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.

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.

Mak Yong Traditional Theatre is normally portrayed as a Malay dance drama that contains acting, dancing and singing. There is a consensus that Mak Yong originated from the ancestry of the Kelantan-Patani Government, and said to have established around 400 years ago at the Malay sultanate palace of Kelantan-Patani. Then it spred to the states of Terengganu and Kedah after which it settled at Serdang Muda, Sumatera and Riau Islands, Indonesia. A Mak Yong traditional performance does not use lots of props, set and background to portray a scene. Its performance structure is permanent and uniform although the storyline is different. A traditional performance in villages is held in an open theatre. The audiences sit on three sides while the fourth side is for musicians. Most characters are acted by women and the storylines are based on traditional folk stories. The Buka Panggung (literally translated as ‘Opening the Theatre’) ceremony starts a performance followed by the story plot and ends with the Tutup Panggung (or ‘Closing the Theatre’) ceremony. In the Buka Panggung ceremony the performance begins with the Mengadap Rebab segment, that is paying homage to the rebab (oud), the main musical instrument regarded as a chaste element in a performance. The actor who plays the Peran Tua character, that is the Elder Joker, pays homage to the oud and places it in the middle of the theatre while Jong Dongdang sings the song ‘San Gendang’. The actors who play the characters of Pak Yong, Mak Yong and Jong Dongdang stand in a circle while the maidens sing the song ‘Sedayung Mak Yong’ or the song ‘Sedara’. At the end of the song Pak Yong instructs the maidens to return to the palace, and this marks the end of the segment. The main characters are Pak Yong, Mak Yong, the King, Queen, Elder Joker and Junior Joker. There are also other characters like the Royal Soothsayer, Ship Captain, Guru, soldiers, genie, ghost and giant, depending on the storyline. The main musical instruments are a three-string oud, two drums and two gongs. There are also additional instruments to increase the degree of the melodious sound like cymbal, small bells and flute. In the year 2005 Mak Yong was recognised and proclaimed as “A Masterpiece of the Oral and Intangible Heritage of Humanity” by the United Nation Education, Scientific and Cultural Organisation (UNESCO). In the year 2008 Mak Yong was proclaimed as A Representative List of the Intangible Cultural Heritage of Humanity.

Mak Yong Traditional Theatre is normally portrayed as a Malay dance drama that contains acting, dancing and singing. There is a consensus that Mak Yong originated from the ancestry of the Kelantan-Patani Government, and said to have established around 400 years ago at the Malay sultanate palace of Kelantan-Patani. Then it spred to the states of Terengganu and Kedah after which it settled at Serdang Muda, Sumatera and Riau Islands, Indonesia. A Mak Yong traditional performance does not use lots of props, set and background to portray a scene. Its performance structure is permanent and uniform although the storyline is different. A traditional performance in villages is held in an open theatre. The audiences sit on three sides while the fourth side is for musicians. Most characters are acted by women and the storylines are based on traditional folk stories. The Buka Panggung (literally translated as ‘Opening the Theatre’) ceremony starts a performance followed by the story plot and ends with the Tutup Panggung (or ‘Closing the Theatre’) ceremony. In the Buka Panggung ceremony the performance begins with the Mengadap Rebab segment, that is paying homage to the rebab (oud), the main musical instrument regarded as a chaste element in a performance. The actor who plays the Peran Tua character, that is the Elder Joker, pays homage to the oud and places it in the middle of the theatre while Jong Dongdang sings the song ‘San Gendang’. The actors who play the characters of Pak Yong, Mak Yong and Jong Dongdang stand in a circle while the maidens sing the song ‘Sedayung Mak Yong’ or the song ‘Sedara’. At the end of the song Pak Yong instructs the maidens to return to the palace, and this marks the end of the segment. The main characters are Pak Yong, Mak Yong, the King, Queen, Elder Joker and Junior Joker. There are also other characters like the Royal Soothsayer, Ship Captain, Guru, soldiers, genie, ghost and giant, depending on the storyline. The main musical instruments are a three-string oud, two drums and two gongs. There are also additional instruments to increase the degree of the melodious sound like cymbal, small bells and flute. In the year 2005 Mak Yong was recognised and proclaimed as “A Masterpiece of the Oral and Intangible Heritage of Humanity” by the United Nation Education, Scientific and Cultural Organisation (UNESCO). In the year 2008 Mak Yong was proclaimed as A Representative List of the Intangible Cultural Heritage of Humanity.

An academic who has spent decades studying Malaysian textile, alongside Malaysia's prolific songket entrepreneur, share their stories and thoughts on songket. In this documentary, the Malay Songket is explored through its ingredients, tools, processes, techniques and designs, bringing the audience closer to the world of songket weaving in Terengganu, Malaysia. This colourful journey delves into the magnificence of this textile and its association with the Malay community’s inherited pride and creativity.

An academic who has spent decades studying Malaysian textile, alongside Malaysia's prolific songket entrepreneur, share their stories and thoughts on songket. In this documentary, the Malay Songket is explored through its ingredients, tools, processes, techniques and designs, bringing the audience closer to the world of songket weaving in Terengganu, Malaysia. This colourful journey delves into the magnificence of this textile and its association with the Malay community’s inherited pride and creativity.

An academic who has spent decades studying Malaysian textile, alongside Malaysia's prolific songket entrepreneur, share their stories and thoughts on songket. In this documentary, the Malay Songket is explored through its ingredients, tools, processes, techniques and designs, bringing the audience closer to the world of songket weaving in Terengganu, Malaysia. This colourful journey delves into the magnificence of this textile and its association with the Malay community’s inherited pride and creativity.

Wayang Kulit (Shadow Puppet Play) is a traditional Malay theatre that utilises light and shadow of puppets. It is said to originate from Jawa, whilst others cite Patani as the source. The performance is now very popular in Kedah, Kelantan and Terengganu.\nA Wayang Kulit performance is usually conducted in the evening. The performance is led by a Tuk Dalang who maneuvers puppets behind a white screen (kelir). Tuk Dalang and the puppets are strategically positioned in front ofnthe light from a hanging light bulb or gasoline-fueled lamp. Thus, only shadows of the puppets are seen on the screen. The reputation of a Tuk Dalang depends on his expertise in mimicking different voices of the characters.\nPuppets are made from leather with movable parts (upper arms, lower arms with hands) mounted on the body with wooden sticks. Their figures are based on specific characters from collections of tales from the Ramayana and Mahabrata epics. Popular characters include Seri Rama, Sita Dewi, Wak Long, Pak Dogol and Hanuman.\nWayang Kulit performance is accompanied by a musical ensemble which consists of seven to eight members. The musical instruments used includes canang (gong), geduk, gendang (drum), rebab (violin), gedombak, serunai, and kesi (small cymbals).

Wayang Kulit (Shadow Puppet Play) is a traditional Malay theatre that utilises light and shadow of puppets. It is said to originate from Jawa, whilst others cite Patani as the source. The performance is now very popular in Kedah, Kelantan and Terengganu.\nA Wayang Kulit performance is usually conducted in the evening. The performance is led by a Tuk Dalang who maneuvers puppets behind a white screen (kelir). Tuk Dalang and the puppets are strategically positioned in front ofnthe light from a hanging light bulb or gasoline-fueled lamp. Thus, only shadows of the puppets are seen on the screen. The reputation of a Tuk Dalang depends on his expertise in mimicking different voices of the characters.\nPuppets are made from leather with movable parts (upper arms, lower arms with hands) mounted on the body with wooden sticks. Their figures are based on specific characters from collections of tales from the Ramayana and Mahabrata epics. Popular characters include Seri Rama, Sita Dewi, Wak Long, Pak Dogol and Hanuman.\nWayang Kulit performance is accompanied by a musical ensemble which consists of seven to eight members. The musical instruments used includes canang (gong), geduk, gendang (drum), rebab (violin), gedombak, serunai, and kesi (small cymbals).

Wayang Kulit (Shadow Puppet Play) is a traditional Malay theatre that utilises light and shadow of puppets. It is said to originate from Jawa, whilst others cite Patani as the source. The performance is now very popular in Kedah, Kelantan and Terengganu.\nA Wayang Kulit performance is usually conducted in the evening. The performance is led by a Tuk Dalang who maneuvers puppets behind a white screen (kelir). Tuk Dalang and the puppets are strategically positioned in front ofnthe light from a hanging light bulb or gasoline-fueled lamp. Thus, only shadows of the puppets are seen on the screen. The reputation of a Tuk Dalang depends on his expertise in mimicking different voices of the characters.\nPuppets are made from leather with movable parts (upper arms, lower arms with hands) mounted on the body with wooden sticks. Their figures are based on specific characters from collections of tales from the Ramayana and Mahabrata epics. Popular characters include Seri Rama, Sita Dewi, Wak Long, Pak Dogol and Hanuman.\nWayang Kulit performance is accompanied by a musical ensemble which consists of seven to eight members. The musical instruments used includes canang (gong), geduk, gendang (drum), rebab (violin), gedombak, serunai, and kesi (small cymbals).

Wayang Kulit (Shadow Puppet Play) is a traditional Malay theatre that utilises light and shadow of puppets. It is said to originate from Jawa, whilst others cite Patani as the source. The performance is now very popular in Kedah, Kelantan and Terengganu.\nA Wayang Kulit performance is usually conducted in the evening. The performance is led by a Tuk Dalang who maneuvers puppets behind a white screen (kelir). Tuk Dalang and the puppets are strategically positioned in front ofnthe light from a hanging light bulb or gasoline-fueled lamp. Thus, only shadows of the puppets are seen on the screen. The reputation of a Tuk Dalang depends on his expertise in mimicking different voices of the characters.\nPuppets are made from leather with movable parts (upper arms, lower arms with hands) mounted on the body with wooden sticks. Their figures are based on specific characters from collections of tales from the Ramayana and Mahabrata epics. Popular characters include Seri Rama, Sita Dewi, Wak Long, Pak Dogol and Hanuman.\nWayang Kulit performance is accompanied by a musical ensemble which consists of seven to eight members. The musical instruments used includes canang (gong), geduk, gendang (drum), rebab (violin), gedombak, serunai, and kesi (small cymbals).

Wayang Kulit (Shadow Puppet Play) is a traditional Malay theatre that utilises light and shadow of puppets. It is said to originate from Jawa, whilst others cite Patani as the source. The performance is now very popular in Kedah, Kelantan and Terengganu.\nA Wayang Kulit performance is usually conducted in the evening. The performance is led by a Tuk Dalang who maneuvers puppets behind a white screen (kelir). Tuk Dalang and the puppets are strategically positioned in front ofnthe light from a hanging light bulb or gasoline-fueled lamp. Thus, only shadows of the puppets are seen on the screen. The reputation of a Tuk Dalang depends on his expertise in mimicking different voices of the characters.\nPuppets are made from leather with movable parts (upper arms, lower arms with hands) mounted on the body with wooden sticks. Their figures are based on specific characters from collections of tales from the Ramayana and Mahabrata epics. Popular characters include Seri Rama, Sita Dewi, Wak Long, Pak Dogol and Hanuman.\nWayang Kulit performance is accompanied by a musical ensemble which consists of seven to eight members. The musical instruments used includes canang (gong), geduk, gendang (drum), rebab (violin), gedombak, serunai, and kesi (small cymbals).