CULTURAL MAPPING PORTAL

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ADAT MEMINANG DAN ADAT BERTUNANG

The custom of marriage proposal is a process after the merisik (surveying) where a decision has been made to make a girl as daughter-in-law. Therefore, the parents of the man will send elders as their representatives to visit the girl's house to propose to her from her parents. Usually, female parents do not give final answers to male parties. Girl's parents often postpone the decision with the aim of consulting with the next of kin even though they may actually be ready to accept the proposal. This delay period sometimes lasts for a day or two, but sometimes it takes up to a week or more.  After that, the girl will send the parents as representatives to convey the acceptance of the proposal to the man's family. At the same time, all conditions related to dowry, expenses, and the wedding date will be discussed and agreed upon by both parties. The engagement custom is also known as the sending of the custom made after the marriage proposal. This custom is usually practiced after the man's proposal is accepted by the girl. As a symbolic engagement, the man will send a ring, usually a diamond ring, the size and value of which depends on the preferences and capability of the man's family. In addition to rings, some also include other items known as hantaran (dowry) such as cloth, cakes and traditional delicacies in odd amounts. This engagement custom is also accompanied by a small feast by the girl's family. <div> </div> ...

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TARIAN ZAPIN SINDANG

Zapin Sindang originates from Kampung Sindang in Samarahan, Sarawak, and was founded by Encik Nawi, who was also from the same village. This dance features three distinct movement patterns: Ragam Sembah, Ragam Poko, and Waina Wailed or Waina Tahtim. Accompanied by music with a zapin rhythm, this dance is believed to have originated in the Arab world and was introduced to Sarawak through Sambas and Serasan in Kalimantan, Indonesia. It is also thought to have played a role in the spread of Islam in Borneo.<div> </div> ...

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Taman Awam Gua Tok Giring, Kampung Lenggong, ...

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PENCUCI MULUT KEBEBE

Kebebe, a traditional delicacy of Perak, is believed to have existed hundreds of years in Lenggong and Gerik, offering a glimpse into Perak rich culinary heritage. A distinctive taste, kebebe is full of flavor, having come from a mixture of seven meshed fresh fruits. In those days, it was eaten when one felt warm, or in Perak accent, 'dedor'. The practice was that if someone suspected he had fever, he may eat kebebe for relief. Hence, kebebe is at times seen as traditional medicine.  It's a mixed taste of sour, spicy and bitter from the various fruits and vegetables: cermai (Phyllanthus acidus), belimbing buluh, jantung pisang, pineapple, guava, jackfruit bud and buah kelempung, pounded and mixed in a wooden mortar and pestle.<div> </div> ...

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Persatuan Penggerak Seni Warisan Budaya (AKRAB ...

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JIKEY

Jikey is one of Malaysia's unique traditional performing arts, particularly in the northern regions such as Kedah and Perlis. This art form combines elements of acting, dancing, music, and singing into a dramatic performance. The name "Jikey" is believed to be derived from the Thai word "Chikai," meaning "folk performance," reflecting the influence of Thai culture on this art. Initially, Jikey was part of religious or ritual ceremonies within the Malay-Islamic community but later evolved into a form of folk entertainment performed at various events such as feasts, celebrations, and harvest festivals. The history of Jikey can be traced back to the 19th century, when it was first performed by farming communities as post-harvest entertainment. Its performances often revolved around daily life, folklore, and comedic tales, which were entertaining yet carried moral lessons and social messages. As a folk art, Jikey incorporates a spontaneous element where actors often improvise their dialogues and actions, making it relatable to the audience. Traditional musical instruments such as gendang (drums), rebana (frame drums), and gongs accompany the performances, alongside singing and dancing that depict specific stories or scenes. However, the popularity of Jikey began to decline in the mid-20th century due to societal lifestyle changes and the emergence of modern entertainment such as television and radio. Efforts have since been made by cultural practitioners and institutions to preserve this traditional art form. Today, Jikey is still performed at cultural events as a symbol of the northern Malaysian community's artistic heritage.<div> </div> ...

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TARIAN PORTUGIS

The Portuguese Dance of Melaka is a traditional art form deeply rooted in the history and cultural heritage of Melaka. It originates from the influence of the Portuguese community that came to Melaka in the 16th century and has since evolved into a part of the local culture. The Portuguese Dance of Melaka blends Portuguese and Malay elements, reflecting the unique cultural fusion in Melaka, known as the Baba Nyonya or Peranakan culture. Origins of the Portuguese Dance of MelakaThis dance originates from the Kristang (Portuguese-Eurasian) community in Melaka. Following the Portuguese colonization of Melaka in 1511, the Portuguese community brought with them artistic traditions, including dance, music, and song. Over time, they assimilated with local cultures, including Malay, Chinese, and Indian influences, resulting in highly unique and diverse art forms, including Portuguese dances.There are several types of dances associated with the Portuguese Dance of Melaka, including the most well-known:Fandango DanceThe Fandango is one of the most renowned dances in Portuguese Melaka tradition. This dynamic dance involves quick footwork and is typically performed during celebrations and weddings.Branyo DanceThe Branyo is a traditional Portuguese dance originating in Melaka. It is part of musical and dance performances at social gatherings and entertainment events. The Branyo features paired male and female dancers, performing with spirited and lively movements.Tundo DanceTundo is a more ritualistic dance often performed during religious ceremonies or Christian celebrations held by the Kristang community in Melaka. It reflects the religious influence in Portuguese Melaka dance culture. ...

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GENDANG 24 MUSIM

The 24-Season Drums, also known as Chinese drums or shigu among traditional music players in Malaysia, is an ensemble that features 24 drums, each representing one season in the 24 solar terms of the Chinese calendar. This calendar, created by the ancient Chinese people, is based on various natural phenomena, particularly climate changes. The name of each season is written on each drum using Chinese calligraphy. In general, this ensemble combines three elements of Chinese traditional culture and belief: the 24 solar terms or seasons, the art of calligraphy, and the drumming art form. This unique fusion has led to the creation of a new cultural art form and a reinterpretation of drum performance, which previously did not exist in Chinese communities, particularly among Malaysian Chinese.The 24-Season Drums became popular due to their large number and have been taught in Chinese schools across Malaysia since the 1990s. The first 24-Season Drum ensemble in Malaysia was established by a music teacher from Johor Bahru, Mr. Chen Wei Chong, on 12 June 1988. The first performance of this ensemble featured only nine drums and was performed by a Chinese organization in Johor Bahru. Due to the positive reception and growing interest, the organization successfully raised funds to purchase an additional 15 drums to complete the ensemble.<div> </div> ...

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TARIAN MAGUNATIP

Magunatip is a traditional dance inherited from the Murut ethnic group, one of the most important indigenous communities living in the interior of Sabah, covering the Tenom, Keningau, Pensiangan and several other districts. The name Mangunatip comes from the word ‘Atip’, which means ‘Jepit,’ which refers to the act of pinching the two surfaces of the bamboo stick, which is used as the main instrument in this dance. The bamboo stick produces rhythmic sounds and choreographic elements, which ensure that the dancers have the skills and agility to play their feet between the pinched bamboo sticks and avoid being hit by the ‘Atipan’. Typically, the Magunatip dance is performed by male and female dancers in a rhythmic rhythm, where the male will lead with the ‘Mahihialang’ dance, followed by the female dancers with the ‘Anggalang’ dance rhythm. It begins with the accompaniment of the musical instruments ‘Sansaring’, which is a small gong and ‘Jarang’, which is a drum, followed by the harmony of sounds from the tapping between two bamboos. The integration of the musical ensemble and movement patterns in this dance not only reflects the physical intelligence of the dancers or the dynamics of the performance but also has deep symbolism that links the dance elements with the cultural values and identity of the Murut ethnic community. ...

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ADAT RESAM DAN BUDAYA MASYARAKAT MAH MERI KELAHIRAN: SEMASA MENGANDUNG

The Mah Meri tribe, one of the Orang Asli groups in Malaysia, has rich and unique customs in every aspect of their lives, including birth ceremonies and baby naming. The naming process in the Mah Meri culture involves important customs that aim to safeguard the baby's well-being and protect it from the interference of evil spirits. Since there are various tribes in the Mah Meri community, there are many differences in terms of way of life and language. Their culture and customs are also different and unique. The following customs show what is practiced among the Mah Meri community as a whole.<div> </div> ...

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ALAT MUZIK SARUN

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. ...

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ADAT RESAM DAN BUDAYA MASYARAKAT MAH MERI KELAHIRAN: MEMBERI NAMA

The Mah Meri tribe, one of the Orang Asli groups in Malaysia, has rich and unique customs in every aspect of their lives, including birth ceremonies and baby naming. The naming process in the Mah Meri culture involves important customs that aim to safeguard the baby's well-being and protect it from the interference of evil spirits.The Mah Meri community is one of the Orang Asli groups living in Peninsular Malaysia, particularly in the coastal areas of Selangor, such as Carey Island. They belong to the Senoi tribe and are known for their rich cultural heritage, including the internationally renowned art of wooden mask carving.As a society that greatly respects the environment, Mah Meri's traditional beliefs are closely related to nature and the spirits of ancestors. They believe that every aspect of life, including birth and naming, has a connection with the spiritual world and requires the blessing and protection of the ancestral spirits.In the context of the moment after the birth of a child from a married couple, naming is an important ceremony because the Mah Meri community believes that there is a spiritual power that protects the baby from any threat, including the interference of evil spirits. This process is done with custom and tradition, reflecting their deep belief in the balance between man, nature, and spirit.<div> </div> ...

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No 33 Persiaran Perpaduan 3, Taman Perpaduan, 3...

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ISTIADAT PEMEGANG PUSAKA ADAT BUAPAK SUKU MUNGKAL SRI PILAH PERUT KIRI LUAK ULU MUAR

The Istiadat Pemegang Pusaka Adat Buapak Suku Mungkal Sri Pilah Perut KiriLuak Ulu Muar is one of the significant legacies within the governance and kinshipsystem of the Adat Perpatih community in Negeri Sembilan. The Adat Perpatihpracticed has deep historical roots, originating from the Minangkabau culture,which began migrating and settling in the region as early as the 12th century AD.Chronologically, the Adat Perpatih predates the Common Law system, which onlyemerged around 1066 AD in Europe.As a matrilineal system, Adat Perpatih traces lineage through the maternal line,forming the basis of inheritance and social groupings. The Adat Perpatihcommunity is organized into several main kinship groups known as suku (clans),which are further subdivided into perut (subclans), ruang (lineages), and smallerfamily units called rumpun (sublineages). Each group is led by its respectivecustomary leader: Kodim – head of the sublineage (rumpun); Besar – head of the lineage (ruang); Buapak – head of the subclan (perut); Lembaga – head of the clan (suku).Within this hierarchy, the Buapak plays a vital role as the leader of the perut, asubclan consisting of individuals descending from the same female ancestor. Theselection of the Buapak is conducted through mutual consensus among themembers of the perut, and his primary responsibilities include administeringcustomary affairs related to marriage, divorce, circumcision, hair-cuttingceremonies, and other family matters. The authority of the Buapak is limited to hisperut, unlike the Lembaga, which oversees the entire clan.Over time, the customs and rituals surrounding the selection of the Buapak haveremained a symbol of social structure preservation and the continuity of the SukuMungkal’s traditions under the governance of Luak Ulu Muar, Sri Pilah. Specifically,within Luak Ulu Muar, this ceremony has been practiced since the 16th century,reflecting the consolidation of the Adat Perpatih system in Negeri Sembilan asadapted from Minangkabau cultural influences.In addition to the Buapak, the institution of Ibu Soko also plays an important role,particularly among women. The Ibu Soko is responsible for continuing the maternallineage, ensuring the well-being of the women within the perut, and serving as areference point in matters of custom and religion.Overall, the existence of the Buapak institution in the Suku Mungkal not onlyillustrates the continuity of tradition but also reflects the local wisdom of the NegeriSembilan community in preserving its unique cultural identity to this day. ...

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Sekolah Kebangsaan Tasik Cini Pekan (JHEOA) 2...

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TARIAN KELUNDANG

Kelundang means wood. The main item of Tarian Sewang Kelundang is the kelundang wood, hence the name.  Initially, this dance was a tribe’s medicinal ritual and there were no dancers.  But over time, the dance was introduced to the ritual as more people liked to watch the healing ceremony. This healing is not only practiced by Jakun people but also Semai and Temiar. The Jakuns will use the kelundang wood, but the Semai and Temiar use bamboo.  However, the songs are sung in one’s respective dialect.  Kelundang ritual knowledge is obtained through acquiring and inheritance. Renown shamans inherited the knowledge of this shamanism or passed down their previous generations.  While healing, the panjang wood is tapped by all dancers for the sounds and rhythms. Two sticks are held by each dancer, using it to tap the wood. The healing takes quite a long time, which sometimes lasts all night. The wood for healing must be of batang peruan.  There are five male and female dancers, and a shaman, standing alternately.  They wear headgears of palas (Licuala sp.) leaves, woven neatly like a centipede.  The lyrics of the song are subject to the length of healing.    As times change, tarian                  kelundang is now commercialized, functioning as performance arts to welcome visitors to Jakun Orang Asli settlement, Gumum, Tasik Chini, Pahang.  The stem of a kelundang tree, cut into two feet, is hung on a handle like a gong leg. Knocking the trunk will produce music-like rhythmic thumps as a background of the dance.   Fifteen dancers, musicians and singers do their moves following the basic steps of the sewang dance since both dances are akin to each other.  The dance floor pattern is simple, circular and elongated. When dancing, the singers will sing poems in Jakun accent, celebrating their visitors and the beauty of Tasik Chini. Title of Song - Welcome  This is not just of any bee The bees nesting in the tualang This is not any kind of welcome Welcoming you the revered lords  The stick is not just of any stick It branches far into the forest We do come from afar For ye dancing the kelundang  The lake is not just of any Chini is a given nameIt is not just of any lake There lives a mystique dragon  How high is the Mount Tahan? They row to Kuala Bera Let's observe it through and through Politeness is the value The Temakang Hill the Gelugor Hill Seen from Tasik Chini We welcome the good youWhen shall we meet again?  The bees are not just any bee  They nest in the bamboo trees The reverence is not of any kind We do so with two hands.<div> </div> ...

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