LIST OF ARTS AND CULTURE
Entire list of cultural arts includes all categories and states
Search Filters : 426
LAKON BERADAT
<p>It is said that Lakon Beradat, which is a form of hadrah music, was originally brought from the Middle East by an Arab trading group led by Syed Mahmud Saman. This group of traders would perform hadrah music in front of the local people whenever they stopped to trade in the Malay Archipelago, including the island of Borneo. This began to attract the interest of the local population, who wanted to learn more about this music and subsequently attempted to master it. Syed Mahmud divided the performance into two groups: the drum group and the poetry group. The enactments in this musical performance were guided by songs that praised the greatness of Allah s.w.t. and Prophet Muhammad s.a.w.</p><p><br></p><p>In 1902, Lakon Beradat performances were introduced to Kampung Sibi, Bintulu, Sarawak by a religious teacher and trader from Sambas, Indonesia, named Guru Ahmad Zamzam. The popular songs often performed during that time included Bismillah, Allanabia, Yafattah, Al-Fasah, and Salora Bona. Today, only two groups remain active in Sarawak: the Kumpulan Hadrah Budaya Bintulu and the Kumpulan Hadrah Kampung Sambir in the Kuching Division.</p><p><br></p> ...
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TARIAN SUMAZAU
<p>Sumazau is an iconic traditional dance of the Kadazandusun ethnic community in Sabah. This dance is often performed during the Kaamatan Festival (Harvest Festival), which is celebrated annually on May 31 as a tribute to ‘Bambaazon’ (the spirit of rice) after the harvest season. This dance, also known as Sumayau in the Dusun language, is closely related to the word ‘Minsayau,’ referring to dancing with hopping movements.</p><p><br></p><p>The origin of this dance is associated with the movements of an eagle spreading its wings in the air, particularly over the golden rice fields during the harvest season. Inspired by these eagle movements, the Sumazau dance adopts similar motion patterns. This dance is performed in pairs, with male and female dancers, and is not limited to a specific number of participants.</p> ...
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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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MASAKAN TRADISIONAL ‘AMBUYAT’
<p>Ambuyat is a traditional food, a favourite of the Bruneians and Bisayas. This special dish is enjoyed by many and has been passed down for generations by the Kadazandusun, Murut, Bajau and Dusun Tatana in Sabah. </p><p><br></p><p>Starchy food, transparent and sticky glue-like texture, it is made from sago flour, which is processed from sago palm wood, the ampulung. </p><p><br></p><p>In the old days, ambuyat was eaten daily, and always served at weddings, festivals and other celebrations. </p><div><br></div> ...
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ALAT MUZIK TOGUNGGAK
<p>Togunggak or Togunggu' is a type of traditional bamboo-based musical instrument that is popular among the Momogun ethnic group in Sabah, such as the Dusun, Kadazan, Kadazan-Dusun, and Rungus. For the Murut ethnic group, it is known as Tagunggak. This musical instrument belongs to the idiophone category, like the Angklung musical instrument, which produces sound through the vibration of its entire body when tapped. It is made of bamboo rods that are cut to a certain size and designed to produce various sounds depending on the thickness, length, and diameter of the bamboo.</p><p><br></p><p>As an idiophone musical instrument, the Togunggak sound is produced when the surface of the bamboo is struck with a mallet, triggering vibrations that produce a specific tone. The number of rods in a set varies depending on ethnic tradition and performance context. Here, small sets usually consist of 6 to 12 rods (Togunggak), while large sets, such as the Murut Togunggak, can reach up to 30 rods (Peter, 2017). The Togunggak uses at least two or three large porings (Gigantochloa Levis) bamboo segments that act as bass to produce a large sound when struck. Each rod has a specific melodic and rhythmic function, allowing it to be played harmoniously in large ensembles to produce complex musical patterns.</p><p><br></p> ...
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ADAT RESAM DAN BUDAYA KAUM RUNGUS: ADAT PERSIAPAN PENANAMAN BENIH PADI
<p>The ethnic Rungus, the majority of whom live in the districts of Kudat, Kota Marudu and Paitan in the state of Sabah, are a traditional farming community that depends on agricultural activities as the main source of their livelihood. This agricultural activity is known as 'Mutagad Om Motungo', which is farming or gardening activities following a certain seasonal cycle that starts in July and ends in April of the following year. The process begins with the clearing or clearing of land in July, followed by the felling of trees in August. The felled trees are then left to dry for a month before being burned in October. This Burning Process marks the beginning of the proper rice planting season.</p><p><br></p><p>As an agrarian ethnic group with high customs and cultural values, the 'Mutagad Om Motungo' activity has specific taboo practices especially when starting agricultural activities. This is a symbol of gratitude and an offering to 'Bambazon' which is the spirit of rice to bless and preserve their rice crops from being damaged or not bearing fruit. Therefore, a ritual custom known as 'Mangatod' or 'Patod' will be carried out before the activity of opening the land by farmers is done.</p><div><br></div> ...
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TEATER RANDAI
<p>Randai is a theater, a specialty of Negeri Sembilan, as it narrates stories in poems. The term ‘randai’ comes from ‘merandai’, which means composing or going round in an open area looking for a lost object. There are a few versions narrating its origins and the most believed is that it originated in Minangkabau, Indonesia. As the Minang people migrated to Negeri Sembilan, Malaysia, its theater grew into popularity here.</p><p><br></p><p>Integrating and embodying folk-dancing, acting, singing, poem reciting, music and humor, randai actors doing so, moving in a circular patten. Each randai theater casts twenty artists, called anak randai,. These anak randai, remarkably immerse into voice, posture and facial expression, narrating the stories exclusively in metaphors and parables, the kaba and bakaba.</p><p><br></p><p>Unlike the randai in West Sumatra, the one in Negeri Sembilan comprises songs, such as the opening, Budu Landai, Cantik Manis and Anak Bocek. </p><div><br></div> ...
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KOMPANG (PULAU PINANG)
<p>The kompang is one of the most basic and popular traditional Malay percussion instruments. It is typically played or struck in groups. This musical instrument is believed to be an assimilation of culture brought into the Malay world by the Arabs and Persians in the 15th century during the Melaka Sultanate. The kompang or percussion is played to accompany the gambus. Uniquely, this instrument reflects the culture of the Muslim community, as it is widely known from the Middle East to the entire Malay archipelago.</p><div><br></div><div>Originally, Arab and Persian traders who waited for the monsoon winds settled in Melaka and played musical instruments such as the rebana and other percussion instruments to pass the time and engage in religious songs, praising the greatness of God. Later, as the Malay community assimilated with the Arab and Persian cultures, the kompang (which resembles the rebana) was created. Local craftsmen, skilled in making kompang, used animal hides to ensure that the surface was hard when struck. The drumhead (the front of the kompang) is made from goat skin, which is attached to the body of the drum (the frame) with a rattan cord, securing the skin and the wooden frame, and nails are used to ensure tightness. This method also ensures that the sound of the kompang is louder when the surface is tight. Unlike today, the sound of most kompang is no longer as strong because plastic has replaced animal skin. Additionally, the sound is different, as plastic and animal skins naturally produce different tones.</div><div><br></div><div><br></div> ...
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MUZIK ASLI
<p>Muzik Asli is melancholic, melodious or sad music. Having a slow tempo; its melody is equally slow and soft. Their lyrics are usually historic events rhymes such as Seri Mersing, Siti Payung and Laksamana Mati Dibunuh. There are also about love and passion such as Selasihku Sayang and Gurindam Jiwa.</p><p><br></p><p>Singing them, a violin is the most important, followed by a rebana as background music. Lagu asli are not easy to sing as they require strong voice control, singing and breathing techniques. Their lyrics are in prose and verses to convey the message and gist of the song.</p><div><br></div> ...
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TARIAN INANG GHENEK
<p>The Inang Ghenek dance evolved from the Mak Inang Kesot dance, performed by crouching (ghenek) until both thighs nearly touch the floor. Inang Ghenek incorporates influences from Arab and Indian cultures, brought through trade connections between South Asia and Southeast Asia. Initially, this dance was predominantly a solo performance; however, over time, it evolved into a group dance performed by women.</p><div><br></div> ...
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TARIAN MELENGGOK
<p>The Melenggok dance is a traditional dance for the Cocos community, which is an ethnic minority in Sabah who mostly live in Tawau and Lahad Datu districts. According to history, this dance originates from the Cocos (Keeling) Islands, Australia, which has a long history of migration and close ties with the local community in Sabah in the early 20th century (Romtie et al., 2021). This dance is specifically danced by male dancers only with the act of 'Melenggok', which means 'swaying' or 'twisting' the body inspired by the movement of birds on the coast. This is accompanied by Silat movement elements at the beginning of the performance as well as a combination of the dance moves of Cocos, who stomp their feet while clapping their hands.</p> ...
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MADUPPA BURASAK DANCE
<p>The Maduppa Busarak dance is a traditional performance art of the Bugis ethnic community, originating from Pontian, Johor. This dance serves as a symbolic gesture of respect and honour towards distinguished guests, embodying the core values of hospitality and cordiality inherent in Bugis cultural practices. The name of the dance is derived from two key terms: Maduppa, signifying ‘to invite’ or ‘to welcome,’ and Busarak, referring to a serving tray embellished with a small, ornate cover.</p><p><br></p><p>The dance was first introduced by Hajah Indok Chichuk Daing Hadadek, a prominent cultural figure from Kampung Sungai Kuali, Kukup, Pontian. Her significant contributions have cemented the Maduppa Busarak dance as an integral component of the cultural heritage in Johor.</p><div><br></div> ...
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