LIST OF ARTS AND CULTURE
Entire list of cultural arts includes all categories and states
Search Filters : 423
AIR JANDO PULANG
<p>Air Jando Pulang is a special drink that is synonymous with the Waghih community in Negeri Sembilan. This drink consists of a mixture of young coconut water added with fine young coconut filling and enau sugar, giving a unique sweetness and freshness. Air Jando Pulang is the choice of many, especially during the month of Ramadan, and can be found sold in various locations around Negeri Sembilan, which is renowned for the Adat Perpatih tradition.</p><p>Although the name carries elements of the word "jando" (widow), this drink is not actually related to any individual with widow status. The name Air Jando Pulang comes from the symbolism of its preparation process. The coconut is picked, and the top is peeled while the bottom is levelled. Then, the coconut water and fillings are taken out and then put back into the coconut. This process is analogous to the concept of "jando pulang," which is something that returns, similar to a coconut that is processed and filled again. That is the origin of the name Air Jando Pulang, which has now become an iconic drink for the people of Negeri Sembilan.</p><div><br></div> ...
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BANGSI DAN NINENG
<p>Bangsi music is a form of musical performance typically played by traditional communities during leisure time, particularly when resting after work. This music is also often played for family entertainment while relaxing together in the living room. In other instances, Bangsi music is played during special ceremonies, such as for healing purposes and at feasts or communal gatherings.</p><p><br></p><p>The music begins after the community leader or Gawai chief performs the opening ceremony by completing the patik nabur or sadih sanggar and sadih ancak rituals, which involve seeking blessings from spiritual entities. This ceremony accompanies the recitation of chants and mantras to request fortune and, simultaneously, to ward off misfortune and seek protection from the spiritual entity known as Kamang Triyu, ensuring they are safeguarded from evil spirits.</p><div><br></div> ...
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TARIAN DATUN JULUD
<p>Datun Julud means "long dance" in the Dayak Kenyah language, Hivan Joh in the Kayan dialect, and Arang Kadang in the Kelabit language. Traditionally, Datun Julud is performed by a group of women during ceremonial events of the Orang Ulu community.</p><p><br></p><p>This special dance, which focuses on expressing joy and gratitude to the Almighty, is said to have been created by Nyik Selong, the king of the Dayak <span style="display: inline !important;">Kenyah tribe in Apo Kayan. Nyik Selong was renowned and feared for his strength and exceptional skills in wielding weapons, making him nearly unbeatable.</span></p><p><br></p><p>However, he is said to have faced a personal dilemma as he had no heir. After a long wait for this moment of happiness, one of Nyik Selong’s daughters-in-law became pregnant and gave birth to his long-awaited successor. As a sign of gratitude, the entire longhouse community celebrated with a feast and performed this graceful dance.</p><div><br></div> ...
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TARIRAI
<p>Tarirai is a traditional dance popular among the Bajau Laut ethnic community in Semporna, Sabah. The uniqueness of this dance lies in the use of Bolak-Bolak, hand props made of short wooden sticks that are clapped together throughout the performance. The inclusion of Bolak-Bolak creates a distinctive auditory dimension, enriching both the visual and rhythmic elements of the dance.</p><p>The term “Tarirai” generally translates to "dancing quickly" in the Bajau Laut language, though for the Sikubung sub-ethnic group, it specifically means "jumping erratically." Thus, the dance is often interpreted as a rapid or swift performance characterized by hopping movements.</p><p>The origins of the Tarirai dance trace back to a historical incident involving a group of fishermen seeking their livelihood along the shore. Upon reaching a rocky area, one fisherman leapt in surprise after encountering a sea snake known as “Taliaga”. His startled reaction became a source of amusement for the other fishermen.</p><p>That evening, the fishermen shared the humorous incident with the villagers, imitating the startled jump for entertainment. The villagers later incorporated additional humorous elements and accompanied the imitation with Tangungguk music. Over time, the movements inspired by this event developed into the Tarirai dance, which continues to be celebrated and cherished as a cultural tradition.</p><div><br></div> ...
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MUZIK KENTRONG
<p>Kentrong was brought by traders from Indonesia to Malaya and began to grow in Malaysia, especially in Selangor and Johor. Prof. Dr. Ding Choo Ming, Principal Research Fellow of the Institute of the Malay World & Civilization, Universiti Kebangsaan Malaysia, in his article “Trade and Migration”, opened the way to the spread of traditional Malay literature. He states that many writers, copyists, storytellers and others, such as kentrong craftsmen in Jawa, poets in Sunda, and entertainers, go back and forth across the ocean and spin on land to entertain and educate. This statement means that the behavior of migration and literary activities of art and culture happened because of the influence and good political changes in Malaysia.</p> ...
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CERACAP INAI DANCE
<p>The Ceracap Inai dance is one of the traditional performance arts of the Malay community, originating from the state of Johor, particularly from Kampung Baru Batu 28 in Lenga, Muar. This dance falls under the category of folk dances rich in customs and decorum, playing a vital role in the cultural heritage of Johor. Its uniqueness lies in the fusion of royal court and folk dance elements, symbolizing a continuity of tradition between the aristocracy and the common people.</p><p>The origins of the Ceracap Inai dance are directly linked to the history of the Melaka Sultanate, particularly when Sultan Mahmud Shah fled upstream along the Muar River after the city of Melaka was besieged and attacked by the Portuguese for ten days in the year 1511. During this retreat, the Sultan and his entourage brought with them not only essential belongings but also court performances, including dance, music, and royal regalia. Among the performances preserved from that period was the Ceracap Inai dance, which continues to be practiced in certain regions of Johor to this day.</p><p>According to Tuan Haji Sukor bin Basir, a prominent figure and master artist (Adiguru) who actively promotes the continuity of this tradition, Ceracap Inai originated from palace traditions and was typically performed before the Sultan and his dignitaries as a gesture of respect. As such, the dance movements reflect elements of ‘Menyembah Dul’i (paying homage), including gestures such as bowing, salutation, and symbolic supplication, all of which embody humility, refined manners, and the high decorum of Malay etiquette. These features further strengthen the spiritual and moral values embedded within every performance of Ceracap Inai.</p><p>In its early practice, the dance was exclusively performed by female dancers, in line with its role in royal Malay ceremonies within palace settings, where it was typically danced by ladies-in-waiting. The movements conveyed grace, elegance, and modesty, symbolizing the gentleness and refined character of Malay women. However, in contemporary practice, Ceracap Inai is now also performed by mixed groups of male and female dancers or in male-female pairs, depending on the nature of the event and the creative direction of local performers. Although changes have occurred in performance format and dancer composition, the authenticity of movement, core values of politeness, and Malay cultural decorum are still preserved. These changes are regarded as a progressive effort to ensure that the legacy of Ceracap Inai remains relevant and sustainable among the younger generation, while continuing to strengthen Johor’s cultural identity.</p><div><br></div><div><br></div> ...
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ALANG RA ILLAU
<p>Alang Ra Illau is a traditional dance of the Murut ethnic from the Tahol tribe, predominantly residing in the districts of Nabawan, Pensiangan, and Tenom. The term ‘Alang’ means "to dance," while ‘Illau’ refers to a ceremonial exchange of forest produce, such as fruits, between villages. Accordingly, the dance portrays movements that mimic the act of picking low-hanging fruits, which are easily accessible. Female dancers sometimes carry baskets, locally known as ‘Basung’, slung over their backs to collect the harvested fruits. These fruits are then exchanged with villagers or neighbouring communities.</p> ...
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NGAJAT INDU
<p>The word indu, pronounced as induk, means "woman" in the Iban language. Thus, Ngajat Indu is a type of dance performed exclusively by women from the Iban ethnic group. The primary elements of this dance highlight the gracefulness and elegance of Iban women while clearly showcasing the refined artistry, cultural heritage, and traditions of this indigenous community.</p> ...
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DODOL PAHANG
<p>Dodol is a type of traditional confectionery that requires hours of cooking, using ingredients commonly found in tropical regions, such as coconut milk and palm sugar. This delicacy symbolizes prosperity and abundance due to the time and effort required for its preparation. As a result, dodol has become a special dish for major events and important celebrations in local communities.</p><p><br></p><p>Dodol remains popular among the Malay community in Malaysia, particularly in states like Pahang. It is a highly favored traditional dish often served during festive occasions such as Hari Raya, weddings, and communal feasts.</p><div><br></div><div><br></div><div><div>Characteristics of Pahang Dodol</div><div>Unique Taste and Texture: Pahang dodol is known for its softer and chewier texture. Its sweetness, enriched by palm sugar, gives it a richer and more complex flavor.</div><div>Use of Coconut Milk: Like other traditional dodol varieties, coconut milk is a key ingredient in Pahang dodol, providing a creamy texture and rich taste. This makes the dodol creamier and denser, unlike lighter varieties from other regions.</div><div>Use of Palm Sugar: Palm sugar is an essential ingredient in Pahang dodol, giving it a dark brown color and a more natural sweetness compared to white sugar. This also imparts a more aromatic and richer flavor to the dodol.</div><div>Traditional Cooking Process: Similar to dodol from other places, Pahang dodol requires a lengthy and meticulous cooking process. It is usually cooked in a large wok (known as a kawah) over a low flame for several hours while being constantly stirred to prevent sticking and burning. This process results in the chewy texture that is a hallmark of dodol.</div></div><div><br></div> ...
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ALAT MUZIK SOMPOTON
<p>Sompoton is one of the unique and famous traditional musical instruments among the Kadazan-Dusun ethnic group in Sabah. It belongs to the aerophone category, which produces sound by blowing air. Sompoton is similar to the Bagpipe musical instrument, but in a form and way of playing that suits the local tradition. It is made of bamboo and gourd, which is the main resonator to produce a special harmonic sound.</p><p><br></p><p>Based on local history, the origin of Sompoton is believed to come from Tikolod Village in Tambunan district and its residents are said to have special skills in producing this musical instrument. However, this traditional musical instrument is now getting more and more attention among traditional musicians and can be found anywhere, especially in the west coast areas of Sabah.</p><p><br></p><p>The Sompoton structure consists of 8 Sumbililing sticks (small bamboo), of which 4 sticks refer to the 'Long Raft' with three different length sizes, and the other 4 are 'Short Raft', which have the same size. These long rafts and short rafts are arranged around the Kurobu (dried water gourd). Each reed is pierced with holes to control tone, and one of them serves as the main air channel. Air is blown in through the mouth into a water gourd that is dried and then channelled to the small reeds to produce sound. The sound produced by Sompoton is melodious with a rhythm that is often associated with festive atmosphere, religious rituals, and social events.</p><p><br></p><p>Traditionally, Sompoton is played during traditional ceremonies and celebrations, such as harvest festival celebrations, which are crucial in Kadazan-Dusun culture. This musical instrument not only serves as entertainment but also as a symbol of respect for the universe and the spirits of their ancestors. Although its use is synonymous with traditional ceremonies, Sompoton is now increasingly finding a place in modern and contemporary music performances to promote Sabah's traditional musical heritage.</p><div><br></div> ...
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HADRAH DAN TARIAN HADRAH (KEDAH)
<p>Hadrah is drumming music brought by Persian traders to Kubang Pasu, Kedah. It became popular in Kedah and Perlis in the 17th century, which then, widely performed from day to night. At present it is music of choice at weddings. </p><p><br></p><p>Hadrah is also played in other states, but the lyrics of the ones in Kedah are in Kawi Malay language which originated in Kampung Bayas, Jitra.</p><p><br></p><p><br></p><p><br></p><p><br></p><p><br></p><p><br></p><p><br></p><p><br></p><p><br></p><p><br></p><p>Way back then, hadrah male dancers dressed in women’s clothing to perform since women were not allowed to dance. However, at present, female dancers are performing as well. </p><p><br></p><p><br></p><p>It is said that this dance was created from an occurrence of a group of woodcutters who lost their way in the forest. While looking for a way out, they sang, prayed and beat their kompang (a type of drum). The Kedah hadrah is unique as it has an interlude performance called noge. </p><div><br></div> ...
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ADAT RESAM DAN BUDAYA KAUM KADAZANDUSUN SUKU KADAZAN PAPAR – PANTANG LARANG KAPATAZON (KEMATIAN)
<p>As the largest ethnic group in Sabah, the Kadazandusun community exhibits linguistic diversity, with various dialects reflecting distinct customs, including death-related terms. In the general Kadazandusun language, death is referred to as Kapatayon. However, in the Kadazan Papar dialect, the term Kapatazon is used. The Kadazandusun language includes two primary terms to denote death and pronunciation variations influenced by dialectal differences among sub-ethnic groups. Furthermore, each Kadazandusun sub-ethnic group observes distinct taboos related to death. While the structural framework of these taboos is mainly uniform, certain variations underscore the cultural distinctiveness of each subgroup.</p> ...
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