ARTS AND CULTURE INFORMATION GATEWAY
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Introduction and history
The lion dance is one of the most iconic cultural traditions of the Chinese community, rich in symbolism, philosophy, and aesthetic value. In Malaysia, it has become a prominent performing art, particularly during Chinese New Year celebrations, business openings, and auspicious ceremonies symbolizing prosperity and well-being. Generally, there are two main styles: the Southern lion dance (Nan Shi) and the Northern lion dance (Bei Shi), each with its distinct movements, lion head designs, and musical accompaniments.
Among the most captivating evolutions of this art form is the High Pole Lion Dance, a modern variant of the Southern lion style that emphasizes acrobatic excellence and technical precision. In this performance, dancers leap and balance on metal poles ranging from six to nine feet high, arranged in challenging formations. The act of jumping between poles, maintaining balance on narrow surfaces, and animating the lion’s facial expressions transforms the performance into more than just a visual spectacle; it becomes a showcase of physical strength, mental focus, and exceptional coordination between the performers controlling the lion’s head and tail.
The origins of the High Pole Lion Dance can be traced back to the Ming (1368–1644) and Qing (1644–1912) dynasties in China. It evolved as a martial arts-inspired performance often presented by kung fu associations. When Chinese communities began migrating to Southeast Asia in the 19th century, especially from Guangdong and Fujian, who brought this tradition with them, it took root in new cultural contexts. In Malaysia, the art form flourished, particularly in regions with large Chinese populations such as Kuala Lumpur, Penang, and Johor Bahru. Kuala Lumpur, in particular, has risen as a center of excellence, home to many professional troupes that have achieved international championships.
Beyond its artistic appeal, the High Pole Lion Dance also holds spiritual and cultural significance. In Chinese tradition, the lion symbolises power, bravery, and protection against evil spirits. As such, the performance is believed to dispel misfortune, attract good luck, and purify spaces—making it a meaningful ritual during festivals and business inaugurations.
Traditionally, the Lion Dance holds deep spiritual significance within Chinese culture and belief systems. It is believed to ward off evil spirits, dispel misfortune, and usher in good fortune and prosperity. The performance commonly features during major festive occasions such as Chinese New Year and Chap Goh Mei, as well as significant life events including weddings, business openings, and ancestral remembrance ceremonies. This spiritual function is rooted in the belief that the lion is a sacred creature possessing cosmic power to restore balance and neutralize negative energy, an idea closely aligned with the principles of feng shui in Chinese cosmology (Tan, 2000).
Beyond its ritualistic function, the Lion Dance also serves as a powerful medium for reinforcing Chinese cultural identity in Malaysia, particularly among both urban and rural communities. According to Wong and Tan (2015), the Lion Dance plays a pivotal role in the preservation of intangible heritage, passed down through generations. It also serves as a form of informal education for youth, instilling values, discipline, and social structures inherent in their cultural tradition.
In modern times, the High Pole Lion Dance has evolved into a highly professional and competitive art form. Prestigious international events such as the World Lion Dance Championship, hosted in Malaysia and other regional countries, have provided a global platform for troupes to showcase their talent and technical expertise. Performances are judged based on criteria such as precision, synchronisation, character interpretation, difficulty of acrobatic stunts, and artistic as well as technical value. These components highlight how the Lion Dance has transitioned from a ritual tradition into a complex and demanding performance art on the global stage.
In the High Pole Lion Dance, costumes and accessories serve not only as aesthetic elements but also play a crucial role in ensuring physical safety, enhancing dramatic expression, and conveying symbolic meaning.
Dancer’s Inner Garment
The performers inside the lion costume wear loose, flexible clothing typically made from cotton or sweat-absorbing fabric. This ensures comfort and freedom of movement during jumps and spins. Nowadays, performers often prefer wearing printed cotton T-shirts featuring their troupe's name. In addition, dancers wear knee and elbow pads made from high-quality foam or rubber to reduce injury risks during vigorous movements like leaping between poles. Special acrobatic shoes with rubber soles and anti-slip grip are also worn to provide maximum traction on the narrow, often slippery poles. These lightweight shoes are designed to enhance agility and safety.
Lion Costume
The lion costume is usually made of brightly colored velvet (such as red, yellow, green, or black), each color symbolizing bravery, wisdom, and spiritual power. It is decorated with synthetic fur and scaled patterns to mimic the mythical lion’s appearance. The fur reflects light during movement to create a dramatic visual effect. Small mirrors are stitched onto the lion’s forehead, believed in Taoist tradition to ward off evil spirits. While, the lion’s horns and long beard reference legendary characters from Chinese folklore, particularly the Romance of the Three Kingdoms, represented through color symbolism:
Red (Guan Yu): Represents loyalty and courage
Yellow (Liu Bei): Symbolizes wisdom and justice
Black (Zhang Fei): Embodies strength and firmness
Each color holds symbolic meaning, chosen not merely for aesthetics but to convey specific character traits or spiritual energy intended by the performing troupe.
Iconic Costume Accessories
Small bells are sewn onto the lion’s tail or body, producing a mystical sound that signals the presence of the “lion spirit” during the performance. The lion’s eyes can blink or rotate, controlled internally by the performer handling the head, allowing the lion to express emotions such as anger, alertness, joy, or fear. A moveable mouth enhances interaction with the audience, adding dramatic flair and realism to the performances.
Traditional musical instruments used in High Pole Lion Dance performances are typically played live, rooted in the folk music traditions of Southern China. Three main instruments are commonly featured:
Drum (Shigu, 鼓)
This is the principal instrument of the performance. It sets the rhythm, tempo, and emotional tone for each movement of the lion. The drum beats often reflect the lion's expressions—from slow movements while stalking, to dramatic moments during acrobatic jumps. This instrument is made from animal hide stretched over a large wooden frame and is played using a pair of special wooden sticks.
Gong (Bo, 鑼)
A large metal gong that produces deep, resonant sounds is used to mark the lion's appearance, dramatic transitions, or climactic moments in the performance. The sound of the gong is also believed to represent the cosmic forces of heaven and earth, symbolizing spiritual balance according to Taoist philosophy.
Cymbals (Luo, 鈸)
Cymbals are played by striking two metal discs together, creating dynamic sounds that match the lion's swift movements and leaps. They are typically used to emphasize dramatic gestures such as the blinking of eyes, mouth movements, and expressive motions of the lion costume.
All these instruments are played in a coordinated arrangement known as "tao lu" (套路)—a choreographed musical sequence tailored to each segment of the performance.
This performance is typically carried out by a pair of dancers who work in perfect coordination within a single lion costume. The front dancer is responsible for animating the lion’s face—such as blinking the eyes and opening and closing the mouth—while the dancer at the back controls the balance and movement of the body and tail. The rear dancer also plays a critical role in stabilizing the front dancer, especially during high-risk acrobatic stunts performed on poles.
In the context of the High Pole Lion Dance in Malaysia, this is a performance that requires exceptional coordination, acrobatic skills, and a deep understanding of structured choreography. Each performance unfolds through several key phases, creating a dramatic and visually compelling journey of the lion as portrayed through dance. The phases include:
Performance Setup and Preparation
Before the performance begins, the stage or performance area is carefully prepared. Stainless steel poles of varying heights (between 1.5 and 3 meters) are firmly mounted on a stable platform. These poles are arranged in challenging formations such as zigzags, circles, or grids to enhance the visual impact of the acrobatic sequences.
In addition, musical instruments like the large drum (shigu), gong (bo), and cymbals (luo) are positioned near the performance area. These instruments are played live and guide the rhythm, emotion, and transitions throughout the performance. Musicians must rehearse with the dancers to ensure synchronized movement and music. Preparation also includes dancer warm-ups and thorough safety checks on costumes and technical equipment.
Simon Ang Leong Yew
Reference Source
Bahan Bacaan
Beng, T. S. (2007). The lion dances to the fore: Articulating Chinese identities in Penang and Medan. 国立民族学博物館調査報告, 65, 63-78.
Bunnell, T. (2014). Book review: The Other Kuala Lumpur: Living in the Shadows of a Globalising Southeast Asian City. Urban Studies, 52(1), 195–197. https://doi.org/10.1177/0042098014555615
Han-Qiao, Y. (2007). On modernization development of lion dance and dragon dance as national traditional sports in view of culture structure. Beijing Tiyu Daxue Xuebao. http://en.cnki.com.cn/Article_en/CJFDTOTAL-BJTD200707010.htm
Hardwick, P. A. PANEL: SUSTAINABILITY OF THE PERFORMING ARTS IN SOUTHEAST ASIA: CURRENT CONCERNS AND NEW DIRECTIONS—PART I CELESTIAL HORSES IN THE LION CITY: MALAY IDENTITY AND THE SUSTAINABILITY OF KUDA KEPANG IN SINGAPORE. the ICtM Study Group on perforMInG ArtS of SoutheASt ASIA, 81.
Matusky, P., Beng, T. S., Pugh-Kitingan, J., & Hood, M. INTERCULTURALISM AND THE MOBILITY OF THE PERFORMING ARTS.
McGuire, C. (2015). The Rhythm of Combat: Understanding the role of music in performances of traditional Chinese martial arts and lion dance. MUSICultures, 42(1). https://journals.lib.unb.ca/index.php/MC/article/download/24252/28044
Tan, C. B. (2004). Chinese Overseas: Comparative cultural issues. Hong Kong University Press. Dalam http://ci.nii.ac.jp/ncid/BA70260214
Tan, S. B. (1989). The Performing Arts in Malaysia: state and society. Asian Music, 21(1), 137. https://doi.org/10.2307/834076
Ying, L. F., & Chiat, L. F. (2016). Dramatizing 1Malaysia in contemporary Chinese lion dance. Asian Theatre Journal, 33(1), 130-150.
Zhi, L. H. (2021). Music Accompaniment in Kun Seng Keng Lion Dance During Genting World Lion Dance Championship From 1994-2018 (Master's thesis, University of Malaya (Malaysia)).
Tokoh (jika ada temu bual tokoh)
Simon Ang Leong Yew. Persatuan Tarian Singa & Naga Jalan Alor, Jalan Alor, Bukit Bintang, 50200 Kuala Lumpur. 28 Februari 2025
Location
State JKKN Contact Information
Pn. Shariza Isa
Cultural Officer
Jabatan Kebudayaan dan Kesenian Negara Wilayah Persekutuan Kuala Lumpur
Kompleks JKKN WPKL,
Jalan Tun H.S Lee,
50000 Kuala Lumpur
03-20726431
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