LIST OF ARTS AND CULTURE
Entire list of cultural arts includes all categories and states
Search Filters : 423
TARIAN ALU-ALU
<p>The Tarian Alu Alu is typically performed by four male and six female dancers. This dance is highly captivating and unique due to the use of bamboo by the performers to execute acrobatic stunts. Generally, the dance does not follow specific choreography; instead, its movements are influenced by the daily activities of the Melanau community, including tasks and processes involved in sago production.</p><p><br></p><p>Additionally, the dance movements in Tarian Alu Alu can also be inspired by dreams, daily routines, traditional healing practices, and folk games, reflecting the cultural richness and creativity of the Melanau people.</p><div><br></div> ...
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MONGIGOL MENGALAI
<p>Mongigol Mengalai is a traditional dance of the Kadazan-Dusun ethnic group of the Dusun Tinagas tribe. This sub-ethnic group predominantly resides in the upper Sugut River region, a hilly area situated at the intersection of the Ranau, Kota Marudu, and Labuk-Sugut districts in northern Sabah. "Mongigol," which means "to dance," is performed exclusively by women, whereas "Mengalai" refers to a solo performance by a male dancer accompanied by female dancers.</p> ...
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TARIAN KUDA PASU
<p>Kuda Pasu, also known as Kuda Pacu, is a traditional dance popular among the Bajau Samah ethnic community in Kota Belud. Translating to "racing horse," this dance was first introduced in 1975 by Jeffery bin Oleh, a prominent figure in the traditional performing arts of the Bajau Samah community. To this day, Kuda Pasu continues to be performed at various celebrations and has been recognised as a traditional dance of this ethnic group.</p><p><br></p><p>According to its historical origins, this dance was inspired by horse riders' skills to welcome royal family members. In traditional Bajau Samah weddings, horses were often used to transport the groom's entourage to the bride's home. This practice symbolised the groom's heroism and valour on his wedding day and represented strength and status within the community. Consequently, the movements of men riding and handling horses became the foundation for the creation of this dance.</p> ...
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ADAT RESAM DAN BUDAYA KAUM MELAYU: ADAT PERKAHWINAN DI SARAWAK
<p>The uniqueness of marriage customs among the Malay community in Sarawak shows many similarities with the marriage customs practiced by the Malay community in Peninsular Malaysia. However, the terms used to describe each custom differ, alongside holding distinct concepts. This includes the traditional practices of merasi, merisik, and the implementation of the wedding ceremony.</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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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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TARIAN TRADISIONAL POJA BUGIS
<p>Tarian Poja, or Pooja dance, is a dance presenting the identity of the Bugis in Selangor. In 1988, a coach of Pakkuru Sumangge dance from Sulawesi, Indonesia, Ibu Andi Ugie Kamariah, was invited to Selangor to teach poja to the staffs of Sultan Alam Shah Museum, to prepare for the museum’s officiating ceremony in 1989. Thus the structure, pattern and moves of the dance portray the Bugis history, cultural restoration, lineage endurance and art. </p><p><br></p><p>Poja means praises or compliments. It is an original idea of Ibu Andi Ugie Kamariah when she tutored the dance in Selangor. This dance is danced by a group of young girls with moves symbolizing compliments and soliciting blessings from the guests and leaders invited to the ceremony. </p><p><br></p><p>Poja Bugis Dance Moves</p><p><br></p><p>The dance contains three parts: sambut tamu (welcoming the guests), raikan tamu (celebrating the guests), and tanda kasih (extending thanks). And there are six types of moves: Ragam Duduk Tindih Kasih, Ragam Sembah Campak Bunga, Ragam Doa Sembah, Ragam Bangun Berjalan, Ragam Campak Tabur and Ragam Lenggang Ombak Beralun.</p><div><br></div><div><br></div> ...
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MAK YONG (TERENGGANU)
<p>Mak Yong is a traditional performing art form originating from Kelantan, characterized by a unique blend of acting, singing, dancing, and music. In 2005, Mak Yong was recognized by UNESCO as one of the Intangible Cultural Heritage practices. Mak Yong is deeply rooted in Malay culture, particularly in Kelantan, where it developed as both court entertainment and a form of local community expression.</p><p><br></p><p>Mak Yong performances showcase the refinement of Malay etiquette, graceful movements, and poetic language, reflecting the delicacy of Malay cultural heritage. Typically, all roles are played by women, except for the role of the caretaker, with the main character portrayed by the Pak Yong. Figure 1 illustrates a Mak Yong performance still practiced in rural villages.</p><p><br></p><p>Currently, the art of Mak Yong faces the threat of extinction due to several factors, including the oral transmission of knowledge, which requires a long period of time. Nevertheless, various initiatives such as training programs and performances have been undertaken to preserve this art form, ensuring that it remains an integral part of Malaysia's artistic and cultural identity. Mak Yong is not only a symbol of traditional heritage but also reflects the philosophy and refined soul of the Malay community.</p><p><br></p><p>Mak Yong stories are usually based on myths, legends, and ancient tales rich in magical elements and moral values. Among the popular stories often performed are Hikayat Dewa Muda, Anak Raja Gondang, Raja Tangkai Hati, Raja Besar Maha Gading, and Dewa Pechil. These stories narrate the journeys of kings, their struggles against evil forces, their search for love, and their adventures to achieve prosperity. The themes often convey life values such as loyalty, justice, and wisdom.</p><p><br></p><p>The characters in Mak Yong stories vary depending on the tale being told. Some of the prominent characters in Mak Yong include Pak Yong, Mak Yong, Peran, Inang, Tok Wak, Betara Guru, and giants (Gergasi).</p><p><br></p><p>Mak Yong is performed with musical accompaniment, and traditionally, only the Rebab, the gendang ibu and gendang anak (mother and child drums), and the gong were used during performances. However, over time, additional instruments such as the gedombak, canang, kesi, and geduk have been incorporated into the ensemble.</p><div><br></div> ...
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ZAPIN TENGLU DANCE
<p>Zapin Tenglu originates from Kampung Tenglu, Mersing, Johor, and was initially performed exclusively by male dancers. Performances typically took place after Isyak prayers and continued into the early hours of the morning, reflecting its role as a form of communal entertainment. The traditional music accompanying this dance often features the song Faridzal-Ham, a classic composition.</p><p><br></p><p>The involvement of women in Zapin Tenglu began in 1952 when the late Hajah Hapsah binti Mohamad, then a 14-year-old, learned and performed Zapin Tenglu alongside male dancers. Her determination and pioneering efforts paved the way for women's participation in this art form. Hajah Hapsah continued to play an active role in Zapin Tenglu after her marriage in 1962, solidifying her position as a key figure in the evolution of zapin dance in Johor.</p><div><br></div> ...
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NASI AMBENG
<p>Nasi Ambeng is a traditional Javanese dish consisting of steamed white rice served in a large, circular tray (tampah) lined with banana leaves, surrounded by an assortment of side dishes. These side dishes include pegedil (potato patties), fried salted fish, rempeyek (thin crackers with peanuts), sambal goreng, boiled eggs, fried tempeh, urap (vegetables with spiced grated coconut), fried noodles or vermicelli, opor ayam (chicken cooked in coconut milk), toasted grated coconut, and occasionally local sweets and fruits.</p><p>The rice is often moulded into a compact form before serving, ensuring it remains intact when distributed. Popular among the Javanese community in Malaysia, particularly in Selangor and Johor, Nasi Ambeng is traditionally served during feasts, tahlil ceremonies, and communal gatherings. Its unique preparation and presentation highlight the values of togetherness, cooperation, and community spirit deeply embedded in Javanese culture.</p><div><br></div> ...
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HAMDOLOK DANCE
<p>Hamdolok is a traditional performing art that integrates elements of theatre, dance, music, and singing, popular in Batu Pahat, Johor. It was founded around the 1930s by Pak Rahmat Wayang, inspired by the celebration of Maulidur Rasul (the Prophet Muhammad’s birthday) by the Bedouin community in Mecca, as recounted by Haji Osman Jahit.</p><div><br></div> ...
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