CULTURAL MAPPING PORTAL

Jabatan Kebudayaan dan Kesenian Negara, Kelantan

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ZAPIN SALOR DANCE

Tarian Zapin is a Malay dance adapted from one of the world’s richest heritages, the Arab-Persian art.  Zapin is an Arabic term, zafn, which means dance (Kamus Besar Arab-Melayu, Dewan Bahasa Pustaka: Kuala Lumpur).  The dance is said to have been introduced to Kampung Salor, Pasir Mas, Kelantan (thus the name) around 1900 by Arab traders and preachers.  To be specific, it was brought by a merchant, Sheik Muhammad.  The dance then was popularised by a local choreographer, Tengku Mahmud. Initially zapin salor was for the pleasure of these settler traders and preachers. But after watching its elegance, the dance eventually captured the heart of the locals, thus adjusted to the Malay culture, and became a favourite.   Zapin salor moves are slightly different from that of Johor zapin. The zapin salor holds four moves: the 'elbow out', 'semerah', 'gelambang' and 'wainab' or 'Mokwan Jenab'.   Way back then, the locals were a little nonchalant about zapin due to its slow nature. But presently it gained popularity as it is fashioned to a faster beat, more energetic and sprightlier, which is suitable for male dancers.  At times it is also danced by female dancers. To close, the tarian zapin salor is a heritage Malay dance of Kelantan which should be safeguarded for future generations.<div> </div> ...

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ADAT RESAM DAN BUDAYA MASYARAKAT CINA. SELEPAS KELAHIRAN: BERPANTANG

Chinese society puts family first because they see it as a way to continue the bloodline. Continuity of descent is considered important to maintain the survival of the nation. Various customs and taboos are practiced during pregnancy and birth to ensure that the unborn baby is spared from bad events such as miscarriage, disability, or death. Pregnant women are always strictly controlled in their daily actions and activities. Chinese society also highly values sons, because they can continue the lineage and inherit the family name. Daughters, on the other hand, are considered temporary property of their parents and upon marriage, they become part of the husband's family.<div> </div> ...

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3614

Kumpulan Kesenian Jkkn N9, Kompleks Jkkn Negeri...

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TARIAN PIRING

The migration of the Minangkabau community to Negeri Sembilan has brought together their cultural heritage, including traditional arts such as the Piring Dance. In the Minangkabau culture, this dance is also known as Tari Piring. It is a dance art belonging to the Minangkabau community that is still practiced by the people of Negeri Sembilan. This Piring Dance is believed to have been brought by the Minangkabau community from West Sumatra when they moved to Negeri Sembilan.Since then, the Piring Dance has been accepted as part of customs, especially in ceremonies that involve competition and wedding ceremonies in the Negeri Sembilan community. This dance plays an important role in Malay wedding traditions in Negeri Sembilan. To ensure the continuity of this heritage, Piring Dance was recognized as a National Heritage by the National Heritage Department in 2015.<div> </div> ...

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5088

B-G, Selayang centre point, 3, Jalan 19a, Selay...

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PUTU MAYAM

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

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7596

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MUZIK GAMELAN

Gamelan is a type of traditional musical ensemble originating from the Malay Archipelago, particularly in Indonesia (mainly Java and Bali). Gamelan music is a combination of metallic and wooden instruments, playing a vital role in culture, traditions, and performing arts across Southeast Asia. History and Origins of GamelanGamelan has a long and rich history, dating back over a thousand years in Javanese and Balinese culture in Indonesia. It has been traditionally used in religious ceremonies, artistic performances, and grand celebrations.The influence of gamelan extended beyond Indonesia, particularly into Malaysia, where it became part of Malay royal court culture, especially in states like Pahang and Terengganu. In Malaysia, gamelan music retains influences from its Indonesian roots but has undergone adaptations to reflect local cultural identity and traditions.<div> </div> ...

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12502

Kampung Ulu Tomani, 89907 Tenom, Sabah

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ADAT RESAM DAN BUDAYA KAUM MURUT SUKU TAHOL - ADAT KEMATIAN TRADISI TAJAU

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.” 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. 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." 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. 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.<div> </div> ...

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8121

Fakulti Muzik dan Seni Persembahan, Universiti ...

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PARAM – A TRADITIONAL REMEDY IN POSTPARTUM CONFINEMENT PRACTICES

Param is a traditional herbal preparation in the form of a body application used by women during the postpartum confinement period in Malay culture. Typically, param is applied over the entire body, except for the breasts and abdomen, and is used consistently twice daily after bathing throughout the approximately 40-day confinement period. The practice of using param not only functions as a restorative treatment for the body but also reflects the continuity of traditional knowledge passed down through generations, particularly in relation to women’s health care after childbirth. The formulation of Param consists of a mixture of natural ingredients with both medicinal and cosmetic properties, such as rice, kencur (Kaempferia galanga), turmeric (Curcuma longa), ginger (Zingiber officinale), garlic (Allium sativum), sandalwood (Santalum album), and kaffir lime peel (Citrus hystrix). This combination of herbs is believed to warm the body, improve blood circulation, prevent “wind” disorders, and maintain skin freshness. In practice, param is usually mixed with warm water to form a fine paste, which is then applied evenly over the body. The paste is left to dry briefly, allowing the active properties to be absorbed into the skin, making the product function similarly to an herbal body scrub that envelops the body with a natural fragrance. Historically, param is associated with traditional healing practices that emphasize the use of tropical herbs for postpartum recovery. Influences from Ayurvedic medicine in India and Javanese herbal traditions also shaped the foundation of param, particularly the concept of balancing “hot” and “cold” elements within the body, which underpins the philosophy of traditional health care. The combination of rice and spices was regarded as a symbol of bodily balance and was used not only for healing but also for beauty purposes. Over time, the practice spread widely among confinement traditions in Malaysia, Sumatra, and the Javanese islands, becoming an integral part of traditional therapies that harmonize physical health, outward beauty, and spiritual balance. Interestingly, 'param' in the Malaysian context shares similarities with the practice of 'bobok parem' in Indonesia. In Javanese tradition, parem refers to an herbal preparation used as a body scrub or topical treatment to counteract “wind” ailments, reduce swelling, and improve blood circulation. The term parem has also been linked to an old French word referring to a healing technique involving herbal applications and gentle massage. Within Javanese postpartum culture, bobok parem is considered an effective therapy for restoring mothers after childbirth, as it helps to relax muscles, strengthen blood vessels, and provide natural warmth to the body. Beyond param and bobok parem, several other Southeast Asian countries also have comparable practices that highlight a shared cultural foundation in women’s postpartum care. In Thailand, there is Sa Kra Sa Mun Prai, a dried herbal body scrub used to restore vitality and stimulate blood circulation. In Myanmar, women apply Thanaka, a traditional herbal preparation made from powdered wood, which is also used during the postpartum period, though its primary focus is on skin beautification. Meanwhile, in Cambodia, Chum Neang Mor involves the use of dried herbal pastes and traditional steam baths believed to warm the body and expel toxins. These similarities illustrate a regional network of traditional knowledge that emphasizes safe, natural, and locally rooted approaches to women’s postpartum recovery. In Malaysia itself, param exists in a variety of forms depending on regional traditions and local practices. In the northern states, param formulations place greater emphasis on turmeric and ginger to provide warmth and reduce joint swelling. On the East Coast, preparations are often enriched with pandan leaves, galangal, and lemongrass to produce a fresh and calming aroma. In the southern states, the inclusion of spices such as cinnamon, cloves, and betel lime is more prominent, influenced by Minangkabau and Peranakan heritage. Meanwhile, in Malaysian Borneo, the use of different rice varieties and freshly sourced herbs is considered essential. This diversity of formulations demonstrates that param is not a homogeneous traditional remedy but rather a dynamic heritage adapted to geography, available natural resources, and the cultural identity of each community in Malaysia.<div> </div> ...

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169

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ADAT RESAM DAN BUDAYA MASYARAKAT INDIA: MENGANDUNG.

Malaysian Indians are Malaysian citizens of Indian descent. A large number migrated to Malaysia during the British colonial era in Malaya. However, historical evidence shows that Indians have begun to settle in Malaysia since the heyday of the Chola Dynasty. Nowadays, they are the third largest race in Malaysia after the Malays and Chinese. In addition, they also have their own customs and culture, such as the custom of pregnant women waiting until the birth of a child.<div> </div> ...

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4529

Taman Eko Rimba, Sungai Temiggol Kahang, Kluang...

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PERMAINAN TRADISIONAL KERCANG

Kercang is a Malay traditional game played using an object called kercang.  The kercang is made of coils of rattan arranged in various shapes. In the past, the game was played by the Orang Asli (Jakun ethnic group) and Malays in the interior of the Endau Forest. ...

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Q-G-04 Pangsapuri Permata, Bandar Baru Perda SP...

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KOMPANG (PULAU PINANG)

The kompang is one of the most basic and popular traditional Malay percussion instruments. It is typically played or struck in groups. This musical instrument is believed to be an assimilation of culture brought into the Malay world by the Arabs and Persians in the 15th century during the Melaka Sultanate. The kompang or percussion is played to accompany the gambus. Uniquely, this instrument reflects the culture of the Muslim community, as it is widely known from the Middle East to the entire Malay archipelago.<div> </div><div>Originally, Arab and Persian traders who waited for the monsoon winds settled in Melaka and played musical instruments such as the rebana and other percussion instruments to pass the time and engage in religious songs, praising the greatness of God. Later, as the Malay community assimilated with the Arab and Persian cultures, the kompang (which resembles the rebana) was created. Local craftsmen, skilled in making kompang, used animal hides to ensure that the surface was hard when struck. The drumhead (the front of the kompang) is made from goat skin, which is attached to the body of the drum (the frame) with a rattan cord, securing the skin and the wooden frame, and nails are used to ensure tightness. This method also ensures that the sound of the kompang is louder when the surface is tight. Unlike today, the sound of most kompang is no longer as strong because plastic has replaced animal skin. Additionally, the sound is different, as plastic and animal skins naturally produce different tones.</div><div> </div><div> </div> ...

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7551

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ADAT RESAM DAN BUDAYA MASYARAKAT CINA. SELEPAS KELAHIRAN-KENDURI, MENCUKUR RAMBUT & MEMBERI NAMA

In Chinese society, marriage is considered an important starting point in a person's life. It is one of the main aspects in strengthening and maintaining the family institution. This clearly shows that lineage can be passed down from one generation to the next. The word for marriage in Chinese is 婚姻 (pinyin: hūn yīn). Originally, traditional Chinese marriages were often arranged by families interested in combining relationships. In Confucian thought, marriage is considered a very important matter because it involves the union of two families and has an impact on society. According to Chinese cultural tradition, marriage between two individuals with the same surname is considered incest. From the point of view of Confucian families, marriage connects families with different surnames and ensures the continuity of the paternal clan. Therefore, the benefits and drawbacks of a marriage affect the entire family, not just the couple involved. From a social perspective, husband and wife are seen as the basic unit of Chinese society. The structure of customs before marriage in Chinese society are: Surveying CustomProposing CustomEngagement Custom<div> </div> ...

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5

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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