LIST OF ARTS AND CULTURE
Entire list of cultural arts includes all categories and states
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MENGARANG INDAI ABAU
<p>Mengarang Indai Abau, also known as Indai Guruk, is a traditional dance of the Iban ethnic group. This dance is typically performed in longhouses, presented in the form of storytelling through oral narration.</p> ...
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TARIAN LANGI PINYAMBUT
<p>Langi Pinyambut is a traditional dance passed down through generations by the ancestors of the Bidayuh community in Sarawak. This dance is typically performed during the harvest season. In fact, this traditional dance is a mandatory performance during the Gawai Dayak Festival to celebrate the harvest of rice crops. The dance holds a very special and specific purpose as to honour the rice harvest brought in from the fields that have been cultivated over time. At the same time, the dance serves as an expression of gratitude and a prayer to God, with the hope that the rice yield will be sufficient to sustain the community throughout the year.</p> ...
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ADAT RESAM DAN BUDAYA KAUM MURUT SUKU TAHOL - ADAT KEMATIAN TRADISI TAJAU
<p><br></p><p>The Murut Tahol tribe is the largest subgroup within the Murut ethnic community. They originally settled along the Tahol River in Pensiangan before migrating to other areas such as Tenom, Sapulut, and Nabawan. The tribe often refers to itself as Ulun Tahol, which means “the people of Tahol.”</p><p><br></p><p>Today, most members of the Murut Tahol tribe have adopted Christianity as their primary faith. However, a small segment of the community still adheres to animistic (pagan) beliefs. Despite having embraced various religions, the tribe continues to preserve and practice ancestral customs and traditions that align with their religious teachings. One notable tradition remains their death ritual, which involves a unique set of customs and beliefs that showcase their rich cultural identity and the strength of their community values.</p><p><br></p><p>For the Murut Tahol, death is a sorrowful misfortune, as they believe the deceased will continue to exist alone. Additionally, death is regarded as a mystery since no one can honestly know what the deceased's journey is like in another realm. In their philosophical perspective on life, the Murut Tahol categorise death into two types: a "good death" and a "bad death."</p><p><br></p><p>A "good death" happens peacefully during sleep, with the eyes and mouth closed tightly. In contrast, a "bad death" is characterised by extreme suffering and screams at the moment of passing. According to certain beliefs, these screams are associated with evil spirits that disturb a person before they die.</p><p><br></p><p>Therefore, they believe that the nature of a person's death is closely connected to how they lived. If someone is considered virtuous during their lifetime, their death is thought to be easier. Conversely, if a person is viewed unfavourably, their end is expected to be difficult, troubling, and terrifying. To ensure that the deceased's soul finds peace in the eternal realm, the Murut Tahol people strictly adhere to their traditional practices surrounding death, following the customs passed down through generations.</p><div><br></div> ...
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ADAT RESAM DAN BUDAYA KAUM KADAZANDUSUN SUKU KADAZAN PAPAR – PANTANG LARANG KAPATAZON (KEMATIAN)
<p>As the largest ethnic group in Sabah, the Kadazandusun community exhibits linguistic diversity, with various dialects reflecting distinct customs, including death-related terms. In the general Kadazandusun language, death is referred to as Kapatayon. However, in the Kadazan Papar dialect, the term Kapatazon is used. The Kadazandusun language includes two primary terms to denote death and pronunciation variations influenced by dialectal differences among sub-ethnic groups. Furthermore, each Kadazandusun sub-ethnic group observes distinct taboos related to death. While the structural framework of these taboos is mainly uniform, certain variations underscore the cultural distinctiveness of each subgroup.</p> ...
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PESTA PUJA PANTAI
<p>Puja Pantai is a ritual or ceremony held for spirits believed to guard the sea, with the purpose of preventing them from disturbing fishermen's lives and ensuring abundant blessings. Puja Pantai originates from animistic beliefs, predating the arrival of Islam in the region. During that time, the Malay community believed in the power of natural forces and spirits governing elements such as the sea, forests, and mountains. The sea was seen as an entity possessing a spirit or supernatural beings, and Puja Pantai was perceived as a way to honor and seek protection from them. This also reflects how the ancient Malay community depended entirely on nature, particularly the sea, for their daily lives.</p><p><br></p><p>This practice was carried out by fishing communities along the east coast of Peninsular Malaysia, especially in Kelantan and Terengganu. Puja Pantai was usually performed every two or three years when signs of disturbances from sea spirits affected the lives of fishermen and farmers. The fishermen would gather and agree to hold the ceremony whenever someone experienced signs of impending disaster. The ceremony was led by a bomoh (shaman) or pawang (medicine man) who was believed to communicate with the sea spirits.</p><p><br></p><p>Each element of the Puja Pantai ritual carries deep symbolism:</p><p>White Buffalo: In Malay culture, the buffalo is often seen as a symbol of strength and sacrifice. The sacrifice of a white buffalo during the ritual symbolizes the human effort to offer something valuable and sacred to the spirits.</p><p>Pulut Kuning (Yellow Glutinous Rice): Traditionally used in various ceremonies, it symbolizes gratitude, prosperity, and blessings.</p><p>Pavilion on a Raft: The construction of the pavilion and floating it out to sea symbolizes a gesture of surrender or returning something to nature, with the hope that the sea spirits will no longer disturb the fishermen.</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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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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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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NASI KANDAR
<p>Nasi Kandar is a delicious rice dish in Penang, introduced by Indian Muslim traders from India. Served with a variety of curry and side dishes, the signature of Indian foods; it is thus savoured by people of all ages, turning it into a popular cuisine. </p><p><br></p><p>Kandar means putting a long stick on one’s shoulder to carry heavy items. Hence came the name nasi kandar from this practice. Penang rice vendors in those days peddled their goods by suspending two containers at both ends of the stick on the shoulder, with rice and side dishes on each end. Goes a story saying that nasi kandar was a quick and easy daily meal of the workers of Weld Quay Port, the international port of Penang.</p><p> </p><p>Nasi kandar, having a distinct aroma, is kept in a three feet high wooden container. Nasi kandar lovers enjoy it with a lavish mix of curry gravy over the rice, thus called kuah banjir (flooding) and a variety of side dishes of meat, fried chicken, kari limpa, beef, fish roe, shrimp or fried squid. The vegetable dishes are eggplant, okra or sweet potato. The lavish gravy, side dishes and vegetables provide rich flavours.</p><p> </p><p>Today, the term nasi kandar, is seen in most Tamil Muslim restaurants, ‘Mamak Malaysia’, and Indian Muslim stalls, a testimony of the nation’s favourite.</p><div><br></div> ...
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SEWANG DANCE
<p>The Sewang dance is one of the most well-known cultural traditions among the indigenous Orang Asli communities in Peninsular Malaysia, particularly the Mah Meri, Bateq, Semai, and Temiar tribes in Perak. Passed down through generations, this dance serves as a form of respect for nature and a ritualistic offering to supernatural beings. The performance of the Sewang dance varies according to the type of ritual being conducted. It encompasses several variations, including Sewang Chenchem, Gamok, Panoh, Penhei, Manjar, Pungei, Tanggei, Selombang, and many more.</p><div><br></div> ...
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ALAT MUZIK SARUN
<p>Sarun is a traditional musical instrument inherited by the Iranun ethnic community in Sabah, which mostly inhabits the Kota Belud and Kota Marudu districts. Sarun is a Metallophone musical instrument made of metal iron or bronze and is categorized as an Idiophone musical instrument that produces sound through metal vibrations when struck. However, due to metal and bronze being difficult to obtain in the past, the Iranun community creatively used iron from used drum barrels, which was processed into the main material for producing Sarun. This musical instrument is a hereditary heritage as an entertainment instrument played especially after cultivating rice crops in the rice fields. Meanwhile, Sarun not only reflects the cultural identity of the Iranun community but also shows unique traditional musical elements full of traditional values.</p> ...
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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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