LIST OF ARTS AND CULTURE
Entire list of cultural arts includes all categories and states
Search Filters : 423
REBANA KERAS
<p>Rebana Keras is one of the traditional arts of Malacca, brought by Persian Arab traders who traded in the Malay peninsula during the Malacca Malay Sultanate. They conducted business at daytime and entertained at night, drumming the rabbana. The rabbana is a little flat drum struck with a thin cane drum stick. </p><p><br></p><p><br></p><p>Rabbana drumming is also believed to have been played in Sultan Mahmud's wedding ceremony. An Arab merchant, upon receiving news about the Sultan Mahmud’s marriage to a Princess from China, planned to liven up the event with rabbana. Having the palace approval, the merchant and his friends held a celebration of the bridal procession, drumming the rabbana, which attracted the locals’ interest. As a result, the rabbana gained popularity (Rahmat Arshat, 2012). </p><p><br></p><p>The locals eventually changed the term rabbana to rebana keras, as the sung song and the rabbana beats are of harsh tones (Rahmat Arshat, 2012). </p><p><br></p><p>For the unversed, rebana is a traditional Malay membranophone drumming instrument. Looking like a tambourine, its round frame is made of wood, and one side of the face is covered with cow or goat hide. Being heavy and requiring thumping with the palm of the hand for loud sounds, rebana keras is therefore drummed only by men rather than women. Usually played by 12 to 15 drummers, it contains dikir puji-pujian (praising rhymes) of which some modified to the needs of the occasion.</p><div><br></div> ...
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KUIH LOYANG
<p>Kuih Loyang is one of the most well-known traditional cookies in Malaysia, especially during festive seasons such as Hari Raya Aidilfitri, Deepavali, and the Lunar New Year. It is also known by many other names, including Kuih Goyang, Kuih Ros, Kuih Bunga Durian, Kuih Cap, Kuih Sarang Lebah, Kuih Siram, and Kuih Acuan. Its uniqueness lies in its flower-like shape, crispy texture, and the distinctive preparation method that uses a brass or copper mould. The original colour of Kuih Loyang is golden, but in modern times, innovations have introduced versions in various colours to appeal to younger generations.</p><p><br></p><p>Historically, Kuih Loyang is believed to have originated from South India, particularly Tamil Nadu and Kerala, where it is known as Achu Murukku or Achappam. The name achappam comes from the Malayalam language: “ach” means mould, while “appam” means bread or cake. In Tamil Nadu, it is called Achu Murukku, in Andhra Pradesh, it is known as Gulabi Puvvulu (meaning rose flower in Telugu), and in Odisha, it is called Mahunada Khaja. The cookie is said to have been introduced to India by Dutch and Portuguese traders, and later became part of the culinary heritage of Anglo-Indian communities, Goan Christians, as well as the Malabar Jewish and Nasrani Thomas communities, who added their variations, such as cardamom or black sesame seeds, to the batter.</p><p><br></p><p>The colonial influence of this cookie also spread to other countries. In Sri Lanka, it is known as Kokis, derived from the Dutch word koekjes (cookies). In Portugal, it is called Rose de Coque, in Scandinavia Rosettes, in Mexico Buñuelos de Viento, in Spain Flores Manchegas, in Indonesia Kembang Goyang, in Laos and Thailand Kanom Dok Bua/Dok Jok (meaning lotus flower), in Iran Nan Panjereh, and in Bangladesh Fuljhuri Pitha. This diversity of names reflects the cultural exchanges that took place through trade, colonialism, and international culinary adaptation.</p><p><br></p><p>In Malaysia, the name “Kuih Goyang” refers to the preparation technique, in which the mould is dipped into the thin batter and then placed into hot oil, where it is shaken until the cookie detaches. Meanwhile, the term “Ros” refers to its rose-like shape, and “Loyang” not only refers to the brass or metal material used for the mould but, according to the Kamus Dewan published by Dewan Bahasa dan Pustaka, also means a cake mould in Malay.</p><p><br></p><p>Interestingly, Kuih Loyang is especially popular in the state of Kedah and is considered one of the traditional cookies closely tied to Malay culinary heritage there. It is often served as a must-have treat during feasts, communal gatherings, and particularly during Hari Raya Aidilfitri. In Kedah, the skill of making Kuih Loyang has been passed down through generations, becoming part of the state’s culinary identity. Many small-scale producers in Kedah also turn it into a source of supplementary income, especially during festive seasons when demand increases significantly.</p><p><br></p><p>Thus, the history of Kuih Loyang reflects the cultural interactions between East and West, with its journey stretching from South India to Malaysia and then across the globe. In Malaysia, especially in Kedah, the cookie remains a celebrated culinary heritage, not only as a festive delicacy but also as a symbol of creativity, continuity, and cultural diversity.</p> ...
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CHINGAY
<p>The Chingay Parade is a form of street performance art that falls under the category of traditional games and cultural expression within the Chinese community, particularly among the Hokkien in Penang. The term “Chingay” originates from the local Hokkien dialect and holds two main interpretations: "chin-gē" (真藝), meaning “true art,” and "chng-gē" (妝藝), referring to “costumed performance” or “artistic parade.” The parade showcases a vibrant fusion of cultural elements such as giant flag balancing, lion and dragon dances, acrobatic acts, junglee (street drama), Chinese opera, and marching bands, making it one of the most festive, unique, and identity-rich expressions of folk performance.</p><div><div>Historically, Chingay is believed to have begun in Penang around the 1880s, primarily among the Hokkien Chinese community. It was closely associated with processions held in celebration of the birthday of Goddess Kuan Yin, the Goddess of Mercy in Taoist and Mahayana Buddhist beliefs. In its early form, the parade included the procession of temple deities and giant joss-stick holders, forming part of religious rituals. Over time, Chingay evolved into a large-scale public celebration that brought together street performances and traditional dances, embodying both the spiritual devotion and communal identity of the local Chinese community.</div><div><br></div><div>The first officially recorded Chingay parade in Penang took place in 1919, during the birthday celebration of the Deity of Compassion, as the Chinese community in George Town sought divine protection from a plague outbreak. Subsequent parades were held in 1926 and notably in 1957 to commemorate the declaration of George Town as a city by Queen Elizabeth II. The 1957 parade also marked a significant milestone, as it was the first time the Chingay flag was raised in a secular context, symbolizing a shift from a purely religious ritual to an inclusive, public cultural performance.</div></div><div><div>A more significant transformation occurred in 1966 when the George Town City Council introduced the Penang Festival as part of an initiative to boost the tourism sector. Within this context, the Chingay Parade was incorporated as a main event and later enriched with elements such as dragon and lion dances and various contemporary artistic performances. Since then, Chingay has evolved beyond its role as a cultural ritual to become an international tourist attraction, strengthening Penang’s identity as a hub of multicultural heritage and artistic diversity.</div><div><br></div><div>Today, Chingay is celebrated annually on the 21st day of the first month in the Chinese Lunar calendar, coinciding with the birthdays of Chinese deities and marking the culmination of the Chap Goh Meh festival. The parade typically begins in front of the Kuan Yin Temple or the Chinese Town Hall, winding through the main streets of George Town, and is welcomed by locals with firecrackers as a sign of reverence to the Goddess of Mercy.</div><div>Interestingly, the Chingay Parade is now also celebrated in other Malaysian states, such as Johor Darul Takzim, and has even been performed before the Yang di-Pertuan Agong during National Day celebrations. This reflects the growing acceptance and appreciation of Chingay across Malaysia’s multiracial society, recognizing it as a symbol of national unity. At present, Chingay is also in the process of being nominated for recognition as an Intangible Cultural Heritage by UNESCO, further reinforcing its status as an important part of Malaysia’s cultural legacy that deserves to be preserved and celebrated.</div></div><div><br></div> ...
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ALAI SEKAFI DANCE
<p>Alai Sekafi is a traditional dance of the Lundayeh ethnic community, primarily found in the Sipitang district and the interior region of Long Pasia in Sabah. The term "Alai" translates to "to dance," while "Sekafi" refers to a traditional musical instrument used by the Lundayeh people, which resembles the Sape. Therefore, the name of the Alai Sekafi dance comes from the instrument played during the performance.</p> ...
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NASI KANDAR
<p>Nasi Kandar is a delicious rice dish in Penang, introduced by Indian Muslim traders from India. Served with a variety of curry and side dishes, the signature of Indian foods; it is thus savoured by people of all ages, turning it into a popular cuisine. </p><p><br></p><p>Kandar means putting a long stick on one’s shoulder to carry heavy items. Hence came the name nasi kandar from this practice. Penang rice vendors in those days peddled their goods by suspending two containers at both ends of the stick on the shoulder, with rice and side dishes on each end. Goes a story saying that nasi kandar was a quick and easy daily meal of the workers of Weld Quay Port, the international port of Penang.</p><p> </p><p>Nasi kandar, having a distinct aroma, is kept in a three feet high wooden container. Nasi kandar lovers enjoy it with a lavish mix of curry gravy over the rice, thus called kuah banjir (flooding) and a variety of side dishes of meat, fried chicken, kari limpa, beef, fish roe, shrimp or fried squid. The vegetable dishes are eggplant, okra or sweet potato. The lavish gravy, side dishes and vegetables provide rich flavours.</p><p> </p><p>Today, the term nasi kandar, is seen in most Tamil Muslim restaurants, ‘Mamak Malaysia’, and Indian Muslim stalls, a testimony of the nation’s favourite.</p><div><br></div> ...
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THE ‘BERASIK’ DANCE IN THE TRADITIONAL HEALING PRACTICE OF THE BISAYA ETHNIC GROUP
<p>The Berasik dance is part of the traditional healing practices of the Bisaya</p><p>community in Beaufort, Sabah. It is a ritual performed to expel disturbances caused</p><p>by spirits believed to be the source of illness or affliction in individuals. The</p><p>ceremony is led by a shaman known as the babalian, who plays a central role in the</p><p>healing process. This dance is not merely a physical performance but also involves</p><p>the chanting of incantations, the use of specific musical instruments, and ritual</p><p>objects to summon spirits and restore the patient&#39;s spiritual balance.</p><p>The Bisaya community believes that certain illnesses are caused by disturbances</p><p>from the spirits of the deceased or supernatural beings known as mitogom. Thus,</p><p>the Berasik dance is not simply a cultural performance but carries deep spiritual</p><p>significance, whereby the babalian interacts with the supernatural realm to heal the</p><p>afflicted. Typically, the ritual practitioner moves in circular motions around a</p><p>structure called the Sokuban, a tall shrine suspended from the roof to the floor of</p><p>the house. The Sokuban is decorated with leaves collected from burial grounds,</p><p>various types of flowers such as paper flowers, cempaka, and melur, as well as</p><p>mayang pinang (areca palm blossom). These decorative elements are believed to</p><p>serve as places where the spirits can dwell or cling to during the ritual. As the</p><p>ceremony begins, the dancers perform the Berasik dance in circular motion around the Sokuban, as a form of veneration and invocation of the spirits involved.</p> ...
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KUIH DANGAI
<div>Kuih Dangai is a traditional Malaysian dessert that is especially popular in the northern region of Peninsular Malaysia, particularly in the state of Perlis. This delicacy is made from a mixture of grated coconut, glutinous rice flour, and sugar (usually palm sugar), and is then baked in a special mould that produces a crispy outer layer and a soft, chewy interior. The fragrant aroma of roasted coconut makes this kuih a favourite treat, especially when served during afternoon tea or as a light dessert.</div><div><br></div><div><div>In terms of origin, Kuih Dangai is believed to have emerged from the creativity of rural communities who made use of locally available ingredients such as coconut and glutinous rice flour. It was traditionally prepared during festive seasons or communal gatherings, often carried out in the spirit of ‘Gotong-Royong’ (communal cooperation). The process of baking over charcoal requires a certain skill to control the heat and ensure that the kuih is evenly cooked without burning. However, today, many opt to use modern appliances such as ovens and air fryers to simplify the baking process and save time.</div></div><div><br></div><div><div>This kuih is also known as "Kuih Rangin" in several southern states like Johor and Melaka, with slight variations in flavour profiles and preparation methods. The spread of Kuih Dangai across Malaysia reflects its broad acceptance and enduring status as part of the Malay culinary heritage, particularly rooted in the state of Perlis.</div></div><div><br></div><div><div>Although Kuih Dangai is becoming increasingly rare in urban areas, there remains a dedicated group of traditional food enthusiasts and small-scale vendors striving to preserve this heritage through online sales, farmers’ markets, and heritage food promotion programmes for passionate lovers of traditional sweets.</div></div> ...
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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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WADAI
<p>Wadai Kipeng, also known as Gayam by the Banjar Alai community in Johor, is a traditional dish resembling desserts such as Puteri Mandi and Bubur Candil. Made from glutinous rice flour mixed with salted water and a small amount of lime water, the dough is kneaded into small balls before being cooked. This dish holds cultural significance within the Banjar community, reflecting their culinary heritage and communal spirit.</p> ...
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GENDANG BURDAH
<p>Gendang Burdah is a local art form in Sarawak under the category of music, found exclusively in Sri Aman, particularly among the Malay community.</p><p><br></p><p>Dikir Burdah was first introduced by an Islamic preacher from the Arab region named Sheikh Hj. Abd. Karim. He was actively involved in spreading the teachings of Islam in Sambas, Pontianak, Indonesia. Through his preaching, he also taught the art of Dikir Burdah to the local community. Initially, Dikir Burdah was only performed in prayer halls while waiting for the Isyak prayer time, which is the interval between the Maghrib prayer and the beginning of Isyak prayer time. Over time, this practice gained the interest of the prayer hall congregants and evolved into a performance and daily activity for the local residents. One of the preacher’s students, Sheikh Haji Abdul Rahman, was responsible for continuing this practice of Dikir Burdah.</p><div><br></div> ...
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ADAT BAPUKONG (BERPUKONG)
<p>Bapukong was a unique custom of the Banjar community (in the past) to help babies sleep soundly. Traditionally, it was for babies aged between five months and a year. </p> ...
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