Boria is a theatrical performance that is rather popular at the Northern region of Peninsular Malaysia, especially at Penang Island. It has a combination of comedic sketch, song and dance segments and often feature popular songs rhythm such as twist, agogo, Hindi pop songs, pop and others. The performance often starts with the solo performance of tukang karang (storyteller), who shall sing and dance with a walking cane. The storyteller will be joined by a group of dancers—who are usually dressed up as sailors—and sing the song with dance movement in any group. Lyrics are carefully curated with comedy elements. The musical instruments used for Boria are violin, gambus, marwas, cymbal, gendang, accordion, harmonica and guitar. The props used include oil lamp, flag, keris, umbrella, manggar flower and walking cane.

Boria is a theatrical performance that is rather popular at the Northern region ofnPeninsular Malaysia, especially at Penang Island. It has a combination of comedicnsketch, song and dance segments and often feature popular songs rhythm such asntwist, agogo, Hindi pop songs, pop and others. The performance often starts withnthe solo performance of tukang karang (storyteller), who shall sing and dancenwith a walking cane. The storyteller will be joined by a group of dancers—whonare usually dressed up as sailors—and sing the song with dance movement in angroup. Lyrics are carefully curated with comedy elements. The musicalninstruments used for Boria are violin, gambus, marwas, cymbal, gendang,naccordion, harmonica and guitar. The props used include oil lamp, flag, kris,numbrella, manggar flower and walking cane.

The Tita dance (踢踏舞) is a form of mass dance performed for entertainment, passed down in various regions inhabited by the Zang people. It is very lively and fast paced. ‘Ti(踢)’ means to kick in mandarin Chinese, while ‘Ta(踏)' means to step. Together, ’Tita’ refers to the motion of energetic kicking and stepping. True to the name, the dance is characterized by stepping on the ground with thick and heavy boots in time to the beat to produce sounds. While the soles and heels of the feet alternate in tapping the ground, the torso moves along in harmony. The dancers wear colorful costumes, with bells around their waists and legs that ring out joyfully.\n\nThe Tita Dance used to be performed only in fall each year, in Zang temples. However, after its spread to the public, it was performed without restrictions, on every important occasion such as festivals, gatherings and celebrations. Originally, only men were allowed to dance the Tita Dance. The greater the number of participants, the more fervent the atmosphere and the grander the sight. The Tita Dance of the Sichuan region originated from Tibet, and is characterized by crisp and exuberant rhythms.\n\nCharacteristics:\n∙Stepping on the ground with heavy boots to make sounds\n\nPerformed by Ganzi Tibetan Autonomous Region Ethnic Dance Company\nDirected by Liu lifu

The Tita dance (踢踏舞) is a form of mass dance performed for entertainment, passed down in various regions inhabited by the Zang people. It is very lively and fast paced. ‘Ti(踢)’ means to kick in mandarin Chinese, while ‘Ta(踏)' means to step. Together, ’Tita’ refers to the motion of energetic kicking and stepping. True to the name, the dance is characterized by stepping on the ground with thick and heavy boots in time to the beat to produce sounds. While the soles and heels of the feet alternate in tapping the ground, the torso moves along in harmony. The dancers wear colorful costumes, with bells around their waists and legs that ring out joyfully.\n\nThe Tita Dance used to be performed only in fall each year, in Zang temples. However, after its spread to the public, it was performed without restrictions, on every important occasion such as festivals, gatherings and celebrations. Originally, only men were allowed to dance the Tita Dance. The greater the number of participants, the more fervent the atmosphere and the grander the sight. The Tita Dance of the Sichuan region originated from Tibet, and is characterized by crisp and exuberant rhythms.\n\nCharacteristics:\n∙Stepping on the ground with heavy boots to make sounds\n\nPerformed by Ganzi Tibetan Autonomous Region Ethnic Dance Company\nDirected by Liu lifu

The Tita dance (踢踏舞) is a form of mass dance performed for entertainment, passed down in various regions inhabited by the Zang people. It is very lively and fast paced. ‘Ti(踢)’ means to kick in mandarin Chinese, while ‘Ta(踏)' means to step. Together, ’Tita’ refers to the motion of energetic kicking and stepping. True to the name, the dance is characterized by stepping on the ground with thick and heavy boots in time to the beat to produce sounds. While the soles and heels of the feet alternate in tapping the ground, the torso moves along in harmony. The dancers wear colorful costumes, with bells around their waists and legs that ring out joyfully.\n\nThe Tita Dance used to be performed only in fall each year, in Zang temples. However, after its spread to the public, it was performed without restrictions, on every important occasion such as festivals, gatherings and celebrations. Originally, only men were allowed to dance the Tita Dance. The greater the number of participants, the more fervent the atmosphere and the grander the sight. The Tita Dance of the Sichuan region originated from Tibet, and is characterized by crisp and exuberant rhythms.\n\nCharacteristics:\n∙Stepping on the ground with heavy boots to make sounds\n\nPerformed by Ganzi Tibetan Autonomous Region Ethnic Dance Company\nDirected by Liu lifu

The Tita dance (踢踏舞) is a form of mass dance performed for entertainment, passed down in various regions inhabited by the Zang people. It is very lively and fast paced. ‘Ti(踢)’ means to kick in mandarin Chinese, while ‘Ta(踏)' means to step. Together, ’Tita’ refers to the motion of energetic kicking and stepping. True to the name, the dance is characterized by stepping on the ground with thick and heavy boots in time to the beat to produce sounds. While the soles and heels of the feet alternate in tapping the ground, the torso moves along in harmony. The dancers wear colorful costumes, with bells around their waists and legs that ring out joyfully.\n\nThe Tita Dance used to be performed only in fall each year, in Zang temples. However, after its spread to the public, it was performed without restrictions, on every important occasion such as festivals, gatherings and celebrations. Originally, only men were allowed to dance the Tita Dance. The greater the number of participants, the more fervent the atmosphere and the grander the sight. The Tita Dance of the Sichuan region originated from Tibet, and is characterized by crisp and exuberant rhythms.\n\nCharacteristics:\n∙Stepping on the ground with heavy boots to make sounds\n\nPerformed by Ganzi Tibetan Autonomous Region Ethnic Dance Company\nDirected by Liu lifu

The Tita dance (踢踏舞) is a form of mass dance performed for entertainment, passed down in various regions inhabited by the Zang people. It is very lively and fast paced. ‘Ti(踢)’ means to kick in mandarin Chinese, while ‘Ta(踏)' means to step. Together, ’Tita’ refers to the motion of energetic kicking and stepping. True to the name, the dance is characterized by stepping on the ground with thick and heavy boots in time to the beat to produce sounds. While the soles and heels of the feet alternate in tapping the ground, the torso moves along in harmony. The dancers wear colorful costumes, with bells around their waists and legs that ring out joyfully.\n\nThe Tita Dance used to be performed only in fall each year, in Zang temples. However, after its spread to the public, it was performed without restrictions, on every important occasion such as festivals, gatherings and celebrations. Originally, only men were allowed to dance the Tita Dance. The greater the number of participants, the more fervent the atmosphere and the grander the sight. The Tita Dance of the Sichuan region originated from Tibet, and is characterized by crisp and exuberant rhythms.\n\nCharacteristics:\n∙Stepping on the ground with heavy boots to make sounds\n\nPerformed by Ganzi Tibetan Autonomous Region Ethnic Dance Company\nDirected by Liu lifu

Ghazal Parti is a combined performance of music, songs, dance and comedy that obtained its influences from the Middle East. Its songs have elements of Arabian rhythm with lyrics in Arabic and Malay. The word ‘Parti’ means the ‘merriment of the ghazal performance’. This arts form expanded in the states of Penang Island, Kedah and Perak in Peninsular Malaysia. Ghazal Parti is often performed at wedding events in the village and at official ones in the city. In wedding events the performance starts from early evening to midnight and sometimes stretches to dawn. A performance in a wedding event is inside a reception hall that faces the newly-wed couple’s house so that the couple’s family members and guests can watch the show. There are eight to 12 musicians depending on the availability of musical instruments that are an accordion, two violins, an oud, a flute, bass guitar, drum, hand-held drum, bongo, tambourine, and maracas. The singers possess academic background in Arabic; some studied at private or public religious schools. The songs are Arabian in Arabic rhythms originating from Egypt. In the beginning the dancers were men in ladies’ clothing wearing scarf, batik sarong and baju kurung with thin make-up, as ladies were not allowed to become dancers. In the 1950s there appeared dancers among the transgender. Another component in Ghazal Parti is comedy that functions to fill in the break time of the musicians and singers. In a performance they rest twice to thrice and it is at this juncture the space is utilized by the comedians bringing themes of current issues.

Gamelan is the percussion orchestra of Indonesia. Gamelan is a set of traditional music instruments mostly made of hand-forged metal (bronze, brass, and iron). Gamelan consist of slab-type (wilahan) instruments: saron/sarun/pemade, demung/sarun ganal, gender/kiliningan, slenthem/selentem/jegogan, peking/sarun paking/kantilan, kecrek/keprak, and gong-type (pencon) instruments: gong, kempul, kenong, bonang, trompong, kethuk, and kempyang. Other instruments, e.g., zither and seruling (bamboo flute). Gamelan instruments are played by beating (gong, saron, demung, slenthem, kecer); plucking and strumming (siter, kecapi, rebab); tapping (kendang); and blowing (flute). The pitch and tuning of gamelan are slendro and/or pelog (pentatonic and/or heptatonic), each has its own frequency and interval pattern. Lower and higher pitched instrument pairs, together, they produce Indonesian Gamelan melodies, which resonate the sound of ombak (beats) or pelayangan (vibrato). Gamelan music has its own techniques and forms, i.e., one melody performed simultaneously by the different instruments (heterophony), the technique of interlocking multiple instruments to structure their rhythms (interlocking part), and the rhythmic and metric patterns of beat and punctuation (colotomic punctuation).

Gamelan is the percussion orchestra of Indonesia. Gamelan is a set of traditional music instruments mostly made of hand-forged metal (bronze, brass, and iron). Gamelan consist of slab-type (wilahan) instruments: saron/sarun/pemade, demung/sarun ganal, gender/kiliningan, slenthem/selentem/jegogan, peking/sarun paking/kantilan, kecrek/keprak, and gong-type (pencon) instruments: gong, kempul, kenong, bonang, trompong, kethuk, and kempyang. Other instruments, e.g., zither and seruling (bamboo flute). Gamelan instruments are played by beating (gong, saron, demung, slenthem, kecer); plucking and strumming (siter, kecapi, rebab); tapping (kendang); and blowing (flute). The pitch and tuning of gamelan are slendro and/or pelog (pentatonic and/or heptatonic), each has its own frequency and interval pattern. Lower and higher pitched instrument pairs, together, they produce Indonesian Gamelan melodies, which resonate the sound of ombak (beats) or pelayangan (vibrato). Gamelan music has its own techniques and forms, i.e., one melody performed simultaneously by the different instruments (heterophony), the technique of interlocking multiple instruments to structure their rhythms (interlocking part), and the rhythmic and metric patterns of beat and punctuation (colotomic punctuation).

Gamelan is the percussion orchestra of Indonesia. Gamelan is a set of traditional music instruments mostly made of hand-forged metal (bronze, brass, and iron). Gamelan consist of slab-type (wilahan) instruments: saron/sarun/pemade, demung/sarun ganal, gender/kiliningan, slenthem/selentem/jegogan, peking/sarun paking/kantilan, kecrek/keprak, and gong-type (pencon) instruments: gong, kempul, kenong, bonang, trompong, kethuk, and kempyang. Other instruments, e.g., zither and seruling (bamboo flute). Gamelan instruments are played by beating (gong, saron, demung, slenthem, kecer); plucking and strumming (siter, kecapi, rebab); tapping (kendang); and blowing (flute). The pitch and tuning of gamelan are slendro and/or pelog (pentatonic and/or heptatonic), each has its own frequency and interval pattern. Lower and higher pitched instrument pairs, together, they produce Indonesian Gamelan melodies, which resonate the sound of ombak (beats) or pelayangan (vibrato). Gamelan music has its own techniques and forms, i.e., one melody performed simultaneously by the different instruments (heterophony), the technique of interlocking multiple instruments to structure their rhythms (interlocking part), and the rhythmic and metric patterns of beat and punctuation (colotomic punctuation).

Gamelan is the percussion orchestra of Indonesia. Gamelan is a set of traditional music instruments mostly made of hand-forged metal (bronze, brass, and iron). Gamelan consist of slab-type (wilahan) instruments: saron/sarun/pemade, demung/sarun ganal, gender/kiliningan, slenthem/selentem/jegogan, peking/sarun paking/kantilan, kecrek/keprak, and gong-type (pencon) instruments: gong, kempul, kenong, bonang, trompong, kethuk, and kempyang. Other instruments, e.g., zither and seruling (bamboo flute). Gamelan instruments are played by beating (gong, saron, demung, slenthem, kecer); plucking and strumming (siter, kecapi, rebab); tapping (kendang); and blowing (flute). The pitch and tuning of gamelan are slendro and/or pelog (pentatonic and/or heptatonic), each has its own frequency and interval pattern. Lower and higher pitched instrument pairs, together, they produce Indonesian Gamelan melodies, which resonate the sound of ombak (beats) or pelayangan (vibrato). Gamelan music has its own techniques and forms, i.e., one melody performed simultaneously by the different instruments (heterophony), the technique of interlocking multiple instruments to structure their rhythms (interlocking part), and the rhythmic and metric patterns of beat and punctuation (colotomic punctuation).