LIST OF ARTS AND CULTURE
Entire list of cultural arts includes all categories and states
Search Filters : 426
PAKAIAN TRADISIONAL LELAKI BIDAYUH DAN WANITA SELAKO
<p>Basically, Bidayuh men wear leather top and loincloth (cawat) to symbolize warriorship and long-sleeved black shirts and long pants at ritual ceremonies. </p><p><br></p><p>Bidayuh wear differs according to where they live. The colours they usually wear is red, yellow and black.</p><p><br></p><p>While Bidayuh Salako women in Lundu and Sematan wear white. They wear two types of traditional dresses, short-sleeved or half-sleeved blouses, which are also worn by other Bidayuh ethnic groups. They match with black knee-length sarongs, decorated with lace. Coins, copper bells and white, yellow and red beads are delicately embroidered on the sarungs.</p><p><br></p><p>The Bidayuh clothing differs following their areas of origin.</p><p><br></p><p>To note, the Bidayuh people are divided into four sub-racial groups who speak different dialects and practise different customs. These four groups live in four areas. The Bukar-Sadong people live in Serian and Samarahan, the Biatah in Siburan, Padawan and Kuching, the Jagoi-Singai in Bau and lastly, the Salako-Rara in Lundu.</p><div><br></div> ...
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ADAT RESAM DAN BUDAYA MASYARAKAT MAH MERI KEMATIAN: MENGURUS MAYAT
<p>The Mah Meri community is one of the Orang Asli groups that inhabit coastal areas in Selangor, Malaysia. They are known for their rich culture, woodcarving art, and unique customs, including in funeral and death ceremonies. The customs and rituals related to death in the Mah Meri community reflect their belief in the spiritual world and respect for the spirits of their ancestors.</p><p>The Mah Meri community believes that death is not the end but the transition of the soul to another realm. The spirit of the deceased needs to be carefully managed to ensure that it gets a good place in the spirit world. They also believe that failure to perform the death ceremony correctly can cause the spirit of the deceased to disturb the living family members.</p><div><br></div> ...
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TARIAN KLASIK INDIA BHARATANATYAM (WPKL)
<p>Bharatanatyam is an Indian classical dance from South India. Its techniques are based on the Natyashatra text, the official manual for drama, traditional music and dance in India. This text was written by Bharata Muni over 2500 years ago. An adage goes that practice makes perfect, and especially it has to be danced solo and energetically, a bharatanatyam dance learner has to practise long and hard to perfect the meaningful moves.</p><p><br></p><p>A bharatantyam dancer is, in a way, dancing to narrate a ‘story’ emphatically. There are two main components of Bharatantyam: nritta and nritya. Nritta is the abstract steps of the dancer’s agility and ability at dancing. Whereas nritya is the ’storyline’, conveyed through the dancer’s expressive and silent moves (abhinayam) of hand, eye, head, neck and body movements following the musical tunes. While the message of the dance is narrated through songs, sung by a woman. </p><p><br></p><p>In more detail, abhinaya, the expressions shown by the dancer, are mukhabinaya (facial expression), hastabhinaya (hand expression; mudra), netrabhinaya (eye expression) and angikabhinaya (overall body movement). </p><p><br></p><p>The moves are symmetrical, that is, when the dancer moves to the right, the same move is executed on the left. Bharatantyam dancers have a remarkable knack of moving their limbs separately. At some point, executed with great flair, they move their head or eyes while other body parts remain motionless.</p><div><br></div> ...
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UMAI
<p>Umai is a traditional dish of the Melanau community based on seafood, particularly fish and shrimp. The main ingredient for umai is raw fish for preparing fish umai, while raw shrimp is used for preparing shrimp umai. For making fish umai, the Melanau people often choose parang fish, white pomfret, empirang fish, shark, and terubok fish. Meanwhile, for shrimp umai, smaller-sized shrimp are typically the preferred choice. The fish and shrimp must be cleaned and mixed with other ingredients consisting of shallots, onions, chili, lime juice, and ginger, as well as other additional ingredients according to individual taste. If using fish as the main ingredient, the fish meat is usually thinly sliced first. The shallots, onions, garlic, chili, and ginger must be pounded and mashed to be thoroughly mixed with the sliced fish prepared earlier. Similarly, if using small shrimp as the main ingredient, the shrimp must be mixed until well-blended with the pounded or blended ingredients to add flavour to the fish and shrimp. The squeezed lime juice can provide a sour taste to enhance the deliciousness of the umai. The amount of juice needed depends on personal preference, but generally, most umai preparers choose to make it slightly spicy and tangy to taste.</p> ...
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CEK MEK MOLEK
<p>Cek Mek Molek is one of the traditional dishes originating from the East Coast of Malaysia, particularly in Kelantan and Terengganu. It is a type of traditional kuih known for its sweet taste and soft texture on the outside with a sweet filling inside. </p><p><br></p><p>Cek Mek Molek is a result of traditional Malay cultural influences, especially from Kelantan. It uses simple ingredients that are easily found in rural areas and symbolizes authenticity and simplicity in Malay cuisine.</p><div><br></div><div><div>Characteristics of Cek Mek Molek</div><div>Texture</div><div>The soft exterior of Cek Mek Molek, combined with its sweet and slightly creamy filling, creates a delicious combination. It also becomes slightly crispy when fried.</div><div>Taste</div><div>This kuih has a balanced sweetness.</div><div>Shape</div><div>Cek Mek Molek is usually oval in shape, with a shiny texture that enhances its appearance.</div></div><div><br></div> ...
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MUZIK MELAYU ASLI
<p>Introduction and History</p><p>Origins and Early Influences</p><p>Melayu Asli music has a long history and has evolved alongside Malay culture for centuries. It first emerged as court and folk music, used in official ceremonies, weddings, and community entertainment.</p><p><br></p><p>The main influences of this music came from India, the Middle East (Arab and Persian), and Java, due to maritime trade and connections between Malay kingdoms and the outside world. Elements such as the gambus from Arab culture, rebana from India, and violin from Europe enriched the uniqueness of Melayu Asli music.</p><p><br></p><p>Malay Sultanate Era (15th - 18th Century)</p><p>During the Malacca Sultanate, music flourished as part of court entertainment and Malay cultural arts. Gamelan and nobat were played during official ceremonies, while ghazal music and asli songs were performed to entertain the royal family.</p><p>In Johor, Pahang, and Terengganu, Melayu Asli music was influenced by Javanese gamelan and Arabic melodies, creating unique musical styles.</p><p><br></p><p>Development During the Colonial Era (19th - Early 20th Century)</p><p>During British and Dutch colonial rule, Melayu Asli music underwent changes due to the introduction of Western music styles such as waltz and polka.</p><p>Violin and accordion began to be incorporated into traditional music.</p><p>Zapin, Joget, and Ghazal rhythms became more popular as folk music.</p><p>Melayu Asli music became widely embraced by the general public, no longer limited to the royal courts.</p><p>By the 20th century, Melayu Asli music was being recorded and broadcasted on radio and performed on stage, introducing this genre to a wider audience.</p><p><br></p><p>1950s - 1970s: The Rise of the Melayu Asli Music Industry</p><p>During this period, Melayu Asli music rapidly expanded with the growth of the recording and film industry.</p><p>Radio and films in Singapore and Kuala Lumpur popularized Melayu Asli songs.</p><p>Singers like P. Ramlee, Saloma, R. Azmi, and Sharifah Aini performed asli songs in films and concerts.</p><p>Melayu Asli music became widely accepted as national music and was frequently played at official ceremonies and celebrations.</p><p>At this time, Melayu Asli rhythms also started blending with modern music, giving birth to Pop Melayu Asli, which was lighter and more accessible to younger generations.</p><p><br></p><p>Modern Era (1980s - Present)</p><p>Although modern genres like pop and rock have dominated the music industry, Melayu Asli music continues to be valued as a cultural heritage.</p><p>Melayu Asli performances are still featured in official events, weddings, and cultural competitions.</p><p>The Malaysian government, through Istana Budaya, ASWARA, and RTM, continues to preserve this music by introducing programs and traditional music competitions.</p><p>Melayu Asli music is now fused with contemporary music to attract the interest of younger generations.</p><p><br></p><p>Melayu Asli music is a heritage of Malay arts and culture that has developed from the Malay Sultanate era to modern times. It is not just entertainment, but also a symbol of Malay cultural identity and history. With continuous efforts to preserve and promote this music to new generations, Melayu Asli music will remain an important treasure in Malaysia's traditional music landscape.</p><div><br></div> ...
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AWANG BATIL
<p>Awang Batil is a Perlis art of musical storytelling. This art is performed by a narrator, the penglipur lara, known as Awang Batil. He narrates stories while tapping a bronze pot (made to store water). The tapping is the background music of the narration.</p><p><br></p><p>Initially, Awang Batil was known as Awang Belanga because instead of tapping a pot, he did a belanga. However, the belanga was filled with coal, thus later it was replaced with a batil, a copper container. Back in the day, Awang Batil travelled through villages especially those having weddings to tell his stories. </p><div><br></div> ...
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PEKASAM
<p>Pekasam is one of the traditional foods well-known in the state of Kedah, which has become a part of the culinary heritage of the Malay community in northern Peninsular Malaysia.</p><p><br></p><p>"Ikan pekasam" is another name for fermented fish that has been preserved with salt and toasted rice. Freshwater fish such as sepat, lampam, and puyu are commonly chosen to make ikan pekasam. Freshwater fish are preferred because their scales are more abundant compared to saltwater fish. This is because saltwater fish, which have fewer scales, are less able to absorb the flavor of the toasted rice, making them less suitable for producing ikan pekasam.</p><div><br></div> ...
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PERMAINAN TRADISIONAL HENCANG BUAH KERAS
<p>Hencang Buah Keras has been played for hundreds of years. ‘Hencang’ means crushing, and buah Keras, a candlenut. The players need to crush the candlenuts, the main item of the game. </p><p><br></p><p>Initially hencang buah keras was only to the pleasure of palace courtiers, played exclusively by them. But later, they invited the common folks to play on the palace grounds, thus the game popularity spread to all social strata. Adding to the merriment, it is also played along with dances. The dances can be Gamelan, Labi-Labi, Inai and Piring. It is also performed along with the martial art silat and drums.</p><p><br></p><p>Playing the game, the courtiers do not crush the candlenuts. Instead, the crushers were the warriors (the common people working for the sultan). The good crushers would be respected by the folks in the region and their names revered. </p><p><br></p><p>Historically, hencang buah keras was brought to Pahang by Kraeng Agang Jene Muhammad Naziruddin, more known as Keraing Aji (Tok Tuan), a Bugis nobleman and warrior from Makassar, Sulawesi, Indonesia. The Bugis migrated to Pahang after the Dutch capture of Makassar in 1669. Keraing Aji strongly opposed the Dutch and fought to drive them out of Makassar. Hence, he and his followers were arrested by the Dutch and sentenced to exile in Capetown, South Africa.</p><p><br></p><p>On the voyage to Capetown, Keraing Aji escaped to Muar, Johor and then moved to settle in Kota Tinggi, Johor. After a while, he sailed to Endau and stopped there to collect water. He then continued his journey to Telok Kandang, Kampung Pulau Jawa, Pekan, Pahang. Feeling safe there, he stayed for ten years at Telok Kandang. In 1722, Keraing Aji moved to a new settlement in Pekan, naming it Kampung Mengkasar, after the name of its founder who was from Makassar, Sulawesi, Indonesia.</p><div><br></div><div><div>The Bugis migration brought the influence of culture and art to the people of Pahang. Having been introduced by Keraing Aji, they started to play hencang buah keras, and eventually, it became the Pahang game.</div><div><br></div><div><br></div><div><br></div><div>Types of Nuts </div><div><br></div><div>There are two types of nuts required in the game: the candlenut and the Gendong.</div><div><br></div><div>a)<span style="white-space:pre"> </span>The Candlenut</div><div>The candlenuts used is a hard type, which are called male and female.</div><div>a)<span style="white-space:pre"> </span>The male nut is almost round, light and fragile, thus, rarely used in the hencang as it can be easily crushed (thus losing the game).</div><div>b)<span style="white-space:pre"> </span>The female nut – has a flat surface that it becomes the main choice since the surface is good for pairing. </div><div>c)<span style="white-space:pre"> </span>c) Buah Gendong - shaped like a chicken egg. However, it is rarely used in the game unless there are no other nuts to be used.</div></div><div><br></div><div><br></div> ...
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TARIAN TIGAL PRANUK
<p>Tigal Pranuk is a dance that mimics the movements and behaviours of an animal, specifically the mousedeer (kancil). This dance requires physical flexibility and expressive facial movements to portray the sounds, actions, and mannerisms of the animal.</p><p><br></p><p>The behaviours of these mousedeer was observed by a group of villagers from Bukar’sadung, who happened to be in the area collecting firewood. Upon returning to their village, they began imitating the mousedeer's antics, which eventually evolved into the form of a dance.</p><div><br></div> ...
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ALAT MUZIK SULING (SERULING)
<p>The flute, in the context of the Kadazan-Dusun ethnic community, is a traditional musical instrument in the category of aerophones, a mouth flute type that is shorter in size than the length of a regular flute. It is made of Sumbiling bamboo, which has five or six finger holes known as 'Pongombitan'. The thumb hole is known as 'Molohing Tunturu'. Both ends of the flute are pierced for the flow of blowing from the mouth and the flow of the sound tone produced. The hole for blowing is known as 'Pogunian', and the end of the flute hole (back) is known as 'Pongirusan'.</p><p><br></p><p>This flute musical instrument is easier to make compared to other bamboo musical instruments. However, precision is required in its production to ensure that the flute maintains the authenticity of its sound and the manufacturing tradition that has been passed down from generation to generation.</p> ...
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