Songket is a traditional Malaysian handwoven fabric. It is woven on two-pedal floor looms by the Malay women In Malay Peninsula (West Malaysia) and in Sarawak (East Malaysia). The term Songket is derived from the technique employed to make it: inserting gold or silver thread in between the weft and warp threads. Songket is woven using the Malay weaving loom called 'kek'. Songket is woven as the supplementary weft method, a decorative weaving technique in which extra threads "float" across a colourful woven ground to create ornamental effect. The delicate piece of Songket is the result of many months of skilled handloom weaving by expert craftsmen who learn the art from their ancestors. The identity is traced by its design patterns that use geometry and elements of nature such as flowers, birds and insects. The motifs of tampuk manggis (mangosteen calyx), tampuk kesemak (persimmon), bunga pecah lapan (eight-petal flower), bunga bintang (star-patterned flower), pucuk rebung (bamboo shoots) and awan larat (trailing clouds) are among the most frequently used. These traditional patterns continue to be used, especially in aspects of separation and placing the various parts of the cloth such as the centerfield, main panel and end borders. Unlike the old days, Songket is only worn by royalty and their families. But todays, it is mostly worn as traditional Malay ceremonial costumes during royal installations, wedding, birth, Malay festive occasions and formal state functions.

Malaysia 2021

The Custom of “Dismantling the Kitchen” is a passed down practice by women after giving birth to look after their health and to forgo the abstinence ties during the abstention period of 40 days or 44 days. The community calls it as abstinence or ‘heat one self’ (Berdiang) period which means the said women are to rest from doing their normal household chores that may affect their health. The period too can discipline the mothers by taking nutritional food and to manage one self so that to be continually healthy. According to the Terengganu community, the Berdiang is a process to heat the mother’s body, cleanse the dirty blood, stimulate blood flow and shrink the womb. The mother who has just given birth lie down on a sleeping bed of which underneath it is placed a heated stove filled with firewood and charcoal. This heat is needed to heat up the body, shrink the womb and to dispel dirty blood. The ingredients for this ceremony are rice flour, water, lime, raw thread and woven coconut leaves that are blessed before hand by the midwife. The flour is to heal any illness that might be inside the mother’s body. All these ingredients are used to bathe the mother, the baby and all the equipment used during the abstention period like the stove, sleeping bed and wrapping cloth. The sleeping bed and stove will then be dismantled after the ceremony. The next process is the Forgoing Ceremony that is to release the official tie between the mother and the midwife. The ingredients are woven coconut leaves and raw thread. The woven coconut leaves are placed on the mother’s head and then pulled accompanied with prayers and mantras. The raw thread are wrapped around the body from the head down to the feet and then removed from the body. The end of this ceremony marks the end of the official tie between the mother and the midwife. They have been released from the abstention period and given the ‘healer’ against any threats or evil ‘wind’. This custom is believed to avoid the mother from getting body illness or illness of the nerve in future. It is also believed that it can avoid disturbances from evil elements within the surrounding during abstinence that might return to disturb both mother and baby. This ceremony is indirectly giving the mother a chance to appreciate the midwife’s service in managing both mother and baby during the abstinence period. This custom can still be practiced even if the midwife was not the one receiving the baby and the mother did not undergo the heating up process. If the newly-given birth mother who is released from hospital requests the service of the midwife during the abstention period, then indirectly there established a tie between the mother and the midwife. As such, to release this official tie then the custom of ‘dismantling the kitchen’ needs to be conducted.

Wau or ‘kite’ is believed to be invented by somebody with the name Sang Jaya or who had a title such as Dewa Muda, Dewa Hindu and Masai Kelana Seri Panji. Wau was produced between 711 and 839 AD. Originally the wau was invented as a symbol of a country’s greatness, as a guide for determining direction and also as a symbol of success for every attack by a country towards another country. This game is famous in Johor, Negeri Sembilan, Selangor, Kelantan and Terengganu. Among the types of wau produced are ‘wau bulan’ (‘moon kite’), ‘wau burung’ (‘bird kite’), ‘wau merak’ (‘peacock kite’), ‘wau kucing’ (‘cat kite’) and ‘wau ikan’ (fish kite). Tools for making wau are bamboo, knife, paper, pencil, scissors, glue and rope. The making of wau is very unique compared to other games because it requires a high-level of skill. Before flown wau needs to be ascertained to be balanced so that it is not heavy on one side. Wind factor plays an important role when flying a wau.

The Gasing (“Top Spinning”) game originated from Mecca, played since 450BC and brought to the Malay Peninsula by Arab traders. Hence, this game was introduced since the Malacca Malay Sultanate era. From Malacca Gasing was introduced to the rest of the Malay states and became a popular game. Now, this game maintains as a cultural heritage of the Malay community and well-known in Melaka, Kelantan, Terengganu, Kedah and Negeri Sembilan. There are various types of tops. They are ‘gasing jantung’ (“heart top”), ‘gasing kelawar’ (“bat top”), ‘gasing telur’ (“egg top”), ‘gasing perenang’ (“swimmer top”), ‘gasing tanjung’ (“cape top”) and ‘gasing pangkah’ (“cross top”). The top’s rope is made of jute measuring between 300cm and 450cm in accordance with the top’s circumference. One end of the rope is tied to a piece of metal as a handle for swinging the top, while the other end is glued to avoid disintegration. In this game a player must have the skills for spinning, striking, lifting, straightening and protecting the spinning top.

The word “Batik” means “drawing out with wax”. The coloured and patterned cloth has gained popularity not only in Malaysia but also in international fashion scenes. This fabric normally carries motifs that reflect the flora and fauna, geometry and landscape of nature. Terengganu Batik is renowned for its vibrant colours, bold prints and its versatility. It is soft, light and breezy and very well suited for the summer and tropical climate and its fabric is made into shirts, dresses, crepe de chine, scarves, kaftans, sarongs, pillow cases, bags, table cloths and many more items. There are two types of batik, the hand drawn and the block print. The hand drawn is based on the artist’s imagination and creativity. The artist begins by using a small pen-like container filled with hot-melted wax. It is then hand-drawn onto a white fabric with hot liquid wax creating a design. Brushes are then used to paint dyes within the outlines, thus allowing for the creation of shaded and multihued designs. The gracefulness and speed of their freehand never ceases to amaze one’s attention. It is a beauty of the highest form of traditional batik where each hand-drawn article of clothing is unique. The block print batik uses either a copper or a wooden block that looks like a domestic iron, artistically designed with intricate patterns. The block is dipped in a hot melted wax and press printed on the white cloth, which is then dyed in the colours required, rinsed and dried. Many contemporary designers also incorporate elements of this ancient craft into their colourful creations. Today, batik is not only used for outfits, but innovative commercial uses of this beautiful and artistic textile are made into bags, cushion covers, curtains, slippers etc.

The Ya Abang Dance, also mentioned as Yaa Abang, is famous in Perhentian Island, Besut, Terengganu. Originally it was a worship dance to summon the spirit of the sick and to uplift the spirit of an individual. However, today this dance is only meant for performance and entertainment. It is said that this dance started from a friendship story between Batin Mina and Mat Kemaman. Batin Mina was overcome by a heavy storm and couldn’t face it, thus was saved by Mat Kemaman. Batin Mina was indebted to Mat Kemaman thereby accepted him as her own sibling. To prove her words Batin Mina dared to drink water from the remnants of Mat Kemaman’s pieces of cloths. Hence, this dance is said to be in memory of the close relationship. This dance is simple and does not have many dance floor patterns. The number of dancers is not limited and the audience can participate too. The dance is accompanied by songs sung by a couple of quatrain singers of both sexes. The musical instruments are drums and gongs. The ladies dancers wear the baju kurung with shawl, while the men wear batik sarong with normal T-shirt only.

Saba set foot and expanded in Kuala Jengal Village in Hulu Dungun, Terengganu. Its origin was a healing ceremony with the purpose of treating various illnesses. Saba was first played around 300 years ago by a lady traditional medicine practitioner by the name of Cek Mek Comot. Saba is a tree made from the shoot of young coconut created and arranged like a lush tree. This object is compulsory in a Saba ceremony. It is said that this Saba tree signifies the descending venue of the heavenly god to cure the sick. According to the treatment methodology of Saba, there is a middleman between human on earth named Peduang and god in heaven named Muda Di Awan (literally translated as “Young at the Cloud”), that are in dialogue to sell and buy the Saba tree for treatment purposes, and allowing the heavenly princess to descend to treat the sick. Peduang is a traditional medicine practitioner that knows specific mantra for every type of sickness. In the Saba theatre there are elements of singing, dancing and dialogue between Peduang and Muda Di Awan. There are 36 songs with various stories with each one has specific aim and purpose in treating the sick. Now, Saba performance does not anymore contain elements that can divert one’s religious belief so that the theatre is relevant according to the change of time.

Anak Umbang is the main musical instrument in a Saba performance in Terengganu to create the rhythm of the Saba songs. The sound of this instrument is often associated with the droning sound from a type of insect, the specie known as Kumbang or Sri Umbang. Anak Umbang is also similar to Rebab; triple-stringed, bowed and played solo. Now, Anak Umbang is becoming forgotten and only one such person is well-versed in its creation that is Che Wan Norsaidi Binti Che Wan Abdul Rahman (Saba Figure).

This graceful dance of worship is the most popular in Terengganu. Ulek Mayang was performed as a healing ritual for fishermen who fall ill at sea or while carrying out their daily activities. Some illnesses were believed to be caused by sea spirits and could only be cured by calling upon the spirits of the sea and sending them back to the dark watery depths. In a ritual performance, some of the performers will fall into deep trance. The performance tells the tale of a sea princess who falls in love with a fisherman while he is at sea. The princess steals the fisherman’s soul, causing him to fall into a trance-like state of semi-consciousness. Once they are back on land, the fisherman’s friends ask a bomoh (traditional healer) to restore his semangat (spirit) and bring him back to health. The bomoh conducts a healing ritual for the fisherman using a mayang (coconut palm blossom), kemenyan (benzoin resin) and offerings of coloured rice. He summons the spirit of the sea-princess, who calls upon her five sisters to help seize the object of her desire. A tug-of-war ensues between the bomoh and the six princesses for the soul of the fishermen. Finally, the seventh and eldest princess arrives and sends her sisters back to sea with these words: “I know your origins, let those from the sea return to the sea, let those from the land return to the land.” She thus releases the soul of the fisherman and restores his health. Ulek Mayang is traditionally performed by seven female dancers, each dressed in an elaborate costume with a regal headdress and flowing yellow sash. Three to four male dancers perform the role of the fishermen and bomoh. The graceful gestures of the female dancers are reminiscent of the undulating movements of the sea. The dance is accompanied by a small music ensemble comprising a rebana (frame drum), accordion, and seruling (flute) or serunai (double-reed oboe). The contemporary version of the Ulek Mayang is performed in almost every formal state function and event.

This daily late afternoon menu of the people of Terengganu is well known in the district of Kemaman. It is made of fish flesh wrapped in banana leaf in the form of a cone. The taste is akin to the otak-otak dish but differs in its physical form. Sata is taken with plain rice, or with plain coffee as a snack. The main ingredients are sardine, grated coconut, pounded red onion and ginger, finely sliced kesum leaf and chilies, ground chillies, egg, salt, sugar, budu (fermented shrimp) and food enhancer as well as parched banana leaf. Pound or grind the fish flesh and mix with the rest of the ingredients. Put into the parched cone-shaped banana leaf and grill with a moderate heat till cooked.

The Joget Gamelan is a court dance that exudes grace, dignity and beauty. The Gamelan Dance is a name given to a number of dances that are accompanied by the Gamelan musical instrument. This dance that is performed by women only was first introduced in Pahang during the reign of the first Sultan Ahmad Muadzam Shah, crowned on 6th August, 1882 and reigned until 8th May, 1914, and was introduced to the Terengganu Court in the 1920s by the late HRH Tengku Ampuan Mariam, a princess from Pahang who later became the consort of HRH Sultan Sulaiman Badrul Alam Shah, the Sultan of Terengganu from 1914 to 1942. The Joget Gamelan as it is called, comes with a nine-piece ensemble. The musical instruments are various types of gongs, barrel drums, as well as xylophone and metallophone equipments. Among the many popular dances at that time were the Timang Burung, Ayak – Ayak, Togok, Geliung, Kunang – Kunang Mabuk, and Lambang Sari. Gamelan has now lifted its veil to audiences and listeners beyond the royal circle, thus allowing the beauty and splendor of this precious heritage to be enjoyed and explored by generations to come.

The origin of the Balai or Ulai Dance is unclear. However, it is believed that it has settled in Terengganu about 300 years ago. The existence of this dance in the Bukit Gemuruh Village in Hulu Terengganu revolves around the story of a couple who were farmers namely Tok Jambul and his wife Tok Senik with their child. Whenever To Senik lullabied her child there was an invisible voice as if reciprocating her quatrain. The voice invariably reciprocated Tok Senik’s quatrain when she continued quatraining while working in the paddy field. One day Tok Jambul dreamt meeting a man that told him that a genie wanted to jolly with Tok Jambul’s wife. The man directed Tok Jambul to plant upright a number of the pulai tree trunk and to sprinkle chanted flour around the tree using banana leaf, as well as reciting mantras. Eventually his paddy grew as well as fertile and the invisible voice was nowhere. Originally this dance is related to appeasing the spirit of paddy and performed by young maiden of the Bukit Gemuruh Village. The dance is accompanied by songs portraying the farmers’ happiness after obtaining the produce. The dance movements picture the farmers doing paddy field works. Colourful umbrellas that signify the spirit of paddy are placed in the middle of the stage and the dancers dance encircling the umbrellas. Paddy planting equipment like hoe, paddy harvester, and the farmers’ hats are turned into props.