跨文化管理

Intercultural Management
NAME
JABRI BIN JUHININ

TOPIC : MALAYSIAN CULTURE

LECTURER: 杨美英 （Yang Mei Ying）

DATE OF SUBMISSION: 12𝑡ℎ NOVEMBER 2019

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TOPIC : MALAYSIAN CULTURE

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 TABLE OF CONTENT

NO TOPICS PAGE

1 Malaysia in world map 4

2 Malaysia population 5-7

3 Traditional clothes 8-13

4 Cultural dance 14-23

5. Malaysia top 5 foods 24-26

5 Values 27-30

6 Conclusion 31

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1. Malaysia in world map

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 2. Malaysia Population

Malaysia is a Southeastern Asian country that is multiracial, with many different ethnic
groups living in the country. These include Malays, Chinese, Indians, and other indigenous
Bumiputra groups. The demographic composition in the country are as follows. 50.1% of the
population are Malay, 22.6% are Chinese, 11.8% are indigenous Bumiputra groups other than
the Malays, 6.7% are Indian, and other groups account for 0.7%. Non-citizens account for 8.2%
of Malaysia’s resident population. This multicultural context makes Malaysia a highly rich
society, with diverse religions, foods, culture, and customs.
Malays

Accounting for 50.1% of the Malaysian

population, the Malays are the largest
ethnic group in the country. Indigenous
to the country, the Malays are generally
Muslim and practice Malay culture. This
means that Muslims of any race are
counted as Malays provided they
practice Malay culture. The largest
community in the country, with their
language, Malay, being the national
language, Malays are dominant in the political landscape of Malaysia. Their culture is
influenced by Hinduism, Buddhism, and animism. Aspects of their culture which portray
these elements have however been banned or abandoned since the 1980s and 1990s due to the
efforts of the "Islamization" Movement.

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Chinese Malaysians

Accounting for 22.6% of the Malaysian population, Chinese Malaysians are the second
largest ethnic group in the country. Chinese people have been in Malaysia for centuries, with
the peak of this immigration in the Nineteenth Century. Chinese Malaysians dominate
business and trading in the country. At their arrival, the Chinese worked in railway
construction and tin mining, and later they began to own businesses. These businesses are
today large conglomerates. Their religion is mainly Taoism or Buddhism. They continue to
have strong ties with China. The Chinese have over the years absorbed elements of
Malaysian culture, intermarrying with the indigenous groups, which have led to the
development of a syncretism of practices and beliefs, a new culture consisting both Malay
and Chinese tradition.

Non-Malay Bumiputra and Other Indigenous Groups

11.8% of the Malaysian

population is comprised by other
non-Malay indigenous groups
who have also been given
Bumiputra status. These tribes
include the Dayak, the Iban, the
Biyaduhs, the Kadazan, and
various aboriginal groups. Other
Bumiputras include the Burmese,
the Chams, Khmers, and the
Malaysian Siamese.

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Indian Malaysians

Indian Malaysians account for 6.7% of the Malaysian population. Indian subgroups include
Tamils, Telugus, and Punjabis. Tamils, who account for 86% of Malaysian Indians, began
arriving in the 18th and 19th Centuries during the colonial era. Indian laborers were brought
to the country to construct railways, to work in plantations, and in rubber and oil palm estates.
Tamils from Ceylon (today Sri Lanka who were English-educated worked as teachers, clerks,
public servants, doctors, hospital assistants, and other white collar jobs. Most Punjabis were
enlisted in the Malaysian army. Their religions are Hinduism, Islam, and Sikhism, with more
than 86% practicing Hinduism. Some of the Muslims of South Asian (Indian) ancestry have
intermarried with the Malay Muslims and become integrated in Malaysia.

Other Ethnic Groups

Other groups collectively account for 8.8% of the Malaysian population. These include
Malaysians of European or Middle Eastern ancestry, the Madhesi Nepalese, Filipinos,
Burmese, Vietnamese, and Chinindians. Eurasian Malaysians are often descendants of British,
Portuguese, and Dutch colonists. Chinindians are the offspring of intermarriage between
Chinese and Indians a growing group, they have not yet been recognized as an official
category. Having so many ethnic groups has made Malaysia a multicultural and multilingual
society, contributing to diversity and richness of Malaysian national culture.

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 3. Traditional Clothes

Malay Clothes

The baju kurung comprises two parts: a blouse and a long skirt
Before the 20th century and the advent of Islam, Malay women used to wear the kemban,
which was a sarong, or long piece of cloth, that was wrapped around the body and left the
shoulders bare. The universal adoption of Islam as the main religion amongst Malays saw the
demise of thekemban and the rise of the more modest and yet elegant baju kurung. The baju
kurung comprises two parts: a blouse and a long skirt. The blouse is loose-fitting and varies
in length between the hip and the knee. Traditionally, it also features long sleeves, but
modern designs have shown off a three-quarter length with bell sleeves and flares. The skirt
goes down to the ankle and has pleats on one side to facilitate walking and sitting. The outfit
can be made with traditional songket or batik fabric, or with simple floral orbatik designs on
cotton or any modern fabric blend. To complete the outfit, the women would usually wear a
shawl, also known as a selendang, or a headscarf like the tudung or hijab.

The traditional attire for Malay men is the baju

melayu. It consists of a loose long-sleeved top worn
over trousers and a sampin,or short sarong wrapped
around the hips. To complete the look, the Malay
men wear a cap known as a songkok.

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Significance of the Tudung
Tudung is a Malay term for the headscarf, veil, or shawl that covers the hair, neck, and chest
area, and leaves only the woman’s face exposed. The tudung is sometimes referred to by the
Arabic word hijab, which means ‘barrier’, and satisfies the part of the Islamic dress code that
calls for Muslim women to dress modestly.
Although the tudung is not mandatory before puberty, some parents start training their
daughters to wear the tudung from a much younger age. The decision to adopt the tudung as a
part of one’s daily wear is usually a personal one, and it is a commitment that is kept for life.

Chinese clothes
The Chinese have adopted a comfortable yet
elegant piece of traditional wear called
the cheongsam, which is also known as a
‘long dress’. This is also a popular fashion
choice for the modern-day woman.
The cheongsam is often made of shimmering
silk with embroidered satin or other sensual
fabrics. It is a one-piece dress that has a high
collar with frog closure buttons that run
down from the neck to the upper side of the
chest. It is a full-length and form-fitting
dress with thigh-high slits either on one or
both sides of the dress. Thecheongsam has
moved with the times, and now offers
shorter variations which are popular with the
younger set.

The samfoo is another traditional Chinese attire, but it is usually worn by older and more mature
women. Similar to pyjamas, it is a two-piece garment with a loose-fitting top worn over three-quarter
length or ankle-length pants.

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A variety of samfoo
While there is no particular traditional wear for the men, one may find button-up shirts that are made
from similar materials as the cheongsam. These shirts can be either long-sleeved or short-sleeved with
frog closure buttons running down the centre.

Indian clothes

The sari is the most recognizable of

traditional Indian wear. The sari itself is 4-8
metres in length and about 0.6-1.2 meters
wide. A petticoat is worn underneath the sari
with a matching or contrasting choli, which
is a tight-fitting midriff blouse with or
without sleeves. The whole sari is wrapped
around the body, reaching just under or
above the navel, with the extensively
embroidered or printed end draping over the
left shoulder. The breadth of the garment
reaches from the waist down to the floor and
is tied tightly at the waist with a drawstring.
The colour of the petticoat
should match the base colour of the sari as closely as possible. It functions as a support garment to
help hold the sari in place.
The women from Northern India, however, wear the salwar kameez, also known as a Punjabi suit. It is
a long dress-like, sleeveless top that is worn over trousers, and matched with a shawl to complete the
look.

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Indian men wearing kurta
Indian men traditionally wear a kurta and trousers during formal occasions. The kurta is a long knee-
length shirt typically made of cotton or linen.

Salwar Kameez

Indian women in salwar kameez

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The salwar pants usually have an elastic waist or a drawstring at the front. You can also determine
which is the front and back of the trousers by looking at where the pockets are located. Once you put
on the pants, adjust the legs so that the fabric flows down nicely. The blouse may have beads, hooks,
or special designs on them, so be careful not to catch them in your hair while you are slipping into the
top. To complete the whole look, wear the shawl over your shoulders, around your neck, or just drape
it over one of your shoulders.

Kadazandusun

Kadazandusun women and man in their traditional attire

The Kadazandusun is the largest ethnic tribe in Sabah. The women of this culture wear short shirts
known as the sinuangga, and a wrap skirt called the tapi. They have a batik scarf that is fitted with
a himpogot belt made out of silver dollar coins. They accessorise with gold jewellery like
the hamai (necklace), gohong(bangles), simbong (earrings), sinsing (ring), and pawn (brooch).
The base material for the sinuangga is black commercial fabric, with silk or velvet used for
ceremonial occasions. For daily-wear purposes, it is made with cotton.Sinuangga is the short-sleeved
blouse with a U-neckline that is worn by younger women. It has embroidery along the openings for
the head and arms, the side seams, and along the middle of the back. The embroidery is made from
red, yellow and cream cotton yarn. Gold buttons are fixed all the way from the neck to the waist on
costumes meant for ceremonial or formal occasions. The tapi is a long wrap dress that is similar to the
sarong.
The traditional wear for men is the gaung and souva. The gaung is a long-sleeved shirt with gold
trimmings and buttons. The souva is a pair of long trousers that is worn with a waistband called
the toogot. There are gold trimmings that run down the seams of the souva. The men also wear a siga,

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a type of headdress, on their heads to complete the full look. The siga is made of cotton and can be
either folded or twisted. They are usually worn for ceremonial purposes.

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 4. Cultural dance
Dance is a popular cultural form in Malaysia too. Each ethnic group has its own dance forms
which characterizes its culture. Malaysian dances can be identified with certain regions or
religious practices which are often performed in festive celebrations, wedding parties,
cultural shows, religious ceremonies or other public events. Below are the dances of the 3
major racial groups in our country :

MALAY DANCES
Tarian Melayu or Malay dance portrays the customs or adat resam and culture or budaya of
the Malays. It depicts the true nature of the Malay people and their way of life.

Generally, Malay dances are divided into two main categories which are the “original” Malay
dances and “adopted” Malay dances. The “original” Malay dances are indigenous to the
Malay region, encompassing Sumatra, the Malay Peninsular, Singapore, the Riau
Archipelago and Borneo, and its origins can be traced back to the early Malay civilizations.
The “adopted” Malay dances are influenced by foreign cultures due to political and historical
events. The various forms or styles of Malay dance are further categorized by its beats (rentak)
and rhythm (irama).

The four basic genres of Malay dance are Asli, Inang, Joget and Zapin. Asli and Inang dances
are categorised as the “original” Malay dances whereas Joget and Zapin are categorized as
“adopted” Malay dances. The diagram below further illustrates:

Asli

The term Asli, meaning “original”, is the forerunner of the four basic genres of Malay dance.
The dance movements and its songs can be traced back to the early Malay Kingdoms in the
14th century. Its beat and rhythm is slow-paced yet intricate and well defined. Its dance style
is graceful and elegant as it depicts the charming nature of Malay ladies. There are numerous
hand movements and poses, each with a different significance. Every movement of the Asli
dance starts and ends with the gong beat in the count of eights.

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Asli songs are still popular across the regions of Malay culture in Sumatra, the Malay
Peninsular, Singapore, the Riau Archipelago and Borneo. In Sumatra, they are known as
senandung and are derived from local soulful poetic verses projecting deep emotions such as
love or sorrow. Examples of Asli songs include Sembawa Balik, Pasir Roboh, Timang Banjar
and Sri Siantan.

Before the introduction of Western musical instruments, indigenous musical instruments such
as the rebab (a string instrument), gong, rebana or gendang bebano (a framed hand drum) are
used. Foreign influence, particularly from the West, in the mid-16th century led to the
introduction of Western musical instruments such as the violin and accordion. With further
changes over time and the advancement of technology, various traditional musical
instruments have been replaced by electronic and modern ones. Modes of performing Asli
songs have also developed tremendously.

Inang

Another form of the “original” Malay dance is the Inang. Historical accounts state that the
word Inang is derived from the word “Mak Inang”, a nanny or chief lady-in-waiting who is
responsible in looking after the royal children. The Inang song and dance is said to have been
composed during the era of the Malaccan Sultanate, particularly during the rule of Sultan
Mahmud Shah (1488-1511). At the time, the Inang dance was performed in various palace
celebrations such as weddings.

The Inang beats and dance movements are faster paced compared to the Asli dance. It
portrays the grace and swaying movement of royal maids and has all the qualities of a palace
performance. In olden times, the Inang dance was performed only by ladies, with very
modest movements adhering to the strict palace customs and protocols. Eventually, the Inang
dance evolved from strictly a court dance into a folk dance enjoyed and performed by all
individuals. Nevertheless, its graceful and modest movements have always remained.
Nowadays, it is performed at all social functions and usually by couples of men and women.
Examples of songs with the Inang beat are Seri Langkat, Lenggang Mak Limah and Mak
Inang Pulau Kampai.

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Joget

The Joget dance (also called the Ronggeng) was introduced to the Malays in Malacca during
the early 16th century. Its origins may be traced back to two popular Portuguese folk dances,
the Branjo and Farapeirra. Throughout Malaysia, Sumatra, Borneo and the Riau Archipelago,
the Joget has been known as a fast-paced popular dance and is performed at cultural festivals,
wedding celebrations and many other social functions. Its catchy beat and cheerful
combination of fast hand and leg movements appeal to both young and old alike.

In some regions of the Malay Archipelago, the Joget is also known as the Rentak Lagu Dua
which describes the interaction between couples in portraying a song with liveliness and
cheerfulness. In Indonesia, particularly in the Northern Sumatra region such as Medan, Deli
and Serdang, the Joget has been elevated in rank to be one of Indonesia’s national dances
when in 1934, a well-known choreographer by the name of Sayuti choreographed a unique
form of the Joget dance called Serampang 12. It has 12 stages of dance steps depicting the
love story of a couple from courtship till their wedding.

Joget music and dance has an obviously hybrid character. The accordion, violin and tambur
(a double-headed drum and Portuguese in origin; its name is derived from the Portuguese
tambour) are European whereas the framed drums may be Middle Eastern or indigenous to
the region and the harmonium is Indian. Other elements such as the gong, the use of pantun
(this refers to Malay poetry or can mean quatrain) and the basic performance context are all
indigenous. Examples of Joget music include Joget Asam Kana, Joget Istana Lukut and Joget
Songkok Mereng.

Usually at the end of a Joget performance, the drumming speeds up to a rapid dance section,
in which two dancers face each other and, standing on their right legs, extend their left legs
forward until their feet touch; then they switch legs. Two names are given for this dance
move: Perancis bol and seken kaki. However, neither of these phrases makes much sense in
Malay, but they could be adapted from foreign words. The first seems to combine Perancis,
the Malay word for “France” or “French”, with the English “ball” or French bal; the second
joins the Malay word kaki for “foot” with what could be English for “shaking”.

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Zapin

The influence of the Zapin dance on Malay culture and arts started alongside the spread of the
Islamic religion, beginning in the early 15th Century. The Zapin dance and music were
brought and introduced by the Arab traders and missionaries from Southern Yemen
particularly from the Hadramaut region. From its original form of Arabic Zapin (Zapin Arab),
the dance assimilated itself into the Malay culture and thus gave birth to a localised version
known as Zapin Melayu. Originally, Zapin performances were popular among the royalty. It
is believed that every palace had its own Zapin troupe which performed at various palace
functions and every rehearsal was done under the watchful eye of the Sultan.

The music for Zapin comes from an ensemble of traditional instruments, which includes the
lute gambus), gypsy type bongos (marwas), small single-frame hand drums (rafa’i),
accordion and violin. A typical Zapin performance and song can be categorised into three
parts. The first part is called the taqsim or introduction. This is where the gambus is played in
a solo manner as an opening of the performance. Simultaneously, the dancers enter the stage
and perform the sembah or act of respect to the audience. As the performance progress, the
dancers perform various steps and legwork movements. The second part is at the end of every
quatrain or pantun, where the music and beating of the drums is played in a rapid beat manner
known as tingkah or kopak while the dancers move in a jumping manner called the minta
tahto. The third part is the end of the performance, which is known as the tahtim, whereby the
dancers will perform the wainab movements to close the performance.

There are numerous types of Zapin and they are categorised by regions. Some examples are
Zapin Tenglu, Zapin Pekajang, Zapin Parit Mastar from Johor, Zapin Sindang from Sarawak,
Zapin Ghalit from Kedah, Jipin Tar and Jipin Laila Sembah from Brunei and Zapin Kampung
Manggis from Jambi.

CHINESE DANCES
The term “Chinese dance”, which tends to be broadly used to refer to dance forms that have
traditional Chinese origins, actually encompasses two main forms, Chinese classical dance
and Chinese ethnic dance.

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Chinese Classical Dance

The origins of Chinese classical dance date back to the Zhou dynasty. During this period,
only members of the royal family and nobility had the privilege of being trained in dance.
Depending on the student’s age, he/she would be taught different dances for various
occasions and purposes. Every dance had its own set of performance standards and training
was often rigorous. These dances would often be performed at major ceremonies, diplomatic
events and even during religious ceremonies.

Subsequently, the art of dance made considerable progress during the prosperous time of the
Tang dynasty. While preserving traditions passed down from the previous dynasty, Tang
dynasty dances also incorporated new elements and thus during this time, Chinese classical
dance was considered to be at its peak. However, with the rise and fall of the Tang dynasty,
the art of dance went the same way – from an art form for the privileged to something more
accessible to common folk. In fact, during the Song and Ming dynasties, folk opera, a
phenomenon combining dance, acrobatics and theatrical performances arose, replacing pure
dance as a flourishing art form. This in turn metamorphosed into what we commonly know
today as traditional opera. Despite the apparent transformation, dance was still ultimately the
key means of performance, thus giving rise to the saying that “Chinese classical dance
evolved from traditional oper”.

After the founding of the People’s Republic of China, proper dance education and research
began with the establishment of the Beijing Dance Academy in 1954, allowing dance training
to be standardized. While continually discovering and preserving the particular charm and
appeal of Chinese classical dance movements, it was also constantly improving upon its
techniques in order to standardize the form. Improvements in the following areas were just a
few ways in which to achieve that: foundation techniques of Chinese classical dance (barre
work training, centre work training, jumps, turns, somersaults and combined technique
training), Chinese classical dance posture and rhythm training, tanzigong training (fighting
and acrobatics/martial arts), sword-dance training, long-sleeve dance training, etc. In fact,
recently, “Han Tang” classical dance training has also started to gain popularity.

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Chinese Ethnic Dance

Chinese ethnic dance is a product of the historical progress of each ethnic community as well
as their individual artistic creativity. The dances reflect the various regional specialties,
cultural characteristics and religious beliefs of each ethnic group at different stages in history,
infusing every dance with unique local flavour, thus making it widely popular with the
masses. Many of the terms used in these dances are drawn from everyday life and even the
props used are also day-to-day items and instruments. Ethnic dance performances are a staple
at celebrations, religious ceremonies and major events, making them an integral part of every
community’s identity.

China has 56 major ethnic groups, the largest being the Han people, who make up more than
90% of the population. Primarily occupying the Yellow River, Yangtze River and Pearl River
Delta region as well as the Song Liao Plains, the vast expanse of land and the breathtaking
natural landscape have contributed to the Han people’s ethnic dances. Hence, it comes as no
surprise that the myriad dances of the Han people vary distinctly by regions.

For instance, a popular rural folk dance in northern China known as Yang Ge is a common
dance, but styles differ depending on where it originated. Yang Ge performed in northern
Shaanxi is different from those performed in Hebei, Shandong or even northeastern China. In
addition, the flower lantern dance and flower drum dance, performed predominantly in
southern China, are also not homogeneous in style. From a regional perspective, northern
China’s Yang Ge and other ethnic dances are relatively strong, simple and unsophisticated, a
style reminiscent of that predominant in the states of Yan and Zhao during the Warring States
Period. The flower lantern dance and flower drum dance of the south, on the other hand, are
notable for being elegant and graceful, a characteristic of the ancient Chu culture. The Huai
River region’s geographical location (between the Yellow River and the mighty Yangtze) has
also played a part in shaping dance in the region. The flower lantern dance of the area has
incorporated the positive elements of dances in both northern and southern China. Hence, the
dance tempers toughness with grace – male dancers are dynamic while female dancers are
charming.

Even though the remaining 55 ethnic minority groups in China make up only a small
percentage of the general population, they inhabit nearly 50%-60% of the country, scattered

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in regions across China such as northeast China, Inner Mongolia, northwest China, southwest
China, central and southeast China. Some of these ethnic minorities live in the grasslands, on
plateaus, in mountainous regions or even in border areas; hence, such latitudinal and scenic
differences are clearly reflected in their dance.

For instance, the nomadic lifestyles of the Mongols and the Kazakhs in the grasslands of
northern China have influenced their dances. The dances of these people often portray their
daily nomadic activities, with strong, dynamic movements and upbeat rhythms. Similarly, the
Zhuang and Li people, who can be found in southern China, have dances which reflect their
agricultural roots. Tea-picking and rice-harvesting dances are common, and such dances are
often graceful with slower tempos. The Dai people and ethnic Koreans (whose ancestors
migrated from the Korean peninsular), who are also engaged in agricultural activities, share
the graceful characteristics of their Zhuang and Li counterparts. However, their dances are
unique to their people because of their environment and their personalities. While the dance
of the Dai people is vivacious, the dance of ethnic Koreans is considered more graceful and
elegant. As for ethnic minorities who live near China’s border, their dances are a veritable
melting pot of different cultural influences. For instance, the Uighurs and the Uzbeks, who
inhabit the ancient Silk Road region of northwest China, are skilled in using their heads,
necks, shoulders, backs and waists in performances. Their facial expressions are also vivid
and inimitable, endowing their dance with a flavour reminiscent of the style predominant in
the ancient Western regions.

To conclude, even though Chinese dance may possess its own characteristics and history, it is
no different from any other dance in the world in that it is essentially a cultural phenomenon.
It is ultimately an art form through which artistes express themselves. Its creation is directly
influenced by both nature and society; its form can be expressed through the human form or
even emotionally. In addition, the artiste’s cultural and artistic upbringing also plays a
significant role in determining the tone of the dance.

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INDIAN DANCES

Early History of Classical Indian Dance

The dancing girl from Mohenjodaro, the broken torso suggesting a dance pose from the
Harappan civilization, the metaphors and similies based on dance that exist in the Vedas, the
reference to dance in the ancient Indian epics. There is an enormous amount of evidence to
suggest that Indian classical dance existed and in fact influenced sculptural and literary
traditions from about 2nd century BC to 19th century AD. The Natyasastra, the famous
treatise of dance and drama, could only have been written in an environment in which these
art forms were in existence and thriving. The history of Indian dance begins with this detailed
text.

The history can be broadly divided into two periods: the first between 2nd century BC to 9th
century AD, and the second from 10th century AD to 18th century AD. During British rule
dance want into a coma. In the first period, Sanskrit played an important role, and there was a
strong link between dance, music, sculpture, literature and drama. Dance was so enmeshed in
other art forms that there was no separate text on dance, until the Abhinaya Darpana was
written. From the 13th century onwards there were manuals on dance emerging in various
regions of the country. What emerged from these manuals is interesting – they all subscribed
to the basic principles of the Natyasastra, but yet, distinctive regional styles emerged with
ultimately differing native vocabulary. This period (1300AD-1800AD) marked the beginning
of the classical Indian dance styles that we know today, namely Bharatanatyam, Kathakali,
Manipuri, Odissi, Kuchipudi and Kathak. Forms such as Chhau, Koodiyattam and
Yakshagana could in due course enter the classical classification.

Impact of British Rule

When the British entered India, classical dance was an important part of temple worship and
dancers known as Devadasis were employed in temples to perform ritual dances during
important festivals. Gradually this system deteriorated into dance being performed for the
pleasure of priests and kings. Devadasis carried the stigma of prostitution. Labeling it as
prostitution, the British abolished this system without offering an alternative source of
livelihood to the dancers. Hence in British India the practice and development of danced was
curbed. The generation that attended schools founded by the British was isolated from the art

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traditions of the country as the colonial system of education did not recognize art as a subject
for the curriculum. By the 20th century, the art of dance had died, and what was left was
called “nautch” in North India and “sadir” in the South.

Recovery and Export

In the 1930s, dance was brought back into Indian society through the efforts of individuals
such as Muthulakshmi Reddy, E.Krishna Iyer and Rukmini Devi Arundale. A couple of
decades later, dance began to travel from India to other parts of the world. Artists such as
Uday Shankar and Ram Gopal were instrumental in taking the dance forms out into the world.
Gradually, practitioners around the world began to allow influences of their locales into their
dance forms, and so today while many practitioners preserve the dance form in the way that it
has been handed down to them, making minor modifications, there are others who are
allowing radical changes to happen in their forms. A new era has been ushered in with the
export of the dance forms, especially Bharatanatyam and Kathak, to various parts of the
world.

Classical Indian Dance Styles

In the Indian context, both dance and drama were fused into one at a very early stage of
development. By the time the Natyasastra was written, both art forms were consciously
conceived as one. And so the techniques governing the technique of Indian dance are the
same as those that govern the technique of classical drama in India.

Classical Indian dance is divided into three distinct categories, namely natya (corresponds to
drama), nritya (gesticulation when it is performed to words sung in a musical melody) and
nritta (pure dancing where the movements do not express any mood or meaning). In Indian
dance, the human body has been conceived of as a mass which can be divided equally along a
central median. When the weight is equally divided, the completely balanced samabhanga
position emerges. In poses where there is only one deflection, the abhanga position emerges.
When there are more than two deflections on opposite sides of the central median, the
tribhanga position emerges.

While most of the styles are rooted in the basic principles, there are certain characteristic
features that distinguish one form from the other.

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KADAZANDUSUN TRADITIONAL DANCES
Sumazau(Name of the dance)

Sumazau is a traditional dance that is famous Sabahans in Sabah and Malaysia. It is

Kadazandusun traditional dance which is often presented in Tadau Kaamatan Harvest Day
celebrated means of the state at all in May. This elegantly dance inspiration is from an eagle
flight patterns seen resting farmers in rice fields during the harvest. Each dancer is what
makes this dance to be moved a few centimeters from the other dancers without contact.
Ritual dance serves varied functions like a pulled Sumazau thanksgiving for activities
associated with planting and harvesting rice and also to reject the army, menyemah spirit, and
cure disease. This dance is danced by the peasants made up of men and women to wear their
traditional dress. The dance is accompanied by gongs played, usually 6 different sized gongs
and drums with a specific rythym. Duration and pace of shot is elegantly gong vary by region
and country. This dance is danced with both hands raised to shoulder level and dikibar-Fly
like a bird’s wings kipasan, according to tempo tunes played slowly and gentle. Dancers,
male and female will face their future and moving his legs with small steps, heels up and
down to te rhythm of the song. While dancing flapping hands and move it down just like a
bird flying. Sumazau is usually performed during festive occasions and gatherings, but the
original purpose of this dance is to celebrate the arrival of “Bambaazon”(rice spirit) is
commonly done in after harvest. Dancers elegantly composed of men and women typically
wore black decorated with interesting patterns using gold thread. Female dancers adorned
with scarves and belts(tangkong) made of silver coins(trade dollars). Male dancers usually
while cursing tanjak all-black outfit and menyendang salad leaves dry. Now dance elegantly
held in many gatherings such as wedding receptions, occasions of celebrations marking the
arrival of dignitaries, where it was also danced by all attendees regardless of age tribes and to
enliven the event without wearing clothes traditional.

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 5. Malaysia top 5 foods
1. Nasi Lemak（椰浆饭）

Nasi lemak is basically rice cooked in coconut milk. It’s the sides that matter. Depending on
where you are in Malaysia, it comes with a variety of accompaniments such as hard-boiled
egg, peanuts, vegetables, lamb/chicken/or beef curry, seafood and sambal(chilli-based sauce).

2. Laksa

- A staple of Malaysian
cuisine, laksa eateries have
been migrating abroad in
recent years, making
appearances in Bangkok,
Shanghai and further afield.
There are multiple variations.
For anyone who enjoys a
taste of the volcanic kind,
this spicy noodle soup can
get you there in its curry
form. Most favourite of all
time is Penang’s asam laksa.

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3. Rendang(beef, chicken, or lamb)
-Though sometimes erroneously
called a curry, Malaysian food
aficionados point out that this
chunky cauldron of coconut milk
and spices is nothing of the sort.
The difference is in how it’s
prepared : slowly simmered( to let
the meat absorb the spices until the
rosy liquid completely evaporates..)
A favourite, especially during festive
seasons, Rendang, is found across
Malaysia.

4. Mee Goreng Mamak

-This Indian Muslim dish is the
complete package. Yellow
noodles. Beef or chicken. Shrimp.
Soy sauce, veggies and eggs. A
bit of chilli tossed in for an
irresistible jolt.

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5. Nasi Kandar
-Rice with different choice of toppings,
which includes curry, fish, egg and okra.
-Extremely popular, mostly open 24
hours restaurant and run by ethnic Indian
Muslims.

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 6. Malaysian values
Core Concepts

 Gentleness
 ‘Budi’
 Respect
 Courtesy
 Modesty
 Face
 Filial piety
 Diversity
Malaysia is an incredibly diverse country, containing many different ethnicities, languages and
religions. People from each ethnicity have generally retained their ancestors’ cultural customs. As a
result, Malaysian society accommodates a rich variety of lifestyles, beliefs and values. The following
information describes general Malaysian culture, tending to reflect the Malay majority; however,
there are many divergences from this cultural mainstream throughout the country. Learning as much
as possible about your Malaysian counterparts' home region, ethnicity and religion beforehand can
help you develop respectful relationships with them.

Indigenous Ethnicities
The majority of Malaysians (around 51%) are Malays. Almost all of them are Muslim, which explains
why the ethnicity is commonly referred to as ‘Muslim Malay’. Being the most populous ethnicity,
they dominate the political sphere. Their predominance is reflected in the official religion (Islam) and
language of the country. For example, most communities speak a version of Malay (officially known
as Bahasa Malaysia) to some degree. While most Malays live in urban areas, they are traditionally
associated with the rural hinterlands.

Malays often have a fatalistic worldview, leading them to attribute successes, opportunities and
misfortunes to the will of God. Furthermore, care and attention to human interactions may be
prioritised over deadlines or monetary success. Malay culture perceives courtesy and respect as
principal moral values that should take precedence over others. Prosperity is derived from nobility,
not necessarily the accumulation of wealth. Because of these cultural attitudes, members of the Malay
majority tend to be less focused on economic pursuits than other ethnic groups. However, that has
been negatively misconstrued as somehow suggesting a cultural lack of ambition or even laziness. On
the contrary, it reflects the Malay view that relationship building is especially important and should
not be approached lightly. They tend to be family-oriented people, choosing not to work overseas as
much as other ethnicities and instead living within close proximity of their family networks.

Aboriginal ethnicities make up 11.8% of the population. Though they are a minority of the national
population, they are the majority in the less urbanised regions of East Malaysia. Being the oldest
inhabitants of Malaysia, these aboriginal communities often have traditional languages, religions and

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customs particular to their tribe. While they are collectively referred to as ‘Orang Asli’ (“original
people”), there are distinct differences between the various tribes. Many Orang Asli communities still
practise their traditional culture – for example, continuing a nomadic lifestyle or living in shared
communes. Some have been forced off their traditional lands by land clearances and have had to
adopt a more urbanised lifestyle. The biggest indigenous group is the Iban, with a population of
approximately 600,000. There are also smaller groups of Bidayuhs, Kadazan and Negritos, among
many others.

Migrated Ethnicities
Malaysia has significant populations of people with foreign ancestry who mostly live in the cities.
There are small populations of Indonesians, Nepalese, Filipinos and Europeans. However, the largest
minority groups consist of Chinese-Malaysians (generally Han-Chinese) who make up 22.6% of the
Malaysian population, and Indian-Malaysians (majority Tamil) who make up 6.7%. Many members
of these groups are descendants of labourers that migrated to Malaysia in the late 19th and early 20th
century during British colonial rule. Some now have third-or even fourth-generation roots in the
country.

The Chinese-Malaysian population generally exhibits great diligence and resilience. This can be
partially attributed to a common concept in Chinese migrant communities – ‘kiasu’, the “fear of
losing”. Kiasu motivates people to achieve in everyday life as well as economically or academically.
This can be something as small as endeavouring to get to the front of a crowd or determinedly
queuing for great lengths to buy or see something, or it can manifest in bigger ways (for example,
aiming to be the best student in a university). As a result, Chinese-Malaysians generally strive
industriously to achieve what they want. However, they tend not to openly exhibit aggressiveness in
their approach; they generally maintain poise and courtesy since being forceful is considered
inharmonious behaviour. Nonetheless, Chinese-Malaysians have come to dominate roughly 70% of
the Malaysian economy and are regarded as the business-savvy ethnic group of Malaysia. They make
up a large proportion of the upper class. Many Malays have perceived this as a monopolisation of the
corporate sector, provoking underlying tension and mistrust between the Malays and the Chinese.

Bumiputera Distinction
Ethnicities with international origins may face social barriers for being ‘pendatang’ (newcomers).
This is due to the social identifier that categorises Malaysians as eitherBumiputera or non-Bumiputera.
Bumiputera literally translates as “sons of the soil” and refers to those who are considered to be the
original inhabitants of the country (i.e. Malays and Orang Asli). The word does not describe an ethnic
group, but rather signifies a social status of indigeneity. Bumiputera citizens’ rights are commonly
prioritised in politics as well as in other public and some private sectors of society. In this way, Malay
interests are commonly privileged over those of other ethnicities whilst the Orang Asli minority
remains somewhat more marginalised.

Chinese-Malaysians and Indian-Malaysians can be particularly disadvantaged by this system as non-

Bumiputera status can hinder their access to education, jobs, property ownership, scholarships and
other opportunities. This may explain why the majority of the Malaysian migrants in Australia are

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Chinese-Malaysian (62.1%) and only 13.2% are Malay. Nevertheless, this political stance rarely
translates into day-to-day discrimination between people. Despite the difference in their ethnicities’
origins, Malaysians of all backgrounds generally feel a personal loyalty to the country.

Respect and Etiquette

As members of such a multicultural society, Malaysians are generally very attentive towards how they
respectfully interact with people of all backgrounds. There are culturalnorms and taboos that inform
what people generally believe to be appropriate and inappropriate behaviour. This is related to the
Malay concept of ‘budi’ by which politeness and respect are considered essential to human interaction.
The word does not have a direct English equivalent, but can be generally understood to describe
attributes such as one’s wisdom, virtue, etiquette and morality. In this way, one can see that
Malaysian politeness and etiquette have a strong ethical basis.

Though budi is a traditional Malay concept, the attitude has influenced the broader Malaysian social
culture and is reflected in the behaviour of people from most backgrounds. In keeping with budi, one
should be gracious, polite, good-natured and calm. Indeed, Malaysians are generally quite gentle,
reserved and discreet. They are often modest in their attire, body language and demeanour and tend to
approach daily life with a great deal of patience. This behaviour is considered ‘halus’ (refined) and the
measure of a ‘budi bahasa’ (man of culture). Alternatively, those who are aggressive, abrasive or loud
are considered uncouth or ‘kasar’ (crass/rough). These social expectations are shifting among the
younger generation as they are becoming more accustomed to the direct style of communication that
occurs in the online space. Nevertheless, it remains very important to maintain a gentle and indirect
demeanour in Malaysia.

Face and Shame

In Malaysian culture, to do something inappropriate brings ‘malu’ (shame, shyness and
embarrassment) upon an individual. These feelings of shame are commonly felt when an individual
loses ‘face’. Face is the quality embedded in most Asian cultures that indicates a person's reputation,
influence, dignity and honour. By complimenting people, showing them respect or doing something to
increase their self-esteem, you give them face. Similarly, people can lose face and save or build face.
Therefore, individuals in Malaysia usually act deliberately and with restraint to protect their self-
worth and peer perception. Conservative conduct is the norm, as people don’t want to stand out and/or
risk losing face by doing something inappropriate.

Collectivism
Malaysia is far more collectivistic than Western societies and individuals perceive themselves to be
members of groups (i.e. their family, business or ethnicity). These groups reflect or come to define
who their members are and often demand a high degree of loyalty. For example, the group’s interests
usually supersede those of the individual, even if they conflict. Furthermore, group members expect to
receive preferential treatment over anyone who is not part of the group. In return for this loyalty, an
individual gains a sense of belonging, protection and unity. Being a collectivist culture, feelings of
shame and pride can be felt at the individual level as well as the collective level. In this way, the
actions of one individual can affect the reputation of the group they belong to.

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Social Hierarchies
Malaysians generally exhibit a strong acceptance of social hierarchies. People tend to feel comfortable
when they are able to distinguish another person’s status relative to them. It enables them to adjust
their behaviour accordingly to show the appropriate amount of respect. An individual’s level of
education often establishes their status in Malaysia. English proficiency and overseas education
further enhances social standing and prestige. Wealth also becomes a factor, as those who have it tend
to exhibit it. For example, the vehicle people drive is usually indicative of their class status. This has
increased as society has become more cosmopolitan and materialistic. Nevertheless, people are not
overly ostentatious about their money
Age usually becomes the overriding factor that determines the level of respect a person commands
throughout society. Elders are presumed to have great wisdom and be very deserving of authority.
People tend to spend a lot of time with the older generation and give them the most attention in a
room. Malaysians may use honorific speech and bow slightly when talking to someone older than
them.
Broadly, Malaysians come across as strikingly friendly and positive people. Their collective cultural
focus on relationships and people means that they are exceedingly considerate in most situations.
Today, the common Malaysian social attitude is based on striving for democracy, formal education,
equal opportunities for the different racesand respect of other religions. The country is unified by a
strong cultural belief in the goodness of humanity.

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 7. Conclusion
Malaysia is a land rich in culture, nature, heritage and modernity, it all makes for a
compelling business events destination. When people thing of Asia, a vast array of different
elements comes to mind,. Rich culture and history, amazing food bustling metropolises and
lush green tropics, amazing shopping and dirt-cheap prices… the list goes on. But when you
thumb through the various countries nestled into the massive continent, there’s one that
seems to hold ‘greatest hits’ of all the categories…and that is Malaysia ! Malaysia has it all !

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