CULTURAL MAPPING PORTAL

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TARIAN ZAPIN SEBAT

Zapin originated from the Zafana dance tradition of the Arabs from Hadramaut, South Arabia, brought to Malaysia through migration from Hadramaut. Through the process of Malay adaptation, Zapin Melayu refined its movements to align with the aesthetics of Southeast Asian culture. Consequently, five types of zapin dances emerged in Sarawak due to migration to the Borneo Archipelago: Sebat, Simanggang, Saratok, Sindang, and Kuching. The dance is believed to have been created by the late Pak Baie Drahman, who was born in 1921 in Kampung Sebat Melayu. He began engaging in Malay cultural activities at the age of 20.<div> </div> ...

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2433

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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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1641

Kg. Parit Jawa, 83500 Parit Sulong, Batu Pahat,...

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ADAT BAPUKONG (BERPUKONG)

Bapukong was a unique custom of the Banjar community (in the past) to help babies sleep soundly.  Traditionally, it was for babies aged between five months and a year.  ...

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2096

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CANGGUNG DANCE

Canggung Dance is one of the traditional dance forms that represents the cultural identity of Perlis, Malaysia. This dance is unique for its performance style, which features an exchange of pantun (Malay poetic verses) sung between male and female performers. The origins of Canggung Dance are closely linked to the influences of Rambong or Makyong Laut dances, which were later adapted by the local community in Perlis to create what is now known as Canggung. Etymologically, the word Canggung is believed to have derived from the Thai word Tanggung, meaning "to dance", reflecting regional cultural influences in its development.Canggung Dance was first actively introduced during the Japanese occupation around 1941. Its earliest performances were presented by two siblings, Che Lian and Che Intan, who became pioneers in spreading and popularizing this dance among the people of Perlis. Since then, Canggung Dance has continued to flourish as a form of folk entertainment, commonly performed at social gatherings such as feasts, weddings, and post-harvest celebrations.Although it shares similarities with other forms of Malay folk dances, such as Ronggeng, Canggung Dance maintains its distinct characteristics, especially through its exchange of pantun between male and female dancers. The pantun often carries themes of advice, playful teasing, and light-hearted satire, reflecting the refinement and wisdom of the Malay community. Today, Canggung Dance continues to be preserved and performed at various cultural events and festivals and is recognized as an important element of Malaysia’s intangible cultural heritage, particularly cherished by the people of Perlis.<div> </div> ...

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MAK YONG (TERENGGANU)

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. 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. 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. 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. 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). 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.<div> </div> ...

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6168

No 26, Jalan Ros, Felda Bukit Batu, 81020, Kula...

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AIR NIRA NIPAH

Nira Nipah is a traditional beverage that remains popular not only among the Malay community but also among other ethnic groups. In villages, the nira nipah industry provides a highly profitable source of supplementary income. Almost every part of the nipah palm can be utilized by humans. The nipah palm, scientifically known as Nypa fruticans, thrives in swampy, low-lying, and muddy areas. It has an underground stem, and its palm roots are typically hidden in the mud where it grows, rarely exposed except in coastal erosion areas. The air pockets and the leaf bases of the nipah palm provide significant buoyancy to its roots. Older leaves shed when a 2-foot-long decay layer forms at the base of the fronds. Another layer of decay appears where the broad leaf joins the root. Nipah fronds can be used to make excellent roofing materials, and it is common to see the fronds being cut while preserving the young shoots. The tough outer cuticle of young leaves is stripped, cut to size, packed, and sold nationwide as cigarette wrappers. The palm produces flowers at the tips of its stalks and branches, forming clusters. These flowers eventually produce fruit. Afterward, the fruit clusters are trimmed to extract nira (sap), with a single inflorescence yielding about one pint of sap per day for three months, producing roughly 11 gallons of sap. The sap from the nipah tree can also be fermented into liquor or tuak. Nipah fruit resembles a wedge in shape, with a structure similar to coconut, including husk, shell, flesh, and water. The young flesh of the fruit is edible, while the mature seeds are very hard. There are three types of nipah palms:1) Sawa Nipah PalmLong stalks, large fronds, and big trunks with a lifespan of about three months.2) Tembaga Nipah PalmMedium-sized stalks, fronds, and trunks with a lifespan of about two months.3) Rat-Tail Nipah PalmSmall stalks, fronds, and trunks, but the fruit is large, and it can produce sap for 28 days.<div> </div> ...

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3368

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LAKON BERADAT

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. 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. ...

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938

Kampung Sungai Itek, 31600 Gopeng, Perak

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CUSTOMS AND CULTURE OF THE RAWA COMMUNITY IN KAMPAR, PERAK: THE BERJOJAK CUSTOM

The Rawa community, also known as "Rao," is one of the most significant traditional communities in Perak, Malaysia. This community is believed to have originated in West Sumatra, Indonesia, with a history of migration to Perak that began around 1850 and continued until 1876. The migration process occurred via the Perak River in Bagan Datoh before the settlers dispersed to other areas, including those along the Kampar River. Key figures who played important roles in this migration include Pawang Ana, a renowned storyteller; Tok Tua Sakti, the founder of the Tapah settlement; and Abdul Karim bin Raja Aman Shah, the founder of the Selama settlement.The Rawa community in Kampar is well known for its rich and unique cultural traditions, which are still practiced today. One such tradition is the Berjojak custom, a ritual designed to help infants learn to walk on the ground. The term "Berjojak" originates from the word "Berjejak," in which the Rawa dialect replaces the vowel  "e" with "o," reflecting the linguistic uniqueness of this community. This tradition not only represents the cultural identity of the Rawa people but also serves as a symbol of heritage preserved by the current generation, making it a meaningful tradition within their philosophy of life and social system. ...

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KERTUK ULU

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. 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. 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.<div> </div> ...

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JOGET SERAMPANG BARU

Initially, the Joget Serampang Baru dance was known as Tarian Serampang Dua Belas, introduced by Haji Mud from the Sarawak Ministry of Social Development and Urbanisation (now the Ministry of Tourism, Arts, and Culture Sarawak). This dance was first performed in 1977 by the Kumpulan Sri Tarina Sarawak during the National Level Dance Competition, where it emerged as the champion. ...

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1306

Kumpulan Penari Limbai Karamaian. Kampung Kelam...

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TARIAN BAKANJAR

Bakanjar is a traditional dance from the Dusun Tatana tribe in the Kuala Penyu, Sabah. This dance reflects the art of self-defence and bravery, making it a form of war dance in the Tatana culture. It is performed exclusively by men, showcasing dynamic and symbolic movements, and is often presented at various events, especially during wedding ceremonies. In addition to symbolising the spirit of heroism, Bakanjar also serves as a tribute to the traditions and heritage of the Tatana ancestors, inspiring the annual Odou Bakanjar Festival, celebrated by the Dusun Tatana community in the Kuala Penyu district. ...

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2250

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IGAL LELLANG

Igal Lellang is a traditional dance of the Bajau Laut ethnic community in Semporna, Sabah, performed exclusively by men. The name Lellang originates from the combination of two root words: Lella, meaning "man," and Leyang, meaning "to fly." Together, the term translates literally to "Flying Man."Symbolically, the term "Flying Man" represents movements that resemble a bird in flight. This interpretation is closely tied to the origin of the word Igal, which is believed to derive from the English word "Eagle." This connection between the dance’s name and its movements highlights that Igal Lellang draws inspiration from the eagle, reflecting themes of freedom, majesty, and dominance in the sky.The Igal Lellang dance traces its origins to the Magombok ritual, a traditional healing practice of the Bajau Laut community. The Magombok ritual was conducted as an offering to summon ancestral spirits, believed to possess the power to heal spiritual ailments. Within this ritualistic context, the dance was performed exclusively by male dancers, with its distinctive movements later codified as Igal Lellang.<div> </div> ...

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1683

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