is a amily cele'ration# !t is usual or the two parts to 'e
cele'rated over two days# &owever+ it is 'ecoming common or there to 'e a gap 'etween the parts o the wedding+ during which the
couple are legally married+ 'ut saving up or an ela'orate 'ersanding#
"he actual wedding day is the =ersanding# "his literally means the Asitting together o the 'ride and 'ridegroom on the 'ridal couchA#
*nown as the -elamin+ this couch is the centrepiece o the whole ceremony+ and two pelamins are reBuired - one in the 'ride)s house
and the other in the 'ridegroom)s# As the =ersanding ceremony customarily ta$es place in the aternoon+ the 'ridegroom entertains
guests at his own house in the morning# "he bersanding ?enthronement@ ceremony 'egins with the groom)s procession with riends+
relatives+ musicians and people waving bunga manggar ?palm 'lossom@ to meet the 'ride# 4ten various good-humoured attempts are
made to waylay or stop the groom rom getting to the 'ride# "he main part o the bersanding involves the seating o the 'ridal couple
on a dais and sprin$ling them with yellow rice and scented water 'y amily mem'ers+ relatives and guests as a sign o 'lessing# Each
guest will receive a bunga telur ?egg lower@+ a decorated egg with a a'ric lower+ as a sign o ertility# "he couple are considered
royalty or the day+ and so various royal customs are perormed or them+ including musicians playing court music and )'odyguards)
perorming a display o Silat ?traditional ,alay martial arts@#
Dikir barat is typically perormed 'y groups o ten to iteen mem'ers+
C2D
though there is no actual set si/e+
C1D
even in competitive
environments# A group usually sits cross-legged on a platorm+ sometimes surrounded 'y the audience# Where the dikir barat is
perormed competitively+ the two competing groups will 'oth 'e on the stage at the same time#
C6D
!n a typical dikir barat perormance+ the group will perorm two segments# "he irst is led 'y the tok jogho+
C2DC7D
who is oten the person
in charge o the musical training o the group# "his irst segment usually contains the more complex musical arrangements+ and will
li$ely eature the awok-awok ?chorus@ singing in unison with the tok jogho+ as well as responsorial segments o singing+ similar to
what the tukang karut does with the awok-awok+ later in the perormance# "hough musically more complex than what will ollow+ the
irst segment is seen as the Alow-$eyA segment o the perormance#
C7D
"he creative leader o a dikir barat group is the tukang karut#
C1D
"he tukang karut is dierent rom tok jogho where the tu$ang $arut
rhyme in a de'ate manner a'out the topics o the perormance or relevance issue o or the current audiences# &is a'ility to do this
helps to uphold the reputation o the dikir barat group# 0eading the awok-awok during the second and concluding segment o the
perormance+ the tukang karut sings pantunsEmost o which are li$ely original and improvised on the occasion o the perormance+
'ut some which may 'e $nown to the audience#
C9D
?-antuns are an oral poetry orm indigenous to the ,alay region+
C:D
and are not
exclusive to the dikir barat#@ "hat the dikir barat uses pantuns does not mean that it is a perormance o poetry+ the rhyme o the
tu$ang $arut is in a orm o pantun# "he tukang karut is expected to rhyme the lyrics that touch upon lie+ li$e any poet+ 'ut he can also
address social issues+ legal matters+ animal liestyles+ government regulations+ and human oi'les#
C9D
"he tone can 'e satirical+ sarcastic+
or simply humorous+ 'ut a'ove all it is expected that it 'e clever#
C2D
"he tukang karut ma$es up and sings lyrics on the topic o the
perormance ?which may 'e pre-esta'lished or simply the choice o the tukang karut@+ and the awok-awok sings the same lyrics 'ac$
to him# (uring the perormance+ mem'ers o the awok-awok clap and perorm rhythmic 'ody movements+ which 'ring energy to the
perormance#
C;D
&istorically+ di$ir 'arat perormances have 'een all-male# &owever+ in recent years+ especially with groups 'ased in ur'an areas+
emale perormers are 'eginning to appear#
C6D
musical instrument in di$ir 'arat+ it comprise o ive main instruments+ re'ana i'u+ gendang ana$+ gong+ maraccas+ and canang#
additional instruments may 'e added 'ut the harmonious tune o the main instrument must not 'e 'loc$ 'y the added tunes# 'ut most
o the creative minds todays had compose a modern musics that accompanied 'y the di$ir 'arat instruments or vice versa# Anasheed
?Ara'ic% singular FGHI Nasheed+ plural FGJKIL AnaasheedM also spelt Nasyid in ,alaysia and !ndonesiaM ilahi in "ur$ishM Naat in
-a$istan@+ is !slamic vocal music that is either sung a cappella or accompanied 'y percussion instruments such as the da# !n general+
!slamic anasheed does not contain lamellaphone instruments+ string instruments+ or wind and 'rass instruments+ although digital
remasteringEeither to mimic percussion instruments or create overtonesEis permitted# "his is 'ecause some ,uslim scholars
interpret !slam as prohi'iting the use o musical instruments except or some 'asic percussion#
Anasheeds are popular throughout the !slamic world# "he material and lyrics o anasheed usually ma$e reerence to !slamic 'elies+
history+ and religion+ as well as current events# Nasheeds are also popular among Suis#
C1D
3losing
0adies and 8entlemen+ "hat)s wrap up our tonight dinner and cultural show# ,y
name is Nuraida Ouso and !), 5aridah Na.ihah Ouso >on 'ehal o committee or
this event> would to apologi/e> i there is any wea$nesses >during this event# >"han$
you> and good night#

Vous aimerez peut-être aussi