LIST OF ARTS AND CULTURE
Entire list of cultural arts includes all categories and states
Search Filters : 423
KUIH CELOROT
<p>The traditional dessert known as Kuih Celorot or Selorot, also called Kuih Segurut, is very popular among the Malay Melanau community. This kuih has a unique taste because it is made from special ingredients such as rice flour, coconut milk, gula apong or nipa palm sugar, pandan leaves, water, and a pinch of salt. The wrapping, made from young nipa palm leaves, also contributes to its appetizing aroma. The cooking technique, which involves steaming the Kuih Selorot, further enhances its uniqueness.</p> ...
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ALAT MUZIK GENDANG
<p>The gendang (drum) is often used to complete the ensemble of traditional musical instruments in the state of Sabah, especially the Kulintangan, Gong, Babandil or the accompaniment of bamboo musical instruments. Almost all indigenous ethnic communities in Sabah have this musical instrument, which is used for traditional ceremonies and traditional celebrations until it becomes part of the symphony of performances at social events, weddings and various types of parties. As a musical instrument that belongs to the category of membranophones, it produces sound through the vibration of membranes on the skin that is beaten. The gendang is very significant in adding an important layer of rhythm to the traditional cultural performances of ethnic communities in Sabah.</p> ...
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ADAT SADANGGU
<p>The Adat Sadanggu, also referred to as Sadunggu, Sadenggu, or Sandanggu, is a significant rite of passage practiced by the Chetti community of Melaka. This ceremonial tradition is specifically observed for young girls upon experiencing their first menstruation, marking the critical transition from childhood to maidenhood. Deeply embedded in ritual, spirituality, and communal cohesion, the practice continues to be upheld as a symbolic act of reverence for ancestral customs passed down through generations.</p><p>Believed to have been practiced for over two centuries, the Sadanggu custom traces its origins to the early settlement of the Chetti people in Melaka. This unique community emerged from the intermarriage between South Indian traders, predominantly Tamil, and local Malay women during the Malacca Sultanate in the 15th century. Although the ceremonial expressions of Sadanggu have evolved, its fundamental purpose remains intact: to formally acknowledge and sanctify a girl's coming of age within the community.</p><p>Transmitted primarily through oral tradition and familial practice, Sadanggu continues to be actively performed within the Chetti enclave of Kampung Chetti, Gajah Berang, Melaka. According to Chetti belief, a girl undergoing her first menstruation enters a state of spiritual impurity and heightened vulnerability to malevolent forces. As a result, she is confined to her room for 16 days and is strictly prohibited from leaving the house, attending school, or visiting temples. During this seclusion, the family refrains from entering places of worship, and visits from outsiders are discouraged, as such interactions are believed to risk spiritual contamination.</p><p>Thus, Sadanggu transcends its role as a mere rite of passage; it serves as a profound manifestation of the Chetti community’s cultural and spiritual identity. The ritual embodies a rich tapestry of symbolism, aesthetics, and collective values, illustrating how tradition, belief, and community interweave to nurture the identity and womanhood of their daughters.</p><div><br></div> ...
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TARIAN JOGHEE
<p>The origin of the name joghee is a combination of the words joget (a traditional Malay dance) and gembira (joyful). This dance was introduced by the late Aminah Nani (Mak Minah), a prima donna and a prominent figure in the art of bangsawan theater. The joghee dance was often performed during the extra turn of a bangsawan performance. However, it was not restricted to this context and could be performed at other events as well.</p><div><br></div><div><br></div><div><div>According to Marlinda Mansor, the joghee dance was revived in 1993 when Mak Minah was invited to serve as an advisor at the Penang Cultural Heritage. At that time, she was tasked with showcasing the dances of Penang. Mak Minah emphasized the importance of preserving the joghee dance. In 1994, during the Malaysia Fest, the dance was officially revived. Marlinda Mansor also noted that the dance incorporates elements from the dances of traders and colonial influences. This is believed to have occurred during the colonial era. Nevertheless, the movements of the dance are more closely associated with the Indian and Arab-Persian communities, which are strongly tied to the mixed-heritage groups (such as Anak Mami and Peranakan Jawi) in Penang. Furthermore, even if the dance was introduced to the Malay world during the colonial period, the Arab-Persian influences in its movements are evident, particularly in the gestures involving the head, hands, and feet.</div><div><br></div><div>The joghee dance has also been studied by communities in neighboring Indonesia. Research indicates that the joghee or jogi dance originated among the Malay ethnic group on Pulau Panjang, Batam, influenced by Penang. According to studies by students of the Dance Department at the Faculty of Performing Arts, Institut Seni Indonesia Yogyakarta, the joghee dance is connected to the lives of fishermen. It depicts the story of women or wives preparing to welcome their husbands or young men returning from fishing at sea. This interpretation aligns with the meaning of joghee introduced by Mak Minah—joget (dance) and gembira (joy)—symbolizing dancing and celebrating the return of the men who went out to earn a livelihood.</div><div><br></div><div>The music of the joghee dance is simple, featuring repetitive patterns. There is only one joghee song, making the music easy to remember. The dance highlights the etiquette and decorum of women, as it begins with the dancers entering while covering their faces. They then remove the shawls covering their faces, bow, and open their arms as a gesture of respect. After this, the dance continues until the joghee song ends.</div></div><div><br></div> ...
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JOGET KAIN BATIK
<p>The Joget Kain Batik dance and song were created during the Japanese occupation. The song was composed by the Joget Asli group from Kuala Perlis, led by Mat Diah and sung by Cik Hamiah. Joget Kain Batik is performed along with pantun (traditional Malay rhymes) about batik fabric, which is why it is called Joget Kain Batik.</p><p><br></p><p>Typically, during this dance, female dancers or puteri wear long batik sarongs. This dance is a type of joget performed by puteri joget dancers. In the performance, male and female dancers exchange pantun while dancing. During the reign of Tuanku Raja Syed Alwi, when the joget was performed at the palace, this dance was deemed so captivating that it was performed repeatedly before the ruler.</p><div><br></div> ...
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KUIH LOMPAT TIKAM
<p>Kuih Lompat Tikam is one of Malaysia's most popular traditional desserts, especially among the Malay community. This kuih is well-known for its soft texture, creamy sweetness, and vibrant colors like green, white, and pink. The name "Lompat Tikam" originates from Malay oral traditions. According to folklore, some believe the name was inspired by the unique taste of the kuih, which excites the eater, making them feel like "jumping" out of joy while enjoying it. Others suggest that the name contains a humorous element, symbolizing the cheerful and close bond shared during communal meals. Kuih Lompat Tikam is believed to have its roots in traditional Malay culinary practices, using basic ingredients like rice flour, coconut milk, palm sugar, and natural coloring from pandan leaves. Historically, this kuih was prepared as a dish for traditional ceremonies such as feasts, harvest festivals, or celebrations like Hari Raya.</p><div><br></div> ...
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TARIAN MENGARANG MENYAK
<p>Mengarang Menyak is a traditional dance of the Melanau ethnic group. This dance reflects the lives of the Melanau people who reside along the coastal areas of Sarawak and symbolizes the process of menyak, one of the methods used to produce sago flour, known locally as sei.</p><p><br></p><p>The dance movements encompass all the activities involved in sago processing, including cutting, scraping, and trampling or pressing the sago palm to extract its pulp, known as tepung lemantak, which is then processed into sago. The dance also portrays the spirit of cooperation between men and women, working together harmoniously and joyfully as they perform their daily tasks.</p><div><br></div> ...
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MAKYONG (KELANTAN)
<p>Makyong is one of the traditional Malay performing arts that is highly unique and refined in nature. It integrates elements of dance, music, drama, singing, ritual, and comedy into a circular theatrical form that is both dramatic and narrative. Originally, its performers were composed entirely of young and beautiful women who played both male and female roles, except for the comedic characters known as peran. The exclusive selection of female performers was closely tied to its function as entertainment within the royal courts, specifically for queens, princesses, and female nobility. This practice arose out of concern that the presence of male performers, particularly during the absence of kings or noblemen attending to state matters, might lead to romantic entanglements.</p><p>The origins of Makyong can be traced back at least 200 years, based on records in the Hikayat Patani, which state that it first developed at the Yala palace of the Pattani Kingdom before spreading to Kelantan. From there, it expanded to Kedah, Singapore, the Riau Archipelago, and the Johor-Riau-Lingga Sultanate. Initially, Makyong was performed exclusively at royal courts, particularly among the aristocracy. Documentation of Makyong performances can also be found in Syair Perkawinan Anak Kapitan Cina written by Encik Abdullah in 1277 Hijrah (1860 AD), which describes the wedding of Engku Puteri Raja Hamidah and the son of a Chinese Kapitan.</p><p>However, with the arrival of the British in Kelantan in the early 20th century, the economic and political power of the royal elite declined, which led to Makyong spreading to the villages, no longer under royal patronage. This development resulted in changes to the form of Makyong performances during its second generation (following the great Bah Air Merah flood of 1926 until the 1950s).</p><p>In 2005, UNESCO recognized Makyong as a Masterpiece of the Oral and Intangible Heritage of Humanity, an acknowledgment that elevated the importance of this art form in the context of global cultural heritage. This recognition further reinforced Makyong's significance in preserving Malay cultural identity and heritage. Today, various parties are actively involved in documentation, training of successors, and preservation efforts to ensure that the original form of Makyong continues to be passed down to future generations.</p><div><br></div> ...
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BERZANJI
<p>Berzanji is an Islamic art performance popular in the state of Perak. It is a type of vocal art performed during religious ceremonies or events such as the Maulid Nabi (celebration of the Prophet Muhammad's birthday), Akikah (animal sacrifice for newborns), welcoming a newborn, circumcision ceremonies, and weddings. The Berzanji performance is derived from the works of Sheikh Ja’far al-Barzanji, who narrates the life history of the Prophet Muhammad (PBUH).</p><p><br></p><p>It touches on his lineage and life development from childhood to his appointment as a Messenger, including accounts of his struggles and exemplary character. These aspects serve as an important moral and spiritual guide for all humanity, highlighting the Prophet's noble qualities as a role model for the faithful.</p><p><br></p><p>The art of Berzanji in the state of Perak was developed through the role of traditional Islamic educational institutions such as sekolah pondok and madrasah. Students, along with their Quran teachers, would melodiously recite Berzanji, turning it into a form of entertainment after their studies. Upon completing their education, these students returned to their respective villages, bringing the practice of Berzanji with them. Many of them became teachers and imams in mosques and Surau (prayer halls), integrating this practice into the local community. </p><p><br></p><p>Additionally, encouragement from the Sultan and prominent leaders in Perak contributed significantly to the widespread growth of this art form throughout the state. Dedicated Berzanji groups were even established by the royal court and its aristocrats, with performances becoming integral to royal ceremonies and traditions. The development of Berzanji was largely driven by Quran teachers, who also imparted knowledge of melodic Quranic recitation (Taranum). This not only enriched the practice of Berzanji but also helped to promote Islamic arts within the context of performance, further enhancing its role in cultural and religious life.</p><div><br></div><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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ADAT RESAM DAN BUDAYA MASYARAKAT INDIA: KEMATIAN: MENGURUS MAYAT
<p>Indian society believes in the concept of rebirth, where death is treated as sleep, and the soul will "wake up" afterwards. According to Indian scholars, death is the separation between spirit and body. The body will be destroyed, but the spirit will return to the barzakh realm. In practice, the bodies of Indian people are either cremated or buried.</p><div><br></div> ...
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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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