LIST OF ARTS AND CULTURE
Entire list of cultural arts includes all categories and states
Search Filters : 424
PERMAINAN KABADDI
<p>Kabbadi is a traditional game played by the Malaysian Indians who originate in South India. It requires a court drawn on a field or in a large hall. A team may have seven to twelve players and typically a game takes twenty minutes to complete. </p><p><br></p><p>The game is believed to be able to produce clever, confident and all-rounded players in sports. Kabaddi also may cultivate one to be patriotic, acknowledging national integration and forging mutual respect among each other. </p><div><br></div> ...
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LEPAT PISANG
<p>Kuih Lepat Pisang, also known as Kuih Belebat Pisang, refers to a traditional dessert made by wrapping ripe bananas in banana leaves. This traditional delicacy is well-known in Pendang, Kedah. Lepat Pisang is one of the most popular traditional foods in the state of Kedah, celebrated for its sweet taste and soft texture.</p><p><br></p><p>Kuih Lepat Pisang is a well-loved traditional Malay kuih. It is made from a mixture of mashed ripe bananas combined with basic ingredients such as rice flour, wheat flour, grated coconut, and sugar. It is wrapped in banana leaves, which impart a natural aroma during the cooking process. This kuih is typically steamed until cooked, resulting in a soft texture and a deliciously sweet flavor.</p><div><br></div><div>The natural aroma from the banana leaves and grated coconut gives the kuih a unique taste that modern desserts cannot replicate. Furthermore, this kuih is perfect for serving during tea time or as a dessert at traditional events. The use of natural ingredients also makes this kuih healthier and rich in traditional Malay flavors.</div> ...
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- 2003
SATA
<p>The origin of the traditional dish Sata is closely tied to the culture and traditions of the Malay community in the east coast of Peninsular Malaysia, particularly in the states of Terengganu and Kelantan. Sata is not only a delicious delicacy but also a symbol of culinary heritage that involves traditional cooking techniques passed down through generations. The name "Sata" is said to be derived from the word "santan," which refers to grated coconut used in the preparation of this dish. Additionally, some believe the name "Sata" comes from a localized pronunciation adapted by the community to suit their dialect.</p><p><br></p><p>Sata is believed to have originated from coastal areas where fish, especially small fish abundant in the sea, were a staple food source. On Malaysia's east coast, such as Terengganu and Kelantan, fish is a primary part of the local diet. The practice of cooking food wrapped in banana leaves is a traditional technique that has existed for a long time among the Malay community. Banana leaves are used to wrap food, enriching its flavor and aroma during the grilling process. This method also imparts a distinctive smoky taste, which is one of Sata's signature features.</p><div><br></div> ...
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ADAT RESAM DAN BUDAYA MASYARAKAT INDIA: KEMATIAN: SELEPAS KEMATIAN
<p>Indian society believes in the concept of rebirth, where death is likened to sleep, and the soul will "wake up" afterwards. Indian scholars also explain that death is the separation between spirit and body. The body will be destroyed, while the spirit returns to the realm of barzakh. Dead bodies in Indian society are usually cremated or buried.</p><div><br></div> ...
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- 1810
TARIAN LILIBU
<p>Lilibu is a traditional dance of the Bisaya ethnic community, primarily in the Sabah Beaufort district. "Lilibu" means "winnowing tray," a tool used to separate rice grains from chaff. The name is inspired by the practice of Muncang, a communal rice planting activity involving the villagers. This activity encompasses the entire process, from planting to harvesting and pounding the rice into grains.</p><p><br></p><p>This dance vividly portrays the joyous atmosphere of the rice harvest season, with activities carried out in collaboration, accompanied by Badaup (singing), where songs of praise are dedicated to the rice spirit as an expression of gratitude for the successful harvest. The men gather to pound the rice in large wooden mortars using pestles known as Batang Alu-Alu. The rhythmic pounding creates a sound called Mengalang. Meanwhile, the women collectively winnow the rice to remove the chaff, transforming it into edible grains.</p><div><br></div> ...
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- 1967
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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MUZIK GAMELAN JAWA
<p>Gamelan Jawa has its own history. The presence of Gamelan Jawa in Malaysia is closely related to the arrival of the Jawa people to Johor. They perform gamelan with ancient puppets and dances such as Tari Kifrah, Serimpi Lilin, Butterfly, and Cakil. Gamelan musical instruments are also used to accompany Riog, Barungan, and Kuda Kepang performances. Gamelan music is often played at weddings, circumcisions, and other events.</p><p>This type of gamelan can be found in Johor, Selangor, and the Federal Territory. Gamelan Jawa music serves as folk entertainment and is not limited to palace performances only.</p><div><br></div> ...
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PUTU MAYAM
<p>Putu Mayam is believed to originate from the Indian culinary tradition and is now enjoyed by all races in Malaysia. The word "Putu" is taken from the Sanskrit language meaning "steam". This dish also has similarities with similar foods in other countries, such as in India which has a dish called "puttu".</p><p>In its history, Putu Mayam has gone through various variations and adaptations according to local culture. In Malaysia, it is usually served as a snack or dessert. This food is usually in the form of long rolls filled with brown sugar, resulting in a balanced combination of sweetness with fatty grated coconut.</p><div><br></div> ...
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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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SAPE
<p>The sape is a traditional stringed musical instrument found in the Orang Ulu community in Sarawak. Traditionally, this instrument is closely associated with the musical art of the Kenyah, Kayan, and Kelabit tribes and was originally played only during healing ceremonies in the longhouse. With changes in the lifestyle of these tribes, the sape has gradually evolved into a social and popular cultural instrument, serving as a medium or element for general entertainment.</p> ...
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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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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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