LIST OF ARTS AND CULTURE
Entire list of cultural arts includes all categories and states
Search Filters : 431
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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- 780
ADAT RESAM DAN BUDAYA MASYARAKAT CINA. SELEPAS KELAHIRAN: BERPANTANG
<p>Chinese society puts family first because they see it as a way to continue the bloodline. Continuity of descent is considered important to maintain the survival of the nation. Various customs and taboos are practiced during pregnancy and birth to ensure that the unborn baby is spared from bad events such as miscarriage, disability, or death. Pregnant women are always strictly controlled in their daily actions and activities. Chinese society also highly values sons, because they can continue the lineage and inherit the family name. Daughters, on the other hand, are considered temporary property of their parents and upon marriage, they become part of the husband's family.</p><div><br></div> ...
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- 1908
NGAJAT PUA KUMBU
<p>Ngajat Pua Kumbu is recognized as part of the repertoire of ngajat, the traditional dance of the Iban ethnic group, which incorporates pua kumbu, the Iban community's traditional textile, as a medium of storytelling and a symbol of cultural heritage through the attire known as Ngepan Iban.</p> ...
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- 1482
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 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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KEK LAPIS SARAWAK
<p>Kek Lapis Sarawak has indeed become synonymous with the culinary heritage of the Malay community in this state. Originally a special dish served during Hari Lebaran each year, it has now become a daily treat available at cake shops not only in Sarawak but also in Peninsular Malaysia, particularly in the capital city of Kuala Lumpur and Johor Bahru.</p> ...
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- 1677
TARIAN BAKANJAR
<p>Bakanjar is a traditional dance from the Dusun Tatana tribe in the Kuala Penyu, Sabah. This dance reflects the art of self-defence and bravery, making it a form of war dance in the Tatana culture. It is performed exclusively by men, showcasing dynamic and symbolic movements, and is often presented at various events, especially during wedding ceremonies. In addition to symbolising the spirit of heroism, Bakanjar also serves as a tribute to the traditions and heritage of the Tatana ancestors, inspiring the annual Odou Bakanjar Festival, celebrated by the Dusun Tatana community in the Kuala Penyu district.</p> ...
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- 1824
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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- 2031
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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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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TARIAN ULE NUGAN
<p>The Tarian Ule Nugan is inspired by the activities involved in rice planting among the Orang Ulu community in Sarawak. It is a routine for the Orang Ulu people to prepare early in the morning before embarking on a journey by boat to their rice fields. Thus, male dancers in this performance usually carry a piece of wood resembling a penugal stick, commonly used for planting rice in highland areas.</p><p><br></p><p>During the rice planting process, while the men use the penugal stick, the women would strike the kerebo bulo, creating rhythmic sounds to ward off bad omens associated with certain bird calls. According to Orang Ulu legends, the sound produced by the kerebo bulo also serves to encourage and inspire the rice’s spirit to grow healthily and yield a good harvest. Beliefs, omens, and signs hold significant meaning in their daily lives as an agrarian society.</p><p><br></p><p>Throughout the rice planting process, the Orang Ulu community helps one another with the task while socializing and sharing laughter to alleviate the exhaustion of work. The men also engage in hunting using blowpipes to gather food to bring back home. With all the daily activities of rice planting carried out successfully, the Orang Ulu farmers return home filled with joy and gratitude.</p><div><br></div> ...
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