TOPIC: CULTURES OF MALAYSIA
PURPOSE :
This information sheet is to explain about the Cultures of Malaysia. With the
understanding, it will guide the trainee to develop the skills to conduct the tour
commentary on the Cultures of Malaysia.
A. SOURCES OF INFORMATION
The information on this information sheet was extracted from various literature sources
obtained from the National Library, National Museum, National Archives and trusted
websites. One of the most valuable published sources is the series of The Encyclopedia of
Malaysia - Peoples and Traditions volume.
CULTURES OF MALAYSIA
Malaysia is known throughout the world for its fascinating mix of cultures
which has proven to be an irresistible draw for people from all around the
world. As home to various ethnic groups, many countries regard Malaysia
as the shining example of peaceful co-existence among many races and
creeds. Having had an interesting past and being a part of the
international spice route many hundreds of years ago, Malaysia has
turned into a mosaic of cultures. Everything from its people to its
architecture reflects a colourful heritage and an amalgamated culture.
Photo from http://www.limkokwing.net/malaysia/living/malaysia_culture/
With a healthy mix of various races such as the Malay, Chinese, Indians and other ethnic
groups, the many different ethnicities that exist in Malaysia have their own unique cultural
identities, which have not only remained distinct but remained harmoniously so. In Sabah
and Sarawak, there are a myriad of indigenous ethnic groups with their own unique culture
and heritage. All these different cultures have influenced each other, creating a
truly Malaysian culture that is an amalgam of cultures.
Photo from http://newshopper.sulekha.com/malaysia-culture-festival_photo_1326903.htm
1.1 MALAY CULTURE
1.1.1 DISTRIBUTION
The Malays are the race of people who inhabit the Malay Peninsula and portions of
adjacent islands of South East Asia, including areas of Sumatera, the coasts of Borneo
and islands that lie between these areas. They are part of the larger related ethnic stock
native to the Malay Archipelago known as Malayo-Polynesians or more recently called
Austronesians by ethnologist and linguists. Austronesian refers to both the larger ethnic
family as well as their family of languages.
1.1.2 HISTORY
Proto-Malays
Proto-Malays, also known as Melayu Asli (Aboriginal Malay) or Melayu Purba (ancient
Malay) are the Austronesian speakers from mainland Asia who moved to the Malay
Peninsular and surrounding areas in batches probably during the Ice Age, when the
continental plate and the islands were connected by land.
While there are some alternate views as to their origins, the current anthropological view
traces the migration of Proto-Malays to some 10,000 years ago or earlier when they
came to Southeast Asia and eventually settled down at various places including the
Malay Peninsula.
The Proto Malays are believed to be knowledgeable in oceanography and possessed
agricultural skills, and they served as navigation guides and crew to early Indian, Arab,
Persian and Chinese traders for nearly 2000 years. These Proto-Malays are what is
termed today as “Melayu Asli” and are one of the groups of the Orang Asli.
Deutero-Malays
The earlier Malays were later joined, absorbed and replaced by the related Deutero-
Malays in a successive wave of migration from mainland Asia from several thousand
years ago to at latest around 300 BC. The present-day Malays of the Peninsula and
other parts of the Malay Archipelago are described anthropologically as Deutero-Malays
who include an ethnic combination of Proto-Malays and other aboriginal Orang Asli, with
Asiatic Kambujas of Hindu-Buddhist faith, Indo-Persian royalty and traders, southern
Chinese voyagers, and other native peoples and seafarers from lands along the ancient
trade routes.
Deutero-Malays possessed good technical and agricultural skills and cultivated irrigated
rice. They were also knowledgeable in iron and bronze works as well as possessing
good navigational skills.
The emergence of this new hybrid group indirectly forced some groups of Proto- Malays and
aboriginal people to retreat into the hill areas of the interior further upriver. The Deutero-
Malaysformed the racial basis for the group which today is called Malay.
Royal court of a Malay Ruler (1500s). Illustration from
http://www.encyclopedia.com.my/volume12/malays_id.html
1.1.3 RELIGIONS, BELIEFS AND TABOOS
Religion
The original religion of the Malays is a form of Animism or Paganism, which worships
spirits of nature, but prominence among them is what is called Adat or customs. In fact,
the position of Adat is so high that it ranks higher than religion itself. Therefore, it was
easy for the Malays to accept new religions into their society, as these religions by belief
do not pose any conflict with Animism, and as long as it does not threaten the Adat.
Because of this, there were Malays who embraced Hinduism and some also Buddhism
when these religions came from India; and in similar manner embraced Islam when it
came later.
The growth of trade with India brought coastal people in much of the Malay world into
contact with the major religions of Hinduism and Buddhism. Thus, Indian religions,
cultural traditions and the Sanskrit language began to influence the natives across the
land. Temples were built in the Indian style, local kings began referring to themselves as
Raja and the more desirable aspects of Indian culture were adopted, while others were
not or even discarded when it did not fit the Malay psyche.
Islam in the Malay Peninsular
Two major developments that changed Malay history occurred beginning in the 13th and
14th centuries. The first was the arrival of Islam; the second was the rise of the great
port-city of Malacca on the southwestern coast of Malay Peninsula.
Batu Bersurat in Terengganu. Photo from
http://abdullahabsyi.wordpress.com/2009/01/
The Islamic faith arrived on the shores of what are now the states of Kedah from at least
the 10th century and in Kelantan and Terengganu from around the 12th century. The
earliest archaeological
evidence of Islam from the Malay Peninsular is an inscribed stone dating from the 14th
century found in Terengganu.
By the 15th century, the Malacca Sultanate, whose authority reached over much of the
western Malay Archipelago, became the centre of Islamisation in the east. The Malaccan
tradition was transmitted onwards and fostered a vigorous ethos of Malay identity. It was
during this era that the Islamic faith became closely identified with Malay society and
played a significant role in defining the Malay identity.
In modern Malaysia, the Malay population is defined as someone born to a Malaysian
citizen who professes to be a Muslim, habitually speaks the Malay language, adheres to
Malay customs, and is domiciled in Malaysia. All ethnic Malays are Muslim (100%) as
defined by Article 160 of the Constitution of Malaysia, there are also substantial numbers
of Indian Muslims and a few numbers of ethnic Chinese converts. As required by
Malaysian law and defined in the Constitution of Malaysia, a Malay would surrender his
ethnic status if he were not Muslim.
Malays during Friday prayer. Photo from http://abdullahabsyi.wordpress.com/page/2/
Islam is central to and dominant in Malay culture. A significant number of words in the
Malay vocabulary can trace their origins to Arabic which is the chosen language of
Islam. Islam is so ingrained in Malay life that Islamic rituals are practiced as Malay
culture. “Muslim” and “Malays” are interchangeable in many daily contexts.
Malays are obliged to follow the decisions of Syariah courts in matters concerning their
religion. The Islamic judges are expected to follow the Shafi`i legal school of Islam, which
is the main mazhab (“school of jurisprudence” in English) of Malaysia. The jurisdiction of
Shariah courts is limited to Muslims in matters such as marriage, inheritance, divorce,
apostasy, religious conversion, and custody among others.
Mosques, whether of Malay pyramidal roof style or Middle-East/Mughal types, are an
ordinary scene throughout the country and the azan (call to prayer) from minarets is
heard five times a day. Government bodies and banking institutions are closed for two
hours every Friday so Muslim workers can attend Friday prayer in mosques.
Malay-style old mosque in Papan, the oldest in
Perak. Photo from Ahmad Najib Ariffin
Malays abide by the five pillars of Islam and also pay attention to the sincerity of belief by
enjoining personal piety of intent called niat. Of the five pillars of Islam, the first, which is
called the Syahadat, or testimony, is doctrinal, while the rest are more or less ritualistic. The
other pillars are the five daily prayers (sembahyang), fasting during the month of Ramadan
(puasa), paying the annual tithe of tax (zakat), and the pilgrimage to Mecca (naik haji).
Malays should make their pilgrimage to Mecca if they are able, and there is always a waiting
list of Malay pilgrims seeking passage to Mecca.
Malay/Muslim girls. Photo from
http://aboutmiracle.wordpress.com/2008/07/21/malay sia-daulah-
pemuda-bani-tamim/
Approximately 99.9% of modern Malays are the adherents of Sunni Islam and the most
important Malay festivals are those of Islamic origin; Hari Raya Aidilfitri (Eid ul-Fitr), Hari
Raya Aidiladha (Eid al-Adha), Awal Muharram (Islamic New Year) and Maulidur Rasul
(Mawlid - Birthday of the Prophet).
Traditional Beliefs
In traditional beliefs, still held by some isolated groups, Semangat is the general word for
"soul", which can leave the person's body temporarily in dreams and finally at death.
When the soul leaves the body it assumes the form of a homunculus, and in this form
can feed on the souls of others. At death, the soul either returns to the creator passes,
directly or indirectly, into another person, animal or plant. The spirit or ghost, usually
called the hantu, continues to linger and may be harmful to its survivors.
An old Malay belief is that a person's ghost the haunts their grave for seven days before
departing to the underworld. Ghosts may also return and take possession of a living
person, causing madness. Ghosts are generally are believed to be active only at
nighttime, especially during a full moon. Ghosts may torment the living, causing illness
and misfortune.
One way to evade such a ghost is for all the victims to formally change their name, so
that when the ghost returns it will not recognize them. Another is to tempt the ghost with
a meal. When the ghost turns into an animal such as a chicken so that it can eat, it may
be killed and destroyed.
Ghosts traditionally were blamed for some illnesses. To cure them, the shaman or
bomoh in a village would burn incense, recite incantations, and in some cases sacrifice a
goat and wash its blood into the river to appease the ghost.
Popular Malay Film – Pocong2. Photo from
http://www.wunderkabinett.co.uk/damndata/index.php?/archives/1832-Malaysian- jumping
corpses.html
Traditional ghost beliefs are rooted in prehistoric animist beliefs. However, the area has
long had extensive contact with other cultures, and these have affected the form of some
of the legends. There are many Malay ghost myths, remnants of old animist beliefs that
have been shaped by later Hindu, Buddhist and Muslim influences in the modern states
of Indonesia, Malaysia and Brunei. There are many types of traditional Malay ghosts.
Some of them are the female vampires Pontianak and Penanggalan, and others such as
Toyol, Hantu Pocong, Hantu Galah, Hantu Raya, Pelesit, Orang Bunian and Orang
Minyak.
Traditional Malay folks believe in certain people called pawang or bomoh, who claimed
to be experts in propitiating or exorcising noxious spirits and demons which bring
pestilence to the village. They are also practitioners
of magic engaged in divining lost properties and in
dispensing charms and spells for good or evil ends.
Bomoh. Photo from
http://asmaliana.com/blog/2011/02/17/shaman-ancestral-medicine-attraction/
Taboos
In Malay culture, there are a few issues or subject matters that are considered as taboo.
Words or content of conversations which is considered as Malay taboos which involve
sexual and religious matters. For example, one cannot discuss about sex in public
places and also at home. Sex is not meant to be discussed among the people because it
is considered as immoral.
In addition, dogs have always been regarded as a taboo in Malay or most Muslim
societies in general. Traditionally, when eating something the right hand is to be used. It
is taboo to use the left hand for eating purposes, even when forks and spoons are used.
However, some of the taboos are used by the elders to discipline youngsters so that in
the future, the children will be well behaved. Examples of these taboos are:
• Do not sit on the pillow or lest your backside will have sores.
• Girls who are not married cannot sing in the kitchen, lest they would have a late
marriage.
• Do not point finger towards the rainbow, lest the finger will be crippled.
1.1.4 LANGUAGE
The Malays speak Bahasa Melayu. The language is an Austronesian language spoken
by the Malay people who are native to the Malay Peninsula, southern Thailand,
Singapore and parts of Sumatra and Borneo. It is the official language of Malaysia and
Brunei with the version in Indonesia called Bahasa Indonesia, and one of the four official
languages of Singapore. It is also used as a working language in East Timor. The official
standard for Malay, as agreed upon by Indonesia, Malaysia and Brunei, is Bahasa
Melayu Riau, the language of the Johor-Riau Archipelago, long considered the birthplace
of the Malay language.
In the Malay Peninsula, the Kelantanese dialect in its purest form is the most difficult to
understand. Other peninsular dialects include the Kedahan dialect, the Melakan dialect,
the Negeri Sembilan dialect, the Perak dialect, the Pahang dialect and the Terengganu
dialect. Many Malay dialects are not as mutually intelligible: e.g. Kelantanese
pronunciation is difficult even for some Malaysians to understand, while Javanese Malay
tends to have a lot of words unique to it which will be unfamiliar to other speakers of
Malay.
Malays typically use Arab names for their children and do not have surnames. A name
consists of the person's given name, followed by bin (son of) or binti (daughter of) and
the father's first or full name. For example, Helmy, the son of Ismail, would be Helmy bin
Ismail. The same principle applies to a woman's name, except that her given name is
followed by binti and the father’s name.
Literature
Considering the softness and mellifluence of the
Malay language, which lends itself easily to the
requirements of rhyme and rhythm, the
originality and beauty in Malay literature can be
assessed in its poetical elements. Among the
forms of poetry in Malay literature are – the
Pantun, Syair and Gurindam.
Malay pantun. Taken from http://syakirinrosik.wordpress.com/2010/09/22/the-pain-is-
gone/
The earliest form of Malay literature was the oral literature and its central subjects are
traditional folklore relating to nature, animals and people. The folklore were memorized
and passed from one generation of storytellers to the next. Many of these tales were also
written down by penglipur lara (storytellers) for example: Hikayat Malim Dewa, Hikayat
Malim Deman, Hikayat Raja Budiman, Hikayat Raja Donan, Hikayat Anggun Cik
Tunggal, and Hikayat Awang Sulung Merah Muda.
Malay literature grew from Hindu influenced texts such as the Hikayat Seri Rama and
Hikayat Langlang Buana, to Islamic tales such as the Hikayat Iskandar Dzulkarnain, the
Hikayat Amir Hamzah.
The Malay literature can also be seen through historical texts, for example the Sejarah
Melayu (The Malay Annals) edited by Tun Seri Lanang and the Tuhfat al-Nafis (The
Precious Gift) by Raja Ali Haji and Malay romances like the Hikayat Hang Tuah.
1.1.5 RITES OF PASSAGE
Birth
There are important rites of passage in traditional Malay society. After birth, a baby and a
mother are in a confinement period (dalam pantang) of forty-four days. During this
period, the mother undergoes a special diet and massage program to restore her to her
pre-natal state. Often, she consumes traditional herbs called jamu and wears a tight
swath of cloth to slim her down. Two common ceremonies during the infant years are
naik buaian or berendoi, a ceremony to introduce the baby to his or her cradle, and
potong jambul, an event when a child's head is shaven to "cleanse" her or him.
Photo from http://syedmahadzirsyedibrahim.blogspot.com/2010/11/adat-berkhatan-
tradisional.html
The circumcision ceremony for a boy is an elaborate
event where relatives and villagers are invited to share
the occasion. Circumcisions are performed on boys
between the ages of seven and twelve. Traditionally, and
still in the villages, the circumcision is performed with a
knife on a banana tree trunk by a mudim, a person who
specializes in performing circumcision ceremonies. Unlike the traditional method,
circumcisions in cities are now performed by physicians in hospitals, and the ceremonies
are not as elaborate as those of traditional circumcisions. The
circumcision of a girl is a private ceremony and is performed on
girls in infancy.
Healing period after berkhatan. Photo from
http://nafisahtahir.blogspot.com/2009/12/sibuk.html
Wedding
Marriage is perhaps the biggest event in a Malay person's life. Although close family
friends still arrange marriages, the couple involved must give their full consent. Men are
expected to be married by the age of twenty-five to twenty-eight, while women are
usually a few years younger.
The Malay marriage is a regal affair. The bride and groom are treated as “king and
queen for a day”.
Betrothal (Bertunang)
The pre-wedding meeting between the bride's and the groom's parents will determine the
dowry that is to be given to the bride as well as the date of the solemnization. This may
be as early as a year before the wedding itself so that arrangements could be made in
advance. Often the wedding is held on one convenient weekend so as to accommodate
relatives who live far away and to reduce costs.
The berinai (henna application) ceremony is held prior to the wedding. The bride's palms
and feet are 'decorated' with the dye from the henna leaves. Sometimes this is followed
by the tukar pakaian (costume changes) and the bride and, less often, the groom will don
different clothes for photography. The pelamin (raised dais) will be beautifully decorated
for the purpose.
Akad Nikah
Marriage is a contract, and the akad nikah effectively forges the union. The solmnization
is normally presided by a kadhi, a religious official of the Islamic Department. In olden
days, it was customary for the bride's
biological father to perform this function.
The akad nikah ceremony is in effect a
verbal contract between the bride's father
or his representative (in this case the kadhi)
and the groom. A small sum of money
called the mas kahwin seals the contract.
One needs to distinguish the mas kahwin
and the hantaran (dowry). The small sum of
the mas kahwin is to ensure that even poor people could marry, for marriage is
encouraged for all healthy Muslims.
Akad Nikah marriage solemnisation. Photo from Kamarul Baharin Bin Tajuddin
The hantaran, on the other hand, is more
a custom and may go into thousands of
ringgit in cash and kind in the form of
trays of gifts.
Decorated hantaran wedding gifts. Photo
from Kamarul Baharin Bin Tajuddin
Bersanding
In the bersanding ceremony, which is open to the public, the bridal couple sits on a
raised dais (pelamin). Parents and relative scatter scented leaves and flower petals
(bunga rampai) onto the open palms of the bride and groom, signifying blessings. A
similar feast and ceremony is
repeated at the groom's house on
the second day. Guests are
presented with a bunga telur
each. Literally, this means 'flower
and egg'. The egg symbolises a
fertile union and the hope that the
marriage will produce many
children.
Malay bersanding ceremony. Photo from: Kamarul Baharin Bin Tajuddin
Death
Death is a very somber and religious affair in a Malay community. The funeral occurs
soon after death, since Islam requires the deceased to be buried as soon as possible.
Before burial, the body is placed in the center of the
living room to give everyone a chance to offer prayers
and pay their last respects. The deceased is then
wrapped in white cloth and carried to the graveyard to be
buried. The normal mourning period is one hundred
days, although special prayers are held only on the first
three nights, on the seventh day, the fortieth day, and on
the hundredth day.
Malay cemeteries. Photo from http://www.flickr.com/photos/limn/3470818306/
1.1.6 FESTIVALS
Hari Raya Aidil Fitri (Eid-ul Fitr or Aidil Fitri)
Hari Raya Puasa is a very important occasion that is celebrated by Muslims all over the
world. It is also known as the festival that marks the end of one month of fasting. The
words "˜Hari Raya' mean 'day of celebration.'
Ramadan is the name of the one-month fasting period when Muslims fast for a period of
almost 12 hours. They fast from dawn till sunset. It is a known fact that during the period
of fasting, apart from eating and drinking Muslims are also forbidden from smoking and
having sexual relations. Only the sick are excused from fasting during this month.
Muslims are expected to avoid lying, breaking promise or cheating during the month of
Ramadan. The primary purpose of fasting during Ramadan is to remind all Muslims of
self-control and submitting to Allah, the holy one. Even young kids are taught to fast
when they are young.
Widely, markets, or ‘Ramadan bazaars’ are held in many areas around the country,
where all sorts of food and kuih — traditional Malay delicacies — are sold for breaking
fast or buka puasa. Hotels and restaurants have also exploited this situation to offer
exorbitant Ramadan buffets.
Women start to sew beautiful curtains and buy new clothes for the family. Some families
also do renovation for the house so that the house would look better when the guests
visit it during the festival. After fulfilling their one-month of fasting, the Muslims would be
joyful to celebrate Hari Raya Puasa. On the morning of the festival, the Muslims would
wear their new clothes and go to the mosque to pray. They offer their thanks to God and
after that they would ask for forgiveness from their elders. This is an important custom
followed by the Muslims.
The main greeting used by Muslims in Malaysia is “Selamat Hari Raya” which means
“Happy Eid” in Malay. Another greeting is “Maaf Zahir dan Batin” which translates loosely
to “I seek forgiveness (from you) physically and spiritually”, for Hari Raya is a time to
reconcile and renew relationships with others.
They feel that the young ones asking forgiveness from their elders is very essential. On
the day, they also visit their relatives and friends to celebrate the happy occasion.
Relatives and friends are invited to the many 'open houses', where they are served with
a generous spread of food and traditional delicacies.
Some favourite dishes that can be found in Muslims homes on this special occasion are
ketupat, lontong, nasi padang and beef rendang. The Muslims also have the habit of
giving packets of money to kids when they go visiting. The packets are usually be in
green colour and children often look forward to getting these money tokens on Hari Raya
Puasa. Overall, Hari Raya Puasa is a delightful festival for the Muslims.
Hari Raya Aidiladha (Eid-ul Adha or Aidil Adha)
Eid ul-Adha is one of two Islamic Eid festivals that Muslims celebrate, the origin of which
comes from the Quran. Also known as Hari Raya Haji, Hari Raya Kurban, Qurban, or the
Festival of Sacrifice, the Eid al-Adha is one of the several religious festivals celebrated
by Muslims all over the word. The Muslim community commemorates God’s forgiveness
of Ibrahim, from his promise to sacrifice his own son Ismail as commanded by Allah.
The Hari Raya Haji festival annually falls on the 10th day of the month of Zulhijjah of the
lunar Islamic Calendar. The festival is based on the Islamic lunar calendar, and thus in
Gregorian calendar the date changes every year.
Eid ul-Adha happens the day after pilgrims perform Hajj, or the annual pilgrimage to
Mecca in Saudi Arabia by Muslims worldwide. The pilgrimage is done approximately
seventy days after the end of the month of Ramadan. This is an occasion celebrated
marking the conclusion of the annual Haj - the pilgrimage to the holy city of Mecca, when
the pilgrims are given the title of Haji for men and Hajjah for women.
Men, women, and children of the Muslim community are required to dress in their finest
clothing to perform the Eid prayer. Well-off Muslim devotees sacrifice their best domestic
animals, usually sheep, cows, goats and even camels, as a re-enactment of Ibrahim’s
sacrifice. These sacrificed animals, have to meet certain age (the animal must be at least
a year old) and quality or else it is considered as an unacceptable sacrifice. During the
sacrifice ceremony, Allah’s name is recited with the offering statement and a
supplication, as said by Prophet Muhammad.
According to the Quran, ample portions of the sacrificed animal meat should be given to
the poor and hungry, so that they too can join in the festivities. The remainder of the
meat is cooked for the family celebration meal, wherein it is shared among friends and
families. During the celebration, Muslims are also expected to visit their kin, from their
parents down to their friends.
Maulidul Rasul (Birthday of the Prophet Muhammad)
Maulidur Rasul celebrations in Malaysia, and in fact for Muslims all over the world, are
held every 12th day of the month of Rabiul Awal of the Islamic calendar. By
commemorating the birthday of Prophet Mohamed (pbuh), Muslims are reminded of the
Prophet’s way of life and the true teachings of God (Allah) as embodied in the Al-Quran,
which is for the good of the global community, for all mankind.
Maal Hijrah (First Month of the Muslim Calendar)
Celebrated by Muslims as the day symbolises two happy events in a Muslim's life. The
start of Muslim year or calendar, Muharram, coincides with Prophet Muhammad's
journey from Mecca to Medina on the first of Muharram in 622AD. To signify this
occasion, Muslims attend to various religious activities, spiritual singing, and religious
meeting throughout the country.
1.1.7 COSTUMES
Women
The Malay women wear the baju kurung and the baju
kebaya. A baju kurung is worn for occasions such as
school (as a uniform) or to a wedding. It is usually
brightly colored and can come in a variety of different
printed designs. It is a knee length dress with a full
length sleeves. The outfit is completed with a
selendang or tudung around the shoulders or on the
head.
The baiu kebaya is a lot more form fitting compared to
the baju kurung and is normally quite flattering. This
makes the baju kebaya quite popular with the Malay community as well as the non-
Malays. The baju kebaya is usually matched with the kain songket or batik.
Some of the women from the northern state of Kedah wear Baju Kurung Kedah as a
daily dress. It is a shorter dress with three-quarter sleeves, so the wearer can move
around easily. Other states have their own official state costumes of which are worn
during official ceremony or special occasions such as wedding or coronation of the
Sultan.
Men
For the Malay culture, the men wear baju melayu with a songkok or cap, on their head.
Traditional clothing for men in Malaysia consists of a silk or cotton skirt and shirt with a
scarf like piece of cloth tied around his waist. This scarf is sewn together at the ends and
is traditionally called a sarong or a kain. Most of the clothing is made up of bright and
bold colors.
The Malay tanjak or tengkolok is worn and complements exquisitely the traditional full
Malay costume or baju melayu. The tanjak or tengkolok is actually a four-sided cloth that
is folded expertly into a head-kerchief. It is usually worn at traditional Malay weddings by
the groom during the bersanding ceremony and the tanjak he wears usually matches the
wedding suit. The tanjak or tengkolok are worn during formal and public ceremonies as
well.
The songkok (traditional Malay cap) is a headdress worn with the traditional outfit for
Malay men. The songkok is well designed from plain black to embroidered and from
cotton to velvet. It is mostly worn during festive occasions such as Hari Raya and
weddings as well as religious events such as kenduri (feasts), prayers and funerals.
1.1.8 CUISINE
The traditional culinary style has been greatly influenced by the long-ago traders from
neighboring countries. Malay food is often described as spicy and flavorful as it utilizes a
melting pot of spices and herbs.
Rice is the staple diet in any Malay meal. Most meals are eaten by using your fingers,
and eating utensils are kept to a minimum. All dishes are served at the same time,
accompanied by a refreshing drink. Fish is popular in Malay cooking. Beef, chicken and
mutton are very popular choices but never pork as it is against their religious beliefs to
eat pork.
Popular Malay Dishes
Nasi Lemak
Nasi Lemak, rice steamed with coconut milk to lend it special fragrance, and served with
fried anchovies, peanuts, sliced cucumber, hard boiled eggs, and a spicy chili paste
known as sambal. For a more substantial meal, nasi lemak can also be served with a
choice or curries, or a spicy meat stew called rendang. Of Malay origin, Nasi Lemak is
often called the national dish, and a national heritage of Malaysia.
Nasi Dagang
The dish is made by cooking rice and glutinous rice together, to which coconut cream is
added once it is cooked. Nasi Dagang is eaten with its own specially made side dishes of
tuna fish curry and a light vegetable pickle.
Satay
Satay is another popular Malay dish. Pieces of marinated chicken or beef are skewered
and cooked over a charcoal fire where they are periodically brushed over with oil. The
skewered meat is then served hot, accompanied by a special peanut sauce.
Rendang
A meat dish that is prepared with coconut milk, chilies, onions and other condiments.
Eaten with rice, the tasty tender meat is a delectable dish, a must, at most Malay
functions.
Kangkung belacan
Kangkung belacan is water convolvulus wok-fried in a pungent sauce of shrimp paste
(belacan) and hot chilli peppers. Various other items are cooked this way, including
petai, which is somewhat bitter when eaten raw; but some Malays still eat it as is.
Ketupat
Ketupat is a type of glutinous rice dumpling that has been wrapped in a woven palm leaf
pouch and boiled. As the rice cooks, the grains expand to fill the pouch and the rice
becomes compressed. This method of cooking gives the ketupat its characteristic form
and texture. Usually eaten with rendang (a type of dry beef curry) or served as an
accompaniment to satay. Ketupat is also traditionally served by Malays at open houses
on festive occasions such as Hari Raya Aidilfitri.
Keropok Lekor
A popular and the most visible fried snack in Terengganu, the keropok is made of fish
meat, ground to a paste, and mixed with sago. Coming in two main different forms, the
long chewy ones are called 'lekor', while the thin, crispy ones are called 'keping'.
Keropok is best eaten hot with its special chili dip.
Desserts
Above all, Malay cuisine is much famed for its desserts, such as, Pulut Hitam; a rice
porridge made from sago; Air Batu Campur (ABC) -a desserts prepared with items like
jelly grass, sweet corn, condensed milk, and red beans; and cendol. Let it be any type of
Malay desserts, ingredients such as palm sugar and coconut milk as well as freshly
grated coconut are considered staple for its preparation.
1.1.9 ARCHITECTURE, ARTS AND CRAFTS
Drawing on their heritage, history, Islamic teachings and values, the Malays in the
various states in Peninsular Malaysia have developed a rich variety of cultural traditions
in the form of customs, ceremonies, dwellings, handicraft, music and dance forms.
These traditions exhibit variations from one region to another, reflecting the influence of
immigrants from other parts of the Malay World as well as that of exogenous cultures.
i. Architecture
Traditional timber houses incorporated design principals relevant in contemporary
architecture such as shading and ventilation, qualities present in the basic house
features. A main characteristic of a typical kampung house is its on stilts or piles. This
was to avoid wild animals and floods, to deter thieves, and for added ventilation.
Using renewable natural materials including timber and bamboo, the dwellings are often
built without the use of metal including nails. Instead pre-cut holes and grooves are used
to fit the timber elements into one another, effectively making it a ‘prefabricated house’.
Without nails, a timber house could be dismantled and reconstructed in a new location.
Basically, the traditional Malay house can be divided into the front and back portions
which are centred around the rumah ibu (the core house) and the dapur (kitchen)
respectively.
At the entrances of most traditional Malay houses, stairs lead up to a covered porch
called the anjung. The porch acts as a good transition space between the public and the
private domains. The anjung also acts as an important focal point for the entrance.
Unfamiliar visitors and guests are entertained here. It is also a favourite place for the
house occupants to rest, chat and watch the goings-on and passers-by in the village.
From the entrance porch, one enters into the serambi gantung (hanging verandah). This
is the place where most guests are entertained. The low windows in the serambi gantung
allow for good ventilation and good views to the exterior. From the serambi gantung, one
enters into the rumah ibu, which is the core area. This is the largest area in the house
where most activities are conducted. Sleeping, sewing, praying, ironing, studying and
even feasting (kenduri), which is held during marriages and other festivals, all occur
here. The importance of the rumah ibu is expressed by its floor level being the highest in
the house.
Photo from
http://www.encycloped
ia.com.my/gallery.html
The selung is a closed walkway used to link the kitchen and the rumah ibu together. The
side entrance to the kitchen is also located here. Besides being a circulation space, the
selung is often used by the womenfolk as a space to chat and socialise. The selung is a
very effective linking device which leaves an open space between the two portions,
allowing good ventilation and lighting for the house.
The dapur (kitchen) is always situated at the back of the house, and is on the lowest
floor level. Modern kitchens in new Malay houses are often dropped to the ground level
where floors are cemented. Preparation of food, cooking, eating and washing are all
done here. The womenfolk also often group here to chat.
The court space, which is peculiar only to Malay houses in Malacca, is an intimate,
private interior open space in between the rumah ibu and the dapur. This space is the
wet core of the house where the washing, drying and toilet areas are situated. It is often
beautifully decorated with flowers and plants. It is a favourite resting place for the users.
Sometimes, informal guests, especially ladies, are entertained here.
Types of Malay Houses
Various traditional and hybrid Malay houseforms can be identified in Peninsular
Malaysia. They are classified mainly by their roof shapes. The basic houseforms are the
bumbung panjang, bumbung lima, bumbung perak and bumbung limas.
The most common houseform is the bumbung panjang, characterised by a long gable
roof. The bumbung panjang houses are the oldest identified in Peninsular Malaysia,
many of them being over a hundred years old and still in good condition. The bumbung
panjang is the simplest of the four houseforms. It has a simple gable roof, supported by
kingposts.
The most common roofing material used for the bumbung panjang is the attap (a thatch
made from nipah and other palm trees found in the local natural vegetation). The simple
bumbung panjang roof-form is most efficient in its ventilation properties. Its simple funnel
shape, the use of ventilation grilles at its gable ends (tebar layar)a n d the use of
ventilation joints allow good ventilation of the roof, space which cools the house
effectively.
The roof is simple and easy to construct, and this partly explains the popularity of this
houseform among the poorer villagers and those who build houses themselves. The
bumbung panjang, due to its simplicity, is a very efficient roof-form for making additions
to the house.
The bumbung lima, bumbung limas and bumbung perak are all houseforms which are
not indigenous but developed through foreign influence. The bumbung lima and
bumbung perak houses are believed to have been influenced by colonial Dutch and
British houseforms.
The bumbung lima house has a hipped roof, the bumbung perak house has a gambrel
roof and the bumbung limas house has a pyramidal roof. Of these three foreign
houseforms used in Malay houses, the bumbung perak houseform (also called bumbung
potongan Belanda [Dutch-type] roof in the East Coast) is the most popular.
Diagram 1: Design and Layout of a Typical Malay House
ii. Handicrafts
As most traditional artisans are Muslims, the Malay handicraft designs are heavily
influenced by Islam. The religion prohibits the depiction of the human form in art. Hence,
most designs are based on natural elements such as the interlacing of leaves or vines,
flowers and animals.
Labu sayong
Labu Sayong is a black-coloured gourd-shaped clay jar typically used to store and cool
water. The state of Perak is renowned for this type of pottery.
Wood Crafts
Blessed with an abundance of timber in boundless tropical forests, Malaysia is renowned
for an assortment of distinctive wood crafts. Traditionally, whole houses were built from
elaborate hand-carved timber. Wood carving is used to decorate mosques and prayer
houses, often incorporating Islamic calligraphy.
Metal Crafts
Popular since the early days, traditional brass casting and bronze working are still used
to make an array of utensils. More recently in the 19th century, with the discovery of tin
in Malaysia, pewter has become increasingly popular. Metal craft products include
modern decorative items, kitchen ware and traditional artefacts like tepak sireh sets,
rose-water instruments and keris blades.
Hand-woven Crafts
Marvel at the creative hand-woven crafts of Malaysia. Local plant fibres and parts from
bamboo, rattan, pandan and mengkuang leaves are coiled, plaited, twined and woven to
produce items such as bags, baskets, mats, hats, tudung saji and sepak raga balls.
Batik
Referring to the process of dyeing fabric by making use of a resistant technique;
covering areas of cloth with wax to prevent it absorbing colours. The colours in batik are
much more resistant to wear than those of painted or printed fabrics because the cloth is
completely immersed in dye.
Songket
Utilising an intricate supplementary weft technique where gold threads are woven in
between the longitudinal silk threads of the background cloth. In the past, this rich and
luxurious fabric demonstrated the social status of the Malay elite.
Tekat
The art of embroidering golden thread onto a base material, generally velvet, was
traditionally used to decorate traditional Malay weddings regalia
iii. Dances
Malay Dance is definitely unique, the bond and friendships made within dancing group
and other groups are truly treasured and fondly remembered. Dance is also an important
element in traditional Malay Theatre complementing the more integral components of
dialogue and music.
A. COURT DANCE
Court Dance began as entertainment for the Royal Households of Malaysia as such the
style is very graceful and the movements are slow, sustained and controlled. Generally
the eyes are slightly downcast as it was considered rude to look the Royalty in the eye.
Many of these dances begin in a seated position on the floor and then slowly to a
kneeling or standing position.
These dances used to be performed primarily by the maidens and ladies-in-waiting of the
Court. However today this dances are performed for the public in venues outside the
palace such as theatres, corporate events, tourism projects and private functions.
1. Asyik
2. Layang Mas
3. Gamelan
4. Mengadad Rebab
5. Terinai
1. Asyik
This is a royal court dance of Kelantan. It started at Pattani in 1644 due to the missing of
the queen's favourite bird. Her ladies in waiting created this dance to entertain the
grieving queen. Asyik also means ‘the beloved / besotted’ and is believed to have been
the name of the lost bird.
The dance opens with beautifully costumed maidens sitting gracefully and awaiting the
prima donna of the dance. When she arrives, the dance begins with exquisite body
movements and gestures.
2. Layang Mas
This is one of the dances in the Terinai repertoire. A very beautiful court dance that is
said to have derived its movements from that of the swallow (layang-layang). A slightly
more seductive and flirtatious dance, that has clear shoulder and hip movements. The
dance also uses a long scarf that is tied to a belt at the waist. This scarf is held very
lightly by the thumb and forefinger and raised to the sides to the dancer giving the
appearance of wings. This dance is always performed by women only
3. Gamelan (also Known as Joget Gamelan)
This classical dance began in the courts of Riau and Lingga in the 17th century. It was
first performed in Pekan Pahang in 1811 on the occasion of the marriage of Tengku
Hussain, the son of Sultan Abdul Rahman of Lingga, to Wan Esah, the sister of
Bendahara Ali of Pahang.
It was transferred to the court of Terengganu after Tengku Mariam, a Pahang princess
married Tengku Sulaiman, the son of Tengku Zainal Abidin of Terengganu. According to
Tengku Mariam there were actually 77 gamelan dances. But, today only 33 dances exist
in the repertoire. Among the 33 dances are Timang Burung, Ayak-ayak, Lambang Sari,
Ketam Renjung, Geliung, Lantai Lima, Kending Gajah, Togok Rompin, Kunang-kunang
Mabuk, Galuk Merajuk, Silatin, Lolo and Monab. Javanese elements are also evident in
the costumes of the dances.
4. Mengadap Rebab
This opening dance of the traditional theatre performance called Mak Yong is considered
to be a court or classical dance due to the nature and performance structure. The very
courtly and graceful style, beginning in a seated position, lowered eyeline and finger
movements are in keeping with this style. The biggest difference is that here the dancers
all face the ‘rebab’ which is stringed instrument played vertically. The lead dancer also
sings a haunting song telling of virtue and respect for nature and life
5. Terinai
A beautiful court dance from the Northern state of Perlis that is accompanied by the
‘serunai’ (flute). This dance is different from the other court dances as it is primarily
performed during weddings and has a distinct narrative which tells of courtship and
marriage. This dancers carry lit candles that are masterfully manouered.
There are several dances in the Terinai repertoire such as The Terinai Mengadap,
Ketam Bawa Anak and Dewa Raja which is danced by men. Originally there is a strong
element of improvisation however as it is now danced by an ensemble, there is a need to
set the patterns and movements.
Folk Dances
As with all Folk traditions, the practice of dancing is always associated with the joyous
occasions for the Community and closely related to the typical communal activities such
as planting, harvesting, fishing and hunting. Other events such as weddings,
engagements and circumcision ceremonies must have dance and music.
The origins are unclear but the dances remain popular and even new creations are
emerging. Many of these dances use hand-held props that are easily recognisable.
Some of these dances can be traced to animistic beliefs and rituals.
The spirits of the land, wind, sun and so on are called upon to bless the village and
thanksgiving for a good harvest. It is also clear that since the 15th Century, Malaysia has
had tremendous influx of traders and missionaries that brought with them their own
culture, tradition and beliefs.
The influence of Arabia, India, Thailand, Indonesia and China in many of the dances is
still very clear
1. Asli 2. Ayam Didik
3. Balai 4. Barongan
5. Boria 6. Canggung
7. Cinta Sayang 8. Dabus
9. Dikir Barat 10. Gayong Ota-ota
11. Endang 12. Hadrah
13. Hala 14. Inai
15. Inang 16. Jala
17. Joget 18. Kuda Kepang
19. Labi-labi 20. Lilin
21. Piring 22. Rodat
23. Saba 24. Silat
25. Siti Payung 26. Ulik Mayang
27. Wau Bulan 28. Zapin
Asli
This dance is based on the Malay asli songs like Makan Sireh, Gunung Banang and
Sapu Tangan, Asli Selendang, Bentan Telani and Asli Abadi. In the Tepak Sireh Dance
for example, all the dancers wear Malay costumes and bring the betel leaf sets on the
stage while making graceful dance movements to the tune of asli beat.
The dance features slow, flowing and elegant movements and resembles the Asyik
Dance (court dance), but its movements are simpler and danced to a modern music
ensemble.
Ayam Didik
This dance is derived from the movements of roosters during cock-fighting which was a
popular hobby and past-time of villagers. This dance is said to have been developed by
a group of dancers from Kangar in Perlis. The song ayam didik is played as an
accompaniment to the dance. Musical instruments used are the violin, gendang dan
celempong
Balai
This dance is related to worship of the padi spirit or semangat. The dance is performed
by village girls in Terengganu. The movements in the dance reflect the life of the paddy
farmers. A colourful umbrella is placed in the middle of the stage, and the girls dance
around the umbrella which symbolises the spirit of the paddy.
During the dance, a number of farming utensils are brought along such as hoe,
winnowing material, farmer's hat and others. Singing often accompanies the dancing.
Barongan
Barongan has strong elements of trance and totemic worship. The Barongan is said to
depict the dance of a hybrid (or mystical multifaceted) creature of diverse origins. There
are varieties of Barongan, one of which combines the features of a tiger and a peacock
that were said to dance on the back of the Prophet Solomon.
Then Ganung, a lady-in-waiting joined them and the Barongan dance was created.
According to another tale, there was a man who often amused himself by teasing fairies.
The fairies became so angry with him that they turned him into a Barongan creature. He
was also cursed to forever follow the Kuda Kepang. This is perhaps the reason a Kuda
Kepang performance often followed by a Barongan performance
Performed by Malays of Javanese origin, the Barongan is largely limited to the Batu
Pahat district of Johor, although the 'dragon-headed' Barongan may also be found in
Muar.
Boria
Believed to have originated from Persia, Boria made its appearance in Penang in the
later decades of the nineteenth century. Boria incorporates the elements of dance, music
and comic sketches. The troupe has a leader, a chorus, comedians and musicians. A
Boria performance begins with a comic sketch. This is followed by a song and dance
featuring a juxtaposition of choral and solo parts. The lyrics amplify the gist of the comic
sketch.
Canggung
This dance is popular in Perlis, a state near the border of Thailand and once being ruled
by Thailand. The Thai influence is strong and in Thai, 'canggung' means dancers. It is
said to be inspired by the Mak Yong Laut that was performed by the island folk in this
area.
Two sisters, Intan and Lian are believed to have been instrumental in creating this
dance. The dance is performed in pairs with the ladies hold a handkerchief in their
hands. The dancers sing (ala canggung mak si canggung, canggung canggung la la la la
le) while dancing. They also sing famous Malay poems according to the beat and melody
of the music. The musical instruments used the dance are the gong, violin, two rebana
and a gendang ubi.
Cinta Sayang
This dance has it roots in Kedah. It is very popular especially among the sea-faring
communities along the coastal areas. The dance is performed both by men and women
bidding good luck to their comrades and loved ones as they embark on their journey out
to the sea while praying for their safe return.
The male dancers usually wear Baju Melayu (Malay costumes) with chequered sampin
and songkok while the women wear the Baju Kedah (Kedah women's attire) and a
selendang
Dabus
It is believed that Dabus was brought to Malaysia via Sumatera by traders and
evangelists in the 18th Century. The Dabus is popular in certain states in Peninsular
Malaysia especially in Perak where it is believed to have been first performed in Pasir
Panjang, Sitiawan. It is believed that this dance has the power to heal, medicate and to
prevent the spread of disease. However this belief has diminished slightly and this dance
has undergone the inevitable changes.
This dance combines three traditional arts; singing, dancing and the ability and the
bravery of the dancers in using sharp equipment called the ‘anak dabus’ (a sharp
equipment with a small bells at the top). In the original form of this dance, the dancers
actually stab themselves with the 'anak dabus' and stones were hurled at them without
causing any injuries.
Dikir Barat
The Dikir Barat, in its traditional practice, is an avenue for social commentary. A Dikir
Barat ensemble consists of two opposing groups who sing in a call-and-respond pattern.
Each team is lead by a tukang karut or lyricist whose performance is judged by his ability
to versify, his skill and his ingenuity for improvisation. While singing, the group members
will do certain actions, especially the hands to brighten and enliven the performance.
Handclapping and the striking of a gong accompany the entire performance
Gayong Ota-Ota (Otar)
Sometimes spelt as “otar”, this is a dance of warriors, originating from Terengganu.
The dance is based on defensive and offensive movement executed by men armed with
swords, shields and bells. A row of dancers moves forward offensively while the other
row moves backward defensively in tune to the sounds of gongs and drums.
Endang
Endang is a modern Malay dance that has the influence of Sumatra and practiced by the
Minang community of Negeri Sembilan, as seen movements, costumes and music. The
dance movements depict the daily activity of villagers such as plucking leaves and
wiping sweat from the brow. The dance often begins with dancers seated in a long line
performing arms movements that slowly increases in tempo.
Sometimes the dancers hold traditional tambourines and make sounds with them while
dancing. In Malaysia, this dance is performed to the song Din Din Barindin and present
choreographers have developed it considerably.
Hadrah
This is a popular dance in the northern states of Perlis and Kedah. It started in Arabia
and was brought to Malaya via India. Men mainly perform the dance. The unique and
sometimes slightly disturbing feature of this dance is some of the performers play the
role of women and it has become associated with transvestite performers.
Traditionally an ensemble of thirteen drums each of a different size and resonance
provides the music accompaniment. The drummers and dancers sit upstage with the
dancers sitting either at stage left or right or in front of the drummers. The drummers and
male dancers wear the normal 'baju Melayu' consisting of a headgear, long-sleeved
Malay shirt and trousers and a 'samping', while the transvestite dancers wear 'baju
kebaya', which is a long blouse and a sarung. Like most Malay dances, the Hadrah
dance movements can be divided into sitting, kneeling and standing movements
Hala
This is a dance to appease the spirit or ‘semangat’ of the paddy fields in Kelantan. As all
other dances pertaining to spirits, the Hala is danced in the presence of a bomoh
(shaman / medicine man) or Tok Pawang. The dance is performed at the paddy field.
Seven dancers usually perform it. The purpose of this dance is to extend the villager's
gratitude to the spirits for the bountiful harvest
Inai
Inai Dance was initially a court dance performed mostly during royal wedding festivities,
especially during the inai (application of the henna) ceremony. The dance was
exclusively performed by the ladies-in-waiting (inang). Like the mak yong, the Inai dance
suffered the general fate of neglect and eventually was absorbed into the folk arts
tradition.
Today, there are three types of inai dance. The dance which still strongly betrays its
courtly origin is the mak yong inai dance. It is usually performed in wedding scenes in
plays such as Raja Tangkai Hati. The second one is the Perlis inai dance (better known
as 'Terinai') which incorporates the use of candles in the dance. The dance still exhibits
its former courtly traits in its fine and elegant movements. Unlike Mak Yong, Inai dance
which exclusively performed by maidens, the Perlis Inai Dance includes a solitary male
dancer within its ensemble.
The third type is the Pasir Mas Inai Dance which can be performed by either one or two
male dancers. Its movements are quite different from other two Inai Dance, and in
probability, this dance did not originate as a court dance. In this dance as performed
these days, the dancers do a special backbend and pick up money, using the mouth that
has been given them by the audience.
Inang
Inang dance is a modernized version of the traditional mak inang folk dance. It is
performed at social functions. This dance moves at fast tempo set by the rebana, biola
and gendang. The Mak Inang song and dance originated during the period of the
Malacca Sultanate. The song is said to have been composed by the order of Sultan
Mahmud Shah possibly as a lullaby to help him go to sleep.
The dance is very graceful and has all the qualities of a palace performance. This dance
is also called Tarian Si Kembang Cina as it has a strong Chinese flavour in the music.
Sometimes the dancers hold long scarves during the performance.
Jala
This dance is inspired by the life of the fishing communities of Malaysia. It imitates the
body movements and gestures of the fishermen like the casting and hauling of the nets.
The dancers are dressed as fishermen
Joget
The Joget is the most popular traditional dance throughout Malaysia. It is performed at
cultural festivals, wedding celebrations and other social functions. The Joget's origin has
been traced back and associated with a Portuguese for dance which was introduced to
Malacca during the era of the spice trade. The Joget is a couple dance and the tempo is
fairly quick with the a feeling of teasing and playing between the partners. In Malacca it is
better known as Chakunchak.
This possibly refers to the rhythm of the movements of the feet in Joget where there is
transference of weight to the beat 1& 2, rather similar to a ‘step ball change’ in Western
dance. This is sometimes called a ‘double step’.
A simplified version or sometimes referred to as the ‘single step’ includes the transfer of
weight or ‘ball change’ but with just a tap of the second foot.
Kuda Kepang
The Kuda Kepang is a very interesting dance from Johor. The dance was once a form of
totemic worship. The dance had strong links with spirit possession and often dancers
went into a trance-like state. Kuda Kepang is performed by nine dancers who are seated
astride a two dimensional 'horse' made of hide or pleated rattan.
The dancers re-enact the early Islamic battles in enthusiastic gestures and vigorous
action. Naturally as time as moved this dance is seen very much more for its
entertainment value. This dance is performed in accompaniment to a rich and exotic
rendition of traditional music played with indigenous instruments such as gongs,
tambourines and angklungs
Labi-Labi
This is the dance of the turtle. There are slight differences between the turtle dance of
Endau, Johor and the turtle dance of Pekan, Pahang. Only one dancer performs the
turtle dance of Endau while at Pekan more than two dancers perform it. At Endau, the
dance is accompanied by music of violin and gong.
Meanwhile, at Pekan, the dance is accompanied by music of bamboo drum, rebana,
gong, gong kelapa (keketok) and serunai. Turtle dance is quite a comical dance because
of the imitation of turtle movements. The dancers are usually male but female dancers
can also perform it. The performers wear complete Malay costumes
Lilin
The tarian lilin or candle dance is a very graceful dance that requires a great deal of
dexterity to manipulate the candles that are placed on plates placed gently on the palms
of the hand. The dance is usually performed by ladies. It originated from Sumatra and
portrays the tale of a beautiful maiden who was left behind by her suitor, who went in
search of wealth. During the absence of her suitor, the unfortunate maiden lost her
engagement ring and was extremely saddened. It is said that the poor lovelorn maiden
searched for the lost ring till the dark hours with the aid of a candle placed on the plate.
The movements of her body, especially the swaying, bending and kneeling were so
beautiful that a dance was inspired and created. Sometimes a variation of this dance is
also performed using rings on the fingers that tap a certain rhythm on the hand-held
plates.
Piring
The Piring or plate dance is performed to show off the skill of the dancers in holding and
balancing saucers in their hands while executing fast movements that include rolling,
squatting, walking on plates placed on the floor while manipulating the hand-held plates.
The dance is said to have originated from Minangkabau in Sumatra where it developed
until the era of the Sri Wijayan Empire.
The Piring or plate dance is performed to show off the skill of the dancers in holding and
balancing saucers in their hands while executing fast movements that include rolling,
squatting, walking on plates placed on the floor while manipulating the hand-held plates.
The dance is said to have originated from Minangkabau in Sumatra where it developed
until the era of the Sri Vijayan Empire.
Rodat
Rodat is a folkdance of Terengganu. However, the dance is believed to have originated
from Arabia and brought to Malaya via Sambas, Indonesia. Rodat is a short form of two
words - Hadrat Baghdad which means zikir (songs in praise of Allah and Prophet
Muhammad) Baghdad.
The Rodat originally consisted only of zikir without any dance movements. However,
during the 1930s, Rodat was performed with dancing in which the female parts were
performed by transvestite dancers (like the Hadrah). But, after World War II, women
dancers perform the female parts, and Rodat was not only presented at weddings but
also during circumcision ceremonies, after harvest, as well as secular and religious
ceremonies.
The number of performers was from 20 to 26 and they were divided into 'pelenggok' (12
male dancers), 'pengadi' (eight drummers) and mak inang (four to six female dancers).
The basic movements of Rodat are divided into sitting-kneeling, a combination of
squatting and standing (performed mainly by male dancers) and standing movements
Saba
This dance was once a ritual dance, however nowadays it is perform just for the sake of
the arts and a source of entertainment. This dance is a combination of three art forms,
namely song, music and dance. It is said to have originated from Terengganu. The
dancers used what to be believed as spiritual things such as the shoots of the coconut
tree and others.
Traditional musical instruments such as anak ambang (buluh), anak cerating, rebana
(big drum) and seruling (flute) render the music orchestration, whereas the songs are
sung in contemporary verses.
Silat
Silat is actually the Malay art of self-defence, which has many forms, styles or branches.
Silat is a series of movements in which two exponents demonstrate gracefully how to
fence and defend themselves. While not in the strict sense, a dance, it has nonetheless
been included here as the movements are often choreographed into a dance sequence.
Silat has emerged as a popular demonstration of Malay strength and bravery especially
during auspicious occasions such as weddings. The performance was traditionally done
by males only but it can also be performed by female dancers. The dancers wear
complete but simple Malay costumes, usually black in colour with a band of cloth tied
around their heads.
Siti Payung
Tarian Siti Payung portrays the romance of two young lovers. Siti, is the name of the
young pretty maiden from an aristocratic family. Payung symbolises the extent of her
lover's love for her. The performance begins with the male dancers dance enticing and
flirting with the female dancers by waving long scarves over their shoulders. The female
dancers, after a suitable and respectable degree of resistance will slowly and coyly
approach the male dancers and then dance in unison.
Ulik Mayang
Ulik Mayang Dance in its traditional form is a dance of worship. The dancers use
'mayang pinang' (strings of arecanut's flowers). While dancing, the 'mayang pinang' will
be shaked until the person holding it feels that the 'mayang pinang' alives or a move by
itself, then it is given to another dancer! The dance was once performed to worship the
spirit of the sea. However, nowadays the belief in spirits has vanished and the dance is
performed purely for entertainment.
Wau Bulan
During the post-harvest season in the East Coast of Malaysia, several traditional
pastimes become the order of the day. Such games include top-spinning, kite flying and
others. In addition to the flying of the giant kites called wau, a dance has been derived
which is aptly called Tarian Wau Bulan.
The dance is performed by both male and female dancers who depict the carefree
leisure and movement of the flying kite. The dance is inevitably accompanied by the
popular song called Wau Bulan. Traditional musical instruments such as the flute, rebab,
gendang and others are played to lend music for the song.
Zapin
It is believed that Muslim missionaries of the Middle East namely Persia and Arabia
introduced the dance to Malaya during the fifteenth century. The dance was originally
performed by males only however it is also performed by female dancers these days.
The simple version of the Zapin is performed to the rhythm 1, 2, 3, 4 and the foot is
extended out to the side on the last count. It can be done on the spot, traveling forwards
and backwards or diagonally in the basic form.
The carriage of the dancers is quite erect and dignified. The music for Zapin comes from
an ensemble of traditional instruments which include the lute (gambus), gypsy-type
bongos (marwas) and the violin. There are no hard and fast rules as to the number of
dancers that perform. However because of the very interactive nature of this dance, it is
usually performed in pairs. The dancers can then play with each other, teasing,
challenging and enjoying each other’s company. It is most popular in Johor.
There are numerous forms of Zapin dances and it varies from state to state. One of the
most popular forms and certainly more evolved and intricate is the Zapin Tenglu from the
town of Mersing. Said to be inspired by the ebb and flow of the tide and the lives of
fishermen, the dance has many unexpected movements like a rotation of the body from
the waist followed by a sudden accented, sharp and held movement of the arms and
shoulders. It is said that these movements are derived from the feeling of being tossed
around in a fishing boat and having to catch yourself before you are thrown overboard.
Another popular Zapin dance is the Zapin Pekajang
1.1.10 GAMES AND PASTIMES
Sepak Raga
Also known as sepak raga, it is a traditional ball game in which a ball, made by weaving
strips of buluh or bamboo, is passed about using any part of the body except the lower
arms and hands. There are two main types of sepak raga: bulatan (circle) and jaring
(net). Sepak raga bulatan is the original form in which players form a circle and try to
keep the ball in the air for as long as possible. Sepak takraw jaring is the modern
version in which the ball is passed across a court over a high net.
Wau
A wau is a traditional kite that is especially popular in the state of Kelantan, on the East
Coast of Malaysia. Traditionally flown after the rice harvest season, these giant kites are
often as big as a man - measuring about 3.5 metres from head to tail. It is called wau
because its shape is similar to the Arabic letter that is pronounced as 'wow'. With vibrant
colours and patterns based on local flora and fauna, these kites are truly splendid sights.
Gasing
A gasing is a giant spinning top that weighs approximately 5kg or 10lbs and may be as
large as a dinner plate. Traditionally played before the rice harvest season, this game
requires strength, co-ordination and skill. The top is set spinning by unfurling a rope that
has been wound around it. Then it is scooped off the ground, whilst still spinning, using
a wooden bat with a centre slit and transferred onto a low post with a metal receptacle. If
expertly hurled, it can spin for up to 2 hours.
Wayang Kulit
Wayang kulit is a traditional theatre form that brings together the playfulness of a puppet
show, and the elusive quality and charming simplicity of a shadow play. The flat two-
dimensional puppets are intricately carved, then painted by hand. It is either made of
cow or buffalo hide. Each puppet, a stylised exaggeration of the human shape, is given a
distinctive appearance and not unlike its string puppet cousins, has jointed "arms".
Conducted by a singular master storyteller called Tok Dalang, wayang kulit usually
dramatises ancient Indian epics.
Congkak
Congkak is a game of mathematics played by womenfolk in ancient times that only
required dug out holes in the earth and tamarind seeds. Today, it is an oval solid wood
block with two rows of five, seven, or nine holes and two large holes at both ends called
"home". Congkak, played with shells, marbles, pebbles or tamarind seeds, requires two
players.
1.3. CHINESE CULTURE
1.3.1. DISTRIBUTION
1.3.2. HISTORY
1.3.3. RELIGIONS, BELIEFS AND TABOOS
1.3.4. LANGUAGE
1.3.5. RITES OF PASSAGE
1.3.6. FESTIVAL
1.3.7. COSTUME
1.3.8. CUISINE
1.3.9. ARTS AND CRAFTS
1.3.10. PASTIME
1.3 .1 INTRODUCTION AND DISTRIBUTION OF THE CHINESE
Chinese migration to the Malay Peninsula spanned six centuries from the time of the
Melaka Sultanate around 1400 to the formation of an independent Malayan in 1957. The
geographic, economic and social patterns of Chinese immigration and settlement have
been shaped by common geographic and linguistic origins in China. Since the integration
of a domiciled Chinese community in the country in the 1930s-50s, the Chinese have
participated fully and actively in building the political, economic and social institutions of
their new homeland.
The second largest ethnic group is the Chinese who makes up 23.7% of the population
and have historically been dominant in trade and business. Ipoh and Kuala Lumpur are
Chinese-majority cities, while Penang is the only Chinese-majority state in Malaysia.
When they first arrived, the Chinese often worked the most grueling jobs like tin mining
and railway construction. Later, some of them owned businesses that become large
conglomerates in today's Malaysia.
A large majority of Chinese in Malaysia, especially those from the larger cities such as
Kuala Lumpur, Petaling Jaya, Ipoh, Klang and Penang speak decent English as well. There
has also been an increasing number of the present generation Chinese who consider
English as their first language.
The Chinese are concentrated on the west coast of Peninsular Malaysia, particularly in the
urban areas. The same pattern of heavy concentration in urban areas exists in Sabah and
Sarawak. They have traditionally been shopkeepers or tradesmen.
Today, the majority of Chinese in Malaysia are local-born but all of them have their origins in
China. Their main dialects are Cantonese, Hokkien, Teochew, Hakka and Hainanese. They
brought to Malaysia not only their native skills and industries but also their culture.
1.3.2 HISTORY
Hokkien traders from Fujian were the first known Chinese to establish themselves in the
Malay Peninsula. They maintained a small presence in the Melaka Sultanate to engage in
the thriving China-Southeast Asia maritime trade. The majority of these traders did not
establish permanent homes in Melaka but returned to China upon completion of business
transactions.Chinese immigration to the Malay Peninsula peaked between the 1860s and
1930s. British encouragement of Chinese migrant labour to engage in the commercial
development of the Straits Settlements, and to develop the tin mines and rubber plantations
in the Malay states attracted high in-flows of new arrivals. These immigrants came as free
labour or as indentured labour on a credit ticket system.
The first category financed their journeys with savings or loans from kinsmen and
friends, while the second came on credit advance by Chinese entrepreneurs and employers
in Malaya and China who financed the recruitment, transportation and deployment of
contract labour in tin mines and other enterprises. Coolies in Malaya were routinely
exploited by employers who enforced long workdays and charged excessively high interest
rates for credit.
Trapped in the cycle indebtedness, many labourers did not realize their dreams
of returning to better lives in China.
The transformation of the Chinese population from transient sojourners to permanent
settlers began after World War 1 when a quota on male immigrants in 1933 resulted in
large scale Chinese female immigrants to Malaya.
This laid the foundations of the present –day domiciled Malaysian Chinese community.
By 1947 the proportion of local-born Chinese comprised 63% of the total Chinese population
in the country.
1.3.3. RELIGION
Malaysian Chinese religion refers to religious beliefs of Chinese origin as practiced by the
sizable Chinese minority of Malaysia. These beliefs and practices are heavily influenced by the
three faiths practiced by Chinese communities, Confucianism, Buddhism, and Taoism.
The Chinese believe in faith and their appeal for assistance from their gods as reflected by the
deities that they believe.
The Chinese can adopt any religion they want be it, Buddhist, Taoist, Islam or Christian. The
majority of Chinese are of Taoist faith and minorities are Buddhist. They’re for Taoist belief in
ancestral worship. It also like most religion teaches good and most of all Taoism incorporates
worship and respect for ancestors
CONFUCIANISM
Traditional Chinese values are based substantially on the teachings of Confucius, a sage who
lived from 551-479 BC. Central to Confucianism is the five values of humanness,
righteousness, ritual, wisdom and trustworthiness, all of which are essential to building a
caring and just society. A person who adheres to the 5 values mentioned above does not kill,
steal, cheat, slander, commit adultery, gamble or hold others in contempt. Confucius exhorts
children to love and respect their parents. The concept of filial piety is seen in the practice of
ancestor worship.
Although Confucianism is more of a philosophy than a religion, it contains aspects of religion
and most local Chinese believe that all religions are but teachings for human beings to
become good.
TAOISM
Taoism refers variously, to a philosophy of nature based on the scripture known as the
Tao Te Ching, which is traditionally ascribed to Lao Tzu who is thought to have lived in
the sixth century BCE. He is also regarded as the founder of Taoism.
The character “tao” is often translated as “the way” or “the way of nature”. Among the
central tenets of Taoism is the belief that all things are united in the ‘tao”, understood
as the mysterious force that is the origin of all things in the universe.
Human life, according to Taoist belief, should be lived in simplicity. The
dialectical relationship between the opposing yet complementary forces of “yin” and
“yang” feature prominently in the Taoist belief, and form the basis of “taiji qiqong”,
Feng Shui, and various martial arts. Taoism is practiced widely by the Chinese in
Malaysia.
BUDDHISM
The majority of the Chinese Buddhist in Malaysia subscribe to Mahayana Buddhism,
literally the “great vehicle” developed in India in the third century BCE and was
introduced to China two centuries later.
Mahayana Buddhism maintains that Gautama Buddha was an eternal and
almost divine being to aid people in their path toward enlightenment. One of the
branches of Mahayana Buddhims popular among Chinese Buddhist is the Pure Land
Sect, which holds that adherents will be reborn into the Pure Land if they live virtuously
and repeatedly chant the name of Amitabha, the Buddha presiding over the realm.
Buddhism emphasizes that the path to enlightenment lies in meditation and
internal realization, not in reason and language.
1.3.4 BELIEFS AND TABOOS
Most beliefs and taboos of Malaysian Chinese refers to traditional superstitious beliefs
of the Malaysian Chinese
Examples of superstitions
• Car number plates containing the number 8 (examples would be 8888, 888, 88, 8, 168,
668) are a sign of good fortune (the Cantonese pronunciation for 8 is "baat" which
sounds similar to "fatt" which means prosperity.)
• The number 4 is often avoided. (Some buildings in Malaysia replaced "4th Floor" to 3A,
and house address 44 and 4 to 43A and 3A.) The number "4" itself has a similar tone
to the Chinese character for "death".
• Red and yellow are the color of good fortune accepted by all, while black is a color
of bad luck.
• Pineapple is a sign of good fortune.
SOME CHINESE TABOOS
1) Death is a taboo which is not to be discussed in “joyous” occasions eg Chinese New
Year, at weddings or birthdays
2) The number 4 phonetically sounds like ‘death” so there all connections to 4 are avoided
as far as possible. Given a choice, the Chinese would not buy house with the number 4
3) In the company of fisherman, do not turn the fish over, It symbolises a boat capsized.
4) Never buy a clock as a present for a Chinese friend. The word “clock” sounds like
being at the bedside of a dying person
5) There are many ancient taboos regarding the food Chinese women eat during
pregnancy. It's believed that if a pregnant woman eats food that's not properly cut or
mashed, her child will have a careless disposition. Or if she eats light colored foods,
the baby will be fair-skinned. Many also believe that no construction work should be
done in the house of a pregnant women. Hammering and sawing could lead to an
abortion or fetal deformities. And, pregnant women should never attend funerals. To
scare away evil sprits, Chinese women may sleep with knives under their bed. Often a
piece of paper cut to resemble a pair of scissors is hung from bed curtains and tiger
skins are hung over the bed.
1.3. 4 RITES OF PASSAGE
DELIVERY OF BABIES
After delivery, Chinese women "sit the month." The first month is considered an intense
healing time for new mother. She is freed from household duties and sits in her bed alone to
look after her new infant. In strict households, even the husband stays away. Chinese
mothers may fill a baby's pillow with rice or beans to give the baby's head a proper shape.
And to encourage a strong step, Chinese mothers once bound their child's ankles loosely with
a wide ribbon to keep the feet in an upright position. Ancient Chinese once believed demons
used small children to reinforce the foundations of bridges. As an antidote, mothers and
fathers made arrows from the wood of a peach tree to place near the cradle. Parents also tied
golden bells tied on the child's wrists and ankles to keep away the bad spirits. In Southern
China, a charm is pinned onto a pair of the father's trousers and placed near the child's bed in
hopes that the spirits will be attracted by the charm and miss the child. It was also believed
that nervous children could see the evil spirits unseen by everyone else. To protect these
children, Chinese mothers placed small amounts of vermilion in red pouches and pinned them
to the child's clothing. For a rich, healthy life, the Chinese will also tie coins together with a red
strings for their children to wear. When a baby is born frail, the parents may ask friends for
bits of cloth to sew into a patchwork coat to disguise the child as a poor beggar and trick the
sprits. During times of epidemic or contagious illness, mothers protected their children by
stitching red cloth in their clothing. And since tigers are consider the protector against
demons, many Chinese boys will have embroidered tigers on their shoes.
The First One Hundred Days
In the first 100 days of a child's life there are at least five events celebrating her life. On the
morning of the third day, a Chinese baby gets her first bath. The midwife officiates this ceremony
which is attended by female friends and relatives. The midwife sits with the mother on her bed
surrounded by a straw sieve, a mirror, a padlock, an onion, a comb and a weight. An offering of
incense to the god and goddess of the bed burns nearby. The baby is bathed in hot water boiled
with locust branches and artemis plants. There is red silk and a string of cash
fastened around the tub. Guests place a piece of fruit or colored egg into the water. Each guest
places a spoonful of cool water in the basin and gives a small gift of silver to the baby.
FULL MOON
The baby's biggest celebration is at one month when the mother's allowed out of her room.
Family and friends dine and celebrate all night. Money is given in bright red envelopes and the
baby wears a silver or gold padlock around his neck locking the child to this world. On the
hundredth day some Chinese families host another celebration. Friends and family bring fish
and chicken to the child's home. When the chicken is cooked, the tongue is rubbed on the
baby's lips to make the child a good talker. And the baby's paternal grandfather may present
the baby with a rocking chair. Traditionally, the child's first birthday is also celebrated with a
large feast and offerings to the gods and goddesses. Parents also place a variety of objects in
a basket -- a pen, silver, official seal, needlework and some toys -- and offer the basket to the
child. The object the baby grabs signifies the child's future.
FIRST BIRTHDAY GIFT
The traditional first-birthday gift is a gold ring meant to protect the baby during harsh times.
A long bread, yu char kuei, is given to the child for the first time. It is believed it will help him
learn how to walk. The day he walks, a relative walks behind him with a knife drawing three
lines on the ground. The Chinese believe there are invisible bindings around a child's ankles
binding him to a previous life. With the bindings cut, the child walks freely forever.
CHINESE DEATH RITUALS
Chinese Funeral Customs
Since cremation is traditionally uncommon, the burial of the dead is a matter taken very
seriously in Chinese society. Improper funeral arrangements can wreak ill fortune and
disaster on the family of the deceased.
To a certain degree, Chinese funeral rites and burial customs are determined by the age of the
deceased, cause of death, status and position in society, and marital status.
According to Chinese custom, an elder should never show respect to someone younger. So,
if the deceased is a young bachelor, for example, his body cannot be brought home and must
remain at the funeral parlor. His parents cannot offer prayers to their son, either: Since he
was unmarried, he did not have any children to whom he could perform these same rites.
(This is why the body cannot come into the family home.) If an infant or child dies, no funeral
rites are performed either since respect cannot be shown to a younger person. The child is
thus buried in silence.
Funeral rites for an elder must follow a prescribed form: Rites befitting a person's status, age,
etc., must be performed even if this means the family of the deceased will go into debt.
Preparation for a funeral often begins before a death has occurred. When a person is on
his/her deathbed, a coffin will often have already been ordered by the family. A traditional
Chinese coffin is rectangular with three 'humps', although it more common in modern times
for a western style coffin to be used. The coffin is provided by an undertaker who oversees all
funeral rites.
When a death occurs in a family all statues of deities in the house are covered up with red
paper (not to be exposed to the body or coffin) and all mirrors are removed (it is believed that
one who sees the reflection of a coffin in a mirror will shortly have a death in his/her family).
A white cloth is hung over the doorway to the house and a gong is placed to the left of the
entrance if the deceased is a male, and to the right if female.
Before being placed in the coffin, the corpse is cleaned with a damp towel dusted with
talcum powder, and dressed in his/her best clothes (all other clothing of the deceased is
burned) before being placed on a mat (or hay in rural areas). The body is completely
dressed, including the footwear, and cosmetics (if female), although the corpse is never
dressed in red clothing (this will turn the corpse into a ghost). White, black, brown or blue are
the usual colors. Before being placed in the coffin the corpse's face is covered with a yellow
cloth and the body with a light blue one.
The Wake
The coffin is placed on its own stand either in the house (if the person died at home) or in
the courtyard (if the person died away from home). The coffin is placed with the head of the
deceased facing the inside of the house, resting at about one foot from the ground on two
stools; wreaths, gifts and a portrait or photograph of the deceased are placed at the head of
the coffin. The coffin is not sealed during the wake. Food is placed in front of the coffin as an
offering to the deceased. The deceased's comb is broken into two -- one part is placed in the
coffin and the other is kept by the family.
During the wake, the family does not wear jewelry or red clothing (red is the color of
happiness). Traditionally, children and grandchildren of the deceased did not cut their hair for
49 days after the death, but this custom is now usually only observed by older generations. It
is customary for blood relatives and daughters-in-law to wail and cry during mourning as a
sign of respect and loyalty to the deceased. The cries are particularly loud if the deceased has
left a large fortune.
At the wake, the family members of the deceased gather around the coffin positioned
according to their rank in the family and special clothing is worn: Children and daughters-in-
law wear black (signifying that they grieve the most); grandchildren, blue; and great
grandchildren, light blue. Sons-in-law wear brighter colors, such as white, since they are
considered outsiders. The children and daughters-in-law also wear a hood of sackcloth
over their heads. The eldest son sits at the left shoulder of his parent and the deceased's
spouse on the right. Relatives arriving later must crawl on their knees towards the coffin.
An altar where burning incense and a lit white candle are placed is positioned at the foot of the
coffin. Joss paper and prayer money (to provide the deceased with sufficient income in the
afterlife) are burned continuously throughout the wake. Funeral guests are required to light
incense for the deceased and bow as a sign of respect to the family. There will also be a
donation box since money is always offered as a sign of respect to the family of the deceased.
This money will also help the family defray the costs of the funeral.
During the wake there is usually a group of people gambling in the front courtyard of the
deceased's house because the corpse must be "guarded," and gambling helps the guards stay
awake during their vigil. This custom also helps to lessen the grief of the participants.
The length of the wake depends on the financial resources of the family, although it should be
at least one day long to allow for the offering of prayers. While the coffin is in the house (or
compound) a monk will chant verses from Buddhist or Taoist scriptures at night. It is believed
that the souls of the dead face many obstacles and even torment and torture for the sins they
have committed in life before they enter the afterlife: Prayers, chanting and rituals offered by
the monks help ease the passage of the deceased's soul into heaven. These prayers are
accompanied by music played on the gong, flute and trumpet.
Form of the Funeral Ceremony
There are two main traditions observed:
1. The funeral ceremony traditionally lasts over 49 days -- the first seven being the most
important. Prayers are said every seven days for 49 days if the family can afford it.
Otherwise, the period can be shortened by three to seven days. Usually, it is the
responsibility of the daughters to bear the funeral expenses. The head of the family should be
present for at least the first and possibly the second prayer ceremony. The number of
ceremonies conducted depends on the financial situation of the family. The head of the family
should also be present for the burial or cremation.
2. In the second tradition, the prayer ceremony is held every 10 days: The initial ceremony and
three succeeding periods of 10 days until the final burial or cremation.
After 100 days a final prayer ceremony is conducted, but this is optional and not as
important as the initial ceremonies.
In the Mahayana tradition of Buddhism, to which most Chinese Buddhists belong, it is believed
that between death and rebirth there is an intermediate period called "Antarabhava" in
Sanskrit or "Bardo" in Tibetan. It is an important period that influences the form that the rebirth
will take. If the family ensures that proper assistance in the form of prayer and remembrance
ceremonies are duly performed, the departed will be more equipped for a favorable rebirth.
Funeral Ceremony and Procession
When the prayer ceremonies are over, the wailing of the mourners reaches a crescendo and
the coffin is nailed shut (this process represents the separation of the dead from the living).
Then yellow and white "holy" paper is pasted on the coffin to protect the body from malignant
spirits. During the sealing of the coffin all present must turn away since watching a coffin being
sealed is considered very unlucky. The coffin is then carried away from the house using a
piece of wood tied over the coffin, with the head of the deceased facing forward. It is believed
that blessings from the deceased are bestowed upon the pallbearer, so there are usually
many volunteers.
The coffin is not carried directly to the cemetery but is first placed on the side of the road
outside the house where more prayers are offered and paper is scattered. The coffin is then
placed into a hearse that moves very slowly for one mile (more rarely, it is carried for a mile),
with the eldest son and family members following behind with their heads touching the hearse.
If there are many relatives, a white piece of cloth is used to link the hearse to family members
behind. The order of the funeral procession follows the status of the family members. A white
piece of cloth is tied to vehicles accompanying the hearse, or a white piece of paper can be
pasted on their windshields. The eldest son usually sits next to the coffin. A long, lit joss stick
is held throughout the journey, symbolizing the soul of the deceased; it is relit immediately if it
goes out. Occasionally, paper models of such objects as cars, statues, ships, etc., are carried
during the procession to symbolize the wealth of the deceased's family. If the procession must
cross a body of water, the deceased must be informed of this since it is believed that an
uninformed soul will not be able to cross water
The Burial
Chinese cemeteries are generally located on hillsides since this is thought to improve Fengshui
(geomantic omen). The higher a grave is located, the better. At the graveside, when the coffin is
taken down from the hearse and lowered into the ground, all present must turn away. Family
members and other relatives throw a handful of earth into the grave before it is filled. After the
funeral, all of clothes worn by the mourners are burned to avoid bad luck associated with death.
After the coffin is buried, the keeper of the cemetery will also offer prayers to the deceased. Family
members and relatives are presented with a red packet (a sign of gratitude from the deceased's
family, and the money in it must be spent). A white towel is also a sign of gratitude although it is
also used by funeral guests to wipe away perspiration. The eldest son of the deceased will
retrieve some earth from the grave to put into an incense holder, and the deceased will be
worshipped by the family at home using an ancestral tablet.
Mourning
Although the funeral rites are over, the period of mourning by the family continues for another 100
days. A piece of colored cloth is worn on the sleeve of each of the family members for 100 days to
signify mourning: Black is worn by the deceased's children, blue by the grandchildren
and green by the great grandchildren. More traditional families will wear the pieces if cloth for
up to three years. A period of mourning is not required if the deceased is a child or a wife.
The Return of the Dead
The Chinese believes that seven days after the death of a family member the soul of the
departed will return to his/her home. A red plaque with a suitable inscription may be placed
outside the house at this time to ensure that the soul does not get lost.
On the day of the return of the soul, family members are expected to remain in their rooms.
Flour or talcum powder may be dusted on the floor of the entrance hall of the home to detect
the visit.
1.3.5 FESTIVALS
CHINESE NEW YEAR
This is the most important festival of the Chinese community and it last for 15 days. During this
time it is custom to see Chinese business close to celebrate the New Year. The Chinese follow
the lunar year according to 12 animals in the Chinese zodiac. This is according to the cycle of
the Chinese almanac. The celebration is celebrated by a reunion dinner on New Year eve that
every member of the family tries to attend.
The lunar New Year is the time when the spirits are appeased and offerings are made to the
gods. It is a boisterous festival when the clangs of the cymbals and drums accompany the lion
and dragon dance. During this occasion no members of the household is allowed to clean the
house as spring cleaning is done during the last seven days of the old year. Brooms are stored
away from sight as Chinese belief that sweeping the floor during new year mean sweeping the
good luck away from the household. Bright colours are significant to the Chinese during the
occasion, especially red and orange as they are said to bring good luck and fortune.
Guest are entertained with a variety of food and drinks i.e. Yee sang and New Year menus.
The unmarried are given Ang pows (gift of money in red packets). Open house is popular in
Malaysia for friend and relative to visit.
CHAP GOH MEI
The Chinese New Year celebration culminates on the 15th Day..popularly called as Chap Goh
Mei ( in the Hokkien dialect)
This is the celebration of the 15 days of the New Year. The days are celebrated with big bang
of firecrackers through the night. This the day for offerings and prayers that signify the end of
the New Year celebrations. The grand finale see many unmarried women being encourage to
throw tangerine into the sea in hope they will marry good husbands. Houses are brightly
decorated with lights.
CHENG MENG (TOMB SWEEPING DAY)
Cheng Ming literally means clear and bright, in reference to the day at the beginning of spring
in China that is designated as the time during which people are to remember and honour their
ancestors and departed relatives. Tombs are swept and prayers, food and libations are offered
to ancestors, deceased relatives, friends and even prominent historical figures.
Also known as Festivals of the Tombs that fall at the end of the second moon of the lunar
year. Called as the festival of the dead or all soul day. This is where the offspring visit graves,
cleaned up and put in order and place food offerings at the tombstone.
DRAGON BOAT RACE (DUAN WU)
This festival honours the Chinese statesman scholar Qu Yuan, who in 278BC, drowned
himself to protest against corruption in the government. He wrote two famous odes before
jumping into the water. According to legend, the fishermen tried but failed to save him and to
prevent fishes from devouring his corpse, rice was thrown in to feed them. The occasion is
observed with dragon boat races and by serving glutinous rice dumplings.
This festival falls on the 5 lunar months also known as the patriotic poet’s festival. It is in the
honour of Chu Yuan, a loyal and patriotic poet who became disenchanted with his state and
commit suicide in the Mo Li River. The fishermen who went to search for his body threw rice
dumpling into the river to distract the fish from eating his body. To this day the rice dumpling
are serve to mark the dragon boat race festival.
Hungry Ghost Festival
It is believed that the souls of the dead ascend from the underworld during the seventh month
of the lumar calendar. Family and public worship is organized for the salvation and
enlightenment of these souls. On the part of the living, charity towards all creatures – including
the spirits – represents repentance for past sins. Joss sticks are burnt, prayers are offered and
food is prepared and placed at street corners and roadsides for hungry souls. Offerings are
made to the King of the Hungry Ghosts in accordance with the commandment inscribed on a
plate in his right hand, bidding believers to share their surplus clothes and food.
During this month, temple and community organizations as well as clan houses and
various associations collect donations from public worship for the poor and the
underprivileged.
The festival starts on the 6th lunar month when a candle and joss papers are burnt by the road
side where are believed that the spirits are release from the gates of Purgatory. To appease
the ghost, food offerings are made right up to the fourteen and fifteenth day of the 7th lunar
month. The business neighbourhood even put up a stage show and food offering in honour of
the king of Hades.
Moon Cake Festival (Zhong Qui)
The Mid-Autumn or Mooncake Festival is a day for family reunions, as the brightness of the full
moon that appears on this day represents harmony and perfection. Offerings of mooncakes,
delicacies, watermelon seeds and Chinese tea are made to deities and ancestors.
After prayers, there is feasting and merry making with children carrying lanterns around the
neighbourhood, often joined by their non-Chinese friends. In Malaysia, the occasion is a multi-
racial festival and is included in tourism programmes.
Also known as the mid autumn festival fall on the first day of the 8th lunar month till the
fifteenth. This festival is to commemorate the rebellion staged against the Mongols. The
highlight of this festival is the exchange of moon cakes gifts between relative and friends and
children carrying colorful lantern. The 8th lunar month is auspicious for marriages, because of
the belief that the deity of match making is the old man on the moon
WINTER SOLSTICE (DONG ZHI )
In ancient times, the Chinese regarded this as the New Year. In Malaysia, Fujian Chinese
make tang yuan (marble-sized glutinous rice balls in syrup), a symbol of unity in the family.
The Cantonese and the Hakka regard the ancestral worship on this day as a “family feast” and
many still maintain that a year should be added to one’s age after Dong Zhi. On this day, too,
new tablets for the worship of the departed are enshrined at the altar.
This festival falls on the second day of the 11 lunar months and it is also known as the
farmer’s festival, being the last festival of the lunar year. It is in fact thanksgiving day for good
harvest. Sweetened rice ball are served before the altar.
1.3.6 COSTUME
Food, clothing, shelter and tranportation are usually regarded the four most basic neccessities
of life by Chinese people.
Basically, dressing is very informal among the Chinese. Increasingly, the preference is for the
western styles of dressing. A few conservative Chinese women, however, still wear the samfoo
– a jacket and trousers combinations. The traditional cheongsam for women, once rarely seen
except during ceremonies and special functions, is now making a comeback.
WOMEN
The name "cheongsam," meaning simply "long dress," entered the English vocabulary from
the dialect of China's Guangdong Province (Cantonese). In other parts of the country including
Beijing, however, it is known as "qipao’
Easy to slip on and comfortable to wear, the cheongsam fits well the female
Chinese figure. Its neck is high, collar closed, and its sleeves may be either
short, medium or full length, depending on season and taste. The dress is
buttoned on the right side, with a loose chest, a fitting waist, and slits up from
the sides, all of which combine to set off the beauty of the female shape.
Another beauty of the cheongsam is that, made of different materials and to
varying lengths, they can be worn either on casual or formal occasions. In
either case, it creates an impression of simple and quiet charm, elegance
and neatness..
MEN
Asian countries are very famous when it comes to martial arts. Clothing that are associated
with martial arts plays a vital role in making this popular. Over the years, it is becoming so
popular and many people are interested with it. Aside from performing valiant skills and
moves, proper attires should also be taken into consideration. Get ready to have that brilliant
moves and exhibitions that rules in the field of martial arts.
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CULTURES OF MALAYSIA
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