SARAH BORIA FINAL

SITI SARAH ASYIQIN BT
MD NASSER

THIS BOOK IS PUBLISHED TO FULFILL THE COURSE REQUIREMENT MUE620 DIGITAL DESKTOP
PUBLISHING UNDER THE SUPERVISION OF DR AHMAD RITHAUDIN MD NOORA
THIS BOOK IS PUBLISHED TO FULFILL THE COURSE REQUIREMENT MUE620 DIGITAL DESKTOP
PUBLISHING UNDER THE SUPERVISION OF DR AHMAD RITHAUDIN MD NOOR

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Library of Congress Cataloging-in-Publication Data
Oliva, Peter F.
Developing the curriculum / Peter F. Olivia.-6th ed.
p. cm.
Includes bibliography references and index.
ISBN 0-202-41259-9 (alk. paper)
1. Boria history-Pulau Pinang.
LB2806.15.O452004
375’.001-dc22
2004043749
Printed in Malaysia
10 9 8 7 6 5 4 3 2 1 RRD-VA 09 08 07 06 05 04

TABLE OF CONTENT
Content
Chapter 1: History ..................................................................................................... 1
Chapter 2: Costume ................................................................................................. 2
Chapter 3: Musical instrument .............................................................................. 3
Chapter 4: Lyrics and Dance Steps ........................................................................ 4
Chapter 5: Performance .......................................................................................... 5
Bibliography ............................................................................................................. 6

Chapter 1: History
Despite Boria's 150 years of history, the Penang Malay-Jawi
Peranakan parody is slowly losing its grip on
the heritage front. Boria, the traditional parody theatre
that was first originated from the ancient ta'ziyeh culture
of Persia is known for their medley of traditional music
and chorus singing. Today, boria remains characteristically
and typically a choric performance with the tukang
karang in charge and reciting the more significant poetic
passages whose lyrics he composes. Minimal dance
movements or gestures are included and large modern
bands accompany performances.
In the early history of the Boria, only men acted all
the parts. But since the 1950s female Boria groups began
to emerge. Today there are mixed gender troupes, and in
these troupes the men do the acting and the women do
Despite Boria's 150 years of history, the Penang Malay-Jawi
Peranakan parody is slowly losing its grip on
the heritage front. Boria, the traditional parody theatre
that was first originated from the ancient ta'ziyeh culture

Chapter 2: Costume
The costumes used in the Boria performed in the villages
is usually the normal street wear of the performers,
or a costume appropriate for the story being performed.
However, in a staged performance in a hall or on television,
the costumes consist of colorful uniforms worn by
all the performers which are robes, modelled upon original
sack-cloth garments characteristics or early boria and
hats, often funny in shape

Chapter 3: Musical Instrument
Boria musical instruments have changed over time. However,
Boria is accompanied by a band that usually sits at the
back area of the stage. In former times, the ensemble included
violin, gambus plucked lute, marwas hand drums, Indian
tabla, accordion, gendang, cymbals, and harmonica.
The main melodic instruments has consistently violin,
include Malay, or Indian drums which is marwas and tabla in
the Boria performance.

Chapter 4: Lyrics and Dance Steps
The tukang karang lyrics are sung to tunes borrowed from Western,
Malay and Hindustani popular music. In the absence of scripts,
the tukang karang had to improvise his lyrics ex tempore. Recent
years have seen the increasing use of fixed scripts, sometimes following
censorships by government licensing bodies. The first copies of
each song in the Boria dance must introduce each group and duplicate,
and this will be the chorus to this song in a Boria dance. Example
as below:
Boria Anak Tanjung
Salam sejahtera kami ucapkan,
Kepada hadirin yang kami muliakan,
Kegebatan boria kita dengarlan,
Boria Anak Tanjung mohon dendangkan.
At the end of the event, Boria groups often ask for forgiveness if
there is one during the dance event at that time. If we heard the
sound function or words like in the example, it is a sign Boria dance
event at that time was running out and completed. Example:
Tamatlah sudah madah karangan,
Kalau tersilap dimarah jangan,
Budaya boria dibuat sebagai pegangan,
Boria Anak Tanjung melambaikan tangan.

An excerpt of Sambutan Dewi Bunga, by the tukang karang, in a boria performance.
The dance steps of chorus members are based upon popular Western dances such as
cha-cha or tango. Preferred local dance styles include zapin, inang, or joget. Dances from other
cultures, such as Indian or Middle Eastern that were once fashionable are today
rarely encountered.

Chapter 5: Performance
A performance is divided into two segments: a comic
story or comedy sketch, and a song and dance section.
The two segments feature the same story or theme.
The comedy sketch is usually acted by 10 to 14 actors.
The theme of the story is presented in a comic sketch
with slapstick comedy and improvised dialogue. A small band plays instrumental music
to
accompany the story and to produce sound effects whenever needed.
The second part in the performance consists of songs and dances that occur a number
of times.
This part is presented by a solo singer and a chorus consisting of about 30 to 40 people
(smaller groups use 10-12 people). The members of the chorus also dance and they are
referred to
as the kelasi or sailors, while the solo or lead singer is known as the tukang karang.
Boria combined entertainment with social criticism. These functions continue to be
important in contemporary performances. The bad effects of gambling or drinking and
even of multiple marriage, for instance, are often highlighted. Boria, still popular in
Penang, remains unique to that state.

Bibliography
Boria : A passage through time. MyPenang website. Retrieved from http://mypenang.
gov.my/index.aspx?page=page-1091-boria_a_passage_through_time- 1
130;1091;1073;991;794;.pgt on 26 August 2014.
Hamilton, A. W. 1920. The boria. Journal of the Straits Branch Royal Asiatic Society
82: 139–144.
Rahmah Bujang (1987). Boria: a form of Malay theatre (Local history and
memoirs). Institute of Southeast Asian Studies. pp. xii,1 & 2.
Terry Miller & Sean Williams (2008). The Garland Handbook of Southeast Asian
Music. Routledge. p. 236 & 237

Sarah Nasser is an Editorial Campaigns
Assistant at Mashable's New
York City headquarters, where she
researches and writes custom content.
She graduated from the Faculty
of Music, with bachelos degrees
in Music Education in 2018. After
graduation she lived in Madrid for
one year and traveled extensively
before moving to New York. She is currently working on a
Master's of Music Education at New York University. Before
interning at Mashable she was at Hearts Digital Media Working
in digital media marketing.
Despite Boria's 150 years of history, the Penang Malay-Jawi Peranakan
parody is slowly losing its grip on the heritage front. Boria, the traditional
parody theatre that was first originated from the ancient ta'ziyeh culture of
Persia is known for their medley of traditional music and chorus singing.
Today, boria remains characteristically and typically a choric performance
with the tukang karang in charge and reciting the more significant poetic
passages whose lyrics he composes. Minimal dance movements or
gestures are included and large modern bands accompany performances.