Brunei - Indonesia - Malaysia - Singapore - Thailand - Kebaya: knowledge, skills, traditions and practices

"Kebaya is a front-opening top often adorned with intricate embroidery and worn with fasteners such as brooches or buttons. It comes in various lengths and can be worn with a matching sarong. Kebaya is a way of dressing that has evolved with the lifestyles of Southeast Asian women. It is worn at casual as well as formal events, social gatherings and festivals. It is also worn in the performing arts, such as in dance performances, theatre and film. Contemporary designs are featured in beauty pageants and award ceremonies to reflect the wearer’s cultural identity. Making kebaya involves specific skills and knowledge related to the preparation, design, selection and cutting of fabrics and accessories, as well as different sewing and embroidery styles. Traditionally, these skills and knowledge have been transmitted informally from mothers to daughters. Over time, men have also become involved and formal training has become available through schools and workshops. Kebaya is a significant part of the cultural heritage and identity of various communities in Southeast Asia. Despite variations in how kebaya is made and worn, it is a common cultural element that transcends ethnicity, religion and borders, facilitating dialogue and uniting communities."

Source: UNESCO Intangible Cultural Heritage

Malaysia - Breakfast culture in Malaysia: dining experience in a multi-ethnic society

"Breakfast culture in Malaysia plays an important role among Malaysia’s multi-ethnic societies. The element can be found throughout the submitting State, which comprises 14 states. It is centred on food and spending time together over a morning meal. The element is a living heritage related to the traditional dietary practices which encompasses staple traditional foods such as Nasi Lemak, Roti Canai and drinks Teh Tarik. The element is practiced in both private and public spaces from the rural to urban areas. The Malays, Chinese, Indians, and other ethnic groups throughout Malaysia are both food producers and diners, and actively involved in the practice of the element. The preparation and consumption of Malaysian breakfast foods, although originally practiced by a particular ethnic group, has eventually become common and savoured by all, regardless of ethnic background. The foods are economical to produce and appreciated by people from all walks of life and ethnic backgrounds as an affordable and complete meal to start the day. The culture has been passed down from generation to generation to ensure the sustainability of local traditional culinary practices. Locals from different ethnic groups and genders unite around traditional breakfast delicacies. In addition to being a source of pride and a significant part of Malaysia’s gastronomic history, these morning dishes have also become a distinctive element of culture and identity that connects diverse ethnic groups within Malaysia."

Source: UNESCO Intangible Cultural Heritage

Malaysia - Songket

"Songket is a traditional Malaysian handwoven fabric created by women in the Malay Peninsula and Sarawak. The term songket refers to the decorative weaving technique used to make the fabric, which entails inserting gold or silver thread in between the base threads. As a result, the extra threads seem to float over a colourful woven background to create an ornamental effect. Songket is woven using a kek, a traditional, two-pedal floor loom. The final product is a delicate fabric resulting from months of skilled handloom weaving by expert artisans. The weaving technique, which dates back to the sixteenth century, is passed on from generation to generation, and the songket style can be identified by the design patterns that use geometric shapes and organic elements, such as flowers, birds and insects. The songket material was traditionally worn only by royalty and their families. However, today it is used by Malay people all over the country in traditional ceremonial clothing, for royal installations, weddings, births, festive occasions and formal state functions. Although the weaving of songket has always been firmly in the hands of women, men also partake i wearing a royal headgear made of songket.

Source: UNESCO Intangible Cultural Heritage

Postcard 1
Making of songket using traditional handloom. I bought this older postcard in Malaysia.

Postcard 2
Maxicard of the King of Malaysia wearing a royal headgear made of songket material.

Postcard 3
Sultan of Kedah wearing a royal headgear made of songket material.

China - Malaysia: Ong Chun/Wangchuan/Wangkang

"Ong Chun/Wangchuan/Wangkang ceremony, rituals and related practices for maintaining the sustainable connection between man and the ocean.

The Ong Chun ceremony and related practices are rooted in folk customs of worshipping Ong Yah, a deity believed to protect people and their lands from disasters. Developed in China’s Minnan region between the fifteenth and seventeenth centuries, the element is now centered in the coastal areas of Xiamen Bay and Quanzhou Bay, as well as in the Chinese communities in Melaka, Malaysia. Those who died at sea are considered as ‘good brothers’ who become lonely, wandering souls. The ceremony begins by people gathering at the seaside to welcome Ong Yah to temples or clan halls, while lamp poles are erected to summon ‘good brothers’ and deliver them from torment. In this way, the element has been celebrated as ‘doing good deeds’. Performances head the procession and clear a path for Ong Yah’s barge (wooden or paper-made models). These performances include gaojia and gezai opera, different dances, comprising dragon and lion dances, and puppet shows, among many others. The element evokes the historical memory of ancestors’ ocean-going, reshapes social connections when confronted with emergencies such as shipwrecks, and honours the harmony between man and the ocean. It also bears witness to the intercultural dialogue among communities.

Source: UNESCO Intangible Cultural Heritage"

Yong Chuan Tian 勇全殿 Tee Ong Yah Temple is located at Bandar Hilir, Melaka, Malaysia. The temple houses the Tee Ong Yah and from where the barge of Wangkang festival begins the procession.

 

Malaysia - Silat

"Silat is a combative art of self-defence and survival rooted in the Malay Archipelago. Traced back to the early days of the Langkasuka Kingdom, Silat has evolved into a fine practice of physical and spiritual training also encompassing traditional Malay attire, Silat musical instruments and customs. There are many styles of Silat, inspired by the movements of human anatomy, nature and animals. For example, Silat Harimau involves an aesthetic rhythmic motion imitating the art of self-defence and attack of the tiger. In Malaysia alone, there are more than 150 known Silat styles whose names derive from natural elements such as animals and plants. Originally, Malay Silat was practised by warriors – as noble enforcers of justice – but nowadays practitioners consist of masters, gurus, teachers and students, who are responsible for maintaining the practice. Training sessions usually take place in the evening or at night in an open space such as a courtyard, led by the Master and ‘Jurukaka’. A large number of practitioners have been trained and nurtured, and an increasing number of training centres have been established in various regions. With this accelerated dissemination, the practice has increasingly transcended its status as a martial art to become a performing art; consequently, it is now a popular sport for health and leisure."

Source: UNESCO Intangible Cultural Heritage

Display of Malay martial arts of Bersilat by women in Sungai Ular, 22 miles north of Kuantan, Pahang.

Malaysia - Dondang Sayang

"Dondang Sayang is a traditional Malay art still practised in Melaka by four communities: the Malay, Baba Nyonya, Chitty and Portuguese communities. The practice combines elements of music (violins, gongs and tambourines or the tambour), songs and chants, and features beautiful melodious strains of poetry. Also known as love ballads, the songs are used by communities to convey feelings of love and give advice on special topics such as love and kindness. During the Melaka Sultanate era in the fifteenth century, Dondang Sayang was performed at Royal Palace ceremonies and events; subsequently, the performance became widespread among the communities concerned. Based on tradition, Dondang Sayang performances are accompanied by music and sung by two singers of the opposite sex, who sing in quatrains. Typically, Dondang Sayang singers are individuals who are highly competent and skilled in poetry recitation. Dongdang Sayang performances are open to all, irrespective of age, occupation, status or religion, and the art is considered as a means of conveying positive messages and sharing feelings of love, joy and sorrow that strengthen community bonding. Performances are held on a regular basis, especially during gatherings, festivals and parties, and nowadays many cultural programmes, activities and training activities are organized for those interested in participating and improving their singing and performance skills."

Source: UNESCO Intangible Cultural Heritage

Postcard 1
I bought this set of Straits Baba Nyonya wedding postcards in Penang.

Postcard 2

Postcard 3

Malaysia - Mak Yong theatre

"This ancient theatre form created by Malaysia’s Malay communities combines acting, vocal and instrumental music, gestures and elaborate costumes. Specific to the villages of Kelantan in northwest Malaysia, where the tradition originated, Mak Yong is performed mainly as entertainment or for ritual purposes related to healing practices. Experts believe that Mak Yong appeared well before the Islamization of the country. It was performed as a royal theatre under the direct patronage of the Kelantan Sultanate until the 1920s. Hence, the tradition was perpetuated in a rural context without forsaking the numerous refinements acquired at court, such as sophisticated costume design. A typical Mak Yong performance opens with an offering followed by dances, acting and music as well as improvised monologues and dialogues. A single story can be presented over several consecutive nights in a series of three-hour performances. In the traditional village setting, the performances are held on a temporary open stage built of wood and palm leaves. The audience sits on three sides of the stage, the fourth side being reserved for the orchestra consisting of a three-stringed spiked fiddle (rebab), a pair of doubleheaded barrel drums (gendang) and hanging knobbed gongs (tetawak). Most roles are performed by women, and the stories are based on ancient Malay folk tales peopled with royal characters, divinities and clowns. Mak Yong is also associated with rituals in which shamans attempt to heal through song, trance-dance and spirit possession. Mak Yong, which requires long years of training, has been preserved until the present largely through oral transmission. In today’s society, few young people are willing to commit to such rigorous apprenticeships. As a result, this important tradition is undergoing steady decline, as attested by reduced dramatic and musical repertories and a shortage of seasoned performers."

Source: UNESCO Intangible Cultural Heritage

A beautiful illustration postcard of Mak Yong Theatre by Marni of Cameron Highlands, Malaysia. Thanks to Marni for sending me this awesome postcard. Mak Yong theatre is Malaysia only UNESCO Intangible Cultural Heritage. I cancelled this matching stamp at Kota Bahru, Kelantan - the place of Mak Yong.