LIST OF ARTS AND CULTURE
Entire list of cultural arts includes all categories and states
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MUZIK KERONCONG DI MELAKA
<p>Keroncong music is a traditional music genre originating from Indonesia and has gained significant recognition in Malaysian musical culture. It blends elements of traditional Malay music with influences from Portuguese music. Known for its soft rhythms and soothing melodies, keroncong incorporates specific instruments that give it a distinctive character. Keroncong is an important part of Malaysia's rich musical heritage, particularly among the Baba Nyonya and Kristang communities.</p><p><br></p><p>Origins of Keroncong Music</p><p>Keroncong music has deep cultural roots and a long history, especially in the Nusantara region. In Melaka, keroncong developed alongside cultural and historical influences, particularly from the Portuguese, as well as interactions with local cultures.</p><p><br></p><p>Keroncong is believed to have originated in Indonesia, particularly among the Javanese community, but it was influenced by Portuguese music introduced by colonizers in the 16th century. Traditional Portuguese music, such as fado and modinha, was introduced to the local community in Melaka during the Portuguese colonial period (1511–1641). Instruments like the small guitar (cavaquinho) and melancholic Portuguese melodies evolved into what is now known as keroncong.</p><div><br></div> ...
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TARIAN RAMBAI
<p>Rambai Dance is a traditional dance of the Tidung ethnic community, which mostly inhabits the southeastern part of Sabah and covers the districts of Tawau, Beluran, Sandakan, and Kinabatangan. Rambai refers to the term 'tampi' or 'menampi' with nyiru, which is synonymous with the daily work of farmers, as referred to in the Tidung language, namely Intogos (working in the rice fields), Bekabun (gardening), and Tongoyon (communal work).</p><p><br></p><p>The origin of this dance is rooted in the Tidung community's communal work activities during the rice harvest season. While the community was busy harvesting rice in the rice fields, children imitated various adult movements that featured motifs of agricultural activities in the rice fields, such as pulling gunny sacks, chasing birds, pounding rice, hoeing the rice field boundary, and pulling the bird repellent rope. In general, this dance has eight basic hand steps and two basic footsteps that form a cultural expression in depicting the traditional life and uniqueness of the Tidung community's way of life.</p> ...
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CIRCUMCISION RITUAL OF THE ORANG ASLI - JAHUT CLAN
<p>The circumcision ritual is one of the most significant ceremonies in the lives of the Jahut indigenous community, who reside in the interior regions of Pahang, particularly in the districts of Jerantut, Temerloh, and Lipis. The Jahut are a subgroup of the Proto-Malay (Senoi-Prak) Orang Asli, inheriting rich traditions and customs filled with spiritual, social, and cultural values that are observed at various stages of life.</p><p>Etymologically, the term Jahut is derived from two words: Jah, meaning "people," and Hut, meaning "forest." Combined, the name translates to "forest people," reflecting their ancestral lifestyle, which was deeply dependent on the forest and natural resources. Their spoken language, known as the Jahut language, belongs to the Mon-Khmer language family, which is a major branch of the Austro-Asiatic language group. Over time, however, the Jahut language has absorbed a significant number of Malay words, including various local dialects such as those <span style="display: inline !important;">from Kerdau, Krau, Ketiar Krau (Terengganu), Kuala Tembeling, Pulau Guai, Ulu Ceres (Cheras), and Ulu Tembeling.</span></p><p>In earlier times, the Jahut people lived a nomadic lifestyle, moving from place to place in search of food and other natural resources. However, with the passage of time and changing circumstances, they gradually transitioned into permanent settlements and built homes to protect themselves from the elements. In Temerloh, they have established villages such as Kampung Pelong, Kampung Paya Mengkuang, Kampung Panderas, Paya Mendoi, Kampung Pasu, Kampung Pian, Kampung Paya Rekoh, Kampung Paya Mendoi, and Kampung Kuala Terboi. In Jerantut, they are primarily located in the Sungai Kiol and Kekwel (Kol) areas.</p><p>Regarding their origins, the Jahut community living in the Krau Valley today often traces their lineage back to the Minangkabau people of Pagar Ruyung. According to oral history, their ancestors fled from Pagar Ruyung following the Rawa Rebellion in 1862. They initially migrated to the Semantan River area in southern Krau Valley before moving deeper into the valley, where they continue to reside today. The migration into the forested interior was further prompted by the arrival of Malay settlers in the Kuala Krau township, which led the Jahut to seek more secluded areas along the forest fringes.</p><p>For the Jahut people, circumcision is not merely a medical procedure but carries deep meanings of maturation, transition in social status, spiritual purification, and the reinforcement of cultural identity. Although the practice has now become an important tradition, the origins of circumcision among the Jahut are rooted in a unique oral story passed down through generations.</p><p>According to the elders of Kampung Pian, the circumcision tradition began when a man from outside the community migrated to the Jahut settlement. This man was ashamed of being called Kulop (a term for an uncircumcised male in his original village) because he had not undergone circumcision. After settling in the Jahut village, he studied under the guidance of the village chief’s wife, who was referred to as Batin Perempuan (female village chief) due to her wisdom and knowledge. After several years of learning, he married the chief’s daughter, and they were later blessed with a son.</p><p>When his son reached the appropriate age, the man sought permission from his father-in-law to perform circumcision following his own cultural practices. Initially,<span style="display: inline !important;">the father-in-law was reluctant, fearing the risk of death from possible complications during the circumcision process. However, after much persuasion and explanation of the benefits, he eventually agreed to conduct the ceremony. From that event onward, circumcision became a generational practice and has since been preserved as an integral part of the Jahut community’s cultural tradition to this day.</span></p><div><span style="letter-spacing: 0.7px; display: inline !important;"><br></span></div><div><br></div><div><br></div> ...
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MUZIK CAKLEMPONG
<p>Caklempong is folk music of the Minangkabau community. It was brought to Malaya by the Minangkabaus of the West Sumatra, Indonesia, who settled in Negeri Sembilan in the 14th century. </p><p><br></p><p>In the Minangkabau dialect, caklempong is taklempong, a traditional musical instrument from the idiophone family that uses a diatonic scale. 'Cak' is the sound of the drumbeats while 'lempong' is the sound of the bonang (gong) beats.</p><p><br></p><p>In the past, caklempong was so important that apart from entertaining, it captured the audience so profoundly that they became united, benefitting the community at large.</p><p><br></p><p> </p><p><br></p><p><br></p><p>To begin with, there were five caklempong tones: do, re, mi, so and la. However, in 1970, the caklempong was developed into six tones: do, re, mi, fa, so, la, ti, and do.</p><div><br></div> ...
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ADAT RESAM DAN BUDAYA KAUM KADAZANDUSUN SUKU DUSUN SUBPAN: ADAT PERKAHWINAN
<p><br></p><p>The Dusun Subpan tribe is a sub-ethnic group within the Kadazan-Dusun community, residing along the Segama River in the Lahad Datu district in Sabah. This tribe is well-known for its strong agrarian culture, particularly hill paddy cultivation, as well as the planting of cassava and bananas. They also participate in hunting and fishing activities in the Segama River area. Like other Kadazan-Dusun sub-ethnic groups, the Dusun Subpan remains deeply rooted in their customary laws and beliefs, including traditional marriage practices, which are still observed today.</p><div><br></div> ...
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TARIAN LABI-LABI
<p>Tarian Labi-Labi (Labi-Labi Dance) is one of the traditional dances of the Malay community, originating from Terengganu, Malaysia. This dance is inspired by the movements and characteristics of the softshell turtle (labi-labi), a creature commonly found in the rivers and waterways of the region. It is a folk dance filled with humor and entertainment, making it a popular form of traditional performance.</p><p><br></p><p>The Labi-Labi Dance is believed to have originated from the fishing communities in Terengganu. It was created to illustrate the relationship between humans and nature, particularly the softshell turtle, which was a part of daily life. This dance is typically performed during social gatherings, cultural festivals, and traditional ceremonies, serving as a source of entertainment for the community.</p><p><br></p><p>Theme and Meaning of the Dance</p><p>The central theme of this dance revolves around the life of the softshell turtle, emphasizing its slow, cautious, yet intelligent nature. The dance often incorporates elements of humor, reflecting the daily lives of fishermen and their interactions with this animal. Additionally, it symbolizes the spirit of cooperation (gotong-royong) and unity within the Malay community.</p><div><br></div> ...
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MUZIK KOMPANG JAWA
<p>Kompang is a traditional drum which is small, light and flat in shape. When played, it is held in one hand and tapped with the other. Kompang Jawa is a traditional Malay (of Jawa descent) drumming music, also known as Kompang Tiga. The difference between kompang jawa and other kompangs are in the tools, beats, rhythms and songs. </p><p><br></p><p>Kompang began to be played in the Wali Sembilan era of Jawa Island. Their initial purpose of kompang music was to draw the community’s interest in Islam. The music was then brought to Selangor by Javanese traders in the early 20th century, to be played in mosques, religious ceremonies such as khatam Al-Quran, circumcision, weddings and large-scale events. The commonly played songs are the Assolatu, Bissarri, Ya-Solatun and Sailillah, where the lyrics are in the Maulid Berzanji book.</p><div><br></div> ...
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LAKSA KEDAH
<p>Laksa Kedah is also known as Laksa Teluk Kechai. This traditional dish is often served during festive seasons. Laksa Kedah is one of the most famous traditional dishes in the state of Kedah, reflecting the richness of Malay flavors and culinary traditions. This dish consists of thick and chewy noodles, usually served with a rich fish-based gravy made from fish such as mackerel or tuna, cooked with special spices like lemongrass, galangal, and ginger. The distinctive feature of Laksa Kedah lies in its gravy, which is spicier and more tangy compared to other variations of laksa from different states in Malaysia, primarily due to the use of tamarind, which gives it a refreshing acidity.</p> ...
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KUIH BONGKOL
<p>Kuih Bongkol is a traditional delicacy among the Malay community in Sarawak, highly popular during festive seasons, especially throughout the month of Ramadan when Muslims observe fasting for a month. This kuih is a preferred dish for breaking fast and for serving in the evening. The main ingredients for making this kuih consist of rice flour, coconut milk, and gula apong or gula nipah (palm sugar). All these basic ingredients are mixed to form a batter that is then placed into containers made from banana leaves before being steamed. This kuih is renowned for its delicious, sweet taste and soft texture.</p> ...
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KERTUK ULU
<p>Kertuk Ulu is a unique form of traditional music found exclusively in the Hulu Terengganu district, specifically in Kampung Baong, Kuala Berang. Originally known as "Gendang Batak", it is believed to have been created by the renowned warrior Mat Kilau during his stay in the area. While waiting for his upland rice (padi huma) to ripen, Mat Kilau used bamboo stalks to create rhythmic sounds to scare away birds that disturbed the crops. Over time, these sounds evolved into a drumming rhythm associated with silat martial arts, which became known as Gendang Batak, as no official name existed at that time.</p><p><br></p><p>In its earliest form, the music was performed using only silat-style drum rhythms without the accompaniment of other musical instruments. However, in 2002, efforts to revive and reintroduce this musical art were spearheaded by Tuan Haji Ali bin Ismail, together with local villagers. Their efforts were supported and advised by several cultural practitioners and officers from the Terengganu branch of the National Department for Culture and Arts (JKKN). Recognizing that the term "Gendang Batak" was less appropriate, the name was officially changed to "Kertuk Ulu" in 2004.</p><p><br></p><p>Following this rebranding, the Kertuk Ulu ensemble began to gain greater prominence and was showcased in various locations across Terengganu under the promotion of JKKN Terengganu. To popularize the performance further and appeal to a wider audience, additional musical instruments were introduced, creating a more harmonious and dynamic sound. Moreover, the repertoire has been expanded to include popular songs, such as dikir barat melodies, to attract younger generations and adapt the performances to contemporary tastes.</p><div><br></div> ...
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ASAM PEDAS
<p>Asam Pedas is a characteristic cuisine of Malacca. It is not only relished in Malacca but also enjoyed by the Malays in Peninsular Malaysia. Due to cooking and ingredients regionality, there are differences between the taste and texture of the Malacca asam pedas and those in the other states (Hidayatul Akmal Ahmad, 2018). </p><p><br></p><p>This dish is named so due to its bold flavours, sour and spicy, inherited over a large expanse of time. Relishing the piquancy of the spicy asam pedas will perfect one’s visit to Melaka. Loved by all, the asam pedas adds to the thrill of eating, the joy of excursion. </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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