# data[].attributes.body
Between 1880 and 1930, the Orang Jawa also known as "Javanese" immigrated to Malaysia from Central Java, Indonesia. They left Indonesia at that time in search of a better life, far from the Dutch colonists who controlled it. The Orang Jawa people are now located in Perak, Selangor, and Kedah areas in Peninsular Malaysia. Sabah's coastal regions are home to some isolated villages as well. Even now, a few Jawa have attained powerful positions in society. The ancestors of the Chief Minister of Selangor are Orang Jawa.

# data[].attributes.body
Kadazandusun is the largest ethnic category in Sabah and is predominantly wet rice and hill rice cultivators. Their language belongs to the Dusunic family and shares a common animistic belief system with various customs and practices. Their ancient beliefs on the verity that everything has life - the rocks, trees, and rivers are all living things. They have souls and spirits that must be appeased from time to time through specific rituals. In these modern times, some of the rituals are less performed accept during certain festivities.

# data[].attributes.body
History

Dance Taboo

Equipments

Dancers

Dance Moves

# data[].attributes.body
"Kuda Kepang" is one of the traditional dances of Javanese. It is also known as "jaran kepang", "kuda lumping", "jathilan" and "ebeg". According to Soedarno (1983), "kuda kepang" began to develop before the development of Islam, which was in the 15th century. "Kuda Kepang" is believed to be used as a worship where its purpose is to make contact with the spirits of the dead. Furthermore, people believe that the braided horse performance is performed to purify the city from bad spirits, illness, and disaster.

# data[].attributes.body
There are some dance rules in "Kuda Kepang". The main rule is that the dancers cannot see a red cloth as it is a natural taboo. Other than that, they cannot see glass or even glass shards because it is afraid that they might eat the glass. Furthermore, they are not allowed to be drunk to avoid such accidents or out-of-control scenarios.

# data[].attributes.body
"Kuda Kepang" equipments are:

5 pieces of Angklung

1 piece of Gendang

Gendang

Gong

Bonang

Saron

Jidur

Kenong

Atleast 9 horses

1 piece of Pecut

100feet/30meter of rope

# data[].attributes.body
"Kuda Kepang" needs atleast 25 people which are :

9 Dancers

5 Musicians

2 Person as "Bomoh Pemulih"

9 to 15 person as Area Security

# data[].attributes.body
In the state of Sabah, the Bajau people make up the second-largest group of bumiputras. The Bajau people, who are predominantly Muslim, are divided into two ethnic groups: those who live on the east coast and those who live on the west coast. Before the introduction of colonists in Sabah, these individuals were among the most renowned sailors in the past. Some historical reports mention the Bajau people's ability to build medium-sized canoes or boats.

# data[].attributes.body
History

Attires

Music Equipments

Perfomances

# data[].attributes.body
Usually, this dance is done on a large stage or in an open area. A "leader" known as "Danyang" sets the dancing beat by squirting a whip, controlling the entire performance. Next, each dancer takes a stride on their personal horse dummy. When the music begins to play, they enter the court under the direction of the "Danyang". Each dancer strides on and spurs the horse dummy in accordance with the pattern established by the beat and rhythm of the song, as the music beat alternates between a slow and lively pace. As the music plays, the dancers continue their routine. When the "Danyang" gives the order to slow down the beat and stop the tune entirely, the performance comes to an end.

# data[].attributes.headline
Video of Kuda Kepang Dances in Malaysia Festival

# data[].attributes.subject
Video of Kuda Kepang Dances in Malaysia Festival

# data[].attributes.attachment_link.title
Kuda Kepang by Taman Seni Budaya Group Johor - Festival Tari Malaysia 2017

# data[].attributes.body
The Bajau tribes are known for their igal-igal dance due to their coastal demography. The name 'igal' is derived from the English word 'eagle', and this dance is sometimes referred to as the sea eagle dance. Additionally, it is stated that the Semporna community incorporates eagle iconography into this dance out of admiration for the animal. Therefore, it is believed that this unusual dance routine incorporates both following the eagle's movement and the components of blowing wind and waves.

Because so many of the Bajau tribe's members reside near the sea, they are well-known for their igal-igal dance. This is also called the sea eagle dance, and the term "igal" itself is derived from the English word "eagle." It's also said that the Semporna people include eagle symbols into their dance because of their respect for the bird. Thus, it is believed that this unusual dance routine incorporates the elements of waves and wind in addition to imitating the eagle's movements.

# data[].attributes.body
Traditional Igal-igal dancing attire is available for both men and women, and is usually black with dazzling beads. The men's official attire for this igal-igal dance will be adorned with glittering beads, tanjak, and sampin. Tanjak and "salung," or long curved nail sheaths, are used to emphasize the attractiveness of the dance for women.

# data[].attributes.body
The interesting thing about this Igal-igal Dance is the song and musical instruments. Traditional musical instruments such as the kulintangan, gong, tagungguk, and tambur are frequently used in the music for this dance. However, some are accompanied by a keyboard and most of the teenage dancers choose modern musical instruments over traditional ones. Furthermore, there are a handful of musicians who combine ancient Bajau rhythms with contemporary melodies such as Hindustani and Indonesian songs.

# data[].attributes.body
This dance is usually performed at special occasions such as weddings and other public events such as the "Regatta Lepa" festival.

This "Regatta Lepa" festival pays homage to the unique lifestyle of the nomadic Bajau Laut (Sea Gypsies), whose cultural tradition has been passed down through many generations. During the "Regatta Lepa" festival, Various events are organized such as the "Igal-igal Dance" or "Ratu Lepa", a Bajau tribal dance competition performed during the Regatta Lepa. Musicians and dancers of Igal-igal dance on each lepa(boat) enhance the lively atmosphere of this marine event. There is also a competition to pick the most beautifully decorated lepa (boat). The sambulayang (sails), tipas-tipas (triangular pennants), panji-panji (little rectangular flags), traditional music, and Igal-igal dance performances are used to choose the winner.

# data[].attributes.body
History

Reason of dancing

Attires

Dance Moves

Music

Permission to Dance

# data[].attributes.body
Sumazau is Sabah's most famous dance. It's a traditional dance from the Kadazan and Dusun (or Kadazandusun) people, Sabah's largest indigenous community. The dancers replicate the eagle in flight by swinging their arms up and down like bird wings. Sumazau is typically danced in groups of male and female partner pairs who move to the beat of a gong and drum. Sumazau is typically played at cultural festivals and celebrations.

The most traditional variation of Sumazau dance is by Kadazan Penampang, a Kadazandusun sub-ethnic group living on Sabah's west coast. When Malaysians think about Sabah, images of Kadazan Penampang couples dancing Sumazau come to mind.

# data[].attributes.body
Sumazau is a holy dance that is associated with rituals and religious occasions. Kadazan's traditional belief splits the living world into two parts: supernatural world and physical world. In order to maintain a peaceful balance, both realms have rules. If any misbehavior causes the imbalance, humans will face problems such as disease, cattle infertility, and unproductive farmlands. If this occurs, Bobohizan (Kadazan's high priestess) will be summoned to restore the balance between the worlds through rites involving extended lyrical chants and Sumazau, which links the worlds.

# data[].attributes.body
Other than that, during wedding ceremonies, this "Igal-igal dance" is also performed. The guests dance or "carry" in front of the bride on the wedding dais. This traditional custom unites the attendees as they clap their hands while the dancers follow the rhythm of the music being played. Occasionally, the bride and groom join the dance together. As a sign of respect and gratitude for the dancers' entertainment, guests will come forward and give "sabod" (money on the dancers' fingers) to the dancers. Depending on the number of guests present, the dancers may receive RM200 or more. It has been usual for the Semporna community to dance during wedding ceremonies since this dance has become a tradition passed down from generation to generation. It is hoped that this custom would be preserved even as Sabah's modernity progresses.

# data[].attributes.attachment_link.title
Tarian Igal-Igal Tradisi Sabah "Lagu Lampa Lampa Pisang"

# data[].attributes.body
list of Sumazau dance purposes :

To ensure a plentiful harvest, the "Bambaazon" (rice spirit) must be maintained.

To cure disease, summon the spirits of the spiritual realm.

Celebrate your successful return from headhunting.

To calm the home spirit guardian (miontong) and restore normality

# data[].attributes.body
Dancers wear traditional Kadazandusun attire in formal settings. It's the black dress with gold accents for Kadazan Penampang. Male wears Siga, a distinctively folded handmade cloth headgear. Females wear silver (Himpogot) and brass (Tangkong) belts around their waist and hips. They also dance barefoot. Everything was the way it originally looked (except for the girl's shaven armpit).

Female Sumazau wears Selendang (Husob), a folded plain, batik, or sarong cloth made into one or two sashes that cross over both shoulders. Husob can be any color, although red and yellow are the most common. In a dance, all female dancers wear the same color of selendang, however the bride can wear a different color to stand out.

Men dancers use pom-poms made of dried and curly fan, licuala palm, or sago leaves (Hisad or Silad). It's called Sandangon (or Sansandangon), and it's said to have talismanic properties to ward against evil spirits and spells.

# data[].attributes.body
Sumazau is made up of two basic dance steps. The dancer steps from side to side, moving weight from one foot to another, while softly swinging the arms at the sides to the beats of the gongs in the first move, which usually begins at the beginning. The dancer lifts the heels slightly in the second step, with both arms gently elevated and stretched out somewhat lower than the shoulders, hands swinging smoothly up and down to imitate flapping wings. Dancers lightly bounce and heave their bodies while moving by bending their knees and pumping their heels like a spring in a basic one-two (up-down) rhythmic movement.

Sumazau dancers perform several formations during the dance, such as a circle, double rows, split and regroup, and changing partners. They usually dance in pairs, and there is no limit to the size of the group; in fact, the larger the group, the better. Throughout the dancing, you would occasionally hear spontaneous pangkis (loud cries). It's a display of energy as well as a signal to shift formation.

# data[].attributes.body
Sumazau dance is influenced by music and beats from sompogogungan, a musical ensemble consisting of six hanging gongs and a gendang drum.

Sompogogungan, Sumazau's music band, usually employs six hanging gongs and a drum in a traditional setting. There is also the Tambunan a musical ensemble that employs eight gongs. Its music is known as tinondot and has a faster tempo.

# data[].attributes.body
Sumazau can be danced by anyone, young or old, tourists and strangers are frequently welcomed to join in. Gentlemen, if a girl slings a Sandangon over your shoulder, that means you are invited to join the Sumazau dance.  Only VIPs and visitors with Sandangon are permitted to perform the opening dance at formal duties. After the initial dance, everyone will join in, beginning with the senior men and women and progressing to the young people.

People of all races and ages will dance together to liven up the event. This dance, which is regarded as symbolic of the state of Sabah, has the ability to strengthen bonds between all races in the state while also maintaining the harmony that has been built amongst the races in Sabah. Aside from its originality, this dance would undoubtedly attract the curiosity and attention of travelers, especially foreign tourists, who will come to visit the state of Sabah.

# data[].attributes.body
People of Thai heritage, whether full or partial, who were born in Malaysia or immigrated there are known as Malaysian Siamese, Siamese Malaysians, or Thai Malaysians.Even though some of the community's members are recent immigrants, the Siamese have lived on the northern part of the Malaysian peninsula for hundreds of years.

There were 50,211 Siamese people in Malaysia in 2000, according to government statistics. Of these, 38,353 (or 76.4%) are nationals of Malaysia.Malaysian Siamese is highly established in Malaysia's northernmost states, specifically Perlis, Kedah, Perak, Penang, Terengganu, and Kelantan.

The community was previously known as "Thais," but in recent years they have altered their self-designation to "Siamese" due to confusion among individuals who believe they are from Thailand yet live in Malaysia.

# data[].attributes.body
History

Characteristics

Key Characters

Costumes and Attires

Music

Perfomances

# data[].attributes.body
"Mak Yong" traditional theater is a Malay drama that includes acting, dance, and singing. Although there is no early document that reveals or states its history, it is widely assumed that "Mak Yong" is descended from the previous generations of the Kelantan-Patani Kingdom and that it existed around 400 years ago in the palace of the Malay Sultanate of Kelantan-Patani. It then spread to Terengganu, Kedah, and then to Serdang Muda, Sumatra, and the Riau Islands. Although the performance is staged throughout Kedah, Terengganu, and Serdang Muda, Sumatra, Kelantan-Patani is claimed to be Mak Yong's originating territory because the dialect utilized in Mak Yong is the Kelantan-Patani Malay dialect.

# data[].attributes.body
Mak Yong's traditional performances do not make extensive use of props, sets, and settings when presenting a scene. Even when the story and characters change, the show's structure remains consistent. Traditional village performances are held on an open stage. The audience takes three sides of the stage, while the musicians take the fourth. The majority of the roles are taken on by women, and the plot is based on traditional legends.

# data[].attributes.body
1. Pak Yong - The monarch or ruler who serves as the central figure in the "Mak Yong" narrative.

2. Pak Yong Muda - The protagonist or hero of "Mak Yong" stories. While the plot concentrates upon Pak Yung Muda's life, this character went through many occurrences from the moment he was born until he became an adult.

3. Mak Yong - The queen, who plays an essential or prominent character in half of the plot.

4. Puteri Mak Yung - As the protagonist in "Mak Yong" story

5. Peran - Several "Peran" persons or comedians appear in the "Mak Yong" narrative. The traditional "Peran" character is usually more important than other roles and serves as the king's servants. Another "Peran" is a hilarious character.

6. Dayang-dayang - A group of spoilt girls who also dance and accompany Mak Yung or Puteri Mak Yung.

Aside from the characters stated above, there are no evil characters getting left behind, such as the "Raja Jin" and others who are the good characters' opponents.

# data[].attributes.body
"Pak Yong" wear tidy yellow silk shirts with no collars and short sleeves. 'Lai' - or bead and bead manikam with a hem that almost reaches the waist - is worn over the shirt. Because they perform in front of the King and magnifiers, all actors do not wear shoes.

Mak Yong Puteri's outfit is very similar. They are dressed in silk kebayas with gold and diamond brooches. They have pending gemstones and are more attractive from pending Puteri Mak Yong, and the silk sheath is linked with a string waist. A strip of sibar fabric drapes from the left shoulder, inserted in the pending and reaching all the way to the knee. This sibar cloth is traditionally laced with gold thread. They both wear gold handcuffs, anklets, and a ring given to them by the king.

# data[].attributes.body
The sound of music, particularly from the "rebab," is utilized to attract the audience and alert them that the "Mak Yong" performance is about to begin. Furthermore, it is employed to create an atmosphere in each scene that communicates emotions and feelings. This atmosphere is frequently represented through songs sung by the main characters as well as the chorus (jong dondang). Following that, to complement dancing and singing. Finally, music is utilized to identify the beginning and finish of the scene; the characters' exit and entrance are also accompanied with music (especially sound of "gendang") added between dialogue.

These are the examples of musical instruments used in "Mak Yong"

Tawak or Gong

Gendang Ibu dan Gendang Anak

Canang

Kesi

Serunai

Rebab

# data[].attributes.body
The performance begins with the Opening Ceremony, which is followed by the Story and the Closing Ceremony. The "Mengadap Rebab" part, which honors the primary musical instrument, the "Rebab," which is regarded as a sacred component of the performance, opens the Opening Ceremony.

As Jong Dongdang performs the song "San Gendang," "Peran Tua" honors the "Rebab" by positioning it in the center of the stage. Pak Yong, Mak Yong, and Jong Dongdang formed a temporary circle and "inang" and "dayang" will sang the songs "Sedayung Mak Yong" and "Sedara" under the direction of the "permaisuri." This section came to an end when Pak Yong gave the "inang" and "dayang" the command to return to the palace at the conclusion of the song.

# data[].attributes.body
Most members of the Serani community reside in coastal locations within the Malacca district. De Souza, Gomes, Fernandez, and Lopez are a few names from the Serani Community in Malacca. There are roughly 12,000 Serani people, primarily in Melaka and Pinang Island, according to a few years ago's survey.

The term "Kristang" also refers to the Serani community, which is an ethnic group whose ancestors intermarried in Malacca throughout the 16th and 17th centuries, with some having mixed Portuguese and Malay blood and others with Dutch, English, Chinese, and Indian ancestry. Currently, because Muslim Malays forbid their adherents from marrying people of other religions, Christian intermarriages with the local populace typically involve Chinese and Indians.

# data[].attributes.body
History

Attires

Perfomances

Music and Instruments

Dance Moves

# data[].attributes.body
The history of Portuguese rule in Malacca is related to Portuguese dance. The Portuguese population in Malacca has inherited a unique culture, language, way of life, and art creations.

The popular "Branyo dan Farapeirra" among the Portuguese population was introduced into the Malaccan local community with the arrival of the Portuguese. Along with the two dances mentioned above, the Portuguese community has a number of other dances and melodies that have been universally recognized throughout time, including Ti Anika, Jinkling Nona, Bong-bong Fila, Sarampa (Golek-golek), and Serampang Laut.

# data[].attributes.body
Female dancers dress in long gowns with lace blouses. Male dancers wear a Bolero, which is a laced and layered waistcoat with flowery designs. The pants appear to be tight and black, with lengthy stripes on the sides. Furthermore, it comes with a little hat that is worn on the head and a fabric scarf that is wrapped around the neck. The hat is occasionally hung on the back of the body when dancing.

# data[].attributes.body
"Branyo" dance is popular among the Portuguese population, and it is similar to the performance of "Ronggeng" in the Malay community.

This dance contains four tempos: Serampa, Bintanya, Chikoti (sung with tambourine, 'flute gong', violin, and 'Jingli Nona Yo Kere Kaza'), which is performed at weddings, parties, and concerts. The song 'Mata Cantiga' is similar to 'Lagu Berbalas Pantun'.

# data[].attributes.body
These dances are performed during weddings, festivals, and other festive occasions such as :

Christmas

San Pedro Festival

Easter

# data[].attributes.body
"Jingli Nona" is the most famous music for the "Tarian Portugis" in Serani community.

Lyrics of the "Jingli Nona" :

“Jingkling nona jingkling nona yo kare kasa,

jingkling nona jingkling nona yo kare kasa,

kasa rata kota jele lagu pasa,

kasa rata kota jele lagu pasa.

Teng alah oteng pak oteng sala oteng,

teng alah oteng pak oteng sala oteng.

Udang sama udang, mawar atas peti.

Pandang boleh pandang, jangan sampai bawa lari.”

# data[].attributes.body
Example of Instruments :

Guitar

Tambourine

Triangle

Violin

Rebana

# data[].attributes.body
The "Branyo" dance can also be referred to as a "flirtatious dance" because it is always performed in pairs and dancers move towards and away from their partners without ever touching each other. Gender-specific dance gestures exist. Women, for example, maintain their hands high in the air as they turn, while men keep their hands on their waists.

# data[].attributes.attachment_caption
Greetings! My name is Muhammad Danial bin Rashdi from LG2431B

# data[].attributes.body
In this portfolio, we will be exploring in detail the unique dances of 5 ethnicities in Malaysia.

Have a great time reading!

# data[].attributes.body
i) Bajau Dances

ii) Javanese Dances

iii) Kadazandusun Dances

iv) Malaysian Siamese Dances

v) Serani Dances