2017823834

1-intermarriage
2-baba nyonya drees up like chinesse look but in the different way
3-for the baba or man wear a samfoo or vest 
4-baba's groom wear a long dress from cloth broked,wear a sibai bertekat and jewelry tarbus like crown
5-bridge wear baju kurung broked and songket,siba layang,gold thread.

1.       A mooncake is a Chinese bakery product traditionally eaten during the Mid-Autumn Festival 

2.       Most mooncakes consist of a thin, tender pastry skin enveloping a sweet, dense filling, and may contain one or more whole salted egg yolks in their center as the symbol of the full moon. 

3.       Fillings in contemporary style mooncakes has diversified to include just about anything which can be made into a paste. Mooncakes containing taro paste and pineapple, which were considered novelty items at their time of invention have in recent years become commonplace items 

4.       There are 3 major cities that have diverse types of moon cakes. Georgetown, Kuala Lumpur and Sabah. Mooncakes are quite similar to the traditional Chinese 

5.       Snowy mooncakes first appeared on the market in the early 1980s. These non-baked, chilled mooncakes usually come with two types of crusts. 

2.       Silat martial arts or silat is a natural traditional art of self defence from Malay archipelago consisting of Malaysia, Indonesia, Brunei Singapore, Philippines southern, and Thailand southern suit with various spread Nusantara race. Some estimate this art had hundreds years old and hereditary from generation to generation. 

3.       And known wide reach  over world .Those who learn silat called by pesilat. At present,  in Asian countries southeast owned flow or distinctive teaching.

4.       Besides, silat is also presented in public at certain occasions. for example, at ceremony wedding and anything ceremony. silat also manipulate as basic at in life malay archipelago

5.       silat aim  is make something in ceremony wedding. this is because silat can be motion upwards groom and bride at this ceremony live. 

2. The Kavadi Attam(Burden Dance) also written as cavadee is the ceremonial sacrifice and offering performed by devotees during the worship of Murugan. The simplest Kavadi is a semicircular decorated canopy supported by a wooden rod that is carried on the shoulders to the temple.

3. The design and material varies according to the wishes of the kavadi bearers. The most common materials for kavadi are aluminum plates,wooden plates, nuts and bolts and peacock feathers. Kavadi made of polystyrene is popular in Ipoh and Penang while kavadi decorated with LED lights is popular in Ipoh.

4. The prayers could be for recovery from sicknesss, or to seek forgiveness for past misdeeds, or a childless couple asking for baby etc.

5. This sacrificial act could be in the for of carrying kavadi that weight several pounds and is attached to the body bye skewers and hooks (see photo above). This is usually done by the serious Thaipusam male pilgrims.

6. Its required to cleanse themselves with a least a month of prayer, fasting and several series of strict physical and mental disciplines. These include a strict vegetarian diet and maintaining selef discipline such as abstinence from sex.

1.       Diagram given shows the celebrations of Diwali or also known as Deepavali , that celebrated by millions of Hindus, Sikhs and Jains across the world.

2.       Diwali is the most festive holiday of the year for the world’s Hindus and it is an official public holiday in many countries with significant Hindu populations including Malaysia.

3.       The purpose Diwali is for spiritual significance, they all symbolise the victory of light over darkness, knowledge over ignorance, good over evil, and hope over despair.

4.       People illuminate their houses and streets with lights and earthen lamps to lighten up the night. 

5.       There are some fascinating traditions of Diwali such as cleansing the house, making sweets, lighting up the house, bursting firecrackers, having parties and giving gifts.

 

CHINESE DANCE 

1. The Dragon Dance is a traditional dance and performance in Chinese culture played during the festive season as a symbol of ethnic identity. 

2. The Chinese believe that the dragon is a kind of beneficial life and represents unparalleled strength to eliminate bad luck and prevent crime. 

3. The dance involved a large number of boys, youth, middle-aged men, widowers and parents. 

4. The dance team imitate what is believed to be the movement of the spirit of the river in a whirlwind and bumpy. 

5. It comes in five colors: green, red, yellow, white and black. What distinguishes the dragon with five colors is the people's tradition in the early years of the Han dynasty and today we can only see the golden dragon and the green dragon. 

2.       They worship the Lord Ganesha for good welfare and prosperity and Goddess Lakshmi for wealth and wisdom.

 

3.       Before Diwali, people spend a lot time cleaning, renovating, and decorating homes with rangoli – colorful patterns drawn on the floor.

 

4.       Rangoli is an art form from India, Bangladesh and Nepal in which patterns are created on the floor in living rooms or courtyards using materials such as colored rice, dry flour, colored sand or flower petals.

 

5.       It is usually made during Diwali or Tihar, Onam, Pongal and other Indian and Nepalese festivals related toHinduism. Designs are passed from one generation to the next, keeping both the art form and the tradition alive.

6.       The purpose of rangoli is decoration, and it is thought to bring good luck. Design depictions may also vary as they reflect traditions, folklore and practices that are unique to each area.

7.       It is traditionally done by women. Generally, this practice is showcased during occasions such as festivals, auspicious observances, marriage celebrations and other similar milestones and gatherings.

Indian Classical Dance is one of the most comprehensive and oldest dance forms in the world. Most of the development of Indian dance is linked to the 2nd century B.C. treatise. This treatise, Bharata’s Natyashastra, is the most important source for establishing the characteristics of Indian dance and drama. 

 

3 elements in performance classical dance:-

• The Nritta performance is abstract, fast and rhythmic aspect of the dance.]The viewer is presented with pure movement, wherein the emphasis is the beauty in motion, form, speed, range and pattern. This part of the repertoire has no interpretative aspect, no telling of story. It is a technical performance, and aims to engage the senses (prakriti) of the audience.

• The Nritya is slower and expressive aspect of the dance that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions. In a nritya, the dance-acting expands to include silent expression of words through gestures and body motion set to musical notes. The actor articulates a legend or a spiritual message. This part of the repertoire is more than sensory enjoyment,it aims to engage the emotions and mind of the viewer.

• The Natyam is a play, typically a team performance, but can be acted out by a solo performer where the dancer uses certain standardized body movements to indicate a new character in the underlying story. A Natya incorporates the elements of a Nritya.

In India, most classical dances evolved as a temple art. Many Indian dynasties from the 6th century onwards have contributed to this art form. This interest in temple art was brought about by spurts of building temples in the 9th and 10th centuries. The Devadasis (servants of God) performed dance at the temples. The dancer performed facing the idol of the God. This is the reason Indian classical dance is primarily a solo based art. The mission of temple dancing was to take art to the people. Temples vied with one another in having the best dancers and musicians in their services. Thereafter, temple dancing was institutionalized and kings patronized the dancers.

 

India offers a number of classical dance forms, each of which can be traced to different parts of the country. Each dance form represents the culture of a particular region or group of people. The most famous classical dance forms are Bharatnatyam of Tamilnadu, Kathakali and Mohiniyattam of Kerala, Odissi of Orissa, Kathak of Uttar Pradesh, Kuchipudhiof Andhra Pradesh and Manipuri of Manipur.

 

 

  
The style of movement in Indian classical dance is very different from that of Western ballet. In ballet the emphasis is frequently on the action of the legs, which create ballet's characteristic qualities of height, speed, and lightness. The body itself remains relatively still and the arms frame the face or balance the body. In Indian dance, however, the legs are usually bent, with the feet flat rather than lifted and pointed. Jumps are usually low and the dancer rarely covers much ground or performs intricate steps. The complexity of the footwork lies in elaborate stamping rhythms. (These stamping rhythms enhance the dance; many dancers wear bells around their ankles, supplying their own accompaniment in addition to the musicians). The torso, face, arms, and hands are extremely active. The head is quite mobile, with subtle changes of direction and a characteristic side-to-side movement emphasizing the dancer's changing facial expressions. The movement of the torso is graceful and fluid, shifting from side to side or turning on the axis of the spine, while the movement of the hands and arms is subtle and elaborate, every gesture having a function. Indian dancers have a vast repertoire of gestures through which they express complex events, ideas, and emotions. There are, for example, 13 gestures of the head, 36 different glances, and 67 mudras, or hand gestures, that can, in different combinations, yield several thousand different meanings.

 

BharataNatyam~ 
Bharata Natyam originated in the temples of the South Indian state of Tamil Nadu. Bharata Natyam derives its name from the first syllables of the three vital elements of dance Bhava-Expression, Raga-Melody, and Tala- Rhythm. This dance form is highly stylized in its technique and also interprets themes from Indian Mythology and epics.

Kuchipudi~ 
Kuchipudi is a dance from that originated in the state of Andhra Pradesh on the mid eastern coast of India. It was originally a dance-drama in which, as in Shakespeare’s theater, men danced both male and female roles. An important part of the tradition is the dramatization of Satya Bhama, one of the wives of Lord Krishna. This dance form is very fluid and feminine.

Odissi~ 
Odissi comes from the state of Orissa in the northeastern coast of India. Devadasis in the temple of Lord Jagannath originally performed this dance form. Odissi mainly focuses on the subject of Lord Krishna. It is said that his wife Padmavati who was a temple dancer composed the celebrated masterpiece, Geetagovinda by the poet Jayadeva to be a dance in Odissistyle. The Odissi dance style is lyrical. The body from above the waist moves as if it was independent of the legs and falls and sways with delicate grace.

The classical dance forms recognised by the Sangeet NatakAkademi and the Ministry of Culture are:

• Bharatanatyam, from Tamil Nadu

• Kathak, from Northern and Western India

• Kathakali, from Kerala

• Kuchipudi, from Andhra Pradesh and Telangana

• Odissi, from Odisha

• Sattriya, from Assam

• Manipuri, from Manipur

• Mohiniyattam, from Kerala

 

 

All classical dances of India used similar symbolism and rules of gestures in abhinaya (acting). The roots of abhinaya are found in the Natyashastra text which defines drama as that which aesthetically arouses joy in the spectator, through the medium of actor's art of communication, that helps connect and transport the individual into a super sensual inner state of being. A performance art, asserts Natyashastra, connects the artists and the audience through abhinaya (literally, "carrying to the spectators"), that is applying body-speech-mind and scene, wherein the actors communicate to the audience, through song and music. Drama in this ancient Sanskrit text,thus is an art to engage every aspect of life, in order to glorify and gift a state of joyful consciousness.

The communication through symbols is in the form of expressive gestures (mudras or hastas) and pantomime set to music. The gestures and facial expressions convey the ras (sentiment, emotional taste) and bhava (mood) of the underlying story. In Hindu classical dances, the artist successfully expresses the spiritual ideas by paying attention to four aspects of a performance:

• Angika (gestures and body language),

• Vachika (song, recitation, music and rhythm),

• Aharya (stage setting, costume, make up, jewelry),

• Sattvika (artist's mental disposition and emotional connection with the story and audience, wherein the artist's inner and outer state resonates).

• Abhinaya draws out the bhava (mood, psychological states).

 

 

RUKMINI DEVI

 

Rukmini Devi Arundale is a famous dancer and designer Bharatnatyam, a classical Indian dance form. He is a charismatic and his contribution to the rise of classical Indian music reaching his dreams in the Indian cultural arena. Rukmini Devi is believed to have rejected the seat of the President of India, which was once offered by Morarji Desai, the Indian Prime Minister. Rukmini Devi is well known for his efforts on the protection of their animal rights and welfare. Rukmini Devi Arundale was born on February 29, 1904. His father, Neelakanta Sastri, an engineer at the Public Works Department, was a dedicated member of the Theosophical Society formed by Annie Besant. After retirement, NeelakantaSastri turned to Madras (now known as Chennai). The family built their home, near the headquarters of the Theosophical Society in Adyar. His father's involvement in the Theosophical Society opened the way for Rukmini to be under the influence of Annie Besant's influence, in the early stages.

 

Although he was superior, Rukmini Devi continued to support Bharatnatyam, who was regarded as a low and abusive art at the time. She began to learn dance performances from Mylapore Gauri Ammal. He also called MeenakshisundaramPillai to come to Madras to teach him. Rukmini Devi made his first performance at the Jubilee Intan Theosophical Society in 1935. Within a year after his first performance in the Theosophical Society,

 

 

In terms of costumes, they created costumes that can make dancers look very beautiful and graceful, consisting of 'Paijama' or 'dhoti' and jacket from 'Kanchipuram silk' and 'Banaras silk'. The women also wear 'choli' or tight corsets of the same color. In ancient times, we could see that the original dress did not cover most of Bharata Natyam's dancers. In medieval times, the practice and belief of tok-tok alim caused devadasis to wear special and heavy attire which greatly restricted the dancer movement. There are several types of clothing Bharata Natyam, some do not restrict the dancer movement, while others are the opposite. Today's apparel is very symbolic, for its purpose is to release a dancing aura in this material age. The dancer wore a bracelet called a gajalualu, made of rope or leather with a slate like (traditional copper) bell attached to the armband. Additionally, the dancers also want to wear handbaskets and special accessories on the head.