The traditional dance forms of the Malay communities in Singapore are wide-ranging and diverse, and they include zapin, joget, asli and inang, amongst others. Most of these traditional dance forms were already popular in Singapore during the early 20th century. Today, they are performed at festive events, staged as productions, and also taught to the younger generation through performing arts schools.

The Ceracap Inai Dance is a court dance originating from the Palace of the Sultan of Malacca. Beginning from the retreat of the Sultan of Malacca when attacked by the Portuguese and Dutch armies, the Sultan and his entourage retreated via Muar River which, at that time, was the land boundary of the reign of the state of Malacca with the state of Johor, and then was enthroned near the settlement at the bank of Muar River. This dance has elements of Indian influences and performed at the palace by palace maidens in front of the sultan and state dignitaries at merriment events. Hence, this dance has a “homage” segment that is paying respect before it starts to be performed. The lighting of fire in this dance too means to ‘brighten’ and ‘brings happiness’.

Dondang Sayang is a Malay traditional music and song that is well-known in the State of Malacca and still practised by four communities such as the Malay, Baba Nyonya, Chitty and Portuguese. “Dondang” means ‘to entertain the heart’ which is the same meaning as ‘Dendang’, while “Sayang” means ‘affection’. The combination of the words “Dondang Sayang” means ‘Love Song’ or ‘Song of Affection’. It cannot be ascertained of the establishment date of Dondang Sayang, but much earlier than the establishment of the Malacca Malay Sultanate in the 15th century. Earlier on, Dondang Sayang was only sung without its music arrangement and accompanied by percussion instruments like drums. The arrival of the Portuguese and conquered Malacca in the 16th century was the beginning of the usage of violin for this arts form. The usual instruments used are the rebana or hand-held drum, gong, accordion as well as the violin that has become very important for the song’s melody. The number of musicians is between four to five people. The violin’s rhythm is regarded as the opening and main accompaniment to the singing, while the rebana’s beat alternating with the gong’s complement the song. Dondang Sayang repertoires are usually sung in rhythms such as Asli, Inang, Joget and Mambo. The lyrics are of quatrain verses sung by the singer in one’s own style depending on one’s respective capability and expertise. Among the singing style is ‘hanging’ the song by shortening the word pronunciation in a quatrain or lengthening the pronunciation of the third or fourth words in the quatrain’s first line, as well as dragging the singing of the meaning in the quatrain.The quatrains are of the linked type or binded or thematic with themes of affection, deed or comedy. Based on tradition, Dondang Sayang performances are accompanied by music and sung by two singers of the opposite sex, who sing in quatrains. Typically, Dondang Sayang singers are individuals who are highly competent and skilled in poetry recitation. Dondang Sayang performances are open to all, irrespective of age, occupation, status or religion, and the art is considered as a means of conveying positive messages and sharing feelings of love, joy and sorrow that strengthen community bonding. There are four (4) types of dondang sayang such as dondang sayang Melaka, dondang sayang Baba Peranakan, dondang sayang Tanjung Penyengat and dondang sayang Pulau Pinang. The difference between them is not on the basis and form of a song or musical instrument but in the way of singing. Now Dondang Sayang is made as one of the main performances in government official functions to ensure the continuity of this arts heritage that has become a signature and iconic of Malacca’s cultural arts. Dondang Sayang has received UNESCO’s recognition as a Representative List of The Intangible Cultural Heritage of Humanity on 29th November 2018, during the 13th Meeting of Intergovernmental Committee for The Safeguarding of the Intangible Cultural Heritage (IGC-ICH) at the Swami Vivekananda International Convention Center, Port Louis, Mauritius Republic.

Malaysia 2018

The music and dance of the Portuguese-Eurasian community of Malacca is characteristically cheerful and vivacious, using instruments such as guitars and tambourine, accordion, tambour or the Malay rebana. Couples dance in colourful costumes similar to the folk costumes of Portugal — the men wear black bolero jackets and hats while the women wear colourful embroidered skirts. The main songs and dances include the branyo, tianika, maliao and farapeira. One of the most emblematic melodies of the Portuguese-Eurasian community of Malacca is the Jingkli Nona. In Malacca, some songs of the Portuguese-Eurasian community are sung in old Portuguese that has been passed down orally by master singers. Others are sung in Kristang — the local creole language derived from old Portuguese mixed with Malay words and grammatical structure. The main styles of the music and dance of the Gente Kristang are branyo and mata-kantiga. The lively branyo is derived from the Portuguese folk dance known as corridinho, found in the Algarve region of Portugal. Since the early 16th Century, branyo has been performed in Malacca as part of the Portuguese festival of Introdu or Shrove Sunday, before the holy month of Lent. To this day branyo is still played during weddings and festivities such as Festa Senjuan (Saint John’s Feast) and Festa San Pedro (Saint Peter’s Feast). The four main rhythms of branyo are jingkli nona, kanji-pape, sarampeh or serampang laut and chorte forte. These branyo rhythms have greatly influenced Malay joget music, so much so that Malay musicians often refer to branyo tunes as joget and Malay joget songs are referred to as branyo when performed at the Portuguese Settlement.