The Balai Dance is inherited by the Orang Asli (Indigenous) of Semelai ethnicity in Bera District, Pahang, Malaysia. In this dance there are a number of songs and kind of dances that refer to a particular celebration or purpose. For example, like ceremonies of merriment, weddings, circumcisions, and for the purpose of healing. This dance is usually performed in a house or unwalled hut called ‘Balai’, just a floor made of bamboo. Until now this dance is still inherited by all ages of the Orang Asli community of Semelai ethnic at the Bukit Gemuruh Orang Asli Village, Bera, Pahang.

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.

Tsam is a complex cultural, religious and healing ritual consisting of dance movements, tantric prayers and meditation. Originating in India and Tibet, it has been enriched with diverse Mongol cultural elements, including heroic figures of folk myths and epics, elements of shamanism and archaic religious phenomena. Tsam dance is a Buddhist monastic tradition, its form differing according to the deity and traditions of the particular monastery or locality, but it has become a staged performance beginning in 1811.

The Sewang or also called Jenulang Dance is one of the traditional dances of the Orang Asli (Indigeneous) community of the Semai and Temiar ethnics in the state of Pahang. This dance combines the elements of dance, music and songs with 18 dancers or more of both sexes, according to the suitability of the stage area. The dance functions as entertainment, ‘opening up of love’, for marriage, appeasing the spirit of paddy and for healing. This dance is led by an elderly man called Tok Halak, who is also the main singer. The dancers repeat every line their leader sings and move in circle while stomping their feet on the floor. They are accompanied by a traditional musical instrument called ‘Buluh Cetong’ made of bamboo that is stomped on a hard wood. There are four dance formations depending on the dance function. Firstly, the dancers are dancing in one line. Secondly, the dancers are dancing in a circle while moving clockwise or anti-clockwise. Thirdly, the dance is performed in couples of both sexes that sometimes holding hands. Fourthly, in groups. For the purpose of happiness, Sewang is danced after paddy harvesting, or receiving the return of a sibling that works far away or the arrival of a new year, at wedding ceremonies and the like that has elements of bliss. For circumcision ceremony the dance is called ‘Ajok’. For healing purposes the dance is performed in the evening. Outsiders are not allowed to ascend the house where the dance is perfomed until the dance is over.