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Malaysian tribe dance to the dead for another good year (Mah Meri tribe in Pulau Carey)

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VIDEO: KUDA KEPANG DANCE

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Dances Of Malaysia - Dancing In The Moonlight (3)

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Tarian Alu Alu Etnik Melanau IPGK Batu Lintang (Kagum Kebudayaan)

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Shantanand Festival of Arts '15 -  Mak Yong 6/10

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Originally Kuda Kepang is a traditional folk dance that was brought by the Javanese people who migrated to Tanah Melayu once ago. It is said to be a heritage dance culture for the Javanese which was influenced with Islam
Wali Songo is one of the many stories regarding the origin of Kuda Kepang. He lived in Java and had difficulties in spreading the Islamic religion so he used this idea of dancing as an approach.

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Having people from variety of cultural background living harmoniously results to the diversity in traditional dances in the Sarawakian culture. The Alu-Alu dance is more than just a dance, it was created and performed as a means to comfort the relatives and friends of the deceased.

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Originally Piring Dance is a traditional dance from Minangkabau. Initially it was formed as a ritual of gratitude for the Gods after an abundance of harvest. They will bring offerings in this ritual in form of food on plates that they sway with erythematic dynamic steps. But after the expansion of Islam in Minangkabau, this dance can no longer be used as a ritual but it is still for the community to use as entertainment in traditional cultural celebrations. It can be found in many traditional Minangkabau events

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      ABOUT JO'OH DANCE                         

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      ABOUT JO'OH DANCE                         

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The Mah Meri people are indigenous people that resides mostly in Pulau Carey Selangor. They are known for their wood carvings and the richness of their songs and dances.

One of the most well-known dances of the Mah Meri people is the mask dance called Mayin Jo-oh – a traditional dance performed to invite the ancestral spirits, or muyang, to join in the festivity.

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Yet another dance form that demonstrates the strong traditional influence inherent in Malaysian culture, the Kuda Kepang was first introduced here in the early 20th century when Javanese immigrants, who brought this unique dance, first arrived in the southern tip of the peninsula.

It is said that it was created by the Wali Songo or Nine Saints, who were instrumental in spreading the religion of Islam in the Indonesian island of Jawa; for the dance dramatises tales of holy wars won for Islam. However, it is also believed to have totemistic origins.

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Kuda Kepang - Malaysia | The Star Online

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Yet another dance form that demonstrates the strong traditional influence inherent in Malaysian culture, the Kuda Kepang was first introduced here in the early 20th century when Javanese immigrants, who brought this unique dance, first arrived in the southern tip of the peninsula.

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KUCHING: The Tarian Alu-Alu (Melanau traditional dance) is among the workshops held in conjunction with the Rainforest World Music Festival (RWMF) welcoming locals and tourist alike to join in the unique culture at the Sarawak Cultural Village (SCV) here.

It's just like the traditional skipping rope but with a difference in the tools used. Instead of ropes, the Alu-Alu dance uses two bamboo sticks and combines skill, precision and agility.

Dancers hop in and out of two clapping bamboo poles where the slightest miscalculation could land the dancer on a trip to the hospital.

According to SVC Traditional Dance coach Martina Benedict Paul, the workshop invites visitors here to learn about Sarawak culture in a fun and exciting environment.

"We want to educate the people that the Alu-Alu dance is different from other traditional bamboo dances such as the Cheraw Dance (India), Magnutip (Sabah) or Tinikling (the Philippines).

"It differs in the beating, rhythm and purpose in the Melanau custom. This dance is usually performed by the Melanau community when death occurs in the family to comfort relatives of the dead.

"Back then, the community were close together. So, when a community member passed away, the pain is shared amongst the people," she said.

The workshop was attended by visitors eager to join in and learn the Alu-Alu dance.

Among the participants was Helen Milligan, from South Africa who told reporters that the dance was much harder than it looked.

"Although it's quite a thrill but at the same time I was frightened as one mistake, I could end up in the hospital with a broken ankle.

"I am also glad that I was able to join in the fun. I guess this dance needs a lot of trust in the person who holds the bamboo and it's good to get to know new faces during the festival," she said.

Meanwhile, a tourist from the United States of America, Charlie Junkins, said he had a really great time participating in the workshop.

"The workshop was quite impressive and quite cool as they used bamboo poles in their dance. It's kind of similar to skipping rope but with a thrill.

"As it is my first time to RWMF and Sarawak, I give the festival a thumbs-up. Truly, more to discover here," he said.

For more inquiries on the RWMF 2019, the public can visit this website at myguide.rwmf.net or come up to the Sarawak Cultural Village to join in the rainforest fever.

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Tourists revel in traditional dance workshop at RWMF

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By Abang Farid Abang Taha & Nur Shazreena Ali KUCHING: The Tarian Alu-Alu (Melanau traditional dance) is among the workshops held in conjunction with the Rainforest World Music Festival (RWMF) welcoming locals and tourist alike to join in the unique culture at the Sarawak Cultural Village (SCV) here.

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If you have ever wanted to discover the story behind Mak Yong, one of the country's oldest forms of dance-dramas from northern Malaysia, this movement control order (MCO) period might be the best time.

Traditional arts and culture organisation Pusaka, together with Walkabout Asia, has recently presented an online video series about Kumpulan Mak Yong Cahaya Matahari and community based in Kuala Besut, Terengganu.

"Any time is a good time for Malaysians to learn about our cultural traditions, but many of us now have more time on our hands due to the MCO, " says Pusaka's creative director Pauline Fan in a recent interview.

In 2005, Mak Yong was recognised by Unesco as one of the 'Masterpieces of Oral and Intangible Heritage of Humanity'.

Mak Yong, also seen as a healing ritual, is currently performed in the northern Malaysia states of Kelantan and Terengganu. It is traditionally staged in the round, which allows the audience to surround the performance and experience the event from multiple perspectives.

The close proximity provides an immediate connection between the performers and the audience to which allows the members of the audience to observe minute details of the Mak Yong performance. The performance incorporates music, dance and slapstick humour.

The videos are based on a cultural immersion trip organised in late February by Pusaka in collaboration with Malaysia Reform Initiative (MARI), USAID (US Agency for International Development), and US Embassy Kuala Lumpur.

Kumpulan Mak Yong Cahaya Matahari has been one of Pusaka's longtime community partners for almost 30 years,

Fan explains that the group traces its lineage back seven generations. The members are the family and descendants of the late Che Ning, one of the most renowned performers of Mak Yong in Malaysia. Among the principal performers in today's Kumpulan Mak Yong Cahaya Matahari are Che Ning's granddaughters, Rohana Abdul Kadir, Che Esa and Che Yom.

The series of Mak Yong videos provide insight into the deep tradition of Mak Yong. Three of the videos, produced by Walkabout Asia, feature interviews with principal performers and custodians of Kumpulan Mak Yong Cahaya Matahari in Kuala Besut.

"We (Pusaka) also have a 16-minute general introduction to the Mak Yong tradition and its context, including the cultural politics that surrounds Mak Yong in Kelantan and Terengganu, and another short video that documents the impressions of the participants who joined us for the Mak Yong Cultural Immersion in February," says Fan.

During the recent trip, the participants witnessed a two-day "semah angin" Mak Yong performance, held for purposes of healing.

"It was an unforgettable experience for the participants, most of whom had never seen a Mak Yong performance in a traditional community setting. Participants were struck not only by the depth and beauty of the Mak Yong, but also the primordial power wielded by women in Mak Yong, and the way the entire community participates in a performance," recounts Fan.

The videos, available for viewing now, offer interviews with Che Siti Dollah, elder custodian of Kumpulan Mak Yong Cahaya Matahari, and Poksu Agel, gendang (drum) master and head musician of Kumpulan Mak Yong Cahaya Matahari, who explains the role of music in the Mak Yong tradition.

"Viewers will discover the beauty and depth of Mak Yong tradition and learn about the way it is practised in its local community setting," says Fan.

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Mak Yong, one of Malaysia's oldest dance theatre and a Unesco 'masterpiece'

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If you have ever wanted to discover the story behind Mak Yong, one of the country's oldest forms of dance-dramas from northern Malaysia, this movement control order (MCO) period might be the best time. Traditional arts and culture organisation Pusaka, together with Walkabout Asia, has recently presented an online video series about Kumpulan Mak Yong Cahaya Matahari and community based in Kuala Besut, Terengganu.

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The Plate Dance. ANTARA/Andika Betha

TEMPO.CO, London - Pasambahan dance, a typical dance of , West Sumatra was featured during the Diplomatic Reception in Rome, Italy, to commemorate the 73 years of Indonesian independence on Tuesday, Oct. 23.

The dance was a symbol of welcome greeting and expression of respect for 250 guests, members of the diplomatic community, officials, and members of parliament of Italy, as well as partners of Indonesian Embassy in Rome.

The guests came from many regions of Italy, such as Genoa, Florence, Napoli, and Sicilia. Piring dance was also presented to accompany the guests enjoying the feast. One of the menus was beef rendang from West Sumatra, said Aisyah M. Allamanda, an official at Indonesian Embassy in Rome, to Antara on Thursday, Oct. 25.

The Seni Budaya Studio Team from Pasaman district administration showed various traditional dances and songs in the reception. Besides, three Italians which were alumni of Indonesian culture and art scholarship program sang Italian national anthem Fratelli d'Italia and Indonesia Raya.

During the session, Indonesian Ambassador in Italy, Esti Andayani, asked the guests to take a moment of silence and pray for the victims of natural disaster in the archipelago. She then hoped the ties between Indonesia and Italy in numerous sectors would be further maintained.

West Sumatra Governor Irwan Prayitno attended the diplomatic reception along with Payakumbuh Mayor Riza Pahlevi, Agam Regent Indra Catri, and Pasaman Deputy Regent Atos Pratama. They expected art and cultural performances could promote the region's potential tourism.

Ahead of the 70 years of bilateral ties between Indonesia and Italy in 2019, both partnership is getting better, and that was seen from the trade surplus, arrival hike of Italian tourist to Indonesia, and various new collaborations in the creative economy, media, and education sector.
ANTARA

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Minangkabau Culture Featured in Diplomatic Reception in Rome

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TEMPO.CO, London - Pasambahan dance, a typical dance of , West Sumatra was featured during the Diplomatic Reception in Rome, Italy, to commemorate the 73 years of Indonesian independence on Tuesday, Oct. 23.

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It is believed that Mak Yong appeared well before the Islamization of the country. Under the patronage of the Kelantan Sultanate, it is performed as a Royal Theatre until the 1920s.
The tradition is continued in its original content without forsaking many rural refinements (for example the design of its sophisticated clothes).

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Ban on Mak Yong in Kelantan lifted | New Straits Times

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KOTA BARU: The Mak Yong dance can now be performed in Kelantan after a ban of some 28 years.

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KUALA LUMPUR, Sept 25 - The Kelantan state government has reportedly lifted its ban on the traditional dance theatre called Mak Yong today, after more than two decades.

New Straits Times reported Kelantan Deputy Mentri Besar Datuk Mohd Amar Nik Abdullah as saying that performances, however, must adhere to Shariah-compliant requirements and guidelines, such as making it compulsory for performers to cover up.

"There must also be no element of worship in the performances," he was quoted as saying after the state executive councillor meeting in Kota Baru.

"Similar guidelines are also imposed on 'wayang kulit' and other traditional artistic Malay art performances. We want to ensure only Islamic-related performances are shown to the audience."

Despite lifting the ban, Mohd Amar stressed that the state government and its Islamic religious department will continue to monitor the performances to ensure they are Shariah-compliant.

In March, State Culture, Tourism and Heritage Committee chairman Datuk Md Anizam Abd Rahman was quoted as saying a special committee had been formed to study whether Mak Yong is Shariah-compliant.

He also said Mak Yong show organisers would have to first be reviewed to determine if their shows abide by Kelantan's regulations, following repeated calls to lift the ban.

Prior to that, a United Nations (UN) special rapporteur had urged the Kelantan state government to lift the ban on Mak Yong, shadow puppet theatre wayang kulit and other traditional Malay art forms.

Karima Bennoune, who is UN's special rapporteur in the field of cultural rights, said it would be a shame if these art forms were allowed to die, as it would mean Malaysians, and the Kelantanese in particular, would be losing a part of their culture.

She had made the same call back in 2017.

Mak Yong was previously proclaimed as an Intangible Cultural Heritage by the United Nations Educational, Scientific and Cultural Organisation (Unesco) in 2005, in a last-ditch bid to save it.

Mak Yong has been performed in the region for nearly a millennium, and historians believe it was brought to Kelantan around 200 years ago.

A performance entails dancing, acting and singing ― telling stories dating back to the Srivijaya Empire in the 7th century, and the times of the legendary Kelantan queen Che Siti Wan Kembang who was believed to have ruled between the 14th and 16th centuries.

The ban was officially codified in 1998 with the Entertainment and Places of Entertainment Control Enactment passed by the state assembly that year, which also prohibited other local traditional performances such as menora, wayang kulit and main puteri which were deemed "un-Islamic.".

Mak Yong was traditionally performed by troupes specific to each locality, but is now mostly performed in a more puritanical way by state-sanctioned arts groups.

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Kelantan lifts Mak Yong ban after two decades, but insists performances must be Shariah-compliant | Malay Mail

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KUALA LUMPUR, Sept 25 - The Kelantan state government has reportedly lifted its ban on the traditional dance theatre called Mak Yong today, after more than two decades. New Straits Times reported Kelantan Deputy Mentri Besar Datuk Mohd Amar Nik Abdullah as saying that performances, however, must...

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Kuda Lumping: A Dance or A Ritual of Possession  | Think You Know

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Plates are placed on the dancer's palms while swinging it swiftly combined with a special movement of the body. Rings are worn so that it will create sounds when jingled with plates.
Finally at the end of the dance, plates are thrown to the floor, broken and walked on by the dancers with their bare feet

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Usually the costumes worn are red and yellow themed decorated with various gold Knick knacks that symbolizes the Minangkabau.

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This dance is risky and dangerous and is usually done by trained professionals because if not there is a high chance for the plate to 'fly' at the audience.

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-Gong
-Rabanna
-Saluang
-Caklempong
-Rabab

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Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices. Mak Yong was traditionally performed by troupes specific to each locality, but is now mostly performed in a more puritanical way by state-sanctioned arts groups.
performed as urban commercial theatre .

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Weddings and feasts and several major celebration in Johor.

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Main props are :
1. Imitated decorated horses made of cowhide
2. Whip made of several spun bamboos that functions trapping, directing and keeping the dancers on stage
3. A 30 meter rope that forms a rectangle fence to protect from the audience

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Usually it is performed over a span of 4 days and at night
the dance reaches its peak performance when one of the male dancers climbs on top of a bamboo pole with support of the other dancers holding up the pole. Then, the dancer rests his stomach on the tip of the pole and is spun to the beat and stops when the music slows down. All of this requires strength and bravery. The acrobatics coupled with the melancholic melody make it a beautiful yet haunting performance.

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A detailed story regarding the Kuda Kepang performance

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It was a dark and quiet night. We were seated in a large circle on cemented ground somewhere in the paddy fields of Sekinchan in Selangor, Malaysia. In front of us lay flat wooden horses awaiting their dance partners to pick them up and get the show going. It wasn't long before the sounds of "dings" and "dongs" started filling the warm air of this tropical Malaysian night; sounds created by the musicians or rather percussionists hitting on their musical ensembles, marking the start of the performance that we have been patiently waiting for.

Shortly after, out came the leader of the troupe, a shaman who started doing some rituals to open the doors between our world and that of the spirits. Suddenly the warm air turned cool with temperatures slowly dropping and the dancers picked up the flat wooden horses starting off the show. Holding their flat wooden horses against their bodies they danced in circles following the lead of a princess that rides on a white flat wooden horse. Along with these dancers are three friends from our group who volunteered to take part in the dance not knowing what was to come.

Suddenly, a few of the dancers gave out loud screams, dropped their flat wooden horses and masks on the ground. The air went from cool to cold in matter of milliseconds and it was now that the performance took a nightmarish turn. Dancers started acting out the roles of their mask and horses taking on the personalities of their dancing tools. It is all just a performance right? A show put on for us, the media folks who so wanted to learn about the Javanese culture and traditional dances brought over by Javanese folks decades ago; right? I will let you think so for now as I go on.

As the dance progressed a few dancers wearing scary looking masks depicting various animals, a princess, a clown, and two persons in a tiger suit; took to the floor and started following the circling dancers to the beat of the percussionists. In my head I was combining the rhythm of the gongs and kendangs (traditional musical percussion instruments) to Guns And Roses' Sweet Child Of Mine, and having quite a laugh doing so. They just go together so well.

Things got really weird as some of the possessed dancers started doing things that humans usually do not do. One of the boy dancers started biting the husk off an unopen coconut the way a monkey does. Another dancer started slithering on the ground like a snake. Those who took on the personalities of the horses continued galloping in circles; strangely all of them in perfect rhythm.

Not long later things took to a slightly violent turn. Someone then reassured us that as long as we do not go into the circle we will be okay. The shaman has created an unseen fence in front of us surrounding the dancers and the spirits will not be able to cross over it. Feeling reassured we continue watching the show as some of us went around shooting photos.

If you are thinking that nothing worse could possibly happen, well, wrong. Suddenly the shaman who was trying to contain the spirits by removing them from some of the possessed who have gone a little too weird, gave out a scream too. Just what we needed; the one who is supposedly in control is now himself possessed and in a trance.

Now, dancers in their animalistic personalities started breaking out of the circle and they started "running" up trees. Two of them actually; one a tiger and the other, a bird (the shaman). There goes the assurance of the unseen safety fence. I quickly shot as many photos as I could from below taking precaution just in case they started throwing coconuts at us.

Without any unforseen incidents the shaman came down from the tree and still had the ability to contain the spirits although in a trance like state. He managed to remove a few spirits before being possessed by another spirit, this time an elephant. Makes "perfect" sense. Here's why. He tried removing the spirit of a tiger from one of the dancers and failed. A stronger animal that would have a chance against the tiger would be an elephant.

Even in his elephant state he failed to remove the spirit of the tiger despite trying a few times. At this stage most of the possessed dancers have had the animal spirit in them removed by the shaman and returned to their seats. But as the show continued a few more dancers who were not performing tonight got possessed too and started going all weird.

It has been well over two and a half hours now since the show started. This also means that our three media friends who volunteered to take part in the dance must be tired but either too afraid to stop or they too must be possessed. Lucky for them someone went up to them (yes, after two and a half hours) to ask if they would like to stop. The first two happily said yes and returned to their places outside the magical circle.

If you think this cannot get anymore weird, again you are wrong. Our other friend who was dancing looked different in a scary way. As the person went up to him to ask him if he wanted to stop, he replied nothing. He was quieter than a mouse. He just went on dancing in the same circle he has been doing for the past two and a half hours. The person then tried to take the flat wooden horse from him but he scarily looked at the person and pulled the horse back and continued on his way. The person gave up and returned to what he was earlier doing. Still think that this is just a show? I, myself don't think so anymore.

Anyway, the shaman went round in his elephant state eating plants and digging holes as if searching for something. He then walked to a bridge, dug out some rocks and found a hole. He marked it with chalk and when back into the circle. There he started screaming some more before picking up hot burning coals and eating them. He then went back to the tiger possessed man to try to remove it. Again he failed.

VIDEO PILIHAN

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Kuda Kepang, The Dance of The Flat Horses

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It was a dark and quiet night. We were seated in a large circle on cemented ground somewhere in the paddy fields of Sekinchan in Selangor, Malaysia. In front of us lay flat wooden horses awaiting their dance partners to pick them up and get the show going.

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1. Article title
Allure, mysticism, folklore in the dances of Sarawak
URL
https://www.borneotalk.com/allure-mysticism-folklore-in-the-dances-of-sarawak/
2. Article title
Adventures
URL
https://itsawomansworld.wordpress.com/category/adventures/
Website title
itsawomansworld

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1. Article title | Kuda Kepang, The Dance of The Flat Horses
URL | https://www.kompasiana.com/philtravelle/58dbda4143afbd4e3a6fd1a4/kuda-kepang-the-dance-of-the-flat-horses?page=all
Website title | KOMPASIANA
Date published | March 29, 2017

2. Article title | Kuda kepang - Malay traditional dance
URL | https://sites.google.com/site/1132702789v1/kuda-kepang
Website title | Google Sites

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1. Article title
Mak yong - Malay traditional dance
URL https://sites.google.com/site/1132702789v1/mak-yong
Website title
Google Sites

Article title | Mak Yong
URL | http://tradisionalmuzikmelayu.weebly.com/mak-yong.html
Website title | MUZIK TRADISIONAL MELAYU

URL
https://www.kkmm.gov.my/pdf/buku/makyung.pdf

URL
https://ich.unesco.org/en/RL/mak-yong-theatre-00167

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1. Article title | Traditional Minangkabau Dance with Plates Tari Piring, West Sumatra
URL | https://minangtour.com/2019/10/15/dancing-with-plates/
Website title | MinangTour

2. Article title | Tari Piring : Pengertian, Asal Daerah, Sejarah, Makna, Gerakan
URL | https://cimacnoticias.com/tari-piring/
Website title | Lala di cimacnoticias.com
Date published | June 02, 2020
Date published | October 16, 2019

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The female performers dance anti-clockwise around an earthen mound, called a Busot, while the male masked dancers performed clockwise around the women. the dancers make movements that symbolizes their everyday routine.

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The dance is performed accompanied by the music from the Tuntog (bamboo stampers), Jule (viola), Tambo (double-headed drum) and A-Tawa (brass gong

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 In this dance, the performers wear grotesque masks and perform with movements and gestures to relate everyday events such as fishing and celebrations. 
The masks worn in the Mah Meri Mask Dance depict the spirits of birds and other animals that inhabit the Mah Meri's surroundings, such as the swamp and the sea. The female dances wear skirts of nipah leaves and plaited nipah head dress. 

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Additional presentation of the Jo'oh Dance

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1. Article title
Communities - Mah Meri
URL
https://www.pusaka.org/communities-mah-meri
Website title
PUSAKA

2. Article title
Mysterious Mah Meri tribe of Malaysia conduct ritual dance to the dead for another good year
URL
https://www.ancient-origins.net/news-general/mysterious-mah-meri-tribe-malaysia-conduct-ritual-dance-dead-another-good-year-001404
Website title
Ancient Origins
Date published
March 03, 2014