Costume and appearance play a vital role in the Ceracap Inai dance, not only enhancing the aesthetic appeal of the performance but also symbolizing the values, identity, and cultural heritage of the Malay community, particularly in the state of Johor. Each element of the attire—whether clothing, accessories, or makeup—is designed to reflect refinement, harmony, and respect for tradition.

Male dancers typically wear the traditional Baju Melayu Teluk Belanga, a signature attire of Johor Malay men. This classic outfit features traditional tailoring elements such as pesak (side panels), kekek (gussets), and three pockets—two at the lower hem and one on the left chest. The outfit is usually in plain colors, without patterns, and paired with a woven sarong (kain samping) tied in the dagang dalam style (inward wrap), often showcasing floral or checkered motifs. The ensemble is completed with a songkok (traditional Malay headgear), often adorned with a brooch to enhance its elegance and cultural dignity.

Female dancers wear the traditional Baju Kurung Teluk Belanga, also featuring pesak and kekek to maintain the authenticity of its original cut. The fabric used may vary - polyester, cotton, satin, or silk, depending on preference and comfort. Color coordination with male dancers is often observed to maintain visual harmony during performances. If the blouse is in a plain color, it is usually paired with a full-flowered songket sarong, styled in the ombak mengalun (flowing wave) manner, which accentuates the graceful movement and cultural richness of the dance.

Accessories are an essential part of the dancers’ presentation. Female dancers typically wear necklaces, bracelets, and earrings, also known as ‘Subang Telinga’, often crafted with traditional Malay motifs. Hair is styled in a bun (sanggul) and decorated with hairpins (cucuk sanggul), fresh flowers, or a scarf (selendang), highlighting the elegance and femininity of Malay women. Male dancers may also wear a waist sash (bengkung) fastened with a traditional buckle (pending), symbolizing nobility and masculine grace within Malay cultural aesthetics.

The makeup for Ceracap Inai performances is typically subtle and modest, reflecting the values of grace and decorum in Malay culture. Female dancers wear light foundation, soft blush, and natural-toned lipstick to enhance their features without appearing overdone. Eye makeup is applied lightly with eyeliner or soft eyeshadow, avoiding bold or striking colors. The overall goal is to present a neat, elegant, and refined appearance that complements the traditional and symbolic nature of the performance.

The Ceracap Inai dance is supported by traditional musical accompaniment, which plays a vital role in shaping the atmosphere, tempo, and emotional expression throughout the performance. The primary instruments used in this dance include the gambus, violin, marwas, gendang (drum), tambourine or rebana, and kompang. The gambus is a stringed instrument resembling the Middle Eastern oud, believed to have been introduced to the Malay Peninsula through Arab and Persian influence. It is plucked to produce melodic lines and serves as the central melodic instrument in the dance accompaniment. The violin complements the gambus by adding harmonic richness and emotional depth to the performance.

The marwas is a small double-headed drum played by striking both ends, creating soft and balanced rhythmic patterns that serve as the backdrop for the dance’s graceful and measured movements. The gendang acts as the primary tempo-setting instrument, producing fundamental beats that guide the dancers in synchronizing their steps with the music. In certain performances, the tambourine or rebana is also included to introduce rhythmic variation and add a dynamic, festive tone to the atmosphere. Additionally, the kompang, a traditional Malay frame drum, is frequently used in this dance. It produces a vibrant rhythm that unites the music with the dancers’ movements and enhances the spirit and energy of the performance.

All of these instruments are typically played live by a group of musicians, usually consisting of four to six performers, depending on the scale and nature of the event. The live musical accompaniment not only enlivens the performance but also reinforces the cultural expression embedded within each presentation of Ceracap Inai.

In addition to musical instruments, the performance incorporates two important stage props, namely the ceracap and candles. The ceracap is an ornately carved metal tray, traditionally decorated with bunga rampai (fragrant flower petals) or henna leaves. It serves as a symbolic prop, held and presented by the dancers at specific moments during the performance, representing respect, purity, and sanctity. Placed atop the ceracap are lit candles, which the dancers carry gracefully as part of the choreography. The soft glow of the flickering candles enhances the mystical and solemn ambiance of the performance, especially during traditional weddings or ceremonial contexts.

The Ceracap Inai dance requires meticulous preparation before it is performed in front of an audience. One of the essential elements in this preparation is the use of the ceracap, an intricately carved metal tray adorned with bunga rampai (fragrant flower petals) or henna leaves. A lit candle is placed on the ceracap, which is then carried by the dancers as the main prop during the performance.

Typically, the dance is performed by a group of female dancers, usually consisting of five to eight individuals, although the number may vary depending on the scale and requirements of the event. In paired versions of the dance, it is commonly performed by three to five pairs of male and female dancers. Well-structured formations and synchronized movements are fundamental to the strength and visual harmony of this traditional performance, often featured during festive events or official ceremonies.

The structure of the Ceracap Inai dance performance is generally divided into three main segments:

Opening Gesture – Sembah Duli:

The performance begins with the dancers executing the sembah duli gesture three times, as a sign of respect to the audience and symbolizing reverence to royal tradition.

Main Movement:

The dancers then retrieve the lit candles from the ceracap and begin dancing with graceful, flowing movements that incorporate elements of traditional Malay dance and silat (martial arts). This segment demands great balance and precision, as the dancers must maintain the flame without spilling or extinguishing it.

Closing Gesture – Sembah Duli:

The performance concludes with another sembah duli gesture, representing a respectful and solemn ending that embodies humility and traditional etiquette.

The Adiguru (Master) of Zapin Lenga is Wak Sukur, also known as Haji Sukor bin Basir, who inherited the dance from Wak Rabu (Rabu bin Haron) of Kampung Lenga Batu 28. Born in 1950 in Kampung Mencil and raised in Lenga, he began performing with traditional Ghazal groups, Ceracap Inai, and Gambus music ensembles at the age of 13 under the guidance of Wak Rabu. After Wak Rabu’s passing, Wak Sukur became the recognized master of Zapin Lenga, continuing the tradition with dedication and passion. Although the popularity of the dance has declined due to the lack of younger successors, efforts to preserve and elevate Zapin Lenga are actively carried out by local artists and the surrounding community, ensuring that this invaluable cultural heritage is not lost to time.