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Datuk Assoc. Prof. Dr. Hj. Su‘aidi Dato’ Hj. Safei
MALAYSIA is a constitutional monarchy in southeastern Asia on Borneo & the Malay Peninsula; achieved independence from the United Kingdom in 1957
The flag of Malaysia, also known as the "Jalur Gemilang" (Stripes of Glory), comprises a field of 14 alternating red and white stripes along the fly and a blue canton bearing a crescent and a 14‐point star known as the Bintang Persekutuan (Federal Star).
The 14 stripes, of equal width, represent the equal status in the federation of the 13 member states and the federal government, while the 14 points of the star represent the unity between these entities.
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the arts and other manifestations of human
intellectual achievement regarded collectively.
e.g."20th century popular culture“
synonyms: the arts, the
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Datuk Assoc. Prof. Dr. Hj. Su‘aidi Dato’ Hj. Safei
This is to und e rsta nd , le a rn a nd ha ve b e tte r und e rsta nd ing o n the we d d ing histo ry, c e re mo nie s, c usto ms a nd ta b o o s o n va rio us e thnic s in Ma la ysia .
We d d ing : The a c t o r c e re m o ny o f m a rrying ; m a rria g e ; nup tia ls.
Ma rria g e : The so c ia l institutio n und e r whic h a m a n a nd w o m a n e sta b lish the ir d e c isio n to live a s husb a nd a nd wife b y le g a l c o mmitm e nts, re lig io us c e re mo nie s, e tc .
A Ma la y we d d ing is usua lly p e rfo rm e d w he n e ithe r o ne o r b o th sp o use s a re Ma la y. Ma la ysia n la w d e fine s a Ma la y p e rso n a s a Muslim .
Ma la y tra d itio na l we d d ing c e re mo ny c o nsist o f 5 ma in c e re mo nie s a s fo llo ws:
Me risik (Inve stig a te , Visit a nd O b se rve ) Me mina ng (Pro p o se )
Be rtuna ng (Eng a g e me nt) Aka d Nika h (So le mniza tio n) Be rsa nd ing (Enthro ne me nt)
A hint will b e g ive n to he r p a re nts re g a rd ing the p urp o se o f the visit, & the ir re a c tio n will b e a sse sse d .
The wo ma n's p a re nts ma y a lso g ive the visito rs so me id e a a s to whe the r o r no t the ir d a ug hte r w o uld b e inte re ste d in the ma tc h. Me risik d o e s no t c o nstitute a fo rma l p ro p o sa l.
Fo llo wing the visit b o th sid e s c a n b e g in to think mo re se rio usly a b o ut the p o ssib ility o r o the rwise o f a ma rria g e . It is p o ssib le tha t no p ro g re ss ma y ta ke p la c e , a nd the ma n's p a re nts o r re p re se nta tive s will the n lo o k fo r a no the r p o ssib le b rid e .
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C usto m ma d e fo r this p up o se to sta te tha t the y a c tua lly
o ffic ia lly. Re la tive s o f b o th p a rtie s will ne g o tia te to se t the d a te a nd time suita b le fo r the e ng a g e me nt. In a d d itio n, d isc ussio n will a lso b e he ld with re p e c t to the d e liva ry a nd the numb e r o f trip s tha t will c o me to the c e re mo ny o f e ng a g e me nt to fa c ilita te the wo me n p re p a re d d uring the e ng a g e me nt so o n.
But no wa d a ys, the c usto m o f 'Me risik' is se ld o m to b e d o ne b e c a use tha t c o up le a lre a d y kno w e a c h o the r, so the y will p ro c e e d with 'Pe rmina ng a n' to sa ve the c o st a nd time .
O nc e kno wn tha t the g irl ha s no t b e e n c o mmitte d , the fa mily will se t a d a y fo r me n to se nd a p ro p o se d e le g a tio n. Ma na g ing p e rso n will b e c o nd uc te d b y the imme d ia te fa mily o f the me n.
O nc e the p ro p o sa l is a c c e p te d , this ma y ta ke up to a we e k, the e ng a g e me nt d a te is d e te rmine d . During b e rtuna ng (e ng a g e me nt c e re mo ny), g ifts a re e xc ha ng e d b e twe e n the c o up le , a nd the a mo unt o f ma s ka hwin (d o w ry) a g re e d up o n. The e ng a g e me nt p e rio d ma y la st b e twe e n six mo nths a nd thre e ye a rs. Pre -w e d d ing me e ting b e twe e n b o th p a re nts. The a d a t b e rtuna ng (e ng a g e me nt c usto m) is no rma lly he ld a t the b rid e 's ho me .
C o mp ro mise a b o ut a mo unt o f e xp e nse s, the g ift, a nd a c tua l time fo r ma rria g e & “ p e rsa nd ing a n” .
Aka d Nika h o r the m a rria g e c o ntra c t is the first fo rm a l p a rt o f Ma la y we d d ing , a s p e r the Isla mic a nd c ivil la ws. It is b e lie ve d to g ive the ma rria g e its sa nc tity.
In this c e re m o ny, the m a rria g e is so le m nise d b e fo re re lig io us o ffic ia ls. The g ro o m sig ns the ma rria g e c o ntra c t with the Ka d i in fro nt o f witne ss(sa ksi) a nd a g re e s to p ro vid e the b rid e with a ma s ka hwin o r d o wry.
A b rie f le c ture o n ma rria g e a nd its re sp o nsib ilitie s d e live re d la te r b y the ka d i.
The b e rsa nd ing (e nthro ne me nt) c e re mo ny b e g ins with the g ro o m's p ro c e ssio n with frie nd s, re la tive s, music ia ns & p e o p le wa ving b ung a ma ng g a r (p a lm b lo sso m) to me e t the b rid e . Arriving o f g ro o m a t b rid e ’ s ho use a re we lc o me with so und o f “ ko mp a ng ” .
Ea c h g ue st will re c e ive a b ung a te lur (e g g flo we r), a d e c o ra te d e g g with a fa b ric flo we r, a s a sig n o f fe rtility. The c o up le a re c o nsid e re d ro ya lty fo r the d a y, & so va rio us ro ya l c usto ms a re p e rfo rme d fo r the m, inc lud ing music ia ns p la ying c o urt music a nd 'b o d yg ua rd s' p e rfo rming a d isp la y o f p e nc a k sila t(tra d itio na l Ma la y ma rtia l a rts).
The c o up le will sit o n the Dia s, “ p e la min” .
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Chine se ma rria g e is a
c e re m o nia l ritua l within C hine se so c ie tie s tha t invo lve a m a rria g e e sta b lishe d b y p re -a rr-a ng e me nt b e twe e n fa m ilie s.
Within C hine se c ulture , ro m a ntic lo ve wa s a llo we d , & mo no g a my wa s the no rm fo r m o st o rd ina ry c itize ns.
The p ro c e ss b e g a n with a n e la b o ra te ma rria g e p ro p o sa l a nd a c c e p ta nc e .
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Bo th se ts o f p a re nts
e xc ha ng e d fa mily c re d e ntia ls a s to ke ns o f
inte ntio n.
Afte r p re se nting
e ng a g e me nt to ke ns c ho se a m o ng se ve ra l fo rtuna te we d d ing d a te s sug g e ste d b y the b o y’ s fa mily & a lso se t a d a te fo r p re se nting b e tro tha l g ifts.
Insta lling the b rid a l b e d .
Sym b o l o f m a ny c hild re n a nd living m a te s.
Afte r the b e d is re p la c e d , c hild re n a re invite d o nto the b e d a s a n o me n o f fe rtility.
The “ ha ir d re ssing ” ritua l o f the b rid e a nd the “ c a p p ing ” ritua l o f the g ro o m symb o lize d the ir sta rting into a d ultho o d .
RED, symb o lic o f jo y
Te a is use b e c a use no t e ve ryo ne c a n d rink a lc o ho l.
Lo tus se e d & 2 d a te s a re use in te a fo r 2 re a so ns.
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Brid e se rve te a to he r
p a re nt to sho w re sp e c t a nd to tha nk fo r ra ising he r.
Brid e in fro nt fa the r in la w while the b rid e g ro o m in fro nt o f his mo the r.
In re turn, the y re c e ive d a luc ky re d e nve lo p e .
C hine se c ha ra c te r a nd e le me nt tha t inc lud e d :
A d ra g o n a p ho e nix - whic h a lso me a ns d o ub le ha p p ine ss.
C o me in re d c o lo ur.
Two fa milie s g e tting we d d e d so c ia lly with muc h le ss e mp ha sis o n the ind ivid ua ls invo lve d .
C o mb ina tio n o f
lo c a l, re lig io ns a nd fa mily tra d itio ns.
Ma ny a sp e c ts to b e c o nc e rn. Info rma tio n g a in fro m the ma in
p e rso n invo lve a nd a lso ind ire c tly thro ug h frie nd s & re la tive s.
Thre e imp o rta nt thing s in Ind ia n tra d itio na l we d d ing :
Visit to b rid e ho use (p e n p a rta a l)
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To se e the b rid e
a p p e a ra nc e a nd c ha ra c te r.
The re p re se nta tive s must b e o d d in numb e r.
The so uve nirs, suc h a s c o c o nut, sire h, c e nda na , fruits, music a l a nd kumkum p o wd e r will b e b ring a lo ng .
Nic c iya m c e re mo ny b y whic h p re se nts suc h a s c lo the s is g ive n.
The b rid e g ro o m is no t a llo we d to g o o ut within thre e d a ys b e fo re the g re a t d a y.
Divid e d into two :
No rma l p a risa m-g iving p re se nt ha d d o ne e a rlie r b e fo re we d d ing
Ud a n p a rism-g iving p re se nt o n w e d d ing d a y e a rly in the mo rning
3 a sp e c ts:
i) Invita tio n c a rd , ii) Pre p a ra tio n o f Tha a li iii) Mukuurtta Ka a l
Invita tion Ca rd
The invita tio n c a rd is wip e d with liq uid o f kunyit a nd is b ro ug ht to the kuil in o dd numb e r.
Symb o l o f d e vo te d to G o d in a ma rria g e .
Do ne 7 o r 9 d a ys b e fo re the we d d ing d a y.
G o ld , c e nda na , kumkum, sire h Pina ng , c o c o nut a nd p a ym e nt fo r the tha a li m a king .
3 d a ys b e fo re the
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Do ne 5 d a ys b e fo re
the we d d ing d a y. Do ne a c c o rd ing to
the Ind ia n g o o d d a y. A yo ung a nd stra ig ht
p la nt is c ho se n.
Symb o lize d a s
we d d ing will b e he ld a t the ir ho use .
Wo o d strip is ta ke n a nd c le a ne d .
5 wo me n, who
a lre a d y ma rrie d wip e d the liq uid o f kunyit a nd kumkum on the wo o d strip .
Its symb o lize o f we a lth.
The p ra ying c e re mo ny will b e d o ne b y the ma rrie d c o up le & 5 o the r wo me n.
5 typ e s o f se e d s is sc a tte re d o nto the wo o d strip & a n o il la mp will b e lig hte d up .
The c o up le will ma ke a p ro mise
Thiruma na n is d e fine d a s the unity thro ug h a ma rria g e whic h will e nsure tha t the c o up le will la st fo re ve r.
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The w e d d ing c e re mo ny
is d o ne b y Pe da nda :
p ra y fo r the m a rrie d c o up le to live ha p p ily e ve r a fte r.
sc a tte r a kind o f se e d ling s a fte r finishe d the c e re mo ny o f c a sing
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The flag of Malaysia, also known as
the "Jalur Gemilang" (Stripes of Glory), comprises a field of 14 alternating red and white stripes along the fly and a blue canton bearing a crescent and a 14‐point star known as the Bintang Persekutuan (Federal Star).
The 14 stripes, of equal width, represent the equal status in the federation of the 13 member states and the federal government, while the 14 points of the star represent the unity between these entities.
The crescent represents Islam, the country's official religion; the blue canton symbolizes the unity of the Malaysian people; the yellow of the star and crescent is the royal colour of the Malay rulers.
the arts and other manifestations of human intellectual achievement regarded collectively.
e.g."20th century popular culture“
synonyms: the arts, the
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Datuk Assoc. Prof. Dr. Hj. Su‘aidi Dato’ Hj. Safei
Percentage distribution of Malaysian population by religion in 2010
Islam is the official religion of Malaysia, and the Government actively promotes the spread of Islam in the country and its friendship with other Muslim countries.
In Malaysia, the Census in 2010 show approximately in 61.3% of the total population are Muslims, 19.8% are Buddhism, 9.2% are Christian, 6.3% are Hindus and other 3.4% make their belief such as Conservatism, Taoism, Bhai and etc.
Religious Building
In
Malaysia
A mosque is a place of worship for followers of Islam.
Muslims often refer to the mosque by its Arabic name, masjid.
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DOMEWUDU’ AREA
PRAYER AREA
ATRIUM & MIMBAR
Activity done in mosque
Dutch square in Melaka
Cathedral of the Diocese of Penang
CHURCH
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Congregation in a church
Chinese temple, Malacca Hindu’s temple, Johor Chinese temple, Penang
Chinese temple, Penang
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Datuk Assoc. Prof. Dr. Hj. Su‘aidi Dato’ Hj. Safei
Malaysian have various types of traditional clothes which in numerous shapes, and colors. For example, ‘tengkolok bulu burung’ and ‘baju kulit kayu’ until antique royal clothes.
These traditional clothes usually wear in the important events as the symbolic of all the races in Malaysia.
The traditional costumes for Malays are being classified into 2 categories for men and women. For men, we have Baju Melayu and Tanjak. And for women, we have Baju Kurung, Baju Kebaya, Baju Kebarung and Tudung .
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Baju kurung was introduced after the Islam came to
Tanah Melayu at the 20 century
Baju kurung is the loose clothes and cover the body
which suitable for the Islam country
Baju kurung can be suited with ‘songkek’ or ‘batik’.
Usually, wear with ‘kain selendang’ or scarft.
Nowadays, baju kurung can be found in different
styles. These clothes are being tailored so that they suit the person wearing it. Among the baju kurung that have been tailored are "baju kurung labuh", "baju kurung moden", "baju kurung cekak", "baju kurung Kedah" and others.
The baju kurung looks quite like men’s wear. It is a simple knee-length blouse worn over a long skirt pleated at the side.The outfit is completed with a selendang or tudung around the shoulders or on the head . Baju kurung too can be matched with "kain songket", "batik" or even "pelikat".
The baju kurung is more liked by people because it covers the whole body except for the palms and the face which is considered to be polite. The baju kurung is more suitable with the teachings of Islam as it is not exposing the whole body except for the palms and the face.
Baju melayu consists of two types which ‘baju melayu teluk belanga’ and ‘baju melayu cekak musang’
Baju Melayu are worn by Malay men. It is worn especially on Fridays for the Friday prayers. It is also worn for wedding ceremonies and other occasions.
Other than being matched with the “seluar"(trousers), the baju Melayu can also be worn with "kain pelikat".
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Chinese clothes usually worn by chinese community. It
has varied by region and time until today.
The chinese traditional cloths has special name, the tangzhuang included the changshan worn by men and the qipao worn by women
For women, a transformation of the traditional qipao (cheongsam) resulted in a slender and form fitting dress with a high cut, resulting in the contemporary image of a cheongsam but contrasting sharply with the traditional qipao.
For Asian inspired clothing from Japanese kimono to Hong Kong fashion and traditional Chinese clothes to make chinese coths.
For Malay Historical,chinese clothes was separated because malacca became the centre of trade in past century. Started from that,the culture and traditional cloth become chinese community culture in Malaysia
. It developed from Malacca to Penang, and last at Kuala Lumpur
Comfortable and
elegance, the traditional cheongsam or long dress also popular contemporary fashion for ladies.
Usually it has a height
collar, button, or frog closures near the shoulder, a snug fit at the waist and slits on either one or both sides
It is often make
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This jacket pattern with
chinese characteristics means blessing. The coat edge is golden or golden button
There silk fabric
characteristics are smooth, soft and comfortable.
This jacket pattern with chinese characteristics means blessing. The coat edge is golden or golden button
There silk fabric characteristics are smooth, soft and comfortable.
Indian clothing has been influence by diverse cultures influencing time in memorial.
The sari itself historian said that back to the Indus Valley Civilization with floweries in 2800 – 1800 BC, in the north-western, part of India.
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Sabah have numerous of ethnics. Each ethnics have their own clothes and accessories.
Among of their interesting accessories are Kadazan-Dusun women plaits caps, ‘bajau ethnics bastar’ and ‘headgear of Lotud ethnics’ which shown the total of wives for the men who wear it.
Sarawak is the biggest country in Malaysia which have variety of ethnic
Usually, they used clothes that made up by hand, bark cloth, chicken fur, and bead
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Baba and Nyonya is a Chinese community in the strait state, Malay land, especially Malacca.
They were called themselves Baba and Nyonya because of their cultures is came from Chinese heritage, but they were also influence in Malay culture.
The socio culture were absorbed in the past which have mix marriage between Chinese and Malay so it is why the next generation called them Baba and Nyonya.
The traditional cloth for Nyonya is Kebaya Nyonya or Short Kebaya.
Usually Short Kebaya always wear with sarong. Sometimes, there some Nyonya wear with Chaylay Sarong to more elegant.
Design of the embroidery on Short Kebaya or Kebaya Nyonya like insects, animals, birds and musical instruments.
Nyonya also wear is beaded slippers called Kasut Manek were a hand-made made much skills and patent.
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Batik word came from Jawa that means write. It refers from clothes that have a light patterns and interesting.
The types of batik such as ‘batik tulis’, ‘batik skrin’, ‘batik celup’, and ‘batik terap’.
Batik is the one techniques that have art value and will be half of world culture especially in Malay world like Jawa.
Nowadays, batik have a newest and latest pattern, but the traditional of batik still produced.
Songket is a type of embroidery clothe with a gold or silver thread. The word of songket is mean carry out or pull the thread from cloth or foretell by using gold or silver thread.
In historical nobility, the Royal kinship and the important person in the country always wear the songket.
It shown the rank of person and the place of the person in the country. This songket well-known in Malaysia and Indonesia.
Songket have high historical value as a heritage fabric quality. Other than that, it can lift up prestige the person who wear it with a motif and color of loom as the symbol of the person prestige.
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Datuk Assoc. Prof. Dr. Hj. Su‘aidi Dato’ Hj. SafeiSome of the Malaysian attractions are cuisine.
Malaysia have many kind of food. It’s a
combination from multi-ethnic population.
Laksa Lemang
Roti Canai
Nasi Kandar Curry puff Ketupat
Roti Canai
•A flatbread found in Malaysia.
• Often sold at Mamak Stalls.
• Introduced by immigrant labour from the
Madras region.
• Many of them served with
dhal.
Roti Canai continue…
•There are two ways to make roti canai :
1. twirl it until the dough becomes a very thin sheet and
then folded into a circular shape.
2. spread out the dough as thinly as possible before being
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Curry Puff• Malaysian, Singaporean and Thai snack which is
of Malay origin.
• Small pie consisting of specialised curry with
chicken and potatoes in a deep-fried pastry shell.
• The curry is quite thick to prevent it from oozing
out of the snack.
• You can found this food in many stalls in Malaysia
especially Malay and Indian stalls.
Curry Puff continue…
Ketupat
• Made from rice that have been wrapped in a woven palm leaf
pouch which is then boiled.
• As the rice cooks, the grains expand to fill the pouch and the
rice becomes compressed.
• Ketupat is usually eaten with rendang.
• Two of the more common variety of ketupat
is ketupat nasi and ketupat palas.
• Ketupat nasi is made from white rice and is
wrapped in a square shape with coconut palm leaves.
• Ketupat pulut is made from glutinous rice is usually wrapped
in a triangular shape using the
leaves of the fan palm.
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• Popular spicy noodle soup from Peranakan culture also
known as Baba and Nyonya, which is a merger of Chinese
and Malay elements found in Malaysia.
• Have two main general types which
is curry laksa and assam laksa.
• Curry laksa use coconut curry based
soup while assam laksa is fish sour based soup.
Laksa Laksa comparison
Curry Laksa Assam Laksa
Coconut milk is used No coconut milk used
Curry-like soup Fish paste soup, tastes sour due to tamarind
Except for bean sprouts, no other vegetable is used Pineapple, shredded cucumber, raw onions may be used
Tofu puff is used No tofu puff used
Served with thick or thin rice vermicelli (usually thick). Occasionally served with yellow mee.
Served with thick or thin rice vermicelli (usually thick)
Hard-boiled egg may be added No hard-boiled egg added
Slices of fish cake and either prawns or chicken is used Fish, normally kembung fish, is used
• A traditional food, originating with the Iban people of
Malaysia.
• Cooked in a hollowed bamboo stick lined with banana leaf to
prevent the rice from sticking to the bamboo.
• Made of glutinous rice and coconut milk, with salt added for
taste.
Lemang
• Usually eaten with chicken curry or with durian.
• Demand increase dramatically during raya celebration.
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• A popular northern Malaysian dish, which originates from
Penang.
• a meal of steamed rice which can be plain or mildly
flavoured, and served with a variety of
curries and side dishes.
•Is seen on most Tamil Muslim or
"Malaysian Mamak" restaurants and
Indian-Muslim stall meals.
Nasi Kandar
• Accompanied by side dishes such as fried chicken, curried
spleen, cubed beef, fish roe, fried prawns or fried squid.
• The vegetable dish would usually be brinjal (aubergine), okra
(lady fingers or "bendi") or bitter gourd.
•A mixture of curry sauces that called 'banjir' (flooding) and
imparts a diverse taste to the rice.
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Datuk Assoc. Prof. Dr. Hj. Su‘aidi Dato’ Hj. Safei
•Malay Cuisine:
U la m
-u la m a n
-As a m
Pe d a s
-La ks a
S a ra w a k
•Chinese Cuisine:
‐Yong Tau Fuu
–Hainan Chicken Rice
–‘Pulut Kunyit”
•Indian Cuisine:
‐Dosa
‐Putu Mayam
‐Laddu
ULAM
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ULAMAN
Ulam comprised of young shoots or leaves of various plants.
Mostly eaten raw or sliced thinly .
Made into salad or eaten with sambal belacan, budu, or tempoyak.
Taste bitter, but in the Malay culture, the bitterness is the cure.
The Malays also believe that daily consumption
of ulam would make you look younger even though
you are actually aging.
They are cheap and available.
Modern science also has proven it contain high levels
of antioxidants and also phytochemicals.
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PETAI
(PARKIA
SPECIOSA)
It bears long, flat edible beans with bright green seeds the size ,have a rather peculiar smell.
Strong smell is very pervasive. It lingers in the mouth and body.
Contains certain amino acids that give a strong smell to one's urine.
Their complex
carbohydrates can also cause strong‐smelling flatulence.
ULAM RAJA (COSMOS CAUDATUS)
• Literally meaning "the King’s salad",
• was brought by the Spaniards from Latin America.
• Malay word used to describe a preparation that combines food, medicine and beauty is the widely popular Malay herbal salad.
• As a Malaysian delight, it is served throughout the country from major hotels for tourists to buffet lunches or dinners for the locals.
BUDU
• Is a fish sauce and one of the best known fermented seafood products in Kelantan, Malaysia.
• It is traditionally made by mixing anchovy and salt in the range of ratio of 2:1 to 6:1 and allows fermenting for 140 to 200 days.
• It is used as a flavoring and is normally taken with fish, rice and raw vegetables.
• It is high in protein and uric acid content, thus not recommended for people with gout condition.
CINCALOK OR CENCALUK
Is a Malacca food.
Made of fermented small shrimps or krill. In Malacca, the shrimp is called udang geragau.
It is usually served as a condiment together with chillis , shallots and lime juice.
The shrimp in the pinkish coloured cincalok are readily identifiable and the taste is salty.
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ASAM PEDAS MUAR
Asam pedas came from to different places that is Muar, Johor and Melaka.
My specialized is Asam Pedas Muar.
AS AM PED AS
Ingredients :
Cooking Oil, Onion, Garlic, Turmeric, Ginger, Blended Chilies, Water, Sour tamarind, Salt.
Fish (“kembung” / “pari” / “sembilang” / “merah” / “mayong”)
Extra Ingredients :
“Torch Ginger Flower” / “Coriander Leaves” / “Curry Leaves”
Tomato
Lady Finger
Bringer
LAKSA
SARAWAK
Sarawak laksa (Malay: Laksa Sarawak) comes from the town of Kuching in the Malaysian state Sarawak, on the island of Borneo. It is actually very different from the curry laksa as the soup contains no curry in its ingredient at all. It has a base of Sambal belacan, sour tamarind, garlic, galangal, lemon grass and coconut milk, topped with omelette strips, chicken strips, prawns, fresh coriander and optionally lime. Ingredients such as bean sprouts, (sliced) fried tofu or other seafood are not traditional but are sometimes added .
Ingredients
750 grammes of bee hoon (pre‐soaked)
1.2 kilogrammes of medium‐sized prawns (with head and shell)
1.5 kilogramme chicken (whole bird minus the head and feet)
5 eggs
500 grammes of bean sprouts
16 to 20 pieces of lime
900 grammes of Sarawak Laksa paste (I used the “Swallow” brand)
Coconut milk from 1 1/2 coconuts (about 300 mls)
Salt and sugar to taste
20 bowls of water (about 8 litres)
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Also spelled yong tao foo, yong tau fu, or yong tau hu
It is a Chinese soup dish with Hakka origins commonly found in China,
Singapore and Malaysia.
There are also Teochew and Hokkien variations.
Yong Tau Foo is:
A clear soup containing a varied selection of f various forms of fresh produce, seafood and meats common in Chinese cuisine.
The foods are sliced into bite‐size pieces, cooked briefly in boiling broth.
To prepare the dish a steamed rice‐flour roll and a vegetable (kangkong ) are boiled to heat and soften them.
The food items are drained and eaten with sesame seeds, chili sauce and a hoisin based sauce.
The dish is eaten with chopstick and a soup spoon and can be eaten by itself .
•Another variation of this dish is to serve it with laksa
gravy or curry sauce.
• Essential accompaniments are spicy, vinegary chili
5
History
Chinese chicken rice is a dish of Chinese origin most commonly associated with Malaysian cuisine or Singaporean cuisine
Although it is also commonly sold in neighbouring Thailand, and found in Hainan, China itself.
So‐called due to its roots in Hainan cuisine and its adoption by the Hainanese overseas Chinese
population in the Nanyang area, the version found in Malaysia/Singapore combines elements of Hainanese and Cantonese cuisines along with culinary
preferences in the Southeast Asian region.
Ingredients
1 1/2 kg whole chickens
1 sprig celery leaves
3 peppercorns
1 teaspoon salt
2 spring onions, roughly chopped
3 tablespoons peanut oil
1 tablespoon sesame oil
1 tablespoon ginger, finely grated
2 teaspoons garlic, finely grated
2 cups short‐grain rice
Dipping Sauces
1 tablespoon ginger, finely sliced
2 tablespoons soy sauce
1 red chilli, chopped or 1 teaspoon sambal oelek
Soup
1/2 cup Chinese cabbage, finely shredded
2 tablespoons fresh coriander, chopped
1 large onion, finely sliced
Nasi Kunyit is actually Baba and Nyonya traditional food(rice). Nasi kunyit is rice dish transcend two cultures, Chinese and Malay.
Nasi kunyit usually served at festival like Chinese New Year and wedding.
The Malays served it during festive season like Aidilfitri and Aidiladha.
Beside that, nasi kunyit also is a favorite tea time or breakfast accompaniment.
Glutinous rice, dried tamarind skin, turmeric powder, salt, coconut milk, water, white peppercorns, pandan leaves, cloves and cinnamon stick.
6
Just roast all ingredient except pandan leaves and glutinous rice in two minutes then mix with glutinous rice into the bowl.Let it sit for all the night or at least for 6 hour.
Then steam glutinous rice with pandan leaves and all other ingredient for two hours.
..
The dosa is a southern indian delicacy whose origins are unclear. It is generally believed that dosa is supposed to have had its roots in the Temple Streets of Udupi, Karnataka.
Dosa is basically a crepe made from rice and black lentils. It is a typical South Indian dish, eaten for breakfast or dinner, and is rich in carbohydrates and protien.
Preparation:
Made from rice and split skinned urat bean (black lentil) blended with water and left to ferment overnight.
Characteristically the rice is very finely ground.
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The batter is then ladled in small amounts onto a hot greased tava, where it is spread out into a thin circle and fried with oil or ghee until golden brown. This is the case in a very short time.
The dosa may then be folded in half and served or rolled as in a wrap, but in both cases it is cooked on a single side. Alternatively, it may be flipped to cook on the other side and then served.
Ingredients: 1 cup Besan 1 pinch Kesari 1 pinch Cardamom powder 1 tbsp Rice flour 1 pinch Baking Powder 1 tbsp Melon seeds 1 tbsp Broken Cashew nut 2 cups Oil Sugar 1 cup Water
How to make boondi laddu:
•Mix the flour, rice flour, baking powder and colour. •Make a smooth thick batter. Heat the oil. Take the batter and pour it over a sieve with round holes. •Tap it gently with a spoon so that small balls of dough fall into the oil. Make the balls and keep aside. Heat the sugar and water till reaches 1/2 thread consistency. •Mix in the kesari melon seed and cardamom powder and fried boondies. When the mixture is still warm make into balls. Bondi Ladoo are ready to be served •If the mixture cools balls cannot be made as the sugar crystallizes. •
BOONDI
LADOO
RECIPE
Rava
Ladoo
Recipe:
Ingredients:
500 gms. Soji; 2 tbsps. Ghee; 500 gms. Sugar; ½ cup currants; 2 cups milk and ½ cup cashew nuts, fried.
Method:
Fry soji in a saucepan on a slow fire till it turns slightly brown in color. Now add sugar, ghee and milk and fry till the mixture becomes sticky. Break the nuts into small pieces and add them along with the currants, Remove the mixture from the fire, and when cool enough to handle, roll into even sized ladoos.
Putu mayam is a sweet dish. It is popular in southern India, Sri Lanka, Malaysia, Indonesia, and Singapore, as a snack or breakfast food.
Consist of mixing rice flour or idiyappam flour with water and/or coconut milk, and pressing the dough through a sieve to make vermicelli‐like noodles.
These are steamed, with the addition of juice from the pandan leaf as flavouring.
The noodles are served with grated coconut and jaggery, or, preferably, gur (date palm sugar).
In some areas, gula melaka (coconut palm sugar) is the favourite sweetener.
1
Datuk Assoc. Prof. Dr. Hj. Su‘aidi Dato’ Hj. Safei
Music of Ma la ysia is the g e ne ric te rm fo r music tha t ha s b e e n c re a te d in va rio us g e nre s in Ma la ysia . A g re a t va rie ty o f g e nre s in Ma la ysia n music re fle c t the sp e c ific e thnic g ro up s o f multira c ia l Ma la ysia n so c ie ty c o nsisting o f Ma la y, C hine se , Ind ia n, Ib a n, Da ya k, Ka d a za n d usun, Eura sia ns a nd o the r g ro up s.
In g e ne ra l, music o f Ma la ysia ma y b e c a te g o rise d a s c la ssic a l, fo lk, sync re tic (o r a c c ultura te d music ), p o p ula r a nd c o nte mp o ra ry a rt music .
The re a re fo ur c a te g o rie s in
tra d itio na l music a l instrume nt :
- c ho rd o p ho ne
- id io p ho ne
- a e ro p ho ne
- me mb ra no p ho ne
C HO RDO PHO NE
- C ho rd o p ho ne is string instrume nts - Exa mp le :
REBAB
GAMBUS
2
IDIO PHO NE
- Id io p ho ne is p e rc ussio n instrume nts o f fixe d immo va b le surfa c e
- Exa mp le :-
GONG GERETEH ANGKLUNG CANANG
AERO PHO NE
- Ae ro p ho ne is wind instrume nts - Exa mp le :
HARMO NIU M
SERUNAI
MEMBRANO PHO NE
- me mb ra no p ho ne is d rumso und p ro d uc e d b y me mb ra ne -c o ve re d musi-c a l instrume nts.
- Exa mp le :
BEDUK
G EDUK
KO MPANG REBANA
REBANA
Na me : G e re te h
C la ssific a tio n : Io d o p ho ne
O rig in : We st Suma tra
Use s : to a c c o mp a ny the Pe nc a k Sila t, Ta ri Lilin, Ra nd a i a nd Ta ri Ina i
p e rfo rma nc e s with o the r instrume nt
3
Na me : G o ng C la ssific a tio n: Id io p ho ne O rig in : So uth Ea st Asia Typ e s : susp e nd e d g o ng s(fla t), b o sse d g o ng s (ra ise d c e nte r), b o wl
g o ng s (b o wl-sha p e )
Usa g e : Fo rm the b a c kb o ne o f mo st Ma la y fo lk music e nse mb le s & use d fo r ne a rly e ve ry so c ia l e ve nt Ma d e : Me ta l, c o p p e r Ho w to Pla y : It’ s b e a te n with a
ma lle t (a ro und ha rd le a the r-c o ve re d p a d , fitte d o n a sho rt stir-c k)
Name : Seruling
Classification : Aerophone
Origin : China
Uses : Playing in orchestra, accompany singing
How to play :put the lower lip at first hole and blown a cross the edge and held straight during playing for
entertainment,is blown and held horizontally.this instrument is nose flute
d b
The se ruling is ma d e fro m b a mb o o . It c o me s in a fe w typ e s o f d e sig n a nd sha p e s a nd ha s d iffe re nt numb e rs o f ho le s.
This instrume nt is sa id to b e a n ind ig e no us instrume nt o f this re g io n. It e xists e ve rywhe re in so uthe a st a sia . In c a kle mp o ng tha t flo urishe s in Ne g e ri Se mb ila n, this
4
Na me : Se runa i C la ssific a tio n: Ae ro p ho ne O rig in : Ma la y Usa g e : use d in wa ya ng
kulit a nd sila t sho w Ho w to p la y : p ut the fo ur
la ye r le a ve s into the m o uth. Blo w it & p ut the fing e rs o n the ho le s to p ro d uc e so und s. The b re a th
te c hniq ue s must b e c o rre c t to p e rfo rm a g o o d rythms Ma d e : wo o d & b a mb o o
Na me : Ko mp a ng C la ssific a tio n: Me mb ra no p ho ne O rig in : Ma la y
Usa g e : usua lly fo und in la rg e ko mp a ng e nse mb le s thro ug ho ut Ma la ysia , p la ying inte rlo c king rhythmic p a tte rns fo r p ro c e ssio ns, to a c c o mp a ny the c ho ra l sing g ing o f zikir a nd to p e rfo rm music fo r va rio us so c ia l o c c a sio ns
Ho w to Pla y : use d b o th ha nd , le ft a nd rig ht. O ne ho ld the ko mp a ng a nd o the r ha nd use to b e a ts it c o ntinuo usly. Ko mp a ng a re p la ye d in a g ro up b a se d o f thre e re nta k , re nta k b ia sa , re nta k ke nc e t, a nd re nta k se p ulih.
5
Na me : G e nd a ng C la ssific a tio n: Me mb ra no p ho ne O rig in : Ma la y
Use s : a c c o mp a ny the a no the r music a l instrume nt in sila t sho w o r d a nc e s a nd fe stiva l o c c a sio n Ho w to Pla y : fo r the sma ll g e nd a ng it c a n b e a ting whe the r with ha nd o r fing e rs a nd fo r the b ig
g e nd a ng it usua lly b e a t b y ha nd o r stic k tha t ma ke b y wo o d
Ma d e : wo o d a nd c o w o r g o a t hid e skin
Na me : G a me la n C la ssific a tio n: Id io p ho ne O rig in : Ind o ne sia
Use s : a c c o mp a ny the d a nc e , le a the r p up p e ts p e rfo rma nc e .
C o nsist o f : C a kle mp o ng , g o ng , re b a b , c a na ng . Ho w to Pla y : d iffe re nt kind o f instrume nt ha ve
1
Datuk Assoc. Prof. Dr. Hj. Su‘aidi Dato’ Hj. Safei
This is a c la ssic a l C hine se da nc e tha t da te s b a c k to the Ta ng dyna sty
in the e a rly e ig hty c e ntury.
The fa n da nc e o rig ina te s fro m the fa n pe rfo rm a nc e s in a nc ie nt psyc hic
c o nduc ts & fo lk- c usto m a c tivitie s
This da nc e fe a ture s ro und silk o r fe a the r fa ns whic h is a c c o m pa nie d b y m usic using C hine se
2
Fa ns pla y a b ig pa rt in C hine se fo lk da nc e e spe c ia lly to pe o ple in the no rth pa rt o f C hina .
The y use a ll kinds o f b e a utiful fa ns in the ir da nc e s to e xpre ss the ir e xc ite m e nt fo r the c o m ing spring s.
The fa n da nc e hig hlig hts de lic a te
m o ve m e nts with c o nsta ntly c ha ng ing
rhythm , whic h is dyna m ic a nd g ra c e ful.
This da nc e displa ys m a ny fo rm a tio ns
& pa tte rns suc h a s flo we rs, wa ve s & dra g o ns
Lio n d a nc e (wǔshī) is a fo rm o f tra d itio na l d a nc e in C hine se c ulture a nd o the r Asia n c o untrie s in whic h p e rfo rme rs mimic a lio n's m o ve m e nts in a lio n c o stum e .
The lio n d a nc e is usua lly p e rfo rme d d uring the C hine se Ne w Ye a r a nd o the r C hine se tra d itio na l, c ultura l & re lig io us fe stiva ls.
It ma y a lso b e p e rfo rme d a t imp o rta nt o c c a sio ns suc h a s b usine ss o p e ning e ve nts, sp e c ia l c e le b ra tio ns o r we d d ing c e re m o nie s, o r m a y b e use d to ho no ur sp e c ia l g ue sts b y the C hine se c o mmunitie s.
The C hine se lio n d a nc e is o fte n mista ke nly re fe rre d to a s d ra g o n d a nc e . An e a sy wa y to te ll the d iffe re nc e is tha t a lio n is no rma lly o p e ra te d b y two d a nc e rs, while a d ra g o n ne e d s ma ny p e o p le .
3
Za p in is p o p ula r in Ind o ne sia & Ma la ysia , e sp e c ia lly in Jo ho r.
It is b e lie ve d to ha ve b e e n intro d uc e d b y Ara b Muslim who c a me fro m Mid d le Ea st in 14th c e ntury.
It use d to b e pe rfo rm e d e xc lusive ly fo r re lig io us c e re m o nie s b ut thro ug h the ye a rs it ha s b e c o m e a fo rm o f tra ditio na l e nte rta inm e nt.
4
The re a re nume ro us fo rms o f Za p in Da nc e s.
It va rie s fro m sta te to sta te ,fo r e xa mp le Za p in Pa ha ng , Za p in Jo ho r & Za p in ka ja ng .
The d a nc e wa s o rig ina lly p e rfo rme d b y ma le s o nly ho we ve r it is a lso p e rfo rme d
b y fe ma le d a nc e rs the se d a ys.
‘ Ko la tta m’ o r the stic k d a nc e is o ne o f the mo st p o p ula r d a nc e na rra tive s in And hra Pra d e sh. It
is a lso c a lle d a s Ko la nna lu o r Ko lko la nna lu.
Ko la tta m is a rura l a rt usua lly p e rfo rm e d d uring villa g e fe stiva ls.
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It is kno wn a s Da nd ia ra s in G ujra t, G a rb ha in Ra ja stha n e tc .
The Ko la tta m g ro up c o mp rise s o f d a nc e rs in the ra ng e o f 8 to 40 whic h is g ro up e d in p a irs.
The stic k p ro vid e s the m a in rhythm. The Ko la tta m g ro up le d b y a le a d e r mo ve s into two c irc le s, the inne r c irc le re c e ive s the strike s while the o ute r c irc le d e live rs the m.
Ng a ja t d a nc e is ve ry fa mo us a mo ng O ra ng Ulu a t Sa ra wa k. The o rig in o f this ind ig e no us d a nc e is no t c le a rly kno wn b ut it is a sp iritua l & p hysic a l p ra c tic e , b e lie ve d to ha ve b e e n p e rfo rme d b y wa rrio rs o n the ir re turn fro m b a ttle s.
6
The ma le d a nc e rs we a r la rg e fe a the r a s p a rt o f the ir he a d g e a r, ho ld a n o rna te & lo ng shie ld in the ir ha nd with c ha ins, b e a d s & a lo inc lo ths c a lle d the ‘ c a wa t’
The fe ma le d a nc e rs ha ve a n e la b o ra te he a d d re ss, c ha ins, b e a d s a nd a ‘ d re ss’ tha t re a c he s b e lo w o f the ir kne e s with intric a te we a ving .
Tra d itio na lly this d a nc e wa s o nly p e rfo rm e d b y m a le d a nc e rs b ut no t a nym o re .
The d a nc e is a rra ng e d in stra ig ht line s & in a c irc le & invo lve s d ra ma tic le a p s & jump s p e rfo rme d b y the ma le d a nc e rs with a c c o mp a ny o f music .
G o ng s a nd o the r e thnic p e rc ussio n instrume nts suc h a s the ‘ e nke ro mo ng ’ ,
7
This d a nc e is o ne o f the mo st we ll kno wn tra d itio na l d a nc e in Sa b a h a s we ll a s thro ug ho ut Ma la ysia .
This d a nc e b e lo ng to the Ka d a za n Dusun trib e . This ritua l d a nc e se rve s va rie d func tio n suc h a s tha nksg iving fo r b o untiful p a d d y p la nting , ha rve sting p ra ye r a g a inst e vil sp irits a nd ho no uring the sp irits a s we ll a s to c ure illne ss.
The mo ve me nts & rhythms o f this d a nc e a re e le g a nt, so ft & slo w. The d a nc e rs, ma le & fe ma le , will fa c e e a c h o the r, mo ve the ir fe e t in sma ll mo ve me nts & mo ve he e ls up & d o wn to the b e a t o f the music .
1
Datuk Assoc. Prof. Dr. Hj. Su‘aidi Dato’ Hj. Safei
The m o st e sse ntia l pa rt in m a inta ining the c o ntinuity o f tra ditio na l g a m e s is the unifo rm ity o f the a nc e sto r’s life style , it is a lso kno wn a s a na tio n’s g a m e .
Am o ng the se fe w g a me s, so m e a re no t pla ye d b y ne w g e ne ra tio ns b ut o nly kno wn b y the pa re nts o r g ra ndpa re nts.
C hildre n no w pre fe r to pla y m o de rn g a m e s suc h a s c o m pute r g a m e s, o r a nything tha t the y fe e l e a sy a nd c o m fo rta b le to pla y.
This c a use s tra ditio na l g a m e s to disa ppe a r be c a use o f the inno va tio n o f the m o de rn g a m e s.
The inno va tio n o f ne w te c hno lo g ie s influe nc e s the c hildre n to pla y.
Ma la ysia n tra ditio na l g a m e s c a n pro m o te to fo re ig ne rs o f the c ulture a s we ll a s pla ying tra ditio na l g a m e s.
Fo re ig ne rs no t o nly c a n kno w a lo t a b o ut o ur c o untry, b ut the y c a n a lso le a rn ho w to pla y tra ditio na l g a m e s, Like “Gasing ”,
2
C a ri C uc u
C o ng ka k
G a sing
Ba tu Se re mb a n
Se p a k Ra g a
Wa u
MALAY
G o
CHINESEYo yo
C hing a y
Kho -Kho
INDIANS
During the p e rio d o f the Me la ka Ma la y sulta na te s (1400 A.D.), se p a k ra g a wa s p la ye d no t o nly b y no b le s, b ut a lso a fa vo rite o f the c o mmo n fo lks. Fro m se ja ra h me la yu c hro nic a ls, the re wa s a sto ry o f ho w Ra ja Muha mma d , ha s his he a d re ss kno c ke d o ff a c c id e ntly whe n hit b y the ra tta n b a ll kic ke d b y Tun Be sa r.
Tha ila nd c a ll it ta kra w. It is a lso thuc k tha y Ma la ysia c a ll it se p a k ra g a.
Philip p ine s c a ll it sip a, me a ning "kic k". Austra lia c a ll it "fo o tnis"
Pla ye rs sta nd ing in a c irc le ke e p a ra tta n b a ll a lo ft with a ny p a rt o f the ir b o d y e xc e p t the ir ha nd s.
The b a ll is ke p t in c o nsta nt mo tio n witho ut ha nd s to uc hing it. Allo ws p la ye rs to use the ir fe e t, kne e , c he st a nd he a d to to uc h the b a ll.
The g a me ha s se ve ra l ve rsio ns with d iffe re nt rule .
Se p a k ra g a b ula t ha s b e c o me a p o p ula r sp o rt g a me a mo ng the villa g e & urb a n ma le yo uths.
Batu seremban or five stones is a game
originally played by girls. This is an easier
game to play compare to congkak because it
only needs five stones or five round objects to play with.
3
Bat u seremban also known as Selambut or
Serembat game.
It is always played during leisure time at
verandah, in the house or any other
suitable place.
Players should sit on the floor so that this game can be played easily and
comfortably.
Be fo re sta rting the g a m e , e a c h
pla ye r ne e ds to we ig ht ‘b atu
se re mb an’, in o rde r to g e t the ir
turn in de c iding who will g o first a s first pla ye r, se c o nd pla ye r & to the re st o f the pla ye rs.
Me tho d to we ig ht sto ne s is b y
putting a ll the sto ne s b e hind the pa lm , & to ss it to the a ir a nd ta ke a g a in with the b a c k o f ha nd. To ta l se e d tha t suc c e ssfully c a ug ht is c o unte d a s the m a rk.
The o b je c tive o f the g a m e is to thro w o ne o f the sto ne s o ne a t a tim e a nd swe e ping a no the r o n the flo o r sim ulta ne o usly c a tc hing the o ne yo u thre w e a rlie r o n.
This g a m e c o ntinue s to a dva nc e sta g e s whe re the g a m e g e ts c o m plic a te d.
This g a m e is e njo ye d b y a ll no wa da ys no m a tte r whe the r yo u’re o ld o r yo ung yo u c a n still pla y this g a m e a nd ha ve fun.
The na me c o ng ka k is d e rive d fro m the wo rd "c o ng a k" whic h m e a ns "to c o unt m e nta lly" whic h is m a inly p ra c tic e d in this g a m e . It is re g a rd e d tha t a n e ffic ie nt p la ye r who
m e nta lly c a lc ula te s a fe w ste p s in a d va nc e will ha ve a n a d va nta g e in c o lle c ting p o ints to win the g a m e .
4
C o ng ka k is a g a me fo r two p la ye rs using a b o a rd whic h ha s se ve ra l ho le s. The a im o f the g a m e is to g a the r a s m a ny m a rb le s into the ho me o n the p la ye r's sid e .
It c o nsists o f a wo o d e n b o a rd with two ro ws o f five , se ve n, o r nine ho le s a nd two la rg e ho le s a t b o th e nd s c a lle d "ho m e ".
C o ng ka k, p la ye d with she lls, m a rb le s, p e b b le s o r rub b e r/ ta ma rind se e d s, re q uire s two p la ye rs.
A c o ng ka k b o a rd is sha p e d like a b o a t & it is b e lie ve d tha t it is b a se d o n the le g e nd o f a fishe rm a n una b le to g o to the se a d uring ra iny se a so n who lo st his inc o m e d uring this tim e .
To p re ve nt b o re d o m he c re a te d this g a me whic h is simila r to his b o a t. Ho we ve r, o n the isla nd o f Ja va , the b o a rd a lwa ys ha s a d ra g o n he a d a t e a c h e nd a nd the sid e s o f the b o a rd (whic h is m a d e o f wo o d ) a re c a rve d to lo o k like re p tile sc a le s.
The b o a rd ha s 2 ro ws o f se ve n c up s (ho le s) o n e a c h sid e a nd a la rg e r c o mp a rtme nt (sto re ho use s) a t e a c h e nd . The ho le s a re fille d with 7 se e d s while sto re ho use s (ho me s) a re e mp ty.
A p la ye r b e g ins b y sc o o p ing up a ll the se e d s in a ny ho le o n his sid e a nd d ro p s e a c h se e d a lo ng his sid e s in a c lo c kwise d ire c tio n.
If the la st se e d d ro p s into a ho le c o nta ining se e d s, the p la ye r sc o o p s up a ll the se e d s in tha t ho le a nd c o ntinue d istrib uting the m.
Whe n d istrib uting the se e d s, if the la st se e d d ro p s into the p la ye r’ s ho le whic h is e mp ty, the p la ye r is e ntitle d to c o lle c t the se e d s in his o p p o ne nt’ s ho le d ire c tly o p p o site his o wn.
5
The 1st ro und finishe s whe n a p la ye r ha s
no mo re se e d s o n his sid e . In the 2nd ro und ,
p la ye rs will re d istrib ute se e d s fro m wha te ve r the y c o lle c te d in the ir ho me s fro m the 1st ro und & fill the ir ho le s.
The se se e d s a re d e p o site d into his o wn ho me . If the se e d fa lls into a n e mp ty ho use b e lo ng ing to the o p p o ne nt, the p la ye r will lo se his turn & le a ve s his se e d s in the o p p o ne nt’ s ho use . The o p p o ne nt will the n ta ke his turn to p la y.
Be g inning fro m le ft to rig ht, se ve n se e d s a re p la c e d in e a c h ho use . If the p la ye r d o e s no t ha ve e no ug h se e d s to fill his o wn ho use s, the re m a ining e mp ty ho use s a re c o nsid e re d ‘ b urnt’ a nd the g a me is o ve r.
This g a m e is e njo ya b le a nd fa m o us a m o ng c hild re n.
G a me “ C a ri C uc u” is a lso c a lle d “ Ne ne k Ke b a ya n” .
The e q uip me nt fo r the g a me a re wo o d a s stic k/ c a ne (to ng ka t) a nd ha nd ke rc hie f.
O ne p e rso n is c ho o se n to b e the g ra nd mo the r a nd o the r p la ye rs a s g ra nd c hild re n.
All the g ra nd c hild re n ho ld ha nd s a mo ng e a c h o the r to ma ke a c irc le .
While a ll the g ra nd c hild re n a re mo ving , The so ng is sung is a s fo llo ws:
Ne ne k, ne ne k, si b o ng ko k tig a
Sia ng me ng a ntuk, ma la m b e rja g a Me nc a ri c uc u dima na b e ra da
Ne ne k ka hwin de ng a n a na k ra ja
Whe n g ra nd c hild re n e xha uste d sing , the n turn "Ne ne k Ke b a ya n" sing ing .
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The g ra nd mo the r ne e d s to find o ne o f he r g ra nd c hild re n a ro und he r b y using to ng ka t.
The n the g ra nd mo the r ne e d s to g ue ss the rig ht na me a nd rig ht p e rso n, so tha t the p e rso n tha t is b e ing c ho se n will re p la c e he r p o sitio n a s the g ra nd mo the r.
Kite flying is a tra d itio na l sp o rts g a me wid e ly p o p ula r in Ma la ysia & e ve n Asia .
Tra d itio na l kite is kno wn a s “wa u” d ue to the simila rity o f its sha p e to the Ara b ic le tte r tha t is p ro no unc e d a s ‘ wo w’ .
The re a so n fo r its p o p ula rity is ho w the kite s d isp la y the c re a to r's a rtistic fla ir, a nd ho w the y lo o k so g ra c e ful flutte ring a g a inst the b lue skie s.
The ne c e ssa ry lift tha t m a ke s the kite wing fly is g e ne ra te d whe n a ir flo ws o ve r a nd und e r the kite 's wing , p ro d uc ing lo w p re ssure a b o ve the wing a nd hig h p re ssure b e lo w it.
Wa u b ula n Mo o n-kite is a n intric a te ly d e sig ne d Ma la ysia n.
Mo o n-kite (no rma lly with flo ra mo tifs) is tra d itio na lly flo wn b y the m e n in ke la nta n. It’ s o ne o f the ma la ysia n’ s na tio na l symb o ls a lo ng so m e o the rs b e ing the kris a nd hib isc us.
Altho ug h the re a re ma ny d iffe re nt sha p e s o f the wa u, the mo st p o p ula r o ne is the Wa u Bula n o r Mo o n Kite s whe re the ta il o f the kite is c urve d in the sha p e o f a c re sc e nt mo o n. The re a re m a ny typ e s o f wa u in ma la ysia . Ea c h with its o wn sp e c ia lity. Wa u kuc ing (c a t kite )a nd wa u me ra k(b ird kite )
Kite fra me s a re g e ne ra lly ma d e o f b a mb o o , whic h me a sure s up to 2.5 to 3 m e te rs lo ng fro m he a d to ta il, with p a p e r a tta c he d .
Mo st kite s, re c ta ng ula r o r sting ra y-sha p e d , a re te the re d with string o n a re e l.
The wa u is c a p a b le o f so a ring to g re a t he ig hts.
Mo st o f the p a tte rns a re b a se d o n lo c a l flo ra a nd fa una like b ird s, a nim a l a nd flo we rs.
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This g a m e re q uire s a t le a st two g ro wn up me n to ha nd le a nd the y sho uld id e ntify whic h wa y the wind b le w.
O ne o f the m must swing the kite a nd o the r ma n must p ull the string . The n, a fte r the kite ha ve flo wn
a wa y, he must ho ld the string to a vo id it fro m fa lling to the g ro und . Altho ug h skills a re imp o rta nt in
m a ne uve ring the kite o r wa u, the wind c o nd itio n a lso influe nc e s the p la ying o f the g a m e .
Ea c h se a so n a fte r the ric e ha rve st, se ve ra l villa g e rs will c o me to g e the r to c ha lle ng e e a c h o the r in a n ultima te te st o f skill.
Bo th a d ults a nd c hild re n c a n p la y the g a me . The o ne use d b y a d ults a re muc h b ig g e r in size a nd c a n sp in fo r a p e rio d o f time whe re a s the o ne p la ye d b y kid s a re muc h sm a lle r.
G a sing o r to p sp inning is a tra d itio na l g a m e p o p ula r a m o ng Ma la y. It is p o p ula r e sp e c ia lly a mo ng the villa g e rs in the Sta te o f Ke la nta n & Te re ng g a nu.
The re a re a c tua lly five (5) d iffe re nt sha p e s o f g a sing fo und in Ma la ysia na me ly:
1. Pla te -Sha p e d 2. He a rt-Sha p e d 3. Ha t To p 4. Eg g -Sha p e d
5. Be re mb a ng -Sha p e d
(Be re mb a ng is a fruit o f a se a sid e tre e )
The o ne who 's to p sp ins the lo ng e st a nd within the sp e c ifie d c irc le b e c o me s the winne r. O nc e the to p sp ins o ut the c irc le , the p la ye r lo se s the g a me .
It c a lls fo r stre ng th, c o o rd ina tio n, a nd skill. The g a sing , if e xp e rtly hurle d , c a n sp in fo r a s lo ng a s 2 ho urs.
A c irc le is first d ra wn o n the g ro und ma rking the c irc umsta nc e s within whic h the to p is to sp in.
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CHINESE
INDIANS
C hing a yYo Yo G o
Kho - Kho
The C hing a y Pa ra d e is a n a nnua l stre e t p a ra d e he ld in Ma la ysia in c e le b ra tio n with the b irthd a ys o f the C hine se d e itie s o r the p ro c e ssio n o f the G o d d e ss o f Me rc y (G ua nyin) a s p a rt o f the C hine se Ne w Ye a r fe stivitie s.
The te rm C hing a y o rig ina te d in So uthe a st Asia p a rtic ula rly in Pe na ng me a ns "the a rt o f c o stume a nd ma sq ue ra d e “ o r vib ra nt flo a t.
By 1960s it sp re a d to the re st o f Ma la ysia .
4th Fe b rua ry 1973 in Sing a p o re – 1st C hing a y Pa ra d e wa s sho wn to b a n fire c ra c ke r.
No w , it m o stly se e n ye a rly d uring C hine se fe stiva l o r b ig sc a le e ve nts in Pe na ng a nd Jo ho r Bha ru.
The c hing a y p ro c e ssio n, he ld o n the 21st d a y o f the C hine se Luna r Ne w Ye a r, is a hig hly a ntic ip a te d e ve nt a mo ng the C hine se c o mmunity.
A c o mmo n sa ying ha s it tha t o ne ha s no t truly c e le b ra te d C hine se Ne w Ye a r if he ha s no t witne sse d the p ro c e ssio n.
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Its tra d e ma rk e le me nts: g ia nt tria ng ula r fla g s a nd la nte rns.
Ba la nc ing the hug e p o le s with e no rmo us tria ng ula r fla g s o n fo re he a d , c hin, lo we r ja ws a nd sho uld e r.
Size o f a tria ng ula r fla g s – a t le a st 25’ x 15’ m o unte d o n a 40 – fe e t lo g p o le .
An a lte rna ting lifting a nd d ro p p ing mo tio n using two stic ks, e a c h he ld in o ne ha nd , ke e p s the yo -yo sp inning o n a string tie d b e twe e n the stic ks. In m o d e rn time s, it is use d a s a c hild re n's to y a nd a s a p e rfo rma nc e to o l in c irc us e ve nts like jug g ling a nd so me time s in C hine se d a nc e .
The c hine se yo yo (a d a p te d in we ste rn c o untrie s a s the d ia b o lo ) is a to y fro m C hina c o nsisting o f two e q ua lly size d d isc s c o nne c te d with a lo ng a xle .
C hine se yo -yo will a lwa ys turn o n the ro p e tha t b o und the two sma ll stic ks. Pla ye rs will b e ho ld ing the e nd o f b o th wo o d a nd o ffse t the yo -yo fro m fa lling .
This g a me ha s b e e n id e ntifie d to e xist sinc e the Ming Dyna sty a ro und the ye a r 1386 until a fte r 1644 AD.
It is p o ssib le to p e rfo rm a la rg e va rie ty o f tric ks with the d ia b lo whic h c a n b e a s e a sy a s thro wing the yo -yo up into the a ir o r to ssing it a ro und the use r's b a c k.
o Chinese yo-yos were traditionally made of bamboo, which was very easy to break and not convenient for complicated tricks.
o Modern models, however, are now made of plastic for added durability. The sticks used with the yo-yo continue to be made of wood.
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Go is a board game that played by two people. Go is known as Weiqi in Chinese language.
The game originated in ancient China more than 2,500 years ago, and is one of the oldest board games played today.
The game is rich with complex strategy but the rules are relatively simple and easy. Go only use seeds black and white.
It is an abstract strategy board game for two players, in which the aim is to surround more territory than the opponent.
The game emphasizes the importance of balance on multiple levels & has internal tensions. To secure an area of the board, it is good to play moves close together; however, to cover the largest area, one needs to spread out, perhaps leaving weaknesses that can be exploited.
Playing too low (close to the edge) secures insufficient territory & influence, yet playing too high (far from the edge) allows opponent to invade.
It has been claimed that Go is the most complex game in the world due to its vast number of variations in individual games. Its large board and lack of restrictions allow great scope in strategy and expression of players' individuality. Decisions in one part of the board may be influenced by an apparently unrelated situation in a distant part of the board.
Kho-Kho ranks as one of the most popular outdoor traditional sports in India. The origin of Kho-Kho is difficult to trace, but many historians believe, that it is a modified form of 'Run Chase', which in its simplest form involves chasing and touching a person.
Like all Indian games, it is simple, inexpensive and enjoyable. It does, however, demand physical fitness, strength, speed and stamina, and a certain amount of ability. Dodging, feinting and bursts of controlled speed make this game quite thrilling.
To catch by pursuit - to chase, rather than just run - is the capstone of Kho-Kho. The game develops qualities such as obedience, discipline, sportsmanship, and loyalty between team members..
Kho-Kho can be played by men, women, and children of all ages. The
game requires a very small piece of evenly surfaced ground, rectangular in shape, and 27m by 15m. The only equipment required are the two poles. The game lasts no more than 37 minutes.
Each team consists of 12 players, but only 9 players take the field for a
contest. A match consists of 2 innings. An innings consists of chasing and running turns of 7 minutes each. 8 members of the chasing team sit in their 8 squares on central lane, alternately facing opposite direction, while the 9th member is an active chaser, & stands at either of the posts, ready to begin the pursuit. Members of chasing team have to put their opponent out, touching them with their palms, but without committing a foul.
All the action in Kho-Kho is provided by the defenders, who try to play
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Defenders enter the limit, in batches of 3. After the 3rd and last defender of batch is out, the next batch must enter the limits, before a 'kho' is given by the successful active chaser. Defenders have full freedom of movement on both sides of the central lane, but the active chaser cannot change the direction to which he is committed. He cannot cross the central lane. An active chaser can change position with a seated chaser, by touching him from behind by palm, and uttering the word 'kho' loudly, and simultaneously, chase or attack is build up through a series of 'khos' as the chase continues with a relay of chasers.
At the end of the innings there is an interval of 5 minutes and an
